COMME des GARÇONS Parfums: The Aesthetics of Anti-Perfume

“For something to be beautiful, it does not necessarily have to be pretty.” (For something to be beautiful it doesn’t have to be pretty.)
— Rei Kawakubo

Contents

Essential Information
The Founders and the Origins of the Brand
The Brand’s Commitments
Incidentally…

Essential Information

Brand established: 1994 (the fragrance division; the company was established in 1993)
Founders: Rei Kawakubo / Christian Astuguevieille
CEO: Adrian Joffe
Creative director: Christian Astuguevieille (died February 2026)
Based in: Tokyo (in practice) / Paris (legally)
Official website: comme-des-garcons-parfum.com
A note on the name: French for “like boys.” “Komu de Gyaruson” is the customary Japanese rendering.

The Founders and the Origins of the Brand

The Figure of Rei Kawakubo

The story of Comme des Garçons Parfums begins with the early life of Rei Kawakubo, founder of its parent fashion house.

Born in Tokyo on October 11, 1942, Kawakubo was the eldest of three children. Her father worked in administration at Keio University. Founded by the Meiji-era educator Yukichi Fukuzawa, the university had an intellectual tradition that championed Western culture and women’s rights.

In fact, Kawakubo never received a formal fashion education. After studying Asian and Western art as a history-of-aesthetics major at Keio University, she graduated in 1964. She joined the advertising department of the textile manufacturer Asahi Kasei, then became a freelance stylist in 1967.

The Birth of Comme des Garçons

In 1969, unable to find clothes she wanted to wear, Kawakubo began making them herself and launched the label COMME des GARÇONS. Its French name was inspired by a line in French singer Françoise Hardy’s 1962 song “Tous les garçons et les filles” (“All the Boys and Girls”): “Comme les garçons et les filles de mon âge” (“Like the boys and girls my age”). The brand name had no fashion-related meaning; it was simply the sound that caught Kawakubo’s imagination.

The business was incorporated in 1973, and its first boutique opened in Tokyo in 1975. A menswear line, Homme Comme des Garçons, followed in 1978.

The Paris Debut and “Hiroshima Chic”

Kawakubo made her Paris Fashion Week debut in 1981. By then, the brand had at least 150 stores in Japan. In Paris she presented an entirely black collection with asymmetric shapes and frayed seams, unlike any prevailing fashion aesthetic. Critics derisively called it “Hiroshima chic.”

Yet this shock also inspired fervent support. Kawakubo’s followers, known as “crows,” dressed in her clothes. She later told The New Yorker:

“I never intended to start a revolution. I simply showed what I thought was strong and beautiful. It was just that my idea of beauty was different from everyone else’s.”

The Turn to Fragrance: A Chance Encounter with Astuguevieille

A chance encounter set Comme des Garçons on its path into the world of perfume.

In 1991 (1992 according to some sources), the French artist Christian Astuguevieille visited the Comme des Garçons offices in Tokyo. He wanted recommendations for places to visit in the city. Already known as a sculptor and furniture designer, Astuguevieille was born in France in 1946 and had worked as an artistic director at such distinguished houses as Rochas, Molinard, Nina Ricci, and Hermès. During the 1980s, he became fascinated by the Japanese aesthetic of wabi-sabi and by furoshiki, the practice of wrapping objects in cloth. His distinctive work covering furniture and objects in cotton rope and hemp brought him recognition.

Kawakubo knew Astuguevieille’s artwork and immediately proposed an installation at the Aoyama store in Tokyo. At the opening dinner, the two began talking about perfume. Astuguevieille had learned fragrance techniques at Molinard, and they discovered a shared aversion to convention.

“At the opening dinner, we began talking about perfume. The next day, Rei said she wanted to do a perfume, so we arranged a meeting. She asked if I was interested, and I said yes. That was how it all began.”
— Christian Astuguevieille

The Birth of “Anti-Perfume”

In 1994, their collaboration produced its first perfume, COMME des GARÇONS Eau de Parfum. For this fragrance by perfumer Mark Buxton, Astuguevieille reportedly gave the following brief: “Imagine an exotic place you have never known. You are swimming in a completely dark pool, wonderfully enveloped in warmth.” Spicy and multidimensional, built around cardamom, coriander, rose, incense, and sandalwood, it stood apart from the light citrus and fruity florals that dominated the period.

