international perfume

Transcription

Grasse
international
perfume
museum.miP
Perfume revealed in all its aspects.
Press Information
The
World
of
Perfume
MIP - Press Information
Perfume has a therapeutic, aesthetic and ritual value.
It is an accessory to seduction or eroticism, a way to venerate the
gods, a means of purification.
It arouses the senses and memory as it opens to the world...
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The World of Perfume • www.museesdegrasse.com
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Introduction
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Perfumery in Grasse...a heritage
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The history of perfume
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A museum like no other in the world
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Key figures for the museum
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Museum collections and activities
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The museum and contemporary art
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IInstallations by artists in the different areas
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A dynamic exhibition policy
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The International Perfume Museum Gardens
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The Association for International Promotion of the Museum (ARMIP)
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The International Perfume Museum partners
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Press visuals
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Useful information
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Contents
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Raw material - Charabot Perfumery School, Grasse
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Introduction
he reopening of the renovated and enlarged MIP in October 2008 was the happy outcome of a project that for years has
mobilised Grasse and the surrounding area around perfume, its secular heritage. Although the museum collections comprise
an extremely vast historical panorama covering several thousand years and all continents, the goal was also to present the adventure of
perfume in Grasse, starting in the eighteenth century. This was an exceptional human success: technologically, industrially, economically
and financially. The first two or three years that followed the reopening were brilliant and euphoric, and the museum has now reached
the age of reason, with an assessment that remains positive. The goals set at inauguration have been lastingly achieved. The museum
has been recognised as the international, patrimonial and cultural showcase of perfume by a large audience of all types of visitors who,
year after year, come to discover the museum rooms and exhibitions, as well as by perfume and cosmetics professionals who provide
significant sponsorship and regularly take advantage of its facilities.
Today, we must continue to move forward and to set new goals that carry on the initial project at the heart of the continent of perfume,
still largely unexplored. There are many ways to do this, and I will cite a few examples. Contemporary art, which increasingly incorporates
olfaction as a central theme, must become a regular guest of our exhibitions and a key presence inside and outside the museum.
We want to develop synergy between the museum and its gardens at Mouans-Sartoux, which were acquired recently in 2010 and
received the Museum of France label. This new setting, which covers over two hectares and is an outdoor discovery area, will, in particular,
allow us to enlarge and give depth to the temporary exhibition topics for our visitors by weaving coherent links between museum works
and the living, ephemeral collections of perfume plants. With the gardens, our work takes on a new dimension, one that is innovative and
original in the museum world.
The world of perfume is not frozen: it evolves, and the museum will follow this perpetual movement with the total renovation of the rooms
presenting the contemporary era. The aspect of the area dedicated to the twenty-first century will change: these rooms, which are the
final part of the museum visit, will represent the climax and the expected conclusion of a path that starts in the Egypt of the Pharaohs.
Making our cultural mediation tools and techniques evolve so that our rooms are more accessible to disabled visitors and making our
collections more well-known to audiences that are socially distant from museums is also a task we will continue to work on and develop
during the coming years.
A museum of society, a fine arts museum and a technical museum: the International Perfume Museum is all of these in one. The
museum’s collections plunge into the most ancient past of human civilisations and emerge in the heart of the twenty-first century. As a
place of discovery and initiation that is open to all people and all nationalities, it is, in addition, a site of excellence, expertise and exchange
for all perfumery professionals. What magnificent challenges face the museum in the years to come!
Olivier Quiquempois
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Heritage Curator
Director of the Museums of Grasse
Centifolia roses
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Centifolia rose
Rooted in tanning, hand-crafted at
the beginning and later industrialised,
perfumery has overcome obstacles –
like the people of Grasse have always
overcome them – and adapted to
the circumstances of the time. As in
all previous decades, the past thirty
years have undergone profound
mutations.
of the local perfume industry (Chiris, Roure, Méro et Boyveau and others) could have been
thought of as a decline.
O
ur heritage (...) is
perfumery,
our
secular activity: born
here with the help of a
generous nature and
of ardent men, with
initiative, courage and
will.
But the change to aromatic products, the extension of the activity of perfume
compositions, the exceptional know-how of Grasse professionals in the
area of natural products and the development of new companies as
offshoots of larger ones have allowed activity in Grasse to withstand the
economic turbulence of the times.
This heritage is an incredible opportunity for our Grasse homeland. And it is now up to
us to reinforce it and ensure that it is able to meet the challenges of the twenty-first
century.
This is the meaning behind the museum restructuring that was begun in 2008. The
museum wants to be the centre of convergence for everything that has happened until
now, is currently happening, and will happen in the future as concerns perfumery and
the under-appreciated sense known as smell. Permanent and temporary exhibitions,
themed and educational visits, various experiments, welcoming of tourists, professional
and scientific meetings: these are the MIP’s goals. The museum is one of the drivers of
the strong symbolic promotion of the Grasse heritage, materially as well as virtually.
The MIP is a powerful symbol of forces and means which have been joined to provide an
The near disappearance of fields intense experience of the present and to approach the future in a positive way, honouring
of flowers on the Grasse hillsides a vibrant past and taking pride in it.
and the shutting down in the early
twentieth century of the “flagships”
Exterior view of the MIP
Interior view of the MIP
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Cinnamon
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Vase representing Mithra sacrificing a bull, 4th-3rd
century B.C., Greece
Antiquity
Of all antique civilisations, Egypt is
the one that had the most influence
on the history of perfume. Perfume
played a major role in Egyptian
religious and secular rites. Priests,
who are considered to be the first
perfumers, knew how to make very
high-quality preparations, which were
reserved for ritual ceremonies and the
royal court. The Egyptians are known
for having acquired very early mastery
Incense burner - Mexico Terracotta, paint 10th-11th centuries
he word «perfume»
has an antique origin:
«perfumare» probably signifies
«by smoke», an element that
was part of the first utilisations
of sacred, medicinal or
ritual fumigations. Aroma,
exhalation, fragrance...a short
history of sacredness and
seduction
of the fragrant compositions used for fumigations, ointments, perfumed oils
and embalming. Since the country did not have raw materials, it imported
foreign products, such as mastic from the Middle East and juniper from the
Sahara. The use of perfume developed until it became part of everyday life:
for healing, seducing and scenting the home. Although they still used perfume
for ritual celebrations, the Greeks expanded the secular use of perfume for
medical purposes and bodily hygiene.
