The Future Has a Scent | Christophe Laudamiel on Memory, Emotion & Designing the Invisible

Close your eyes for a moment. Not to escape the world, but to enter it differently. Think of a smell that instantly takes you somewhere. You didn't choose it. It chose you. That's the power of the invisible. And today's guest doesn't design objects. He designs memory, emotion, atmosphere. And if the future had a scent, he might be the one composing it. Welcome to The Future Is How, not about predicting tomorrow, but practicing how to create it. I'm Frederic Pferdt, and today I'm joined by someone who works with molecules the way composers work with sound. Christophe Laudamiel, is one of the world's most innovative perfumers. He has created scents for global brands, public spaces, museums, and even immersive experiences. And he treats scent not as a decoration, but as architecture. So Christophe, welcome to the show. I'm super excited to dive into your world, to get a sense of how you think, how you feel, And before we talk about your world and the present, I'd love to jump ahead. So imagine it's the year 2035. Museum installs a permanent exhibit about the pioneers who reshaped how humans experience reality, and your name is there. What does it say?

Wow. Well, hi. Hi, everyone. And thank you, Frédéric, for organizing this. And first of all, it's a pleasure to be there and to talk about the future, which is always exciting, especially for me. So what would the little paragraph say? Christophe Damien, master perfumer. And, um, I think people would write— you ask me to sell myself, it's a bit strange. So I think people would write visionary. People would write one of the biggest pioneers in the fragrance industry for the styles of smells that he brought to the market or that he brought to the public to enjoy. Whether it's some, in some art exhibitions, etc. And perhaps they would have as an example, one or two fragrances are created specifically for that, not for that exhibition to be, but for making people think about the future. And yes, it's not always the same about, you know, old stuff and what I have, my memory. No, we can also create for things that is not digging into the future, into the past, but for the future. And I like to challenge people with that, but also I want the industry to open up with this kind of thinking too.

Wonderful. And I think we'll definitely get towards that question, how would the future smell? But I want to start somewhere else. I want to start with smelling as one of the senses that is most developed in us humans, right? So when we enter a space, when we meet a new person, we first smell, right? And that creates an emotion in us. So it's one of the most developed senses that we humans have. How did you come about discovering that?

Short question, encyclopedic answer. How I discovered the sense of smell, or how did I get into the industry? Uh, it's a pure serendipity. My last internship in perfumery, I was still a student, but my last internship was with the flavorists for actually healthcare products. And, uh, people might not know, but even if you go for cough syrup, a mouthwash, a toothpaste, et cetera, you actually have a flavor formula. So it's not a perfume because it gets into your mouth. It's a flavor formula with tons of ingredients as well. And. But there I saw how it was fascinating and linking some aspects of chemistry, a bit like music has aspects of physics and electronics, but you don't have to know a lot, or you may know a lot, and then your music can be influenced by it or not. It's your choice. So it's the same in perfumery with chemistry. But for me, it was fascinating. And so I went into the perfumery school at Procter Gamble. They have an internal perfumery school, which I did in in the UK, in Belgium, and in the United States. And I also did some internships in France. And, well, that's how I get into perfumery. And then I was— I went up, up, up, and then I went— jumped, pardon, to fine fragrances in New York, working for IFF. And there I learned also with some very world-famous mentors. And in perfumery, I find it's luck, or it's, uh, you, you have to try to get to one or two or three of those mentors because it's still the best way to learn perfumery. Otherwise, you can learn it too, but it's very, very hard. One characteristic I would say of how I was trained and how I trained myself, and I was trained by different styles of mentors, but also for different styles of categories. And to this day, I love creating for a large variety of categories. So mostly skin, but also ambient scenting, for instance, for exhibits, but also for the consumers, or, uh, I don't know, the term consumers is a bit industrial, but people know, for the public. People don't realize how ambient scenting should be as developed, as refined, as elegant, as talkative, or as surprising, as terrible, as kitsch, or as great as a fine fragrance for skin. It's still not in the minds of the public, of celebrities, and of most brands, actually. We can also talk about that for the future. There are reasons for that, but I love doing this, but I also love doing a nice shampoo and oh, you should see the shower. I try stuff like crazy. And I, even when I buy shampoo, I can dope it with more scents. Amazing. I think it's fascinating. Yeah. Voilà. So that's what I like to do.

Yeah. Thanks for sharing that.