Adrian Joffe, meanwhile, became a guiding presence for the brand. Having joined Comme des Garçons in 1987 and later married Kawakubo, he led the fragrance division as CEO with an uncompromising commitment to creativity over commerce.

“We only made clothes and accessories. But when I asked Rei, ‘Why don’t we do perfume?’ she immediately said yes. Perfume was another way for her to express her values.”
— Adrian Joffe

“Rei said, ‘If we do it in our own way, if we do it in keeping with the DNA of Comme des Garçons, then yes.’”
— Adrian Joffe

Under Astuguevieille’s direction, this developed into the distinctive philosophy of “anti-perfume”: fragrances that dismantle established ideas of perfume. Odeur 53, launched in 1998, was its culmination. Composed entirely of 53 synthetic molecules, it listed “notes” such as the freshness of oxygen, wind-dried laundry, scorched rocks, and nail polish. Perfumers Martine Pallix and Anne-Sophie Chapuis of IFF (International Flavors & Fragrances) created it from a brief of “abstraction.”

“I announced that I wanted to make an anti-perfume, something at the opposite pole from perfume. Rei was not particularly surprised. She simply said, ‘Go for it.’”
— Christian Astuguevieille

Odeur 53 was named not “perfume” but “odeur,” or “smell.” It was nothing less than a declaration overturning the industry’s conventions.

Astuguevieille’s Legacy

On February 13, 2026, Christian Astuguevieille died in Villejuif at the age of 79. Over a period of at least 30 years, he had directed the creation of over 119 perfumes and helped open the way for contemporary niche perfumery.

“All my work is about creating new ways to experience the five senses, whether through perfume or rope.”
— Christian Astuguevieille

Comme des Garçons expressed its “deep sadness” at his death. What he left was not merely a catalogue of perfumes, but the very possibility that smell could become a philosophy, an artistic act, and an experiment in perception.

The Brand’s Commitments

A Philosophy of Fragrance: “Creating What Did Not Exist”

At the heart of Comme des Garçons Parfums is the pursuit of “creating scents that do not yet exist.” There is no market research, no approval testing, and no pandering to mainstream preferences. Joffe explains:

“As with our clothes, we have tried to create perfumes that never existed before, using materials in different combinations. I am proud that we have continued this long journey for 31 years.”

Astuguevieille’s creative process was distinctive. He described himself not as a “nose,” or perfumer, but as an “olfactory interpreter.” He distilled a concept into a few short, simple words and conveyed them to perfumers with whom he had built trust over many years. When he said “red,” they immediately understood which red he meant: the red of a beetroot, for instance.

“When I asked the noses for ‘the smell of a car left parked in a garage for a long time,’ they thought I was mad.”
— Christian Astuguevieille, Le Figaro

The value of a fragrance is not judged by sales alone. Joffe has said, “A perfume is like a work of art: it can be ahead of its time. It may therefore become successful later.” As of 2015, the fragrance division accounted for only around 5% of the brand’s total sales of $200 million. Choosing creative integrity over commercial success lies at the foundation of the brand.

Bottle and Packaging Design

For Comme des Garçons Parfums, a bottle is more than a container: it is an object that complements the world of the fragrance.

Kawakubo herself designed the original Eau de Parfum bottle as a rounded pebble lying on its side, with an organic shape that seems to have been polished by the sea over many years. According to Joffe, “Having decided to do something in a way that did not already exist, we went to specialist glassmakers and asked them to make a bottle that looked like a beautiful piece of nature.” This pebble bottle became an icon of the brand and carried through to later fragrances, including Copper.

For Concrete in 2017, real concrete was applied over the glass bottle, creating an irregular surface finished by hand on every piece. Presented wrapped in bubble wrap, it embodied the brand’s celebration of irregularity.

For collaborative fragrances, the partners designed the bottle and packaging, while Astuguevieille approved the final scent. The artist KAWS designed the bottle for GIRL with Pharrell Williams, while the collaboration with milliner Stephen Jones placed the fragrance inside a miniature hatbox.

Comme des Garçons has developed standalone fragrances around individual subjects, numbered series that explore a shared idea through several scents, and collaborations with other creators. Leaves, the colour red, spiritual spaces and garages all have a place within this range.

