You have 30 years of journalistic experience. Which of the skills you gained during that time are most useful to you in carrying out your daily duties at Comité Colbert?   
I did indeed spend more than thirty years in journalism, including 25 years observing this sector, understanding its restructurings, following its international expansion, and analyzing the challenges it faced. That made me an expert even before taking on the leadership of Comité Colbert – I already knew all the key players.

“To passionately promote, to sustainably develop and to patiently transmit French savoir-faire and creation in order to infuse a new sense of wonder". What does the savoir-faire mentioned in your mission statement mean?
The protection of savoir-faire has been at the heart of our association’s mission since its creation in 1954, because it is the foundation of the entire industry. The idea of the founder, Jean-Jacques Guerlain, was to unite all the players of French luxury – regardless of their sector – so that they could collectively safeguard the spirit of French luxury and art de vivre: something fragile, something that we have to care for as a shared heritage, to be cherished and passed on.

The history of Comité Colbert begins after World War II. Its founders, Jean-Jacques Guerlain and Lucien Lelong, chose Jean-Baptiste Colbert as the patron of the association – initially a small committee bringing together 15 French luxury companies. He was primarily the finance minister to Louis XIV, but he also established numerous royal manufactories. Which of Colbert’s ideas do you still consider relevant today?
Seventy years later, even though the maisons [houses of fashion and luxury – editor's note] have become global leaders, they still uphold this conviction: the greater interest in promoting and preserving this shared heritage outweighs their individual interests. Jean-Baptiste Colbert had a simple but brilliant idea for strengthening the kingdom’s economy: to specialize France in products of the highest quality and attract the best of the very best artisans. He therefore opened royal manufactories dedicated to tapestries, furniture, mirrors, textile, and silk. But he also went further. Convinced that a strong economy requires a strong culture, he founded academies of fine arts, painting and sculpture, architecture, music, and the sciences. And he offered his king a château – Versailles – a marvel of architecture, the most beautiful showcase of French decorative arts, and a remarkable instrument of cultural diplomacy. All of this is his legacy.

What were the main tasks of Comité Colbert after World War II?
The first goal was to attract artisans to replace those who disappeared during the war. The second one was to reopen foreign markets. But above all, the main objective was to create a collective in which ideas and experiences could be shared.

Comité Colbert contributed to the adoption of the Longuet Law in France in 1994, which aimed to put an end to counterfeiting goods. How do you try to prevent this practice today?  
The Longuet Law of 1994 was the first major anti-counterfeiting law applied to luxury goods. It strengthened the sanctions against copying and – in a revolutionary step – recognized that protecting luxury also means protecting its origins and the know-how on which it is built. Today, the challenge is far greater, as counter- feiting and “dupes” have become global phenomena, amplified by social networks and by recent American taxes on small parcels, which have helped redirect criminal networks towards Europe. We must therefore work to reinforce IP protection and sanctions, but also educate the public – for many customers, purchasing counterfeits and “dupes” has come to seem clever rather than criminal.

Bénédicte Epinay
Since 2020, she has been the head of Comité Colbert. She succeeded Élisabeth Ponsolle des Portes. Her previous career was in journalism. She began at “Le Figaro”. Later, she worked for Les Échos – Le Parisien. She holds a degree in political science and economics. Under her leadership, Comité Colbert engages in initiatives aimed at preventing a generational gap. It encourages young people to take up craftsmanship. She also engages in promoting sustainable development and focuses on combining tradition and French savoir-faire with modern technologies.

Legal and systemic actions are one thing, but educational efforts to raise public awareness are equally important. What kind of arguments do you use to make these initiatives effective?
Most consumers are unaware that buying counterfeit goods means enriching organized criminal networks that use these activities to launder money. They also fail to realize that buying a “dupe” is equally illegal, as it constitutes an infringement of intellectual property rights. In the past, Comité Colbert has conducted numerous awareness campaigns, often humorous in tone. Today, we must adapt our messages to this new reality.