A lot of curiosity, Frédéric. I think people should know it's first, it's a lot of curiosity because the music comes to you. It's on your computer everywhere. Perfumes or smells, you have to go or you have to understand. So I want to tell everyone, smell, smell, smell, and compare. People, they smell, then they read on the internet. Half of it is totally, uh, it's not even crazy. Half of it is wrong, purely wrong, I dare say. And then the other half, you, you cannot tell because you have to compare. So even much more than colors, but you know how you learn colors, you compare, you look at a painting, you look how they match, they don't match, or it's your decision. Same with smells. You have to smell different things together.

You talked a little bit about some mentors that were quite influential for you. What is something that some of these mentors taught you? Like what can someone learn from such a mentor in the perfume industry?

So first you learn to smell ingredients the way they smell. You see how they react to ingredients. So this you don't learn at school. And it's fascinating to see because first of all, it allows you a vocabulary. And when they are good mentors, they allow you to have your own vocabulary. So I had the luck I guess it's like at school, you know, some people have really bad chemistry teachers and what is a bad chemistry teacher. So I don't know if it's luck, but also I think I would meet anybody, I would find something super interesting. And, um, well, they were nice with me, I have to say. So this is good, but meaning they were polite and they were never rude. And also they allowed me to describe the way I want it and they were doing it the same way for themselves. And this is very important. People, you hear too many times, there is a set vocabulary and then a fragrance has to answer to some rules. I've, I just watched a video 2 days ago about a big, big, big perfumer saying that. I'm going to take that piece and I'm going to bring it to Instagram or TikTok and comment on that. No, there are no rules. Maybe I add for the people that are listening to us that may not have the chance or the possibility at all to be close to a mentor. You can also learn by yourself. I would suggest you limit yourself to, you decide what you want to specialize in at first. Don't say you want to create music for all kinds of stuff, for movies, for ads, for rock and roll and Metallica and ballroom dancing and, you know, and techno and classical. And so, because it's very hard and it's a jungle, you can, but you have to go by step if you don't have mentors to guide you, or if you don't have good classes. So take a, take a certain, some people they do only so-called masculine or feminine fragrances. Some people, they love florals and woods. Some people, they only like to work with 300 to 400 ingredients. That's fine. Some painters, they work with one color or two colors. So, but you understand, and then focus on that. And then you really have to learn and you have to be curious, curious, curious. Amazing.

So, so the first time I really dove into that world of scents was when I was visiting a museum in Mexico City with my daughter. She is is 10 years old. And we were going to that museum of, you know, lots of modern art and really interesting exhibits. But at some stage she said like, oh, this is very boring. And so we continued in that museum and we stopped at one of the exhibits, which was a picture of a forest. And what was interesting is that there was a little wooden ball next to it. And there was a little plaque which said like, oh, take this wooden ball and smell it because then you can actually smell the forest. So what they did in the museum is they had you kind of like look at the forest and at the same time you could smell kind of like this earthy wood moss type of scent, right? And my daughter was blown away literally because now it was getting interesting, right? Because two senses were connected, right? You see something, but you also can smell it. Which makes a totally different experience of that museum and that exhibit. And so we were wondering like how the future would actually smell. So my daughter and myself, we created like, you know, various scents and like just explored and experimented. And we were following our curiosity, as you said, right, to just feel like, okay, what could be a good scent that creates a different emotion for us, right? Because we want to feel excited about the future. We want to, you know, smell optimism. We want We want to smell kind of like excitement. We want to smell curiosity and all of those things. So when you say kind of like we should compare, right? That's something you said. We should compare different, different smells. What do you mean by that? So is it like similar to comparing like a future? Like, you know, I compare my future to your future or to someone else's future that I admire. Like, what do you mean by comparing different, different smells?

