The International Perfume Museum Gardens - jmiP

Mouans - Sartoux
The International Perfume Museum
Gardens - jmiP
2016 SEASON
T h e
W o r l d 1 o f
P e r f u m e
2
Aof the Pays de Grasse, the Musée de France label greatly reinforced and symbolised the new ambitions of this vast collection of gardens and
At the same time as it was renamed the Gardens of the International Perfume Museum in 2010, when it was taken over by our Urban Community
greenhouses located in Mouans-Sartoux.
For reasons of economy associated with the cost of labour and the internationalisation of business, the growing and the presence of fields of flowers
for perfume have all but disappeared in the Grasse area. It is therefore of fundamental importance for the International Perfume Museum to maintain
this tradition and this know-how via the Gardens of the MIP. We thus offer people from all corners of the world the opportunity to find out about growing
flowers for perfume as practiced in Grasse. One of the main features of the Gardens is to farm several plots of these flowers which are emblematic of
perfume production and the first link in the chain of this industry: May rose, jasmine, lavender, narcissus, tuberosa ... each field has its own specialty,
and there are many plans to recreate and preserve this heritage of Grasse over the coming years.
Another area in the Gardens offers an olfactory trail, to discover plants and to invite the discovery of their scents. Our objective here is to put in place
real research programmes and a conservatory of forgotten plants. We will then claim to be a fully-fledged botanical garden.
But the Gardens are also a direct continuation of the museum tour. Being able to establish a dialogue between the Gardens of Mouans-Sartoux and the
collections kept at Grasse in the former Hôtel de Pontevès is a unique opportunity which we will continue to develop and push forward in the forthcoming
years so that we can offer our visitors an unprecedented and broader approach than that offered by museums.
Now fully partnered with the MIP, the Gardens can initiate new synergies and a shared ambition to maintain and conserve a heritage connected to a
society and a territory, that of Grasse, while opening up new perspectives for reflection and research in the field of perfume and olfaction.
Olivier Quiquempois
Directeur des Musées de Grasse
et des Jardins du Musée International de la Parfumerie
Conservateur du patrimoine
3
Scented plants...a heritage
Cfar away. In the unique setting of the MIP Gardens, you can discover and smell those species, which have supplied the raw materials of perfume making for
entifolia rose, jasmine, tuberose, lavender, geranium, common broom, orange blossom: perfume comes first of all from plants, whether local or imported from
centuries..
Magnificently set among the fields of perfume plants traditionally grown in Grasse, the International Perfume Museum Gardens are part of the former landscape
initiative and have become the Museum’s Botanical Gardens for Fragrant Plants, a area of nature serving as a witness to the olfactory landscape that is a part of
local agriculture.
Designed around an old canal and an agricultural basin, the site covers two hectares. In these gardens, the open fields of plants traditionally grown for perfumery
are located next to landscaped areas presenting various collections of fragrant or aromatic plants. Their main purpose is to contribute to the conservation of the
varietal diversity of traditional species grown for perfumery. They also bear witness to the olfactory landscape linked to local agriculture.
In its Scientific and Cultural Programme approved in 1998 by the Directorate of the Museums of France, the International Perfume Museum project was to be
built along three main lines:
• A museum of ‘‘perfume civilisations’’ in the historic centre of Grasse, which was created from 2004 to 2008.
• A museum of techniques presenting the extraction methods used in perfumery and involving the rehabilitation of a factory.
• The Botanical Garden of Fragrant Plants on the Grasse plain.
This museum located at three different sites would thus present the complete perfume manufacturing chain, from plant growing to the marketing of a fragrance,
by way of extraction techniques applied to the plant raw material.
4
1. A garden site is not decided upon.
If the site is exceptional, the garden
is present and the gardener’s role
is to emphasize the character of the
setting.
2. The visit to a garden must be
earned.
3. A garden is necessarily inhabited.
4. A garden helps us to understand
the world around us..
5. A garden never congeals into a set
piece; it evolves continuously and is
nourished by social reality.
6. The garden is an interface
between soil and an environment.
