The New Angel by Mugler has Fallen from the Skies

We had announced some months ago that Naomi Watts will be fronting the new campaign for Thierry Mugler's iconic gourmand Angel. The line got renovated with new packaging, new advertising images and a boost in the body products out of which the Perfuming Cream is standing out as an exquisite substitute for the truly potent perfume in a new guise of blue-hued smoothness. The old version was almost perfect as it was so I was skeptical on how they could improve, but trying out the new sample surpassed my memories of the old one. Indeed it manages to aromatize the skin for hours on end and since it has lower sillage than a spray it is an excellent choice for those who love Angel but are afraid to impose that love to others around them. The makers have patented a new Intense Diffusion System (IDS) which supposedly diffuses the scent better on skin. My only gripe is that the new jar looks rather less friendly for travelling, as it is heavy and has stars in crystal relief all around.

The new commercial starring a star-struck Naomi Watts, directed by Bill Condon (of Dreamgirls fame), is airing just now. Although voluptuous was not the first adjective I associated Naomi Watts with despite my admiration for her acting chops which she has displayed in numerous films, I have to admit she did a very credible job ~OK apart from her pronuniation on the French Thierry Mugler name which remains...Anglo-Saxon in intonation. (It can be heard at the the official website). Her waist cinched into a Mugler corset and her long blond hair in dented retro waves she looks radiant and fairy-like.
Thierry Mugler himself seemed very convinced of Naomi's capacities (watch a small interview segment here) so who are we to disagree?






The magical atmosphere of catching a fallen star, like a retrogade into childhood wishes and dreams, is echoing the scent of Angel the fragrance with its fun-fair smells of chocolate, candied apples, cotton candy and sawdust.
I have always been interested from a cinematic point of view on how those commercials get created and so these storyboards for the new commercial with Naomi Watts as face of Angel have provided a much sought-after glimpse into the creative process.

You can visit the new Angel website for lots of info on the products and a look into the making of the new campaign. (choose "A new icon" and then from the drop-down menu choose "The making of" option. It will also give you a chance to hear Debussy's Clair de Lune as they were shooting scenes of the commercial)

In the interests of full disclosure, I got sent the print material and a sample of the new Perfuming Cream as part of the Angel loyalty programme, which I am highly recommending if you buy an Angel product (there is a small pamphlet in the box which you get to fill in and mail).Clip uploaded by ThierryMuglerParfums on Youtube.

Roadster by Cartier: fragrance review

by guest writer Mike Perez

I have been a fan of fragrances with mint, for quite some time now. Mint is prominently featured in many men’s fragrances and I think it’s a ‘love or hate’ note. Either one enjoys the bracing, vivified effect from this sharp, pungent herb – or it negatively conjures up olfactory images of aperitifs, mouthwashes and toothpaste.

Roadster, the new men’s fragrance from Cartier (by perfumer Mathilde Laurent [Shalimar Light and Cologne du 68 by Guerlain]), marketed as a mineral fougère - mixes notes of bergamot and mint with vetiver, patchouli, cashmere wood, cistus labdanum and vanilla. I’m not sure if Cartier (or the men out there Cartier is trying to sell to) fully understands the mineral fougère categorization. Nonetheless Roadster, smells wonderful.

The top notes are dominated by a soft, yet instantly recognizable ‘green’ diffusion of galbanum. I admire this entry (being a fan of ‘green’ fougères like the classic country cologne Devin by Aramis) and can appreciate the oh-so-smooth transition to the next herbal explosion of mint. Mint is tricky (sharpen it too much in a lackluster scent and it radiates menthol), but this mint is subdued, slightly cool to the back of the nose when sniffed and slightly foamy. I’m reminded of the smell I taste, when swallowing mint infused bottled water (such as Metromint).

Unlike some mint fragrances that tingle and cool my skin when applied (Booster by Lacoste by the masterful Jean Kerleo; the limited edition Feuille Verte by Creed; Eau d’Orange Verte Refreshing Body Gel by Hermes) – Roadster’s cooling properties happen only in my nose. It eschews the typical ‘sport’ vibe of mint and uses it in a more sophisticated, modern version of ‘fresh’. This makes sense, since Cartier chose to release this scent right before autumn and the arrival of cooler weather (when a cooling mint fragrance wouldn’t be appropriate).

The base notes are slightly woody (very faint) and sweetly vanilla prominent. Ms. Laurent’s past work for Guerlain shows in the dry down. Complex, blended, subtle whiffs of the fragrance combine with the mint, vanilla and woods in a very unique accord: a fresh baked, delicate vanilla and cream pastry with a steaming hot cup of herbal mint tea. I found myself catching whiffs of myself all afternoon when I first tested this – inwardly smiling.

The Roadster bottle (held horizontally on its side), mimics the hand dial of the Roadster watch by Cartier (which itself mimics the design of a roadster automobile). Heavy, clear glass and polished chrome cap. It’s worth noting that the bottle is VERY heavy. It feels solid in your hands. Perhaps too heavy, for easy application of the scent (held vertically). But…wrapped up in a gift box – it’s solid and substantial weight would make a great gift (who isn’t intrigued by a small, heavy, wrapped present?)

Roadster by Cartier is available in 100 ml. and 50 ml. (Eau de Toilette) for $100 and $75 (although I have seen the 100 ml online - discounted at $73). Visit the extremely slick (and slow loading Flash based) website here: roadster.cartier.com

Notes for Cartier Roadster: bergamot, mint, vetiver, patchouli, cashmere woods*, cistus labdanum, vanilla

Watch the interesting video with Cartier perfumer Mathilde Laurent talking about Roadster and the Cartier fragrance line!

*Cashmere woods or Cashmeran is a IFF patented, complex aromachemical that provides a beautiful, velours note with diffuse nuances of earthy-wood and spicy notes (pine, patchouli), fruits and flowers (heliotrope, red fruits, apples and jasmine) and is softly musky-vanillic. It's featured in Ysatis, Amarige, Michael, Lacroix Rouge, Perles de Lalique, Dans tes Bras and many more.

Pic of Henry Cavill courtesy of Jocasta/Photobucket, chosen by helg. Clip originally uploaded by Primeprojects on Youtube. Bottle pic courtesy of Cartier and of Roadster watch courtesy of jomashop.

Hidden Gems: Little Pleasures from Two Sides of the Globe

Some wonderful things in this life are well-known: Veuve Cliquot champagne, the Nutcracker suite, Mercedes Benz S-class and Gregory Peck. The again there are those little things that while not essentially secretive they float with little collective wow as much as they trully deserve it.

The Non Blonde (from New York) and yours truly decided to sit down and reveal some of the "secret" things that makes us tick. Things of a local but also international colour to take you away from your everyday existence into the cosmos of a friend city-trekker and which we hope will inspire you to seek them out this autumn.

