The latest celebrity to join the ranks of celeboscents (fragrances produced with the added cachet of bearing the name of a celebrity) is Bruce Willis, inextricably tied to his Die Hard days (pity, does no one recall the masterpiece that is Twelve Monkeys?) The new scent being launched today across Europe captures his "strength, self-assurance and single-mindedness". This translates into a smell that combines cedar, vetiver (an east-Indian grass), pepper, grapefruit, orange and geranium leaves, we're told. The NYMag is rehashing the linked BBC article which follows, precluding that it wouldn't smell that good anyway. To my mind, withholding judgement until sniffing, the really interesting -and potentially problematic- thing is how this would play in a demographic (the one hankering after celeboscents is routinely aged 16-25) which is so far removed from the actor's own age and "golden years of fame" (the 1990s)
In an article appearing on BBC, there is extended commentary on how the industry of celebo-scents works, out of which we have weaned the most memorable quotes: One in five of women aged between 16 to 24 wears a celebrity scent [in the UK], according to market researcher Mintel. "It's about buying into a lifestyle they aspire to", it says. "Celebrities nowadays are looking for as many way as possible to monetise their fame," says Hamish Pringle, director general of the Institute of Practitioners in Advertising and author of Celebrity Sells. "The attraction of doing a fragrance deal is that toiletries and cosmetics are more amenable to celebrity endorsement than some other less personal products. Plus the perfume houses have got more scents and bottles on their lab shelves than you can shake a stick at and they think putting a celebrity on the label is a really easy way to stand out from the crowd." Roja Dove links this to the celebrity-mania that infests our society, arguing that perfumes have always reflected societal mores. But things are getting a little prosaic too. "Smell is a really powerful sense and one people really underestimate," says Prof Jacob. "The celebrity perfume market depresses me because it is short-sighted. The fragrances are usually thrown together and sold off the back of a big name. They're simply an excuse for not trying to create something truly original and beautiful."
Last but not least, let's once again break the myth that celebrity scents began with Elizabeth Taylor in the early 90s and Jennifer Lopen in the 00s, as Denise Winterman notes in her otherwise very interesting article. We have established on our own site (click for The Cult of the Celebrity Scent: Perfume History, with photographic proof no less) that that was not so, through numerous examples of celebrity scents from the past expanding their own brand, namely themselves. It's just that the phenomenon has mushroomed beyond all control nowadays...
Pic of Bruce Willis with baby via sofeminine.co.uk
....for the Goutal decant of vegetal musk is KJanicki. Congrats! Please email me with a shipping address, using the profile email so I can send this out to you soon. Thanks everyone for the enthusiastic participation and till the next one!
The Mystery of Musk began as an innovative project in which natural perfumers tried to render a viable, sustainable animalic musk through non-animal sources. As we had announced, the time has come and now we're reaping the benefits of that effort. Samples have flown across the globe, mixing the arcane with the imaginative and the puzzling, challenging us into coming up with the right words to do them justice. Expect to see posts tackling these new perfumes and a giveaway of a whole bottle of them tomorrow. So check up daily for news and updates!
As homage to the instigator of the project and the president of the Natural Perfumers' Guild, I decided to kickstart with Anya McCoy, no stranger to these pages, whom most of you know from her fragrance line Anya's Garden. Literally, as she grows all sort of interesting and lush things in her Miami Shores garden, things that would take your breath away. Her entry? Kewdra, a “modern Indian-style musk perfume”, inspired by Alobar’s Hindu beloved, the highly-fragrant Kudra, as featured in Tom Robbins’ famous novel Jitterbug Perfume. Anya introduced it thus: Kudra surely loved the Kewda flower of her native India and would have blended it as a masala formula that spread the gardenia and boronia flowers in a seamless heart that beats over the Kama-Sutra evocative "smell of your lover's skin" base notes.
Natural perfumes create their own web of intricacy, their drawbacks just as a many as their advantages, the challenge lying into making the materials pliable and tenacious enough to conform to classic perfumery needs. Pandanus has been already used in her unique Fairchildwhile an animalic note from the most improbable source (tincture of a real living rutting billie goat's hair) was explored in Pan. So you could say that Anya knows more than a few things about how to construct a complex animalic. Pandanus flower- aka Kewda or Kewra- is the star performer in the new fragrance, a diva-esque scent which reminds me of an ample-blossomed lady spilling out of her tube top. I knew Pandanus flower from Indian chutneys which customarily accompany meat dishes, where its honeyed facets reveal themselves like liqueur; I also knew boronia from my trip to Australia, where the magical smell permeates the air when in season. Then of course there is also beeswax in there, an exalted animalic note produced through a gentle technique involving bees' complex constructions without harming the animals.
