New Chanel Ad Filmed by Martin Scorcese

Apparently the film maverick is joining forces with the prestigious fashion and beauty firm for one of their upcoming commercials. Chanel has a great tradition to upkeep anyway and their latest commercials have been stellar one way or another, be it the operatically self-parodying of No.5 with Nicole Kidman by Baz Lurhman, the sophisticated Parisian burglar in Coco Mademoiselle with Keira Knightley or the romantic aboard-the-Orient-Express with Audrey Tautou filmed by Jean-Pierre Jenet for No.5 again. (No.5 being the test by fire for the brand).

Latest reportage states that "David Lynch is confirmed to have filmed an installment of Dior's string of commercials featuring ambassador Marion Cotillard in Shanghai, and now it's confirmed that as rumored, Martin Scorsese is working with Chanel. The director shut down a section of Williamsburg in Brooklyn, New York last Friday, and the owner of Moto, a restaurant in the area, confirmed Scorsese was filming a Chanel commercial" according to Fashionologie, who took the information from first-hand witness Jeni Avins who took some photos for Dossier (click to see the location shots). The über-hipster (and über-Chasid) Williamsburg is an unusual locale, but who knows New York better than Scorcese? (Woody Allen comes to mind, but I haven't heard of Chanel banging down on his door yet).
Chic Report adds that French actor Gaspard Ulliel (appearing at the Chanel Fall 2009 RTW show in Paris last March) and Canadian model Ingrid Schram are starring in the production as well. Scenes have also been shot underground in the midtown Manhattan subway (this theme reminds me of Berlin-set Prada's commercial to the lines of Thunder Perfect Mind by Jordan Scott, Ridley's daughter; her father incidentally has been the directot of some of the most imaginative Chanel commercials to date).

There is no indication which scent the commercial targets, although a source tells me it's about No.5 (in which case it would again involve Audrey Tautou, hot on the heels of her Mademoiselle impersonation in Coco Avant Chanel). Then again, isn't there some incosistency between the Jenet outlook and Scorcese's one? By the time it rolls out (around the end of the year, we will know).

EDIT TO ADD: As of Februrary 18th, according to WWD, the Scorcese advertisement is for the new Chanel fragrance for men! Will update with further info as it becomes available.
According to Magali Bertin from French Vogue, the fragrance is called Chanel Pour Homme. Here I'm a little stumped: Is it a new fragrance substituting the old, classic Chanel pour Homme (Chanel For Men, in the US) or does it mean it's a revamping of the classic through a new advertising? The former is rather more probable in view of perfumery restrictions. Andrea D'Avack, president of Parfum et Beauté at Chanel doesn't give any more info for now. And do bear in mind that the next Chanel according to the trademarks issued is -as we had predicted back in August 2008- called Bleu de Chanel (which might be marketed to men but is very improbable to have been budgeted for a big commercial by Scorcese).
We'll see in September when the commercial will hit our screens, I guess.

Frequent Questions: All about the Guerlain "Umbrella" Bottle

There is such a plethora of bottles designs at the historical house of Guerlain that the perfume bottle collector is spoilt for choice: With a history that can be traced back to 1828, when Pierre-François-Pascal Guerlain opened his first shop on Rue de Rivoli in Paris and covering almost two centuries, Guerlain has produced over 300 fragrances and an equally impressive number of bottle designs. Out of them all some are more worthy of mention either due to their beauty or their proliferation. One of them which covers both grounds is the "umbrella bottle", thus referenced due to its elegant shape that resembles a closed umbrella pointing downwards.


The "umbrella" bottle (officially known as "flacon de sac", bottle for the purse) started its illustrious career while head perfumer was Jacques Guerlain, in 1952 and continued under his grandson's, Jean Paul Guerlain's tenure as well. Its span of production covers easily more than 2 decades, until the end of the 1970s. All the perfumes that were circulating during that time-frame in extrait de parfum (pure parfum) were encased in this famous design, with the single exception of Nahéma (1976).

