{"id":30634,"date":"2022-04-17T17:25:11","date_gmt":"2022-04-17T15:25:11","guid":{"rendered":"https:\/\/mag.komk.fr\/?p=30634"},"modified":"2022-04-22T08:35:51","modified_gmt":"2022-04-22T06:35:51","slug":"perfume-a-mixed-up-art","status":"publish","type":"post","link":"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/","title":{"rendered":"Perfume, a mixed (up) art"},"content":{"rendered":"    <div id=\"chapo-block_6256d789bb01a\" class=\"chapo\">\r\n        <blockquote class=\"chapo-blockquote\">\r\n            <span class=\"chapo-text\"><em><strong>On the occasion of the World Art Day on the 15th of April 2022, Nez invites you to (re)discover an article about the question of perfume as an intellectual property, initially published in Nez, the Olfactory Magazine #04.<\/strong><\/em>\r\n\r\n\r\nIn France, positive law does not recognise perfume as intellectual property from a creative point of view. But what is the case from a philosophical perspective? What aesthetic goal does this intangible and volatile oeuvre aim for?\r\n<\/span>\r\n        <\/blockquote>\r\n        <style type=\"text\/css\">\r\n            #chapo-block_6256d789bb01a {\r\n                background: ;\r\n                color: ;\r\n            }\r\n        <\/style>\r\n    <\/div>\r\n    \n\n\n<p>In his 1968 work <em>Languages of Art: An Approach to a Theory of Symbols<\/em>, American philosopher Nelson Goodman approaches artworks as symbols with specific functions and distinguishes between \u201cautographic arts\u201d (paintings, sculptures) which result in unique creations, and \u201callographic arts\u201d (music or dramatic art) which can engender multiple works and which are constructed according to a precise written notation. Specifically, he argues: \u201cOne notable difference between painting and music is that the composer\u2019s work is done when he has written the score, even though the performances are the end-products, while the painter has to finish the picture. No matter how many studies or revisions are made in either case, painting is in this sense a one-stage and music a two-stage art.\u201d<br>Like a piece of music, a perfume is not a unique, non-reproducible object; on the contrary, it is intended to be reproduced. Consequently, it conforms to the allographic system of two-stage arts.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>The art of formula<\/strong> <\/h2>\n\n\n\n<p>The term <em>allographic <\/em>is derived from Greek: it is composed of the prefix <em>allo <\/em>(from <em>allos<\/em>, meaning other) and the root of the verb <em>graphein <\/em>(to write). Therefore, it is the opposite of the term <em>autographic<\/em>, which relates to painting, sculpture, and to all disciplines where art-works are produced by the artist directly, as a one-off original. In the allographic arts, a written document that is not the piece itself acts as an intermediary \u2013 the identity of the piece being guaranteed, provided that this notation is meticulously reproduced. According to Nelson Goodman, every copy resulting from the nota- tion will be recognised as an accurate copy. In music, this notation is sheet music, in theatre it is text, in architecture it is drawing, and in perfume it is the <em>formulae<\/em>. Because, yes, a perfume is born out of a formula, the intermediary document between the perfumer\u2019s concept, his mental image and the physical creation. The formula, as the exhaustive list of a perfume\u2019s components, reminds us how close perfumery is to pharmacy. Like a musical score, it gives instructions, but does not offer a method of execution, per se, like a recipe does. A formula only lists the ingredients and their proportions. Where natural ingredients are used, it will also give their quality (absolute or essence) and their origin (vetiver from Haiti or Java, for example).<br>Originally, perfume was made by following a recipe which, in addition to the required ingredients, gave a method for preparing them before incorporating them into the fragrant composition. The famous 17th-century Parisian perfumer Simon Barbe included such recipes in his manual, <em>Le Parfumeur Royal<\/em> (1699), written for those in the perfume trade. The terms \u201cbring to a boil\u201d and \u201cleave to infuse\u201d appear numerous times. The perfumer is also given instructions for doing his own distillation. For example, for <em>L\u2019Eau de Gerofle <\/em>(in current French \u201c<em>girofle<\/em>\u201d, meaning clove), otherwise called <em>L\u2019Eau d\u2019\u0152illet<\/em> (as in carnation water), the instructions are: \u201cGrind four ounces of cloves in the mortar and let them infuse in four pints of warm water for three or four hours in the still in the refrigeratory. Then put it on the furnace, supplying fresh water to the refrigeratory; the water which comes from it will have a sweetened odour that is more like carnation than cloves. This is the way of making carnation water because the carnation itself cannot produce good quality water.