In Kewdra pandanus makes its entrance all a-bust, proud, heavy, rich. But the effect dissipates soon, leaving a mingle of flower essences (Anya used a rural Chinese 5-petal gardenia which I can only assume is supremely costly) and natural sources of musk (such as angelica root and ambrette seed). These blend into a sweet, smooth vibe which licks the skin the way an Indian heroine in the Kama Sutra would.
Getting into the process of Kewdra requires a little patience but once you're there, the drydown cannot but appeal. Its sweet, intimate aspect evokes the scent of honey dribbled on skin. I am reminded of Baroness Moura Budberg, a Russian aristocrat who allegedly became a Soviet spy. Enigmatic to the end, she famously led an affair with the British spy R. H. Bruce Lockhart during the Revolution and later became the lover of both Maxim Gorky and H. G. Wells. Now Wells wasn't a pretty man, not attractive in any visual way. Moura’s own explanation for the unlikely liaison was that the attraction was sexual, even as she refused to marry him or remain faithful - "Wells’s skin", she said, "smelled of honey"...
Torrid opulence...When perfumer Maurice Roucel was developing Musc Ravageur (2000) for Les Editions de Parfums Frédéric Malle, a young woman belonging to the creative team wore the powerful, dramatic "demo" of the fragrance to brave the afternoon commute home as part of testing. As she was sitting beside an elderly gentleman, she recounts she noticed him twitch his nose in puzzlement and vague alarm. Given that the team was trying to develop a feral animalic oriental (the name means " ravaging/devastating musk", clearly a politically-incorrect type of erotic discourse) which would trump current fads, it was clear they had succeeded!
The raunchy reputation
Roucel had envisioned Musc Ravageur to communicate both "seduction and generosity". It was based on a fragrance formula he had developed in 1998, but which was deemed too racy to launch by most companies. Yet Roucel considered it one of his best works.
One more attuned to the American culture could claim this oriental would perfectly encapsulate those women which on US soil are called "skanks". Gallic civility probably restrained Roucel from voicing that thought. Yet, "skanky" doesn't necessarily denote negativity: A hint of vulgarity is often the element that puts the final brushstroke on a picture of beauty. Don't most vintage classics include such a note amidst all the refinement? Isn't a falling, slightly greasy tendril of hair or a little smudge of the eyeliner a promise of things unravelling later on? Isn't a small hole on the stockings an invitation to tear them apart? And isn't a slap begging to be chased with a kiss?
People react to it with either swooning indulgence or utter disgust and it's fun to see it never plays out the way one expects.
Demi Moore was shopping at Barney's some time ago observed by sales associates with loose mouths, whereupon she asked to try the Malle line. Upon being presented with Musc Ravageur she stopped the guy saying "Oh no, I don't like musk". After being shown the entire line, she was again presented with the infamous Musc without being told the name: "You saved the best for last" she murmured, her wrists stuck to her nose. [source] George Clooney and Pierce Brosnan have also fallen under the scent's charm (not on Demi, necessarily, we presume), so...India Knight, the British writer at any rate calls it "the olfactory equivalent of lucky pants". I defer to her experience of prose.
The incongruity: Scent vs. Name
In Musc Ravageur the explosive departure of bergamot, tangerine and cinnamon is set against a backdrop of vanilla, musk and amber. No flowers, just a refined skin scent. Yet contrary to name, Musc Ravageur isn't really about musk! On the contrary, there's a little synthetic musk and quite a bit of castoreum and civet in it (both of synthetic origin). And the reason I am including it in a section devoted to musks is mainly due to nomenclature and readers' expectation. If you have been fearing (or loving, like myself) the reputation of Muscs Kublai Khan and Christopher Brosius I Hate Perfume Musk Reinvented, you will be puzzled indeed by this one, recalling as it does the base of such classic orientals as Shalimar or even less classical, like Teatro alla Scala by Krizia.