Despite several sellers on auction sites and Ebay stating it as Baccarat crystal, this design is assuredly not. The official Guerlain archives state three verreries producing moulds for it:
Pochet et du Courval, Brosse and Saint-Goabin -Desjonquères, all in the quarter of an ounce size. Rarely however is there a mark of which verrerie produced the flacon style in question, contrary to some other bottle designs in the line. Early specimens of the "umbrella bottle" have been sporting the name-label directly on the flacon, while later ones have a string from which two ends unite under a hang tage with the name of the perfume. Each of the extrait presentations had a different box, reflecting the themes and colour-schemes that inspired the original fragrances as well, as depicted above. From left to right, we can see the pink and green case with the two G interwined for Chant d'd’Arômes (1962); the zebra-printed Vol de Nuit presentation, inspired by far away travels and corresponding to the Saint-Exypéry travel novella of the same name; the chequed ivory of the legendary Jicky (1889); in silver tones lies the Jean Paul Guerlain creation inspired by Chagan's novel Chamade (1969); next there is the classic lithography of L'Heure Bleue (1912) and Mitsouko (1919); the iconic Shalimar is encased
in regal purple velvet, while the aqua-toned sleek box is for Parure, a plummy chypre creation by Jean Paul from 1974.

Ebay prices for these flacons fluctuate between $75-125, depending on the condition of the bottle and label as well as the existence or not (and subsequent condition of course) of the presentation box.

Less usual versions are those including a leather-pouch such as the one depicted for Liù (1929): It was a special edition for the USA only. (The very concept of this flacon is carrying it in the purse, hence "flacon de sac" being its official name in archives, yet the ideal of luxurious travel via American airlines ~very en vogue during the 1950s and 1960s~ was the source of inspiration for several 'travelling" paraphernalia of which some specimens are truly beautiful).









Much rarer and thus highly collectible is a special edition of Vol de Nuit which is commemorating the nuptials of Prince Rainier of Monaco to Grace Kelly in 1956. The box has a lovely inscription on the inside silken panel, dedicated to the marriage of the prince and the Hollywood actress, bearing the date of the wedding as well (Monaco, 15 Avril 1956). Guerlain always knew how to romanticize their art, allowing us to dream a little...

Related reading on Perfume Shrine: Guerlain series, Fragrance history, Frequent Questions

thanks to Dominique Chauvet/Milan for original photography.

Perfumers have the European Commision Irritating the Hell out of Them

Thus is -more or less*- titled the article by Nicole Vulser entitled: "Les créateurs de parfums ont la Commission européenne dans le nez" on Le Monde, which I was alerted to by erstwhile perfumer (and combatant) Sandrine Videault.
In it the matter of IFRA restrictions is rehashed with the emphasis on perfumers who are almost at the brink of a revolution (their words) because of them. IFRA, the International Fragrance Association, as you probably know if you've been following this blog, is a self-regulatory body which every June publishes a list of ingredients that have been deemed by a panel of doctors, allergiologists, specialists on envionmental matters and assorted experts as worthy of banning, restricting or heavily rationing. Based on these findings published the European Comission decides on what laws to implement for the cosmetics and perfume industry. To clarify matters on what this body is exactly I'm quoting: "The European Commission acts as an executive of the European Union. The body is responsible for proposing legislation, implementing decisions, upholding the Union's treaties and the general day-to-day running of the Union. The Commission operates as a cabinet government, with 27 Commissioners. There is one Commissioner per member state, though Commissioners are bound to represent the interests of the EU as a whole rather than their home state. [...] The Commissioners and their immediate teams are based in the Berlaymont building of Brussels". Furthermore, there is the RIFM [Research Institute for Fragrance Materials] annual report which provides info and supplements. The interesting part is all major companies are part of RIFM and IFRA, as well as every aromachemical company (and therefore their subsidiaries and bought-out smaller aroma-producing firms from Grasse etc.)
This is no laughing matter, as it proves the matter is much more complex than the much brandied about opinion that it's all about money, substituting expensive naturals for synthetic substitutes. Several synthetic substitutes are also heavily rationed, you see, and the conglomerates also control companies who are living and breathing in naturals!

Several perfumery ingredients have been banned over the years: The animalics (castoreum, real deer musk and civet) certainly have for long. (Any niche perfumer using covertly using them must be relying on old stock bought at previous decades). Heavily restricted is oakmoss (see two articles on this), Peru balsam, coumarin derivatives, fig leaf absolute and benzyl alcohol (a very common ingredient in several perfumes, classic and modern). Also rationed are geranium essence, jasmine (to extreme limits under the upcoming IFRA 44th Amendment), lavender (gosh, lavender, the 1st aromatherapy oil proposed to just about any novice), cade oil (used to render natural leather notes) and the extract from tea leaves.

