DP MIP08-A:Mise en page 1 - Office de tourisme de Grasse

International
Perfume Museum
Reopening October, 18th 2008
A perfume
of mystery
T h e w o r l d o f p e r f u m e
French Riviera
reveals its secrets .

Perfume possesses a therapeutic, aesthetic,
ritual value.
It is an accessory to seduction or eroticism, a way
to celebrate
the gods, a means of purification. It awakens
the senses, memory,
and at the same time opens up to the world...
Marie-Christine Grasse,
Chief Curator of the museums of the City of Grasse
Reopening October 18th 2008
Exterior view MIP - ©Jacques Penon
T he world of perfume • www.museesdegrasse.com

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Contents
The perfume industry in Grasse… a heritage
The history of perfume
Creation of a museum unique in France
The new International Perfume Museum
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26
The museum in numbers
Its collections and activities
The museum and contemporary art
Artists’ responses to the various spaces
The people behind the project
The competitiveness centre for perfumes, aromas, scents and flavours
Outreach association of the International Perfume Museum
Partners of the International Perfume Museum
Visuals available to the press
Practical informations
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 3
Press kit MIP

Press kit MIP
The perfume industry in Grasse… a heritage
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Roses Centifolia
© MIP, Grasse - France
Enfleurage glass frame
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
Exterior view
© MIP, Grasse - France

O ur heritage (…) is the
business we’ve been
in for centuries, the
perfume industry, created
right here through
the combination of generous
Nature and of
men brimming with initiative,
courage and determination.
The perfume industry, born out
of the tanning industry, at first
artisanal and only later industrial,
was able, as the people of
Grasse always were in the past,
to get around obstacles, withstand
pressure, change and
adapt to the circumstances of
the times.
As in all past decades, the last
thirty years were times of profound
changes. The violent winds
of globalisation might have carried
off everything. The lamented
near-disappearance of fields of
flowers from Grasse’s hillsides
and the dismantling of the
“jewels” of the local perfume
industry early in the 20th century
(Chiris, Roure, Méro and Boyveau
and others) might have led
one to believe that the industry
was in decline.
But the shift towards aromatic
products, the expansion of the fragrant
compounds business
the extraordinary know-how of
the people of Grasse in the area
of natural products, and the development of new branch companies by the
larger companies all enabled Grasse’s business to make it through these turbulent
economic times. What other area in France – so very small, really – can
today claim the honour and the ability to represent more than 50% of national
revenues and between 8 and 9% of world revenues in its field?
We must respect this heritage, which has been an extraordinary bit of good
fortune for the Grasse area. And the best way to do that is to reinforce it and
give it a chance to take up the challenges of the 21st century. This is the
significance of the complete redesign of the International Perfume Museum
(IPM), which the City of Grasse entrusted to the talented architect Frédéric
Jung. The new IPM concept abandons the static approach of the museums of
the 1970’s, offering up a site that is as well anchored in our past history as it
is in our future challenges.
As a genuine resource centre, it seeks to be the point of convergence of
everything that happened in the past, everything that is happening now,
and everything that will happen in the perfume industry, and with that little
known and still mysterious and magical sense of smell. . Permanent and
temporary exhibits, themed and educational tours, various experiments, a
warm welcome for tourists, meetings of professionals and researchers – all this
is on the agenda of this new IPM, which seeks to be a strong symbolic revitalisation
of our heritage, both material and virtual.
This is also the meaning of the certification of our area as a Competitiveness
Centre (Aromas, Scents and Savours Centre) awarded to us by Mr. Christian
Estrosi, Minister with responsibility for Regional Development, in July 2005,
and the concept behind the World Natural Products Observatory. This certification
is not merely a recognition of the excellence and know-how of our area,
which undoubtedly was too modest in the past, but most of all a means of
accessing physical and financial resources to put industrial companies, universities,
research labs – public and private – and local communities into synch in
order to enhance the strategic tools that can be used to face the new challenges.
(...)
In this forward-looking context, the redesign of the IPM is a powerful symbol:
of bringing together the forces and means to live intensely in the present and
to approach the future positively out of respect and pride for a dazzling past.
Exterior view - ©Jacques Penon Enfleurage glass frame
© MIP, Grasse - France
by Jean-Pierre LELEUX, Mayor of Grasse,
Vice-President of the Conseil General des Alpes-Maritimes and President
of the Communauté d’Agglomération Pôle Azur Provence
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
Interior view
© MIP, Grasse - France
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The perfume industry in Grasse… a heritage
Press kit MIP

Press kit MIP
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Benzoin
© MIP, Grasse - France
The history of perfume
Pear-shaped bottle - Blown glass - 2nd-3rd century - Syrie
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
Exterior view MIP
© MIP, Grasse - France

P erfumes and their
uses go far back in
time, following the rise
of civilisations
The first objects considered to
be perfume or cosmetics jars
date to about 7000 BC, in the
Middle East. Elegant and finely
decorated, they are undoubtedly
luxury items reserved for an
elite; they can be found throughout
the Mediterranean area.
These civilisations used various
fragrant materials, especially
resins which were widely used
beginning around 4000 BC in
ritual fumigation, in censers or
perfume-burners reserved for
the gods and royal families.
The Egyptians Egyptians knew
techniques for trapping fragrances
in fats and oils, cold
maceration or hot decoction,
but were still unaware of distillation.
The products obtained
were far from having the olfactory
power of our perfumes, but
they were immensely popular.
This art, which still hesitated to
slip into the world of the profane,
disappeared at the end of
the Bronze Age, around 1200
BC. Certain techniques, marked
by this Oriental tradition,
persisted partly in areas around
the Mediterranean and served
as the basis for the birth of a
new age of perfumes in the
First Millennium. It was not
until the archaic period (6th
century BC) that fragrances
became more democratic. By that time they were being kept in simpler
containers, like the alabaster aryballos.By then scent held a dominant place
in the marketplace of the sacred, the therapeutic, cosmetics and cooking, a
place it held throughout the Middle Ages, in every civilisation.
Among the Aztecs, in the Orient or in Europe, people were composing
mixes with pleasant savours or medicinal virtues. In Grasse, raw materials
were widely used in the newly emerging perfume industry.
Although natural, raw fragrances were made from spices, flowers, mineral
and vegetable resins, people were also manufacturing perfumed oils or
waters obtained by decantation, maceration and filtration. The question of perfume
remained closely tied to the development of distillation techniques,
which spread along with the use of the alembic, and alchemy, after translation
of Arab treatises by physicians at the Salerno school in the 12th century and
later by its propagation in Andalusia, in the 13th century. Invented in Salerno
in the 12th century, alcohol was used solely for medical purposes up until the
15th century. In the 16th century, its use in manufacturing perfumes spread
quickly.
The Oriental civilisations developed public baths beginning in the 16th century.
In Europe, odour marked a social divide until the arrival of the English hygiene
revolution in the 18th century. The desire for bodily cleanliness promoted the
development of lighter perfumes. At the same time, the perfume maker’s
palette was enhanced by new raw materials imported by the British East India
Company. Mortal exhalations, which spread epidemics, were fought by vital perfumes
with curative powers. Progress in chemistry called into question the
use of disinfection by strong scents. These scents were also utilised in other
parts of the world, whether associated with the gods in China and India, with
incense sticks, or with the profane world for festive rites, as an olfactory halo
in Africa, or as a refinement in the Mogul Court.
The French Revolution ruined perfume makers but did not eliminate the
taste for perfume. After the Terror, people perfumed themselves more than
ever. Industry underwent a fundamental change; this was also the great intellectual
and social era in Grasse. Burdensome taxation quickly led to a decline
in the tanning industry, to the benefit of the perfume industry, which developed
because of improvements in technical processes. Perfumed pastes were joined
by powders, soaps and tobacco. .. AT the same time, pleasure – the era’s keyword
– gave rise to a proliferation of little boxes and trinkets associated with the
appearance of new materials, whereas other civilisations continued to use
perfume-burners when the perfumed materials were solid.
Exterior view - ©Jacques Penon Pear-shaped bottle detail – 2nd-3rd century –
Blown glass- Syrie © MIP, Grasse - France
Exterior view
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 7
The history of perfume
Press kit MIP