Foodstuff and aromatic delights:
Mastic or lentisque, the natural resin of the mastic tree, is one of the local products which I feel few people outside the Mediterranean know about and that's such a shame. Because mastic is medicinally beneficial to so many ailments (soothes the stomach, strengthens the gums, whitens the teeth, refreshes the breath, helps with catarahh), it is also an excellent... aphrodisiac but most importantly its aroma is delicious, unusual and very pliable to so many uses in food, drink and fragrance (Infusion d'Iris by Prada is said to borrow its aromatic note).
Mastiha Shop is the brandname of Mediterra SA company founded by the Chios (the Greek island) Mastic Growers Association. Whenever a foreigner comes to my city I always take them to the Mastiha Shops: a paradise for everything around mastic! The Mastiha site is excellent and you can spend lots of time seeing the products, the shops and reading about how they are collaborating with other Eastern Mediterranean companies such as Al Doucan, Junan Natural Lebanais, Senteurs d'Orient Sarl and Haki Bekir SA. The best part is probably the Recollections section on which there are dots on the map of the whole Mediterranean with customs around mastic for every one on the map (on the Folklore sub-section), tales about travelers and historical references aplenty. Get their gum with rose essence if you can: yum!

Books and films
Jeux interdits (forbidden games), is a novel by François Boyer. The synopsis has a girl of 5 orphaned in an air raid while fleeing a French city with her parents during WWII. She is befriended by a 10 year old peasant boy when cut off from the other refugees and is taken in for a few weeks by his family. The children quickly become friends in the purest and most tender love story of them all in their attempt to assimilate the deaths they both face and the religious rituals surrounding those deaths through the construction of a cemetery for all sorts of animals. However child-like and adult activity often are at cross-purposes till the climactic finale.
The novel got adapted into a 1952 French language film directed by René Clément starring Georges Poujouly, Brigitte Fossey, and Amédée. For once a film respected the book and became according to filmsdefrance.com: "almost unquestionably the most compelling and intensely poignant drama featuring young children ever filmed" . If you have small children or have not forgotten the sensitivity of your childhood, it is highly, highly recommended. Take a box of Kleenex with you too, you will need them. Available through the Criterion Collection. Watch this little montage.

And if you're embracing your cynical, adult side, don't forget the Italian spaghetti western classic from one of my favourite directors of all time, maestro Sergio Leone.
Here is Clint Eastwood, Lee Van Cleef and Eli Wallach in one of the most poignant treatises on war & the individual and the best showdown ever (click to watch): Il Buono, il brutto, il cattivo (The Good, the Bad and the Ugly) from 1966 set to music by Ennio Morricone. "There are two kinds of people in this world, my friend: those with loaded guns and those who dig. You dig!" A masterpiece.

Homage to a tortured soul:
Guillame Depardieu, son of France's greatest living acting legend, died on Monday out of complications of pneumonia according to Google. Gifted in acting himself, with the ill fate of growing up feeling side-tracked by his father's fame, and having to go through the loss of a leg due to a motorcycle accident a few years ago, he had a rough life that ended unjustly. He was 37.
He will always remain in mind fair, young and passionate as he was when he appeared alongside his father in Tous Les Matins du Monde (all the mornings of the world), a 1991 French film by Alain Corneau about the baroque music of Sainte Colombe and Jean Baptiste Lully which I had referenced when talking about O de Lancome and a big-fat-shinning gem of its very own. This is for you, Guillame. Godspeed...

Jewellery:
Another passion of mine, I'm afraid. There are so many things to appreciate in a well-crafted jewel beyond its monetary aspect: the craftmanship, the cultural inspirations behind it, innovative designers making portable art. It makes my day to look at beautiful and inspired jewels and my collection is growing thanks to careful selection and generous gifts.
I tend to prefer vintage pieces with rose-cut diamonds (those grey irregularly-cut stones that resemble hazelnut shreds). Fanourakis is a Greek goldsmith fronted by an admirable woman, Lina Fanourakis, who designs the most ecclectic mix of portable sculpture: small flies become dainty earrings, a corset is shaped into a bracelet, drops of liquid fall off the length of a brooch. Take a look here and if you pass through Ermou St (Hermes street) in Athens, turn on the left before Kapnikarea church so as not to miss their boutique.

Then again there is Rinaldo Gavello: an Italian designer married to a Greek woman and almost a Greek himself now...With boutiques in the glamorous Athens center, Thessaloniki and in always popular Mykonos, he designs the rock-chic pieces with skulls out of the tiniest diamonds and bright enamel that delight my Metallica-loving soul. Take a look at the new Josephine collier, inspired by black gazelle Josephine Baker and prepare to be awed! (click the link to see pic)

Perfume:
One of the fragrances that I have never heard anyone in the perfume communities know is an Italian Eau de Toilette by the French-sounding Jean Louis Gady brandname, christened Musk Oil (it's anyone's guess why they called it thus when it's in fact a spray alcoholic fragrance!) It's my favourite "extra" to include in international packages: there is no one I have sent this to who hasn't spontaneously commented that it is very pleasant and wearable. Warm, sweet but not intensely so, with hints of rose and vanilla, unisex and a proper "perfumey" fragrance rather than a clean musk, it garners compliments from everyone. It's a mystery why it's not widely available.

Another little-sung hero is Sonia Rykiel Woman, not for Men! from one of the more chic and favourite designers: musky, leathery, powdery and with an abstract touch of cosy warmth it's a wonderful, wonderful perfume that is unique, never nauseatingly sweet or heavy and a subtle come-hither. Nota bene, however: all this describes the Eau de Parfum in the bottle with the bronze studs on the cap and the purple accent lettering, not the pink one with the silver studs (the Eau de toilette, which is yet another trite fruity floral).

Demeter's Rain is not exactly what one would call "perfume" and indeed I am not advocating you wear it as a personal fragrance. It's more of a mind-altering mood in a bottle: it is exactly the smell of those baby humidifiers-ionisers which shoot negative ions in the atmosphere to boost energy levels and clear the air. It smells as fresh as the first raindrops from a blue cloud in the autumn sky.

Body indulgences:
The shower gel which I most enjoy during the late summer and autumn months is none other than Felce Azzura (means "blue fern" in Italian) by Paglieri. There is some pungent aromatic and slightly bitter essence like crushed dried herbs gathered on a Greek hill along with a lingering powdery quality about it that never stops having me swooning (a dangerous thing in the shower!). Refreshingly cool in late summer's humidity and unlike any usual citrusy or minty bath product it has an autumnal feel that is a perfect fit for the current season in particular. It also comes as a body powder with the same heavenly smell. And it's relatively inexpensive, making it the perfect everyday indulgence. Once upon a time, as attested by the ad designed by Moltrasio in the 1950's which is clearly inspired by my look-alike, there was also a hair brilliantine. Kill me now!

