Friday, May 8, 2009

Mothers and Kids and the Scents that Bind Us Together

“And how should a baby smell in your opinion?”
“A baby should smell good!” the nurse {Jeanne Bussie} replied.
“What does good mean?” father Terrier’s voice sounded booming. “Lots of things smell good: A nosegay of lavender smells good. Chicken soup smells good. The gardens of Arabia smell good. How does a baby smell?” […]
“It’s not that easy…” the nurse began “because…they don’t smell everyplace the same, although they smell everyplace wonderful, father, you understand…on their feet for instance, they smell like a smooth, warm pebble ~no, make that clay…or like butter, like fresh butter. And on their torso they smell like …biscuit soaked in warm milk. But on the top of the their head, right there on the crown, right here where you don’t have anything anymore” and with that she touched the centre of the bald spot on father Terrier’s head, who, affronted with this stream of detailed nonsense had remained speechless and had submissively bowed his head, “here, they smell exquisite! Here, they smell like butterscotch, so sweet and wonderful, father, that you can’t really imagine! If you smell a baby there, you will love it, whether it is your own or someone else’s”. [*]


When I first read those memorable lines in Patrick Süskind’s classic novel Das Parfum, the story of a man with an extraordinary sense of smell but no personal odor of his own, I was but a mere teenager. The thought of having a baby of my own was not even a spermatic idea at the back of my mind; it was simply an indefinite non-entity! I was never one to coo in maternal mode upon seeing babies ~although I always had a fondness for small children and their intelligent way of interpreting the world~ and one who never heard her biological clock going ding dang dong “time to have a baby”. Love for a man took care of it. And I never had a sick day or perfume-free day all the while.
We often hear “you can’t judge unless you’re in someone’s shoes” and that goes doubly so for parenthood. But upon smelling my own, I remembered how those lines from the novel took their own life, their own truth, and the miracle was happening right under my own… nose! It’s indecipherable for anyone who isn’t a mother and it’s the special bond which forms between two beings at their most primal level. Like we choose a mate that their natural odor pleases us, so our offspring bear in their genetic makeup the scented fingerprint which ties them to us, making us able to differentiate our own among many. I often linger over my sleeping child inhaling deeply the yummy smell with eyes closed...And I can imagine that an adoptive mother grows to learn ~and eventually love~ their children’s smell, just like they learn to recognize their tastes and their idiosyncrasies. Because that personal scent is a constant reminder and a symbol for nurture and love.

But babies very quickly show off how they are able to smell their mother out as well! This is why I forwent the beloved Mitsouko and my emblematic Opium fumes for a while to give a chance for this special bond to form and for fenugreek tea to make me all maple-y smelling. It’s enough to breastfeed once to see how the baby turns its small nose and mouth to the sweet scent of milk like a hungry little puppy; that nectar of nature meant to help it grow, to help it become the man or the woman who will be in later life is naturally scented with a vanillic aroma which is perpetuated through baby food later on for a reason. Reminiscences of those tender moments are never far off, read like a language of smiles and smells.

The pleasant is never coming without the less enjoyable and changing nappies soon gets you intimate with the urinous muskiness of baby pee (which has an eerily animalic quality like that of real deer musk and the background of Guerlain's Shalimar) and the sulphurous odor of poop as soon as a mixed diet is introduced. Perhaps the baby’s own reluctance to get disgusted by the excrement however is the most interesting observation and one which you have to see with your own eyes to attest that although nature has guided us through smell into making the healthiest choices, our aversion to poop is not hard-wired genetically but is a product of cultural integration.

An olfactory inquisitive mind can have a field day while adventuring into the Land of Baby Smells: A whole industry is making changing a nappy its focus and every little thing has an odor of its own ~from the paper-mill cedar scent of nappies themselves which remind me of L'artisan's Dzing! to the heliotropin and linalool of scented toilettes/wet-wipes with their nod to Après L’Ondée ; and on to the rosy-almond scent of the nappy cream and the vanilla, geranium and citrus of Johnson's & Johnson's baby powder. The sweet smelling hesperidia and lavender colognes for kids like Tartine et Chocolat Ptitsebon by Givenchy or Petit Guerlain , put on clothes, are not an act of sexing the baby up or hiding their glorious olfactory fingerprint, but a gesture of bien-être dans sa peau, a very European traditional gesture of propriety. My mother did it to me, I do it to my kid!