The history of perfume
Press kit MIP
8
In Europe, the 18th century saw
a change in the very object of
trade, which shifted from
gloves to perfume. The 19th
century was witness to a
change in this originally artisanal
activity, which became
powerfully industrial.
During the same period, in
Africa, perfume making was
centred on the large coastal
cities of Eastern Africa but also
went into the interior of a mysterious
and primitive “ambiguous
Africa”. Perfumes and preparations
made from fragrant plants
continued to contribute in many
ways to magical and therapeutic
strategies, in both rural and
urban areas. In the 20th century,
imported bottled perfumes
became increasingly fashionable,
to the point that they were
synonyms with social success,
in large cities and in remote
towns.
Finally, in the West, globalisation
moved hand in hand with
the development of the perfume
industry and created a uniformity
of customs, and a standardisation,
in all the great metropolises.
France played a major
role in this “Grand Century”
because of the combined and
complementary efforts of
Grasse, the world’s foremost
centre for natural raw materials
for perfume and their derivatives,
and Paris, the world’s
fashion capital. In this Perfume
City at the start of the century,
the perfume industry was characterised
by the processing of
natural products and was a virtual world monopoly. At the end of the century,
while natural products were still a major part of the business of Grasse, traditional
local products had become rare. Perfume compounding and food
flavouring were coming to the fore. But the city still claimed the name
Perfume City.
The modern perfume industry, created at the end of the 19th century with the
first uses of synthetic products, developed genuine creations in the 20th
century, based on the discoveries of fragrant products through research in
organic chemistry and combined with irreplaceable natural products resulting
from new technologies. Houbigant and Guerlain were the first to utilise
these synthetic products: Fougère royale in 1884, Jicky in 1889, considered
the first modern perfume, celebrating the advent of vanilla. They paved the
way for the great creations of the 20th century. François Coty, the father of the
modern perfume industry, a pioneering genius and industrialist, made ready
use of the natural “Absolutes” deriving from the perfection of the technique for
extracting volatile solvents, which he paired with new synthetic products. This
technique is still used in creating perfumes, allowing the perfumer to recreate
scents that are inextricably associated with him. This enables the bottle
designer to support these perfumes, and extend the image of a brand to be
represented and magnified. After a proliferation of creativity that really had
no price limit, through elite forms of distribution, the second half of the 20th
century saw perfume become available to virtually everyone, which led to a
drop in the retail price. More and more new perfumes were launched, with
varying degrees of success. The average life span of a product grew shorter.
With but few exceptions, the perfume industry went from the extraordinary
to the commonplace, and from the hyper-selective to the masses.
Some civilisations have still avoided globalisation. In Oceania, people rub their
hair and body with plants selected for their fragrance. Asia is still synonymous
with floral offerings, with fresh flowers being omnipresent in everyday life and
religion. Fragrance has powers of seduction and purification. The body practices
associated with perfume are a map for reading social life in the Arab Emirates.
Little by little, scents are starting to play a role in China as personality markers,
as is already the case in the West.
Perfume possesses a therapeutic, aesthetic, ritual value. It is an accessory
to seduction or eroticism, a way to celebrate the gods, a means of purification.
It creates a pleasant atmosphere, an incitement to purchase carefully dispensed
by olfactory marketing. It awakens the senses and memory while at the same
time opening up to the world. It is an elementary instrument of excellence
that does nothing to change the way of the world but radically changes its
atmosphere.
by Marie-Christine GRASSE,
Chief Curator of the museums of the City of Grasse
Interior view - © MIP, Grasse - France Carved and polished alabaster pot – Middle Empire- Egypt
© MIP, Grasse - France
Interior view - © MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m

Interior view project - © MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
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Press kit MIP

Press kit MIP
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Ylang-ylang
© MIP, Grasse - France
Creation of a museum
unique in the world
Ornamental ring for perfuming hair – Enamelled silver ––
20th century - Morocco - © MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
Formerly Chiris building - Grasse
© Alain Sabatier

S afeguard a heritage
Since remote Antiquity, the
perfume industry in the broadest
sense of the word has
been one of the most important
social phenomena, in every civilisation,
whatever the social,
political or religious context.
For more than four millennia,
it has given birth to millions of
articles made of the most precious
and most humble materials,
using forms of art from
realism to abstraction.
It has of course led to many private
collections. But until the
International Perfume Museum
opened, there had never been
a desire to create a public institution
devoted to safeguarding
this international heritage.
Soap, makeup and cosmetics
are inseparable from what we
understand today as the perfume
industry, which is to say,
essentially, luxury alcoholic
perfume or finished-product.
Grasse, cradle of the
perfumery
Obviously such a museum could
only be found in France, where
the contemporary perfume
industry began early in the 20th
century, thanks to François Coty
and Coco Chanel, who started
the fashion for perfumes rich in
aldehydes.
Over these decades, Grasse has
been able to maintain and continue
to demonstrate the excel-
lence of its production of natural raw materials prepared by ingenious processes,
constantly perfected and utilised by powerful industrial establishments.
Grasse wanted to be the first to establish an International Perfume Museum.
The city produced the most detailed plan, backed by a tenacious collective will to
see it succeed. Beyond the apparent appropriateness of it, creation of the International
Perfume Museum in Grasse is therefore symbolic.
François Carnot, one of the organisers of these so-called Musées Centennaux,
was one of the most ardent defenders of this idea. He remains an extraordinary
figure in the history of the International Perfume Museum: son of the President
of the Republic, he was passionately interested in artistic life.
1918, a first museum
So it was that François Carnot established a private museum in Grasse in
1918. He already envisioned a section reserved for perfume in all its forms;
beginning in 1921, this section was enriched by the generosity of donors. As
essential complements to one another, the perfumers of Grasse and of
Paris, including the renowned houses of Piver, Pinaud... as well as the Chiris
industrial establishments in Grasse, helped to establish this museum.
François Carnot rallied the world of perfumery and the decorative arts. He
introduced perfumer François Coty to the renowned glassmaker René
Lalique. Private collectors were no exception. In 1931, Viscountess Savigny de
Moncorps donated to the Grasse museum a major collection of perfume
and cosmetic labels dating from the early 19th century, from the old Seillans
(Var) perfumery.
It was not until 1955, with the arrival at the Grasse museum of a young curator,
that François Carnot would relaunch this project, but he received no
assistance from the city despite his growing collections.
Inaugurated in January 1989, the year of the bicentennial of the French perfume
industry, the International Perfume Museum represents the living
memory of a profession as well as a unique and powerful aspect of the
Grasse identity : the perfume industry, for which Grasse remains the reference
point for the entire world.
Since his election as mayor of Grasse in 1995 and his re-election in 2001
then in 2008, Jean-Pierre Leleux has worked hard to restore to this region the
reputation it had earned. He is also President of the Communauté d’Agglomération
Pôle Azur Provence and Vice-president of the Conseil Général des
Alpes-Maritimes.
Exterior view MIP- © MIP, Grasse - France Crystal salts bottle – Circa 1825 - France
© MIP, Grasse - France
Interior view MIP - © MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 11
Creation of a museum unique in the world
Press kit MIP

