Germaine Cellier (1909-1976): Innovator and Iconoclast

In the pantheon of great modern perfumers it is not often that we come across women, at least during the first half of the 20th century. Amongst them, one star shines brightest, that of Germaine Cellier; untrammeled by convention, free-spirited in an era that frowned upon most of her customs, but which could not deny her bold, ebullient approach to perfumery. It is no accident that Guy Robert's book, Les Sens du Parfum, himself the stuff of legend, dedicates precious space to her opus.

Her wit wondrously helped her into coming up with stunning compositions: The galbanum-souled Vent Vert by Balmain with its biting verdancy forever changing the visage of florals, the knife-scathing outlaw of Bandit with its intense leathery bitterness of quinolines in 1944, the oriental passport of Visa in 1946, the buttery radiance of tuberose in 1948's Fracas (all three for Robert Piguet), the nostalgic violet chypre Jolie Madame for Balmain (1953) which reworked the Bandit theme in more muted tones, as well as the masculine Monsieur Balmain which proved a success with both sexes.

One of her mysteriously disappearing acts is "Elysées 63.84" for Balmain, the name standing for the telephone number of the couture house, as well as a geranium-based Eau which Pierre Balmain fiercely guarded for his own use. For Nina Ricci she collaborates with Christian Bérard who designed the romantic heart flacon in Coeur Joie, an elegant and uncharacteristically delicate floral aldehydic of great refinement (1946). For Nina Ricci she also composes Fille d'Eve, with its "dirty hair" cistus note. Hers is the lesser known, but none the less majestic, La Fuite des Heures for Balenciaga in 1949, a Provençal herbs and jasmine formula of great radiance and tenacity. Among her portfolio there is also the agrestic Eau d'Herbes (Herbal Water) conceived for Hermès at an unspecified date during the 1950s meant to recreate just cut herbs, which remains an enigma, and several compositions for Elizabeth Arden for distribution in the USA during the 1950s and 1960s. (Click the links for my reviews on the scents) ....

This is part of a fuller article that was published on Fragrantica.com. For a comprehensive glimpse into one of the truly great perfumers of modern perfumery, please read my full article on this permalink.

Photo portrait of Germaine Cellier via xiangshuiblog.cn

Sign of the Times (and a Little Rant)

When reading upon perfume boards one comes across an involved discussion by numerous perfume lovers about fragrances that could be aptly described by the rather ghastly term "fruitchouli", you realise that something is quite rotten in the kingdom of Perfumistadom! You might expect Tina Turner to get out the saxophones and break into "We don't need another hero fruitchouli" (beyond Thunderdom) and if you feel that way I can't blame you; who can? Three quarters of the market (at least the mainstream sector, but not exclusively) are inundated by the plague of fruitchoulis that walked the path that Angel paved and later Narciso Rodriguez diverted a bit. Talk about a snowball. But let's start at the top!

The very term "fruitchouli" was coined by an undentified perfume lover Mbanderson61, exasperated by the abysmall unoriginality that the fragrance market displays for some years now, churning out a flood of releases that mimic each other in a frenzied pace. The two main elements seem to be sweet fruity notes (a sad remnant of the anemic 90s where pastel fruits were left to substantiate "airy" or "watery" notes) and the newly refound note of patchouli, buffed and sanitized out of its hippy references and ready for its close-up, mr. De Mille. Hence the brilliance of the coinage of "fruitchouli"! It's surpemely evocative of the current trend.

Personally I would differentiate between the archetypal Angel and its clones/upstarts/homages (Angel Innocent, CK Euphoria, Coco Mademoiselle, Lolita Lempicka, Flowerbomb, Prada, Cacharel Liberté, Miracle Forever, Hypnôse and Hypnôse Senses, Nuits de Noho, Coromandel, New Haarlem...) and some other popular fragrances with patchouli, a family inaugurated by Narciso For Her (namely Lovely, Midnight Poison, YSL Elle, Gucci by Gucci, Chypre Fatal, Citizen Queen, Lady Vengeance, Perles de Lalique, Agent Provocateur...).
I would classify the former into gourmand orientals ~they're generally quite sweet and the fruitiness is more distinct, often underlined with vanilla/caramel/marshmallow/foody notes etc. The latter I would classify into floral woodies/"nouveau chypres" (technically the "new pink chypre" genre IS a floral woody; patchouli & vetiver base is considered a woody base). Michael Edwards classifies them in a seperate family within chypres (mossy woods) as well.

