Paris, Je t'Aime ~Paris by Saint Laurent: fragrance review

In a funny little tale recounted to perfume journalist Susan Irvine, the notorious Russian perfumer Sophia Grojsman was followed by a drunk one night, forcing her to walk quicker in the night streets, upon which he called out: "Hey lady, I am not following you; I am just trying to smell your perfume!" Grojsman was working on Paris, the big, ebullient rose fragrance by Yves Saint Laurent, at the time, and this was the moment she realised "she had it". Indeed Paris has the gift -and curse, if you overdo it, as so many did in the late 80s- to be perceptible at a distance, creating a wake that will make waiters swerve on their heels, small children drop their toys to hug you and men exclaiming you smell "clean and feminine".

Yves Saint Laurent, an incurable romantic, created Paris in 1983 choosing rose and pink as the themes around which the fragrance would be built and dedicated it to his beloved city of inspiration and eternal love. A strange, arguably atavistic choice for someone who had caused an uproar a mere 6 years back with his contraband alluding fragrance of artificial paradises, Opium.
The fragrance is a romantic symphony, a sonorous orchestration of reportedly 232 notes blended with the artistry of someone who knows what they are doing. Like a lavish bouquet, Paris’ deepening chords of rose petal notes make the fragrance all the richer in its expression of lush warmth and womanly tenderness.

The fragrance formula actually follows quite closely the 1947 french classic L'Air du Temps (Nina Ricci) but the violet-rose fruity accord of Paris is based on ionones and damascones, aroma materials first discovered in 1893 (ionones) and isolated in 1967 (damascones); they were first used in abundance in another rose fragrance, the fiery Nahéma by Guerlain. Damascones featured heavily in the legendary Nombre Noir and contributed along with ionones to many of the formidable "roaring rose" fragrances of the 1980s. Violets naturally smell of ionones, with equal parts woody and fruity undertones, which makes them such an interesting material for the perfumer.
In Paris the rose is never just rosy: it takes all complex shades and nuances of a living room in which they decorate a flamboyant vase. Honeyed overtones of sweet, ripe fruits as well as liquor whiffs, as of dregs left in small taillé glasses after a hearty dinner, are clearly perceptible in different stages of the development. The whole embraces you in a vice-grip which asserts itself as only very affectionate feminine relatives can be: there is no escape, but you truly know they mean well.



Paris took a more daring turn visually during Tom Ford's tenure which resulted in this racy image for the European glossies. The advertisements, in tune with current designer Stefano Pilati's fashions, have -since Ford's departure from the house- reverted to tamer connotations.

Paris eau de toilette , which is more powdery and "cleaner", has a deep pink cap, while the sweeter eau de parfum has a golden cap and is fruitier. The pure parfum, intensely rosy and potent, is crowned with a prismatic cap in the shape of a reverted cone-exposing brilliant, symbolising Paris, the City of Light; designed by Pierre Dinard according to Basenotes or Alain de Morgues according to Susan Irvine.

Limited editions of versions of the original Paris for the warmer season include: Paris Eau de Printemps (2002), Paris Premieres Roses (2003), Paris Roses des Bois (2004), Paris Roses Enchantees (2005), Paris Roses des Vergers (2006), and Paris Jardins Romantiques (2007), some of which are grouped in a collectible set of minis. Typically they are lighter, girlier and less dense, highlighting a woodier, greener or muskier accord instead.

Notes:
Top: hawthorn, bergamot, juniper berries, carnation, honey, mimosa, orris
Heart: French, Moroccan and English roses, red fruits, pear liquor, violet
Base: heliotrope, musk, amber, cedar, sandalwood

Clip of Paris commercial uploaded by tylw on Youtube. Pic of ad from parfumdepub.

The Spy who Came In from the Cold ~Rive Gauche by Saint Laurent: fragrance review

“What KGB agents would have worn to seduce James Bond”* is not a bad description for any fragrance. But when it applies to an Yves Saint Laurent one you know it has the pedigree and the icy demeanor of Daniela Bianchi in From Russia with Love. Ian Flemming was no shrinking violet when it came to assigning fragrances to his literary heroines, starting with Vent Vert{1} and Guerlain’s Ode{2} and progressing to Chanel No.5{3} and Caron’s Muguet{4}. It would be intriguing to imagine Rive Gauche among the arsenal of his femmes exceptionelles!