At baths and in stadiums, the cult of the body and beauty concerned both
men and women. Perfumery, which had been enriched with heavier scents
like incense and myrrh from the East, as well as animal substances (musk
and ambergris, for instance), underwent considerable development. Greek
craftsmen adapted bottles and containers to their contents; there were
aryballoi for oil and lecythi for liquids. The value of the bottle corresponded to
that of its contents: ceramic vases were the era’s «low end» and faïence vials
were for luxury preparations. Influenced by the Greeks, the Roman republic
discovered new perfumes. In the second century B.C., imperial conquests
stimulated trade and the arrival of spices, incense and products from Arabia,
Africa and India.
Under the rule of Julius Caesar, the cult of the body and of perfume, its
unconditional accessory, attained its apogee. In this polytheistic society,
each divinity had his or her own perfume. Rome democratised the use
of perfume, without, however, innovating in terms of creativity, but it did
revolutionise transport and trade. Blown or moulded glass, which was lighter
and impermeable to smells, dethroned containers made of clay.
Ointment jar - Egypt, Middle Empire - Carved alabaster
Pepper
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From the Middle Ages to the eighteenth century
As concerns the history of smell, there is no real break between the Middle Ages and the Renaissance.
Secular uses of perfume declined in the face of religious austerity. However, the Crusades and the
discovery of the New World supplied new raw materials. People called on the power of plants, spices and
herbs, which were considered to be proof of the love of God, when faced with the horrendous smells of
the major epidemics. As mysticism and symbolism triumphed, therapeutic properties were attributed to
plants according to their colours and shapes. This was the reign of the herb garden, well known as the
monastic “pharmaceutical cabinet”.
The passage from the seventeenth to the eighteenth century was accompanied by a transition from
the taste for strong smells to lighter floral notes. It was also a time of blossoming for perfumery,
encouraged by technical and scientific progress and stimulated by libertinism. Seducers worked their
charm through the way they dressed and their perfume, which they changed daily. Containers were
increasingly sophisticated and became veritable jewels; pendant bottles were in fashion. The idea was to
stand out because of one’s scent, which identified a personality and also masked a generalised stench
resulting from taking a strict minimum of baths. At the end of the eighteenth century the great perfume
dynasties appeared in Paris: J. B. Dulac, J. L. Fargeon, Lubin, J. F. Houbigant, Louis Toussaint Piver, etc.
17th century
Bottle in Murano glass, base and stopper in
vermeil, Venice
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Early 18th century
Perfume bottle in the shape of a powder flask
Crystal, base and stopper in vermeil
Germany
17th century
Perfume bottle in crystal, base and stopper in
silver, France
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In the nineteenth and early
twentieth century, perfume was
democratised. To stand out from
a now abundant offer, a fragrance
needed to present itself in the best
light through the skill of master
glass-blowers, among others. The
Art Nouveau style, followed by Art
Deco, aimed toward this type of
sophistication. Perfumers worked
closely with crystal craftsmen to
make this «gown» as desirable as
possible. The Industrial Revolution
encouraged this new aesthetic, in
keeping with the product’s image.
The bottles created for the perfumer
François Coty starting in 1920
by master glass designer René
Lalique, who combined virtuosity
and mechanical processes, are
emblematic of the epoch. Bottles
reflect the scents they contain.
In parallel, increasing automation
enabled launching large series on
the market. Perfume became an
industrial product used worldwide
that now relied on communication,
incarnated by the packaging.
Étoile de Napolèon
Viville - 19th century - Paris
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The omnipresence of perfume
After the flourishing of unrestrained, elitist creation, society in the second half
of the twentieth century underwent a major change: the marketing strategies
of perfume began to address all social classes, causing a decrease in sales
cost and therefore of resale price. Launches multiplied, each one betting on
success. Olfactory fashion cycles and trends accelerated in the wake of marketing
campaigns and the whims of volatile consumers. The novelty imperative was never
so strong. With few exceptions, perfumery went from being exceptional to usual,
from hyper-selective to mass-market. Smell, which had long been neglected,
became increasingly important for food, household products, the inside of cars,
offices and public places. Although many of these scents aim to reinforce pleasure,
some of them are designed to create desire and trigger purchasing.
N°5, Chanel
1921 - Paris
Jicky, Guerlain
1889 - Paris
Leurs âmes, Lalique
Paris
Chypre, Bichara
1950 - Paris
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Queen Marie-Antoinette’s travel case, 1791 - Paris
Kodo ceremony
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Snob poster - Le Galion - Early 2005
BBourjois powder box - Early 20th century
In the broad sense, perfumery
constitutes one of the most
important societal phenomena,
from protohistory and throughout
all civilisations, whatever the social,
political or religious context. For
over five millennia, it has given
rise to thousands of objects, from
exceedingly precious to those that
use the most humble materials, in
all shapes and colours.
Of course, it has prompted
numerous private collections. But
never, before the opening of the
International Perfume Museum,
was there a desire to create a
public establishment dedicated
to safeguarding this international
heritage. Soap, makeup and
Stamp
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Safeguarding a
heritage
cosmetics are inseparable from what we understand today as perfumery; i.e., alcoholbased luxury perfumery.
Grasse, the cradle of perfumery
Obviously, a museum like this could be located only in France, where contemporary
perfumery was born in the early twentieth century, thanks to men and women like
François Coty and Coco Chanel.
