Perfume advertising 3: gender play (multimedia clips)

The issue of what differentiates female from male idiosyncrasies in general is complicated enough. In perfume terms the composition of different formulas for the two sexes (roughly floral and oriental for the ladies, woody and citrus for the gentlemen) is a fairly recent phenomenon, dating from the dawn of modern perfumery in the end of the 19th century. Up till then, there was pretty much lots of leeway for men to delve in floral waters of the Victorian era or even the rich civet and musk laden compositions of the 18th century decadence. The issue of how male and female attributes translate in the iconography of perfume though is worth investigating for its many surprising facets.

Here today I decided to delve in some perfume commercials that redefine the role of gender as we know it.
The 70s were the years when it was acceptable for the first time after many long years for a woman to appear in pants. Up till then, emulating a man’s wardrobe was considered outré and not to be encouraged. In upscale restaurants and hotels in the 60s, time of the mini, it was customary to ask ladies in pantsuits to remove the pants and just wear the long jackets as dresses. Katherine Hepburn in her signature slacks was repeatedly asked to use the staff hotel stairways when going to see Spencer Tracy some years prior. In that regard, the first ad for perfume that showcased this new freedom was Charlie by Revlon. Codenamed “Cosmo” while being developed, as this was intended for the young and liberated Cosmopolitan readers, that magazine being full of women’s liberation articles back then besides the tips for better sex; it then got named Charlie from the first name of Charles Revson, owner of Revlon. The face of Charlie was Shelley Hack whom you may remember as part of “Charlie’s Angels” TV series, here with Bobby Short. Watch the clip clicking here

Indeed watching the commercial, Shelley dressed in a shiny satiny ensemble of pants and shirt, with a matching little hat on her short bouncy do, it takes a close up to see that it’s actually a female. The fact that she is thin and with no discernible décolletage makes it even more risqué. As she sprays the perfume on her neck while in the car before getting out at her destination we get a glimpse of what an emancipated woman is like; driving, wearing the pants, getting alone to the place she is invited. There is no need for a man to accompany her. She is the man in her life. So recent commercials compared to that seem to tie women to their traditional roles of either homemaking material (pretty, happy) or dangerous fantasy (aggressive seductresses). But that is as much a societal phenomenon as to warrant a separate article of its own on another venue.

Many years later it was advertising provocateur Calvin Klein who brought homosexuality in the mainstream with his memorable commercials. As an aside when talking about the issue, please note that it is males of such a preference who feature prominently in the ads, not women. This may have to do with more homosexual men being involved in the media in the first place (and we all know the designing world is full of them), but it also has to do with the taboo of female homosexuality in advertising as well. For some reason, women in advertisers’ minds should be seen as dynamic, but not butch, aggressive as they are often depicted in the sexual arena, but not manly. I guess it has to do with the male mindframe being deeply disturbed by the idea that a woman renounces the attributes that make him the center of her universe, even though he may renounce those that make him desirable to her! Egotistical though it may sound, men seem flattered if women are concentrating on them. Homoerotic female images are desirable – and intensely so- only if they entail a man eventually and only if the ladies in question outwardly look very stereotypically feminine. To revert to Calvin Klein though, his commercials exploit the homoerotic ideal to the max. A series of commercials for Obsession as well as Eternity used photographer Herb Ritts as the vehicle for an aesthetic that was distinct in an American way.
To witness, these 4 short clips for Eternity for men from the 80s, featuring the exotic Shana Zadhrick as the female presence in an otherwise male territory, which idolize the male physique, sculpted during long hours at the -then- temple: the gym. The droplets of water on rippled flesh, the eroticism of swimmers’ bathing suits, the movement that is resembling diving. Everything speaks of the promise of a different erotic experience.
Watch the clip clicking here

And then of course we have the cheeky ironic representation of Le Male by Jean Paul Gaultier. The theme is reprised in a tongue-in-cheek way (as Gaultier takes himself far less seriously than Klein) and the sailor and his uniform, both a nod to a popular homosexual icon and Jean Paul’s favourite matelot top as well, make their appearance in ads that emanate a playful mockery. Le Male the jus is full of the traditional male note of lavender and yet it is so sweet that it has a candy like tone, like only someone who is totally oblivious to rules of propriety is capable of carrying off. In the following commercial Gaultier not only depicts the sexual deviant of a sailor, but dresses a woman in the sailor uniform -shot from behind, walking in what seems a bar full of such sailors- in a transvestite effort in reverse, having her kiss another male, only to reveal that underneath her clothes she is corseted in the traditional attire of her sex from long ago, to match the torso of his eponymous feminine scent, known as Classique. It is important to note that the ad refers to men and the eternal female. Even openly homosexual men have their prejudices about women I guess, or perhaps they have had strong female icons in their environment shaping their views on the subject, as in Gaultier’s case with his grandma. Watch the clip clicking here

