Guerlain News

News about Guerlain drop like bombs this morning for us, evening for some. There are groundbreaking developments which merit their own mention.

First of all Thierry Wasser was appointed head perfumer at Guerlain, succeeding Jean Paul Guerlain after years at the helm up till 2002 and being the first one tied so tightly to the house without being family. Of course other perfumers had worked for Guerlain before: Maurice Roucel for L'instant and Insolence, Edouard Flechier who had reformulated Mitsouko...But somehow this is the end of an era. I am crossing my fingers it will be the best possible development for the historic house. Previous work by Wasser for Guerlain included Iris Ganache and Quant Vient La Pluie.
Sculptor Sacre Nobi, founder and artistic director of S-perfumes, >was on to something when he was commenting a few days ago about the upheaval in the big perfume companies and the moving of noses from one to the other.

According to fashionweekdaily:

Thierry Wasser has been named the exclusive perfumer for Guerlain as of June 2008. The announcement was made today by Laurent Boillot, Guerlain's chief executive officer, and master perfumer Jean-Paul Guerlain.

"This appointment upholds the Guerlain philosophy of entrusting its olfactory creations to a 'nose,' a tradition that has been followed for almost 180 years," Boillot said in a memo. "Five generations of Guerlain perfumers have produced an incomparable body of know-how, illustrated through bold creations, unique in the history of perfumery."

As one of the leading figures in contemporary perfumes, Wasser became a perfumer after studying botany and training with Givaudan. He joined Firmenich in 1993 and spent nine years in New York before moving to the company's office in Paris in 2002. [...] In his position as perfumer, Wasser will work closely with Sylvaine Delacourte, who joined Guerlain in 1983 and is actively involved in the development of numerous Guerlain perfumes, including L'Instant de Guerlain and Insolence.

On the heels of that news, Guerlain announces the launching of the three Carnal Elixirs to be issued in autumn in the exclusive Guerlain Boutiques and available at Bergdorf Goodman, The Breakers, and Neiman Marcus at San Francisco.
The fragrances are named all after "femme" and the notes are as follows:

Femme Fatale (fatal woman): white peach, rose, pachouli, vanilla
Femme Erotique (erotic woman): Clemintine almond, tonka bean, vanilla
Femme Enfant (woman child): black pepper, rose, rum, chocolate

The bottles of 75 ML Eau de Parfum will come at $250.00.

Finally the new Guerlain for men we had announced some time ago is materialising and will simply be called Guerlain Homme, built on lemon, citrus and mint. It will be at the Saks and Neimans counters come October. Created by artistic director Sylvaine Delacourte it will be encased in a bottle designed by Paelo Pininfarina, the Mazeratti '06 and Porsche designer.


So, what are your expectations?

Thanks to Reckless Red of POL for shopping info. Vintage ad from ebay. Pic of Thierry Wasser courtesy of What we do is Secret

Romancing the Ripe

Widespread is the knowledge of Napoleon's famous erotic line to Josephine, "I will return in three days, don't wash!" (“Je reviens en trois jours; ne te laves pas!"), which inspired even the famous name of a Worth perfume, Je reviens. But little do people realise that he was not the first one to appreciate the ripeness of a female body's natural aroma. It was another French figure who had the historical privilege of uttering a comparable phrase in the throes of erotic passion to his beloved centuries ago: Henry IV of France, who wrote to his mistress Gabrielle d'Estree: "Don't wash my love, I'll be home in eight days".
Interesting to note no doubt that transport as well as beliefs concerning for how long one could sustain themselves without a bath had changed accordingly through the course of more than 2 centuries.
Henry IV of France was reputed to have such a ripe smell himself that his intended, Marie de Medici, keeled over upon meeting him.
But a predecessor, Henry III was also reportedly excited by the animalic essence of the female body: he fell in love with Mary of Cleeves after smelling the odour of her just removed clothing. Of course the circumstances upon which she had removed the clothing and what he saw might also have contributed to his infatuation no doubt.