\u201d According to a French historian specialised in perfumery, Eug\u00e9nie Briot, \u201cit was at the end of the 19th century that recipes became formulas, when perfumers had access to raw materials to mix directly with the alcoholic mixture\u201d. There was therefore no need to tell the perfumer how to obtain the oil from a plant because materials came ready for use.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Identity and notation<\/strong><\/h2>\n\n\n\n<p>The more precise a recipe becomes, filling in the gaps and turning into more of a formula, the less scope there is for interpretation in the execution of that formula. Therefore, the notation completely governs the identity of the perfume. And from a theoretical point of view, any deviation from this formula should give a different product, whether this amounts to a single ingredient being substituted (toxicological or environmental conditions allowing) or the perfume as a whole being copied through guessing with the nose. It is a \u201cTheseus\u2019s ship\u201d debate. Is a ship that has had all its components replaced, piece by piece while maintaining the same general structure, still the same ship? Here the Goodmanian purist comes up against the gestaltist theorist, whose focus is not on the meticulous execution of the notation, but on the form taken as a whole. This stance is defended by Edmond Roudnitska in<em> L\u2019Intimit\u00e9 du parfum <\/em>(The intimacy of perfume) co-written in 1974 with Odile Mor\u00e9no and Ren\u00e9 Bourdon: \u201cOur formulas cannot be disclosed. But women would not be any better informed even if the formula was clearly written down. For if I tell you all the components of my perfume, I still have not told you anything about its form. No more than if I describe a sonata by saying that it is composed of do re mi fa sol la si [&#8230;] What matters is the arrangement of all these components.\u201d We switch to a perception aesthetic that does not favour production rules (the accuracy of the formula), but rather the end result, including the cognitive and emotional mechanisms at play in the reception of the perfume. We fix our perspective on recognising an entity \u2013 a form of perception \u2013 just as when we are put on hold on the phone, we might recognise the music as <em>The Four Seasons,<\/em> even if a note is wrong and the tempo has been altered.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>A system of secrecy<\/strong><\/h2>\n\n\n\n<p>There are two ways to reproduce a perfume: the first is to replicate the formula (a correct copy); the second, in the absence of a formula, consists of reproducing what you can smell (here, you have to use guesswork). In order to protect the fragrance, given that it is difficult to avoid the guesswork approach, the perfumery profession opted to keep formulae secret so as not to make copying easier. Perfumes were, for a long time, associated with apothecaries\u2019 remedies because they shared the same botanical roots. But at the beginning of the 19th century, the distinction was made clear. \u201cOn August 18th 1810, an imperial decree formalised the separation of perfumery and pharmacy,\u201d notes Annick Le Gu\u00e9rer, a French anthropologist and historian specialised in the history of perfume, in her 2005 book <em>Le Parfum : des origines \u00e0 nos jours<\/em> (Perfume: from its origins to the modern day). In order to protect consumers from charlatans, Napoleon ordered apothecaries to reveal their formulae, whereas perfumers were not obliged to do so. From then on, a fragrance whose formula was kept secret could not be sold for its healing powers (nor could the seller incite people to drink it). After the therapeutic era, we enter the cosmetic era, where the formula remains the exclusive property of the perfumer. Today, the model has evolved somewhat, because of the shift to an industrial scale. Apart from rare cases where brands have an in-house perfumer (Chanel, Cartier and Herm\u00e8s, among others), they use external perfumers who are employees of fragrance companies (such as IFF, Firmenich, Givaudan) to create the perfumes. The formula is never revealed to these brands; it stays in the hands of the fragrance company that sells them the concentrate. It is then the brand which dilutes it with alcohol and bottles it. Once the stock has been used up, the brand will advise the fragrance company of the volume of concentrate required. And even if the perfumer moves to a different fragrance company, it is the original company that continues to produce the concentrate. The perfumer, in a way, relinquishes ownership of their formula to the company that employs them.