Hair guilty secret:
I am über-loyal to Elnette hairspray for dry hair ever since I remember using something to hold my stray strands, ever since it was non cool and not fronted by Penelope Cruz and Claudia Shiffer in those nifty ads. Seeing my mother and grandmother using it obvsiouly had a deep and contradictory impact: I wanted to break out of the mold and try "younger" hair stuff, quirky, punky, whatnot. After hundreds of flings with lesser mortals I always return to this one: it brushes off in an instant, does the job well without sticking the hair into barbed-wire and has a nostalgic faint smell that doesn't bother my perfume wearing.

Makeup unsung hero:
Guerlain has my hard-earned Euros on many things; one of the constants however, apart from perfume, is mysteriously enough a highlighter-cum-concealer: Issima Precious Light. A click-pen with a little brush at the edge that delivers the creamiest, most becoming little shot of light for under the eyes, over the brows, at the edges of nose and lips, to give a gentle luminosity to the face to lift it through the darker days of the cooler season. More creamy than the Yves Saint Laurent analogous product and less sticky or thick than the comparable Dior, it is the perfect consistency to blend without tugging. I use Beige Naturel 020 and it doesn't need anything else on top (the sales assistant who insisted my light skin needed the Beige Clair 010 hadn't realised that too white-ish gains a grey-ish pallor over any trace of blue under the eyes...)

Actors to watch now:
This guy has been steadily gaining a small but dedicated fan club, mainly thanks to his inclusion in the Tudors. I fist spotted him in The Count of Monte Cristo. I don't know why they don't employ him in almost everything!
Opposite physionomy to the virile one above, fabulous acting chops, this one is another gem not to miss: I don't know why they don't employ him in almost everything either! Best thing of all: you never hear about their private lives: wise boys...

Music to listen to this autumn:
Manos Hadjidakis is no unknown in Greek music. He shares demi-God status. Yet not many people abroad who only know Greek music from Zorba the Greek instantly recognise him as immediately as the latter's composer (equally talented Mikis Theodorakis). Here is a clip from Gioconda's Smile, his 1965 instrumental album inspired by his stay in...New York City. Available at Amazon.



I'd love to hear from you about your favorite hidden gems (regional or of a wider scope). Share them in the comments and please don't forget to check out The Non Blonde's for another take.

Art photo on top by Charettevia. Felce Azzura ad via trocadero.com. Jeux Interdits poster via Wikimedia. Clint Eastwood pic from the Clint Eastwood Archive.
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Try to Remember when Life was so Tender that No One Wept Except the Willow

"Then summer fades and passes and October comes. We'll smell smoke then,
and feel an unexpected sharpness, a thrill of nervousness, swift elation, a
sense of sadness and departure."
~Thomas Wolfe

The end of one season and the progression into another is often a time of sweet nostalgia, especially the wistfulness of a slow immersion into the crisper atmosphere of autumn. When the trees turn poetically unreal into crimpson and citrine and you feel the air is whispering words of wisdom as you crunch that carpet of dead leaves it's too precious to lose any hours of sunshine indoors. Instead I want to get out and soak up all the smells and the sights and the sighs of nature preparing to slumber.
"Deep in December, it's nice to remember,
The fire of September that made us mellow".

I'd like to hear what your favourite autumnal smells are.

Song is "Try to Remember" from the musical comedy The Fantasticks, with lyrics written by Tom Jones and music by Harvey Shmidt. Here sung by Greek singer Nana Mouskouri and Harry Bellafonte.
Clip originally uploaded by George Grama on Youtube.

Aziyade by Parfum d'Empire: fragrance review

"The delicate exactitude with which he reproduced the impression given to his own alert nerves by unfamiliar forms, colours, sounds and perfumes" is how a contemporary critic describes the cadence literary style of Pierre Loti, French author of "Aziyadé". The exoticism and decadence of the Near and Far East at the core of the romanticism of the 19th century thus provides the backdrop for the newest fragrance by Parfum d'Empire, Aziyadé. A fragrance inspired by the indolent life of a harem at the twilight of the Ottoman Empire.
"Aziyadé" or "Constantinople" is a semi-autobiographical novel (1879), based on the diary by Pierre Loti (nom de plume of Louis Marie-Julien Viaud), kept during his 3-month stay as a Naval officer in Greece and Constantinople in the fall/winter of 1876. It recounts the then 27-year old Loti's illicit love affair with a 18 year old "Circassian" harem girl, Aziyadé. Although one in a string of conquests, a gold ring with her name on it worn for the remainder of his days suggests otherwise. Loti's "friendship" with a Spanish man servant named Solomon provides the intrigue of a love triangle in which some tone of homosexual affair is hinted. Loti, a pseudonym derived from an Indian flower which loves to blush unseen, excels at this literary species of confession, half-way between fact and fiction. But the protagonist remains the omnipresent fascination with the opulence of the East with its inherent sensuality (as reflected in his other works (L'Inde (sans les Anglais), Les Derniers Jours de Pékin, and Madame Chrysanthème), influencing such aesthetes as Marcel Proust and John Luther Long.
The English translation by Marjorie Laurie, no longer in copyright, however contains sanitized descriptions of harem life, prostitution and homosexuality, while the original French first edition is a highly prized collectors item (you can download it free here).

It is of course unfortunate and bitterly ironic that when the modern western observer thinks of harems eyes glaze with the promise of nubile forms sleathed with aromatic oils, emerging through the steamy vapours of an intoxicating mirage. These notions of a place where women dependent on a single man are ready at any moment to satisfy his every whim were honed by opulent odalisques painted in sweeping brustrokes by Ingres and the playful libretto of the Mozart opera. Historical evidence shutters that illusion however with its harsh reality of violent abductions, cruel enslavement and snarly political chess-games; fate was harsh not only to women but to men too ~the atrocious practices reserved for the sandali eunuchs curl the blood. Slave concubines for sexual reproduction emphasize the patriarchal nature of power ("hereditary" through only male heirs). Unlike wives they had no recognized lineage, while the latter were suspected to have vested interests in their own family's affairs, interfering with their loyalty to their husband. This system made concubines preferrable, if affordable. Therefore slave concubines as an equal method of reproduction without the risks of marriage (mainly that of the potential betrayal of a wife, thus questioning an heir's paternity) became a solid custom.