During the past decades, Grasse has maintained and continued to demonstrate excellence
in producing the natural raw materials used by powerful industrial establishments. Grasse
wanted to be the first to create an International Perfume Museum. The city presented a
well-thought-out scientific project backed by a strong collective desire for it to succeed.
François Carnot was one of the most ardent defenders of this idea. He remains an
exceptional figure in the history of the creation of the International Perfume Museum.
The son of a President of the French Republic, he had a passionate interest in the city.
Inaugurated in January 1989, the International Perfume Museum represents the living
memory of a profession, as well as perfumery, a Grasse specificity with a very strong
identifying character. Grasse is still considered to be its reference in the eyes of the world.
In 2008, a project for extending the restructuring of the International Perfume Museum
was entrusted to architect Frédéric Jung. As the winner of the International Perfume
Museum competition, he designed a project including four ancient buildings in the
historical centre of Grasse.
Perfumed card
Olivert-Legrain soap poster - L. Capiello – 1920
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Using an anthropological approach, the museum presents the history of fragrance in all its aspects – raw materials, industry, design
– as well as its use, in very diverse ways, through the decorative arts, archaeological finds and industrial materials. The permanent
collection is presented along three main axes: captivate, care, communicate.
In addition to presenting the only French and world-class collection dedicated to perfumery, the museum is a place for relaxation and
research that is open to all. Various ways to accompany visitors and promote the collections reinforce the permanent exhibition. They
include an auditorium, temporary exhibitions, a documentation centre and educational workshops for children or adults.
Grasse jasmine
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Early 18th century
Perfume bottle
Blown glass
Germany
MIP façade
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One museum uniting four symbolic sites of Grasse history
1 Hôtel Pontevès: its courtyard of honour is now the point of access for visitors. Animated by the presence of the reception
area, it links two structures that face each other. One, the former annex, has been extended at ground level and runs along the
hall, providing access to the collections and the activities sector. The other, the Hôtel Pontevès, houses a part of the permanent
collections, the museum conservation offices and the documentation centre.
2 The former perfumery of Hugues-Aîné: the entrance pavilion built in the nineteenth century, as well as the former
Dominican convent built in the sixteenth century, are set against the city wall dating from the same period. The courtyard of the
group of buildings has been notably restructured by revealing the fortification through an opening that leaves room for the exhibition
levels and pathways. The axis of the fortification is continued and protected by a glass nave. It emphasizes the contemporary aspect
of the museum from Boulevard Fragonard and the Cours Honoré Cresp roundabout and is set back from the alignment of Hôtel
Pontevès Morel-Amic.
3 The former Pélissier building: Rebuilt with its original cellars, the building now houses temporary exhibitions and logistics
in the upper part and two sections of the collection in the lower part.
4 The orange tree garden: Located at the foot of the ramparts of the city of Grasse, this garden was created in 1779 by
Joseph Amable Arnouphle de Pontevès, the first owner of the site, and reworked by the city in 1976. Pauline Bonaparte, Princess
Borghese, enjoyed the charm of its geometrically designed beds, orange trees and rose arbour during a visit in 1811 as a guest
of the Amic family.
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Figures for the perfume and cosmetics
museum
Oak moss
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Pomander, silver, 17th century
Universal bottle, Lalique - Early twentieth century France
Glass, black accents
Surface area of the new museum:
3,500 m2
Number of visitors
95,000 visitors annually
Economic analysis of the
perfume market
In France, 400 to 500 new fragrances
are launched annually. Ninety percent
disappear within three years.
Second leading French industrial export
sector in 2008, behind aeronautics.
Visit ranking in the Alpes-Maritimes
department: 9th
Journal des Arts 2014 ranking:
20th-ranked museum for cities with
20,000 to 200,000 inhabitants
1st departmental museum in the ranking of mid-sized cities
With 54,000 employees and turnover of
20.6 billion euros, the perfumes, soaps and
cleaning products sector represents 11% of
jobs and 15% of total sales in the consumer
goods industry. The perfumes and toiletries
branch, including the manufacturing of
luxury products, is dominant: this activity
counts for 82% of sector turnover, as
compared to 18% for detergents (source:
French Industry Panorama, June 2009).
The museum
collection
is composed
of over 50,000
objects; 2,500
of these are
on exhibit.
Figures for the perfume and cosmetics museum
Technical characteristics
In France, 157,000 bottles of perfume
are sold on average each year (including
45,000 for men, excluding after-shaves).
Each individual spends approximately
€200 per year for hygiene-beauty products
and fragrances, which represent 18% of
purchases.
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(source : Francoscopie 2010)
Bottle in the shape of a young woman harvesting a bunch of
grapes - Porcelain - 18th century - Chelsea
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Bergamot box - Bergamot bark, painted paper
and varnish - 18th century - France
Ramses II bottle, Bichara - Glass - 1928 - France
Exceptional collections retrace
the history of perfumes, as well
as soaps, makeup and cosmetics,
during the past 5,000 years.
Positioned as the guardian of
perfume industry history and as
the industry’s partner, the museum
shows all the steps in perfume
creation, from harvesting and
processing of raw materials to
launch of the final product.
This twenty-first century museum
takes a look at the past, as well
as the present, and even the
future, through a section on the
era of globalisation, marketing
and communication, and the new
markets.
The museum features a collection of over 50,000 objects, with Egyptian, Greek and
Roman bottles and items from the five continents, such as the famous travel case
belonging to Marie-Antoinette.
The museum invents and proposes olfactory and gustatory activities for very different
audiences, including school children (approximately 7,000 per year), perfume industry
professionals, tourists and university students, as well as for special environments
(hospitals, prisons, etc.).
Conferences on perfume and related topics are frequently programmed.
A documentation/library centre has been created and is easily accessible to research
workers.