<br>However, with the improvement of analytical instruments based on gas chromatography techniques in the 1980s, it has become increasingly easy for an experienced perfumer to determine the composition of a perfume and therefore to imitate it. In this case, since perfume is not protected by copyright, commercial laws command.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>The reproduction business<\/strong><\/h2>\n\n\n\n<p>There exists a wide range of perfume reproductions from the souk where the customer knowingly buys an imitation of the product without a packaging, to more sophisticated copies, sold on the market under other names and other brands. In the absence of copy- right, a case against the latter may be brought to court on the principle of unfair competition, or even parasitism, and would be dealt with in the commercial court.<br>Famous cases include the Thierry Mugler lawsuit against Molinard. On September 24th 1999, the Paris Commercial Court recognised the originality of the perfume <em>Angel<\/em>, and also the parasitism and unfair competition perpetrated by Molinard through their marketing of <em>Nirmala <\/em>(a perfume originally created in 1955 but later reformulated). A group of 1,000 consumers was tasked with judging the conformity between the two perfumes, and the vast majority could not identify any differentiating details. This affinity was highly damaging for the defence given that, as Egon Peter K\u00f6ster, a Dutch psychologist specialised in olfactory research, points out in his 2002 essay <em>The Specific Characteristics of the Sense of Smell<\/em>, olfaction can detect differences more easily than it can identify common elements. Yet in general, counterfeiting is assessed on the basis of similarities,not differences. In this case, since the differences in the products were imperceptible, the scents were considered to be identical, and <em>Nirmala <\/em>was judged to be a replica of <em>Angel<\/em>. Following the ruling, Molinard was forced to modify its formula. Prosecutions of this kind are nonetheless very unusual and many cases do not even make it to court<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Same name, different scents<\/strong><\/h2>\n\n\n\n<p>In an article published in 2011 in French daily<em> Le Monde<\/em>, journalist Nicole Vulser revealed that, following the appointment of an in-house perfumer at LVMH and subsequent reformulations, the authorship of a number of the group\u2019s leading perfumes could no longer be claimed by the fragrance companies who originally created them. While the general forms of the perfumes had been preserved, so as not to disconcert the consumer, they no longer conformed precisely to the original formula. By way of proof, \u2018captive\u2019 molecules \u2013 the compounds reserved for the exclusive use of the fragrance companies which created them and which act as true hallmarks \u2013 were not present in certain perfumes. But in this case, without legal proceedings, taking on an industry giant is, commercially speaking, like shooting yourself in the foot. Because perfumery has long relied upon the principle of the \u2018gentleman\u2019s agreement\u2019, which favours commercial interest over legal scrutiny, compromise is preferable to publicity.<br>As a result, different perfumes have been marketed under the same name. This demonstrates that, ultimately, a perfume is not simply an olfactory substance. It also comprises the bottle, the packaging and above all the name, the continuity of which guarantees the identity of the work and promotes a favourable reception for the perfume. It is in fact the diversity of materials (olfactory, semantic and visual) that makes a perfume unique.