Femme by Rochas: fragrance review and associations

There are times when I reflect upon a fragrance to realise that it has been painted by the brush of a rampant personality, bigger than life, more enduring than the everyday routine. And those precious, troubling fragrances make it to my heart almost without my consent. Femme by Rochas , the glorious classic chypre, is one such fragrance, if only because I had learned a long time ago by a journalist friend that it was the signature scent of Melina Merkouri. Even Melina's name fits the rapport: it means "honeyed". I hadn't experienced this classic yet and when I did it was with this knowledge at the back of my mind.

Melina was a Greek actress and politician, famous from the cradle almost as she was the grand-daughter of a well-known mayor and the wife of acclaimed franco-american McCarthy "victim" director Jules Dassin. And her passionate campaign for the return of the Elgin/Parthenon Marbles to their birthplace assured a fond place in our hearts for her.
Those who have known her or even glimpsed a bit into her intense, passionate life and personality cannot forget her, even though it's been more than a decade she has been dead.
And although Femme was perhaps the first decisive foray into gourmand territory (by its creator's own admission: "very gourmande, very patiserrie") with its delectable fruity notes of succulent plum and peaches, it rested them on a bed of rather poignant amber and oakmoss base with powdery touches that suggested the hardship of the time it was conceived: World War II.

There is dryness alongside the initial lemony aldehydic spike and you'd be hard pressed to dissect individual notes, as the symphony unfolds on your skin.
Edmond Roudnitska used a methyl ionone compound he had smelled inside a forgotten barrel at a paint factory beside which he had been working during the rationed days of the war in 1944 Nazi-occupied Paris; this is when couturier Marchel Rochas came to him commisioning him a feminine scent for his beautiful young bride Helene.
And this is what gives Femme its sugarplum quality that contributed to its copious sensuality, of which a glimpse can be taken by looking at the curvaceous bottle originally encased in a lace-interlayed box.

A sensuality that Melina was not devoid of. In one of her most memorable films, Phaedra by Jules Dassin, she co-starred with Perfume Shrine's long-time favourite Anthony Perkins, as the wife of a tycoon who falls in love with her stepson, perpetuating the ancient Greek myth of Hippolytos and Phaedra...a tale of love and death, ερως και θανατος, like all Greek tales...

Here is a telling clip, with music by Mikis Theodorakis:


(uploaded by creepgreen)

There is a quality of intense drama in her persona, her tall lithe body moving with the grace of a feline but also the full tragic demeanour of a Hecuba or a Clytemnestra, coupled with sensitivity and what you feel is denied tenderness.
Her huge black eyes, burning coal embers under a handful of blond hair stare at you like cosmic lights.
The following clip from the 1949 staging of the play "A Streetcar named desire", in which she sings "Paper Moon" by Manos Hadjidakis, embodying Blanche DuBois, is testament to her power of penetrative gaze that sears through your soul much like Femme does to mine.


(uploaded by florentine7)


Here is an English translation of the song lyrics:

The sea shall bring birds
and the wind shall bring golden stars
that will caress your hair
and kiss your hand.
Paper moon, fake beach
If you believed in me a bit,
everything would be real.
Without your love
time goes by fast
Without your love
the world becomes more bitter

Femme was re-orchestrated in 1989 by Olivier Cresp, interlacing a daring cumin note of feminine sweat in spun sugar and lightening up somewhat the earthiness of the base. The new version is very likeable to me with its profound cinnamon oiliness and a little clove of fondant brandied compote and the louder drum bass of the very familiar dense ambery base of the 80s. Although the older version (circa 1960) is more ladylike and reserved, much like Melina was provocative in her personal life but without promiscuity in her public persona, the modern Eau de toilette is the real luscious bombshell with raunchy tendencies minus the retro feel, whereas the modern Eau de Parfum is more demure, if such a notion is applicable to Femme, and also less spicy.

Last but not least, for the delectation of our French (and Greek) speaking readers, here is a clip Melina made for the French TV, in which she accompanies the composer Manos Hadjidakis on a poignant song about the death of another era, the escape into dream and the inevitability of the end.
The way Femme elected to live in my dreams forever...

The song is called Kyr Antonis (=mister Anthony)(uploaded by Florentine7).


Notes for Femme:Top: Peach, Plum, berbamot, rosewood, lemon
Middle: jasmine, may rose, ylang ylang, orris, clove
Base: patchouli, musk, amber, civet, oakmoss, vanilla, benzoin, leather.