Yet what I am most interested in is how the child gets to get guided through life from the olfactory point of view. The eyes light up at the smell of food cooking, giggles erupt when warm milk fills the kitchen with its comforting scent, inquisitiveness starts when presented with a new flavor such as sour pineapple, garlicked meat with okra or the earthy aroma of lentils’ soup. How nostrils quiver when out at play and a small flower gets under the nose. How animals, places and people are identified and often compared by smell: “This is the bakery where we’re greeted by the scent of fresh bread- circles with sesame”; “That’s Freddy the tabby who smells like cassie” and “Where is my sweet-smelling papa?” I intend to give that kind of education to my kid and let it form its own olfactory landscape where no smell is bad and no flavor is not to be tasted; and thus hopefully create a sensuous human being who will enrich others.

Happy Mother’s Day to all!

Please visit also Smelly Blog for Ayala Sender's piece, Illuminated Journal for Roxana Villa's piece and Scent Hive for Trish's piece, for more scented thoughts on motherhood!

*translation from the Greek edition by Perfume Shrine.
Art Photography by Spyros Panayotopoulos/eiakstiko.gr and istockphotography.com

Dolce & Gabbana a la niche!

The Italian duo of Dolce & Gabbana are going the niche way: at least optically! Their new collection of scents, called Anthology, is dressed in simple, identical bottles, bearing names inspired by the Tarot card deck (now this is something we haven't seen before) and intended not to differentiate on age or gender prompting us to pick and choose according to taste.
The campaign will focus on supermodels of the 90s (apparently a very big trend lately): Naomi Campbell, Claudia Schiffer and Eva Herzigova, posing in the nude, shot by photographer Mario Testino, along with male models Fernando Fernandes, Noah Mills and Tyson Ballou.

The scents will be:

Le Bateleur 1 (fronted by Tyson Ballou) is an aromatic aquatic woody focusing on cedar and vetiver.
L'Imperatrice 3 (Naomi Campbell) is a fruity with notes of kiwi,watermelon, cyclamen, rose and musk.
L'Amoureux 6 (Noah Mills), is a spicy aromatic with bergamot, juniper, pink pepper, cardamom, birch, iris and musk.
La Roue de la Fortune (Eva Herzigova and Fernando Fernandes), is a floriental with tuberose, gardenia, jasmine, benzoin and patchouli.
La Lune 18 (Claudia Schiffer) is a leathery floral with lily, tuberose, santalwood, musk, iris and leather.

The Anthology collection of fragrances by Dolce & Gabbana will launch in September 2009.
I am waiting to see how these will play out in a market that is full of collection of scents. So who hasn't yet launched such a set of "niche" scents, at least preening out from the big names? Hmmm, Yves Saint Laurent...

Pic L'express.

Thursday, May 7, 2009

I want to be loved by you

I am overdue for an article submission so no big post today, but for your delectation some old commercials for Chanel No.5 that haven't circulated much.
Soon I will come back with an expanded historical review on No.5.
There is also an article concerning Chanel NO.5 in The Telegraph by renowned journalist Kate Shapland, which has a wonderful illustration by Richard Gray. You can read it here.



The first American commercial with Carol Bouquet by Ridley Scott:



And the French version by Bettina Rheims:
(She's saying:
You hate me, right?
Say it! Say it that you hate me.
Its a disturbing fealing, really disturbing.
Because I want you! I want you so much that I think I'm going to die...



Ah...cultural differences.

The winner of the draw.....

.....for the Fifi awards nomination party draw decant, Jubilation 25, is Sue! Please mail me with your addres using the email on the Contact link above and I will have this in the mail soon.

Thank you all for your participation and prepare for the next one!

Wednesday, May 6, 2009

Chanel No.5 Through the Years

The renewed interest in Chanel No.5, due to the new advertising campaign with Audrey Tautou, reaffirms what has been a shared secret: "The powers that be at Chanel claim that a product bearing its name (be it in the form of scent, soap or bath oil) is sold every six seconds". And that the production, shot before the unfolding of the current economic crisis spared no costs: "A crew of 25 people reportedly worked on it for three weeks last May, filming everywhere from Paris to Limoges and, of course, Turkey". [source: Independent]