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>A hybrid and heterogeneous art<\/strong><\/h2>\n\n\n\n<p>Perfume, by definition a blend, is both a decorative art, for ornamental use, and a contemplative endeavour. There is, therefore, a distinction between perfume on the blotter \u2013 when being assessed by an expert, for example \u2013 and perfume on the skin, which becomes an intimate part of the wearer. Consequently, diffusion may also be claimed as a third phase in the impression of a perfume. Diffusion cannot occur without a vehicle, but the very nature of that vehicle affects the aesthetic focus. Indeed, different details in a perfume are identified depending on whether one is sniffing a blotter or smelling the sillage of someone one meets. In one instance, one can perceive the progression and note the different ingredients; in the other, one perceives a general impression. Without going back over the distinction between major art and minor art (an ever-changing boundary previously discussed in <em>Majeur ou mineur ? Les hi\u00e9rarchies en art<\/em>, a collection of essays edited by French art historian Georges Roque who identifies the academic arts as \u201cmajor\u201d and the so-called impure arts \u2013 industrial, decorative, folkloric \u2013 as \u201cminor\u201d), perfume is by nature a mixed-up art. While it is by no means the only art in which commercial and aesthetic concerns compete with one another, it is also a hybrid art and does not aim to stimulate only one sense. It seems imperative that we highlight this heterogeneity instead of suppressing it and focussing only on smell.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Essentialism vs pragmatism<\/strong><\/h2>\n\n\n\n<p>There are two possible approaches to aesthetics: on the one hand, an essentialist approach which seeks to define criteria for art forms and conditions for the production of an artwork within that domain (an approach that relates to judging whether a piece is or is not \u2018art\u2019); onthe other, a pragmatic approach which sets conditions for the completed artwork, that is to say, it states that an object functions as a work of art (provided that&#8230;). In the field of perfume, the essentialist approach has been extensively trialled, given the need to be compared to other art forms. This recalls the criteria proposed by Edmond Roudnitska, according to the works of French philosopher specialised in aesthetics \u00c9tienne Souriau, in his 1977 book <em>L\u2019Esth\u00e9tique en question : introduction \u00e0 une esth\u00e9tique de l\u2019odorat<\/em> (Aesthetics in question: an introduction to the aesthetics of smell). Perfume is considered an art if it can be proven to fulfil the following conditions: (1) that it produces stimuli for a specific sense; (2) that it presents a set of elements (<em>qualia<\/em>) that are combined and ordered (as a range or a palette); (3) that it can demonstrate the existence of production methods that allow for the creation of artworks (single or multiple) while guaranteeing their identity; (4) that it establishes an educational system to inform both creators and the public; finally, (5) that it constitutes, through its artwork, a recognised means of expression for the creators.<br>Although criteria 4 and 5 were difficult to fulfil for a long time, today everything is done to satisfy them, particularly with the advent of storytelling around perfumes and specialist media, and the publicity around perfumers and their creative approach. In a similar vein, there is the work of the \u201cColis\u00e9e group\u201d of perfumers (Blayn, Bourdon, Haasser, Delville, Latty, Maurin, Morillas, Preyssas, Roucel, Sebag, Vuillemin) detailed in their 1988 essay<em> Questions de parfumerie. Essais sur l\u2019art et la cr\u00e9ation en parfumerie<\/em> (Questions of perfumery: essays on art and creation in perfumery) which defines the specificities of perfume as an artistic medium of representation. While they are necessary and contribute to the reputation of olfactory creation, these perspectives are still somewhat rigid. The pragmatic approach modifies the acceptance or rejection of the \u201cart\u201d label, arguing that, like a Rembrandt used to cover a hole in the wall (to use Nelson Goodman\u2019s example), a perfume used simply as a deodorizer, however refined and nuanced it may be, can never fulfil the conditions necessary for it to become an aesthetic experience. This experience is largely born out of the attention paid to a perfume, taken for what it is, and in the articulation of the encounter. In order for perfume to break away from its ancillary aspect it must be given a frame \u2013 which, for want of a visual one, is that of a focus of attention. It does not necessarily require a museological setting, rather a rigorous welcome, a conscious openness to olfactory reception.