Press kit MIP
Jasmine - © MIP, Grasse - France
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The new International
Perfume Museum (MIP)
Perfume bottle – Blown glass – Early 18th century - Germany
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
Exterior view MIP - ©Jacques Penon

T
he International
Perfume Museum
expansion and
redesign project was
entrusted to architect
Frédéric Jung. The
work, begun in 2006,
will double the
museum’s area.
In an area of just over
3,000 m2, visitors will
discover a completely
olfactory and interactive
museum. Its mission
will be to conserve,
study and present the
heritage of one of the
most prestigious of
French industries: perfumery.
It will be the
world’s first public collection
dedicated to this
industry, from ancient
times to the present
day, covering five continents,
focusing on
three major themes:
seduction, treatment,
communication.
Perfume bottle detail – Early 18th century - Germany
© MIP, Grasse - France
The expansion and redesign of the International pe
fume Museum includes three phases:
• The museum of the civilisations of perfume in the centre city.
• The evolution of techniques used to make perfume, in the Hydrocarbons hall
of the former Roure plant, a building today classified as a historic monument.
• The conservatory of perfume plants.
When they arrive in October 2008, the first visitors will be charmed by a
townhouse freed from all its past additions and restored to its original appearance,
especially the inner courtyard and facades, which have been completely
restored.The entrance and its vast hall, facing the courtyard, will include the
reception/ticket desk, a children’s reception area, and a restaurant.Visitors will
find it easy to orient themselves with special signage and information on
current events in the museum.
New rooms in the redesigned museum:
• An air-conditioned, secure and perfectly lit temporary exhibition room.
An 80-seat conference room.
• A restaurant looking out on the garden.
• Two educational rooms for school events.
• Two events rooms for adult workshops.
• A reception room for children.
Frédéric Jung, winning architect
Architect Frédéric Jung, who won the competition for the International Perfume
Museum, created a design that took in the Morel-Amic building, which is the
current Pélissier building and museum. A 1981 graduate of the Ecole Nationale
Supérieure des Arts et Industries of Strasbourg, he completed his training in
the United States at the UCLA School of Architecture in 1983. After his stays
abroad, he returned to France in 1985 and worked for various architectural
firms before setting up his own in 1992. In 2000, Jung Architectures Eurl was
established. He participates actively in special events and gives lectures. He also
teaches at the Ecole Nationale des Ponts et Chaussées in Marne la Vallée
and is on the boards of examiners of the most prestigious architecture schools
like Lille, Paris, Rennes and Strasbourg.
He has won several competitions, and many trophies have been awarded him :
• 2004 National Rehabilitation Trophy (Musée Oberlin)
• Winner of the 2004 Architecture and Urban Development in Alsace Award (Musée Oberlin)
• Nominated for the “European museum of the year award 2004” (Musée Oberlin)
• 2003 Regional Rehabilitation Trophy (Musée Oberlin)
• Nominated for the "2001 Silver Square” (BETC corporate headquarters)
• Winner of the MIPIM Award 2001 (BETC corporate headquarters)
Exterior view MIP - © MIP, Grasse - France Golli Wogg perfume bottle detail- Vigny Verre
1920-France - © MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 13
The new International Perfume Museum
Press kit MIP

The new International Perfume Museum
Press kit MIP
Reconciling the old
and the new
As a man with practical experience,
Frédéric Jung excels at
many types of architectural
design: homes, offices, urban
planning... For the International
Perfume Museum, he managed
to reconcile the old with the
new to create a very elegant
new concept.
He reconfigured an 18th century
townhouse, the Hôtel Pontevès,
and brought it into harmony
with a modern building.
The primary objective of this
renovation and expansion work
was to exploit the museum in
terms of exhibition of its collections
and of conditions of
conservation and security and
its services to the public.
The museum has to maintain its
international stature whilst not
losing its soul. This means presenting
in all its splendour this
unique French and international
public collection devoted
to the perfume industry while
promoting a warm and convivial
dimension to create a
place of relaxation as well as
research, open to all.
The permanent exhibition of its
collections is enhanced by satellites:
conference rooms, temporary
exhibits, the Osmotheque,
documentation centre, news
kiosk, educational workshops for children and adults, etc.
Architecturally, this proposal is for a complex design realised within a multibuilding,
marked by the city’s history and its subsequent additions.
Situated next a hill right under a break in the topography, on the edge of the
fortified old city, the museum needs to take advantage of this spatial and
historical wealth. At the same time, it achieves a strong museographical layout.
The fundamental challenge in this reorganisation is to bring together 3,000
m2 distributed among five buildings and seven levels.
Four symbolic places in Grasse’s history :
• The entry pavilion of the former Hugues-Aîné perfume works built in the
19th century as well as the vestiges of the cold Dominican monastery
built in the 14th century, next to the city wall dating from the same period.
The block’s courtyard is given a major overhaul by exposure of the fortification
through an opening that frees up the exhibition floors and circulation
routes. The axis of the fortification is picked up and protected by a glass
nave. It emphasises the museum’s contemporary aspect from Boulevard
Fragonard and the Cours Honoré Cresp roundabout while remaining set
back from the Hôtel Pontevès Morel-Amic.
• The main courtyard of the Hôtel Pontevès now provides public access.
Enlivened by the presence of the main reception area, it connects the two
buildings that face each other. One, the old annex, extended to the ground
floor to house the hall, will give access to the collections and to the
events area.
The other, the Hôtel Pontevès, houses part of the permanent collections,
museum conservation and the documentation centre.
• The old Pélissier building has been rebuilt while keeping its cellars for the
temporary exhibitions and logistics above, and two sections of collections
below. It fits completely within the profile of the current building on
Rue des Augustins.
• The gardens and terraces of the various levels in the former courtyards
punctuate the visitor’s route, dealing with plant themes associated with different
eras through contemporary art.
Interior view MIP - © MIP, Grasse - France Bottle perfume - Glass – 17th century – Bristol/England
© MIP, Grasse - France
Pomander – Lapis-lazuli and silver gilt – 19th century
© MIP, Grasse - France
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T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m