Preceded as it is by its reputation as a best-selling fragrance in the Malle line, we're left with an incongruity: Is the audience buying fragrance from one of the quintessential niche lines really into feral mojo or are they searching for something else? Smelling Musc Ravageur on skin one cannot but form an opinion towards the latter. Musc Ravageur, just like the big paws of its creator, is more of a naughty & voracious home cat with a furry tongue giving you a bath, rather than a wild tiger in the jungle shredding its prey in pieces. A very sensual amber -rather than musk, compare with Kiehl's Original Musk oil for instance- is hiding in the core of the fragrance.
A characteristic and fairly dramatic citrus-spice top note is immediately perceptible (I detect mandarin, clove, cinnamon and possibly some lavender as well), which recalls the Gallified "oriental" mould in the most classical manner, and a silky vanilla dry down which isn't really sweet, but interplaying between warm & cool. In fact this drydown is structured by woods which offer the spine of the perfume: cedar, sandalwood and the warm gaiac wood. The artistry lies in having the amber-castoreum basenotes perform like a Chinese gymnast: all over the place, but with an elasticity that creates the illusion of weightlessness!
The shopping part: What and Where
The scent is presented in Eau de Parfum classic alcoholic version (which is a characteristic spicy ambery oriental) and in the Huile A Tout Faire oil version (a smooth clear oil for use on pulse points, hair or all over after the bath). The latter in my opinion is a lot smoother, rounder, with less of a spicy-lavender note on top, and extremely erotic, much more so than the somewhat "loud" spray. Both are fit for both sexes, amplifying what you naturally got. There is also a body products line available, including shower wash and body lotion, over which I still prefer the oil.
Few niche fragrance lines today are as devoted to opulence as the Omani firm of Amouage founded in 1983. Rich, multi-nuanced baroque tapestries of scent, so textured you feel like you can touch them, Amouage perfumes remind us of how perfumery used to be before restrictions and leaning-tricks gave perfumery its contemporary meagre look. The three upcoming additions Opus I, Opus II and Opus III in the "Library Collection" (which we announced the other day) do not disappoint.
It is with great pleasure that I introduce them to you, writing down my impressions as I test them again and again on my skin these past few days. A few of you might get to try them out in the special preview scheduled in a couple of days (details at the bottom), the rest are urged to seek them out later on when the launch officially. They're true to form and one among them is truly surprising.
Artistic direction is everything when it comes to positioning a perfume brand: Remember Christian Astuguevieille for Comme des Garçons, Lutens for Shiseido and his own eponymous line etc. Likewise, the multi-faceted ~opera, fashion and semiotics among his studies~creative director Christopher Chong has helped Amouage gain the credibility which niche lines are (sometimes only) dreaming of: unflagging consistency, luxury, specific vision, collaboration with top perfumers. His musical background I guess is the reason why the three new Opera (or musically referenced, Opi) were thus baptized. The library standing as the capsule for keeping the creative process contained in tangible, approachable form.
Initially I was a bit sceptical when I heard of a new Collection, especially with arithmetical numbering: These days niche frag "collections" are a dime a dozen and for some weird reason everyone wants to bring out one, semi-establishing themselves as authors of a body of work at the drop of a hat. But in the case of Amouage there is already a line-up of impressive creations, thus crossing effectively that motive off the list. Still, three fragrances in one go seem like one or two would overshadow the rest. But if the Arabian-inspired house has proven anything to us, it's that more is sometimes more, after all! There is nothing minimalistic about Amouage and the new triptych will find its dedicated fans as well, walking the fine line between wearability and artistry successfully.
Opus I is the most surprising new Amouage in the Library Collection, not from a structural point of view but one of juxtaposing two antithetical elements which miraculously fuse into one another in a case of reverse engineering. Although officially classed as a chypre, Opus I feels like a lush floral with a jarring, really great bitter bigarade top note (like traditional bitter citrus rind confit, almost Roudnitska drool-worthy) which contrasts with tuberose and dominant ylang ylang; both flowers treated into a mentholated ribbon flowing in the wind underneath a plummy accord which is round, fleshy, pudding-rich. The bitterness of bigarade and the tarry notes offsets the salicylates of the flowers, while the sweet elements (tonka, plum accord) brings out the nectarous qualities. The most pyramidal of the three, where there is a clear and distinct progression from top to heart and then slowly segueing into base.