Signature Fragrances: The Main Line

Eau de Parfum, launched in 1994, brought together cardamom, cinnamon and cloves with honey, rose, incense and sandalwood. Mark Buxton recalls returning from Morocco and noting down an accord inspired by the smell of a souk. That combination of amber, sandalwood, vanilla, heliotrope and spices became the starting point for the fragrance that was selected.

Buxton remembers a brief that simply asked for something distinctive. When his first idea was judged too unconventional within the fragrance company, he submitted another, only for the brand to reject it as insufficiently original. He then offered the souk accord. His account describes a first fragrance that emerged through a willingness to keep its unusual character.

Also composed by Buxton, Comme des Garçons 2 combines ink and aldehydes with magnolia, maté, angelica, incense, woods and resins. Rather than repeating the spices of the first perfume, it explores contrasts between light and shadow, transparency and opacity. Wonderwood brings together guaiac wood, cedar and sandalwood with Cashmeran and Javanol, combining natural wood notes with synthetic woody materials.

Concrete takes sandalwood apart and rebuilds it with rose oxide and spices. Copper brings Iranian galbanum and Madagascan ginger together with a synthetic metallic impression. Rouge sets the earthiness of beetroot against resinous incense, while Zero combines cedar, vetiver, synthetic rose and a varnish accord.

For Zero, a short formula using fewer ingredients was the starting constraint. The brand’s material policy specifies hand-harvested natural cedar extracted using hydroelectric power and fairly sourced Haitian vetiver, alongside synthetic rose and varnish accords. Recyclable glass, minimal printing, black ink and FSC-certified paper extend the same concern for reducing materials into the packaging.

Fragrance	Release year	Perfumer	Characteristics
Eau de Parfum	1994	Mark Buxton	The brand’s first fragrance. A spicy chypre floral
Comme des Garçons 2	1999	Mark Buxton	Aldehydes, ink, and angelica. A floating, metallic sensation
Comme des Garçons 3	2002	──	Basil, incense, and birch
Wonderwood	2010	Antoine Lie	“An overdose of woods.” Sandalwood, oud, and vetiver
Amazingreen	2012	──	An explosion of green energy. A gunpowder accord and vetiver
Black	2013	──	Birch, incense, licorice, and leather
Concrete	2017	Nicolas Beaulieu	Deconstructed sandalwood. A concrete bottle
Copper	2019	──	Galbanum, metal, and tobacco. A campaign by Tyler Mitchell
Rouge	2020	──	Beetroot × incense. A union of earth and spirit
Zero	2022	Fanny Bal	A minimalist declaration. Environmentally conscious design

The Odeur Series: “Anti-Perfume”

Odeur 53, released in 1998, explored smells that resist conventional lists of perfumery ingredients: the freshness of oxygen, scorched rocks, wind-dried laundry, sand dunes, flashes of metal and nail polish. Everyday objects and abstract sensations took the place usually occupied by flowers and fruit.

Odeur 71 followed in 2000, extending the experiment to dust on a hot lightbulb, warm photocopier toner, metal, a toaster and fountain-pen ink. Woods, moss, bay leaf, bamboo, white pepper and hyacinth also appear in its description. The idea combines artificial smells with natural materials; a synthetic impression does not mean a formula made entirely from synthetic ingredients.

The later Odeur 10 approaches cleanliness as a chemical smell. Its white, sterile impression evokes hydrogen peroxide, with aldehydes, white mint, Calypsone, ambrette, Ambrofix and musk. Hydrogen peroxide is an olfactory reference here, not a claim of disinfectant action.

Series Collections

The numbered series explore a shared theme through different fragrances. Their original releases are distinct from later reissue projects. Calamus from Leaves and Garage from Synthetic, for example, subsequently entered the Olfactory Library, but originated in their respective numbered series.

Series 1: Leaves (2000)

The first series focuses on leaves and vegetal greenness rather than flowers alone. Its five fragrances are Calamus, Lily, Mint, Shiso and Tea. Lily evokes the green freshness of lily of the valley, rather than the large lily its name might suggest. Mint explores cool mint, Tea combines tea leaves with a woody impression, and Shiso follows shiso leaves into herbs and spices.

Calamus combines aromatic green vegetation with floral and musky elements. The five fragrances move between coolness, floral greenness and the dry woodiness of tea leaves. At their original release, green cylindrical bottles presented them as a single group.