In another Jean Paul Gaultier commercial, this time for Classique only, several models sit on a table talking about l’amour (love), differentiating in attire and image as day and night, one of them being the androgynous Eve Salvail, a Canadian model with a tattoo on her shaven head. The old woman suddenly and briefly morphs into Gaultier himself, as if the designer wants to remind us that some part of his grandmother's spirit which inspired the perfume still lives in him. Whatever, Classique is a very feminine scent. Watch the clip clicking here

While at it, you can witness the difference in perception of what is appropriate and what is not in the iconography of these two similar print ads for Paris by YSL, under artistic direction of Tom Ford. The top one is the US version, nipples covered and the effeminate face of the guy cut from the photo, only the cuff hinting at a ménage a trois. In the European version, shown here, however, such niceties do not cut it and the whole deal is laid bare –pun intended- for readers. Pity Paris perfume which used to be viewed as elegant, it now has earned a reputation for racy.

Last but not least, Calvin Klein again plays the gender bender with his masterful commercial "Altered States" (which reminds me of a William Hurt starring film) for both CKone and CKbe. The diaphanous and black bottles respectively are used in brilliant effect for a morphing computer play that emits a weird and truly wonderful vibe that compels the viewer to watch the clip over and over again. I find it seriously cool in its androgyny despite the eerie factor. The limits between the sexes have never been thinner and the interplay between the two is evinced in the unisex jus of the two perfumes which represent two different moods, but never two different sexes. Watch the clip clicking here The 90s heralded the cult of the unisex, or euphemistically called shared perfumes and the commercials that played upon this were many and varied. In my opinion this is the most memorable and worth watching one. What the future brings is anyone's guess.

Next post will revert to softer, more romantic notions and the discrepancy between image and smell.

Pics from imagesdesparfums.

Perfume advertising 2: the boundaries of fantasy (multimedia clips)

In my previous entry I got the ball rolling and discussed the merits and progression ofChanel #5commercials in an effort to elucidate what fantasy can do for advertising purposes when done stylishly. Perfume advertising’s power lies in its ability to make us dream, to yield in escapism bringing into play an array of male and female types from mythologies which meld standard notions of what man and woman stand for. Those types address the natural and essential aspiration of consumers to partake of a desired personality. This takes either one of two possible ways: to be different, that is to become the person we would like to be; or, to be oneself, to affirm the person we believe ourselves to be. Of course fantasy is not exclusive to Chanel #5 as today’s post is going to show. There are other commercial clips aired on TV that have relied on the exploitation of sublime ideas far above the normal realm of what a perfume conveys, which would be smelling good. In this domain Chanel does excel it seems as they really do give a thought about it and they employ only top-notch professionals. The results speak for themselves.

Proof for that is one of their greatest commercials to date, the classic one for Egoiste, a men’s perfume from 1990. The commercial is brilliantly set to Prokofiev’s music from his ballet Romeo and Juliet “dance of the knights”. The magisterial, eerie and ominous score opens the scene when women shot in black and white cry and spell curses on the egoist male “hero” who has been tormenting them, daring him to show his face. As soon as a male hand opens one blind in what looks like a luxe French hotel, leaving the bottle of the Chanel product on the sill, the film turns into colour and the women enraged at his arrogance to show up so provocatively bang their shutters crying out “Egoist” with all their might. It is worth noting that all gowns are designed by Karl Lagerfeld, not two are the same, but also even the interiors of the briefly glimpsed rooms are all decorated differently.This is no typical advertising, in that it does not try to present any desirable trait on first reading, in compliance with the very imaginative use of the perfume’s name, which otherwise would guarantee its flop. The male protagonist remains unknown as we never see him fully, but his exploitations, although of a dubious moral substance, create a sense of primitive male pride in conquering in the stakes of female hunting.This consolidates the stereotype of a male Lothario who appears just in time that women have established their prowess in the workforce and perhaps feel the need to regress in their more feminine role of the hunted. The French have always depicted their female role-models in their advertisements as passive anyway, the myth equivalent of Venus in contrast to the independent Diana of the American prototype. If the advertising seemed daring and provocative enough in its depiction of the sexes, it is a testament to its artistry that sixteen years later Egoiste is still with us, a wonderful men’s perfume chosen by discerning women even for themselves, set to a terrific commercial that has written advertising history single-handedly. Watch the clip clicking here

Egoiste had a follow-up flanker perfume, Egoiste Platinumin 1994 that followed the concept of the male egoist of the previous commercial. This time it reprises the male hero who is battling with his alter-ego or consience, shown as a domineering force of a shadow on the wall taking life of its own and speaking in a voice over that insists he is nothing but an egoist threatening to take his place. The man takes a beating and then retaliates. Set to the same musical score and brilliantly shot, it is somehow tamer as it takes back much of the force of statement the original did about an undesirable (or is it?) personality trait that cemented the reputation of the first commercial’s character. As this aired in mid-90s, a time of political correctness and the perfume itself was made with an eye on the huge American market (where indeed it is more popular than the original Chanel fragrance) it shows the time frame in which it was conceived in plain sight. Still, it is imaginative and superbly executed. Watch the clip clicking here