7. The guiding layout defines the
approach to use in the short, mid and
long term.
8. Master gardeners implement the
guiding layout.
9. What links the garden to the
perfume industry?
10. Gardeners form a network.
Gardens should also participate in this
exchange.
5
BIRTH OF THE PROJECT
Igardening company), the advice of specialists (architects, gardeners, botanists, perfumers) and the support of the town of Mouans-Sartoux and the Pays
n 2007, the «Bastide du Parfumeur» (“Perfumer’s Farm”) project was created and benefitted from extensive private funding (in particular from the Botanic
de Grasse Autorithy.
The «Bastide du Parfumeur» was 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 topics concerning regional agriculture, gives primary importance to sustainable development and
local heritage and reinforces the distinctiveness of the World Nature Observatory initiative supported by the Pôle Azur Provence Autorithy.
This botanical garden is a tool for interpreting the agricultural and landscape heritage. It is designed to show visitors a variety of perfume plants, aromatic plants
and other plants relevant to the history of Mediterranean agriculture and perfumery. In addition to being a botanical conservatory in the open air, the garden
functions as an entertaining introduction to organic gardening. Compost, green fertilizers and other mulching techniques are used to provide plants with the
elements they need to flourish, while caring for the soil and optimising the water supply. This principle of protecting the environment has been applied since the
beginning of the project. Putting the gardens into shape required moving earth, but very little soil was added or removed. With careful attention to sustainable
development, the ground was prepared with organic fertilizer and planted with young plants; the gardens also benefit from a glass and iron greenhouse.
A few key dates
1997: André Aschieri, mayor of Mouans-Sartoux, suggests the creation of a Botanical garden for Fragrant Plants in the Gourettes district to the Grimonprez
family, owners of agricultural land, and Claude Blanchet, President of the Botanic gardening company.
December 2003: Creation of the non-profit Grasse Botanical garden for Fragrant Plants.
May 2005: Appointment of an architectural team for the project: Sensini et Moralès..
November 2005: Appointment of landscaper François Navarro.
November 2006: Start of work.
January 2007: Planting of the ‘‘first plant’’.
June 5, 2007: Opening to the public.
June 30, 2007: Official inauguration of the «Bastide du Parfumeur».
January 2010: The «Bastide du Parfumeur» is taken over by the Pays de Grasse Autorithy.
February 2010: The MIP Gardens, a new change of name that brings it closer to the International Perfume Museum, opens its doors.
June 2011: First summer exhibition featuring a contemporary artist, Bernard Abril.
Avril 2012 : Inauguration of the first permanent exhibition completing the site visit.
June 2012: Second summer exhibition, «Five Plants from A to Z,» in collaboration with the University of Nice-Sophia Antipolis and FOQUAL Master II
students..
November 2012 - April 2013: The MIP Gardens are closed for restructuration work.
May 2013: Reopening and inauguration of the site after further development of the gardens.
6
7
WHY CREATE A BOTANICAL GARDEN FOR
FRAGRANT PLANTS?
Ga period during which most of the natural products processed by
rasse was at its apogee in the first part of the twentieth century,
Grasse manufacturers came from local sources.
In the sixties, large international groups acquired the Grasse factories, and
their synthetic aromas offered perfume designers an increasingly rich and
varied palette at very attractive prices. This led to their success, which was
often to the detriment of natural products...and sometimes of perfume
quality. Since most of the cost of perfume manufacturing stems from
harvesting, the only alternative for jasmine, the flagship product of Grasse,
was to ‘‘go and grow elsewhere’’.
From 1970 to 1980, real estate development took over from agriculture:
jasmine growing thus moved to the Nile Delta in Egypt, then to southern
India. Today, these two areas are responsible for 90% of worldwide
production on a roughly equal basis..
8
Centifolia roses continue to be grown partly in Grasse because of a
partnership between Chanel and the Mul company at Pégomas, while
Damask rose cultivation has become increasing important in Turkey and
Bulgaria. Orange trees took refuge in Tunisia; tuberose disappeared from
the Grasse landscape and reappeared in India. There are still violet leaves
in the Grasse region and Tourrette-sur-Loup, but Egyptian competition has
developed; mimosa remains, but now there is competition from Morocco
and India.