Series 2: Red (2001)

Red takes its theme from the sun, fire, blood and the red gates of Eastern temples. The five fragrances are Harissa, Sequoia, Palisander, Carnation and Rose. Harissa explores chilli, saffron and nutmeg; Rose adds pink pepper and raspberry to rose; Carnation combines flowers with cloves. The colour becomes a point of departure for spices and woods as well as flowers.

Palisander, composed by Françoise Caron and Yann Vasnier, brings two woods together. Sequoia takes California’s giant redwoods as its subject and was composed by Bertrand Duchaufour. This series is distinct from Rouge, the standalone fragrance released in 2020.

Series 3: Incense (2002)

Incense creates five spiritual journeys through historic cities: Avignon, Jaisalmer, Kyoto, Ouarzazate and Zagorsk. Incense is their common centre, with different woods, flowers and spices surrounding it.

Avignon adds Roman chamomile, cistus, elemi, vanilla, patchouli and palisander. Kyoto brings together cypress, coffee, teak, vetiver and cedar. Jaisalmer combines cardamom, cinnamon, benzoin and guaiac wood, while Ouarzazate uses pepper, nutmeg, clary sage, woods and musk. Zagorsk sets white incense alongside pine, violet, iris, hinoki and birch.

Duchaufour drew on memories of the atmosphere of churches in his childhood for Avignon. Looking back in 2025, he described the risk of placing incense at the centre of both the composition and its story. A note often used in small quantities had become the main subject.

Series 4: Cologne (2002)

Alongside its experiments with artificial smells, Comme des Garçons turned to eighteenth-century eau de cologne in 2002. Anbar, Citrico and Vettiveru share a fresh citrus opening. Their original clear cylindrical bottles stood 22 cm high, held 500 ml and had black caps. A 125 ml format followed later.

Anbar combines bergamot, orange and lemon with cloves and musk. Citrico adds rosemary, orange blossom and neroli. Vettiveru moves from bergamot, cardamom and neroli to vetiver, cedar and musk. Each gives the citrus structure a different emphasis: spice and musk, herbs and flowers, or roots and woods. Vettiveru 2 appears in the current range, but 2002 refers here to the original launch of Series 4, not to proof that the two versions have identical formulas. Retailer Luckyscent describes Vettiveru 2 as a rebalanced, more concentrated version of the original.

Series 5: Sherbet (2003)

Rhubarb, Peppermint and Cinnamon explore the refreshment of sorbet through fragrance. Rhubarb combines rhubarb with bergamot, lychee, floral elements, vanilla cream and wenge. Peppermint adds pink pepper, spices, amber and white musk to cool mint.

Cinnamon brings bergamot and citron to cinnamon, then develops towards benzoin, saffron, vetiver and teak. Citrus and mint suggest coolness, while spices and resins suggest warmth. The original release included solid perfumes as well as sprays.

Series 6: Synthetic (2004)

Garage, Soda, Dry Clean, Tar and Skai turn to artificial places and materials in the city. Garage combines a kerosene-like smell with vetiver and cedar. Soda lists lime, ginger and pepper. Tar brings bergamot together with impressions of tobacco and town gas. Dry Clean takes a dry cleaner’s as its subject, while Skai evokes synthetic leather.

Astuguevieille recalled proposing a more outlandish series after Leaves, Incense and Red. The first idea was a garage, followed by the smell directly above an effervescent tablet dissolving in water and the smell of a dry cleaner’s. He described choosing the fragrances for release with Kawakubo soon after they smelled the trials together.

His garage was an imagined place rather than a literal copy of a modern car. Memories of a location provided the starting point for a perfume whose beauty could change over time on skin. The name Synthetic alone does not establish that every ingredient is synthetic.

Series 7: Sweet (2005)

Sweet brought together Burnt Sugar, Nomad Tea, Spicy Cocoa, Sticky Cake and Wood Coffee in 2005. Its gathering around sweetness went beyond sugar and confectionery to consider what tastes sweet and who might offer it. Nomad Tea and Sticky Cake each have an imagined guest bringing something sweet to the gathering.

The guest behind Nomad Tea is a travelling philosopher carrying traditions with him. Marie-Aude Couture explored a rough, unfamiliar sweetness with an almost uncooked quality. Nathalie Feisthauer’s Sticky Cake has a different character: a sensual, provocative woman bringing a cake. Its sweetness is dense, soft and syrupy. The two guests accompany contrasting ideas of sweetness, from rough-textured tea to meltingly rich cake.

