Yes, but is it original?

"Newness is in the mind of the artist who creates and not in the object he portrays.[...]What moves men of genius, or rather, what inspires their work, is not new ideas, but their obsession with the idea that what has already been said is still not enough."

~Eugene Delacroix, May 14, 1824

With this aphorism in mind, this past weekend I was contemplating whether perfumery still possesses originality. Originality in art manifests itself in both subject choices (what to tackle) as well as style (technique). The fact that perfumery can be an art form if the people behind it are so inclined is undoubted in my mind, as I had elaborated a few years back wondering what constitutes art in perfumery and what does not. I had also mused on whether post-modernism influenced perfumers. This train of thought was re-kindled by a comment on Denyse's Grain de Musc: the new Serge Noire is great, per our combined opinions; “yes, but is it original”? asked BillyD.

In The Thought Gang, the British author Tibor Fisher wrote that all ideas were covered by the Greeks long ago and we're merely rehashing the collectively forgotten. This is the conundrum of the artist: "I won't look at what has come before, I won't go to galleries or museums, I won't read or talk to artists, and thus I can't help but be original." Is this even possible? Is it even desirable?

Originality in perfume seems somehow unattainable today, if only because Serge Lutens has been so instrumental in the emergence of original compositions and niche perfumery in general, raising the bar high for others as well as himself.
Nevertheless the first niche lines were probably L’artisan Parfumeur founded by Jean François Laporte and Diptyque by Yves Coueslant and Desmont Knox Leet. The former started by issuing lighter compositions than the mainstream brands, inspired by nature and focusing on forgotten or completely novel ingredients (Mûre et Musc, L’eau du Navigateur, Prémier Figuier, Vanilia, Bois Farine) ; the latter, striding over the more picturesque scenery of Greece, coming up with intensely unusual compositions such as the herbal L’eau trois, the strange beast of L’Autre or Eau Lente, inspired by historical descriptions of the time of Alexander when such concepts were the Ultima Thule .
But it was Lutens that shrouded his craft with prestidigitation, a touch of Japanese aesthetics and the opulent tradition of the Arab world. The boom of the Internet made this small, elitist line with the exquisitely unique fragrances a cult item, prompting others to step their toes in the pond of niche. Some of them, such as Les éditions des Parfums Frédéric Malle had original ideas: acting as a book editor to a lineup of authors-perfumers who compose what they want without commercial restrictions. Some other brands capitalized on the new boutiques such as Aedes, Luckyscent and First in Fragrance, to issue their own less original paradigms.

Who bought all those fragrances?

Some ask praise of their fellows,
But I being otherwise
Made compose curves
And yellows, angles or silences
To a less erring end.

Thus delineated E.E.Cummings his desire to go off the beaten path in 1926. This was very much the mindset of the audience which Lutens first accosted in his foray into Les Salons du Palais Royal de Shiseido in 1992. I recall an article by Susan Irvine for the British Vogue in mid-90s which quoted someone who didn’t want to go out to dinner and have the waitress lean over smelling of the same perfume; therefore she went for niche! It seemed that there was both an elitist and snobbish streak running through.
And although I have been a perfume lover as far back as I can recall, when I first immersed myself into the Internet world of perfume boards before the boom of perfume blogs in 2005 I remember it increasingly impressed me as if the more weird a composition was, the more devoted its fans were and the cooler they were perceived by others. It was as if an unwritten rule set the measure of sophistication as liking fragrances that would produce confounded whispers and raised eyebrows among the non-initiated. The hallmark of a cult, if there is one!
“Ohhh! Dust-on-an electric-lamp accord!” the collective frisson of excitement was palpable as we were reading the notes in Odeur 53. What had happened to Guy Robert's axiom that a fragrance must smell pleasant?
Other times it was the quest for the rare, the hunt for the pearl beyond measure, a fragrance forgotten by time, mere dregs at the bottom of a derelict bottle hiding in someone else’s attic and auctioned at exorbitant prices.
Soon brands cottoned up: they began to bring out fragrances both resurrected like Phoenixes from the ashes (i.e. Guerlain, Lancôme) and based on the most provocative or outré concepts (ie. état libre d’Orange, Le Labo, By Killian).