Making a conscious effort to sample and think about several new releases lately, I found myself bored beyond belief at the sameness encountered and my reluctancy to even bother putting a few words together for the benefit of the casual reader searching for opinions on the latest; such was the disappointment and ennui. From the uniform look, uniform style of the new Anthology line by Dolce & Gabbana to the inoffesive lappings of sweet nothings of Ricci Ricci (pity, the bottle is fabulous!) to the vinyl and "flat" rosechouli of the new Parisienne, all the way through the generic Idole d'Armani, I didn't feel myself moved beyond a cursory spray or two. When you have dedicated a personal site to fragrances and are writing on them professionally as well, this does forebode very gravely...
It's not the lack of artistry or technique in the execution of an idea, as some releases are competent. It's the idea itself that has become mundane, tired, overdone, vulgar; even though it seemed like a nice concept all those years ago! Like waking up in some Heaven where all the girls and boys look like Grace Kelly and David Beckham with a perpetual smile on their faces and delicious macrobiotic 4-course food is served at 12 sharp by white-gloved valets. After a while you just long to bring a scruffy Johny Depp and his Nabisco saltine crackers in bed, don't you!

Perhaps the most brilliant suggestion and new term/classification proposed comes from Perfume of Life's long-time member Mando who exclaims humorously (and expectantly): "I think the next wave should be "bootichouli" - chypres heavy with civet accents". If Beyoncé and Jennifer Lopez have bootylicious down pat and Kim Kardashian is famous for her derrière as well, then let's all pray that "bootichouli" can be the new trend in fragrances. Why not? It does present some technical problems, as civet is not exactly the most easy or ethical essence to harvest, but in an age where everything can be replicated in the lab using nano-technology-this and infra-technology-that, the illusion becomes much more of a reality (And there is already synthetic civetone). But that's besides the point really: The point is enough is enough! There is a ripe audience for a skanky new genre and we're cornering an increasing share of the market. Please hear us roar!

Art: Baloon Dog by Jeff Koons via flavorpill and
photo by Jemima Stelhi via files.list.co.uk

Mathilde Laurent Responds to Perfume Shrine's Questions (& a little on Cartier Les Heures du Parfum)

Most of you are familiar with Mathilde Laurent through her early work at Guerlain, when as a young graduate of ISIPCA, under the aegis of Jean Paul Guerlain she created her modern epics, faithful to the patrimony of papa Jacques: Her Guet Apens (later re-issued as Attrape Coeur, the whole entangled story can be read on this link) is one of the most celebrated "new Guerlains" among cognoscenti, in the degree that it reflects a true Guerlain character, yet is resolutely of its own era.

Her Shalimar Eau Légère, reviewed and cherised on these pages, is another one which takes the best of tradition and injects it with the saturated hues and bold lines of a contemporary Francis Bacon painting. Like her artistic idol Camille Claudel ~as divulged to Marian Bendeth on a Basenotes project last year~ Mathilde appreciates modernity coupled with sensitivity and creativity.
Pamplelune with its sunny grapefruit side is, surprisingly enough for its daring sulfurous mien, still a Guerlain best-seller and one of two Aqua Allegorias (a sub-line in the Guerlain portfolio with lighter, less complex scents) which has remained in production ever since introduction of the line, the other being Herba Fresca with its surprising take on mint. (Her other creations in the Aqua Allegoria line included Ylang et Vanille and Rosa Magnifica) At some point, Mathilde Laurent left Guerlain to spread her wings unto greener pastures, including a brief stint at jeweler André Gas in 2006 (for the Polynesian tropical scent Ensoleille-Moi) and the current in-house perfumer position at the venerable Cartier headquarters, where she is composing bespoke scents (Sources place the price for juice to last 3-5 years up to 60,000 euros or $75,500). Her masculine, (again) mint-ladden Roadster for the mainstream jewellery house release last year has graced our pages and was considered a successful entry, poised most wisely between commerciability and artistic merit. Mathilde's talent is undisputed, her desire and ambition to compliment the art of perfumery with a decisive and landmarking contribution nevertheless is laudable. For her "perfume is a message, an expression of oneself" and a perfumer is "a sillagiste!"