Next in our discussion of fantasy in terms of perfume advertising comes the controversial and rare gem of Obsessionby Calvin Klein in 1985. This clip comes from beforeObsession became tied to overt sexual provocateur imagery painted with Bruce Weber’s aesthetic and certainly long before the Kate Moss anorexic ads of the mid90s. It aired briefly because of pedophile overtones that aptly tied with the effulgent tag line “Love is child’s play once you’ve known Obsession”. It cost it swift termination though and an ingenious spoof acted out on Saturday Night Live for “Compulsion”. In this clip a young boy of no more than 12 is reminiscing about a young woman who seems to be the object of his obsession, unattainable and therefore desirable, an idol for his worship, for which he wonders if she was real or whether he invented her. the inclusion of chess scene conveys a celebral quality as well, also being a scheming hint that requires thought. The young female model is wholesome and at the same time mesmerizing in a peculiar way, without ever becoming vulgar. The models all wear the classic casual-chic neutral palette of Calvin Klein with plain yet somehow distinctive tailoring that helped Klein become a force in the American fashion scene. The female protagonist, a Diana-like effigy in her slender athletic physique and stance manages to instill desire and yearning, making us want to become such a powerful impression on someone else’s mind as well. Of course the choice of an adolescent boy over which she exerts her power might be attributed either to advertisers being hesitant to completely overturn the tables and show female dominance over a studly mature male or else a penchant of Klein for adolescence and the provocation angle this offers. We might as well consider the equally controversial print campaign for his Jeans line at the end of the 90s, when adolescents posed in sets that resembled 70s pornographic photos from gay magazines. That one raised hell as well earning it banning. It is safe to assume that Calvin Klein has always cleverly capitalized on sex and its implication, pushing the limits on many of his ad campaigns and yet, his outlook and aesthetic although daring and challenging has not become vulgar or common like campaigns of late, Tom Ford’s direction for Paris perfume for Yves Saint Laurent for instance or Dior Addict displaying acres of glistening naked skin. Klein did show skin a lot, especially in the carnal decade, but somehow (perhaps naively) you got the impression that he really did like the images and did not only do it for the bucks. Watch the clip clicking here

Speaking of using sex as a selling point done in a completely fascinating way can be witnessed in the following Shalimar by Guerlain commercial. Rare and coming from 1984, it exploits the rich history of this legendary scent by genious Jacques Guerlain. Named after the gardens where a royal tale of love bloomed resulting in one of the greatest monuments on earth, the Taj Mahal, Shalimar has from the start been inextricably tied to seduction and oriental mystique. Said commercial is distinctly 80s in its imagery, using the glamorous and sensuous images of that time frame and a brief retro shot of the Prohibition 20s in sepia, reminding as that Shalimar is “as close to forever as a perfume can go” ( the most fitting tagline ever!). Set to what sounds like a ChopinNocturne (although I haven’t checked, so I might be wrong) it creates a mood ripe for romance, galvanizing our imagination. Racy and yet tasteful, from sucking on candy to the purring voice-over, from the wet splashing on a fully made-up face that was oh-so-now back then to the shot of a foot fetishly shod in a high heeled sandal, it manages to make women and men alike dream about seduction and sensuousness, achieving an esteemed place in my mind as one of the most memorable commercials I have ever seen. Watch the clip clicking here

To come full circle, no other than Chanel again for Cocoperfume for today’s last play on fantasy. Shot in France in 1992 by Jean Paule Goude, it is perhaps the most surrealistic of them all and the most masterful in its subtle but powerful subconscious message. It involves the birdcage in which a swinging Vanessa Paradis is the rare enslaved bird of a rich plume whistling melodiously when the drops of Cocoare spilled by a gloved hand; the thunderstorm cracking outside the Parisian apartment, the ghost of a woman who looks like Coco herself viewed briefly in the end in a white classic suit, crossing the leg by the window in a pose of defiance and utter chic. As Cocohas been advertised with the line “l’esprit de Chanel” (Chanel’s spirit, as it was inspired by her baroque appartment) it uses both wordplay (as spirit connotes both personality and liquid) and imagery to drive the point home. And it succeeds admirably. The inclusion of a white aristocratic pedigree cat, watching the caged “bird” come to life fascinated is a playful touch alluding to luxury but also possibly male attraction in the traditional hunter role, in a superb clip that makes the viewer want to awaken the hidden side, the singing side, the one talked about in the poem by Maya Angelou, “I know why the caged bird sings”. In such a commercial the limits of fantasy are so much challenged that it becomes a tale in itself, living the viewer enraptured in a reverie of unsurpassed mastery. Watch the clip clicking here

Next post will tackle the difficult subject of gender play in advertising.