Exterior view MIP - ©Jacques Penon
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 15
Dossier de presse MIP

Press kit MIP
16
Orange blossom
© MIP, Grasse - France
The museum in numbers
Incense burner – Qing Dynasty (late) – Cast bronze,
engraved – 19th century - China - © MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
Hôtel Pontevès
© MIP, Grasse - France

Construction:
Length of time:
4 years
Target cost :
11 300 000 euros
Initial funding:
City of Grasse
2 615 000 €
Communauté d’agglomération
Pôle Azur Provence
2 350 000 €
DRAC (State)
2 470 000 €
Conseil Général des Alpes-Maritimes
2 005 000 €
Conseil Régional PACA
2 860 000 €
Technical
characteristics
Area of the new museum:
3,500 m2
5,000 m2 of floor area
1,200 m3 of concrete
1 crane
130 tonnes of steel
50 jobs/month average
The
museum’s
collection
is composed
of 50,000
items.
Still and batteuse - © MIP, Grasse - France Spray Nuit de Chine – Les Parfums de Rosine, Paul Poiret, Salts bottle detail – Crystal and silver
circa 1924 - © MIP, Grasse - France
Middle 19th century - France
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 17
The museum in numbers
Press kit MIP

Press kit MIP
18
Figurine perfume bottle –Porcelain
18th century – Chelsea/England
© MIP, Grasse - France
Its collections and activities
Bergamot box – Bergamot bark, painted and
glazed paper – 18th century – France
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
Perfume bottle Ramsès II for Bichara – Glass
1928 - France© MIP, Grasse - France

T
he International Perfume
Museum is devoted
to the history of
perfume and the evolution
of its techniques
through the centuries. It
features objects representing
the decorative
arts, botany, industry,
ethnography and sociology,
ranging from the
masterpiece to the everyday.
All disciplines are
applied to our topic,
enhancing it and complementing
it by offering
a variety of views. This
21st century museum
looks at the past as well
as at the present, and
even the future, if we
consider the section on
the era of globalisation,
marketing and communication,
and new markets.
Through extraordinary collections,
it traces the history of
perfumes as well as of soaps,
makeup and cosmetics over the
last four thousand years. As
both a memory of and partner
to the perfume industry, this
museum reveals all the stages
in the creation of a perfume,
from the harvesting and proces-
Interior view MIP © MIP, Grasse - France
sing of the raw materials to the launch of the finished product.
More than 50,000 objects make up the museum’s collection, with flasks
from Egypt, Greece and Rome and all five continents, including Marie Antoinette’s
famous “nécessaire”, which served as Grasse’s ambassador during
this construction period while on exhibit at Versailles, in Japan, Australia
and Brazil.
In addition to the classic activities of a museum, it conceives and stages
free olfactory events for a wide variety of audiences: school children (some
5,000 a year), perfume professionals, tourists, students, etc.
Lectures on perfume, the perfume industry and all their associated topics are
frequently held for the edification of all. Perfumery, which is not just an
industry or a science but also an art, brings together some very different
players: creators of perfumes, perfume bottles, packaging makers, as well
as raw materials producers, glassmakers, etc. Constantly seeking to enrich
its collections, the International Perfume Museum has considerably expanded
its activities: themed exhibits, school and extramural events, involvement
in annual national events, participation in trade shows.
The documentation centre/library will be expanded and made more easily
accessible to researchers.
At the same time, the museum team, in cooperation
with the architect and the museographers, is creating
various forms of outreach media:
• A database of all collections relating to the perfume industry in all French
museums.
• A database of the IPM’s collections.
• A database of the museum’s entire collection of perfume labels.
The various texts that will appear in the museum (flyers, posters....).
• Synopses for the various videos and audio guides.
• The texts and photographs for the inaugural catalogue, prepared by
specialists in each historical period treated.
• Update of the museum's Internet site.
• The final selection of the objects displayed, determining the museography.
Pomander detail - Lapis-lazuli and silver gilt – 19th century
© MIP, Grasse - France
Interior view Hôtel Ponteves
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 19
its collections and activities
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Press kit MIP
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The museum and contemporary art
Tonka beans
© MIP, Grasse - France
Pocket nécessaire – Metal, bronze, leather, ivory
Late 18th century – France
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
Exterior view MIP
© MIP, Grasse - France

A s part of this
expansion, the
museum is calling on
artists to furnish certain
indoor and outdoor
spaces. In fact, in
concert with its Scientific
and Cultural Project,
the museum is
setting up a complementary
approach in
tandem with the main
visitors’ route that will
open up the discussion
to an artistic view of
the world of perfume.
This will both question and
move the visitor as well as providing
answers, in order to
make a visit here a multisensory
experience.
The various viewpoints of the
chemist, the aromatician, the
manufacturer, the designer, the
perfume maker, the historian
and the artist can only serve to
enrich the overall view of the
various facets of the perfume
industry. The works created will
form an overview of contemporary
art within the museum,
associated with topics from the
world of perfumery: the poetry
of the raw plant materials, smell
and the awakening of the
senses, luxury and design,
glasswork and transparency, industry and its materials... At the same time,
the museum will be presenting scheduled events associated with contemporary
art: temporary exhibits, installations, performances, live shows, lectures presenting
the work of certain artists associated with perfume.
The International Perfume Museum will call upon local, national and international
artists with differing and complementary approaches in order to offer
the public creations that provide a diversified view of the world of perfume. In this
regard it relies on the advice and cooperation of professionals in the contemporary
art world: CNAC-Villa Arson (Nice), FRAC Provence-Alpes-Côte d’Azur
(Marseille), Gassendi Museum (Digne), Museum of Modern and Contemporary
Art (Nice), CIRVA (Marseille).
By featuring a contemporary art approach, the museum joins the regional
contemporary art circuit of the Azur Provence Centre township committee
(Concrete Art Space in Mouans-Sartoux, Museum of Art and History in Grasse),
and more broadly that of the Côte d’Azur, with, among others, MAMAC and
Villa Arson in Nice, the Maeght Foundation in à Saint-Paul, and the various
museums devoted to a single artist like Chagall and Matisse in Nice, Picasso in
Antibes and Vallauris, Léger in Biot, Cocteau in Menton, as well as the various
galleries throughout the region.
At the same time, the museum is pursuing a policy of
contemporary creation, with three focuses:
• Launch of a collection of artist’s perfume bottles.
• Prototype design of functional objects associated with perfume by designers
with presentation of the creation process and the various stages (design,
model, resin, plaster, glass).
• Regular scent creation by the ISIPCA perfume makers’ school.
Some artists for temporary exhibits
Isa BARBIER - Michel BLAZY - Clément BORDERIE - Marie BOVO - James Lee BYARS -
Dale CHIHULY - Gérard COLLIN-THIEBAUT - Claudine DRAY - Marie-Ange GUILLEMINOT -
Fabrice HYBERT - PIERRE & GILLES - Bettina RHEIMS - Claire ROUDENKO-BERTIN -
Jana STERBAK - Gérard TRAQUANDI - Felice VARINI.
Interior view MIP - © MIP, Grasse - France Pocket nécessaire detail – Metal, bronze, leather, ivory – Late
18th century - France - © MIP, Grasse - France
Interior view MIP- © MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 21
The museum and contemporary art
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Concrete
© MIP, Grasse - France
Artists’ responses to the
various spaces
Pear-shaped bottle – Opaline – Circa 1840 – France
© MIP, Grasse - France
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Vinaigrette golden work “guilloché”– Circa 1830
© MIP, Grasse - France