And someplace between this and that, myriads of brands issuing the 174th Ambre or the 48th Cuir and noses coming up with small cupcakes accord ~as if larger cakes smell differently~ we became jaded. The thrill of discovery was over. Have the niche brands stopped being creative and original or have we changed? I propose to you that it's a little bit of both. Releases in both mainstream and niche lines multiplied 50-fold in the last decade, meaning it was impossible in terms of time and brainpower to come up with something unforeseen; also, when one is sampling things more than actually wearing a constant rotation of favorites (which is what often happens to perfume writers and enthusiasts such as us), there is an amount of jadedness setting in. It is as if we know what we’re going to smell before we inhale, we know what we’re going to read before we lay eyes on the promotional text and as if we couldn’t really be bothered to hunt the new down anymore. There is ennui and boredom. Is it significant? Will perfumery suffer because of the waning interest? Probably not, judging by the fledging brands mushrooming up every day or the new Myrmidons banging fearlessly down on Aedes’s door, eager to sniff the newest this or that.

John Sloan wrote in Gist of Art in 1939:

"Sometimes it is best to say something new with an old technique, because ninety-nine people out of a hundred see only technique. Glackens had the courage to use Renoir's version of the Rubens-Titian technique and he found something new to say with it. Cezanne may have tried to paint like El Greco, but he couldn't help making Cézannes. He never had to worry about whether he was being original. Don't be afraid to borrow. The great men, the most original, borrowed from everybody. Witness Shakespeare and Rembrandt. They borrowed from the technique of tradition and created new images by the power of their imagination and human understanding. Little men just borrow from one person. Assimilate all you can from tradition and then say things in your own way. There are as many ways of drawing as there are ways of thinking and thoughts to think."

A thought well-worth keeping in mind for the perfumers and art directors of perfume brands. And for ourselves, as well!


Pics courtesy of mondino-update and manuelZx48K on flickr

The first "discontinued" Serge Lutens fragrance: a bad omen or not?

According to latest developments, arising from a discussion on Perfume of Life forum, initiated by my friend Denyse who lives in Paris, the unthinkable has happened: Serge Lutens has decided to discontinue Miel de Bois, one of the least liked and most derided fragrances of his in the export line. [edit to add: it has become a Paris exclusive]

It's not so much that it is a great loss in terms of users who will be lamenting its passing, because like mentioned above, it was extremely unpopular due to its overuse of phenylacetic acid*, which is used to give a honey-like odour (in accordance to the "miel" part of the name which means honey in French), but which can produce an olfactory profile of urinous nuances in high concentration. The news are not officially corroborated or explained as yet.

However this has sparked a fear that if indeed the reason of discontinuation is its abysmal reception by the market, then there is something rotten in the kingdom of Denmark and the Lutens brand is not impervious to the vagaries of marketing and sales. This could mean trouble for many of the less popular fragrances of the line, like the celery-smelling Chypre Rouge, the cozy yet dirty animalic Muscs Kublai Khan or the exquisite Douce Amère. And for a brand that has set the bar much too high, this would be foreboding and sad.

Nevertheless, Perfume Shrine in an attempt to exorcise the above demons, has researched a bit and found out that the key ingredient phenylacetic acid is used in the illicit production of phenylacetone, and therefore subject to controls in the United States. Perhaps the high concentration of said ingredient in the fragrance made it difficult to continue producing it without jumping through hoops of bureaucratic paperwork?

Additionally, phenylacetic acid has been found to be an active auxin (a type of phytohormone) molecule, predominantly found in fruits. Auxin comes from the Greek αυξανω which means "to grow", affecting cell division and cellular expansion, which means it has the potential to disrupt another organism's hormonal balance. Used in high doses, auxins stimulate the production of ethylene which can in turn inhibit elongation growth, cause femaleness of flowers in some species or leaf abscission and even kill the plant.