According to Alain Corbin, social historian and author of The Foul and the Fragrant, Baudelaire was in part responsible for transforming the scented profile of the woman.

"The perfume of bare flesh, intensified by the warmth and moistness of the bed,replaced the veiled scents of the modest body as a sexual stimulus.[...] The woman stopped being a lily; she became a perfume sachet, a bouquet of odors that emanated from the "odorous wood" of her unbound hair, skin, breath, and blood.[...] The atmosphere of the alcove generated desire and unleashed storms of passion".

As we had noted in a previous article on Perfume Shrine named "Glorious Stink", the matter of fragrancing the body or not, the ritual of bathing and the perceptions concerning cleanliness have been at the eye of the turmoil of civilization since antiquity. Fragrance can only be an additional veil upon the essence of the body itself. In the words of poet Rainer Maria Rilke, "you feel how external fragrance stands upon your stronger resistance?"

Henry Miller was even more explicit when he progressed the onomatopoeia of Baudelaire's "muskiness of fur" using its proper name taken from the vernacular:

"With the refinements that come from maturity the smells faded out, to be replaced by only one other distinctly memorable, distinctly pleasurable smell" and he goes on to suggest the female genitals as the source of the ambrosial aroma. "More particularly, the odor that lingers on the fingers after playing with a woman, for if it has not been noticed before, this smell is more enjoyable, perhaps because it already carries the perfume of the past tense".

It is obvious that the natural smell of a sexually mature body held great fascination for men for centuries and it is even more confusing juxtaposing this belief with today's standards of hygiene to the point of the sterile. All in all, the print of a civilization often revolves around the use of soap and water and this is none more apparently ironic than in the examination of sophisticated societies.

Illustration by Steve Murray, courtesy of the National Post.

La Vie della Lana Cashmere Twill: new line by Acqua di Biella

In the cyceon of new releases some catch our eye more than others. Especially when beloved materials find their way into the inspiration behind a new niche fragrance. Cashmere Twill, a warm and enveloping perfume, the Acqua di Biella brand inaugurates a new line of fragrances "Le Vie della Lana". "A new unparalleled range of products of the highest quality, based on the old recipes of the Reale Manifattura but also on the most advanced scientific and dermatological research that draws together the precious components of the finest wool and of the best quality, strictly vegetable primary materials. Powerfully evocative creations that are the fruit of careful olfactory research, stimulating the senses with intense and intriguing scents they invoke the fascinating fresco of Biellese life, the folk stories, the sensations and the scenes of the world of wool, all inseparably linked to the history of her family, to her roots in the Biellese region, but also to the lands which produce the greatest wools of the world, Australia, Asia and South America".

There are plans to bring out a new perfume in the line ever one or two years, for men and women to complete a line of distinction.

Cashmere Twill notes: Essence of Wool - Raspberry Leaves- Bergamot of Calabria - Sicilian Lemon- Iris Water - Magnolia of Eastern Asia -Cardamom of Ceylon - Yunnan Anise- Cedar of Lebanon - Vetiver - White Moss- Ambrette Seeds

Bellissima!

Pics courtesy of Acqua di Biella

O la la, how fresh! ~O de Lancome: fragrance review

Inhaling a lemon grove's foliage trail in the morning air under hot azure skies, set to savour the day with optimism, full of joie de vivre must be one of life's simplest and most satisfying pleasures. Fragrances that give a lift to my step and make me face the mornings with élan are precious.
The task of achieving just that is not easy: it has to be uplifting, but also suave, not rasping on the senses which are slowly winding up to function from the night's inertia. Optimistic but with a hint of the stoic that marks the nature of my thoughts. Ô de Lancôme with its playfully double entendre of aqueous name and cool, dark green chyprish tendencies puts the right balance between the zesty burst of yellow hesperides and the alchemy of green herbs, interwoven like baroque music with its rounded forms philosophically puts some semblance of order into chaos.