At launch, each of the five perfumes had a different bottle shape. Windowed boxes used colours and confectionery motifs recalling childhood sweets. When Nomad Tea and Sticky Cake returned in the white Olfactory Library bottles in 2017, their guest stories remained part of the fragrances.

Series 8: Energy C (2008)

Energy C arrived in 2008 with Grapefruit, Lemon and Lime. The idea was to convey the vitality associated with taking vitamins from citrus fruit through scent. Its launch message of waking up and feeling positive found expression in three bright citrus perfumes. Unlike Series 4’s historical cologne theme, Energy C came in small 30 ml bottles.

Antoine Lie composed Lime and Grapefruit; Nathalie Feisthauer composed Lemon. Lemon combines lemon and citron with cardamom, angelica, incense and vetiver. Lime adds jasmine, rose, lily and cedar to lime and green lemon. Grapefruit includes blackcurrant buds, petitgrain, neroli, mandarin, moss and iris. Different combinations of spice, flowers and green notes give each citrus a distinct form of freshness.

Series 10: Clash (2019), Now Accident

Series 10 brings unlikely materials together in three fragrances. Launched as Clash in 2019, it was reissued as Accident in 2025 and is now presented under that name.

Celluloid Galbanum combines a plastic-like smell with plant resin. Chlorophyll Gardenia brings the rich impression of gardenia together with chlorophyll-like freshness. Radish Vetiver pairs two roots that grow underground, adding cypriol, guaiac wood and Akigalawood to radish and vetiver to connect a pungent vegetable impression with woody notes.

Olfactory Library and Reissues

The Olfactory Library, launched in 2017, was a reissue project in matching white bottles rather than a new numbered series. Its first ten fragrances were Eau de Cologne, Calamus, Lily, Palisander, Sequoia, Garage, Soda, Tar, Nomad Tea and Sticky Cake. Selections from Leaves, Red, Synthetic and Sweet were brought together as part of the brand’s olfactory history.

Series numbers on the Library bottles refer to the fragrances’ original collections. The first ten did not include every fragrance from Leaves or Synthetic. The Eau de Cologne included here is also distinct from the three fragrances in Series 4.

Collaborative Collections

Since 2008, Joffe has led fragrance collaborations with a variety of creators and brands.

The partnership with Monocle magazine has developed across several fragrances. Hinoki began with a memory of a hinoki bath at Tawaraya in Kyoto on a slightly chilly spring morning, combining the moss and woods outside with the sharp smell of the square wooden tub. Laurel drew on time spent with friends in Batroun, Lebanon; Sugi took Japanese cedar as its subject; and Yoyogi evoked a morning jog in Tokyo’s Yoyogi Park.

The fifth fragrance, Syros, arrived in 2025, composed by Antoine Maisondieu. Wild thyme, rosemary, turmeric and immortelle join patchouli and vetiver to evoke sunlit hills and herbs in the eastern Mediterranean. Monocle’s design team took inspiration from the simple forms of the Cyclades for its blue box.

Stephen Jones: Two Fragrances to Wear Like Hats

Milliner Stephen Jones saw both perfume and hats as evocations of an intangible, fleeting world. The first Stephen Jones fragrance, released in 2008, was a dark violet-centred scent in a black blown-glass bottle. Having made hats for Kawakubo’s collections for many years, Jones approached fragrance as another expression of dressing. A miniature hatbox and veil-like fabric carried the materials and presentation of millinery into perfume.

The second fragrance, Wisteria Hysteria (2014), was composed by Nathalie Feisthauer. Jones wanted white flowers without a candy-like sweetness. Wisteria was the subject, with the woody depth and resonance he associated with Comme des Garçons. Its white bottle complemented the black of the first fragrance. Their contrasting coolness and sensuality, light and darkness, also appeared in a film by Henry Pincus.

Pharrell Williams × KAWS: GIRL (2014)

One starting point for Pharrell Williams’s interest in making perfume was Wonderwood, which he smelled on Sarah Andelman of the Paris boutique Colette. Perfumer Antoine Lie described GIRL as inspired by that woody fragrance rather than by the fruity, sweet perfumes fashionable at the time. Pharrell worked with Astuguevieille, while Lie composed the scent.