In Parfum d'Empire Aziyadé, the scent doesn't correspond to the Valide Sultan for whom Shalimar might fit glove-like, but to a young concubine destined to become kadin, his favoured wife. Those quintessential spices of Near East orientalia, cardamom and cumin, exhale their dangerous yet strangely comforting breath upon the proceedings like the steam rising from a Chai cup offered in supplication. The redolence of richly sweet dates, oranges and prunes predisposes to recast one's mind to that dried-fruit souk alcove that is Arabie by Serge Lutens, but also the 80s Cresp reformulation of Femme by Rochas with its stewed prunes dusted with cumin. Carob is another Near East reference: Ceratonia siliqua, the scientific name of the carob tree, derives from the Greek κεράτιων, “fruit of the carob” (from keras [κέρας] "horn" due to its shape). Its fruit is sweet, succulent with a chocolate-y warmth edged in bitterness. Balanced between sweet and acidulous facets, Aziyadé would be appealing to those who find the abundance of Arabie inviting and accordingly excessive to those who don't.



Parfum d'Empire is a French niche line established by Marc Antoine Corticchiato in 2003 painting olfactory portraits of the great Empires of the past from the Alexander the Great (Iskander) and the Romans (Equistrius), through the Mongul Empire (Fougère Bengale) and the Russian Tsars (Ambre Russe) to the Chinese Empire (Osmanthus Interdite), the Ottomans (Cuir Ottoman) and Napoléon (Eau de Gloire) with Joséphine (Eau Suave).

Notes for Aziyade:
pomegranate, crystallized date, almond, orange and prune, cardamom, cinnamon, ginger, Egyptian cumin, carob, frankincense, vanilla, Madagascar vanilla absolute, patchouli, musk, cistus

Available at 50ml/1.7oz (95$) and 100ml/3.4oz (130$) at Luckyscent and soon online at the official site.

Painting Les Almées by Paul Louis Bouchard via chapitre.com. Clip of Arabian dance from Nutcracker Suite by P.I.Tchaikovsky from the Mariinsky Theatre ballets' performance in St.Petersburg, originally uploaded by radostsguy on Youtube.

Power by Kenzo: fragrance review

by guest writer Mike Perez

The new men’s fragrance, Power by Kenzo, is ‘on paper’ a fragrance that easily entices my curiosity: The perfumer is Olivier Polge (Dior Homme, The One for Men, Flowerbomb) It’s a floral fragrance marketed to men. The shiny, stainless steel ‘sake inspired’ bottle is modern, sleek and just gorgeous.

What struck me at first, when I carefully read the box was Kenzo released this scent as an Eau de Toilette Fraiche. Most men’s fragrances are usually released as an Eau de Toilette first, and then if the scent is popular they’ll roll out a flanker product (Light, Summer Version, etc.) With Power, they released the ‘lighter’ version first. Which got me wondering: Has anyone ever done this before, in a men’s release?

The top notes, immediately upon impact with my skin, smell fruity, powdery and creamy. If you know me, you’ll know that I find this mixture oddly uncomfortable. Perhaps the only way I could describe it is: powdered cherry soy milk. If there was such a thing. Once my skin warmed up, the fruit became more subdued and the creamy powdery aspect of the scent transitioned into a much more floral scent. Let’s talk about those ‘florals’. Like Flower by Kenzo (their woman’s scent) Power attempts to recreate an ‘imaginary’ flower smell. So, what does this imaginary flower (for a man) smell like? A few things: sweet, sugar sprinkled iris; a little violet, but extremely light violet notes; powdery floral notes – reminiscent of something slightly edible (remember those purple and yellow flowers made out of icing that you see on wedding cakes – that smell).

A man uncomfortable wearing iris (as I mentioned in my review of Infusion d’ Homme) or other flower prominent scents (Fleur de Male by Gaultier, Insense by Givenchy, and Saville Row by Richard James – to name a few) will probably not enjoy Power. Having said that, I think men and women who love subdued floral fragrances will adore this scent. I am amazed that Kenzo chose this as a masculine (rather than releasing it as a unisex) scent.

Once the fragrance has warmed on my skin, the florals pull a ‘Houdini act’ and poof (!), they’re gone. Replaced by a very hushed woody base with a touch of powder. There is a drop of something aquatic also in the base, but I can’t put my finger on it. I’m reminded of the watery woody He Wood by DSquared₂ - whitewashed woods floating on sweet, cool, lightly floral water.

Which leads me back to my first statement – yes, this scent has enticed my curiosity and my nose but I can’t imagine wanting to own a bottle. I’m reminded of a few scents that I’ve tried over the years, fragrances that the guys and gals over at Basenotes go bananas over. I hunt down a sample, try it, sample it a second time, put it away, re-try it a third time…you know the story.

I find it extremely admirable that a designer house is marching into the masculine fragrance world with an extremely flower prominent scent. Big thumbs up! But still…

Power is a scent I want to love. But I don’t.




Visit the Kenzo Power website here.

Clip originally uploaded by antonpan1201 on Youtube (song: Tom MacRae "You cut her hair"). Pic from film "Secretary" via sexkitten.com, pic of Jasos Statham chosen and uploaded by Mike

Jitterbug perfume oil from Opus Oils: fragrance review

"Plants that wake when others sleep. Timid jasmine buds that keep their fragrance to themselves all day, but when the sunlight dies away let the delicious secret out to every breeze that roams about." It is in those enraptured words that Thomas More spoke of jasmine, the king of flowers, the narcotic essence emitted under the cloak of night seizing the senses and the imagination. For me it is the blossom of utter surrender, the very essence of feminity. It was not accidental that I devoted the Jasmine Series to an in-depth appreciation of this small white flower. Jasmine is the memory of summer evenings in the Mediterranean under a lush trellis, its sweetly intense, heady aroma putting a spell on me, filling the air with longing and the deep yet melancholic satiation that comes from realising that this is our one and only life and there won't be another...

We had announced the opening of Jitterbug Perfume Parlours by Opus Oils some time ago and it has indeed opened its doors a few days ago. Their Signature Fragrance is "Jitterbug" and if you are even marginally interested in jasmine, it is a must-try. At first I was rather sceptical: could an oil blend really capture jasmine the way I know it from the quality essential oils I collect and alternatively the jasmine fragrances I adore such as the indolic A la Nuit, the purple-hued Sarrasins with its civet whiff, the individual, spicy Jasmin de Nuit or the Venus flytrap that circulates under the name Jasmin Full by Montale? Yet, Jitterbug, without being as animalic as the above, weaves its own sweet web of seduction.
Lush, full-bodied, with the sweet interlay of what reminds me of exotic ylang ylang and a round sweetish finish of the gingerbread goodness of sandalwood, it is predomintantly about the king of flowers: jasmine in its heady glory.