That leaves the majority of classic fragrances already mutilated, which brings us to the frantic hunting of vintage specimens as long as the reserves hold. But what will happen next? When these dry up will it mean that several of the perfumes with which generations grew up will have no possible footprint in history? This is a sad and foreboding proposition, much like thinking that Galleria Uffici is vacated in lieu of posters depicting the images that were once "real". The matter is complex, as François Demachy points out that "some perfumes were developed because there were no penalised constraints". More or less it meant that perfumers were mapping territories and were free to roam however they pleased on the world of naturals and synthetics. Guerlain's Thierry Wasser laments: "Among the perfumes we sell, the oldest is over 150 years old. If some day Brussels opposes the essence of rose, what am I to do? There is rose in almost all our perfumes… It is a heritage we need to defend" adding "Jean-Paul Guerlain composed Parure for his mother. We were obliged to discontinue it because we could no longer use the ingredients necessary to produce it. It’s heart-breaking.” The French are certainly very proud of their patrimonie olfactive (olfactory heritage) and that factor might come into play if some "preservation project" gets whipped up for the safe-keeping of historical perfumes. L'Osmotheque is a perfume museum but maybe something on a larger scale with other attributes that would allow more people of different walks of life to be able to partake in this rich tradition. Maybe have some recreations of historical fragrances on display (but not sale, since they won't meet with the criteria)? Maybe devote a line of recreated perfumes in some form that doesn't come in contact with skin or gets pulverised into air? I don't how this could be implemented, I'm just thinking aloud.

The matter of restrictions poses threats to modern perfumes as well (and not only those manufactured within the European Union, because very often the licenses and the sales directive involves Europe too, the most sophisticated luxury-consuming market of them all). Sylvie Polette, the marketing vice-president of Parfums Jean-Paul Gaultier, says: “Brussels will be killing off part of the profession: We aren’t able to rebuild everything in the same manner. This will instigate research, but it translates as a real constraint.” Frédéric Appaire, international marketing manager of Paco Rabanne states: "Our palette is diminishing. This is comparable to telling a painter he’s not allowed to use red, then blue or yellow".

Luckily for us these two prominent perfumers, under the aegis of LVMH no less who oversees classic fragrance houses, Thierry Wasser, in-house perfumer of Guerlain, and François Demachy, overseesing perfumer at Parfums Dior, are quoted in what is essentially a serious reference French newspaper, Le Monde. This means something, as it was often referenced that the industry "had been caught sleeping on the wheel" when these regulatory bodies were first founded, as per the words of a renowned perfumer.
It is also perhaps of some significance that there is a strong rumour that Tony Blair, former Prime Minister of the UK, after having quit M6, will be counseling for the giant LVMH luxury house in 2010 with a monetary recompensation that will run "into the six figures" (according to British Telegraph magazine and reported across the media). His aim will be to open the luxury brands into new markets, which basically means Asia (and possibly South America), come to think of it. Blair is already a JP Morgan consultant for Chase and Zurich Financial. The move ~if to be materialized, as it is neither confirmed nor denied for now~ recalls the announcement of Claude Chirac in the direction of PPR and the more recent one of the return of Patrick Ouart, counselor to Nicolas Sarkozy, as right-hand to Bernard Arnault at LVMH.

Whatever the case might be, there is some commotion happening across the luxury industry (LVMH in particular) which might be translateable into changes that might be beneficient to us, the consumers. On the other hand, if there has been speaking up, it most certainly has been with the proviso that every single quote has been carefully monitored by headquarters, as is the usual practice. Which might defeat the purpose, indicating part of a strategy. Let's wait it out and see.

For a complete list of IFRA restricted materials click this IFRA link. And here are the materials in use as of 31 Dec.2009.

For French-reading readers, here is the Le Monde article, in its entirety.

*The idiomatic phrase, which is very a propos in French (as "nez" means nose and also perfumer) indicates a major annoyance.

pics of Belayrmont building via wikimedia commons, Ed.Munch painting The Shout via last.fm.

Digital Scents and Teleolfaction

"One day soon you may be able to capture a fragrance snapshot of your environment and send it attached to a text message or email". Thus begins the fantasy of digitalised scents, the elusive captured into pixels that can be stored and tranmitted, a concept that up till very recently seemed as wild as colonising Alpha Centaur with men.
Still, cell phone companies are on the act already. The winner of 2005 Nokia innovation competition submitted a Scentpohone: One which was able to transmit the scents of the environment of the caller to the receiver of the phone-call. Samsung and Motorola each hold a patent for similar projects. Motorola's 2007 patent is for a small fragrance cartridge which releases aromas into the air taking energy in the form of heat from the telephone's battery, while Samsung's 2006 patent is for a perfume spraying apparatus. The hidden stuff is that patents delay the commercialisation of technologies by antagonistic companies, even though it's generally accepted that this concept will be exploited in the near future such as in the case of smell chip cards (which may be able to encompass 100 scents!) comparable to SIM cards; an idea that would find practical uses for the visually and audibly impaired as well as the scent-enthusiasts.