S mall paved terrace
(View of the Estérel)
For this space, artist Peter
Downsbrough offers a work on
enhancement of the landscape
and on the concept of viewpoint.
The goal here is to see
the landscape differently and
provide another focus, both
directly on the terrace and by
playing on the bay window
using a graphic design that
works on the terrace. His work
will be minimal and subtle.
Peter Downsbrough’s installations
play on the parameters of
the space where they are produced,
whether the real space
of architecture and the city, of
the exhibition space, or space
in a book: the surfaces of walls,
floors, ceilings, sometimes windows,
and the surfaces of
covers and pages are all opportunities
for him to question the
evidence of the words written
there. Vertical, horizontal,
oblique, the cut, land and frontier
are his preferred tools.
The 18th and 19th
century garden
The 18th and 19th century garden
is an 800 m2 geometric garden.
It dates from 1779 and was
done over in 1976. Its composition
elements are very interesting:
gate, geometric bed of pruned
boxwood, small circular
pool, arbour of old roses, orange trees...
By opening out onto the city, the 18th and 19th century garden serves as a
window for the museum. This provides a hook for the potential public on one
of the themes associated with perfume. The strategic central fountain hosts
the outdoor work of Jean-Michel Othoniel, a work on glass linked to the fountain’s
water, symbolically recalling nectar and perfume bottle, nature and culture.
The work takes into account the existing constraints (water feature, trees and
plants, the façade of the Hôtel Pontévès), and evokes the 18th century, which
precedes the garden, with a sparkling, light, precious, dynamic and refined side.
J-M Othoniel uses blown glass as a multicoloured palette to nourish an opulent
and baroque work, as the glass becomes playful, lively, erotic.
At the same time, the garden introduces into the museum visit the industrial
evolution of the 19th century by presenting the aromatic plants that made
Grass famous: roses and jasmine. It is important to herald the industrial
era with a strong element, to counterbalance the frivolity of the previous
period. Dominique Thévenin, a sculptor of movement, has created a work on
the industrial heritage and its materials. He creates works out of rough,
crude, essential metal. Cylindrical masses balance each other along a mysterious
axis, then come to life with the slightest breath of air, leading to a
visual destabilisation in the spectator.
The prints room
Sequence 3 of the International Perfume Museum features mechanisation,
industrialisation and mass production, characteristic of the 19th century,
for perfume bottles, perfume, and labels. At the same time, a space dedicated
to the men working in these factories, the “blue collars” and “white collars”,
introduces the lifestyles and working conditions of Grasse’s factories.
The artist’s response shows both the sociological side of workers in perfume
factories as well as mass production. A major collection of perfume labels (or
photographs, sketches) contributes to the creation of the two-dimensional
work on the wall.
This interior work by Gérard Collin-Thiebaut will help the visitor to understand
industrialisation. “All my work is linked to the same desire, that of addressing
passersby, whoever they may be, to seek them out wherever they are, when
they’re least expecting it, and to be with them in their everyday life.”
Interior view MIP- © MIP, Grasse - France Pear-shaped bottle detail – Opaline – Circa 1840 – France
© MIP, Grasse - France
Interior view MIP - © MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 23
Artists’ responses to the various spaces
Press kit MIP

Artists’ responses to the various spaces
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24
The Head Space
terrace
In his constant search for new
fragrances, ever since the very
first fragrant mixes, man has
never ceased expanding his
olfactory palette. At the end of
the 19th century, after the
development of synthetic chemistry,
new molecules appeared.
In the 20th century, joined
by new technologies like gas
chromatography or Head
Space, the world of scents
expanded.
In the perfume industry, gas
chromatography makes it possible
to analyse the composition
of a mixture. Head-space as
used in the perfume industry is
a technology for trapping
odours that appeared at the
end of the 20th century. It is little
known, perhaps even completely
unknown, to the general
public. This technique, which
can be applied anywhere,
consists of passing a gas current
over a plant, flower, fruit,
etc., or to bring aromatic substances
into a high vacuum to
trap them in an absorbent layer.
The trapped substances are
analysed and identified by chromatography
and mass spectrometry
in the laboratory, then
recomposed in order to reproduce the aroma of the flower or fruit analysed.
The artistic approach of Berdaguer & Pejus explores and explains the technical
process, its materials, and the olfactory result obtained. This outdoor
work makes use of all the senses and will be ventilated to give the greatest
scale to the space.
By putting architecture at the service of art, after having first stripped it
of certain elements like functionality, Berdaguer & Pejus have managed to
introduce it into their field of research. In this way their work deals with
habitat, behaviour, custom, the relationship between thought and reality, or
the failure of Utopia.
The Eternal Garden
The Eternal Garden is the counterpart of the 18th and 19th century garden. It
offers, simultaneously, an opening towards the future and a contemporary
synthesis of the various activities that coexist in the perfume industry.
In order to recall the rhythm of the 18th and 19th century garden, the courtyard
is constructed around a pool by artist Brigitte Nahon on the theme of perfume
bottle materials (glass). The work and its treatment of the ground and the wall will
play on the complementary nature of the various mineral materials.
Brigitte Nahon is one of the young artists emerging in the world artistic scene, as
witness the constantly growing interest of international museums and institutions
in her work.
Interior view - © MIP, Grasse - France Golli Wogg perfume bottle - Vigny Verre – 1920-France
Vinaigrette – Gold and lapis-lazuli – Circa 1820
© MIP, Grasse - France
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m

Interior view - © MIP, Grasse - France
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Cinnamon
© MIP, Grasse - France
The people behind
the project
Pendant salts flask – Porcelain – 19th century – France
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
Exterior view – Exit - ©Jacques Penon
©Jacques Penon

