Martin Margiela Untitled: new fragrance

Martin Margiela has been in fashion for 20 years already and not even personally involved with his house (Maison Martin Margiela) anymore.

I am always reminded of how Pierre Cardin lost rights to his own name, and how Jil Sander isn't involved in her own line too, but I digress. Anyhow, Margiela is only now launching his first scent, under the aegis of L'Oréal and with the help of a talended perfumer to boot. Fittingly for the avant-garde line, there won't be any fancy names obscuring the concept: the fragrance is remaining simply Untitled!
According to The Independent (where there is a bottle picture as well): "Launched in Paris January 11, Untitled is a unisex fragrance - created by perfumer Daniela Andrier, the nose behind YSL's Rive Gauche, Gucci Rush for men, and several Prada scents - that is described as "floral, woody, and very green" (including notes of fern) as well as "ambery and oriental."
The unisex element as well as the typical 'blank canvas' packaging contribute to the notion of a non-stereotypical scent that, according to a press release, 'can be worn by anyone, anywhere'."

Tall order...

Untitled by Martin Margiela will be available at colette.fr in a world-exclusive 'preview' on January 25 while it will make its international debut through April 2010.
Pic of fashion spread featuring Martin Margiela fashions via lbosquejo.blogspot.com

RIP Eric Rohmer

French film director Éric Rohmer has died at the ripe age of 79. May he rest in peace in a place of the scents of an eternal summer.



Clip from Conte d'Été (1996)

Twin Peaks: Zino by Davidoff, Chanel Coromandel, Lutens Borneo 1834

Comparing an uncompromisingly masculine fragrance such as Zino by Davidoff with a unisex offering from Chanel, daintely named (Coromandel) after Chinese laquered panels which might sooner decorate the apartment of a woman or a gay male than the chick-trap of an abode of a bachelor might seem like a exercise in futulity. Heck, there's even a makeup line at Chanel's bearing the very same name! Yet the two fragrances, winking both at yet another patchouli-ladden beauty, Borneo 1834 by Lutens, bear the proud insignia of hard partying and bohemian airs which a rich, decadent patchouli heart knows how to provide so well.

And for those on a budget or searching for an easier alternative to savour the allure of Coromandel, Zino is a choice that can be found easily on discounters and online stores, being utterly underrated for absolutely no sane reason at all. I hope after this review a couple of people will summon the courage to search for it, as it's totally worth it. But perhaps the greatest recommedation would be that it has been gracing the oh-so-fine body of Captain Jack Sparrow, né Johnny Depp for quite some years now (Fittingly as it was first issued in 1986). Who can resist his charms, his chiseled face and bohemian attitude? Personally, I could see it on someone like Vincent d'Onofrio as well. If you're fond of aquatics and/or a fan of a girly Robert-Patterson-like allure (of Twilight fame), you can stop reading right now, it will only get painful.

I had written on my Chanel Coromandel perfume review, when I compared the scent to a cinnabar-hued brocade jacket, upper button undone with black camelia Chanel earrings: "The initial impression is that of a citrusy, orange-like pipe tobacco mix rolled in powder, much like the one encountered upon meeting that vixen little scent called Fifi by lingerie designer Fifi Chachnil or a slightly less milky Fumerie Turque. [..]Perhaps the orange impression derives from the inclusion of frankincense, a resin that sometimes gives off a sweet citric tang while burning. A sweet lush note throughout is echoing subtly like vanilla pods immersed in fruity liquor and it opens up and expands on the wings of aged patchouli, mellow, soft, sweet and inviting [...]with a touch of Borneo by Serge Lutens and Prada thrown in for good measure. [...] The pervading dryness along with just a touch of frankincense for a sense of mystery, not showcasing amber in any great degree all the while, provides a great balance to the sweeter vanilla elements and makes the whole not puff up in blue clouds of smoke, but stay the night on warm skin and well used sheets".

Zino starts on a classic masculine accord of lavender, clary sage and bergamot, bracing, nose-tingling like the top notes of Jicky, almost recalling a fougère, but immediately we're drawn into the maze of oriental woods, where the dark green of patchouli hypnotizes the senses with its sweet, beckoning and a little overwhelming scent and a trompe l'oeil hinting at tobacco (A Davidoff fragrance without some allusion to it? Unthinkable). Zino's big rosy heart worn on its sleeve is the perfect accompaniment to the green leaves with moth-repelling properties, and serves to smoothen the former, alongside the other subtle floral elements. Every ingredient bursts into life on the skin and despite the potent opening the scent manages to appear as rather subdued in later stages. Once upon a time touted as the "fragrance of desire", I admit that for this woman on this day, it still seems good enough to eat and amazingly sexy while we're at it too.