Of the thousands of tonnes of flowers processed at the beginning of the
twentieth century, only a few dozen tonnes were used in 2000, from 40
hectares of cultivated land (jasmine, rose, tuberose, violet, mimosa).
While the worldwide perfume market worries about its global strategies
– which have been impacted by ecological, economic and free-trade
debates – young producers from Grasse struggle to restore the image of
their region. In general, they are the heirs to family traditions who refuse to
see them disappear and want to see them maintained
Although production at Grasse has been greatly reduced, the skills are still
there and only waiting to be used and handed down. The same is true for
Grasse’s emblematic and prestigious image in the world of perfume.
This is what is behind the MIP project. As a centre of living memory and an
ambassador of perfumery worldwide, the International Perfume Museum aims
to show all the different aspects of this industry.
Like the preservation of a perfume factory, the creation of a botanical garden
for perfume plants is vital for the safeguarding and promotion of the Grasse
industrial heritage and expertise.
These goals are highly important because the idea is to:
1. Safeguard a heritage for future generations which is natural and of
internationally recognized quality;
2. Safeguard typical know-how from Grasse, both material and immaterial;
3. Respond to strong expectations from the inhabitants of Grasse and from
tourists, who lament the absence of flowering plants in the urban landscape;
4. Complete the manufacturing chain of perfumes to be exhibited on a future
site and at the International Perfume Museum by the first element in the chain:
the raw material.
Historically, botanical gardens and museums have evolved in the same way. As
was the case for the first collections which gave rise to museums, the history of
the first botanical gardens shows that their creation and operation was closely
bound to the education of students.
Like museums, gardens later became places for research which were open to
all, but where non-specialist visitors could only marvel at the beauty displayed
before them with no keys to understanding it.
At a time when many museums, such as the International Perfume Museum, are
being redesigned and where collections are no longer presented integrally to
the public but use themes or scientific direction, botanic gardens have become
museums of the living heritage.
The implementation of modern museographical techniques adapted to the
outdoors, as well as an educational policy derived from the interpretation
pathways adopted for nature parks, have become necessary tools.
9
10
10
BEHIND THE ARCHITECTURAL PROJECT
Uthe farmers of this land grew olive trees behind retaining walls. When the perfume industry appeared, they removed the olive trees and replaced them with
sed as agricultural land for many years, the International Perfume Museum gardens provided ground for many different types of crops. Under Napoleon,
perfume plants while levelling the land. At the same time cows were bred to enable the ploughing of the plots and the production manure.
The land:
- 3.4 hectares, northwest exposure;
- Chalky soil;
- Mediterranean climate (rarely freezes + dry summer period).
The project presented in 2005 by architects Sensini and Morales proposed a contemporary structure which would be adapted to the site and its history-filled
buildings, that resonated with the agrarian architecture and provided a reinterpretation of the landscape. The existing buildings offered a strong arguments for
their preseration and further use. The farmhouse and lean-to were renovated and made into administrative offices, restrooms and cloakrooms. In the farmhouse,
the offices are to be found on the first floor, while on the ground floor a 50m2 room allows for the organising of lectures, meetings, activities or screenings.
An old lean-to was torn down and a greenhouse was built on its foundations along the the length of the garden.
The greenhouse
Architect Gilles Sensini comments: ‘‘The greenhouse presents itself as a barrier to arouse the curiosity of visitors. It provides a setting for the garden entrance
which immerses visitors in an atmosphere that is conducive to a special experience. This barrier acts as a passageway from the urban world to the landscape of
the hills. Grafting a contemporary extension onto a traditional farmhouse is not easy because the graft must become an integral part of the social fabric of this
heritage. The greenhouse is a reminder of the agricultural background of the region and blends readily into the local landscape’’.