Whether this has tangible effects in humans is not to my knowledge, however seeing as the IFRA and EU terms of ingredients use call for severe restrictions on so many other substances used in perfumery, it might bear some relevance to the desire to discontinue the fragrance.

I don't know which of the reasons thus hypothesized is worse, but in any case, if you are among the few admirers of Miel de Bois or of daring compositions which will be shown to one's grandchildren when everything will be sanitized in the near future, this is your time to stock up.

*Stop the press latest info: I have been informed by a highly savvy source that Christopher Sheldrake, the nose behind it, never liked it and Serge Lutens himself might have stopped liking it too, which could account for his perfectionist streak showing through axing it. Remains to be seen.

*The ingredient is also known as α-toluic acid, benzeneacetic acid, alpha tolylic acid, and 2-phenylacetic acid.

When Someone Usurps your Signature Fragrance

When at school my best friend was using Anais Anais, the soft-focus lily scent in the retro opaline bottle that recalled Victoriana and the BBC series Jayne Eyre and The Barrets of Wimpole Street we were watching on television. Something about the aesthetics of its nostalgia coupled with the erroneous hint that it might have something to do with Anais Nin and her Delta of Venus lured me into getting my own bottle. Little did I know that this act would produce the fury of a Maenad! Never mind that Anais Anais was worn by almost anyone below voting age at the time. The cardinal sin had been commited: I had usurped the signature fragrance of someone else and my penance would be exile.

After half a bottle, I somewhat tired of Anais Anais, no matter how pretty and wistfully autumnal it was. The initial coup de foudre was no longer there. Instead, my heart was pounding with fascination for the decadent opulence of Opium which had marked me years before unexpectedly: finally able to procure a bottle of my own with my pocket money, I did just that. The fragrance became so much a part of my psyche, with sporadic flirts with my mother's Mitsouko and Cabochard, that I could never understand how anyone on God's green earth could claim it. Yet, claim it they did and several other people, usually older, used it as well, often in exceedingly large amounts that became noisesome. I remember I was both dismayed and disappointed at that. Since I loved it so much, one would assume that I would enjoy smelling it in the air, catching the wake of it from passing strangers and acquaintances. But it never seemed to smell properly on them. Yet deep down I was a little relieved as well: It was still mine and mine alone, I was hissing through clenched teeth ~my precious!

The final straw was at the university, when a particularly nosey classmate questioned me on what I was wearing and I was very eager to let her share: a small eau de toilette bottle was always in my Longchamp along with my notebook with lecture notes on the Aeniad, the syncretism in late Middle-Ages and the artifact types of Upper Mesolithic. Soon enough, what was that divine cloud I was smelling two pews below, wafting up to engulf me in the smell of betrayal?
It was at that moment that I had the perfumephile's equivalent of St.John's visions at Patmos: I finally realised why it's not good form to wear the same fragrance as your friend...

Copying someone's identity in its external manifestations and even their intellectual interests, emulating their fashion sense, their hairstyle, their makeup and colour choices and suddenly adopting the same music sense and book material can feel annoying and a little alarming for the one who is being copied: is it to be taken as a compliment or as an invasion of private space and the right to mark one's own territoty?
That last part seems to me to be at the bottom of this particular annoyance. Although we have progressed from the jungle, the jungle hasn't left us: we still need to mark our territoty with the invisible olfactory stain of our id. And we do that with our loved ones and the scents we choose for them as well.
The scent we choose ourselves to represent our id can be even more poignant when usurped: the betrayal is not only on the physical, territorial plane but on the cerebral as well. It's as if our decision to adopt a certain signature fragrance has been cheapened through blatant copying which required none of the visceral or alternatively the meticulous care with which we came to it ourselves. And in a world where there are myriads of fragrances around, finding that special one can be both hard and frustrating to go through again.
Additionally, when that signature fragrance is some obscure niche little thing we unearthed in one small boutique in Crete, hiding behind a local deli with dakos and stamnagathia, and only there, then it feels unique and we subliminally graft that aura on ourselves.