So in comparing, I, there are actually two dimensions from listening to you. I was like, actually there is compare and compare. So the way I was mentioning in here was to take ingredients or to take whatever fruit, or it can be different saffron, different whatever. So here you really compare to try to describe them objectively and to try to see, okay, which one is, you will see when you compare things, it just doesn't smell just of tea. All of a sudden you see the floral note in that tea and this one is much more smoky by comparing. You see, you see the differences. Much better. And you know very well in science, you have to first see something, then to be able to observe it in other places. If I put you, uh, if you've never heard each instrument one by one and I put you in a classical hall, you, you listen to the music, you won't be able to identify maybe one instrument, but you won't be able to identify maybe the 20 different instruments that you have in there. And someone that knows the instruments one by one by heart, they, they're Right away, then you see there's a clarinet here that just did that. And oh, you see, yeah, I cannot do that. But in perfumes, yes. So that's what I mean by comparing. Also, you see the, the, the units, if you wish, or you see certain patterns that then when I smell a tea by itself, I don't have to have all the teas to compare. But when I smell a tea, I'm used to that puzzle. And that's more like a, I would say it's not quantitative, but some people want to say it's more like a descriptive. Thing, to see units. Then, the one thing in smells people don't realize is that I don't know one smell that smells of only one thing. And we were discussing that with the scientists at Osmo, what are the primary odors? So unlike colors where you can teach your daughter, this is red, this is blue, this is yellow, and then somebody will say, it's yellow or orange, but You know, there's a yellow thing. And we know scientifically there are primary colors anyway. So, and they have names. There is no such thing in perfumery. So when people say, oh, the smell of cut grass, and they tell you that molecule, well, guess what? You re-smell it. It smells of grass. It smells of petrol. It smells of mushroom. It smells of dirt. Just take it and smell it. So that we don't know. So we cannot separate. So it's only by comparing that you compare different elements that you see, yeah, this cut grass thing. I see it here, here, here. This, we have a thing that's called, for instance, green pineapple. You don't smell it by just smelling a pineapple like that. You have to smell different molecules that smell of that notion, that smell of that smell, which is pineapple-y but not pineapple-y as a very specific thing. Same, funnily enough, with celery. If you just smell celery, but then you see the different molecules, and then when you smell those molecules, you say, we have a lot of molecules, even florals that are actually, or coconut that have a celery top note. And then when you use it with some other ingredients, then the celery comes up instead of the floral. Well, just to say, you have to see these different things. Now, comparing, there is also when you want to compare the quality of things. So that would be more like critiquing or so critiquing and criticizing yourself, which first of all, you have to be doing very well if you want to become a very good artist in anything. So perfumery is the same. You have to be very lucid. And, um, but also when you want to critique, which I think we don't do enough in perfumery at a certain quality, critiquing pieces of art or fragrances or voilà. And for that also, you have to compare. You compare two different paintings, you compare two different choreographies, two different styles of dancing. And by comparing, you elevate the debate or the vocabulary or the things, you see. If I just show you one choreography, you've never seen any choreography in your life, what are you going to say about it? Oh yeah, I see people running and some people, But the vocabulary comes when you see what's common among things and what is not common, what is original and not original. And then you have another debate. Once you see that and you know in what you're swimming, there's another debate about quality. I like it, I don't like it. This is a piece of crap. This is a copy from 1920. Or, and then you can debate also among perfumers. No, this is original. Look, Christophe, da da da. I say, oh yeah, okay, okay, well that's true, but why did they put that of duty-free style in there and then just to, to, and et cetera. But then you can, and then you can joke, you can have fun, and then you can enjoy, you know, you enjoy ballet very differently or piano. If you know a little bit more about piano than nothing, and you don't have to know the piano to enjoy the piano. I know that too, but imagine only people that don't know the piano at all. The pianist would be, be miserable. So the perfumers, we have now a little It's not a notion of people that know perfumery, but we have a few thanks to some, well, popularization of perfumery. So it's internet, it's books. It's, voilà, when I started studying perfumery, we had 5 books. I had literally 5 books on my desk and only one about creation. The rest was like, you know, the history and blah blah blah. So, uh, now people can, can learn and we have a little community and, and Then we have a lot of fluff, but still it's very, for perfumers, I think one of the, one of my biggest despair is that our public is ignorant by and large, even celebrities. And even when you create a fragrance for a celebrity, most of them, they talk about their grandmother and their vacation, the past and the boring past. Once in a while there's something exciting, but they don't, they're saying it because in perfumery everything is polished. We saw a few things, we can have a in the middle of, you know, like, oh, I had this wild night and he or she was smelling like that. Or, but you see what I mean? It's all filtered. You don't have the, so we need this education. And you see your daughter was telling you, hey dad, I need to learn more about that. And we know children, some are very visual. Some children are very motor, like dancing style. Some children are much more auditory style. And I'm really sure, I'm pretty sure some children are probably much more smelly type. So I like to crack jokes with vocabulary. So I would say olfactory type or the smelly type. Nice. But you see what I mean?