The greenhouse is divided into four areas and covers a total of 560 square meters:
■Reception area and shop
■Permanent exhibition area:
Since 2012, a permanent exhibition completes the olfactory pathway visit and provides a link between the plant and the perfume industry. Through a an
exhibition which blends objects and images, visitors learn how and why plants produce a smell. The links between cultivated plants and their environment? How
has growing scented plants evolved through the centuries? And how these raw materials be processed when they arrive at the plant?
■A patio
■A multipurpose greenhouse to protect plants, which can be adapted as an area for exhibitions and lectures or for private events.
11 11
EXPLORING THE GARDENS...
makers had the essences and fragrant products needed for their activity
close at hand.
T
ohe fruit of discussions between specialists and sponsors, the
International Perfume Museum Gardens meet the requirements of
sustainable development, on the one hand, and the need to provide a
programme for interpreting the agricultural heritage and landscape of Grasse,
on the other.
The plants growing in open fields, composed of varieties traditionally used
in perfumery, are located next to landscaped areas presenting various
collections of fragrant or aromatic plants. Their main purpose is to contribute
to the conservation of the varietal diversity of traditional species grown for
perfumery. They also bear witness to the olfactory landscape linked to local
agriculture.
The olfactory pathway:
Between the eighteenth century and the advent of modern perfumery, the
use of natural raw materials diversified considerably. Whatever their origin,
presenting them is indispensable for understanding the art of perfume design.
Designed to reveal the fragrances and olfactory notes used in making
perfumes, the olfactory pathway blends fragrant and aromatic plants with part
of the collection of perfume plants grown in Grasse. An entertaining approach
enables on to become familiar with the different families of fragrances by
directly smelling the plants, which are classified by olfactory zones and
present the notes used by perfume designers. All along the pathway, visitors
are invited to touch the fragrant leaves and smell the flowers bordering the
trail.
For more detailed explanations of the world of perfume plants, the gardens
offer the assistance of a visioguide. During the visit, it is possible to see
photographs and videos and listen to comments by growers, harvesters and
brokers.
The conservatory
The conservatory aera of the gardens provides a full-scale reproduction of
the flower fields as they were grown during the time when the plants were
used in the manufacture of perfumes. The first perfume plants used in Grasse
during the sixteenth century were the wild orange tree from the Italian Riviera;
lavender, the Provencal flower par excellence; the cassia tree, a member of
the mimosa family imported from Africa; and myrtle and pistachio lentisk,
which are local varieties.
Because scented plants were produced locally, master perfumers and glove-
12
But starting in the seventeenth century, three plants became emblematic of
perfumery in Grasse: jasmine, rose and tuberose.
Jasmine,from India, appeared around 1650 in the Grasse countryside. At
the same time, the centifolia rose, smaller but more fragrant than the
common rose, began to be cultivated.
As for the tuberose, it came from Italy and became implanted in the Grasse
region around 1670.
The picnic area
The MIP picnic area offers visitors a place to relax in the shade of centuriesold cypress trees in a setting worthy of Tuscany.
13
THE GARDEN DESIGN PROJECT
Tcut, burn, boil and cool.
he perfumer is an alchemist who plays with plants, air, water, fire, earth and matter to capture the smells of dreams. To do this, it is necessary to store,
The garden is an enclosed area, the formal representation of earthly paradise. It is thus a place of intimacy, where all five senses must be stimulated in order
to make their mark and stimulate our awareness.
The garden created should link these two worlds and be based on the following principles:
■ refer to the local agricultural heritage to shape the land and manage the rhythm of water;
■ make the entire garden accessible to all through a series of ramps which follow the terraced layout;
■ build a garden which evolves over time and uses industrial materials;
■ implement a playful water system based on gravity to brighten the pathway;
■ on each terrace, create a point of interest around perfume, processing, extracting or an activity to help visitors discover a part of the perfumer’s or grower’s
world, according to the season.
14
14
With a total surface area of nearly three hectares, the gardens is organised into two parts separated by a small dry valley between low stone walls:
■ the olfactory pathway to the east, a garden for discovering scents associated by olfactory notes;
■ the open field pathway to the west, partly planted with the varieties traditionally grown in Grasse and serving as a way to preserve for these landscapes, rarely
seen today.
