Can you predict how a fragrance will be received? On the day dedicated to perfume, three distinguished guests shared key insights into the workings of olfactory creativity.

What determines the success of a perfume? Can you tell, from the moment of its launch, how the public will receive it? These questions were at the heart of a compelling discussion held in the frescoed halls of Istituto Marangoni Milano on International Fragrances Day, bringing together Eugénie Briot, Manager of the History and Transmission project at the niche fragrance house Givaudan, perfumer Gaël Montero, also from Givaudan, and Gianluca Toniolo, President of Accademia del Profumo. 

Looking at the great successes that have shaped the history of perfumery, one element stands out: each reflects, in its own way, the era in which it was created. Just think of Opium, launched in 1977, J’adore in 1999, or La Vie est Belle in 2012 - three different perfumes, three distinct worlds, yet all united by their ability to resonate deeply with the social and cultural mood of their time.

“If you look at the great successes in perfumery,” explains Eugénie Briot, “there is always a strong resonance with the spirit of the time. Opium was an invitation to pleasure despite obstacles, at a time when women’s lives were still closely tied to duty. It also reflected an openness to the exotic world that Yves Saint Laurent had begun exploring through fashion. J’adore embodied the promise of a new golden age at the dawn of the new millennium. La Vie est Belle, on the other hand, encouraged people to stay true to themselves and live life to the fullest, with a positive, optimistic message - a promise of happiness.”

In all these cases, perfume is not just an olfactory composition. It is an interpretation of an era and its aspirations, even those that are still latent but already in the air. “The most successful perfumes,” she continues, “bring to market a universal idea that is at the same time strong and coherent: a response to the aspirations of a generation, expressed through a distinctive olfactory signature". 

However, creating a perfume often means working well ahead of the present. Between conception and launch, two to three years may pass. In a context where trends change rapidly, anticipating public taste is a complex challenge. According to Eugénie Briot, the key lies in distinguishing what is fleeting from what is structural. “To navigate this time gap, it is essential to focus on deep trends rather than fads. Some perfumes are created in response to a current trend - the success of a film, for example - but they often fail to achieve lasting impact. They reach the market too late or with a concept that does not truly belong to the brand.”

The secret, in short, lies elsewhere. “You need to find a balance between the deep aspirations of a generation and current trends. A perfume destined to last must carry a message that resonates for years, sometimes decades. It is no coincidence that, almost half a century after its launch, the universe of Opium still lives on through contemporary interpretations such as Black Opium. And if we consider that Chanel No. 5 (created in 1921) is still among the best-selling perfumes in the world, we begin to understand just how decisive quality, consistency, and the ability to build a universal olfactory language truly are.”

If the concept originates from a cultural vision, the perfumer’s task is to transform it into a sensory experience. “From an olfactory point of view,” says Gaël Montero, “my role is exactly this: to translate an idea into scent.”

At this stage, balance is everything. “You need to take current trends into account, but at the same time stay rooted in deeper aspirations, which I try to express through olfactory emotion. And of course, there is the brand’s identity, which is something more enduring, almost timeless.”

In this process, some elements may tap into an emerging trend, perhaps to create immediate appeal, but the heart of the perfume must remain aligned with the brand’s universe. “In the luxury and prestige market,” Montero emphasises, “concept and storytelling are fundamental. The perfume must be consistent with this narrative. Consumers do not simply buy an olfactory note or an ingredient, such as pistachio, which is hugely fashionable right now. They buy the idea of indulgence, of pleasure. It goes beyond the trend: it is an experience". 

Today, a new player has entered the creative process: artificial intelligence. As in many other sectors, perfumery is beginning to integrate it at various stages of development - though its role, according to the perfumer, is often misunderstood. “AI is based on data, on shared knowledge. It can be a very useful tool for integrating technical or physical information and supporting perfumers in specific aspects of fragrance creation.” In other words, it helps organise, analyse, and predict - but not create. When it comes to composing a fragrance that endures, something more complex comes into play. “A successful perfume must have a signature,” Montero continues. “And a signature means capturing the spirit of the brand while also offering something that doesn’t yet exist on the market." This is where the limits of artificial intelligence become clear. “To last, a perfume must bring something new. AI is not very good at imagining what has never been seen, heard, or even ‘smelled’ before. A creative human mind, on the other hand, loves to try.”

For future beauty managers studying at Istituto Marangoni Milano, whether at undergraduate or master’s level, this means learning early to read a brand’s heritage and identify the signals running through society. It is a path that includes lessons in marketing and history, as well as the ability to project forward, skills the school nurtures through direct engagement with professionals and a teaching approach that helps students navigate today’s dynamic landscape.