"Jitterbug" the name can be used as a noun to refer to a swing dancer or various types of swing dances but also as a verb to refer to a dancer of swing. It comes from an early 20th-century slang term used to describe alcoholics who suffered from the "jitters". Cab Calloway's 1935 lyrics to “Call of the Jitter Bug” clearly demonstrate the association between the word jitterbug and the consumption of alcohol.
Kedra Hart, the perfumer responsible for the Opus Oils fragrances, must have been inspired by concepts of euphoric consumption of heady liquor that puts your mind in a spin and excites passions, but also of the novel by Tim Robbins Jitterbug Perfume in which jasmine plays an essential part in the creation of a perfume fit for the bucolic (and animalistic goat-shaped) Greek god Pan. Whatever it was, it made for a successful fragrance.



Jitterbug perfume, a rejoice for jasmine lovers, includes notes of jasmine, honeysuckle, lemon essence, orange blossom, beach found ambergris, blond tobacco and sandalwood.
The sample I got was in oil form (essences mixed in fractionated coconut oil) which lasts rather well and has average projection ~certainly better than most oils. It also doesn't stain which is a plus. Although I am not generally an oils type (I prefer the refreshing "swoosh" of a sprayer) oil lovers should definitely give it a try! It also comes as an Eau de Parfum spray which is tempting me as we speak for autumn and winter days when I want to recapture that summer evenings feeling.
Jitterbug is available online at OpusOils.com (click the picture under the "new release Jitterbug" on the home page), JitterbugPerfumeParlour.com or at Opus Oils’ Jitterbug Perfume Parlour located at 4959 Hollywood Blvd. Hollywood, CA 90027.
The signature fragrance retails for $30 - $120 & comes in various sizes: 1 Dram airport travel size roll-on, 0.5oz/15ml roll-on, 1oz/30ml & 2oz/60ml Eau de Parfum sprays, 3.3oz Bath & Body Oil, 6.7oz Body Lotion, 8.5oz Dead Sea Bath Salts & 8.5oz Body Butter.

Just because I was so pleasantly surprised by Jitterbug, I plan to review some of the other naughtily-named lines (Burlesque, Fetish, Absinthe) of fragrances by Opus Oils very soon!

Clip of Nina Simore singing Screaming Jay Hawking's hit "I put a spell on you" originally uploaded by Jamyginga on Youtube. There is also an interesting (and totally different) interpretation by Marilyn Manson too: click here to listen!
Pic of Eva Green courtesy of Makeherup.

The new Shalimar by Guerlain commercial with Natalia Vodianova

A few days ago we introduced the new face of Shalimar by parfums Guerlain, Natalia Vodianova, shot by Italian photographer Paolo Roversi. The ad prints that will appear in major fashion and beauty magazines only give a hint of the upcoming advertising campaign, apparently.
Perfume Shrine is proud to be the first to feature the newest commercial of Shalimar, with Natalia Vodianova, today, kindly supplied by one of our readers who wishes to remain anonymous.
Our newest info suggests that Natalia Vodianova will also be fronting Guerlain's makeup and skincare starting January 2009.
The TV and cinema commercial of Shalimar is full of sensual images of a naked Vodianova, wriggling on an unmade bed, the voiceover recalling the famous Marilyn quip about wearing a few drops of Chanel No.5 in bed, but also visually echoing the controversial campaign of Calvin Klein's newest feminine scent Secret Obsession in which an object(the fragrance) becomes a psychological relation to emotional response. It is almost as if the emotion is transfered onto the object befitting Freudian analysis.



The concept seems to be focused on a conversion between lovers following a passionate tryst, with the man asking the mystery ingredient that accounts for what sounds like an unforgetable memory.
"Qu'est-ce que tu portais sur ta peau?" (what were you wearing on your skin?)
"Quelques gouttes de Shalimar!" (A few drops of Shalimar)

Then again, the immortal dialogue* from Godart's Le Mépris with Brigitte Bardot, reprised in Chanel's latest lipstick commercial* for Rouge Allure, is rather unsurpasable...


*{Click the links to watch!}

Stay tuned for upcoming reviews and little known info on Shalimar as well as its flankers, Shalimar Light (Eau Légère) and Eau de Shalimar.

Ad print courtesy of French Madame Figaro 30th August 08.

Sycomore by Chanel: fragrance review

"Do you come from Heaven or rise from the abyss, Beauty?
Your gaze, divine and infernal,
Pours out confusedly benevolence and crime,
And one may for that, compare you to wine ...
From God or Satan, who cares? Angel or Siren,
Who cares, if you make— fay with the velvet eyes,

Rhythm, perfume, glimmer; my one and only queen!
The world less hideous, the minutes less leaden?"
~Hymn to Beauty, Charles Baudelaire

In 1930, Coco Chanel had a dream: she envisioned the perfect, most beautiful woody perfume that was baroque in feeling, yet bore no frills. The result, Sycomore, a 'woody scent with balsamic notes' composed by her Russian perfumer Ernest Beaux, was not appreciated in its time and soon disappeared. Just shy of 80 years in the making, Jacques Polge and Christopher Sheldrake, resident noses at Chanel, recomposed the woody vision of mademoiselle Coco and the finished fragrance forms part of Les Exclusifs ~Chanel's prestige line. The two however do not bear any similarity: The vintage Sycomore had "a distinct tobacco-violet note and all the other elements (few) built to enhance this idea" according to Octavian Coifan while in comparison the new version is very much centered around true vetiver; and a smokey one at that.
In many ways it is a departure from the other iris-ladden Les Exclusifs which affirm their Chanel pedigree by use of costly raw materials evoking segments of previous successes of the brand. Sycomore does not.

Sycomore instead emphasizes its aristocratic dryness of humble origin with a tangy grapefruit opening and subtly cooling, clean muguet notes that complement the Haitian vetiver variety, also used in Guerlain Vétiver, so well. Almost simultaneously it allows soft impressions of a warm incense cloud slowly setting upon evergreen needles and rooty dirt (a la Route de Vétiver by Maître Parfumeur et Gantier) to uplift you into a wistful and introspective contemplation of life and mortality. And if you lower your head and pay attention to its murmur, a resinous, only marginally sweet touch of the licorice note that naturally arises in several distillations of the material itself, slightly reminiscent of Dior's Eau Noire drydown, vibrates at a low frequency, along with woodfire smoke.

Officially marketed as feminine for women who do not like flowery compositions, yet cunningly poised between the two sexes, it has an hermaphrodite side that whispers of something mysteriously chic, chastetly beautiful and utterly unattainable; like Björn Andrésen, the youth Tadzio in Luchino Visconti's 1971 "Death in Venice" (the film adaptation of Thomas Mann's masterful novel).
His remarkable androgynous beauty prompted feminist Germaine Greer to use a photograph of Andrésen on the cover of her book "The Beautiful Boy" (2003). She would have approved of a scent strip of Sycomore tucked in there too.