Listen to this: "Sitting right at your desk, you’ll soon be able to smell the roses—or baking bagels or honey-roasted nuts or crowded subway platforms—using DigiScents’ new iSmell, "a personal scent synthesizer." Now in beta testing, iSmell is a peripheral device you plug into a computer the same way you plug in speakers and printers. If you visited a Web site offering a whiff of fresh chocolate cake, for example, iSmell could pull down the code it needs to mix chemicals in just the right way and then release the designer aroma while you work on the Net. Or you could invent your own scents and add them to e-mails or a short story".[source] This not all too recent: "In 2000, Aromajet developed Pinoke, a device able to recreate smells associated with computer games. Digital signals written into software code trigger the aroma generator to emit precise amounts of the appropriate aroma. The American company also created E-Commerce Kiosk that have fragrance generating devices mounted inside to install the perfumes and cosmetics aisle of department stores. One of the ideas under development is a mother's scent programmed into an aroma generating device placed near a crib to help comfort a baby". [source] Adobe released its Net sniffer, Odorshop in 2007 but it didn't receive coverage. RealAroma's Web site (Real Aroma") advertises a box which ises "Real Aroma Text Markup Language" (and is even functioning on slow modems). Macintosh CEO Steve Jobs has also announced that he aims for future MaC computers to be able to handle odours the same way they're now able to play CDs. Art is also exploiting the concept: Usman Haque designed Scents of Space in 2002, a smell system which allows for 3D placement of fragrances without dispersion (as pictured in the top pic).

Jenny Tillotson, a researcher and designer at the University of the Arts in London, England, is responsible for materialising the concept and she compares it to an olfactory i-Pod (which sounds utterly cool!) "Tillotson produced the world's first interactive scent outfit. She called her prototype dress 'Smart Second Skin'. (You can read about this here) Smart because it senses the wearer's mood, 'second skin' because it interacts with the wearer and their environment". Another gadget produced by Tillotson is the button-sized 'eScent', based on bio-sensors monitoring changes in physiological factors (blood pressure, respiration and skin's electric potential) and signaling the lab-on-a-chip devices when there is some change in the above to accordingly adjust the released scent. "Though currently crude at detecting more subtle mood changes, the idea is that eScent will eventually be able to detect stress or anxiety and then release appropriate scents to soothe the wearer", as three quearters of our emotions are affected by smells, as the research team indicates (Sounds awfully much, doesn't it?), as well as help in coping with certain ailments.
"Another application is eMos, a button-sized gadget which senses the frequency of sound made by an approaching mosquito and triggers the release of a small amount of repellent. Tillotson says that she hopes that eScent and eMos will be on the market within the next five years".

And if that doesn't sound promising enough, there are also at least two companies who use digitalised scents: Storing primary smell blocks in cardridges and then combining them into a special built-in chamber before emitting them in the atmosphere, ScentDome uses this technology for scent-enabled websites as such as ScentTv.tv (a multi-media portal only reachable from the US for the moment), while TriSenx is a software provider for websites, but for now the most popular product is an audio CD almbut with an accompanying scent-track.

Still the possibilities for TeleOlfaction are huge, gaming and entertainment included: Imagine watching a TV series or film or a video/computer game and being able to smell the environment alongside the heroes, a concept already embraced by Japanese advertising since 2008, to astonishingly positive effect.
It looks like the future holds many scented surprises still.

Related Reading (links taken from we-make-money-not-art.com): A special headset that lets holidaymaker experience surround vision, sounds and smells, the IQ clothes , Cyranose 320, an electronic nose device to diagnose pneumonia and sinusitis, SNIF a fragrance patch that release more or less perfume depending on what kind of space you�re in, Zen-sorial car, the Sensory Gateway, robotic Judas roach, 3D scents.

Quotes from an article named "Digital scents" by Mico Tatalovic for Cosmos Online.

pics via greenamerican.us , we make money not art, and scentcom.co.il

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