So what to do when asked? Faced with a question as to what is your signature fragrance, you're faced with a trilemma: if you reveal it, you are open for the other person to adopt it and leave you feeling somehow less special; if don't reveal, you risk to seem aloof and arrogant and lose a friend and get gossiped behind your back; if you don't reveal and it's a little known or unpopular choice you run the even greater risk of the fragrance never surviving the axe of discontinuation from the accountants in the manufacturing firm. It's a conundrum!

Personally, I have come to the conclusion that it's better to be gracious and sharing when it is someone who either has a genuine interest in perfume (so you get the chance to win a friend for life) or it is not someone you're bound to meet every single day (therefore even if they copy you, it won't be really significant). Seems to work so far...

I'd be interested to hear your thoughts and experiences.

Pics from the film Single White Female via movieshcreenshots blog

Twin Peaks: Perfect Veil, Nude Musk and Opal

Sometimes the perfume lover is jaded after being entrapped into the midst of deep and meaningful perfumes which sing the praises of king Solomon and his court. Sometimes I just want to put on something that is cuddly and soft and doesn't smell like perfume as much, more like the perfected emanation of a gorgeous body pulsating with vigour and sensuality. This is especially sympatico to the hot summer weather of a southern region, when rich harmonies might risk wilting and becoming suffocating.
For those instances, I turn to light, clean musks. I intend to devote more time to musk and musky fragrances in general soon, but today's selection highlights that imperceptible aura that I described above perfectly.

"The concept behind this scent was to recreate the smell of clean, naked skin ... only better" and this is as good a definition of a skin-scent as any. The words belong to the ad copy for the cult favourite of celebrities, Perfect Veil by Creative Scentualization, a company founded by Sarah Horowitz-Thran. {Perhaps the most interesting part is that she custom-makes fragrances for clients, with her perfumer Marlene Stang. Prices range from $350 to $1,000. Call (888) 799-2060} How fragrances become the stuff of cult celebrity fandom is a matter which is rather complicated: there has to be some effective infiltration to the celebrity's PR or some word of mouth from another celebrity (that seems to work a lot more than you'd think!) or gifts to said person which prove welcome and thus sanctioned to be publicized and so on and so forth.
For what is worth, Perfect Veil is perfectly all right, with or without the famous entourage of young desirables who favour it. Its citrus piquancy at the beginning keeps it from becoming suffocatingly powdery or too sweet and the effect is not too much like laundry, which is always a risk when working with synthetic musks in the family of Galaxolide and such. The pairing of citrus and vanilla, after all, has the illustrious ancenstry of Shalimar, an impression that is gloriously modernised in the delicately powedery muskiness of Shalimar Light. But where the Shalimar fragrances wink seductively under heavily shadowed eyes and eventually grab you by the collar, these cleaner ones merely slip the spaghetti strap of an ivory microfiber teddy letting you the initiative.

Notes of Perfect Veil according to Luckyscent: lemon, bergamot, musk, vanilla and sandalwood.

For something that is composed by ingredients that do not run too expensive I find that Perfect Veil is on a par with two excellent alternatives, in line with this feature's mission: Nude Musk by Ava Luxe and Opal by Sonoma Scent Studio.

Ava Serena Franco of Ava Luxe is another artisanal perfumer with a stellar reputation of excellent customer service who has devoted lots of her time in creating different twists on musks among a diverse portfolio that includes the wonderful leathery Madame X. Her Nude Musk manages to be just perfect, almost a deadringer for Perfect Veil and yet endearing in its own right. Nude Musk is described as: "A clean and sexy skin musk with notes of sandalwood, bergamot, light musk, and vanilla. Light and slightly powdery. Long lasting". The description is stop-on and the powderiness is especially pleasant, like the most sensual talcum powder you have applied on your skin before gliding into freshly pressed cotton sheets of high thread-count.