Perfume advertising: Chanel No.5 and multimedia technology

The issue of perfume advertisements arises from time to time, with mixed results. Usually it has to do with the shock value of something or the sheer ingenuity of advertisers who come up with catchy phrases and images to embed an idea in our minds for ever. Although print ads have their merits and I will devote entries on them in the future, I think it has been already done so I have been trying to expand into the multimedia world of TV and theater commercials. In the interest of accomplishing that I have compiled a great annex of commercials on my main info site, Perfume Shrine and it will appear soon on-line (patience!). But first I wanted to discuss the matter here, so the next few entries will be devoted to the analysis of perfume advertising with the provision of commercial clips. I have of course decided to edit and not present all the clips; I just chose the most memorable ones and those which serve the purpose of illustrating my points.

Perfume commercials and their study shows the evolution not only of the deviousness in advertising or the images that capture each generation’s fantasy, but also the emergence of different aesthetic values based on the zeitgeist and the artistic contribution of celebrated individuals in their respective fields. This aspect is fascinating, aggrandizing the subconscious and examining how tastes differ between various cultures. Naturally, the sources of perfume advertising stem from two main sources, the US and Europe, so the contrasting and comparing is in most cases done between the two. Contemplating the schism between the two cultures over years of advertising, one realises that it is not that great after all, at least in this particular field, since people have been influenced by one another. Of course there are also examples of marked differences both in cultural sensitivities and in chronological advancement, especially since the AIDS epidemic which almost eliminated public displays of eroticism in the media, as well as the trend for “clean” perfumes and the newly fanged “celebrity perfume” which influenced advertising on its own by grafting the center of the commercial from the fantastical and fictional to the famous individual who represents a specific association already in the consumer’s mind. Nevertheless, each commercial stands on its own and has its merits and its flaws.


The first series of clips I was interested in exploring was Chanel’s for her iconic Chanel #5 perfume. It is a prime example that exhibits the evolution of aesthetics and advertising admirably, while all the while transpiring the message of a perfume imbued in fantasy, rather than reality. Chanel #5 has always been -also- a miracle of marketing. From the tales of Coco Chanel herself who supposedly sprayed the perfume in theaters and shops to garner attention and public awareness and who also gave small batches to her most exclusive clients, this perfume has stood the test of time not only on the merits of its mesmerizing jus, but also because the choice of bottle, packaging, colour coordination and overall presentation has been impeccable over the years. The first clip I found on this one comes from a UK ad in 1970. A haphazard meeting of a man and a woman in an art gallery. From the quite awkward event, characters dressed in the wide pants of the era (and yes, the lady is wearing them as well, as a symbol of emancipation) to the makeup and the stylized coif, the images progress in a cinematic flash back of the lady preparing for her day carelessly applying some Chanel #5 while chatting on the phone, her Afgan dog on the white sofa that matches her outfit; while at the end, it’s Chanel #5 that has provided the trigger for the romantic tête-à-tête in the sunset, when the lady is wearing a gown (so we know romantic time is coming) and her hair in an updo. The notion behind it is devious in that it insinuates that Chanel#5 is both sophisticated enough for an art gallery setting for a modern smart lady of means but also for more intimate moments.


Next comes the classic image provided by the artistry of british director Ridley Scott in 1979. The whole concept is exquisite: the woman is lying on the pool, with a seductive and dreamy voice-over: “I am made of blue sky and golden light and I will feel this way for ever”. The image of the airplane soaring in the blue sky, casting the shadow of a shark in the pool momentarily and then the man across swimming to her, aggresively one might say, while she languorously drinks up the sunshine, bronzed and made-up vividly in red and grey blue, has been embedded to the subconscious of anyone involved in perfume; even Chandler Burr's who used this image for another perfume review recently in his column. This proves the artistry and cunning of the concept. “Share the fantasy” the tagline ends and it is indeed a fantasy that transpires through watching the clip. Chanel #5 is again the perfume of indulgence and luxury (private pools being a scarce commodity back then), the escape to other worlds for people in the UK and colder climates, who dreamed to be in a tropical paradise and yearned for a setting of this kind

The next clip in the chronological series is also made by Ridley Scott, in 1980, who here again uses the elements of the luxuriant vacation spot, the blue waters and the sparseness of composition. All the while the old song “Sea of love” plays in the background. Carole Bouquet, then face of Chanel #5, is decked out in classic austere black, with a wide rim straw hat, also black, and a black one-piece swimsuit. Très chic in her red lipstic, an exclamation point on the white canvas of her skin and an invitation to sexuality. A close-up on her shoes reveals the brand name Chanel, while her white earrings also bear the logo of the brand, so as the viewer never mixes this up with anything else. The setting seems to be a private house in Cote d’Azur or Capri, all Mediterranean colours (of which Scott is very fond of, for those who know). A well suited man comes down a boat (which is odd, but maybe we could bypass it, as it might want to convey an image of authority and financial power) and as Carole leans back her big hat providing an exquisite “cadre” for the shot, they kiss. It’s only at the last shot that we realize that the pool is also shaped in the shape of Chanel #5 bottle. The exact same tagline of “Share the fantasy” (spoken in the french accents of Carole) finds its master in this admirable clip.