Although it shares the name of his album GIRL, the perfume was not restricted to one gender. Pharrell spoke about the freedom to choose what one truly wanted. He sought to bring together fragrance, KAWS’s artwork on the bottle and the brand as a single work, making the project a collaboration between creators rather than simply a perfume carrying a musician’s name.

Serpentine (2014): Park Greenery and City Smells

The setting of London’s Serpentine Galleries was the starting point for this collaboration: a historic park surrounded by a major city. Astuguevieille and perfumer Emilie Coppermann sought to hold both greenery and the city in one perfume. Green impressions of grass, leaves and pollen meet air, asphalt and a trace of exhaust, keeping the park connected to its urban surroundings.

Artist Tracey Emin designed the bottle and box, drawing inspiration from a sculpture of embracing figures. Words on the bottle connect grass, trees, the lake and a loved person, bringing intimacy into the landscape. The fragrance was conceived to mark the opening of the new gallery, and proceeds support Serpentine’s programmes.

ERL: Sunscreen (2021)

Sunscreen, made with Venice Beach designer Eli Russell Linnetz, evokes distant summer memories through heat rising from sand, sweat on the body and the chlorine smell of public pools. Sunlit coastal impressions meet the artificial smells of sunscreen and swimming pools. Coconut, heliotrope and peach add softness alongside impressions of salty skin and splashing water.

The project took two years. Linnetz recalled that for the first six months, he and Astuguevieille worked only with images, without verbal descriptions. They tried many versions and imagined stories about the person wearing the scent, but eventually felt they had drifted too far from Venice Beach. The literal name Sunscreen brought the increasingly abstract perfume back to a specific memory. The bottle and packaging moved in the opposite direction, deliberately introducing a sense of dissonance with that familiar word.

KAWS: Mirror (2021)

Mirror grew from Brian Donnelly’s work as KAWS across contemporary art and everyday objects. His COMPANION figure appears on the bottle, carrying into perfume an approach that does not place museum works above familiar consumer objects. The scent is a bright musky floral, combining neroli and orange blossom with a clean accord and soft woods and musk.

Joffe recalled that KAWS and Astuguevieille never met face to face while making the perfume. KAWS sent words, Astuguevieille developed ideas from them, and around eight samples were mailed to him. KAWS supplied the concept, the fragrance team responded, and the bottle’s visual expression returned to KAWS.

Max Richter 01 (2025): The Smells of the Studio

Composer Max Richter wanted to create a fragrance as he would a piece of music, beginning with the studio where he spent his days. The wood and graphite of pencils, a piano soundboard, rosin used on a violin bow, electronic synthesizer components and magnetic tape provided olfactory starting points. Max Richter 01 is an eau de toilette inspired by the place and tools of his work.

Perfumer Guillaume Flavigny sought to translate the metal of violin strings, the wood of a piano, the synthetic smell of vinyl records and the atmosphere of a concert into fragrance. A pianist himself, he had come to know Richter’s music through his father. He described the scent as both dark and luminous, like the black and white keys of a piano.

Richter supplied a range of starting ideas, then narrowed down the resulting fragrance options by removing elements that did not fit what he had in mind. He recalled making three or four iterations. Rather than relying on words to explain the fragrance, he followed the sensations that moved him when he smelled it.

Joffe has described collaboration as a process of creating with friends, rather than a business built around making money. He said that asking prospective partners whether they had come to make money was the first question in establishing that shared approach.

Incidentally…

The unexpected roots of the brand name: COMME des GARÇONS takes its name from Françoise Hardy’s 1962 debut song, a major hit that sold 500,000 copies worldwide. Nineteen years later, Kawakubo would present her first collection at a location only about ten miles from the Paris where the song was written.
Daphne Guinness’s devotion: An heiress of the Guinness family known for her deep knowledge of perfume, Daphne Guinness reportedly orders 2,000 bottles of her Comme des Garçons collaboration, Daphne, every few years, buying around 1,800 of them for herself.
Kawakubo’s humor: When Astuguevieille proposed Odeur 53, Kawakubo reportedly responded, “You really are crazy (You are really crazy).” She meant it as a compliment.
The 2002 Puig agreement: Comme des Garçons Parfums entered a licensing agreement with the Spanish fragrance group Puig in 2002, but retained its own distribution and production rights.