Opus II promised to be evocative of "old books, dark wooden shelves and antique leather armchairs" and only because I already knew that from the announcement of the new line, I purposely jumpled the samples around, as if.... Proclivities are almost hard-wired and both nature & nurture seems to conspire making me always gravitate towards such compositions. If I were to sum it up I would proclaim Opus II a spicy incense fragrance and in that field it plays seamlessly. The core of frankincense reveals a zesty freshness the way the natural resin tears have a lemony, orange-y freshness as they smoke serenely on the censer. Contrary to Opus I, which starts refreshingly bitter and turns sweeter and lush, Opus II goes for the reverse: A warm, soothing opening of rosy spice and absinth liquer (see our Series) becomes cooler and more celebral as the time passes; while the final warm sweetish remnants on skin project at a low hum like bass heard from a distance. Unquestionably my favourite, it reflects what Christopher had said: "The Amouage customer is an international traveler who has picked up antiques and items of furniture while travelling around the world and has built a home reflecting a global approach to design, but housed within an Omani-inspired space."
Opus III is built around violets, clearly detectable from the very start, taking on nuances of both candied petals and greener, leafier verdancy with a sage-like tone. The aromatic top has a quirky nuance, with pungent, bracken and honeyed tonalities, turbidity set against a woody base. Even though violets are usually thought of as feminine and retro-glamorous, reminiscent of makeup paraphernalia, here they're treated in both directions of sweet and mainly green, rendering the finished scent suitable for both sexes. Opus III feels linear, united into one ultra-complex chord which projects with unwavering assurance.
All three fragrances in the Library Collection bear the sign of Frankincense, the emblem of the luxurious fragrance line, sensed in various degrees and they all smell full and rich, the way we're used to from the Sultanate of Oman.
The three scents in the Amouage Library Collection are extremely lasting on skin (a full 12 hours and they were still going strong!) and leaving a delicious trail behind without becoming intruding or cloying. Please refer to this post for the exact notes of each.
A sneak preview of the "Library Collection" Opus I, Opus II and Opus III will be taking place at Aedes de Venustas, 9 Christopher Street, New York on Thursday, July 1st, 2010 from 5-8pm and cocktails will be served. It's worth the trip if you're near. The sampler set is endearing, small sprayers encased in pearl white silk-lined matchboxes.
All photos by Elena Vosnaki. Click to enlarge. Painting of The Queen's Library at St.James's Palace, from The History of the Royal Residences, engraved by Richard Reeve, by William Henry Pyne. In the interests of full disclosure I was sent 3 preview samples by the company.
Mona di Orio, the author behind an eclectic and quirky collection of individual scents, among which the stellar, intimate Carnation, is launching a new trio of fragrances centered on three emblematic notes: amber, musk and leather. Mona di Orio was inspired by a mathematical concept, the Golden Rule, for her new creations, saying following the rules of proportion was result in a harmonious melody and naming the collection Les Nombres d'Or (Golden Numbers). The notes for the new Les Nombres d' Or Ambre, Musc and Cuir are as follows:
When a scent gains a flanker in the guise of just a different concentration (Eau de parfum vs. the original Eau de Toilette) you know you're in for a bumpy ride on some level, to quote All About Eve. Either one will be vastly superior to the other (see Allure, Opium), or there will be confusion among consumers (see Narciso, or Bandit) or both of those things.
Issey Miyake had launched A Scentlast year: an ascending, airy green fragrance which impressed me favourably with its polished technical merit and re-introduction of green notes into the mainstream (a trend which one might argue was not pioneered by it, but to which it contributed positively). Imagine my disenchantment upon testing A Scent Eau de Parfum Florale by Issey Miyake and finding out it is not only ghastly but boring to tears as well! Merely an alcoholic-ladden, light, ~almost to the point of insubstantiality~ floral scent with an aromachemical woody-amber base (Ambrox) for a little anchoring (they might as well not bother, it's fleeting on both blotter and skin). After this strong alcoholic blast passes, a diaphanous peony-jasmine accord (with a hint of peachy sweetness) that is more spectral than real. I haven't been really scathing while reviewing on the whole, apart from a few atrocious cases, but this time I think it's needed. Eau de Parfum Florale seems like a marketing turn of phrase in the mould of "let's do a pink floral version for the heck of it, it will sell on the heels of the previous model" . No, dear marketing people, it won't, unless you suggest the formula goes into shampoo or liquid detergent (Personally I would prefer to just wash my hair with bar soap instead of this, but let's not pre-empty other people's preferences lest we're called names). What's happening? The Miyake company people weren't that cynical from what I recall. Pity on the perfumer who was given the brief: Is this why they do not reveal his or her name?