I took the invitation that Elisa de Feydeau kindly opened for her francophone readers and asked Mathilde a couple of questions which she was most gracious to reply to. For the benefit of our English-speaking readers, here are her answers.

My first question had to do with something I had read in Perfumes, the Guide, a quote by Luca Turin in his Pamplelune review, in which he equated Laurent's turning to bespoke perfumery to "the saddest waste of human talent since Rimbaud decided to study engineering" (If this isn't praise, I don't know what is!). I was wondering whether the foreboding feeling created by this remark in my mind had come to a reversal through the new line Les Heures du Parfum for Cartier (a high-end project more on which below) and whether she was hopeful that the new line would open a dialogue between herself and perfume lovers; those Others beyond the scope of the mega-rich who have the means to order their very own perfume. After all, as revealed by Jean Claude Ellena to us before, custom perfumery runs the risk of inadvertdly "deceiving" the customer.

Mathilde Laurent herself had explained the bespoke process in the past in very clear terms: "Together (with the client), we explore scents associated with meaningful life experiences, from pleasant childhood recollections to a present image the client wishes to project. We transpose the Cartier style, a perfectly studied simplicity, into the scent. Just a few carefully selected high-grade ingredients are blended, so that each essence remains distinctive, not lost in a hazy combination." In the pursuit of good materials, she's relentless: "I look for the truly exceptional, the atypical, the never-before-seen" (The floral extracts used cost about $5,000 per kilogram, or $142 per ounce). "The provenance of the flower, its rarity where it was bred, the manner of extracting its essence, the climatic conditions that year, all are taken into account."
In hindsight Mathilde appreciates Luca Turin's accolades enormously: "He was among the first to support me and encourage me". She terms the bespoke service "a step, a detour in order to get someplace else". "I could never imagine not creating for The Others", she reveals, although she's quick to point out that "bespoke perfumery is for me a wonderful means to be close to those who love and wear perfume and to push the envelope regarding experimentation on new accords, to test and increase one's creativity and one's technique. Bespoke perfumery acts as a complimentary course for me, it nourishes my work on other projects. I hope that Cartier's Les Heures du Parfum will generate a dialogue with people wearing them, since for me perfume is a message that the skin diffuses, I am always interested in expression, perfume is always destined for the Other".

Another issue that is burning perfume lovers and the industry itself with the intensity of a surgical laser is the pressing issue of restrictions on perfumery ingredients. (You can read a recap and personal thoughts with a minimum of emotional sidekicks on this link and on that one). Mathilde Laurent proved to me to be both practical and wise: "Regarding the perfumery materials which are restricted from our palette, I pretend they never existed. Nevertheless, I continue to search for the effect they present, even though it might be considered a tad Utopian; to substitute with other ingredients and combinations. One must always start from scratch and search, search...Having "come of age" at Guerlain however {she started apprenticeship there at the tender age of 23, going to exotic places and learning about ingredients with the very best} I have intimately known all of those precious materials before they were rationed and their effect has most definitely marked me. I do keep them in memory, always!" Hopefully, with creative minds such as Mathilde's, even the parsimonious palette of essences that is left to perfumers can take a new shape and be utilized in a novel syntax that have been left unatttured till now. The future is here and it is brave!
As to her own pleasure, Mathilde has left herself to be seduced by her latest creation for Cartier XIII La Treizième Heure, a smoky leathery composition, even though she declares she never wears perfume on her free time (Her other rare ~she stresses~ indulgunce is Guet Apens). After all, she hopes to instigate a discourse, not a monologue, and I hope she will always succeed in doing that!

