May I have the plasure to announce that the following articles will focus on presenting and reviewing the entire Ma Collection line from Jean Patou: we will take them in formation for a dance through history and olfactory appreciation. You're all invited to this cotillion!

Why do Fragrances Smell the Same?

Why do fragrances smell the same? This is a question that many people ask themselves when they're sampling fragrances spanning the spectrum from mainstream to selective distribution to niche to drugstore and of course knock-offs. Because professionals "shoot" the juice! This is industry-speak for analysing the formula (the "recipe" so to speak) of any bestseller or indeed any new perfume on the market using a gas chromatograph. The gas chromatogaph is a machine that separates the individual molecules that make up a fragrance, puts them on a sort of conveyor belt and then identifies them one by one. In tandem with a mass spectrometer they analyse what goes into a given fragrance which then allows technicians to replicate any formula, rendering it common knowledge and no longer secret.

But why are formulae secret in the first place, if it is so simple to break them down like a secret WWII code broken by the Enigma? The answer is two-fold.

First, because the perfumery world works in conservative, traditional mores, some would almost say obsolete: it was the custom of the medieval societies and guilds such as the gantiers et perfumers (those are the precursors of formal perfumers as they were scenting the leather gloves of the aristocracy to get rid of the smell of raw hide and then progressed into producing seperate fragrances for the body). They kept the formulae secret because in an age of low technological advancement it meant that their clients would have to get back to them to have their perfume replenished when they ran out, ensuring them a prosperous business.
Secondly, because in an equally anachronistic twist no one has contracts to protect themselves. It's true that the big brands, for example Gucci, Yves Saint Laurent or Givenchy, do not have possession of their own formulae for their perfumes. Those form intellectual property of the big aromachemical companies which produce the actual juice for them, such as IFF or Givaudan or Symrise etc.
But here's the catch: those perfume-making companies do not have a specific contract with the customer companies who own those brands (for instance LVMH who owns Givenchy). Therefore said company could very well take the "shot" juice to another perfume-making company and ask them to do a miniscule twist (say change a 0.1% of the formula, which will mean that the consumer will never understand the difference in smelling the finished product) and go on producing it more cheaply and make more money in the process! Should the first company ever take them to court ~which they never in a million years do because it would mean that they would lose all subsequent briefs from that gigantic customer~ they would de iuro lose the case, because of that little twist. Technically it just wouldn't be exactly the same. And legalese is very bent on the "technically" part.

Therefore the formulae theoretically are secret but in practice they circulate behind backs (no one admits it openly!) and get copied almost instantly: within days of actual release.
Of course in business terms, unless we are talking about knock-offs which by definition aim to be photocopies of the original, there wouldn't be much point in making something exactly the same as something else on the market. You could of course, in light of the above, but why would you? It would be even better to give a twist in the top-notes so as to fool the consumer into thinking they're buying something else, when in fact the core of the formula is the same. Repackage, rename, relaunch with a different image and you got yourself a hit. If not as big as the original one, then at least a very lucrative one that basks in the glow of the success of the first one.

Is there no way to get out of this mess, you'd be asking yourselves by now. It has been intimated to me that certain smart perfumers, of who I am in no liberty to reveal their names, have devised little tricks to fool the gas chromatograph by including red herrings. Those in essence are minute amounts of materials that do not actually contribute to the formula's olfactory result but act as decoys. And in order to accomplish that, those materials are naturals; because naturals contain hundreds of molecules instead of the single molecule or in any case much simpler contruction of aromachemicals. Yet, what one man constructs, another finds a way to break down. Lab technicians understand that the quantities are exceedingly small and although it slows them down, in the end with a little creative twinkering they still manage to come up with a quite plausible copy.

And this dear readers is why your new fragrance is smelling so much like the one you had in your cupboard all along and why the market is saturated with endless versions of the same recipes over and over again to the point of fatigue. In a high-tech market that worships sameness for the sake of familiarity, since psychology teaches us that the familiar creates a sense a security and comfort resulting in the desired sales, there is sadly no light at the end of the tunnel.

Pic of WWII poster via history1990s.about.com

Twin Peaks: Un Lys and DK Gold

I had written that Un Lys by Serge Lutens represents the dying breath of an angel in heaven. Such is its poetic licence that you have to approach it with sacred awe.
Donna Karan strived for a comparative effect with her Gold fragrance for women in 2006. Its mix of vibrant lily with animalic profundity puts Gold on a pedestral of worship, that of a stony goddess who demands the coming of Choephoroi.

The fragrance necessitated no less than 3 perfumers of the caliber of Yann Vasnier, Calice Becker and Rodrigo-Flores Roux. Usually that would be a recipe for disaster (too many opinions and twinkering often lead to an incoherent vision), yet in Gold the result is none the worse for trying.
The main accord focuses on bright, trembling with life lily, suave woods plus musk, effecting a round and creamy composition accented with discernable jasmine adding its indolic glory.

The opening of Donna Karan Gold has the dewy freshness of green tonalities of muguet, vaguely reminiscent of the green overture of Annick Goutal's Des Lys (another floriental focusing on Casablanca lilies) and the sharper start of Lys Mediteranée by F.Malle. Although the floral phase is clearly discernible from the start, the more the scent dries down the more the sensuous aspects reveal themselves beneath the droplets of lucid coolness.
Underneath a camphoreous scent is peeking through, like a riddle on the edge of the screenshot in a Greenaway film: now you see it and now you don't.

The development of Gold in the Eau de Parfum adds a very alluring animalic submantle which hints at ductile leather and ambergris rather than the traditional resinous amber mentioned, yet it doesn't do so with too much rebelliousness, remaining a sensual touch warming the proceedings and adding gravitas. Perhaps Gold, although certainly not ground-breaking, is a knowing wink of Donna Karan to her first perfume, the long discontinued Donna Karan New York in the phallic black bottle, which utilized lily, amber and suede to great effect.