Visitors Service
The Visitors Service offers a broad range of workshops and visits that aim to transmit
the heritage by actively involving visitors and calling their attention through the use of a
multisensorial approach.
By careful attention to programming and creating links between the collections and
audiences, the cultural mediators aim to stimulate curiosity and give visitors the possibility
of involving and expressing themselves.
To do this, the mediators are responsible for designing and implementing workshops and
educational pathways and supplying documents that provide appropriate information for
each type of visitor, while serving a varied program. These include game books, audio
guides or audiovisual materials, mission visits or story visits, workshops and shows.
In Grasse, seven cultural mediation professionals, who speak at least English, prepare the
museum’s scientific project and adapt it to the different audiences
The cultural mediators work both inside and outside the museum: in prisons, hospitals,
schools, etc.
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he
International
Perfume
Museum
presents objects from the
decorative arts, botany,
industry,
ethnography
and sociology, ranging
from masterpieces and
exceptional items to daily
objects.
Tonka beans
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MemoMemo bottle, Joël Desgrippes - 2008 - France – Crystal
Jan Fabre, The Man Who Writes on Water, 2006
(Guy Pieter Gallery) Baths, Bubbles and Beauties
exhibition, summer 2014
Ashdod – Brigitte NAHON - 2008
Questioning visitors, provoking their emotional response, and calling their
attention while rounding out the museum’s message, this pathway provides a
true multisensorial dimension.
n the context of
its reopening in
2008, the museum
wanted to present a
complementary axis
for visitors in parallel
to the main pathway
that would open a
dialogue with an
artistic vision of the
world of perfume.
Therefore, several
internationally
known contemporary
artists were given
free rein to create
installations for
certain interior and
exterior areas of the
museum.
Combining the viewpoints of chemists, aroma specialists, industrialists, designers, perfumers,
historians and artists can only enrich the overall vision of the different aspects of perfumery.
The works created by Berdaguer & Péjus, Gérard Collin-Thiébaut, Peter Downsbrough,
Brigitte Nahon, Jean-Michel Othoniel and Dominique Thévenin were inspired by the world of
perfume, including smells and the awakening of the senses; luxury and design; glasswork and
transparency; and industry and materials.
Temporary exhibitions highlight certain contemporary artists at the International Perfume
Museum and in its gardens, such as Boris Raux, Bernard Abril, Cathy Cuby and René Bruno.
By proposing this pathway, the International Museum of Perfume becomes part of the
territorial circuit of contemporary art of the Pays de Grasse Urban Community (Espace de l’Art
Concret at Mouans-Sartoux) and, more broadly, of the Côte d’Azur circuit. Among others, it
includes the MAMAC, the Villa Arson in Nice, the Maeght Foundation at Saint-Paul de Vence
and museums devoted to single artists, such as those for Chagall, Matisse, Picasso, Léger
and Cocteau.
The museum has benefited from the collaboration of structures dedicated to contemporary
art: the Provence-Alpes-Côte d’Azur Regional Foundation for Contemporary Art (FRAC),
CNAC-Villa Arson (Nice), Musée Gassendi (Digne), CIRVA-Marseille (International Centre for
Glass Research); as well as from support by the National Foundation for Contemporary Art
(FNAC), the Regional Directorate for Cultural Affairs, the Directorate of the Museums of France
and private collectors. This pathway was also made possible by financial support from the
French government, the PACA region and sponsors who have followed the museum since
its extension.
Apode tronconique,
Dominique Thévenin - 2008
La Fontaine des cœurs renversés,
Jean-Michel Othoniel
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Installations by artists in various
museum areas
Pose/de, et la – Peter Downsbrough - 2007
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La Fontaine des cœurs renversés,
Jean-Michel Othoniel - 2008
Peter DOWNSBROUGH
Dominique THEVENIN
Apode tronconique - 2008
The “Apode Tronconique” refers to the industrial chimneys that disappeared one after
the other from the Grasse landscape. Thévenin uses iron for most of his sculptures,
which are all based on balance and move when stimulated by air currents. This
one weighs around 300 kg, and 300 kg that shudders at the slightest breeze is
unexpected and thought-provoking.
Jean-Michel OTHONIEL
Gérard COLLIN-THIEBAUT
La Fontaine des cœurs
renversés - 2008
This “Fountain of Upside-down Hearts” is
a joyous, sensual sculpture that evokes the
fluidity and eroticism of perfume. Located
at the heart of the orange tree garden,
it invites contemplation. The dynamic
form of the coil recalls the stills used for
Parfums de papier peint - 2008
POSE/DE, ET, LA – Peter Downsbrough - 2007
Gérard Collin-Thiébaut’s idea is to play with the concept of wallpaper by using
labels that were collected when the perfume factories closed down. Gérard CollinThiébaut drew from the abundant collection of labels conserved by the museum to
create a pattern of repetitions and accumulations, an imaginary wallpaper.
La Fontaine des cœurs renversés, Jean-Michel Othoniel - 2008
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POSE/DE, ET, LA - 2007
Here, Peter Downsbrough proposes a
work highlighting the Grasse landscape,
where the surrounding land has been
transformed from an agricultural
landscape to a residential one around
industrial relics. He plays with a line and
words (POSE/DE, ET, LA) that structure
space and emphasize architecture.
Installations by artists in various museum areas
distillation. The string of beads plunges us into the precious world of perfumers.
Installations by artists in various museum areas
BERDAGUER & PEJUS
Jardin d’addiction 2010
With the collaboration of perfume
designers
Les
Christophs
(Christophe Laudamiel and
Christoph Hornetz); production
and creation CIRVA Marseille.
Work co-funded by FRAC
Provence-Alpes-Côte
d’Azur,
Marseille.