Les Heures du Parfum by Cartier are set to be 13 fragrances in the "neo-niche" mold of luxury brands such as Chanel Les Exclusifs, Hermessences, boutique Guerlain scents, Armani Prive, Van Cleef & Arpels etc. (material-oriented compositions, uniform bottles, limited distribution). Cartier touts them as 'one really haute collection of fragrances for connoisseurs' to commemorate . The scents take on Latin numbers instead of names to reflect the digits on the famous Cartier watches, plus a lucky number thirteen in honour of the number of la maison Cartier's first address at 13 Rue de la Paix in Paris. They are to be spaced out in a period of a few years. The first five are coming out this November on the 10th in 35 Cartier boutiques all around the world. Eau de Parfum in 75 ml flacons for 250 dollars (Chayaruchama told me they're already at Saks in New York City, so New Yorkers take note and report back!).

Fragrance Notes for Les Heures du Parfum according to Grain de Musc (who got them straight from the horse's mouth and is enthused):

I – L’Heure Promise (The promised hour): a green iris with petitgrain, fresh herbs, sandalwood and musk.
VI – L’Heure Brillante (The shining hour): a bright aldehydic citrus cocktail with lemon, lime and a gin accord. X – L’Heure Folle (The crazy hour): an aldehydic fruity green with redcurrant, pink pepper, grenadine (pomegranate syrup), blueberry, blackcurrant, blackberry, violet, leafy notes, ivy, boxwood, shiso, polygonum (=knotweed)
XII – L’Heure Mystérieuse (The mysterious hour): a woody floral with jasmine, patchouli, elemi, coriander, incense, olibanum, juniper.
XIII -La Treizième Heure (The 13th hour): a sweet leather with maté tea, birch tar, narcissus, bergamot, patchouli and vanilla.

Portrait of Mathilde Laurent via Basenotes, images4.hiboox.com and luxuryculture, Cartier bottles via punmiris.com

The winners of the draw...

....for the Travalo atomisers are:
Melisand61, AuditDiva, BeautyBitch, Tara, Violetnoir. Congrats!

Please mail me with your shipping address along with the colour of your choice (gold, silver or pink) using the contact email on Profile, so I can forward it to the distributor who will have your prize in the mail soon.

Thanks everyone for playing so nicely and till the next one!

La Prairie Life Threads: fragrance reviews

It's not too often that I do "custom" reviews, and before you get any nasty thoughts (we're an independent blog here!), I mean requests from my readers. I had presented the new trifecta Life Threads by La Prairie (with a little historical comparison as to precious metals and fragrance associations) and emails started flooding my inbox asking me for my opinion on them. After replying to one or two directly, I thought you might all get a kick if I embarked on a more detailed coverage, so here I am.

If you have any modernist streak running through you, the hard-wired and Lucite La Prairie bottles display will recalimbrate your vision on where modern art can appear: Apparently apart from MOMA or The Tate, it can be hosted at your local La Prairie counter too! There was some version of plastic paneling in packaging before, notably in Roberto Cavalli scents (Just Her, Just Him) but it was done in a completely plastic-fantastic "I'm a Barbie Girl" sort of manner that defied good taste really. The La Prairie bottles take those wires and coil them round your neck tightly if you even begin to think that they're cheap: They most assuredly are not and they look ever so much better up close.

The trilogy is set to be a "provocative portfolio of fragrances [that] speaks to the different dimensions of a woman, rich with entanglements, connections and mysteries waiting to be unraveled". Reassuringly, they're not especially provocative, in the degree that you won't be rubbing your eyes "whoa! where did this come from?", however they are all polished, competent compositions that exhibit good intentions.