Rive Gauche came out in 1971, aimed as the griffe of Laurent’s ready-to-wear line by the same name, meaning “left bank”. Left of the Seine of course, the place of abode for young bohemians and artists at the time. Created by Jacques Polge when his Chanel in-house position was perhaps but a distant dream (Henri Robert was composing the fragrances of Chanel at the time, specifically No.19) Rive Gauche was directly influenced by the ground-breaking Calandre (1969) by Paco Rabanne (which took its name from a car’s radiator grill in French breaking ties with romantic traditions). Like its predecessor it was a modern take on aldehydic fragrances. Contrary to the take-off note of aldehydes in Chanel No.22, where they shine with all the might of a soprano coloratura to extreme sweetness, in Rive Gauche, as well as in Calandre, the aldehydic hit upon spraying is snowy-cold, drier and with all the paradox of the Brave New World ahead: the two fragrances share a metallic rose of frosty petals that tingles the nose rendering that most romantic of blossoms into a hologram of a flower, underscored with the touch of green powder in the form of cool iris and vetiver, the enigma of the spy who came in from the cold.

Aimed at the young, Rive Gauche projected the audacious profile of a chic woman always dressed in electric blue like the silver-banded canister itself. One who flirts freely with a touch of bravado. Yet the fragrance now seems a little caught in the whirlwind of its era although its appeal never fades: it smells classy, not raunchy; mysteriously blue floral, yet non romantic English bone-china-pattern-style ~it’s flinty! And its amazingly salient characteristic is smelling fabulous on just about anyone: any difference of opinion is accountable down to perception and personal taste.

Rive Gauche for Women was savagely altered in a reformulation during the Tom Ford tenure as artistic director of Yves Saint Laurent, with some difference in packaging. A men’s version was introduced in 2003 (in my opinion redundant as the feminine could be worn by a man of confidence), a “formule Intense” which reportedly is closer to the original and thus worth testing if you have fond memories of the latter. The 2004 Rive Gauche Light for women is but a pale shadow of itself, while the non-alcoholic Rive Gauche Fraîcheur from 1995 is a hazy watercolor interpretation that I am sad to report is terribly fleeting.

Notes:Aldehydes, leaf note, galbanum, gardenia, narcissus, jasmine, rose, orris, honeysuckle, sandalwood, oakmoss, vetiver, tonka bean.

Ref:
*Susan Irvine in "The Perfume Guide".
{1: in Live and Let Die, Goldfinger}
{2: in On Her Majesty’s Secret Service}
{3: in The Man with the Golden Gun}
{4: in Goldfinger}

Pic of Bjork by Jean Baptiste Mondino courtesy of MondinoUpdate.net. Pic of Rive Gauche ad courtesy of parfumdepub.

Stunning commercial for Y, by Yves Saint Laurent

Serendipity works in mysterious ways and often in reverse.
I found this amazing and rarely seen clip from at least two years ago, as part of a longer film about Tom Ford (?), for Y by Yves Saint Laurent, while searching for something else. It features model Elise Crombez (credit goes to cyrilguyot.com).
Please enjoy!

Clip uploaded by sweetrus on Youtube.

Who's the Chypriest of Them All? ~Y by Saint Laurent: fragrance review

I can recall down to the minute when I became entangled into Yves Saint Laurent’s vision. It was even before I saw his amazing couture on Betty Catroux and Talitha Getty in the photos of the glossy magazines that my mother used to buy and cut out clippings of when she deemed beautiful; and before I leafed through my father’s art-books with the colorful, geometrical Mondrian and trapezoid Braque paintings.

Specifically the trigger had been an olfactory one: stepping into a taxi out of which a woman wearing Opium had just left. My puerile ears had the good fortune of catching the driver’s phrase “My God, this Opium scent is everywhere and it’s so strong!” My mother nodded her beautiful head in silent demi-assent as she always did when she was too polite to disagree or further an argument. Myself I was not yet capable of discerning nuances of speech so as to differentiate a positive from a negative one. I only seem to recall that that was the most exquisite scent I had ever smelled, I was straining to absorb every single molecule I could attach to my nostrils’ Velcro and I was already seriously longing for it as soon as I stepped out of that taxi. I can’t really recall where we were going, whether our purpose was a practical or social one or what we were wearing or how the driver looked like. My memory obliterated all those things, choosing to cherish only the precious memento of first smelling Opium off the sillage of a complete stranger. Such is the power of fragrance!
It haunted me for years and as soon as I had pocket money or could request gifts of beauty I knew what my little heart desired: the forbidden elixir encased in the cinnabar bottle with the black tassel. Other perfumes came and went and I amassed whatever I could lay my hands on, but Yves Saint Laurent became my first fashion icon through Opium.

Blossoming into a woman I personally discovered other creations of his, which brightened my life with their beauty and style. One of them was Y, his first fragrance for women. Named after his initial, I imagine it also allied to the French pronoun for “there”, since it is definitely very much there: it imposed its presence with elegance and the endurance of a true classic.
Y was issued in 1964 (2 years after Yves's first YSL collection) and was composed by nose Jean Amic in a beautiful, solid, architectural bottle designed by Pierre Dinard.