J ean-Pierre Leleux
Mayor of Grasse, Vice-President
of the Conseil Général
des Alpes-Maritimes, President
of the Communauté d’Agglomération
Pôle Azur Provence.
Jean-Pierre Leleux Leleux was
born in Ghent, Belgium.
In April 1952 his parents settled
in Grasse, in the Saint-
Jacques area, where the May
harvest of jasmine and roses
marked the seasons.
He participated actively in local
organisations and politics. As a
member and later president of
the Grasse Youth Chamber of
Commerce, he took a passionate
interest in all local topics
and contributed to deliberations
on the future of the Grasse
community (creation of a perfume
museum, launch of an
association forum, children’s
arts festival, creating pedestrian
zones, city events, and
many other projects). All of
these issues taken up by the
YCC and the extra-municipal
committees made him very
familiar with the difficulties as
well as the expectations of citizen
involvement and politics.
In 1983 he was elected to the
city council and was delegated
powers in the area of culture,
tourism and city events, alongside
Mr Francis Huré, former
ambassador and deputy mayor.
He was elected president of the
Interior view - © MIP, Grasse - France
Grasse Federation of Tourism Offices, which he later turned into the Grasse
Tourism Centre.
In a by-election in 1987 he was elected Deputy Mayor and was appointed to
oversee the city police, traffic and transport.
In 1989, Jean-Pierre Leleux was elected as member of the General Council
and second deputy to the mayor of Grasse. He was re-elected to the General
Council in 1992 and was made chairman of the culture committee and
president of the ADEM (Departmental Music and Dance Delegation). In 1995
he was elected in the municipal elections.
In 1998 he had to give up his seat on the General Council but won it back
in Grasse North in 2004.
Re-elected mayor of Grasse in 2001 then in 2008, he is president of the
Azur Provence Centre township committee, created in January 2002, which
encompasses the towns of Grasse, Auribeau, Pégomas, La Roquette sur
Siagne and Mouans-Sartoux.
He is also president of the Grasse Hospital Centre, president of the Association
of Elected Officials of the Napoleon Route, president of SYMEP (Association
of Studies and Planning for preparation of the SCOT). He is also
president of the Film Commission, which encourages the making of films
on the Côte d’Azur.
In 2004, he was re-elected to the General Council, of which he is the Vice-
President, alongside Christian Estrosi.
Dominique Bourret
Deputy Mayor of Grasse, Youth & Cultural Affairs Delegate, Vice-Presidente
for the Pôle Azur Provence.
Involved in the city government of Grasse since 1987, Dr. Dominique Bourret
is a well-known figure in Grasse.
As the deputy responsible for culture under Grasse’s Mayor Jean-Pierre
Leleux Maire since 1995, she has progressively strengthened synergies and
thus improved the consistency of the city’s overall cultural efforts. She participates
in formulating and implementing the city’s cultural policies. She
serves as liaison and coordinator for the city’s cultural departments and
subsidised cultural institutions. Dominique Bourret contributes to organising
cultural events and coordinates them.
Since the IPM opened in 1989, she has supported the expansion project
to enable the greatest possible use of its remarkable resources and to
thereby contribute to promoting international cultural tourism and the growth
of an extraordinary industry in the midst of a comeback.
Roman lamp shaped room scenter – Golden bronze
19th century – France - © MIP, Grasse - France
Universal bottle, Lalique – Glass and black lights
Early 20th century - France
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 27
The people behind the project
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The people behind the project
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28
Marie-Christine
Grasse
Chief Curator of the museums
of the City of Grasse
Marie-Christine Grasse, ,
curator of the museums of the
City of Grasse, is responsible
for the International Perfume
Museum, the Provence
Museum of Art and History, and
the Fragonard Villa-Museum.
She came to Grasse in 1990 to
take charge first of the Perfume
Museum.
Her role is to formulate policy
for these three city museums,
provide scientific, accounting,
administrative and personnel
management for the 40 people
who work with her.
A dynamic woman well known
in the perfume industry on the
supplier and brand side, she
maintains special relationships
with associations and institutional
partners.
With a doctorate in art history
and archaeology and Medieval
civilisation, she teaches at the
National Heritage Institute
(INP) in Paris in lifelong learning.
Marie-Christine Grasse is also
in charge of archaeological
excavation sites. She has written
several works since 1985;
many of her works deal with
Star anis - © MIP, Grasse - France
the perfume industry and its most positive aspects. Her book One of the
Senses, published in 2001 by editions Milan, traces the development of perfume
and brand names in the 20th century. Her latest publication on
perfume, in 2003, explores the many facets of Egypt.
Her best sellers include:
• 18th Century Perfumes and Perfume Bottles
• Jasmine, Grasse’s Flower
• Grasse in Pictures
• Vanillas and Orchids
• Perfumes of Europe
• Living in Provence
She is a woman of character who introduces us to the treasures of our heritage
in France and abroad. With the conferences she arranges, the International
Perfume Museum contributes to the advancement of research: Evanescences,
Fragrances, from desire to pleasure, Olfaction and heritage: how
are they transmitted?, One day, one plant: the Iris, Marketing in question?,
One day, one plant : the Tuberose, One day, one plant: the Bitter Orange,
One day, one plant : the Mimosa (September 2008).
Promoting a forward-looking attitude of discovery is in fact the constant
concern of the International Perfume Museum. Linked to one of the most
prestigious traditional French industries, it greets visitors and residents
alike as a “conservatory of objects that are genuine direct witnesses to
culture and history, the place where they are put on display to meet the
public.”
Likewise, facilitating the link between science and society, especially by disseminating
the results of research and by interacting with many different
players is one of the major objectives of the scientific organisers of these
conferences. These complementary partners participate in making science
and technology accessible and in providing local leadership.
Pear-shaped spray bottle – Metal and moulded glass – First
half of 20th century - France - © MIP, Grasse - France
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Lekhythos – Terracotta – Attic - Grece
© MIP, Grasse - France

Exterior view MIP - ©Jacques Penon
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 29
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The competitiveness centre for Perfumes,
Aromas, Scents and Flavours (PASS)
(cosmetic products, aromatic products)
Bottle designed by Hector Guimard for Milot – Glass
1900 – France© MIP, Grasse - France
Adoration bottle perfume and its box, Norman Merle
Cardboard, silk, golden metal – 1940 – USA
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
Arlequinade bottle, Les Parfums de Rosine, Glass
1920 - France© MIP, Grasse - France