And so, voilà. Wonderful. So if we would create the scent of the future, so how the future would actually smell, right? Imagine in a couple of years we'll have AI everywhere, right? We have it in actually bodies, right? In robots, right? They will be with us and they will walk around with us. We have AI now in cars. We have now AI in our phones. So if we would create a scent, let's imagine that scenario when we have our robots in our house, right? And those robots will have a smell, right? We don't imagine we would not like to have it very industrial smelling because that's kind of like very annoying, right? We want to have it also not smell kind of like just a fabric, like linen or something like that. So how would you go about creating that smell, let's say, for a robot in the future?

Ah, the smell of the future and the smell of the robots, I don't know if it would be the same.

Okay. What's the difference?

I would have to feel the smell of a robot. I would certainly, uh, create a few for people to pick because I would say people are much more precise or discerning or picky on smell than on colors and shapes, even in clothing. So you, you buy a pair of trousers, you buy a dress, it might be red or it might be black, might not be the right black, might not be the right red. But in perfumery, if the red goes from strawberry to, it reminds you of flower or something else, you know what I mean? And it's really, so people say, yeah, I like it, but, and then they drop it. So I would have several. Some I would just have, no, I would have it's human. See, I would not put the smell of the future on the robot. Maybe one I would do the smell of the future more abstract where it doesn't remind you of anything. And some I would make them comfortable. So here it's almost a reverse exercise. But not old-fashioned. I mean, I'm sure some people want the barber, the robots making over the barbershop or whatever, but for the future. Yeah. So yeah, abstract and abstract, but not weird. And I agree with you. I would not make industrial for the mainstream, but even more even for me, uh, you know, and not electric because I think if you put some little electric note or, you know, this oceanic ozonic notes that we call in perfumery or metallic notes on the robot because of the look. Even if you dress the robot in a— because you know it's a robot, uh, it's what you know, what you see that influences the smell very, very much. So something a little bit fizzy, you put on the robot and people are going to think, ooh, it's very, uh, electric. So you have to balance that too. The balancing on the robot will be different than the balancing on the human, just because you know it's a robot or just because you would see, even worse, you would see it's a robot. Um, voilà. And so I would say have the fresh fragrances. People would say, oh, but this smells like the hospital. You put the same fresh fragrance on you and on the robot. I guarantee you the robot gets 50% more. It's too— the metallic, the hot metal, the, the, we call it ozonic. People would say electricity in the air, this kind of thing. Yeah. So do I answer the question? No, but it's like, uh, it's like asking a painter, what would be the painting of the future? Well, we'll have also new molecules. So this I can tell you. So some effects that can make the robot much more lovable, but without being sweet. So this, I believe in that. We call it the Soulful Family at Osmo. And now this taxonomy, this wheel of odors is actually public. I want to say here, and it's free and it's open source. So you can even modify, you do your own everything. Because we would like to just act for colors and for music, we like to have a common vocabulary. Which is not to sell more violin and more piano in the stores. It's just for people to be able to talk about things. And in perfumery, we don't even have that, not even between fragrance houses. We have a main vocabulary of perfumery. But then what's interesting when you say the smell of the future, when I say artistry, is the fringe. So how do you describe the smells that are not vanilla, but still white, comforting, white rice, chestnut flour, pumpkin puree without the fruitiness or the woodiness of the pumpkin? All these, all these smells, they have a, there's a smell there. And, or the entire, the inside of a bread or of a white bread. So we created a family called Soulful. We created the Comfort that in there you also have the comfort of a chicken soup, which is a bit also the comfort of mushroom without the earthiness or for the mushroom or without the animalic effect of the chicken. The story is that there is something there, that yumminess. And it's not sweet. It doesn't belong to a vanilla style. Okay. So we created this family. We have also certain milky notes in there that are not sweet, but it's milky creamy, but it's not— we have some, some other families, et cetera. But, and I think some of these smells are going to develop. We are developing molecules. Some other companies are developing molecules. And we've just had 20 years of, uh, not some new molecules came out, but to reproduce smells that we know very well. And for which we already had molecules. So like the muguet notes and some woody notes and some hot woody notes, which we call smoldering. But there are some smells like, as I described, there are also some smells in the fruit family. Why don't we have strawberries so much developed everywhere? Why? Because we don't, we don't have enough strawberry molecules that smells like a fresh, nicely done strawberry. Why we don't have melon everywhere. We have watermelon. And when you have your watermelon chewing gum, it's kind of plasticky, rubbery because they all use this one or two molecules. Now I know it's actually official. We have a molecule that smells of fresh melon. We don't have in perfumery one molecule that smells of fresh melon by itself. So, and stable and not too expensive and da da da da da, not skin sensitizing. So I guarantee you some smells are going to develop that way too. Now, is melon the smell of the future? No, but all of a sudden we haven't had melon at the forefront. We have melon notes. Yes. But a big juicy melon, we don't have so many. And, but all of a sudden it's going to appear. So the future is going to be also known things that are now possible. New effects, brighter notes, maybe. And then abstract notes. So yes, things that smell. What is the smell of a galaxy in your mind? You see, what is the music of a galaxy? The same as you say, what is the music of the future? Good luck. I don't know what I would say, but what is the smell of the future? I think we'll have what music already has and abstract pictures and abstract Hollywood effects. They have that already in visual and in sound. We are going to have that in smells because this is already possible, but the public has to be educated and the brands, a lot of big brands that the public know. They want immediate, you know, immediate pleasure. So immediate pleasure doesn't go with high artistry, which starts by a certain, you know, certain, certain limited public. And, and usually this public is not downtown in Paris. And so a lot of brands are based in Paris for their perfumery development. Although the fashion is somewhere else in the world, the perfumery development is a lot Paris, Guillaume, and whatever. So anyway, some considerations.

