For centuries, the smell was considered as an inferior sense, underestimated by scholars who considered it linked to animals and sexuality, thus, unsuitable to knowledge. The disinterest of our civilisation for olfaction is reflected by the poverty of the language to describe scents, that comes from our lack of education and culture in this field. In addition, the French law states: “the fragrance of a perfume, which proceeds from the simple implementation of a know-how, does not constitute the creation of a form of expression that can benefit from the protection of copyright”. Yet, thanks to its unique climate to grow flowers in Grasse and the implementation of Fashion Houses in Paris, France is the cradle of Fragrance. How then, can we explain that the first perfume museum in Paris opened only a year ago? For Guillaume de Maussion, the initiator of this tremendous project, it seemed unbelievable that such a place didn’t exist in the French capital city, where Perfume industry is an essential part of the heritage. The Fashion Houses, as Dior, Chanel, Saint-Laurent or Givenchy benefit from this lack of knowledge and spend colossal amounts in Marketing in order to attract consumers. People thus focus on advertisement rather than on the scent and most of the time buy a perfume because of the brainwashing. Fragrances are in this case made with the intention to sell as much as possible. This mass-market industry offers very similar product, at an accessible price and easily available. Consequently, designer brands skimp on the quality using synthetic material and lower concentration. From this aspect, the perfumer is more a technician that aims to seduce the biggest part of the population in order to generate a maximum of profits for the brands. Hence, could perfume be considered as an Art? Is there a future for Fragrance sector, despite the lack of education? Most perfumer compare themselves to compositors, painters, and artists while creating a perfume. Edmond Roudnitska, widely considered as one of the greatest perfumers of 20st century and creator of masterpieces such as Diorissimo or Eau Sauvage, defined himself as a « perfumer-compositor ». Nevertheless, with the multiplication of alternatives perfumes brands, the Perfume sector reveals itself and spreads its artistry. Indeed, these niches companies perceive the perfumer as an artist, and the fragrance as a creation. They focus on the scent, using the best quality ingredients, know-how and craftsmanship. Niche devotees often argue that boutique perfumes offer the consumer the opportunity to reward oneself with a scent that is both uncommon and individual. These brands are focused on customer experience and relationship, take time to initiate and educate the customer on scents. According to Euromonitor; “The next five years will likely see the proliferation of small, artisan perfume brands hoping to capture millennials’ hearts, minds and noses.” In addition, a new trend is emerging from perfume experience: olfactory Marketing. Offices, fashion stores, opticians, even bakeries and using this new sensorial dimension. Brands are trying to reinforce their DNA by creating a distinctive scent to make them unique and unforgettable. The scent is completing a visual and auditory experience by bringing soul. Few studies showed that a pleasant fragrance, triggers a positive mood and a customer will stay 30% to 40% longer in a store well perfumed. These facts increase chances to make a purchase and especially to increase loyalty from the customer who will keep a good memory of its experience. Even though scents were created more than thousands of years ago and evolved over the centuries, Fragrance is still unknown and not recognized as a craft. With the rise of artist-perfumers, a willingness of education on scents, the ease of access to information and a real desire of uniqueness and distinction, there is no doubt that Perfume industry is the Art of tomorrow.

The world market for brands and licenses is constantly growing and represents a very interesting economic field. Brands are constantly being sold, and brand ownership may change often completely unbeknown to the majority of consumers. Brands are in fact held as any other assets, either by individuals or by companies, as part of their balance sheet (Lucky & Giliberti, 2013). A multiple case study of independent luxury companies enables us to identify the following best practices: 1) Perfume = Survival Most brands achieve a long lasting market penetration once they successfully move into the fragrancies. Every case study confirms the assumption. 2) Perfume + cosmetics = survival and success It seems that the perfume business and cosmetics in general are the main boosters for a brand to keep on growing and gain if not “top of mind” at least “aided awareness”. 3) Less licensees = more business! As strange as this can be, most luxury brands that have succeeded in keeping a remarkable growth have made the decision not to expand their number of licensees, but rather to dramatically diminish them, selecting, in most of the cases, main licensing categories like: 1- Perfumes and cosmetics 2- Watches 3- Eye glasses 4- Limited ranges of accessories The cases show that massive licensing may have brought very interesting revenues obtained “the easy way” by the brands owners, but have then started a decline in revenues due to many practical reasons: The brand loses its appeal by becoming seen just about everywhere and applied to any type of possible product. The brand simply becomes less exclusive and therefore less luxury. Cases like Saint Laurent (new name used instead of Yves Saint Laurent) in France or Valentino in Italy, clearly indicate that the brands managers have decided to concentrate their core business within a very limited number of licensees making sure that the brand orientation strictly reflects the identity chosen by the (new) owners. The most impressive example of extremely massive licensing tending to pull the brand out of the luxury market is without doubt the one of Pierre Cardin.