Sheldrake’s handwriting is all over 2007's Coromandel, which would make the comparison with his previous Borneo 1834 for Serge Lutens (2005) a natural fit. The two fragrances share a pronounced similarity at the drydown, a fuzzy, synthesized woody-amber drydown like ambroxan (much more pronounced though in -say- Lolita Lempicka au Masculin). Zino also shares in the traditional ambery fade-out after its scultural masculine top, its darkness an ink-like blob on thick matte paper, but lacks the distinct coffee note that runs through the heart of Borneo, instead opting for extending the note of patchouli to its chocolate-like extremes. Borneo on the other hand is an intensely camphoraceous patchouli laced with dark-roasted coffee and cocoa notes and much dryer, while Coromandel, perhaps due to its eau de toilette concentration and axiom of "application with abandon" alluded to by the big, honking bottle, seems airier and less saturated than both. Airier for an oriental woody, mind you! Its kinship with the original Prada should give you an idea of the ballpark we're talking about. The sillage of every scent is delicious; a mysterious wake that will have people swerve to catch a whiff and ask you what it is.
Ultimately, between the three, Coromandel is the daytime, easier and more powdery version, Borneo more suitable for evenings and trend-setters, while Zino is the one reserved for sexy men and for women not afraid of five-o-clock shadows on them. If you're among the latter, do try Zino for yourself too, you'll see it acts like a fedora over long hair.

Notes for Zino by Davidoff:
Top: lavender, palisander, clary sage, bergamot
Heart: geranium, rose, lily-of-the-valley, jasmine
Base: patchouli, cedar wood, sandalwood, vanilla
Notes for Coromandel by Chanel
Benzoin, patchouli, woodsy notes

Notes for Borneo 1834 by Lutens
Patchouli, Camphor, Cardamom, Cistus, Galbanum, Cacao

pic of actor Vincent d'Onofrio via fanpop.com, Sarah Ranes portrait via indiepublic.com

Perfume Preferences and How Body Chemistry Affects Fragrances

According to an article by Gad Saad, Ph.D., an Associate Professor of Marketing at the John Molson School of Business (Concordia University) and author of The Evolutionary Bases of Consumption, some additional scientific info is now presented on the much discussed matter of body chemistry affecting our preferences and suitability for certain perfumes.
"In 2001, Manfred Milinski and Claus Wedekind published a very intriguing study on the links between self-preferences of perfumes and individuals' major histocompatibility complex (MHC). The MHC consists of a set of genes that capture a person's unique immunogenetic profile/signature. As such, the MHC is a disassortative mating trait. [...] Incredibly, Milinski and Wedekind found that people preferred perfumes that seemed best suited for their unique MHC profile. In this case, this means that preferred perfumes are those that are most likely to augment an individual's body fragrances as a means of advertising his/her MHC signature".
A fascinating observation that extends the basic principle of evolution (survival of the fittest), as expressed in biology terms, into the olfactory.
Read the rest of the article on Psychology Today.

Other links with some info/opinions on body chemistry and fragrances:
Fragrances and skin (an introductory beginner's article on the issue)
How To Choose The Right Perfume For Your Body Chemistry (a more in-depth list of the factors which affect scent performance)
I Have the Body Chemistry of a Man (a self-flagellating satirical article about the perils of having the wrong "body chemistry" for a coveted perfume)
Fragrance Tips (Amidst some "general tips" for perfume use we stumble upon this pearl: "The biggest factor in how a fragrance will smell on you is your body's PH balance. Ideal PH is alkaline - but stress and poor nutrition will turn your balance to acid, and that will affect fragrance." Correction, dear sirs: skin should be slightly acidic, it's how the skin mantle is supposed to self-regulate in order to protect against certain microorganisms)

And you, how do you feel about "body chemistry" and perfumes? Do you have specific aversions or preferences that you feel are tied to your specific psychosomatic make-up? Did you have perfumes change their performance? Discuss!

pic via cdn.picapp.com

A Sharp Sense for Scents: New Book

Assistant professor James McHugh, who teaches religion courses at USC College, is working on a book - one of the first of its kind - that will explain some of the mysteries behind scents and perfumes. [...]McHugh has been studying the role of scents in medieval Sanskrit texts since his undergraduate days, culminating in his 2008 doctoral dissertation at Harvard University on the subject.
“Once I started looking, there were loads of material, and no one had really touched it,” McHugh said. “People talk a lot about ritual and art, but not about incense recipes for temples. Nobody had written about how scents and our sense of smell worked in these texts.
“Perfume recipes turned out to be complicated, and recipes and text were actually poetic and words had double meanings. So I explored all different angles because no one had done it, and I was on my own.” Read more about the upcoming book on this interesting link.