I was overall most impressed with Silver which is the woody floral in the triumvirate. Expansive and with an engulfing white floral heart (indolic jasmine and lots of creamy tuberose) it radiates with the same razor-sharp pitch over off-the-cholesterol-chart butteriness which Fracas does so well, thanks to the inclusion of peppery and green elements (think spicy vetiver and unidentified mossy notes, probably in synch with the upcoming IFRA44th regularions). Lovers of Tom Ford's Velvet Gardenia might also want to give it a whirl, because it shares the proper mushroom-like ambience of the real blossoms and a butyric character right out of the clotted cream recipes cookbook of Julia Child ("The best time for diet food is while waiting for the steak to get done" ~I can identify with that!). March over at Perfume Posse put it succintcly when testing it: "It was like running errands in a silk peignoir and ostrich mules. It is deeply fabulous, if very much not me, although I kind of want it to be me".

Gold is certainly shaping up to be the crowd-pleaser in the range, as it hits all the right spots for most of the consumers: it starts citrusy (mandarine, but not orchard-rich), is a little sweet (but not tooth-achingly so, an accomplishment), it's a little orientalised (but will not end you being sold in a harem), it's a little spicy (but no uncle Serge peeking through with handfuls of cumin at the ready to be thrown up your nose). The solar notes and the ylang-ylang heart compliment each other well and the solemn, yet warm note of myrrh is infusing the whole. Is a perfume that is programatically set to deny excess in any aspect worth it, you might ask. Well, in some small way it is. I wouldn't pick it as my first choice over other beloved orientals, but to make an analogy, like Yves Saint Laurent's misunderstood Cinéma it's a pleasant example of the genre that shouldn't be ashamed of itself.
Although advertised as an "elegant and edgy chypre" (a category I am especially simpatico to), Platinum didn't grab me, nor did I find it edgy. I hear it is marketed as unisex, which is a novel idea, the other two being so femme focused. There is radiance, but also a little shrill quality about it, which manifests itself in the clash of the cucumber-smelling violet leaves in the opening (this is not sweet powdery violets) with the abstract floral elements and the standard patchouli-vetiver base which we have been smelling to distraction in, oh, just about the majority of the market's share of "modern chypres" in the last 5 years or so. The latter might be the reason why I am not more enthused with the idea, although I can't deny it's a competent example and it does present a miniscule leather facet which is intriguing. I just wish it had been furthered to its full potential!

Somehow the advertising fanned out in three commercial clips seems rather cheesy to me and you can colour me unimpressed on that score ~there's even a song "inspired" by them; sometimes they seem attenuated to the point of ridicule (The heavy nuanced accent on the Platinum one doesn't really help me take this any more seriously, dear advertisers. It's not like you hired Tim Piggot Smith, you know). The stories are "real stories", aiming to provide a romantic subplot to what is a snippet of "life" for the viewers. If the La Prairie audience accustomed to their expensive skincare is fantasizing about such a life (and not already having it) is unbeknowst to me, although I wouldn't hold my breath; it certainly looks a little aspirational to those who probably save scraps for a month in order to be able to afford a pot of their creams. ("I always wanted to leave on top of the world" etc. just before the story turns into the classic "rich lady in search of macho low-class so she can feel like a woman again".) You can watch them all here or on Lifethreads.com. It's interesting to note that although it's French actress-singer Arielle Dombasle who is fronting the fragrances, the commercials so far utilize neither her voice, nor her presence. I wonder why!
The clips come with lots of voice-over. Someone needs to have a cinematic lesson: Voice-over is the surest way to have a par excellence visual medium turn into televised theatre, aka snore-fest ~if you have ever compared a live theater performance with its televised version you know what I'm talking about! It's a pity the designing team didn't work on the advertising as well. But in true cinematic mode "nobody's perfect!"

La Prairie Life Threads: Silver, Gold and Platinum come in Eau de Parfum bottles of 1.7oz/50ml for $125/100 euros at La Prairie counters, Neiman Marcus, Begdorfs and Saks.
Notes etc. on this link.

Photo by Guy Bourdin via queeninheels.com and saopauloegratis.com