At the intersection of artistry, ethics, and global community, the Institute for Art and Olfaction has helped redefine what recognition looks like in independent perfumery. Since its inception, the Art and Olfaction Awards has become one of the most respected platforms for artisan and independent fragrance creators worldwide – celebrated not only for its rigorous blind judging process, but for fostering a sense of belonging within a rapidly evolving industry.

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In this conversation with BlackPerfumers.com, the Institute of Art and Olfaction’s founder, Saskia Wilson-Brown, reflects on the humble, slightly chaotic beginnings of the Awards, the growing global movement surrounding independent fragrance, and the importance of protecting artistic integrity in an increasingly commercial landscape. From expanding access and representation to imagining future fragrance ecosystems, this interview offers an intimate look at how the Awards have evolved from an experimental gathering into a globally influential cultural touchpoint – while still holding onto the spirit of joy, curiosity, and community that sparked it all.

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Looking back to the first edition, what did you envision the Awards becoming—and how has that vision shifted or expanded over the years?

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First of all, Elle, I am so happy to be in this conversation with you. I have a huge amount of admiration for what you are doing, and appreciate the chance to explain the thinking behind the Art and Olfaction Awards a bit, with you.

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So, to your question, the first edition of the awards felt like a bit of a test. It was small and a bit goofy (we gave everyone noise machines so when we announced the winners they could make an unholy racket, and my friend Tom Green was on stage with us on a drum kit, doing a drum roll before the winners were announced). But, what I was hoping to figure out was if the awards could have value for people. The perfume space is highly competitive already, so I was curious if an award mechanism would be helpful for the community, or if it would in fact be hurtful (competitive mechanisms imply a lot of rejection).

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What I found after the first edition of the awards was that the independent and artisan perfume community wanted another place to gather. The mechanism of judging and awarding is what it is, but what I really appreciated about the first event was the potential for the community to connect in person. There were already spaces for that, of course: The Artisan Fragrance Salon in San Francisco, for instance, and of course the Fragrance Foundation and their Awards. Both organizations do amazing work, so I was keen to create a space that complemented their efforts, with another perspective and with respect.

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Over the years, the awards have grown into something I wouldn’t have expected that first year. The team behind the awards is very close-knit and we love each other very much. We are also, importantly, very committed to facilitating fairness and inclusivity, while also being kind and having fun. With that said, the awards, as a mechanism, has evolved into something quite serious. This is of course very gratifying, because the team works very hard to ensure the awards mechanism is as impartial and as objective as possible (within the context of the very subjective experience of smelling). At the same time, I sometimes miss the early days where no one took it very seriously and everyone was a bit goofy, and I try to keep that lightness of spirit around the awards as much as I can. So, I guess the short answer is that the vision hasn’t changed, but the impact has.

 

How has the Awards program evolved in terms of submissions, community engagement, and global reach since its inception?

 

Oh man… This is where the evolution of the awards is most stark. We don’t share hard numbers because we feel that if, say, there’s a lower submission year, there is a chance that the winners’ achievement might be contextualized in a negative way (e.g., “they won, but only because the competition wasn’t tough that year”). We try to protect the finalists and winners from those kinds of comments because, truthfully, excellent work is excellent whether or not the competition is stiff.

 

Having said that, the submission numbers are growing very steadily and at quite an astounding rate. We keep adapting our mechanisms to match those numbers, ensuring each and every submission gets a fair shake by adding more and more judges, and, also, extra rounds of judging.

 

As for the global reach, the awards were global from the very first year: We had submissions from 15 countries that first year, including the UAE, Russia, Singapore, and more. This year, we had submissions from 48 countries, representing every continent (except Antarctica!). What I notice is that the reach expands yearly, and then, some years, there’s a sudden influx of submissions from one place. Lo and behold, when I look into what’s going on in that region, more often than not there’s something like a new perfume school opening, training new independent perfumers. Or, there’s one person who is trailblazing in the region, and folks are seeing a path for their own practices. It’s kind of cool, because we get to witness first-hand the development and proliferation of artisan and independent perfumery around the world. Some places are still not adequately represented, however, and that’s something we look forward to seeing shift, as training expands and more indie perfumers start brands.

 

We’re seeing more awards and recognition platforms emerging for independent perfumers. How do you view this growing ecosystem, and what does it signal about the industry?