C ertified by the
government in 2005,
the Perfume, Aroma,
Scent and Savour
(PASS) Competitiveness
Centre contributes to
the economic dynamism
of the Azur Provence
Centre township
committee and beyond
the PACA region.
This competitiveness centre is
aimed at bringing together all
of the industry’s international
actors: ingredient producers,
perfume and scent industry,
manufacturers, users of
scientific know-how, research
methods and laboratories.
Strategy
PASS extends from Grasse and
Sophia-Antipolis to Haute Provence,
as far as the Drome Provençale.
It covers the entire
value chain: from agricultural
activities in the production of
perfume plants and aromatics
to industrial activities in aromas
and perfume making, cosmetics,
and food flavourings.
It is the result of a century-old
industrial tradition in perfume
making, of agriculture focusing
Glass wall MIP- © Jacques Penon
on horticultural production and aromatic plants, of an economy firmly rooted
in its landscape.
The businesses in this industry have been able to evolve and adapt. Today
they are marked by tradition, ancestral know-how, and modernity.
The Centre is supported by undeniable advantages :
Significant economic weight :
• The foremost national concentration of companies producing fragrant
compounds and cosmetics, marked by the presence of national leaders,
• World’s leading area for the production of fragrance plants (world’s leading
producer of lavandin),
• Gross revenues of 800 million Euros, or 50% of national gross revenues.
A strong identity :
• A solid brand image,
• A localisable and localised centre, closely tied to its host area. All of the
industry’s products and production convey the image of their region.
• Excellent international visibility: the companies in the industry have an
international base and remarkably high export rates: 41% in cosmetics
and perfumery and 57% for the aromatics industry.
A shared will :
• A Centre supported by all of the actors in the industry and the representative
organisations, recognised nationally, Europe-wide and internationally,
enjoying support from local communities
Adapted scientific potential :
• Backed by renowned R&D centres
• Skilled local workforce
Ambre Antique bottle perfume Lalique for Parfums Coty
Frosted glass – 1910 – France
© MIP, Grasse - France
Salts bottle – Crystal and silver
Middle 19th century - France
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 31
The competitiveness centre for Perfumes, Aromas, Scents and Flavours
Press kit MIP

The competitiveness centre for Perfumes, Aromas, Scents and Flavours
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32
Innovation
A major challenge with variable
features :
- Defensive: compliance with
new regulations, adoption of
consumer quality and safety
standards.
- Offensive: Upstream: varietal
diversity, creation of new products,
renewal of product lines
during manufacturing processes
(extraction, distillation, formulation..).
- Downstream: packaging, distribution,
relations, consumer
loyalty.
A strategy based on R&D
Permanent regulatory oversight
and informing and lobbying
national, Community and international
public authorities are
necessary. R&D has to be at
the core of company strategy,
especially for the SMEs that are
so numerous in the industry, to
develop new ingredients and
aromatic compositions, meeting
the needs of their clients
and of consumers in terms of
health, safety and environmental
protection.
An effort to pool resources in
common areas will be set up
through the launching of unified
R&D projects.
Vanilla pods - © MIP, Grasse - France Bottle designed by Hector Guimard for Milot, detail
Glass – 1900 – France - © MIP, Grasse - France
Strengthen international influence
Obviously this economic and strategic oversight is accompanied internationally
by joint communication efforts and actions aimed at shared values/issues
(regional image, nature, etc...). Competitiveness will be enhanced by cost
sharing and the implementation of centralised purchasing.
The Centre’s challenges
• Placing R&D at the heart of company strategies especially for the
many SMEs in the industry.
• Equipping all European actors in the industry (ingredient producers,
perfume and aroma industry, user manufacturers...) with
scientific know-how, methods and analytical tools that ensure
their competitiveness in the new regulatory environment.
• In the short term, developing and spreading the knowledge, knowhow
and analytical systems best suited to the requirements of
present and future European regulation.
• In the long term, building a strong international-level research
centre for perfumes, aromas, savours and scents capable of
attracting the world’s major players in the cosmetics industry to
the Provence Alpes Côte d’Azur region.
• Strengthening the economic weight of the Centre, and its globalisation.
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Figurine perfume bottle representing a goddess of
beauty – Bronze – 18th century - Southern India
© MIP, Grasse - France

Interior view MIP- © MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 33
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34
Association for International Perfume
Museum outreach
(ARMIP)
Spray Nuit de Chine – Les Parfums de Rosine
Paul Poiret – by 1924
© MIP, Grasse - France
Bourrasque bottle, Le Galion – Colorless glass – 1937
© MIP, Grasse - France
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Azuréa bottle and its box, LT Piver – Early 20th century
© MIP, Grasse - France

S ince it opened in 1989,
the International Perfume
Museum, a tribute
to the past and future
of Grasse’s keynote
industry, has always
received solid support
from the entire profession.
Grasse’s manufacturers as well
as the major French and
foreign perfume houses have
all contributed substantially to
the creation and enrichment of
its collections.
Closely involved, they consider
the museum as both a guardian
of the heritage and a
partner in communication and
training; it therefore became
necessary to set up an association
of friends of the
museum, under the name
A.I.P.M.O.
It currently has more than two
hundred members. Active and
retired professionals in the perfume
industry, companies and
individuals make their skills,
know-how and networks of
relationships available to the
Museum.
Kohl case – Wood – Coptic period - Egypt
© MIP, Grasse - France
Actor and partner of the International Perfume Museum
As part of the agreement it signed with the City of Grasse, the A.I.P.M.O.
each year purchased many perfume-related articles, out of its own funds
with participation by the F.R.A.M., which it then donates to the city.
Through its members, it participates in making the museum’s collections
known, and in safeguarding and disseminating the heritage of the perfume
industry:
• Identification and study of the collections: inventory assistance, memoires
on the industry’s tangible and intangible history and heritage,
• Safeguarding of the heritage: rescue and donation of perfume industry
technical hardware, objects and archives that would otherwise be destrosyed,
• Dissemination of the heritage: holding seminars, digitising specialised
works (chemistry, techniques), creation of the museum’s Internet site.
In order to further expand the outreach of the International Perfume
Museum, the A.I.P.M.O. successfully undertook three projects:
• Creation of a shop selling articles deriving from the museum’s collections
and reference works on perfume and its associated activities (aromatics,
aromatherapy, cosmetics), published by the museum or by others, and also
available on the Internet.
• Creation of guided tours, introductory workshops on perfume creation, and
lectures, both at the museum and throughout France and the world.
• Creation of a Culture/Entry project for the public entering or re-entering
the profession.
As part of the expansion and redesign of the International Perfume Museum,
the A.I.O.M.O. continues to actively support the museum, which is pursuing
its activities during the expansion work by holding seminars and outreach
programmes.
Powder peat – Shaped flask – Crystal and silver gilt
Early 18th century - Germany © MIP, Grasse - France
Au Soleil bottle for Lubin – Moulded
translucent glass tinted in mass – Circa 1925
© MIP, Grasse - France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 35
Association for International Perfume Museum outreach
Press kit MIP