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>This article was originally published in <\/em><a href=\"https:\/\/shop.bynez.com\/boutique\/nez-the-olfactory-magazine\/nez-the-olfactory-magazine-04-art-and-perfume\/\"><em>Nez, the Olfactory Magazine #04<\/em><\/a><\/strong><\/p>\n\n\n\n<p class=\"has-small-font-size\">Main image : Vassily Kandinsky, <em>Mit dem schwarzen Bogen (Avec l&#8217;arc noir)<\/em>, oil on canvas, 1912, Centre Pompidou<\/p>\n","protected":false},"excerpt":{"rendered":"<p>On the occasion of the World Art Day on the 15th of April 2022, Nez invites you to (re)discover an article about the question of perfume as an intellectual property, initially published in Nez, the Olfactory Magazine #04.<\/p>\n","protected":false},"author":3147,"featured_media":30607,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"pmpro_default_level":"","footnotes":""},"categories":[1417,1415],"tags":[817,1006,4764,4865,4866,4868,4869,4870,4871,4867,4864,684,4872,4873],"coauthors":[1157],"class_list":["post-30634","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-en","category-olfactory-culture","tag-annick-le-guerer-en","tag-cartier-en","tag-chanel","tag-egon-peter-koster-en","tag-etienne-souriau-en","tag-georges-roque-en","tag-hermes","tag-molinard-en","tag-nelson-goodman-en","tag-non-classifiee-en-7","tag-non-classifiee-en-6","tag-olfactory-art","tag-simon-barbe-en","tag-thierry-mugler","pmpro-has-access"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Perfume, a mixed (up) art - Nez the olfactory cultural movement<\/title>\n<meta name=\"description\" content=\"On the occasion of the World Art Day on the 15th of April 2022, Nez invites you to (re)discover an article about the question of perfume as an intellectual property, initially published in Nez, the Olfactory Magazine #04.\" \/>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Perfume, a mixed (up) art - Nez the olfactory cultural movement\" \/>\n<meta property=\"og:description\" content=\"On the occasion of the World Art Day on the 15th of April 2022, Nez invites you to (re)discover an article about the question of perfume as an intellectual property, initially published in Nez, the Olfactory Magazine #04.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/\" \/>\n<meta property=\"og:site_name\" content=\"Nez\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/nezlarevue\" \/>\n<meta property=\"article:published_time\" content=\"2022-04-17T15:25:11+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-04-22T06:35:51+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/mag.komk.fr\/wp-content\/uploads\/2022\/04\/Avec-larc-noir.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"630\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Delphine de Swardt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Delphine de Swardt\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/\"},\"author\":{\"name\":\"Delphine de Swardt\",\"@id\":\"https:\/\/mag.komk.fr\/en\/#\/schema\/person\/8011fb6c4f1b92cb6373c5fd9c1f7520\"},\"headline\":\"Perfume, a mixed (up) art\",\"datePublished\":\"2022-04-17T15:25:11+00:00\",\"dateModified\":\"2022-04-22T06:35:51+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/\"},\"wordCount\":2615,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/mag.komk.fr\/en\/#organization\"},\"image\":{\"@id\":\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/mag.komk.fr\/wp-content\/uploads\/2022\/04\/Avec-larc-noir.jpg\",\"keywords\":[\"Annick Le Gu\u00e9rer\",\"Cartier\",\"Chanel\",\"Egon Peter K\u00f6ster\",\"\u00c9tienne Souriau\",\"Georges Roque\",\"Herm\u00e8s\",\"Molinard\",\"Nelson Goodman\",\"Non classifi\u00e9(e)\",\"Non classifi\u00e9(e)\",\"Olfactory art\",\"Simon Barbe\",\"Thierry Mugler\"],\"articleSection\":[\"Art\",\"Olfactory Culture\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/\",\"url\":\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/\",\"name\":\"Perfume, a mixed (up) art - Nez the olfactory cultural movement\",\"isPartOf\":{\"@id\":\"https:\/\/mag.komk.fr\/en\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/mag.komk.fr\/wp-content\/uploads\/2022\/04\/Avec-larc-noir.jpg\",\"datePublished\":\"2022-04-17T15:25:11+00:00\",\"dateModified\":\"2022-04-22T06:35:51+00:00\",\"description\":\"On the occasion of the World Art Day on the 15th of April 2022, Nez invites you to (re)discover an article about the question of perfume as an intellectual property, initially published in Nez, the Olfactory Magazine #04.