The musical score is Gustav Mahler's "Adagietto" from his 5th Symphony.

Notes for Sycomore (2008) by Chanel: Vetiver, cypress, juniper, pink pepper, smoke, burning woods.

Sycomore is available at $190 for 200ml Eau de Toilette exclusively at Chanel boutiques. Considering it uncharacteristically lasts quite well, it is an investement.

Andrésen pic via moviemail-online.co.uk Bottle pic via Vogue.com.tw
Clip originally uploaded by AssimQuePuderes on Youtube.

Optical Scentsibilities: It's Not Just a Game!

Some things are destined to become classics:In more ways than one.
The Thomas Crown Affair (1968), directed by Norman Jewison and starring Faye Dunaway and Steve McQueen, is memorable for its tour-de-force of cinematography, split-scenes direction influenced by pioneer Canadian film In the Labyrinth and for being an all around high-class piece of entertainment. Not in its time though! Typical...
It also featured a masterful and infamous scene of chess-cum-seduction where chess pieces are used as metaphores, self-caresses as innuendos and the camera swirls around them in the longest kiss imaginable.



The advertisers of Hai Karate (you don't want to know how the name ties in) ~a popular aftershave product that was circulating on the cheap during the 60s and 70s in the US and UK~ got inspired.



If you can get past the bits of scatological humour and the wooden acting of Heather Graham, watch the Bond spoof Austin Powers, The Spy Who Shagged Me for a hilarious spoof of the above scene too.

The Thomas Crown Affair chess scene clip originally uploaded by erectushomo, the Hai Karate commercial from the 70s by fishnchimps on Youtube.

When Magic is not Enough ~L'instant Magic by Guerlain: fragrance review

A caress of flowers and woods… That's how L'instant Magic , a flanker to the original L'instant by Maurice Roucel for Guerlain, was introduced to the public last September. The anticipation was mostly accountable to its being a new Guerlain for the mainstream distribution as opposed to their exclusive boutique scents; a challenging feat. Yet the resulting pastiche leaves something to be desired, highligting the all too painful division between both the glorious delicacy of yesteryear such as Chant d'Arômes but also the brave stance of modern additions such as Insolence.

"After a bergamot opening, the fragrance unveils a musky-floral heart with fresh notes of rose and freesia. The white-musk dry-down worked into a ‘muscinade’ (a wink and a nod to the famous Guerlinade) is warmed up with woods and a touch of almond."
Designed by Randa Hammami of Symrise, in collaboration with Sylvaine Delacourte, artistic director at Guerlain, L'instant Magic launched in September 2007. I had resisted reviewing it for months, because I was hoping that I was oblivious to some hidden charm that would reveal itself to me in a flash of apocalyptic glory when I was least expecting it.
However, with the apostasis of several months and numerous trials, I can safely say that it didn't live up to my expectations. Not to mention that the linguistically schizophrenic name irritates me (shouldn't it have been "Magique" since the rest of it is French?)

The fragrance itself fails to capture me aesthetically, but also on a cerebral level: if one wants an almond gourmand ~as surmised by the marzipan paste detectable after the initial burst of Earl Grey tonalities in L'instant Magic~ one needs to see no further than Hypnotic Poison with its dare and sexy attitude; if one seeks a feminine musky floral with a "clean" feel , then Hammami's Cruel Gardenia is so much better; if the pursuit is instead focused on a smooth woody fragrance for women, then Flower Oriental by Kenzo fits the bill with less pretence and more conviction. L'instant Magic tries to be too many things at once, failing to bring a coherence of vision.
The overall effect is startingly un-Guerlain-like with a sweet, rotten fruits vibe which seems so fashionable right now; but whereas the original L'instant by Roucel ~more or less also separated from the Guerlain tradition~ managed to be nuzzlingly pleasant and addictive to its fans, L'instant Magic is a departure to a destination best forgotten where magic has escaped like a djin who left the bottle long ago.

The bottle reinterprets the curves of the original L’Instant, but the base of the bottle and the surface of the cap are black.
The commercial was directed by Jean Bocheux, featuring rather indecently-clad model Michelle Buswell ascending what seems like a never-ending staircase to who knows where and who cares anyway.



L'instant Magic comes in Eau de Parfum 80ml/2.7oz, 50ml/1.7oz and 30ml/1 fl. oz.; Extrait de parfum bottle 7.5ml/¼ fl.oz, Magical Body Lotion 6.8 fl. oz, Magical Shower Gel 6.8 fl. oz.
Available from major department stores.

Ad pic courtesy of Fragrantica. Clip originally uploaded by MollyPepper1 on Youtube

Chant d'Aromes by Guerlain: fragrance review

As I lay my hands on the black and ivory keyboard of my Pleyel, fingering Le Lac de Côme, I can't but feel the optimism and bright sunshine of a summer's day that Chant d’Arômes by Guerlain evokes in me as well. One of the lesser known Guerlains, it is akin to an innocent young love that is blossoming into the happiness of womanhood. This summer I happily rediscovered this old flame of mine and have been enjoying its tender peachiness and delicate, caressing powderiness anew.

Chant d’Arômes was created in 1962 by young Jean Paul Guerlain for his future wife, who was so loyal to her favorite Ma Griffe by Carven that she didn't wear any of the fragrances of the house her fiancé was about to inherit! In a getting even roundabout way, Jean Paul created this peachy, lactonic, floral chypre to lure her into wearing a Guerlain and thus made his first foray into the illustrious line of creations of the historical house.
Erroneously translated as "Language of Flowers" sometimes, its French name in fact has the elegiac meaning of "Song of Aromas" which beautifully echoes its oneiric musical cadenzas.

The translucent opening of Chant d’Arômes ~with what seems like a dash of mandarin~ is not unlike the older version of Ma Griffe which was much brighter due to lots of bergamot and aldehydes or Chanel No.22 with its incense touch, lending a sparkling and intriguing character to the composition. It very soon melts into the embrace of the undecalactone of peach skin ~soft, fuzzy and completely mesmerising; tender like the hand of a mother, loving like the gaze of a lover in the first throes of romance. The flowers are all subdued and well blended into a medley of harmonious arpeggios, revealing little hints of this or that at the most unexpected turns, never heady, never loud. Through it all, there sings the brassy contralto of cinnamon, accountable to benzoin, but also reminiscent of the styrax ambience of vintage Ma Griffe's drydown. You would be hard pressed to distinguish any single ingredient as they all sing together with the smoothness of a choir performing Pachelbel's Canon in D; optimistic, lightly sweet, but with the slightest mossy autumnal background, a debt to the unsurpassable Vol de Nuit.
And yet Chant d’Arômes does not aim to be a link in the Guerlain chain, but making a fresh, ever young start it takes us into the realm of the eternally sunny. Although officially classified as a chypre floral by Guerlain, I find that its chypré qualities do not make it difficult, but on the contrary it serves as the perfect choice between floral and chypre for those who do not like the extremes of either category. Its innocence fondles the mystery of youth.