The work reminds each of us
of our personal weaknesses
and frustrations, as well as our
personal desires. The “Jardin
d’Addiction”
(”Garden
of
Addiction”) sculpture includes the
smells of addictive substances
(whisky, tobacco, coffee, etc.). Its
shape was inspired by synapses
in the human brain, recalling the
unique connection between the
olfactory nerve and certain key
cerebral regions. The smells of
the substances were developed
by Christophe Laudamiel and
Christoph Hornetz according to
a complex and original approach.
Demotica – Brigitte NAHON
2008
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These smells are accessible inside the sculpture, as well as in the immediate vicinity
through a scent organ designed for visitors to avoid disturbing the fragility of the original
work.
Christophe Laudamiel and Christoph Hornetz are a duo of perfume designers who
create for the DreamAir LLC Company and are based in New York.
Brigitte NAHON
Ashdod et Demotica - 2008
The work of Brigitte Nahon is based on the creation of new equilibriums from simple
yet radical oppositions. She inverses fragility and solidity, heaviness and lightness, using
a varied vocabulary of materials, shapes and colours.
“Ashdod” is a sculpture retracing the thread of life, in all its power, fragility and magic,
and the moments when it is suspended by the unknown. The exquisiteness of Baccarat
crystal hanging from a mere thread floats in space like the scent of a perfume, which
then evaporates. The blue of the crystal recalls the colour of sky and sea. The brilliance
of the crystal is a metaphor for the subtleness and elegance of a trail of fragrance.
The title of her sculpture “Demotica” pays tribute to her paternal great-grandfather, who
owned a small perfume factory in Tunis. The flat pebbles from Nice, a souvenir of her
youth, seem heavier than the transparent perfume bottles but are nonetheless higher
on the scales. Seven bottles contain extracts of jasmine, a flower which is common to
many Mediterranean and Eastern countries. A message of peace and bonding. The
Indian scales from Tamil Nadu are a knowing nod at India, where young girls wear
crowns of jasmine in their beautiful hair as a sign of love.
Ashdod – Brigitte NAHON - 2008
Jardin d’addiction – Christophe
Berdaguer et Marie Péjus - 2010
Apode tronconique,
Dominique THEVENIN
2008
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Parfums de Papier Peint – Gérard Collin-Thiébaut
Perfume bottle, Millot (created by Hector Guimard) - 1900
France – Glass
Adoration, Norman Merle - 1940 - USA
Gilded metal, cardboard, silk
Arlequinade bottle
Les Parfums de Rosine - Glass - 1920 - France
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Summer 2012: Perfume:
Influencing Fashion
The relations between perfume
and fashion are both obvious and
paradoxical. Obvious, because
most perfumes that are bought
and sold throughout the world bear
the name of a fashion brand, and
paradoxical because perfume is at
the same time an object that frees
itself from fashion. The exhibition
took a look at the evolution of
trends in perfumery and haute
couture at the start of the twentyfirst century, including glamour, the
urban world, vintage and niche
perfumery.
Winter
2012:
Recent
Acquisitions, 2000-2012
The International Perfume Museum
presented the results of five years
of acquisitions during the winter of
2012-2013. Numerous and varied objects are regularly added to the museum collections
through purchases, public sales, donations, bequests and fund-raising. These are the various
ways of preserving the perfume heritage. This exhibition highlighted the museum’s acquisition
policy.
Summer 2013: Paul Poiret, Couturier-Perfumer
Paul Poiret was the first fashion designer to create his own house of perfume in 1911: Les
Parfums de Rosine. This pioneer opened new possibilities of creation, first to the couture
houses and, later, to the world of luxury: perfume became an integral part of the wardrobe. In
his eyes, perfume conveyed the poetic essence of his couture creations. For this reason, his
perfumes were intimately tied to his fashion designs.
Winter 2013: Perfume Know-How in Pays de Grasse
The exhibition highlighted, supported and explained the Pays de Grasse candidacy for listing
as an Intangible Cultural Heritage for humanity as concerns the know-how tied to perfumery.
It presented the expertise used in creating and producing perfume in three areas: the
growing of perfume plants, knowledge of raw materials and their transformation, and the art
of composing a fragrance.
Summer 2014: Baths, Bubbles and Beauties: A History of Personal Grooming
from the 18th to the 21st Centuries
What is grooming? Why do we wash? for whom? how? where? What is soap? Depending
on the way they are approached, these questions reveal cultural, ritual and societal practices
and the crucial point of access to water and how it is used. Washing is a vital act, as well
as an act of comfort and pleasure. The exhibition illustrated personal grooming and the
bath, understood here from the angle of hygienism in Western civilisation, from the return to
washing with water after two centuries of dry baths to the democratisation of the bathroom.
Winter 2014: «Cold Shower», an exhibition of the works of Boris Raux
For the 2014/2015 winter season, the International Perfume Museum organised an exhibition
dedicated to artist Boris Raux. For almost ten years, this artist has approached art though
smell, a little-used tool in visual creation. In his earlier works and newer creations, Boris Raux
gives a personal interpretation of our relationship to our body and our hygienic practices.
These practices were the theme of the year 2014 at the International Perfume Museum.
Using odorous materials (shower gel, soap, shampoo, deodorant, etc.), he attempts to build
an olfactory chronicle of society. An exhibition to see and to smell!
Summer 2015: Body Adorned, Body Transformed: Skin as a Canvas for Expression
With this exhibition, the International Perfume Museum presents the various ways of
transforming the body, different types of markings from the West to Oceania, by way of
Asia, Africa and South America. Ranging from temporary makeup for the face or body to
31
S
ince reopening in 2008,
the International Perfume
Museum has carried
out an active exhibition policy as
concerns temporary exhibitions
and loans. The museum organises
two exhibitions per year on the
museum premises: one in the
summer on a theme designed for
a broad audience and a winter one
on a more specific theme. Each
exhibition provides an opportunity
for the museum to publish a
catalogue discussing the highlights
and issues under consideration
and prepared by numerous wellknown authors.
the permanent transformations of tattooing, piercing, scarification and other bodily transformations, the scope of possibilities is
extremely vast. With globalisation and the development of exchanges among populations, intercultural influences have been
amplified, giving rise to veritable trends. Anchored in our societies, contemporary artists also take possession of the theme of the
body and question its limits.