Yes, the new Scent is really different from the original as the sales assistant was quick to point out without any prompting. Yes, it's encased in the same (genius) bottle design that recalls sliced plexiglass bricks. Only in PINK! I have probably said the magic word that shutters all expectations for serious perfume lovers and just chimed the "abandon all hope ye who enter here" for those who read. Run for the hills. Run for your life. Run Lola, run! You might be inwardly protesting by now "oh but I like pink fragrances, they're so girly and cute!". Let me circuvent this thought, in case anyone thinks I am being snobby, aloof, or pretentious in saying so: No, do yourself a favour and get some really nice "girly and cute" pink juice: like Miracle So Magic, Kelly Calèche, Guerlain'sInsolence or Gucci Eau de Parfum II in that paper-weight heavy bottle. They do exist. Just not into the cubicle-farm of A Scent Eau de Parfum Florale...
Mandy Aftel is the perfumery guru and pioneer who managed to alight an all naturals aromatics Renaissance with her body of work and especially her seminal book Essence & Alchemy, the cornerstone on which the naturals movement has flourished; absolutely delightful and all around highly recommended reading. She has just revamped her Aftelier Perfumes site into a friendlier and prettier format, including many rare vintage photographs. To celebrate this launch she asked us to host a Giveaway of some of her products.
There will be four winners in this drawing, and each winner gets to pick out one of the following: a Face Elixir, a Bath Oil, a Body Oil, or a perfume Mini of their choice (except Parfum Privé). You need to do something to be entered, so read carefully!
1). Go to the Aftelier website and give a little feedback in your comment here about the new design.
2) You need to see the visuals on the store website to answer this question: What flowers are shown growing on the vintage postcards from Grasse on Mandy's site? (Except on the Samples page) Clue: They're four of them and they're extremely popular perfume notes! Include the answer in your comment here.
Bonus points if you follow Mandy at Facebook or Twitter. (just click the links and leave some feedback if you like)
The winners choose their own perfume Mini gift from this page and the next one! DRAW is open till Friday 2nd July midnight.
Pierre Guillame, the young and charismatic perfumer behind the Parfumerie Generale line, composed an unusual gourmand musk with subtle animalic vibrations beneath, like a male lion heard from a distance, which gives pause to think: Is it foody? Is it in dried fruits & wood Lutensian territory? Is it powdery musky? What is it exactly? There's nothing more exciting than a perfume that throws all caution to the wind and perplexes.
The opening of Musc Maori is as promised a strong, sweet cocoa note (juiced over by bergamot & orange) and with the smell of planked woods on which a subversive non homemaking type is preparing chocolate-chip cookies with a dash of Tia Maria coffee liqueur. Yet the aroma of chocolate slowly dissipates and we're experiencing the rise of a powdery, warm, almost clean musk with vanilla in the background, as if the person in question is slowly heating up in that enclosed space of the kitchen, "cooking" alongside the cookies, revealing the fleur de peau note that musks are famous for. After all, musk (like patchouli) does have a natural aspect of cocoa, so it makes sense to pair the two. A hint of floral (jasmine?) wrapped up in cellophane is peeking through, there is a rubber, dusty wood-glue note which is discombobulating. (Might I venture there is some Okoumal aroma-synthetic by Givaudan in there?)
Of course Tonka beans already have a chocolate facet, so coupled with a lactone and vanilla they would give this feel of chocolate being heated up. If it were naughtier, it would evoke bedroom play involving dribbled chocolate syrup, but it doesn't cross the line, even though it tethers there for a few seconds in promise. The overall impression is one of a linear, uncomplicated scent, which doesn't transform through distinct stages, but rather performs a diminuendo of its original motif.
You have to at least like gourmands to appreciate this one, although it isn't your typical Angel clone where the caramel and Caspirene glob you on the head, nor is it as dry and espresso-laced as the refined patchouli in Borneo 1834. The buttery, lactonic feel is reminiscent of Matin Calin by Comptoir Sud Pacifique, so those who like the latter and want a chocolate-milk version or one which reminds them of Palmer's Cocoa Butter Lotion should try it. The Non Blonde compares it to Lea Extreme without the almond-coconut tonality and I will take her word for it. I guess this makes it more feminine than unisex, although adventurous males with a sweet tooth might want to try it out. Musc Maori by Parfumerie Generale is something to be sampled for sure anyway: I can't think of a weirder, more kinky musk out there!