\",\"breadcrumb\":{\"@id\":\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#primaryimage\",\"url\":\"https:\/\/mag.komk.fr\/wp-content\/uploads\/2022\/04\/Avec-larc-noir.jpg\",\"contentUrl\":\"https:\/\/mag.komk.fr\/wp-content\/uploads\/2022\/04\/Avec-larc-noir.jpg\",\"width\":1200,\"height\":630},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/mag.komk.fr\/en\/home\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Perfume, a mixed (up) art\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/mag.komk.fr\/en\/#website\",\"url\":\"https:\/\/mag.komk.fr\/en\/\",\"name\":\"Nez, le mouvement culturel olfactif\",\"description\":\"the olfactory cultural movement\",\"publisher\":{\"@id\":\"https:\/\/mag.komk.fr\/en\/#organization\"},\"alternateName\":\"Nez\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/mag.komk.fr\/en\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/mag.komk.fr\/en\/#organization\",\"name\":\"Nez\",\"url\":\"https:\/\/mag.komk.fr\/en\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/mag.komk.fr\/en\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/mag.komk.fr\/wp-content\/uploads\/2023\/03\/cropped-Nez_le_mouvement_culturel_olfactif.png\",\"contentUrl\":\"https:\/\/mag.komk.fr\/wp-content\/uploads\/2023\/03\/cropped-Nez_le_mouvement_culturel_olfactif.png\",\"width\":1000,\"height\":265,\"caption\":\"Nez\"},\"image\":{\"@id\":\"https:\/\/mag.komk.fr\/en\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/nezlarevue\",\"https:\/\/www.instagram.com\/nezlarevue\/\",\"https:\/\/www.linkedin.com\/company\/nez-lebureauolfactif\/\",\"https:\/\/www.youtube.com\/channel\/UCw3QQd_kVkhcJ4ZSRSJ2O3Q\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/mag.komk.fr\/en\/#\/schema\/person\/8011fb6c4f1b92cb6373c5fd9c1f7520\",\"name\":\"Delphine de Swardt\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/mag.komk.fr\/en\/#\/schema\/person\/image\/af8548a7e954efe452776f5e9aca7eb8\",\"url\":\"https:\/\/mag.komk.fr\/wp-content\/uploads\/2020\/06\/delphine-de-swardt-150x150.jpg\",\"contentUrl\":\"https:\/\/mag.komk.fr\/wp-content\/uploads\/2020\/06\/delphine-de-swardt-150x150.jpg\",\"caption\":\"Delphine de Swardt\"},\"description\":\"Sp\u00e9cialiste des mots et des histoires du parfum, Delphine de Swardt est docteur en communication et une contributrice r\u00e9guli\u00e8re de la revue Nez. Elle a notamment dirig\u00e9 l'ouvrage \\\"We love fragrances\\\" publi\u00e9 aux \u00e9ditions Nez, en partenariat avec l'IFRA. Photo : El\u00e9onore de Bonneval\",\"url\":\"https:\/\/mag.komk.fr\/en\/author\/ddeswardt\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Perfume, a mixed (up) art - Nez the olfactory cultural movement","description":"On the occasion of the World Art Day on the 15th of April 2022, Nez invites you to (re)discover an article about the question of perfume as an intellectual property, initially published in Nez, the Olfactory Magazine #04.","robots":{"index":"noindex","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"og_locale":"en_US","og_type":"article","og_title":"Perfume, a mixed (up) art - Nez the olfactory cultural movement","og_description":"On the occasion of the World Art Day on the 15th of April 2022, Nez invites you to (re)discover an article about the question of perfume as an intellectual property, initially published in Nez, the Olfactory Magazine #04.","og_url":"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/","og_site_name":"Nez","article_publisher":"https:\/\/www.facebook.com\/nezlarevue","article_published_time":"2022-04-17T15:25:11+00:00","article_modified_time":"2022-04-22T06:35:51+00:00","og_image":[{"width":1200,"height":630,"url":"https:\/\/mag.komk.fr\/wp-content\/uploads\/2022\/04\/Avec-larc-noir.jpg","type":"image\/jpeg"}],"author":"Delphine de Swardt","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Delphine de Swardt","Est. reading time":"14 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#article","isPartOf":{"@id":"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/"},"author":{"name":"Delphine de Swardt","@id":"https:\/\/mag.komk.fr\/en\/#\/schema\/person\/8011fb6c4f1b92cb6373c5fd9c1f7520"},"headline":"Perfume, a mixed (up) art","datePublished":"2022-04-17T15:25:11+00:00","dateModified":"2022-04-22T06:35:51+00:00","mainEntityOfPage":{"@id":"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/"},"wordCount":2615,"commentCount":0,"publisher":{"@id":"https:\/\/mag.komk.fr\/en\/#organization"},"image":{"@id":"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#primaryimage"},"thumbnailUrl":"https:\/\/mag.komk.fr\/wp-content\/uploads\/2022\/04\/Avec-larc-noir.jpg","keywords":["Annick Le Gu\u00e9rer","Cartier","Chanel","Egon Peter K\u00f6ster","\u00c9tienne Souriau","Georges