Winter 2015: Antique Perfumes, from the Archaeologist to the Chemist
This year, the International Perfume Museum opens the winter season with an original and surprising exhibition: «Antique Perfumes:
from the Archaeologist to the Chemist» In this exhibition, which is the first of its kind, visitors will discover that the use of perfume
has progressed continuously through the centuries and that in Antiquity, like today, perfumes were present in different forms,
depending on how they were used. This exhibition presents the research work of Jean-Pierre Brun, Professor at the Collège
de France,Director of Research for the CNRS and Director of the Centre Jean Bérard (2000-2011), and Xavier Fernandez,
university professor, research scientist at the Nice Institute of Chemistry of Nice-Sophia Antipolis University and Director of the
FOQUAL Professional Master 2 in Chemistry (Formulation, Analysis, Quality) at the University’s Grasse branch.
Summer 2016: From the Belle Epoque to the Roaring Twenties: Perfume at the Turn of the 2Oth Century
For the 2016 summer season, the International Perfume Museum and the International Perfume Museum gardens will organise
an exhibition at both sites that focuses on perfume at the turn of the twentieth century. Around this time, perfumers improved the
aesthetic aspect of their products, creating what we now call packaging. They became an integral part of the world of fashion and
luxury and developed an identity for their creations.
MIP - Dossier de presse
Exhibition on
Perfume: Influencing Fashion,
Summer 2012
32
Exhibition on
Recent Acquisitions,
Winter 2012
Exhibition on
Recent Acquisitions,
Winter 2012
Exhibition on
Baths, Bubbles and Beauties,
Summer 2014
Winter Exhibitions
musée international de la parfumerie. miP
Grasse
Grasse
Musée International de la Parfumerie.miP
Musée International de la Parfumerie, Grasse
GRASSE EXPOsition
Musée
International
de la Parfumerie
5 décembre 2014 – 30 mars 2015
14 décembre / 31 mars
La douche froide
8 décembre 2012 - 28 avril 2013
une exposition des œuvres de
Conception service communication Pôle Azur Provence - Photos © G.Carlo Barbiero
L a cuLture de
parfum
La pLante à
L a connaissance des matières
L›art de composer
premières natureLLes et
Le parfum
Leur transformation
Les savoir-faire
Liés au
pays
musée internationaL
parfum en
de
p
Grasse
de La
arfumerie.mip
www.museesdegrasse.com
Conception Direction de la communication du Pays de Grasse, Les épithéliums, © Boris Raux
Conception service communication Pôle Azur Provence - Photos Alain Issock – Pôle Touristique du Pays de Grasse, Collections des Musées de Grasse - photos © G.Carlo Barbiero
2000 - 2012
fums et Amour
Par
Réalisation Direction de la communication du Pays de Grasse, photos : Gabrielle Voinot / Look at Sciences, Aryballe annulaire Collection MIP, C. Barbiero
Boris Raux
NOUVELLES
AC Q U I S I T I O N S
Flacon Casque de Carlo Giuliano (1831-1895),
orfèvre bijoutier
Information : www.museesdegrasse.com - Tel. : +33 (0)4 97 05 58 00
a
11 décembre au 31 mars 2016
a
Master FOQUAL
ARCHITECTURE ANTIQUE
Association les Amis
JARDINS
des
du
Summer Exhibitions
GRASSE EXPOSITION
Une histoire de la toilette et du savon
XVIIIeme - XXIeme
MUSEE INTERNATIONAL DE LA PARFUMERIE
Renseignements : 04 97 05 58 00 | www.museesdegrasse.com
Conception Direction de la Communication du Pays de Grasse, Photos © Musées de Grasse, © Ollyy, Musée de la Castre, Cannes. Photo C. Germain
8 Juin au 30 Septembre 2014
a
Grasse
Le goût de l’essentiel
30/03/2015 16:20:12
33
Affiche Corps paré, corps transformé 40x60 .indd 1
Views of the International Perfume Museum Gardens
34
Created in 2007, the International Perfume Museum Gardens are part of a territorial project led by the Pays de Grasse Urban
Community. On January 1, 2010, the gardens became the International Perfume Museum Conservatory of Fragrant Plants, a
natural area showcasing the olfactory landscape tied to local agriculture.
The International Perfume Museum Gardens were created with the goal of making the broadest possible audience aware of the
history of perfume plant culture in the Grasse countryside. This project, which is exclusively oriented toward issues concerning
regional agriculture, gives primary importance to sustainable development and local heritage and reinforces the distinctiveness
of the World Nature Observatory initiative sustained by the Urban Community. The gardens are a tool for interpreting the
agricultural and landscape heritage. They are designed to show visitors a variety of perfume plants, aromatic plants and other
plants relevant to the history of Mediterranean cultures and perfumery. Creation of an olfactory library of natural raw materials,
transmission of knowledge on the uses and properties of plants, creation of an olfactory pathway, installation of plant-covered
arbours for contemplating the garden and its vegetation: these are some of the project goals. The gardens will also be the
setting for activities such as meetings between professionals and research workers, themed educational visits for school groups
and workshops on perfume plants for children and families.
View of the fields
Arbour
35 35
- Press
Information
MIP -MIP
Press
Information
Boutique
The Association for International Promotion of
the Museum (ARMIP)
Nuit de Chine, Les Parfums de Rosine - ca. 1924 France - Glass, natural fibre
36
Bourrasque, Le Galion - 1937 - France – Glass
Azuréa glass bottle with case - LT Piver
Early 20th century
The strong involvement of
these perfume professionals
rapidly led to the creation of
an association of friends of the
Museum. “Societies of Friends”
are indispensable to museum
health. Among its missions,
A.R.M.I.P. serves as a structure
for welcoming sponsorship from
companies and business.