According to Luca Turin in Perfumes, the Guide, it got reformulated in the early 90s to an aldehydic floral of less distinguished nuances, but it has reverted to almost full its peachy glory in 2007 in the famous bee bottles.
Extrait de Parfum was discontinued at one point but is now available at the Paris flagship boutique in Les Parisiennes line; worth pursueing for those who find that the Eau de Toilette lacks the desired staying power.
I have found that the latter performs much better in the sunny and warm weather it naturally evokes, rather than the colder days of the year, and it never fails to put me in a bright and happy mood no matter what might have intervened.

Notes:
top: mirabelle, gardenia, aldehydes, fruits
heart: rose, jasmine, honeysuckle, ylang-ylang
base: benzoin, musk, vetiver, heliotrope, moss, olibanum

Clip "Le Lac de Come" by C.Galos, Op.24, originally uploaded by PSearPianist on Youtube. Pic originally uploaded by MizLiz211 on MUA.

New from Kenzo: Power for men

Kenzo is fond of flowers and thus in an unexpected twist he bases his latest fragrance for men on their image. Specifically he has envisioned the abstract tulipe sauvage: wild tulip, which Olivier Polge has materialised into Kenzo Power, a fragrance that encompasses the notes of bergamot, coriander, cardamom and cedarwood in a fresh woody composition which incarnates the new man according to Kenzo.
Power rhymes brilliantly with Flower, the bestseller for women by Kenzo, which also focuses on an imaginary vision of a flower: poppy, this time. Flowers for men have seen a resurgence lately, after the gignatic flop of Incense by Givenchy which attempted to break the mould and offer just that: a floral for men. The rise of metrosexuals however signals a new lease for life for this genre and already Farhenheit 32 and Fleur du Mâle with their abstract synthetic orange blossom, as well as Dior Homme with its rooty iris by the same nose as Power, have paved the path for a braver stance on the masculine-aimed shelves of the average department store.
Power doesn't sound too flowery, admitedly, but they promise a concept of assured power, masculinity and poetry as well, encased in a metal bottle that is inspired by the Japanese Saké bottles. First impressions talk about an overdose of spices for the fresh, biting effect, a powdery feel reminiscent of Dior Homme, aldehydic accents like Farhenheit32 and a salty aftertaste. It sounds like it should be an eminently fit to be shared between the sexes fragrance! Ladies take note!
We can but wait: the new fragrance comes out in 20 August in an Eau de Toilette spray 60 ml retailing for 53 €.
In the meantime I am leaving you with the artsy Japanese make-up and look of the Flower by Kenzo commercial from a few years ago.

Info and pic (photo Patrick Guedj for Kenzo) via aufeminin.com. Clip originally uploaded by SmokeyEye87 on Youtube

Is Poker a Game of Skill or Chance?

One of the joys of advertising apart from the stirring of the imagination is the recreation of other times with all the exquisite details of bringing an aura of a forgotten epoch into the here and now. For Chanel the mythical era has always been the 1920s & 1930s: the time when she revolutionized the fashion (and fragrance) industry. It comes as no surprise therefore that a little touch of that glamour resplendent with marcelled/bobbed hair and dark-shaded lids and lips should reappear from time to time modernised or not so much.
The following Chanel Chance parfum commercial subscribes to the latter tendency and comes from 2006, featuring male model Vincent Lacrocq and actress Amandine Maugy in a setting worth its art director's salt. From the sumptuous dresses to the intricate jewellery (oh, the briolettes chandelier earrings!) to the exquisite recreation of hair and makeup, the clip makes me want to jump right into La Règle du Jeu.



They're playing poker (oh so suggestive!), a game which has a reputation to proceed it. He has a straight flush hand, she has a royal flush!
Just how probable that is in a single table, you'd ask. Well, the probability of a straight flush is 0.0015% among 2,598,560 possibilities to be exact! Talking about imagination.

There is some doubt whether this is a genuine advertisement sanctioned by Parfums Chanel, in light of Amandine Maugy's site mentioning this is a "fausse pub", meaning a mock commercial. However it has definitely the air of a grand-scale production, which requires a skilled director and crew; not to mention the Chanel logo and the brandname Chance is not merely edited to appear at the end like in amateur productions, but it appears in the cards themselves: an inherent part of the plot! Therefore there seems to be some truth in it after all. I believe this has aired somewhere and if you do recall it, please say so! I'd love to find out.

Clip originally uploaded by Nepraustaburnis on youtube

I Don't Want to Set the World on Fire

Chanel makes some of the most stunning commercials for perfume.
Some of them are revered and well known to a greater or lesser degree, most of which we have already discussed here on the Shrine. Some are rather strange and compelling in their weirdness, some are unexpected modern little gems.
However I recently came across three truly exceptional and rare Chanel commercials and I want to share them with you on these pages, one by one. They are different, witty, visually and conceptually imaginative and they pose their own train of thought.

From 1982 with the infamous shadow of an airplane gliding up the Transamerica building in San Francisco comes the first one for Chanel No.5. That image must have made quite an impression in its day, long prior to days of terror, prompting Chandler Burr to reference it in his review of Rose Barbare: "sweeps over you like the silent, massive shadow of an Airbus A340, a tactile component that makes you narrow your eyes".
This Chanel No.5 commercial, taking its message one surreal step further than the 1979 Ridley Scott predecessor, is set to a cover of The Ink Spots hit "I don't want to set the world on fire" in a half minute that urges us to think out of the box.



Charles and Catherine share the fantasy of one of the greatest commercials ever made. From the merging master editing which takes the scheme of a French garden to fall on the black and white keys of a piano, them in turn giving way to the straight lines of train tracks and to urban skyscrapers' windows, it uses that wonderful perspective which makes the eye travel deeper and further into the background; prompting us to seek beneath the obvious, beneath the visual restrictions of reality into the unchartered vistas of the imagination and the power of olfaction that makes us dream.
And which question could be more personal than what is your perfume!
In my heart I have but one desire...

Clip originally uploaded by louisadeck on youtube

Patou Ma Collection: part 6 ~Colony, L'Heure Attendue, Caline reviews

“The exotic image of the deepest jungle, lush vegetation, powerful spices borne over amethyst seas and strange girls in distant sun-kissed ports.” Thus is described Colony in the booklet which accompanies Patou’s Ma Collection.