The first advertisements for Ô de Lancôme emphasised the back to nature vibe that the French do so well with artistic merit: young women on bikes emerging from the rampant countryside, drenched in sunlight but with the coolness of spring air and dew in the fragrant grass, putting goosebumps on the skin at the hint of a breeze. It is so rare to encounter such a blatantly unpretentious image in fragrance advertising any more. Seeing those advertisements while leafing spring volumes of French Elle magazine, yearly devoted to beauty rituals of what seemed an arcane yet factually a simple mode, made me realize at a tender age how the natural world hides secrets of longing in the grass.

Composed in 1969 by perfumer René Gonnon, Ô de Lancôme came out at the time of Paris students' revolt and became an emblematic fresh Eau, taking the uber-successful Eau Sauvage one step further with the inclusion of synthetic aroma-chemical Thujopsanone. The consolidation of greenness under the crushed lemon leaves in the palm, with a subtle woody background resembles a viola da gamba supporting a clear, young female voice singing rounds of couplets in an allemande that converge on the same sweet surrender of a third majore of Provence in the end of a song in minore. Almost thirty years later and it retains the fresh radiance of a young girl, nary a shadow under the eye, curiously a tad sorrowful for the joys of life she has yet to experience.



Like the song goes:

Une jeune fillette
De noble coeur
Plaisante et joliette
De grande valeur
Outre son grès,
On l'a rendue nonette
Celui point de lui haicte
D'où vit en grande douleur
~{see the translation and musical notation on this page}

Ô de Lancôme was according to Osmoz the start of

"a new olfactory adventure [..] and perfumery would continue to explore its charms and powers until the early 80’s: Eau de Rochas, de Courrèges, de Guerlain, de Patou, de Givenchy, Eau d’Hadrien (Annick Goutal), Eau de Cologne d’Hermès, and even Cristalle (Chanel) and Diorella (Dior) would successfully pick up the gauntlet of those fresh, signature thrills that left their mark on an entire generation".

Notes: bergamot, citron, mandarin, petit-grain, jasmine, rose, honeysuckle, (witch hazel in 1995 version), basil, rosemary, coriander, oakmoss, cedar, sandalwood, vetiver.

Eau de Toilette comes in 75ml/2.5-oz and costs €48.50 and lasts incredibly well for this kind of fragrance.
Available at major department stores and Sephora.

The fragrance was re-issued in 1995 with a slight change in colouring in the packaging, which is helpful in identifying batches: the band around the bottle changed from ambery brown to bright green, same with the colour scheme of the box. The motif on the glass, like 60s wallpaper as Susan Irvine succinctly put it, remained the same.

There are two "flankers" to the original fragrance, both futile in my opinion for different reasons: O oui!, a fruity floral in a similar bottle with the palest white-ish blue colouring, aimed at generation Y, so saccharine-full generic and dull that it barely made a bleep on the radar; and a men's version in a green capped spartan column of a bottle called O pour Homme , marketed with the symbol of Mars (and male too) as the variation on O. Pleasurable thought it is, it seems like a redundant attempt to market what is already an eminently unisex fragrance in a new packaging to the opposite sex.
No need to splurge in getting both: the original is perfect on men as well and I highly recommend it.

Pics from parfumdepub.
Clip of popular song Une Jeune Fillette arranged by J.Savall from the exquisite film Tous les matins du monde, originally uploaded by Peteronfire on Youtube

Sealed with a Kiss

Perfume Shrine had found a comprehensive video for showing the delicate technique of baudruchage (the coiling of the silk thread around the neck),barbichage and brossage (the following steps into securing the neck and seperating the ends of the thread) at Chanel. It was posted here, if you missed it.


However, there is another page on Notcot.com devoted to this exact process with funny captions step by step and very comprehensive photos. You can see the Chanel parfum sealing clicking here.

But there is also a very interesting page on the same site comparing the Chanel bottle with Place Vendôme in the 1er arrondissement itself via Google maps, confirming the myth that Coco might have chosen it to echo the shape of the famous square in her bottle, as a reference to the Ritz where she stayed.
It's always fun to prove -or disprove- perfume lore, isn't it?

Pics courtesy of notcot.com