Pics of Femme ads courtesy of parfumdepub

Interview with a perfumer: Jean Jacques

It is always a pleasure to come across a young person who is entangled in the web of perfumery. Jean Jacques is such a young frenchman who has been immersing himself in scent to piquant effect, all the more so because he is what the French call nez; a nose ~that is a perfumer.


Jean Jacques however begun his career as a musician (as did another nose, Annick Goutal), much as I myself did; albeit with classical studies, in contrast to his jazz inclinations. I have thus always felt that the world of music is not that far off from the world of perfume: similar language of notes, chords, accords and rhythm balance each other in both realms, where beauty and innovation reigns supreme ~or should, at any rate. Both worlds antagonistic, one acclaimed professional outdoing the other in agilité and power of expression. This common ground makes me somehow feel a kindred spirit in Jean and prompted me to seek out his views.

He was already an accomplished pianist by the age of 16. And then one of those milestone incidents happened, as it so often does in life, when a friend of his mentioned ISIPCA, the Versailles school of perfumery. Jean was competing for a place both in the Conservatory and in ISIPCA, but the latter won his heart in the end. His artistic inclination found fertile soil in the fragrant universe and he likes to play with materials like puzzle pieces that nevertheless leave an indelible print in our memory.
After securing his degree in Biochemistry he entered ISIPCA and practiced at Quest International, alongside revered noses Pierre Bourdon and Maurice Roucel in 1993. From then on, next year found him at Kao Corporation, learning to create formulae and ameliorating his technique, while finally at 1997 he came to Takasago group, one of the great perfume companies today, producing his intriguing and diverse creations: Balmya for Balmain, Absolutely Givenchy, Ted Lapidus Pour Homme,Colors of Love for Guerlain, the Masaki Matsushima line, Oriflame Divine and Amethyst Fatale(collaborating with Francis Kurkdjian on the latter), L'or de Torrente, Silver Shadow Altitude for Davidoff and Lacroix's C'est la Fête; as well as the more utilitarian but lovely fruity, beachy scent of the Gamme Solaire Expertise (sunscreen range) for L'Oreal. Let's not forget that Takasago is a flavour and scent company, producing myriads of aroma-materials for various products.

Asked on the future of fragrance notes for the upcoming seasons, he said:

"Given the number of new perfumes, l'd like to think that maybe ingredients will take more importance, as Dior Homme's success is showing us. The question is money: will clients give us the means to use expensive materials? Also, dont forget brands need to sell: fruity notes have proven addictive and they will certainly continue to be used a lot for our pleasure."

This might come as a disappointment to perfume lovers who have had enough of fruity notes, but he does have a point, I guess.


But, now a little playful game cum interview to shed some light into this dark and fetching Frenchman's tastes!

What is your most cherished fragrant memory?
My mother's nightgown which I used as a sheet to sleep on when I was little.

What's your favourite spice?
Cumin.

Your favourite colour?
The primaries: red, blue, yellow.

What music to prefer to listen to?
Keith Jarett and The Koln Concert.

Your favourite season?
Has to be summer.

Favourite time of the day?
Morning, around 10 o'clock.

Which country do you like best?
I love France.

And what city, if at all?
It's Tokyo. {this came as a surprise!}

Do you have an everyday indulgence?
Yes, as a matter of fact; driving while listening to great music.

Which alcoholic beverage do you prefer?
I drink champagne.

And your favourite dish?
It's fillet mignon.

Do you have an idol, someone you admire a lot?
I idolise Rachmaninoff.

Who wouldn't ask a perfumer what perfume he hasn't created himself he admires a lot...So which is it?
Aromatics Elixir by Clinique.

Do you have a dream you hope it gets realised?
They are too many to even mention, surely.

Ending on that note, I hope his dreams get realised and that we are the lucky recipients of his fragrant ones, incarnated in sprites coming lithely out of crystal bottles.

Next week we continue with the Chypre Series: we tackle feminine and masculine propositions, as well as an important material.


Pic of Notre Dame by Conor McGowan/flickr
Pic of piano by Doug McPherson/blog.