In 1938, amid the threat of impending war, Jean Patou chose Colony to evoke the tropics and to suggest a carefree, more prosperous time. A fetid and round fruity chypre, Patou’s Colony is comprised of succulent and non-sweet pineapple as well as heady ylang ylang from Nossi-Be starting on an almost herbal, boozy accord pinching your nose, which needs humidity and the warmth of skin to open up. Under the thick netting covering fruits one can feel unfolding earthy tonalities juxtaposed with what seems like leather and musk in a game of chiaroscuro.

The languorous Colony prowls like Lauren Bacall did in "To Have and Have Not", as Marie "Slim" Browning, a resistance sympathizer and a sassy singer in a Martinique club; the perfect “strange girl in distant sun-kissed ports”. Curvaceous clothes cinched at the waist hold her graceful gazelle form as she leans her long neck to give a sideways aloof look at those who catch her attention.
And she knows full well how to entice Steve: “You know you don't have to act with me, Steve. You don't have to say anything, and you don't have to do anything. Not a thing. Oh, maybe just whistle. You know how to whistle, don't you, Steve? You just put your lips together and... blow”.



Colony by Patou possesses that same husky and nostalgic voice which beckons you to whistle invitingly.
Notes for Colony: fruits, pineapple, ylang ylang, iris, carnation, oakmoss, vetiver and spices.

On the other hand, L'heure Attendue is more like the wistful Ilsa played by Ingrid Bergman in "Casablanca". When the Nazi occupation of Paris came indeed at an end, Jean Patou celebrated with “the longed-for hour”, L’heure Attendue; a soft, rather sweet, powdery and woody perfume with creamy taste, embodying elegance, restraint and dutiful sacrifice; it speaks in the melodious tones of a warm-hearted woman.

With shades of Almeras's style in the heart, L'Heure Attendue is sober yet sparkling, all big expressive eyes, smiling yet with a melancholy of realising what all this entailed. The flowers, interweaved into an inseparable posy, are creamy and tender unfolding into a spicy/woodsy drydown which epitomizes classic elegance. One can imagine it worn with the perfect classic tailleur or trench coat, a broad-brimmed hat perched on smooth hair atop softly arched eyebrows. Inside its core a warm, loving heart will forever be pulsating in the beat of happy days spent in Paris.

Notes for L’Heure Attendue: lily of the valley, geranium, lilac; ylang-ylang, jasmine, rose, opopanax; Mysore sandalwood, vanilla, patchouli.

Câline, composed by then in-house perfumer Henri Giboulet, was released by Jean Patou in 1964 as “the first perfume dedicated to teenage girls”. Which means it is unfathomable on anyone who is considered so today! This unblushing aphorism might provoke a flood of inner dialogue in which two sides of consience passionately argue about older and younger mores and how times have irrevocably changed. But the epoch from which Câline hails was by all accounts the era in which young girls aspired to become mature ladies pretty soon, not pigtailed 50-year-olds who carry Hello Kitty bags. There was validation in becoming a grown-up, an antithetical mood to the hysteria of the youth cult which catapulted itself into our consiousness after the 60s. There was nothing apologetic about being older, like there wasn’t either about being younger. Angst and ennui were notions that were just beginning to morph in a world which had healed at long last its WWII scars and envisioned a prosperous future full of the latest technological advancements.

The greenly fresh aldehydic sophistication and malleable primness of Patou’s Câline remind me of Audrey Hepburn in Sabrina, after her European trip in which she becomes a proper “lady”, almost unrecognizable to those who knew her as merely the chauffer’s daughter to the rich family. That je ne sais quoi, which her stay in Paris to amend her broken heart polished her with, is reflected in the refined and discreet trail that Câline leaves behind like a reminder of decorum; or the murmur of enchanting and yet bounded femininity expressed in shadowy iris and insouciant orange blossom, underscored by earthy mossy tones which simultaneously recall shades of Ma Griffe and Ivoire. The piquancy of a basil spicy-like note along with coriander put the finishing touch in its image: It’s poised, ladylike in her kitten-heels and too eager to don the classic pearl necklace with a desire that borders on the ironically saucy.

Not to be confused with Gres Caline from 2005 (nor its flankers, Caline Night and Caline Sweet Appeal)

Notes for Câline: green citrus, spices, jasmin, ylang-ylang, cedarwood, moss, musk.

Clip originally uploaded by zegoar on Youtube. Lauren Bacall and Casablanca pic via Wikipedia. Audrey Hepburn pic via Audrey1. Bottle pics courtesy of Basenotes.

YSL Tribute Coming to an End...and a Little Poll

These past two weeks, ever since Yves Saint Laurent left this vain world for hopefully a better one (or so we have been lulling ourselves to sleep?), it has been a great pleasure writing about the fragrances of the Yves Saint Laurent brand, many of which have been firm favourites, or indeed faithful allies in everyday battles.

Even the ones that have not produced quite the same frisson of excitement in me, such as the otherwise competent spicy fougère Jazz for men (1988) or the girly-sweet Baby Doll (1999) have been additions which have caught my eye at some point for different reasons: if only because they were parts of a line that I liked.

Same goes for some rare ones, such as the unisex Eau Libre with its suave black models, a practice for which Yves was famous; or Pour Homme, his first masculine for which he himself posed in the nude questioning our acceptance of female nudity over male; or even the discontinued fruity Vice Versa.

And of course there are some other fragrances, such as the fabulous incense and spice fireworks of Nu (2001), the controversial M7 (2002) -with its alleged inclusion of agarwood/oudh for the first time in a mainstream fragrance and its provocative ads echoing Yves's nude- or the pleasant almond flower caressed by vanilla of Cinéma (2004); I opted to leave those for another time. The reason? They were created when Yves himself had already retired from his house and so his vision was not the driving force behind them. But they will soon get their share of criticism or praise on these pages.

So for now, a little visual love expressed in the elegant advertising and fashions of Yves Saint Laurent from the 1970s.
And two clips from later on: Jazz from the late 80s and Cinema from a few years ago.



And on to you, dear readers:
1.Which is your most favourite fragrance in the Yves Saint Laurent line?
2.Which is your most despised? Why?
3.And if you could suggest something for the brand for the future, what would that be?

Looking forward to hearing your responses!



For a review of YSL L'homme click here and for a commentary on Elle, click here.

Clip of Jazz uploaded by Ilovelowe and of Cinema by LightBlv on Youtube. Ad pics from the 70s: of Rive Gauche parfum(top left), Y (top right), Eau Libre (mid right) and Pour homme (mid left) from parfumdepub.