The new commercial {presented here} is a more haunting version with a nod to traditional values compared to the all dancing, outright-glamour-and-paparazzi-escaping of the one with Nikole Kidman some years ago. Shot by Baz Lurhman the fiary tale "I'm a dancer" routine was a modern, upbeat version ~with more thigh shown~ of the Roman Holiday scenario: VIP who finds true love at the side of a mere mortal, if you recall your Audrey Hepburn collection correctly. Funnily enough, Kidman looks nothing like Audrey Hepburn in her super-tall frame and attenuated blonde features, although Tautou does bear a passing resemblance thanks to the immense doe-eyes of both brunettes.
The current No.5 commercial reprises the romantic scenario "feminine classique" with a nod to the story-telling fantasy unconventional style of the OVNI, aka an anything-goes-style in which a sense of parody might be injected or the fantasy materializes. The latest Jean Pierre Jeunet commercial for Chanel No.5 uses angle-shots, photography and editing style which err on the side of romanticism, rather than the parody he had exhibited in Delicatessen or the follow-the-pale-faced-gamine-with-doe-eyes of Amélie. The invocation of the bottle in the reflections of lights from the window panes of the Orient Express train however, the warm saturation of colours, the bird's eye angle at the end showing the protagonists hugging while the interlocking CCs are left to shine on the mosaics through the fade-out are all masterful choices of film direction. The final shot reminds me of the bird'eyes shot of the fateful couple shot by Francis Ford Coppola in his Dracula (a film full of intertextuality in itself).

Chanel always paid a lot of attention to how they presented No.5 to the world and I took the initiative to present a little retrospective through the years a propos the latest:

The first illustration for No.5 featured famous illustrator's Georges Goursat/Sem stylised silhouette of a flapper, the fashion for liberated women being to embrace the new fragrance; the flowing dress in typical 20s flapper style, the bobbed hair, the ecstatic hands in the air. This was not an advertisement nevertheless (Sem was known for satirizing Chanel in his previous attempts) but an acknowledgement of the popularity of the new scent to its intented audience: the fashion-conscious and the hip.

© ADAGP

Next Coco Chanel herself posed at the Ritz Hotel suite where she stayed to photographer François Kollard in 1937, the grandeur of the suite and the majestic fireplace echoing the luxury of the fragrance.


The tradition of pampering connected to No.5 persisted through the years through advertisements which hinted at the rapture and sense of luxury which its use provoked.


Marilyn Monroe ~although never chosen by Chanel herself as a spokeswoman for the fragrance~ became the best ambassadress and advertising vehicle of the brand in 1960. She revealed in an interview which asked her what she wore during her schedule that Chanel No.5 was her choice of bed attire. A indelible memory was scratched in the flummoxes of people's minds to this day and No.5 became legendary to people who had never thought of perfume before! Certainly not in those terms!

Ali Mc Graw and her more down-to-earth strong beauty took the torch in 1966 when she posed with her dark features as the face of Chanel No.5. The choice showed the emphasis which Chanel placed on their American audiences even then.


The 70s were scattered with print and TV ads of classically beautiful Catherine Deneuve (once upon a time face of Marianne, the French national emblem), the one who has been more closely related into people's minds with No.5. Ironically Deneueve was opting for Yves Saint Laurent for her clothes and for Guerlain for her perfumes! It doesn't matter: think of Chanel No.5 and some old ad depicting Catherine Deneuve is certain to pop up in your mind.


Unknown beauties were continuing to feature in advertisements or Chanel No.5 but the glamour and joie de vivre were always featured when the famous number was brought forth.


The last French face to front Chanel No.5 in the late 70s (in memorable Ridley Scott directed commercials) and all through the 80s, was Carole Bouquet. The French actress wasn't the most talented one to come out of the country but her beauty and chic radiated through the pages in classy sexiness.


It was the bottle itself which took center stage in the pop images reminiscent of the Andy Warhol technique before the Nicole Kidman contract in 1985. Actually Warhol never made any reproductions of the No.5 bottle: it was a gesture of homage.



Estella Warren, swimmer, model and actress, was the early 2000s face for Chanel No.5 in what was an unforgetable campaign of commercials filmed by Luc Besson reprising the Little Red Riding Hood fairy tale in a most imaginative and creative melange. The print ads were visually striking, but not the same thing at all.


And then there was she who was at the height of her Hollywood career after worthy choices following an infamous divorce from Tom Cruise: Nicole Kidman had arrived and securing a contract to front Chanel No.5 was its apotheosis.

Please look at Perfume Shrine posts on Chanel No.5 commercial short-films through the years, clicking this link: Advertising Series part 1, I don't want to set the world on Fire.

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