Following is a clip from the French director Luc Besson and eerie, wonderful music from by Danny Elfman (Tim Burton’s sidekick; this is from the film Edward Scissorhands). This one is actually my favourite of all the Chanel #5 commercials to date, if only because it brilliantly plays on the Little Red Riding Hood tale and the eroticism and naughtiness associated with it psychologically. Estella Warren dressed up in red and shoed in red dancing shoes enters playfully and mock-innocently the big vault where #5 is kept, the walls all quilted as a nod to the famous Chanel bags; from the plethora of bottles she picks one, lovingly holding it for a sec and luxuriously applies some drops on her neck. Picks up the bottle and places it in her straw basket lined in plaid cloth, to further drive in the point of the tale; while the unmistakable form of a wolf comes from the corridors following the thief Estelle, who finally dons her red cape and hood and opens the vault to the great city that lies beyond, Paris, the Tour d’Eiffel on the background, majestic, lighted up in the night. She makes an authoritative gesture to shush the wolf, who obeys, undoubtedly enslaved by the magical feminine fumes emanating from her. She goes out into Paris, the great unknown, city of wonder, ready for a greater adventure, while the male wolf is wailing into the night. What a masterpiece, what use of imagination….I am trully enslaved! I actually bought again some Chanel #5after this, I have to admit (Is my perfumista card revoked after this admission to superficial lure?). This is the power of advertising: It not only lures you to consider something as desirable and necessary when it might not be; it can be so cunning as to make you buy something as an endorsement to the great sense of style the brand possesses, as if you become a conspirator, an accomplish to a tale of mystery and naughtiness. Ah…these are the great ones! There is another splendid version of the tale, again by Besson, but I have kept that one on my extensive list for further viewing, for those interested.


The latest commercial for Chanel#5 is testament to both what great filmmaking can do and what the limitations of fantasy might be. Directed by Aussie director Baz Lurhman, starring Nicole Kidman as the undisputed protagonist of our collective consiousness, decked from head to toe in Karl Lagerfeld couture for Chanel, and brilliantly set to the completely magical score of Clair de Lune by Debussy, it runs a whole two minutes and looks more like a regular film than a perfume commercial, earning it the tagline of costliest commercial to date. I won’t try to recount the plot here, as it would spoil the climax, suggice to say that Nicole plays the role of a dancer who disappeared and is chased by the paparazzi, meeting an unsuspecting dashing male in the taxi she enters to escape them. Everything in the film speaks of romance, memories, the imprint of an ill-fated love affair, the luxury and grandeur of someone who is obviously at the top of the world, as is indeed the building on which Nicole and her lover consummate their affair. Everything has to do with catching the moment and making it last for an eternity and this particular angle is not only prime for catching an advertiser’s eye but also the consumer’s who wishes to impart lasting impressions via the most ephemeral of adornments, perfume. In a nutshell the dream of immortality, if only in the memory of a loved one. However this commercial, when contrasted with the previous one, shows a lack of naughtiness (despite the effort on Nicole’s part to convey it with her body language and face expressions on occasion) and less imagination applied, because the situations although majestic and in the sphere of the super-famous do seem tangible and rooted in reality. This I think is the only "flaw" (if one might be so bold as to use such a term) of this last commercial and the reason it is not my absolute favourite in the Chanel #5 series; nevertheless it is always a joy to watch and not to be missed.

Perfume advertising: multimedia technology to our benefit

The issue of perfume advertisements arises from time to time, with mixed results. Usually it has to do with the shock value of something or the sheer ingenuity of advertisers who come up with catchy phrases and images to embed an idea in our minds for ever. Although print ads have their merits and I will devote entries on them in the future, I think it has been already done so I have been trying to expand into the multimedia world of TV and theater commercials. In the interest of accomplishing that I have compiled a great annex of commercials on my main info site, Perfume Shrine and it will appear soon on-line (patience!). But first I wanted to discuss the matter here, so the next few entries will be devoted to the analysis of perfume advertising with the provision of commercial clips. I have of course decided to edit and not present all the clips; I just chose the most memorable ones and those which serve the purpose of illustrating my points.