Visitors enter through a vast greenhouse, a multipurpose technical and learning area which functions as a threshold to the gardens.
The gardens are singular and engage your attention. They are different from Côte d’Azur gardens because they recall an agricultural past. Everything along the
pathway is simple and in keeping with the site, the ideas being developed and are reminders of a reinterpreted past. Plant combinations are rich, subtle and
refined. Links to the site are well thought-out and vistas are highlighted.
15 15
To provide shade for visitors, there are plant-covered
arbours and pergolas in the gardens :
■ Arbour 1: «Climbing roses pergola»: the arbour is made
of metal and wicker, which is a reference to the harvesters’
baskets.
■ Arbour 2: the «Belvédère»: it is made in metal and wood
as a reference to the cabins used for drying jasmine, where
harvesters unloaded their baskets filled with flowers.
■ Arbour 3: the bird pergola at the heart of a wooded
area: Located in a setting of cypress and orange trees on the
edge of a basin, it is made of wood. Bird houses will be hung
there to enable observation of garden birds.
■ Arbour 4: the pergola introducing a floral note with
the future installation of an insect shelter : This arbour is
located in the floral note area. It rests against a high wall along
a canal and opens on a plot of land with a collection of rose
bushes and on a plot of mimosas edged by an embankment of
irises.
Also, a pergola was installed on the esplanade near the glasshouse
along with a shaded, floral tunnel in the open-air section.
Arbour creation is supported by the Association of the
Friends of the MIP Gardens and L’Occitane en Provence..
To complete redesign of the gardens, the pathway will feature
panels explaining the origin of perfume plants, the history of their
use in perfumery, fragrant plants, olfactory families and garden
biodiversity.
16
16
1717
THE GARDENS OF THE INTERNATIONAL PERFUME MUSEUM AND CONTEMPORARY ART
Sthe stone basin, any visit was already regularly the location of encounters with contemporary artworks such as the exhibition by artist Michel Blazy in partnership
ince 2007, La Bastide du Parfumeur has adopted a policy of partnership aiming to develop contemporary creation in its gardens.Between the old canal and
with the Space for Concrete Art, the colonies of artists in the town of Mouans-Sartoux and the artistic creations of students at the Antibes School of Horticulture
supported by Xavier Theunis, the artist from Nice.
Moreover, the International Perfume Museum has already called upon renowned artists such as Christophe Berdaguer & Marie Pejus, Peter Downsbrough, Gérard
Collin Thiebaut, Brigitte Nahon, Jean-Michel Othoniel, Dominique Thévenin (...) to add to and offer new interpretations of the museum’s spaces, both inside and out.
This networking approach also helps us reach a wider public and develop basic cultural partnerships in the area of the Pays de Grasse.
Indeed, contemporary creation on the theme of perfumery can extend into a variety of practical skills such as land art, glass working, fragrance stimulation, the
industrial aspect …
In 2011, for its first summer exhibition in the MIP Gardens, the curators of the Museums of Grasse, under the aegis of the local authority gave carte blanche to
Bernard Abril, a contemporary artist and sculptor. In 2014, the exhibition was dedicated to the work of Cathy Cuby, artist and sculptor, who was introduced during the
summer. And to continue this dynamic in the field of contemporary art, the curators of the Museums of Grasse decided to present the artistic work of René Bruno,
photographer and sculptor. In giving carte blanche to the artist, we hope to raise the public’s awareness about the place of aesthetics and the art of the garden, but
also art in the garden.
The programme of contemporary art in the Gardens testifies to the curators’ will to develop contemporary art across the various museum sites. This networking
approach also helps us reach a wider public and develop basic cultural partnerships in the area of the Pays de Grasse.
Bernard Abril,
Jmip, 2011
Bernard Abril,
Jmip, 2011
Cathy Cuby,
Jmip, 2014
Plant floating bubbles
Cathy Cuby,
Jmip, 2014
Spider
18
19
THE MIP GARDENS AND THE LEAGUE FOR THE PROTECTION OF BIRDS…
A
s a part of partnership agreement signed by the Pays de Grasse Authorithy with the League for the Protection of Birds (LPO), the International Perfume
Museum Gardens have committed to an «LPO Refuge Initiative» to promote wildlife at the site.