Amethyst Fatale by Oriflame: fragrance review

Has it ever happened to you to completely dismiss something new merely on the value of past experiences and then be proved wrong? Surely it has! This is what happened to me with the newest perfume by Swedish skincare and cosmetics brand Oriflame, concerning their newest release Amethyst Fatale. Although I have sampled many of their products, I had always assumed that their fragrances are second in hierarchy after their skincare which forms the lion's share of their revenue anyway. Experiences with their fleeting specimens also contributed to a nonchalant view towards sampling more of them. Because although many were decent enough, their lasting power left something to be desired, which hinted at a cost-effective management decision.
Not so with their latest however. The first in the so-called Gem Collection, a line of scents that aims to be inspired by gemstones (obviously a big trend now if one judges by the similar offerings by Bulgari, Olivier Dubrano and Lalique) and focus on the perfumers themselves instead of the celebritoid du jour, managed to convince me that it might be worth a shot sporting it from time to time, especially as it has been created by Jean Jacques (responsible for Balmya, most of the Matsushima Masaki scents and L'or de Torrente) with the collaboration of one of my favourite noses, Francis Kurkdjian. And lo and behold, compliments ensued. Not a bad start!

According to Cosmeticsdesign-europe.com:

Sweden-based firm's new perfume is not marketed on the pull of fast moving celebrities, but on the role the perfumer behind the scent.
"A key trend in the fragrance market is the rise of signature fragrances and Gem Collection is tapping into that trend," said a spokesperson for Oriflame .
In the case of Amethyst Fatale, the signatory is the creator of the perfume, the well known "nose" Jean Jacques.
Oriflame's decision to use Jean Jacques' signature to market the new fragrance represents a new take on the endorsement idea.
"Consumers are becoming more aware of the complexity of perfumery and so educated consumers are likely to be drawn to fragrances that are endorsed by experts rather than celebrities," said Briony Davies from Euromonitor.

Perfumer Jean Jacques attempted to translate the Amethyst gemstone into a scent whilst being guided by the image of the femme fatale whose arresting beauty and gaze makes you dive into "an unexpected world of passion and danger". To complete this task, Jean Jacques used the iris.
"I could imagine in the elegant odour of the iris: powdery, soft and caressing, all of which echo the amethyst," said Jacques.

Amethyst with its deep purple colour (although there is a green variety as well, called prasiolite) is considered to make the wearer calm and in control of his various emotional levels. Its name derives from the Greek amethystos/αμεθυστος which means sober and is traditionally linked to protection from intoxication and to those born in the month of February. But don't let that stop you!
Its mythological root lies in the tale of Dionysus, god of wine and celebration, who was insulted by a mortal who didn't acknowledge him. Enraged, he spotted a young maiden named Amethyst. The unsuspecting girl, on her way to pay tribute to the goddess Diana, was detained and two tigers were summoned by the god to devour the youth. Amethyst cried out to Diana in despair and the goddess quickly transformed the young mortal into a glimmering white stone (known as “quartz”) to protect her. When he realized his wrongdoing Dionysus wept tears of wine onto the stone staining it purple, creating the gem we know today as amethyst.
Lovely tale, isn't it?


Iris and the colour purple are very au courant these days as well and with the charmingly pleasant experience of Prada Infusion d'Iris and the less exciting Iris Ganache by Guerlain in my short-term memory banks, I set out to explore another iris-based scent. This time it involved the smooth ambience of the modern chypre, a concept on which I talked in detail before.
Amethyst Fatale promises "pure fragrance intoxication. Combining warm amber notes with powdery iris and lush rose, this unpredictable scent refuses to be forgotten" according to Oriflame.

As I open the little glass vials of Eau de Parfum available for sampling, the impression of a chiaroscuro patchouli composition is greeting me with a wink. The feeling is far removed from the headshop and into the protection of clothes from moths, as was one of its primal uses. You can almost feel the tactile sensation of soft wools caressing your cheek as you open up an armoire with plush knits. Its crushed powder is gently folded in rosy liquid that recalls damp earth as if rained upon with the echo of distant thunder. The marriage of rose to patchouli is cemented in tradition but with the flair of a first-throes passion, as those two amorous lovers adore bringing each other's best points out: patchouli making the rosy petals unfurl indefinetely, mellowing them and anchoring the feminine smell; rose caressing the green leaves and rendering them softly powdery.
Francis Kurkdjian is of course famous for his modern rendition of roses -and abstract floral notes in general- such as in Guerlain'sRose Barbare, Ferre Rose, Narciso For Her or the re-issued Rumeur by Lanvin. And here I can see the mentor's influence.