Compared to Serge Lutens Un Lys with its mellifluous vanilla merging flowers with a dancing cloud, cherubically ethereal and featherbed soft at the same time, Gold stands as a drier, less sweet composition; but for those with no access to the exclusive Lutens it's a good alternative.


Notes for Un Lys: lily, musk, vanilla.
For DK Gold: Casablanca Lily, Amber, Acacia, White Clove, Golden Balsam*, Gold Pollen and Patchouli.

*a mix of Peru tolu balsam, olibanum, benzoin, vanilla, and cistus


Please note that Donna Karan Gold comes in Eau de Parfum concentration, which is warmer and much more complex than the more aqueous and linear Eau de Toilette, as well as a Sparkling Eau de Toilette. Between those versions Eau de Parfum is highly recommended per above. Parfum amplifies the cistus and incense with more vanilla.
The elegant bottle is created by jewellery designer Robert Lee Morris.


Un Lys , being a non-export fragrance, is only sold at Les Salons du Palais Royal Shiseido, who ship across Europe, while a few remaining bottles of the limited edition in export oblong bottles can be found at select few Lutens sellers.

Pic of Gold bottles courtesy of Donna Karan Beauty

Histoires de Parfums Colette 1873: fragrance review

"If I can't have too many truffles, I'll do without truffles", Colette used to say. Although earthy truffles do not feature in the confines of 1873 Colette by Histoires de Parfums, the fragrance inspired by her personality, her sense of abandon to the sensuous side of life is clearly manifested in its wake.
I can very well remember the days when I was a fledging young miss, still a schoolgirl learning French at L’Institut Français reading the semi-autobiographical Claudine novels which to my young eyes (and those of La Belle Epoque too) seemed naughty and mischievous. How innocent my childish eyes were! Re-reading them as an adult I find them rather tame yet utterly charming and revealing of the character of Colette, the woman.

Inside her family garden of Bourgogne, young Sidonie Gabrielle Colette experienced her first steps as a writer, surrounded by roses and field flowers. Although she is famous for saying that a happy childhood is poor preparation for human contacts, she seems to have flourished on the latter, from her first marriage to "Willy" who got her into writing, penning the Claudine series under his name, to her affairs with women, another with her stepson from her second marriage, her third husband and finally her friendship with her famous neighbour Jean Cocteau in the Jardins du Palais-Royal.
Having chosen her surname as a pen name, she was to become an admired literary woman, famous for both her literary and sensual freedom.

Reflecting this fizzy woman, 1873 Colette is a gourmand yet refined hesperidic fragrance, in which unsettling white flowers blossom in a light bubble, sparkling with tangerine and lemon.
The opening of 1873 Colette unmistakeably reminds me of candied kumquat, which is by turn inextricably tied to my mind with Nymphes (numphs) on the Greek island of Corfu, whose shores lap the waves of the Ioanian sea and the Adriatic. The succulent delicacy possesses a contrast of flavours that surprises the taste buds with its journey from bitter and sweet to the sour of the core and the crystallised crust of white sugar around that cracks under the bite of teeth. The wonderful liquer made of kumquats has a honeyed touch reminiscent of ripe orange blossoms with their fresh yet indolic aroma when they are about to swoon dying on a white sheet before exuding their last breath of scent for the benefit of an amateur enfleurage.
This delicious aroma persists for most of the length of time 1873 Colette stays poised on the skin, later flanked by the delectable orange blossoms and the never too sweet caramelised aspects of lavender with a subtle vanillic touch, imparting a desire to stick your nose to your wrists with a glutton's eagerness in front of his favourite dishes.

The collection Histoires de Parfums created by Gérald Ghislain is governed by no rules other than inspiration. This loquacious individual with roots in the Mediterranean chose to bring his literary heroes to life in perfume, a sensitive and sensual medium: authors, books and materials become stories which unfold on skin, to be read by those sensitive enough to appreciate this flight of fancy.

Notes:
Top: all the citrus fruits from sunshine countries
Heart: orange blossom, lily of the valley, lavender
Base: vanilla, white musks, caramel

1873 Colette by Histoires de parfums comes in Eau de Parfum:
120 ml for 130 € / 4oz for $115.00 (yes, it is cheaper in the US!)
The US site features the older bottle, while the European sites feature the new edition bottle.

You can buy directly from Histoires de parfums, First in Fragrance and MioMia.
Fabulous price on the sampler pack: set of 12 vials for 5€ on the official site.

Pic of Colette by Irvin Penn (1951) via the photographer's archive.

When Pigs Start to Fly

Remember when a couple of days ago we -as everyone else, I gather- reported that Emma Watson would be the new face of Chanel for Coco Mademoiselle, replacing Keira Knigthly?

Well, bogus, Chanel publicists tell us... The Daily Mail (surely not the bastion of journalistic integrity) have probably got carried away with their hypothesis based on the fact that Emma had been wearing Chanel in all formal events lately (and why not?). It did seem rather too soon, one has to admit.
An anonymous reader of Perfume Shrine, who is obviously a Keira loyal fan, opened our eyes with their entertaining comments to this latest news. What can I say? Nice pic you chose, though, Daily Mail!

So, discuss among yourselves: Why the face of a new perfume is so important as to instigate false rumours? Why is it circulated in the press? How could the consumer identify with anyone, really, as the face of something abstract like a fragrance?

And a reminder: there are still samples available for Tulipano on the Hilde Soliani post, so comment there if you want to get the few remaining ones.

Pic of flying pig (cute!) from Anastrophe and Cheese.