THE INTERNATIONAL PERFUME MUSEM RECEIVES
SUPPORT FROM :
• MINISTÈRE DE LA CULTURE ET DE LA
COMMUNICATION
• DIRECTION RÉGIONALE DES AFFAIRES
CULTURELLES PROVENCE-ALPES-CÔTE
D’AZUR
• CONSEIL RÉGIONAL PROVENCE-ALPES-
CÔTE D’AZUR
• CONSEIL GÉNÉRAL DES ALPES-MARITIMES
• COMMUNAUTÉ D’AGGLOMÉRATION PÔLE
AZUR PROVENCE
• COMITÉ FRANÇAIS DU PARFUM
• FÉDÉRATION DES INDUSTRIES DE LA
PARFUMERIE
• FRAGRANCE FOUNDATION
• SOCIÉTÉ FRANÇAISE DES PARFUMEURS
Press kit MIP
36
Partners of the
International Perfume Museum
AND SPONSORSHIP FROM :
Education and training
• INSTITUT SUPÉRIEUR INTERNATIONAL DU
PARFUM, DE LA COSMÉTIQUE ET DE L’AROMATIQUE
ALIMENTAIRE (ISIPCA)
• UNIVERSITÉ D’AVIGNON ET DES PAYS DU
VAUCLUSE, LABORATOIRE CULTURE ET COMMUNI-
CATION
• UNIVERSITÉ DE BOURGOGNE, LABORATOIRE SUR
L’IMAGE, LES MEDIATIONS ET LE SENSIBLE EN
INFORMATION COMMUNICATION
• UNIVERSITÉ DE NICE SOPHIA-ANTIPOLIS,
LABORATOIRE D’ANTHROPOLOGIE ET DE
SOCIOLOGIE
Perfumes companies
• CHANEL
• CHRISTIAN DIOR PARFUMS
• GUERLAIN
• HERMÈS
• KALOO PARFUMS
• KENZO PARFUMS
• L’OCCITANE EN PROVENCE
• THIERRY MUGLER
• UNILEVER COSMETICS
• YVES SAINT LAURENT PARFUMS
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
Raw materials and composition companies
• ALBERT VIEILLE S.A.S.
• CHARABOT S.A.
• EXPRESSIONS PARFUMÉES S.A.
• FIRMENICH
• FRAGRANCE RESOURCES
• INTERNATIONAL FLAVORS AND FRAGRANCES (I.F.F.)
• MANE
• PAYAN BERTRAND S.A.
• ROBERTET S.A.
Glassmakers/Packaging companies
• SAINT-GOBAIN DESJONQUERES
• TOURNAIRE S.A.
Designers
• AESTHÈTE
• QSLD QU’ON SE LE DISE
• SYLVIE DE FRANCE DESIGNER
And
• ASSOCIATION POUR LE RAYONNEMENT DU MUSÉE
INTERNATIONAL DE LA PARFUMERIE (ARMIP)
• BOUGIE & SENTEUR
• COSMOPROF (SoGeCos S.p.A. – BOLOGNAFIERE GROUP)
• HSBC
• MC DONALD’S
• MICHAEL EDWARDS & CPNY
• OSMOTHÈQUE
• WORLD PERFUMERY CONGRESS

Visuals available for the press
Images of the International Perfume Museum
Statutory reference © Musée International de la Parfumerie, MIP, Grasse - France
Exterior view MIP - © Jacques Penon Interior view project - © MIP, Grasse - France Interior views MIP- © MIP, Grasse - France
01 02 03 04
Exterior view MIP - © MIP, Grasse - France
Glass wall MIP- © Jacques Penon
05 06
Exterior view MIP- © MIP, Grasse - France
Interior views - © MIP, Grasse - France
07 08 09
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m 37
Press kit MIP

Visuals available for the press
Press kit MIP
10 Star anis 11 2nd – 3rd century
12 Attic
13
Pear-shaped bottle
Aryballos
Blown glass
Painted terracotta
Syrie
Grece
Early 18th century
Perfume bottle
Blown glass
Germany
15 19th century
16 18th century
17
Incense burner
Bernagamot box
Qing Dynasty (late)
Bergamot bark, painted
Cast bronze, engraved – China and glazed paper
France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
20th century
Ornamental ring for perfuming hair
Hold cloves
Enamelled silver – Morocco
Late 18th century
Pocket nécessaire
Metal, bronze, leather, ivory
France
18 Early 20th century
Azuréa bottle and its box
LT Piver – France
19 19th century
Pendant salts flask
Porcelain
20 1900
Bottle designed by
Hector Guimard for Milot
21 Early 20th century
Universal bottle, Lalique
Glass and black lights
France
Glass - France
France
22 Circa 1925
23 First half of 20th century 24 1920
25
1920
Au soleil bottle for Lubin
Pear-shaped spray bottle
Arlequinade bottle,
Golli Wogg perfume bottle
Moulded translucent glass Metal and moulded glass
Les Parfums de Rosine
Vigny Verre - France
in tinted mass
France
Glass - France
38
14

26 Middle Empire
27 18th century
28 Attic
29
Ointment
Figurine perfume bottle representing Lekhytos
Carved and polished
A goddess of beauty
terracotta
alabaster pot
Bronze
Grece
Egypt
Southern India
30 Circa 1825
31 Early 18th century
32 17th century
33
Crystal salts bottle
Powder peat – Shaped flask Bottle perfume - Glass
France
Crystal and silver gilt
Germany
Bristol/England
34 1910
35 18th century
36 Coptic period
37
Ambre Antique bottle perfume Figurin perfume bottle
Kohl case - Wood
Lalique for Parfums Coty Porcelain
Egypt
Frosted glass
France
Chelsea/England
38 19th century
39 Circa 1820
40 1937
41
Cinnamon
Roman lamp shaped room Vinaigrette – Gold and lapis-lazuli Bourrasque bottle, Le Galion
scenter
Colorless glass
Golden bronze
France
France
T h e w o r l d o f p e r f u m e • w w w . m u s e e s d e g r a s s e . c o m
1928
Perfume bottle Ramses II for Bichara
Glass
France
1940
Adoration bottle perfume and its box,
Norman Merle
Cardboard, silk, golden metal
USA
19th century
Pomander
Lapis-lazuli and silver gilt
39
Visuals available for the press
Press kit MIP

musée de France
Practical
information Open from 1/10 to 31/05
Wednesday to Monday from 11 to 6 pm
Closed on Tuesday
Publication International Perfume Museum :
edited by Marie-Christine GRASSE.
Perfume a global history,
from the origins to today.
Paris, Somogy Art Publishers, 2008, 296 p.
International Perfume Museum
2, bd. du Jeu de Ballon
06130 GRASSE - FRANCE
T - 00 33 (0) 4 97 05 58 00
F - 00 33 (0) 4 97 05 58 01
Web site : www.museesdegrasse.com
Mail : administration@museesdegrasse.com
Chief Curator of the museums of the City of Grasse
Marie-Christine Grasse
Communication Manager
Brigitte Lamielle
Open from 1/06 to 30/09
Open 7/7 from 10 to 7 pm
Thursday from 10 to 9 pm
Closed on public holidays.
Entry :
Standard rate : 3 euros
Reduce rate : 1,50 euros
(Students, groups of more than 10 people)
Free : Children, jobseekers, disabled people,
people over 60, journalists
Pass : 5 euros (International Perfume Museum
+ Provencal Arts & History Museum + Villa J-H Fragonard)
Press relations
Heymann, Renoult associées
l.gillion@heymann-renoult.com
T - 00 33 (0) 1 44 61 76 76
F - 00 33 (0) 1 44 61 74 40
Visuals and files downloadable on the site :
www.heymann-renoult.com