The iris part might be contributing to the earthy feel I get as well, although to my nose this is not a predominantly iris scent, but rather a palimpsest. There is an element of powdery tonality that reminds one of white musks as used in popular renditions lately, as well as the slightly woody and vanillish whiff of benzoin. The impression is never too sweet and in that regard it is infinitely superior to most things currently put on a pedestral on perfume-store shelves and certainly to Armani Code whose bottle it might be argued that it vaguely reflects.
As it exits the scene in lento moves it does so with the gentle refinement of a lady who is assured of her attractiveness enough not to assume poses and goes for the subtle approach of white silk underwear instead of racy red lace.


Oriflame is available in European countries and overseas in the Americas and Asia, but not in the United States.
So, for our readers in the US I have a couple of samples I would be glad to offer if they enter a comment that they would like to receive one. Hurry while the offer lasts!

Stay tuned for an interview with Jean Jacques next!
Ad pic from Oriflame, ring pic courtesy of askDaveWest

Twin peaks~Aromatics Elixir and Earth by Apivita

Perfume Shrine is introducing a new feature: Twin Peaks.
Lynch inpired but lynch-free for the fragrances it aims to juxtapose and compare highlighting their similarities and kindred spirits.
I sure hope you enjoy finding some smell-alikes for things you were either scared of, unsure of, broke for or just bored to go hunting down following their lamented discontinuation.



The first duo on this feature is Aromatics Elixir (which has already been reviewed the other day here) and Earth by Apivita.

Apivita is an old Greek brand, founded in 1979 which goes

"back to a small pharmacy, owned by Niki and Nikos Koutsianas. Being both passionately fond of natural products and having great respect for Classical Greek philosophy, they created a line of soaps and shampoos based on bee products: honey, propolis, royal jelly and bee pollen. Their first brand, Dermoline, later named Propoline"

The brand quickly flourished thanks to their natural approach that utilised the best products of the rich Greek flora and of bees. "Api" stads for the api-doings they use in their excellent products and "vita" means of course life. Life through the workmanship of bees, then! Not a bad idea from a biological standpoint.
Today they are a leading brand on natural based products and aromatherapy offerings, focusing on the use of top quality essential oils and encompassing many different categories for the care of face, body, hair, pregnancy, babies, health and balance as well as aromatheurapetic and fragrant products. (You can visit their site here).

It was the latter that caught on in the eyes of the american public through the immense success of their Euphoria line: a fragrant eau de toilette, shower gel, body lotion and body scrub with notes of ylang ylang, vanilla and white chocolate that melted under your hands and hypnotised the senses.

And then recently they came out with a series of "soli-scents" (for lack of a better word) that focus on one respective element using natural essences as much as possible, for which they have already become well respected, but with a certain depth and complexity in the simple ideas laid out as well.

Of those 7 scents, Earth was the one that immediately caught my fancy, although I liked others as well, Jasmine being another one.
The familiar tang of relation to something old and enjoyed from afar dawned on me and I realised this is the younger, more wearable version of Aromatics Elixir.
Earth shares many common notes with the afore mentioned Clinique fragrance as well as the concept of aromatheurapeutic effect on the psyche. It is even advertised as having a positive energy surrounding it that you might want to share with the world.

Its intense patchouli base allied to sandalwood is unmistakeable and accounts for much of the impression it gives me of being close to Aromatics Elixir. Rosewood and a floral heart of ylang ylang add some airy, slightly soapy element whereas a mix of spices -of which clove bud is listed but I perceive many- and bitter mossy touches render the whole into a composition that transports one into a sensual realm of power and desire.
Because the company uses the mythological reference of Hera and talks about fertility (a Goddess concept to be sure) and because the cinematic associations with Excalibur were still fresh in my memory from the other day, I thought the clip below wasn't very far off from what I perceive it in my mind to convey.


(uploaded by rottenweasel on youtube)

If Aromatics Elixir is akin to the darker, bewitching powers of Morgana Le Fey, the scent of a villaness, Earth is simpler and unaffected, reflecting the innocence of the youth of Igrayne and her fertile womb, soon to carry the seed that would culminate in a legend. The dance sequence from the film is indicative of the slightly submissive stance that Igrayne takes to her husband and yet there is desire, ecstacy and lust in her movements that prompts Uther to his utterances despite the severe cost he would pay.
What the clip doesn't show is Uther, animated by highly charismatic Gabriel Byrne, literally spits at the end of the challenge by Igrayne's husband, ready to break the alliance and siege the castle.
I am not sure whether men would literally fight for a woman wearing Earth ,minus the skimmed-milk complexion and strawberry blonde tresses of Katrine Boorman, but I guess it doesn't hurt to try!