This is a commitment to use only techniques which protect the environment, practice organic gardening (no phytosanitary products, pesticides or synthetic
fertilisers), prune trees outside the nesting season, promote biodiversity by installing bird houses and winter shelters, by creating piles of wood and by
preferring native plants.
Through this approach, the MIP Gardens will become a haven for birds, insects, small mammals and their associated plants..
In 2012, a biodiversity inventory was carried out and enabled identifying birds, mammals, dragonflies, amphibians, reptiles and butterflies present on the site.
n the context of garden redesign, a pond will be created to enable the observation of plants and animals living there..
I
20 20
THE MIP GARDENS: 2016 PROGRAMME
TThe creation of these gardens is a way to create a trans-generational dynamic, where children, parents and seniors share know-how and knowledge. It
he International Perfume Museum Gardens anchor the perfume industry to the local identity are area and are therefore an element of social cohesion
provides an interactive and entertaining focus for the enjoyment of all. The gardens can therefore be said to be for the very widest public families, tourist groups,
garden enthusiasts, school groups, the disabled and older visitors, and many activities are offered, including exhibitions, encounters, workshops, colloquiums,
awareness and initiation or training actions which stimulate exchange between participants.
The gardens can be considered as paving the way for the emerging discipline of sustainable tourism.
Gardens for everyone…
Information on the site (reception, museography, etc.) is available in French, English and Italian.
The disabled are not forgotten. Pathways with a 5% maximum slope guarantee access to the site for all.
Shaded installations enable everyone to take full advantage of the site. The goal is to make it pleasant for the disabled, seniors and families.
The MIP Gardens are a learning tool for all types of visitors, but especially for school groups. Our visitor service supports these groups and their teachers with
school projects through workshops providing initiation in to the science and technique of perfumery.
21
EXHIBITION
April 23 to September 30
IMAGE TO THE HERAR – René Bruno – Photographer-Sculptor
T
he Gardens of the International Perfume Museum are the venue this summer of an exhibition by the artist René Bruno, a photographer and sculptor of
images. Showing near-abstract close-ups and a universe of encounters in the heart of flowers, René Bruno questions our vision of the plant world and
leads us to discover the hidden faces of plants and insects. He reveals what the eye does not see, thereby inviting anyone pondering his images to dream and
to feel a sense of relaxation and serenity. Using different substrates, playing with transparency, mixing natural and man-made materials, the artist produces
photographic installations organised into veritable sculptures, which are unveiled as one walks through the garden.
Rate : 4€
22
22
EVENTS
From June 5 to 7: Rendez-vous aux jardins (Let’s meet in the gardens). Strolling through the Gardens
September 19 & 20: Les Journées Européennes du Patrimoine (European Heritage Days) Themed guided tours.
These activities are free
Information: +33 (0) 4 92 98 92 69 - www.museesdegrasse.com
WORKSHOPS
To promote interactivity at the site, the Museum’s visitor service is offering workshops for children and adults according to the season...
Make an appointment with the Museum team.
Fun workshops! Celebrate your child’s birthday in a playful and original setting focusing on the mysteries of perfume (starting from six years of age).
Educational! The visitor’s service team proposes an initiation to the arts, sciences and techniques of perfume with «children and family workshops» offered
during school holidays (Zone B).
Guided tours! Our tour guides offer free guided tours (+ entrance fee) on Saturdays at 3 pm (March 28 - May 31 ; Sept. 1 - Nov. 11); Saturdays at 5 pm
(June. July, August).
Free visioguide available.
Information and reservations: + 33 (0) 4 97 05 58 14 – [email protected]
2323
2424
Association les Amis
JARDINS
THE ASSOCIATION OF FRIENDS OF
THE MIP GARDENS
des
T
du
he Association of Friends of the International Perfume Museum Gardens was created at the same time as the acquisition of the Museum gardens.