 

Yeah… It’s honestly interesting to watch, and I am curious to see how it develops. We were by no means the first to have an award mechanism, and I’m so glad that we won’t be the last. I think we have our place in it, and I’m proud of what I think is a very thorough and thoughtful judging mechanism. I also am gratified to see that sort of commitment to fairness (blind judging, multiple phase judging, etc.) being reflected in the newer endeavors that are popping up. This is all good for the community. In the film industry, which I worked in for a time, filmmakers have multiple film festivals to submit to, meaning that there is a home for every movie. I’d love to see that sort of heterogeneity happening in perfumery as well. 

 

To that end, what I am still not seeing much evidence of is geographical diversity. I would really love to see support structures like the Art and Olfaction Awards proliferate in regions outside of Europe and North America. What about a pan-African perfume award? There are enough perfumes to support it, and that community would only grow. Or an award mechanism based in China, which is experiencing an explosion of indie perfumery right now. How cool would that be?

 

In your opinion, what distinguishes truly independent fragrance work today, especially as the category gains more visibility and commercial attention?

 

You know, Elle, we’ve spent so much time trying to define and understand what artisan perfumery is, and independent perfumery. We have very clear definitions for the sake of the Art and Olfaction Awards, which can be reviewed on our website.

 

For the awards (and for me, personally), we distinguish independent perfumer from mainstream perfumery in the simplest way possible: “the company producing the perfume must be either privately-owned, or owned by another privately-owned company with five or less fine fragrance holdings in its brand portfolio.”

 

That’s an easy enough definition, and intentionally so. When you start trying to define what qualifies something as independent by qualitative parameters (e.g., “it feels indie”, or “it smells niche”, or “it was an indie spirit”), you get into trouble because, for one, no five people will agree on what “niche” or “indie” mean, exactly, and, for two, something that “smells niche” can in fact be produced and released by a massive company like Estee Lauder or Coty. It’s sort of like how the big Hollywood studios used to have arthouse divisions. They’re rarer but they certainly exist.

 

It's extremely tricky, in other words, to define these things. So, we stick to the most quantitative factors we can. For the rest, the judges, and the community, will decide.

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What challenges and opportunities do independent perfumers still face, even as the category becomes more celebrated?

 

Easy answer: Being found. Having their visions discovered and smelled by new people. It’s the same challenges all artists face, right now, and all small businesses. Just being seen means having to game the algorithm in some clever way, and at this stage it’s almost impossible—or at least it feels that way to me. And yet, somehow, people work it out.

 

I have massive respect for independent perfumers. They have a vision, make (or commission) the perfumes that complement that vision, figure out all the branding and bottling and distribution, and, on top of all that, find their path through an endless amount of internet clutter. It requires a very high level of astuteness.

 

How has the Awards shaped the mission or direction of the Institute for Art and Olfaction over time?

 

The mission has remained totally consistent. Somehow, we’ve managed to maintain the IAO’s organizational independence, and our commitment to furthering experimentation and access in the field of perfumery and olfactory art. I guess the awards have become another way to do just that, in that they further public awareness of indie practices, which creates more demand for indie practices, which creates more opportunity for indie practices? I don’t know.

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What are you most proud of when you reflect on the community that has formed around the Awards?

 

10000% what I am most proud of is the diversity of voices that the awards have made space for. This goes beyond cultural diversity, which in itself is hugely important, and extends into a diversity of thinking. I love that.

 

I am also incredibly proud of the cohort of judges, who are the lifeblood of the awards. Their impartiality and sense of ethics allow for the very diversity of thinking that the awards are built on.

 

But what I am most proud of, if I’m honest, is the team we have assembled at the Institute for Art and Olfaction. We love each other, and we love the work, and I think that’s reflected in how we interact in the world. Peace and joy start at home.

 

As you look to the future, what do you hope the next chapter of the Awards will foster within the global fragrance community?

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My hopes are humble, honestly. I hope the awards continue to provide a space for people to discover unexpected new work from around the world. I hope we succeed in maintaining our ethics, our commitment to global connections, and our commitment to highlighting artistry (rather than commerce). For the rest… well, as someone once told me: “Man proposes, God disposes.” The world has a way of taking you where it wants you to go. I’m open to it.

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Want to learn more about the June 2026 Art and Olfaction Awards in Greece? Click here!

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Photo Credit: Alondra Castilla