You can find Earth by Apivita at b-glowing and Amazon. There is a bigger 50ml/1.7oz glass bottle and a smaller 10ml/0.3oz bottle that is very cute and practical for your purse or travel.

Pic of twins by Diane Arbus via Transidex. Pic of Earth bottle courtesy of b-glowing.

Not another commercial!

I stumbled upon this lethal CHANEL commercial, originally found by Octavian Coifan, with actor Tim Duquette and directed by Marcel Langenegger.
It just begged for commentary, don't you think?



(Uploaded by TIMDNYC on Youtube) Click to watch.




The chronology of the commercial can be indirectly guessed as late 90s, judging from the jewels on the woman who plays Coco Chanel herself. I distinctly remember the white cuff bracelet with the beaded pattern emerging sometime in the 1997/1998 collections, leafing past issues of Vogue. If you want to get a glimpse of the newer bangles by the house of Chanel, those depicted here are very nice and wearable.
It was in 1922 that Coco, known as Mademoiselle, among anyone mentioning her name in her vicinity in later life, issued the most iconic designer perfume, No.5; and the year she used jersey, a humble material used for masculine underwear, as her foray into fashion modernity and avant-garde. Costume jewelry would follow as well as her famous jacket and the little black dress.

To revert to perfumed matters, ésprit de parfum means of course "the spirit of the perfume" and is a concentration very much favoured by Christian Dior Parfums among others, but basically it contains the ratio of essences vs. ethanol and water that we more often than not call Eau de parfum.
However Chanel has invested a great deal in branding our memories with the "L'ésprit de Chanel" tagline for its Coco scent ~and from then on for the whole line of products; and besides ésprit evokes a spiritual rite of passage, as if it contained something much more ethereal than the mundane cosmos of aromachemicals alongside some natural essences that it actually does. This is cunning advertising of course but also an allusion to the powers of olfaction to affect our mood and enhance flights of fancy, which is something quite tangible for perfume addicionados like ourselves.

In this specific commercial nevertheless it takes another not so subtle meaning, denoting the essence, the spiritual core and soul of those women who have been "harvested" almost, like flowers, to render their most precious essences. Recalling to mind the german book "Das Parfum" (last year reprised as a film titled "Perfume: The story of a Murderer"), in which Greneouille, the anti-hero, seeks out the best of humanity in the rare essence of untouched virgin beauties, using a technique similar to enfleurage to render a concrete that would mesmerise the world with its profound innocence and beauty. If only human essence could be captured, imagine how poignant farewells and break-ups could be or how memories of loved ones could linger on for ever.

Yet the commcercial also brings to mind the vats of formaldehyde and other preserving agents in which bodies are kept in such films of science fiction such as Alien, Event Horizon or The Matrix. I find this touch particularly ironic, as it might have been intentional as a tongue-in-cheek innuendo to the fact that Chanel No.5 contains synthetic ingredients. However recent occurences while bloggers visited the Chanel laboratory and appartment (allegedly house perfumer Jacques Polge uttered the dubious line that No.5 contains only natural ingredients) make me think that this is not meant for the masses and it is either my mind playing tricks on me or a very subtle hint by the director.

The vaguely forensics scene of the body of the woman and the drops of blood or -indeed, essence- of hers diluted in a pint of other liquid is a nod to detective stories and CSI-directed shows, which are quite popular by all accounts.
The sparse bottle apothecary style with the slanted writting on it, as it came from a latin-inscribed chest of drawers in a pharmacy is indicative of the spirit in which the spartan architectural bottle was conceived, if not in historical accuracy, then at least in a matter of kindred spirits.
The frightened look on the perfumer's face (which is of course quite different that the one of actual perfumer Ernest Beaux)and his tentative gesture that denotes the number five, to communicate the reply to the question how many women were murdered for this, is another playful take on the infamous tale on how Chanel No.5 came to its numerical "name".

All in all, this is probably the most beguiling commercial for Chanel No.5 I have come across, exactly because it is so contrary to every image of glamour and romance reiterated before it. It transpires as a little gruesome, a little cruel, which is not au contraire to the real ésprit de Chanel, a person who would have served time in jail for WWII treason (her affair with the Nazi officer) had it not been for her highly placed connections and Churchill's pardon. And it makes one feel that it doesn't have to do with glamour at all but with inner need that resonates with the subconsious. A very apt concept for a very imaginative commercial.

Pic by afternoonrain/flickr