Roque","Herm\u00e8s","Molinard","Nelson Goodman","Non classifi\u00e9(e)","Non classifi\u00e9(e)","Olfactory art","Simon Barbe","Thierry Mugler"],"articleSection":["Art","Olfactory Culture"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/","url":"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/","name":"Perfume, a mixed (up) art - Nez the olfactory cultural movement","isPartOf":{"@id":"https:\/\/mag.komk.fr\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#primaryimage"},"image":{"@id":"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#primaryimage"},"thumbnailUrl":"https:\/\/mag.komk.fr\/wp-content\/uploads\/2022\/04\/Avec-larc-noir.jpg","datePublished":"2022-04-17T15:25:11+00:00","dateModified":"2022-04-22T06:35:51+00:00","description":"On the occasion of the World Art Day on the 15th of April 2022, Nez invites you to (re)discover an article about the question of perfume as an intellectual property, initially published in Nez, the Olfactory Magazine #04.","breadcrumb":{"@id":"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#primaryimage","url":"https:\/\/mag.komk.fr\/wp-content\/uploads\/2022\/04\/Avec-larc-noir.jpg","contentUrl":"https:\/\/mag.komk.fr\/wp-content\/uploads\/2022\/04\/Avec-larc-noir.jpg","width":1200,"height":630},{"@type":"BreadcrumbList","@id":"https:\/\/mag.komk.fr\/en\/art-en\/perfume-a-mixed-up-art\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/mag.komk.fr\/en\/home\/"},{"@type":"ListItem","position":2,"name":"Perfume, a mixed (up) art"}]},{"@type":"WebSite","@id":"https:\/\/mag.komk.fr\/en\/#website","url":"https:\/\/mag.komk.fr\/en\/","name":"Nez, le mouvement culturel olfactif","description":"the olfactory cultural movement","publisher":{"@id":"https:\/\/mag.komk.fr\/en\/#organization"},"alternateName":"Nez","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/mag.komk.fr\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/mag.komk.fr\/en\/#organization","name":"Nez","url":"https:\/\/mag.komk.fr\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/mag.komk.fr\/en\/#\/schema\/logo\/image\/","url":"https:\/\/mag.komk.fr\/wp-content\/uploads\/2023\/03\/cropped-Nez_le_mouvement_culturel_olfactif.png","contentUrl":"https:\/\/mag.komk.fr\/wp-content\/uploads\/2023\/03\/cropped-Nez_le_mouvement_culturel_olfactif.png","width":1000,"height":265,"caption":"Nez"},"image":{"@id":"https:\/\/mag.komk.fr\/en\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/nezlarevue","https:\/\/www.instagram.com\/nezlarevue\/","https:\/\/www.linkedin.com\/company\/nez-lebureauolfactif\/","https:\/\/www.youtube.com\/channel\/UCw3QQd_kVkhcJ4ZSRSJ2O3Q"]},{"@type":"Person","@id":"https:\/\/mag.komk.fr\/en\/#\/schema\/person\/8011fb6c4f1b92cb6373c5fd9c1f7520","name":"Delphine de Swardt","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/mag.komk.fr\/en\/#\/schema\/person\/image\/af8548a7e954efe452776f5e9aca7eb8","url":"https:\/\/mag.komk.fr\/wp-content\/uploads\/2020\/06\/delphine-de-swardt-150x150.jpg","contentUrl":"https:\/\/mag.komk.fr\/wp-content\/uploads\/2020\/06\/delphine-de-swardt-150x150.jpg","caption":"Delphine de Swardt"},"description":"Sp\u00e9cialiste des mots et des histoires du parfum, Delphine de Swardt est docteur en communication et une contributrice r\u00e9guli\u00e8re de la revue Nez. Elle a notamment dirig\u00e9 l'ouvrage \"We love fragrances\" publi\u00e9 aux \u00e9ditions Nez, en partenariat avec l'IFRA. Photo : El\u00e9onore de Bonneval","url":"https:\/\/mag.komk.fr\/en\/author\/ddeswardt\/"}]}},"_links":{"self":[{"href":"https:\/\/mag.komk.fr\/en\/wp-json\/wp\/v2\/posts\/30634","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mag.komk.fr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mag.komk.fr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mag.komk.fr\/en\/wp-json\/wp\/v2\/users\/3147"}],"replies":[{"embeddable":true,"href":"https:\/\/mag.komk.fr\/en\/wp-json\/wp\/v2\/comments?post=30634"}],"version-history":[{"count":0,"href":"https:\/\/mag.komk.fr\/en\/wp-json\/wp\/v2\/posts\/30634\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mag.komk.fr\/en\/wp-json\/wp\/v2\/media\/30607"}],"wp:attachment":[{"href":"https:\/\/mag.komk.fr\/en\/wp-json\/wp\/v2\/media?parent=30634"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mag.komk.fr\/en\/wp-json\/wp\/v2\/categories?post=30634"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mag.komk.fr\/en\/wp-json\/wp\/v2\/tags?post=30634"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/mag.komk.fr\/en\/wp-json\/wp\/v2\/coauthors?post=30634"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}