Perfume commercials and their study shows the evolution not only of the deviousness in advertising or the images that capture each generation’s fantasy, but also the emergence of different aesthetic values based on the zeitgeist and the artistic contribution of celebrated individuals in their respective fields. This aspect is fascinating, aggrandizing the subconscious and examining how tastes differ between various cultures. Naturally, the sources of perfume advertising stem from two main sources, the US and Europe, so the contrasting and comparing is in most cases done between the two. Contemplating the schism between the two cultures over years of advertising, one realises that it is not that great after all, at least in this particular field, since people have been influenced by one another. Of course there are also examples of marked differences both in cultural sensitivities and in chronological advancement, especially since the AIDS epidemic which almost eliminated public displays of eroticism in the media, as well as the trend for “clean” perfumes and the newly fanged “celebrity perfume” which influenced advertising on its own by grafting the center of the commercial from the fantastical and fictional to the famous individual who represents a specific association already in the consumer’s mind. Nevertheless, each commercial stands on its own and has its merits and its flaws.

The first series of clips I was interested in exploring was Chanel’s for her iconic Chanel #5 perfume. It is a prime example that exhibits the evolution of aesthetics and advertising admirably, while all the while transpiring the message of a perfume imbued in fantasy, rather than reality. Chanel #5has always been a miracle of marketing. From the tales of Coco Chanel herself who supposedly sprayed the perfume in theaters and shops to garner attention and public awareness and who also gave small batches to her most exclusive clients, this perfume has stood the test of time not only on the merits of its mesmerizing jus, but also because the choice of bottle, packaging, colour coordination and overall presentation has been impeccable over the years. The first clip I found on this one comes from a UK ad in 1970. ] Watch it clicking here A haphazard meeting of a man and a woman in an art gallery. From the quite awkward event, characters dressed in the wide pants of the era (and yes, the lady is wearing them as well, as a symbol of emancipation) to the makeup and the stylized coif, the images progress in a cinematic flash back of the lady preparing for her day carelessly applying some Chanel #5 while chatting on the phone, her Afgan dog on the white sofa that matches her outfit; while at the end, it’s Chanel #5 that has provided the trigger for the romantic tête-à-tête in the sunset, when the lady is wearing a gown (so we know romantic time is coming) and her hair in an updo. The notion behind it is devious in that it insinuates that Chanel#5 is both sophisticated enough for an art gallery setting for a modern smart lady of means but also for more intimate moments.

Next comes the classic image provided by the artistry of british director Ridley Scott in 1979. The whole concept is exquisite: the woman is lying on the pool, with a seductive and dreamy voice-over: “I am made of blue sky and golden light and I will feel this way for ever”. The image of the airplane soaring in the blue sky, casting the shadow of a shark in the pool momentarily and then the man across swimming to her, aggresively one might say, while she languorously drinks up the sunshine, bronzed and made-up vividly in red and grey blue, has been embedded to the subconscious of anyone involved in perfume; even Chandler Burr's who used this image for another perfume review recently in his column. This proves the artistry and cunning of the concept. “Share the fantasy” the tagline ends and it is indeed a fantasy that transpires through watching the clip. Chanel #5 is again the perfume of indulgence and luxury (private pools being a scarce commodity back then), the escape to other worlds for people in the UK and colder climates, who dreamed to be in a tropical paradise and yearned for a setting of this kindWatch the clip clicking here

The next clip in the chronological series is also made by Ridley Scott, in 1980, who here again uses the elements of the luxuriant vacation spot, the blue waters and the sparseness of composition. All the while the old song “Sea of love” plays in the background. Carole Bouquet, then face of Chanel #5, is decked out in classic austere black, with a wide rim straw hat, also black, and a black one-piece swimsuit. Très chic in her red lipstic, an exclamation point on the white canvas of her skin and an invitation to sexuality. A close-up on her shoes reveals the brand name Chanel, while her white earrings also bear the logo of the brand, so as the viewer never mixes this up with anything else. The setting seems to be a private house in Cote d’Azur or Capri, all Mediterranean colours (of which Scott is very fond of, for those who know). A well suited man comes down a boat (which is odd, but maybe we could bypass it, as it might want to convey an image of authority and financial power) and as Carole leans back her big hat providing an exquisite “cadre” for the shot, they kiss. It’s only at the last shot that we realize that the pool is also shaped in the shape of Chanel #5 bottle. The exact same tagline of “Share the fantasy” (spoken in the french accents of Carole) finds its master in this admirable clip. Watch the clip clicking here