The Association for International Promotion of the Museum (ARMIP)
naugurated in 1989,
the International
Perfume
Museum
presents both the past
memory and future
potential of the flagship
industry of Grasse. It
is broadly supported
by
the
perfumery
profession, including both
industrialists from Grasse
and the great French and
foreign perfume houses,
which have provided
outstanding
support
for the creation and
enrichment of museum
collections
The International Association for Support of the International Perfume Museum (A.I.A.M.I.P) was
founded in July 1990, with Francis Huré as its first president (1990), followed by Henri Sozio
(June 1991/1992).
From June 1992 to December 1995, this position was held by Ivan Coste-Manière.
In 1997, the association evolved and became A.R.M.I.P. (Association for International Promotion
of the Museum). Successive presidents were, from December 1995 to February 2004, Thérèse
Roudinitska, and from 2004 to the present, Jean-Claude Ellena, exclusive perfumer for the
House of Hermès.
The association currently counts two hundred members, including perfume professionals (active
and retired), companies and private individuals who put their skills, expertise and relations at the
service of the Museum.
Both player and partner, A.R.M.I.P. generates a heritage through the contribution of members
and volunteers who participate in the following areas:
- Identification and study of collections : inventory assistance, dissertations on the
history of the tangible and intangible industrial heritage.
- Preservation of the cultural heritage : donations of technical materials, objects and
perfume archives that were initially destined to be destroyed.
- Development of guided tours,introductory perfume creation workshops, conferences and
exhibitions in the museum, as well as elsewhere in France and in foreign countries.
- In collaboration with DRAC (Regional Department of Cultural Affairs) and ARS (Regional
Health Agency): interventions at the Grasse Hospital Centre.
- DRAC and SPIP (Penitentiary and Probation Service): interventions in prison.
To expand the International Perfume Museum’s scope of influence, A.R.M.I.P. has initiated
highlighting of the cultural heritage through:
- The organisation of colloquiums and theme days, such as “One Day, One Plant” and
“One Day, One Taste”.
37
I
Thepôle
Association
for International
Promotion
the Museum
(ARMIP)
Le
de compétitivité
Parfums,
Arômes,ofSenteurs,
Saveurs
- Lectures in the context of the “European Heritage Days”
- A digital creation contest during the Paul Poiret summer exhibition (with a €1,500 prize)
- Various cultural outings in France and other countries.
A.R.M.I.P. continues to actively support the museum and its team through financial assistance for the:
- Creation of furnishings and room information cards for the museum’s permanent collections
- Creation of 3D (perspective) layouts for discovering the Museum
- Ticketing installations for the Paul Poiret exhibition
A.R.M.I.P. also participated in updating the olfactory preamble (films, projector and screen) and in the lighting of the new exhibition
room.
Through its sponsorship actions, A.R.M.I.P. contributes to enriching Museum collections through numerous acquisitions of perfume
items, posters and advertising materials, bottles and books (recently, “Le Pierrot” with its case and “La Rose de Rosine” with its box
for the 2013 exhibition dedicated to Paul Poiret, and a beautiful book on French Perfumery and the Art of Presentation published in
1925). A.R.M.I.P. donates these items to the city through an agreement.
38
les jeudis du mip
les jeudis du mip
les jeudis du mip
Rencontre autour du monde du parfum
G R A S S E
Le
parfum en héritage
Jacques cavallier - céline elléna aurélien Guichard - Jean Guichard
animée par
16
janvier
philippe massé
2014 18h00 à 20h00
Frais de participation : 6€
Gratuit pour les membres ARMIP
G R A S S E
G R A S S E
LE SAVON
DE
MARSEILLE
Lucien Ferrero &
Patrick BouLanger
5
juIN
2014 - 18h00
Entrée : 6€ (gratuit ARMIP)
infoRmations & inscRiptions :
musée international de la parfumerie
2 bd du Jeu de Ballon • 06130 Grasse
Tél. 04 97 05 58 02 • mail : [email protected]
a
a
Conception : Service communication Pays de Grasse - © Alain Issock, Pôle Touristique du Pays de Grasse - © C. Barbiero - Portrait Jean-Claude Ellena
Conception : Direction de la communication du Pays de Grasse - © Musées de Grasse - ©Fotolia : Chanelle, Cyril Comtat, Franck Barbier - Portraits Lucien Ferrero, Patrick Boulanger
Ne pas jeter sur la voie publique
Conception : Service communication Pôle Azur Provence - © Alain Issock, Pôle Touristique du Pays de Grasse - © C. Barbiero - Portrait Jacques Cavallier, © Louis Vuitton Malletier / Mazen Saggar, Droits restreints -
- “Thursdays at the MIP”
Le
parfum
:
un acte poétique
Jean-Claude ellena
20
mars
2014
18h00 à 20h00
Frais de participation : 6€
Gratuit membres ARMIP
a
Kodo items, Japan, 20th century
39
The International Perfume Museum partners
The International
Perfume Museum
benefits from
sponsorship by:
Perfume companies
Chanel
Christian Dior Parfums
Fondation L’occitane En Provence
Guerlain
Hermès
Kaloo Parfums
Kenzo Parfums
Thierry Mugler
Unilever Cosmetics
Yves Saint Laurent Parfums
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.
40
Packaging companies
Tournaire S.a.
