Anyone visiting a museum where Modernist art can be seen will come across quite a few works by René Lalique. You will possibly see jewelry, but you will surely come across a couple of perfume bottles as well. How can a perfume bottle reach a museum collection and what does it matter what happened at the beginning of the century to understand the role that perfume packaging has today? Lalique started to make perfume bottles when she decided to abandon jewelry production and did so based on very modern ideas. Coty, the French perfumer of the day (and the starting point for one of today’s perfume empires), asked him to create a bottle that was unique and exceptional. The perfumer wanted to differentiate himself from the competition and Lalique created a unique bottle, highly decorated and for which it was not necessary to use cardboard. The name of the perfume was engraved on the stopper Belarus Mobile Database. Perfume and its packaging quickly became popular and, incidentally, the rules of what matters and what not in perfume packaging quickly settled. The brands of the perfume industry, then and now, take outstanding care of the packaging of their products.
The bottle in which the consumer is presented is one more element of the brand strategy and a key issue to connect with the consumer. The bottle quickly tells us what perfume is in front of us, who is behind it and what values can be directly associated with them. For example, all Lolita Lempicka fragrances tend to be in the shape of an apple and tend to play with a certain range of colors. When seen on a perfume store shelf, they are quickly identified as who they are and what to expect among their scent notes. The weight of the container as a brand image creation element is such that brands take care of it not only in a very important way when creating the design but also when producing it. It is true that now there is no Lalique producing jewel bottles for perfume brands, but it is also true that even so, and despite the fact that the production is much more industrial than before, the perfume bottles have a lot of small works of art . After all, as some experts recall, the world of perfumery is one of those in which sometimes the bottle in which the product is sold is more expensive in terms of production than the product itself.
Packaging is a part of the whole industry and a constantly evolving element, one that is used as a key to stand out and as an element to quickly connect with the audience and make them want that perfume. You just have to think about what happens when there are periods of big sales in perfumery: the bottles become more and more complex and more and more ‘twisted’ in order to stand out from the competition. The perfume bottle , like its name, is a key element when creating a strategy to sell a perfume and when you want to connect with the audience. After all, as you recall in an analysis , many perfumes smell quite similar or have similar or the same main olfactory notes. What makes one and the other different, therefore, is the way in which it is sold. What makes one fragrance really different from the other is the bottle in which it arrives.
The language of perfumes and the design of their packaging Perfumes are a complex element and one in which different scent notes are used to create completely different messages. How these notes are combined makes the perfume say one thing or another and transmit certain values, sensations, emotions or ideas. For example, a few years ago there was a great revolution in how we smell when women’s perfumes introduced in a rather massive way olfactory notes that were until that moment associated more with perfumes for men. But the truth is that not only fragrances and their ingredients have a language that they must follow Brother Cell Phone List, but so do their presentations. Perfume packaging and containers follow certain rules that make it much easier to know what perfume is being sold to us and what values are associated with it: the bottle or container is the one that concentrates most of those values and those messages.
You just have to go around a perfumery to see that there are many perfumery references (and many of very short life: many perfumes and many colognes are launched every year that fail to establish themselves in the market) and that brands have to compete hard between them to capture the consumer’s attention. And before you smell the potential perfumes that interest you, the way consumers have to look at one or the other is actually packaging. The perfume bottle has to fight all the other elements to engage the consumer and then let the fragrance do its job. Thus, there are several ‘languages’, so to speak, that perfume bottles have to speak. On the one hand, there is the most basic of indicating to whom that perfume is directed. The colors, fonts and design are different depending on whether or not a perfume is aimed at a male or a female audience. Men’s perfumes tend to try to associate themselves, as experts explain , with values of adventure and risk, which makes them use certain specific colors (blue and silver are the most recurrent) and certain designs in a dominant way.
Their bottles are usually pure and simple. In front of them, feminine perfumes tend to sell sensuality and it is usually emphasized that they will be especially fragrant, hence the perfumes that have floral motifs in their design are quite common. One only has to think, for example, of Daisy, one of Marc Jacobs’ perfumes. The pot is actually a margarita. The bottles have rounded shapes and pastel colors are used to suggest softness or golds to combine perfume and jewelry. The packaging also communicates different values But it is not just manufacturers who have to play the card of the women’s perfume / men’s perfume difference, as the perfume market has many more differences and separations that consumers expect and that have to be quickly identified by the bottle. Perfumes reach different audiences, differ by age (who has not been somewhat shocked when some Christmas they have been given a ‘grandmother’s cologne’?) And seek to offer value structures that have little or nothing to do with with others.
In fact, colors and shapes change rapidly when the demographic for which the perfume is intended changes. When they are for young people, the designs are much more “aggressive” and they play more with elements such as how the light will modify the way the design is perceived. That does not happen with the most classic perfumes. You only have to see the way in which the packaging of a perfume is described when it is presented to the public and the media. First of all, and unlike other industries, packaging is an incredibly important part of product presentations: press releases talk and talk about bottle design and what it entails (and always in terms closely linked to emotions). Second, the perfume bottle becomes part of the storytelling and is used to reaffirm a value or tell a story. And finally, the bottle makes the very process of applying perfume mean more. The bottle has a layer of added values.
When Beyoncé launched her first perfume, for example, the bottle had to suggest the image of the singer on stage, capturing the values that were supposed to be associated with it (as pointed out in the news that covered it: strength, glamor, shine) and generating a kind of illusion that you were on that stage. A selection with creative designs, beyond the traditional As a culmination, we have scoured the industry to select from hundreds of fragrances and perfumes, those whose design moves away from the traditional to innovate with extremely innovative and creative forms and proposals. Fragrances and perfumes whose packaging has been designed to captivate the consumer through its forms, beyond its smell and aroma.