Following is a clip from the French director Luc Besson and eerie, wonderful music by Danny Elfman (Tim Burton’s sidekick, if that tells you anything; this is from the film Edward Scissorhands). This one is actually my favourite of all the Chanel #5commercials to date, if only because it brilliantly plays on the Little Red Riding Hood tale and the eroticism and naughtiness associated with it psychologically. Estella Warren dressed up in red and shoed in red dancing shoes enters playfully and mock-innocently the big vault where #5 is kept, the walls all quilted as a nod to the famous Chanel bags; from the plethora of bottles she picks one, lovingly holding it for a sec and luxuriously applies some drops on her neck. Picks up the bottle and places it in her straw basket lined in plaid cloth, to further drive in the point of the tale; while the unmistakable form of a wolf comes from the corridors following the thief Estelle, who finally dons her red cape and hood and opens the vault to the great city that lies beyond, Paris, the Tour d’Eiffel on the background, majestic, lighted up in the night. She makes an authoritative gesture to shush the wolf, who obeys, undoubtedly enslaved by the magical feminine fumes emanating from her. She goes out into Paris, the great unknown, city of wonder, ready for a greater adventure, while the male wolf is wailing into the night. Watch the clip cliking here What a masterpiece, what use of imagination….I am trully enslaved. I actually bought again some Chanel #5 after this, I have to admit. This is the power of advertisement. It not only lures you to consider something as desirable and necessary when it might not be; it can be so cunning as to make you buy something as an endorsement to the great sense of style the brand possesses, as if you become a conspirator, an accomplish to a tale of mystery and naughtiness. Ah…these are the great ones! There is another splendid version of the tale, again by Besson, but I have kept that one on my extensive list for further viewing, for those interested.

The latest commercial for Chanel#5 is testament to both what great filmmaking can do and what the limitations of fantasy might be. Directed by aussie director Baz Lurhman, starring Nicole Kidman as the undisputed protagonist of our collective consiousness, decked from head to toe in Karl Lagerfeld couture for Chanel, and brilliantly set to the completely magical score of Clair de Lune by Debussy, it runs a whole two minutes and looks more like a regular film than a perfume commercial, earning it the tagline of costliest commercial to date. I won’t try to recount the plot here, as it would spoil the climax, suggice to say that Nicole plays the role of a dancer who disappeared and is chased by the paparazzi, meeting an unsuspecting dashing male in the taxi she enters to escape them.Watch the clip clicking here Everything in the film speaks of romance, memories, the imprint of an ill-fated love affair, the luxury and grandeur of someone who is obviously at the top of the world, as is indeed the building on which Nicole and her lover consummate their affair. Everything has to do with catching the moment and making it last for an eternity and this particular angle is not only prime for catching an advertiser’s eye but also the consumer’s who wishes to impart lasting impressions via the most ephemeral of adornments, perfume. In a nutshell the dream of immortality, if only in the memory of a loved one. However this commercial, when contrasted with the previous one, shows a lack of naughtiness (despite the effort on Nicole’s part to convey it with her body language and face expressions on occasion) and less imagination applied, because the situations although majestic and in the sphere of the super-famous do seem tangible and rooted in reality. This I think is the only "flaw" (if one might be so bold as to use such a term) of this last commercial and the reason it is not my absolute favourite in the Chanel #5 series; nevertheless it is always a joy to watch and not to be missed.

Next I go on to critique more controversial stuff sure to elicit response. Stay tuned.

The Wonders of Amber: Perfumery Material of Soft, Oriental Character

Amber is a fit subject to tackle in the colder weather, if only because it's such an enveloping aura it creates. There are many misunderstandings about amber and hopefully we will dispel some of them here. Amber is a difficult term to describe in perfumery, simply because it has so many meanings as a word. Amber has additionally become a rather generic, all encompassing term, resulting in us being able to find all types of oils touted as "amber oil" in the market and sold online.

Essentially, there is no such thing as an amber essential oil. Essential oils are oils from plants in their purest form, distilled or otherwise extracted from a single plant species. Fragrant amber is a combination of several different botanical sources (or in ambergris’s case -which is a completely different material- a product of animal origin, more on which later). There is no one plant from which amber comes from, although some claim it comes from a special tree growing in the Himalayas. This is probably imaginative copy. Fir tree resin, in its regular, non-fossilised form is actually used in perfumery sometimes and offers a rather sweet, warm and deep smell that serves as a base to anchor the other ingredients that are placed on top of this less volatile ingredient. But it's not the usual reference.

The concept of "amber" on the whole is in fact an olfactory convention of the late 19th century and became a perfume "genre" at that time with the invention of vanillin (synthetic vanilla, as known from patisserie to most of us) added to the time-honored use of labdanum. This is for all practical purposes what we refer to as the "amber note": labdanum and vanillin.

"Ambery" is the general term -according to the French system - to describe the perfumes that fall in the oriental group and that have a warm, slightly powdery, erotic, animalic tonality in them ("parfums ambrés"). We could classify Shalimar, Obsession, Must de Cartier or Moschino for women (original) in that category. This doesn't have to do with the actual ingredients, it’s rather a figure of perfumery speech, although of course the perfumes of this category do include "ambery notes".
Please note however that NOT all "orientals" however are "ambery": the opoponax-based or balsamic/resinous fragrances in the Oriental spectrum (Opium or Youth Dew for instance) can eschew significant use of pure "amber bases" (see below for actual ingredients for this) in lieu of other accords within the variety of materials in hand. Simply put, the "oriental group" of fragrances is more encompassing than the "amber orientals".