Another beautiful skinscent in the musks family is Opal by Sonoma Scent Studio , a company run by perfumer Laurie Erickson in California. Laurie, no stranger to these pages, has been working on lots of interesting musky twists with an edge, some of which will be soon featured on Perfume Shrine, so I am just whetting your appetite today!
Opal in Eau de Parfum has amazing lasting power that will surround you with delicate whiffs of the smell of being desired all day long. A little sweetness is induced through the vanilla touch, never too much and the whole does not become soapy-like. I find it a little less powdery than Nude Musk, very pleasant and quite sensual. I can definitely see why it is a best-seller for Sonoma Scent Studio and I can't blame anyone for liking it. Like its gem-like name, it's silky soft, illuminated as if from within, caressing and smelling like the warm skin of a loved one. Upon testing it I received the most delicious compliments on how wonderful I smelled, not how nice my perfume was. And that's the whole difference with those fragrances: they're supposed to enhance your own presence instead of standing alone as a piece of artwork. Opal never wears you, you wear it!
It also comes in a concentrated perfume oil made with a natural pure fractionated coconut oil base; no alcohol, silicones, water, emulsifiers, sunscreen additives or colorants added. The fractionated coconut oil is light and non sticky, has no odour of its own, but a long shelf life, dries quickly, and is a light moisturizer on its own.

Notes for Opal: delicate musk, vanilla, ambrette, bergamot and sandalwood.

These are all playful and uncomplicated scents for when you want to let your hair down and enjoy being who you are. Don't burden them with pretentious ambitions and you will be having a wonderful time in a cheek-to-cheek slow dance with them.

Pic of 1920s bathing suit courtesy of Wikipedia

The Different Company History and News

Following the work of perfumer Jean Claude Ellena, I came upon The Different Company, a small niche brand which was started by him with the sole objective revealed in its name: to be different!
In one of his aphorisms, Jean Claude had professed that classical perfumery although beautiful is too perfumey for today's sensibility, much like reading Stendhal. In his quest not to understand the market though -antithetically to what major brands do, running focus groups tests for their every product- he has always been about making the market instead.

Artistic freedom obviously meant everything and in order to discourage copycats and lowly competition Ellena along with his collaborator Thierry de Baschmkoff, a relative of his and engineer-turned-bottle-designer, opted for the most smart stratagem: make the juice too expensive, too top quality.
The Different Company opened its doors in 2000 with four stunning scents: Osmanthus, a fragrance based on the precious little Chinese flower with its divine apricoty smell, Rose Poivrée which Chandler Burr has famously -and complimentary- attributed to Satan's wife in Hell, Divine Bergamot, sunny brilliance and dirty hints under the sun of Calabria and Bois d'Iris, an extraordinarily expensive in the making woody orris fragrance fit for an exiled princess.

When Jean Claude got his in-house position at Hermès in 2004, the baton was passed to his daughter, Céline Ellena. She went on to compose both rich and decadent juices such as Jasmin de Nuit as well as diaphanous organza veils ~such as the fragrances in the ‘Explorations sensorielles’ (=sensory explorations) line that is essentially a garden trio: parfum d'Ailleurs & Fleurs (of flowers and beyond), parfum de Charmes & Feuilles (of leaves and charm), and parfum des Sens & Bois (of woods and the senses). And last but not least, the incredible Sel de Vétiver, inspired by Céline tasting water aromatized with vetiver roots at an eastern friend's appartment in Paris.
Their latest Sublime Balkiss, inspired by the queen of Sheba and a modern chypre composition no less, has been having the perfume circles talking and anticipating. (notes of violet, blackcurrant, Bulgarian Rose, blueberries, blackberries, clusters of lilac and a special fraction of the essential oil of patchouli, highlighting its cocoa powder aspect)

It seems we have been richly spoiled! And to top it all of, they have opened a new boutique in Paris.

Niche fragrance brand The Different Company has just opened a stunning new boutique in Paris, in the heart of the trendy Marais quarter. For the occasion, they have paired up with make-up brand Maison Calavas, who is sharing the space. Maison Calavas is specialized in top-of-the-line make-up, with a wide range of palettes presented in colorful shagreen, lizard and snake-skin boxes. 10 rue Ferdinand Duval, Paris 4è – (+ 33) (0)1 42 78 19 34

Their own website is still great to navigate through.

Info & pic via Osmoz and The Different Company