Known as AJMIP, it brings together professionals from the perfume and cosmetics industries, as well as retirees who put their skill, know-how
and contacts at the service of the MIP Gardens in order to increase its influence and participate in the safeguarding and transmission of the perfume
heritage. With the participation of sponsors, the Association of the Friends of the MIP Gardens supports the garden restructuration project, in particular
through the purchase of new plants.
THEY SUPPORT US
The International Perfume Museum Gardens are supported by:
-Alpes-Maritimes General Council;
-Provence Alpes-Côte d’Azur Region;
-ERDF (European Regional Development Fund);
-The Culture and Communication Ministry;
-Mouans-Sartoux City.
And sponsored by:
-Astier Demarest;
-Botanic;
-Clarins Fragrance Group;
-Les Christophs’ (Christophe Laudamiel and Christophe Hornetz);
-Natura Brasil;
-Natura Inovaçao e technologia;
-Payan Bertrand;
-Floral Concept;
-Firmenich;
-Robertet SA;
-L’Occitane en Provence;
-Expressions Parfumées;
-LMR/IFF;
-LUX.
Skills sponsorship:
-François Latty,
-Constant Viale
-Michel Roudnitska.
25
USEFUL INFORMATION
From Nice
By car: 40 km (30 minutes)
By train: one hour (TER Grasse-Vintimille)
Opening hours
Spring (end of March - April): 10 a.m. to 5:30 p.m
Summer (May - August): 10 a.m. to 7 p.m. Closed on May 1
Autunm (September 1 - Nov. 11): 10 a.m to 5.30 p.m
Annual closing: November 12 to the end of March
From Fréjus
By car: 40 km (30 minutes)
By train: one hour (TER; change at Cannes)
Rates
Ticket Regular price: €4
On presentation of the regular price ticket of one of our sites (MIP
and MIP Gardens)
Half price: students over 18, group of ten or more
Free (requires proof of age etc) for: under 18, unemployed, disabled,
ICOM pass, and for everyone the first Sunday on the month (in
autumn-winter)
Annual Pass MIP Gardens: personal: €10 / family: €12
From Grasse
By car: 7.5 km (10 minutes)
By train: 10 minutes (TER Grasse-Vintimille)
From Cannes
By car: 11 km (15 minutes) via the Grasse-Cannes urban motorway.
By train: 20 minutes (TER Grasse-Vintimille)
Means of payment accepted: cash, cheque, CB (over €7.5)
The Museum is accessible to the disabled.
The boutique
Museum souvenirs, art books, perfume, personalised gift ideas: the
Museum shop offers a way to prolong your visit
Les Jardins du MIP
979 chemin des Gourettes
06370 Mouans-Sartoux - France
Tel.: +33 (0)4 92 98 92 69
Access
From the centre of Mouans-Sartoux (SNCF)
On foot: 1 km on a pedestrian walkway
By bus: 5 min using the Sillages lines Bus stop: Les Jardins du MIP: 20, 21 - Gare SNCF MouansSartoux: 22, 28.
Free parking.
GPS coordinates:
latitude 43.614218 / longitude 6.977749
26
27
Press Contact:
Muriel Courché
Tel. +33 (0)4 97 05 22 03
Cell phone: +33 (0) 6 68 93 02 42
Email: [email protected]
The international perfume museum Gardens
979 chemin des Gourettes
06370 Mouans-Sartoux - France
www.museesdegrasse.com
Tel.: +33 (0)4 92 98 92 69
Parking gratuit à proximité / Free parking
Bus arrêt / Bus stop: Les Jardins du MIP
Sillages bus lines, Mouans-Sartoux SNCF Train Station: 22, 28.
GPS coordinates:
latitude 43.614218 / longitude 6.977749
28
Conception service communication du Pays de Grasse - Edition mars 2015 - ©Photos, Franck Follet, Musées de Grasse, C. Barbiero Impression Sud Graphic, sur papier PEFC - 2ème trimestre 2016 - Ne pas jeter sur la voie publique.
Above all, the garden is a place of well-being. Appealing to all the senses, it must be a haven of
peace, a place for contemplation, imagination and harmony.