The following materials do NOT have a relation with "amber" as the term in perfumery is used:

*A sort of "amber oil" comes from the Baltic amber; the fossilized resin from a prehistoric tree called Pinus Succinifera, a pine species. Amber dust is a by-product of the fossil amber industry (which caters for jewels) and the material renders an amber oil through a process called destructive distillation of fossilized amber. The oil yielded contains succinic acid which is useful in health products, however due to its uninviting aroma it’s useless in perfumery. Therefore there is no such thing as "amber fossil" used in perfumery.

*Ambrette seed is another ingredient often mixed up with amber that gives however a musk note in perfumes. Coming from the plant Hibiscus Abelmoschus , the seeds are distilled to give a waxy substance that is then treated with an alkaline medium to give finally the "absolute”. The smell is slightly musky and soft, warm, peachy and snugly; used in many luxury perfumes.

*Ambergris is the legendary ingredient often used in relation to "amber" (as ambra/amber appear shortened sometimes, since ambergris in French means “grey amber”).
Ambergris comes from a cured secretion from sperm whales; the whale secretes a substance to heal its stomach from the scratches of the cuttlefish it swallows when feeding. This gets out through the gastrointestinal system and is left floating on the ocean for years. The floating part is what gives it its characteristic slightly salty and warm , sensuous smell. It is animalic in a subtle way and retains its scent for centuries, just like musk.

So what actually goes into the production of amber and ambery perfumes, you might ask at this point.

The answer is two-fold.

Natural ingredients are used by natural perfumers to create an amber base without actual ambergris (and without synthetic vanillin, as per above), meaning a perfume base that smells warm, erotic and sensual or simply an oil mix.
Usually these include:

1.Labdanum: Cistus labdanum or rockrose is a gum resinoid from the common in the Mediterranean rockrose bush. In the past a long double rake (ladanisterion) was used to comb off the gum from the beards of goats grazing on the bushes, especially in Crete, Greece. It has been used in incense since antiquity. Today the twigs and leaves are boiled to yield the gum. The aroma is the closest thing to real ambergris in the plant kingdom.

2.Benzoin: A secretion of the tree Styrax tonkinense, a tropical asian tree, in the form of tears, which is secreted when the tree is injured. Two varieties exist; Siamese and Sumatran, the former drier and more powdery, the latter sweeter, more caramel like.
Its aroma is sweet and warm and evolves into powdery balsamic.

3.Styrax levant (Liquidamber orientalis): Another resinoid from a tree, it smells a bit like glue with a cinnamon edge. It is important in the creation of amber chords and has a rounding effect.

4.Natural vanilla extract from the Madagascar vanilla orchid can be used. (Perfumers dabbling in synthetics opt for vanillin instead)

Mandy Aftel in her book "Essence and Alchemy" suggests a simple "amber base" made from just three materials for the amateur perfumer: 30 drops of labdanum, 120 drops of benzoin, 6 drops of vanilla.
Usually other accent notes are used in amber chords to differentiate the result and make it unique, ergo the abundance of different "amber oils" in the market. Some of the usual ingredients to do so are vanilla, tonka bean, Peru balsam (sweet ambers), clove, cinnamon, Tolu balsam, sage, juniper (drier ambers), sandalwood, patchouli, olibanum (mysterious ambers), rose, jasmine or other flower essences in very small amount (more floral ambers).

The big perfume manufacturing companies (not the designers or the cosmetics companies who label their name on them, but those who get the “brief” and go in the lab to create them, such as Firmenich, IFF, Givaudan, Roure etc) have patented their own "synthetic ambers" for use in their perfume creations. It goes without saying that in order to find out what your favourite perfume contains you have to find out which company is responsible for its creation. Those "amber bases" (and please note that some lean onto "ambergris") fall into three categories:

1.True ambers: Those include Ambrarome Absolu by Synarome, Ambrogène by Roure, Ambergrissol by IFF, Ambré B.V. by De Laire and Fixateur 404 added to Grisambrol by Firmenich.
2.Ambers from labdanum: Those include Ambreinol and Ambregris Synthetique by Givaudan, Grisambrène by Firmenich, Ambre Synthetique by Naarden.
3.Pseudo amber (which is closer to opopponax resin really): Those include Ambre 53 by de Laire, Ambreine Samuelsom by Firmenich and Ambrène by R.Sondes.

New molecules are developed as we speak. For a modern and extremely popular synthetic that draws upon amber qualities refer to our article on Ambrox/Ambroxan, a woody amber note with great tenacity and diffusion.

The issue of amber is a fascinating one and hopefully some of the more obscure aspects of it have thus been illuminated. It is important to know what is at the core of a fragrance, however it is our nose and limbic system that finally makes the decision for us. So, wishes for a happy amber hunting!


This article used some data from the archives/catalogues of the perfume companies mentioned, Mandy Aftel’s "Essence and Alchemy", Eden Botanicals and Ayala’s "Smelly blog". Thanks to all.