What is the principle of selective distribution, which is especially crucial for the luxury goods sector?
In the European Union, luxury brands are allowed to use selective distribution systems, meaning they may choose and limit the retailers that are authorized to sell their products – as long as objective and qualitative criteria are applied in a non discriminatory way. This system is essential for luxury brands, as it allows them to protect their brand image, the quality of service, and their exclusivity – something that would normally be considered a restriction of competition.

Artificial intelligence is completely transforming the job market. Some professions we know today will disappear in a few years, while new ones will emerge. It seems that craftsmanship is one of the areas most resistant to these changes. What risks and opportunities do you see in this field?
I do not believe that in the very short or even medium term, artisans will be replaced by this technology, because even a single finger would require an intelligent robot. Just imagine the complexity of an entire hand – and the coordination it involves! However, we no longer make a piece of jewelry the way we did 30 years ago. Laser technology, computer-aided design, 3D printing – all of these have shortened the prototyping phase. Generative artificial intelligence will most likely transform the creative process as well. How? No one knows yet.

What led to the decision to include several European companies among the French brands?
I was not there when it was decided. But what I can say is that we have been convinced since the creation of the Comité Colbert in 1954 that together we are stronger. Having the voices of companies from different countries is a true source of collective enrichment.

Among this distinguished group since 2012 is Dr Irena Eris. What was the reason for extending an invitation to the brand? Which of its qualities were particularly appreciated by
Comité Colbert?
Poland is a strong country in the European Union and an age-old friend of France. Therefore, we deemed it important to select a Polish brand sharing our values. Dr Irena Eris naturally emerged as the best candidate. The first contacts were very positive, and we were very impressed by the successful combination of cosmetics innovation and hospitality. Having both a scientist – Dr Irena Eris – and an entrepreneur – Mr. Henryk Orfinger – as owners was also key for our industry, combining creativity with business excellence.

In a world where everything is at our fingertips – or rather, on our smartphones – it is sometimes difficult to appreciate things that require waiting. Craftsmanship demands patience, perfection, focus, and the cultivation of a master–apprentice relationship. How does Comité Colbert encourage young people to pursue careers in craftsmanship?
The French luxury industry is facing a shortage of skilled hands in its production workshops. A 2024 study estimated this shortfall at 20,000 artisans. Indeed, 25% of artisans are over 55, and only 10% are under 25. There is an urgent need to attract a new generation of young people to these careers. To achieve this, since 2022 we have worked to give these behind-the-scenes professions the visibility they deserve and have created a career-orientation event called Les Deux Mains du Luxe, the latest edition of which has just taken place at the Grand Palais. More than 30,000 visitors attended – a record number. What makes this event unique is that each maison offers hands-on workshops to test one’s agility. At the same time, conferences are held during which artisans share their passion with visitors. Vocational schools are also present to demonstrate concrete training pathways. After five editions, we can see that young people’s perception of craft professions is changing. We are observing growing interest, and even enthusiasm.

The Comité Colbert was created in 1954 by Jean-Jacques Guerlain. The association is named after Jean-Baptiste Colbert, the Finance Minister of King Louis XIV, whose memorable contribution during the XVIIth century was the creation of royal manufactories to strengthen the nation’s economy. From the outset, the mission of the Comité Colbert was to bring together French luxury houses and give them the opportunity to share their experiences and expertise. Seventy-two years later, its members serve both as ambassadors of the French art of living and as guardians of a shared savoir-faire and heritage.

At its inception, the Comité Colbert counted 15 houses: Baccarat, Cartier, Chaumet, Christian Dior, Christofle, Gelot, Guerlain, Hermès, Hôtel Le Bristol, Hôtel Carlton, Jansen, Lachaume, Paul Portes, Puiforcat and Rouard. Today, the association brings together 115 brands and cultural institutions, ranging from centuries-old houses to more recently founded ones. In 2011, for the first time, foreign luxury brands were invited to join this elite group. Dr Irena Eris is a member as the only brand from Poland.