And since we're talking chocolate, how do you like yours? Dark, milky, in-between? With filling or not? Particular brands? I'm hungry! Notes for Parfumerie Generale Musc Maori:
Bergamot, cocoa bean, Cumaru wood, coffee tree blossom, amber, Tonka bean, white musk.
Musc Maori 04 circulates as an Eau de Parfum which lasts for ages, in both 30ml/1oz, 50ml/1.7oz and 100ml/3.4oz sizes, available at Luckyscent, First in Fragrance and The Perfume Shoppe.
According to Net coverage, singer Peter Andre was envisioning ...leading man George Clooney when he was giving the directions for his male celebrity fragrance Conditional (I'm almost this close to saying "Conditionner", although I realise it's a quip to his female one called Unconditional) 'If you can imagine George Clooney walking down the red carpet and how he would smell. That's how I try to imagine this smell,' femalefirst.co.uk quoted Andre as saying. Eh....riiiiiiiiight! Now, what's the use of issuing an eponymous celebrity fragrance when you're setting the notes, so to speak, for consumers to fantasize about another celebrity in regards to it...that beats me!!
New Orleans Museum of Art Curator John Keefe and his Department of Creative Arts proudly announce the opening of SCENTS and Sensibility, an appropriately-titled exhibition showcasing 125 objects covering the history of the scent bottle from its ancient origins to the present day. Scents, or perfumes, have been a part of civilization for more than four thousand years and have characterized every known civilization. “Scents and their containers have fascinated the world from Julius Caesar to Coco Chanel,” Keefe said. In celebration of Rene Lalique's 150th birthday, the exhibition includes several of his pieces including the "Hirondelles" piece (depicted) recently reissued by Neiman Marcus.
“Perfume has always been a luxury product and it’s interesting that the bottles accurately reflect different eras,” Keefe said. “Scents and Sensibility is a true representation of changes in styles and fashion. Each vessel is mesmerizing.”
Objects within Scents and Sensibility include scent bottles, powder boxes, talc jars and similar objects made to hold scented contents. Permanent collection pieces as well as those on loan from regional collectors range from approximately 1100 B.C. to the present day. Glass, pottery, gold, porcelain, hardstone and silver are all represented in the collection, as well as some recognizable names: Coco Chanel, Jeanne Lanvin, Christian Dior, Louis Comfort Tiffany, Peter Carl Fabergé, René Lalique and Stueben Glass. Twentieth-century objects include bottles whom some might look upon with nostalgia, coming from great couturiers such as Coco Chanel, Jeanne Lanvin and Christian Dior, as well as celebrated parfumeurs Guerlain and Desprez.
To celebrate the opening of this fragrance-filled showcase, the Museum will host a free opening reception featuring Hove Parfumeurs from 6-8 p.m. on June 30, 2010. Hove's owner Amy can Calsem Wendel will educate guests regarding how her unique local boutique crafts fragrances using indigenous Creole materials. A full cash bar featuring frozen "couture cosmos" will be available in honor of Chanel, Givency, Dior and other couturiers highlighted within the exhibit. Brennan's Courtyard Cafe will remain open as well, offering a selection of pastires, soups and coffee. This opening event is free and open to the public. The exhibition will remain on display until October 24, 2010.
Wednesdays are FREE for all Museum visitors. Louisiana residents with valid photo identification: Adults, $8; Seniors (65 and up), $7; Children 3-17, $4; Children under 3, free. Out-of-state visitors: Adults, $10; Seniors (65 and up), $9; Children 3-17, $5; Children under 3, free. Free Wednesdays and discounted admission for Louisiana residents is made possible through the generosity of The Helis Foundation. Admission to the adjacent Sydney and Walda Besthoff Sculpture Garden, featuring work by 61 artists, including several of the 20th century’s great master sculptors is always free.
photo of Rene Lalique bottle for the perfume Les Hirondelles.
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In an article appearing on BBC, there is extended commentary on how the industry of celebo-scents works, out of which we have weaned the most memorable quotes:
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