Wonderful. Thanks for sharing that. So maybe let's make it more concrete. If I see the future as a feeling, right? If I want to feel in the future more courageous, more connected, more loved, more free, whatever that feeling might be, could we design or create a scent for that? Right? So can we create a scent that allows me to feel more connected, more loved, more free, more courageous? And how would those feelings then smell?

So this, and especially for the future, that is maybe less personal, we are going to be using a lot of these notes that we know already that we've been using for many, many years. And so like skin notes, but even like soft woody notes. We have so many notes, soft leathery notes, soft white floral notes. And even in masculine, I want to say so-called masculine fragrances, we use floral notes all the time since, I don't know, I don't want to say day one of perfumery. So when I say that the public say, yeah, but I don't want a floral robot. No, but what makes the yumminess in a very woody fragrance, it's some floral notes. What makes the yumminess. So of course we have the musks and we have, so each time is when we say it smells so sexy, people cannot describe. Well, we have to, we don't have an ingredient on the shelf that says sexy, and then you put that and everything is sexy. No. Okay.

It's not working that way.

Like, make me a sexy picture. So yes, we will have more and more, actually, some made, all made fragrances or all made pieces. So some, they smell sexy, but after 5 times, you'll be like, oh, this is boring now. I know I can get it from the image bank and I can get it from the smell bank. So those will be gone. And so you still need artists. To create the next sexiness that is not the same as before. It really works the same way. When you mentioned that, like maybe in 10 years from now, we're going to have a lot of SMEDs, I don't remember how you mentioned it. I want to say it's public information. Osmo is going to open a website. They had announced for March. I don't think it'd be March. Well, I work at Osmo, so there is no official date right now, but probably it's going to be delayed a little bit. But they had already announced for March. Open to the entire world. You go and you send a prompt. So you can put a picture, you can put one word, you can put an entire text, you put whatever you want, a PowerPoint presentation or other stuff. You can get ChatGPT to create your concept and then you plug it in the other AI or factual intelligence of Osmo and then they create a synth. So you can do as futuristic as you want and, or as someone can possibly weigh or a robot can weigh it, then the friends will be— 3 formulas are created and will be weighed. And so you receive 3 samples and then you even have opportunities to rework automatically with the software. So that invasion, or that— I don't say invasion, but that popularization of smells and different styles, because of course people are not just going to put the marketing spiel that you see in advertising, they're going to put their own personal inspiration. So it's going to go in all kinds of directions. And by the way, I had to create a catalog to go in all these kind of directions. So the catalog at Osmo Ingredients is not just to make the next pretty fragrance for Sephora or Macy's, you know, and we want to be able to recreate all smells possible. So that is going to happen very fast. I'd say by the end of the year. And we have a very, very fast robot that can weigh I mean, it was mentioned, I don't know, like one fragrance in seconds or in minutes. So several at the same time or whatever. I'm not the technical person for all these characteristics. And so it means we can do a lot of scents. So this, this new way of creating these new smells, these new areas where the public can go, it's going to be possible this year. So this is not something in 10 years. The public should be prepared for that. Celebrities should be prepared for that. Brand managers should be prepared for that. Your daughter should be prepared for that. They're going to be able to.