Exactly two years before Yves was rocking the catwalks with the Norman Smock, a garment debuting more than 1,000 years ago but serving as an inspiration for YSL peasant-looking shirts, Russian tunics, Chinese coats, boho artist's jacket, or even the jacket of a gabardine pantsuit over the years: Yves was already doing what he considered style ~the reference that provides a solidarity to one’s wardrobe away from the dictations of currency. Clothes should be made to last and speak through the years.
Much like his fluid fashions of 1964, with languorous gowns, gracious pantsuits and flowing tunics that draped curves rather than suppressed them, Y the fragrance became the emblem of la maison Laurent: flamboyant if you look at the prism from an angle that the sun catches it producing a vivid rainbow on the wall, restrained if you look at it from an angle where it shines with the natural incandescence of clear crystal.

In many ways Y was a departure from the prim and tasteful aldehydic fragrances of the times such as Le Dix or Madame Rochas, proposing a greener, more subversive, emancipated chypre that would herald the onset of the powerful chypres of the 70s. And yet it did so with elegance, without the shock value of Bandit or the intensity of Aromatics Elixir, yet without betraying the bedrock of the genre’s character. “Which is the chypriest of them all?” And possibly the chirpiest…
Y took the powdery aldehydic notes of previous beauties and gave them a retouch of bluish grey dense brushstrokes of shadow-y depth that mollify the sparkling honeysuckle and the heady hyacinth heart into something that approximates Marc Franz paintings: the striking and angular happily coexist with the curvaceous. Above all, Y highlights oakmoss in perhaps the last composition –up to the time of writing- to retain some semblance of fidelity to the rotting frisée of the parasitic lichen that laces itself upon the mighty oak. Its animalic but classy echo is heard through the urban forests to the pursuit of discerning suitors.
If you have loved Ma Griffe for its spicy emerald song, Chanel No.19 for its audacious herbal iris, the vintage Miss Dior for its naughty seduction under wraps and 31 Rue Cambon as a bastard descendant of the greats who pays a visit when the need strikes and you haven’t tested Y by Yves Saint Laurent yet, serious amiss should be amended before it is utterly ruined.

Notes:
Top: aldehydes, peach, gardenia, mirabelle and honey suckle.
Middle: Bulgarian rose, jasmine, tuberose, ylang ylang, orris and hyacinth.
Base: oak moss, amber, patchouli, sandalwood, vetiver, civet, benzoin and styrax.

Y by Yves Saint Laurent is easily available at department stores and online.

Update on reformulation: the newest Eau de toilette bottles have a gold cap and the Y straight up and down versus a white cap and an italicised Y for the older ones. The name on the bottom of the bottle is Sanofi Beaute for the older ones, the group that YSL Parfums joined in 1993. Sanofi Beaute however was acquired by Gucci Group in 1999 and Yves Saint Laurent has been recently acquired by L'oreal, heralding further tampering with the formula.

Pics provided by "Armanis", posted in fond admiration

Goodbye Yves...

Shed a tear for a 20th century legend: Yves Saint Laurent, the saint of fashion is no longer with us... According to Reuters,

French fashion king Yves Saint Laurent has died at the age of 71 [...] [his] death on Sunday was announced without any details of the cause, [but he] was plagued by health problems. "(Coco) Chanel gave women freedom. Yves Saint Laurent gave them power," Saint Laurent's long-time friend and business partner Pierre Berge told France Info radio."(But) he was someone who was very shy and introverted, who had only very few friends and hid himself from the world."

At 17 pied noir Yves entered a Paris fashion school, and his sketch for a cocktail dress won first prize in an annual contest. Introduced to Christian Dior, Saint Laurent was hired on the spot as his chief assistant, so impressed was Dior. On Dior's death in 1957, Saint Laurent took over as chief designer at the tender age of 21.
He then opened his own house in 1962 to roaring success, introducing Le Smoking for women, the Trapeze collection, the dresses inspired by Mondrian, the Safari... In 1983, he became the first living fashion designer to be honored by the Metropolitan Museum of Art.
In 1992, YSL was absorbed by cosmetics and drugs company Sanofi, while Saint Laurent retained creative control. Then in 1999 the brand was bought by the Gucci group, itself controlled by French luxury giant PPR while Yves formally retired in 2002. In 2001, he was awarded the rank of Commander of the Légion d'Honneur by French president Jacques Chirac.
His motto "We must never confuse elegance with snobbery" resonates with true style.


Yves has been a fashion and design icon for me ever since I came to see his beautiful designs and smell his legendary Opium, which has been my ally and companion ever since I remember myself, and PerfumeShrine will dedicate a small tribute to Yves in the coming days as a small token of admiration and gratitude. Personally I propose canonisation as well...Please take a look at this excellent site: the YSL Foundation founded by him with Pierre Bergé and this article by the New York Times.

Pic of young Yves courtesy of Getty images. Pic of this beautiful YSL couture gown sent to me by mail by arch-admirer of YSL "Armanis" (M) with fond gratitute for knowledge and taste in matters of fashion.