Designers
Aesthete
Qsld Qu’on Se Le Dise
Sylvie De France Designer
And
Bougie & Senteur
HSBC
Mc Donald’s Grasse
Osmothèque
Cosmoprof (Sogecos S.p.a. Bolognafiere Group)
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
Communication
Université de Bourgogne, Laboratoire sur
l’image, les Médiations et le Sensible en
Information Communication
Université de Nice Sophia-Antipolis
The International
Perfume Museum has
the institutional backing
of:
Association pour le Rayonnement du
Musée International de la Parfumerie
(Armip)
Ministère de la Culture et de la
Communication
Direction Régionale des Affaires Culturelles
Provence-Alpes-Cote D’azur
Conseil Régional Provence-Alpes-Côte
d’azur
Conseil général des Alpes-Maritimes
Comité Français du Parfum
Fédération des Industries de la Parfumerie
Fragrance Foundation
Société Française des Parfumeurs
Press visuals
IInternational Perfume Museum images
Mandatory credit: © Museums of Grasse, photo C. Barbiero
4
2
5
Wall of giant-size bottles
3
View of the Orange Tree Garden - MIP
6
41
1
MIP -Press Information
Press visuals
10
42
Star anise
11 2nd-3rd century
Pyriform bottle
Blown glass
Syria
12 6th century B.C.
Aryballos
Painted terracotta
Greece
th
13
0 20
XXe
century
Ornamental
Bague ornementale
ring for perfuming
pour parfumer
hair les cheveux
Contains
Contient
cloves
des clous de girofle
Enamelled
Argentsilver
émaillé
- Morocco
- Maroc
14 Early 18th century
Perfume bottle
Blown glass
Germany
15 19th century
Incense burner
Qing dynasty (late)
Moulded and engraved bronze - China
16 18th century
Bergamot box
France - Bergamot bark,
painted paper and varnish
17 Late 18th century
Pocket case
Metal, bronze, leather, ivory
France
Azuréa glass bottle
and case
L.T. Piver – France
19 19th century
Smelling salts bottle pendant
Porcelain
France
20 1900
Bottle created by Hector Guimard for Millot
Glass - France
Universal bottle, Lalique
Glass, black accents
France
22 Ca. 1925
Au soleil bottle, Lubin
Translucent glass, moulded and
mass-coloured - France
23 Pfirst half of the twentieth century.
Bulb atomiser
Metal and moulded glass
France
24 1920
Les Parfums de Rosine
France - Glass, Bakelite,
vegetal fibre
25 1920 Cinnamon
Golli Wogg bottle, Vigny
Glass - France
30 Ca. 1825
Smelling salts bottle
Crystal
France
Perfume bottle in the shape of a
powder flask, Crystal, base
and stopper in vermeil/Germany
35 18 century
1910 Lalique bottle
Figurine bottle in the shape of a young
Ambre Antique
Parfums Coty - Frosted glass – France woman harvesting a bunch of grapes
Chelsea, England – Porcelain
th
34
38 19th century
Perfume dispenser in the shape
of a Roman lamp
Gilded bronze - France
39 Ca. 1820
Vinegar bottle,
gold and lapis lazuli
28 5th century B.C.
Lecythus
Attic, Greece
Terracotta
29 1928
Ramsès II bottle by Bichara
France – Glass
32 17th century
Bottle
Glass
Bristol / England
33 1940
Adoration bottle and case, Norman Merle
Cardboard, silk, gilded metal
U.S.A.
36 Bottle
Glass
Bristol / England
37 19th century
Pomander
Lapis lazuli and vermeil
40 1937
Bourrasque - Le Galion
Colourless glass
France
41
Press visuals
27 18th century
Figurine bottle representing the
goddess of beauty
Bronze - South India
Cinnamon
43
26 Middle Empire
Ointment jar
Carved and polished alabaster
Egypt
•Regular rate: €4 (€6 during the
MIP temporary summer exhibition).
•On presentation of the regular price
ticket of one of our sites (MIP/MIP
Gardens): half price on the second
ticket (validity 7 days).
•Reduced rate: €2 (€3 during the
MIP temporary summer exhibition).
•Free (upon presentation of
supporting document): under 18,
unemployed, disabled, escorted
school groups, ICOM Members,
the first Sunday of the month (from
October to April), ARMIP Members.
GUIDED TOURS
(90 minutes)
•Saturdays and Sundays at 3 p.m.
(September to June).
•Daily at 11 am and 2 pm (July/
August).
•Rate: €2 (+ entrance ticket)
•Free guided tour of the exhibition
for the visually disabled, reservation
required:
[email protected]
Contact
Muriel Courché
Director of Communication and Press Relations
[email protected]
Tél.: + 33 (0)4 97 05 22 03
Fax: +33 (0)4 92 42 06 35
Mob.: + 33 (0)6 68 93 02 42
Photo credit
© International Perfume Museum, Grasse, Photos Carlo
Barbiero
Press documents and visuals can be downloaded at::
International Perfume Museum
2, bd. du Jeu de Ballon
06130 Grasse - france
Tel.: + 33 (0)4 97 05 58 00
Fax: +33 (0)4 97 05 58 01
Website: www.museesdegrasse.com
Email : [email protected]
or +33 (0) 4 97 05 58 14
•Audio guide rental: €1
WORKSHOPS
children and families:
Fun time for parents and children...
our cultural mediators invite you to
try your hand at art, science and
techniques (during school holidays
for Zone B) - children over six.
AMUSÉE-VOUS FUN
WORKSHOPS
Come and celebrate your child’s
birthday in an entertaining and
original setting focusing on the
secrets of perfume plants...
(children over six).
Information and registration:
[email protected]
Access :
Paid parking (Cours Honoré Cresp, Notre
Dame des Fleurs, La Foux)
Bus: Thouron stop. Lignes Sillages/Gare
SNCF Grasse: A, B, C, D, 5, 6, 20, 40
*upon presentation of an entrance ticket for
these events
* sur présentation du billet d’entrée à ces manifestations.
Grasse
Le goût de l’essentiel
Designed by Pays de Grasse Communication Department - 2016 Edition - Printed on PEFC-certified paper - Do not discard on public streets
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information
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