And so amazing. That's very exciting. Yes, because it makes the future very personal, right? Because I, you know, can use a word, as you said, a picture, an image, or I can use a prompt to really create a scent that maybe represents that, right? That word, that picture, that image, or that text, which is, I think, very very excited because then you're starting to create your own future, right? Literally through, through scents.

Uh, uh, Frédéric, I want to say, that's why I had written my notes. I say, for me, the future might not be the smell of galaxies. It might be this, exactly what you're saying. We are going to see scents in much more diverse ways in terms of smells, in terms of concepts. Totally. Voilà. So this is, this is going to happen.

And so I was wondering that when we look at, you know, the perfume industry in, in general, like people wanna put specific perfumes on themselves to express themselves in a very specific way, right? If I use a specific scent and, uh, I spray that on me in the morning, right? I wanna, uh, maybe have other people smell me in a, in a certain way, right? You talked about that maybe fruity, like citrusy, fresh. Earthy, whatever scent that is. Do you think in the future when we have that scenario where we have our robots with us, we can also make other things smell like we want them to smell to evoke a specific emotion?

Have you sprayed flowers already? Like go to the florist and then you bring, you come home and then you spray the flowers. Well, I don't do that regularly. I like to buy flowers that smell, but have you tried that? Yes, we can transform the smell. Or you buy a shampoo, you love the shampoo, shampoo for you, it's, you say, well, why don't they have that? Yes, you take the shampoo. So yes, you will create your own smell environments. And some people will love that. You know, like some people, they have to sew everything, every piece of fabric in their house and everything over. And some people have to paint everything in the house and redo everything. And some people have to remix the music this way because otherwise it doesn't, it's not their style or it's not what they like. And some people will be super picky with their smell or just super fun. And you come and then you're like, oh my God, I took these things, but I thought that was that, but actually it's this, but the smell was wrong. I mean, it was wrong, or like, you know, it's a way of talking. Yes, yes, yes, yes, yes, yes.

Love it. I love it. Yes. So let's try something with our listeners for a moment. So I want to create a mindstate moment. And so wherever you are listening to this show, I want you to notice the air around you. Not what you see, not what you hear, just the air. And now imagine the scent of a place where you felt completely alive. Don't analyze it, just let it return. And notice what happens in your body. For me, the future isn't always about adding something new. Sometimes it's about remembering what makes you feel alive and recreating that atmosphere intentionally. So thanks for joining me on that very short journey into your body. So, Christophe, I have a couple of what I call fast future questions, which are very short questions. And, you know, I want you to respond them, you know, very brief, but also just trust your gut, right? So when we think about innovation and we would even put that word innovation into a search engine, right, there would be specific images popping up. Right. But I want to ask you, what scent represents innovation? Floralism. What's one human quality technology cannot replicate? So what's one human quality that technology cannot replicate? Quality. Perfect. What's one thing humanity needs more of?

Humanity and quality and diversity. Diversity. I'll mention one thing about diversity. You know that if we go, I'm talking as a physicist, I mean, I'm not a physicist, but as a physicist, Nature will bring us to boredom, boring states. Mountains are leveled up and, and star planets going to the side. You know what I mean? So if we don't do something consciously, if we don't do something, spending money for something so-called useless or maintaining diversity, whether it's species or people or whatever, it is natural to go to a uniformity of things and then there has, whether it's political or economic or geographical or whatever. I just want to say it is the debate should not be, oh, diversity sounds, no, it's more if we let everything go and if we are lazy also.

Wonderful. How does your smell, how does your home smell today?

Mishmash of the lab downstairs and the yuzu I'm preparing.

Wonderful. What's one thing we need less of, we humans? What do we need less of?

Uniformity, boredom, and letting ourselves lead by other people without some checks.

Great. What's a compliment that you receive often?

That what I do is very creative and what I do brings people to places they didn't even know they could experience again, or places they don't know at all. And they can represent, they think they can represent, and that's what we want. They can represent themselves to be somewhere or to feel something.

Wonderful. Thank you, Christophe, for taking us today to this place and allowing us to dive into your world. I think it's fascinating what you do. And thank you for allowing us to explore that the future might not be a specific scent or smell, right? It might be very personal. It might be not defined at all. Right. And it's something we can explore and be curious about. So thank you for taking us there, Christophe Laudamiel. And yes, I hope that we can see each other in the future so that we can explore this topic even further. So thank you so much for joining on The Future is How.

Thank you so much, Frederic, for organizing all this.

Thank you. Thank you.

Bye everyone.