Francoise Caron: A Woman for All Seasons

"Françoise Caron's long line of perfume creations reads like a diverse and stylish list of artistic accomplishment, with nary a misstep, yet always with the harmonious feel one gets upon wandering amidst a Greco-Roman glyptotheque: From one of the most enduring classics of modern perfumery, beloved by anyone who comes into contact with it, L’Eau d’Orange Verte for Hermès, to niche offerings such as three Eaux de Cologne and four candles for Astier de Villate, all through the formula for the signature scent of the Angel body line (Thus befittingly augmenting her brother’s, Olivier Cresp’s, oeuvre, since it was he who composed the original Angel scent).

L’Eau d’Orange Verte began its career on the bathroom shelves of dandies and chic bourgeois girls as well as traditional men who just wanted to smell good, with another name: It was issued as Eau de Cologne d’ Hermès in 1979 (the name was changed in 1997) after a brief was issued to perfume-producing companies in which Jean Claude Ellena, current in-house perfumer at Hermès, had also submitted an entry. Triumph ensued very soon: This was seriously good cologne; tangy, bright, and happy-smelling, projecting at a cool radius to everything it touched, remaining timeless and effortless to this day. Its panoply of classical arms is its success: the traditional Eau de Cologne weapon, the sour tang of bitter orange, cutting through heat like a scimitar; the herbal-green accord rustic and Arcadia-evoking...

“An eau de cologne needs to be simple, with top notes that aren’t heavy, that don’t purport to stay on long; yet simplicity doesn’t mean absence of personality either” she notes, upon the 30th anniversary of the fragrance’s launch. “It also needs to be cooling”, its alcohol content a major constituent of the refreshing feeling it produces upon evaporation.
The effect is reinforced through the secret inclusion of a little mint and that ace in the sleeve, blackcurrant buds, offering a fruity touch with a catty whiff. Françoise is still profoundly touched whenever she encounters her creation amidst the hotel toiletries offered at some of the world’s choicest hotels..."

This is only part of a longer perfumer's portrait article on Françoise Caron which appeared on Fragrantica. Click this direct link to access it.

Jean Claude Ellena: Some of my creations, having undergone as many as 20 market tests, were completely distorted!"

"I really want the client to interpret my fragrances on a personal level. I anticipate ‘weaker’ moments in my perfumes, so that clients can take the time to get used to them and make them their own. This is very important to me, but it is totally out of synch with the current market." - Jean Claude Ellena

The master perfumer at Hermès and legendary nose among this eclectic set of artists, Jean Claude Ellena, has been generous to us with both his time and his mind yet again into sharing his views on what constitutes art in perfumery on independent platform Perfumism.com, the venue where industry insiders and perfume aficionados meet.

You can follow this link to read his fascinating and very honest views on perfumery and how he chooses to work. And leave a comment there (click "comments" under the article to do so), if you'd like to ignite discussion with like-minded people and get heard by Jean Claude himself!

Photo via Ray32.kazeo.com

Chandler Burr Scent Dinners now on Video

We have referenced the gastro-olfactory synergy which writer and perfume journalist Chandler Burr has been creating for his guests at his Scent Dinners. Now for those of you who missed them, there is video footage to watch so you can get a glimpse of what they entail. Next best thing to actually being there... The first video is from Burr's dinner at The Four Seasons Restaurant with chef Fabio Trabocchi. The second video comes from Nathalie's, an expensive but wonderful restaurant in Camden, ME, where Burr collaborated with chef Lawrence Klang. Click to watch!

Guerlain Cologne du Parfumeur: fragrance review & draw

If we lamented the course of Chanel the other day, today is Guerlain's par for the course. Although I am a fervent fan of the house and have worn almost everything ever produced with pleasure and reflective appreciation over the years, I can't warm too much towards the latest Cologne du Parfumeur, especially after the very good and very "Guerlain-feeling" Tonka Impériale which had produced a coup de foudre.
Cologne du Parfumeur comes as the latest installment in the Eaux de Cologne line of classic eaux by Guerlain and the delineating of a continuing tradition is at the heart of the launch's philosophy with a refurbishing of the bee bottles to bear the names of the perfumers who composed each of them: Following in the footsteps of L’Eau de Cologne du Coq (1894), L’Eau de Cologne Impériale (1853) and L’Eau de Fleurs de Cedrat (1920), in 2010, Thierry Wasser presents ‘Cologne du Parfumeur’, issued in May 2010, a creation that Thierry admits having originally thought of for himself.

The key note is Calabrian orange blossom intertwined with other citrus fruit. Yet this fairly classic accord also has a ‘modern twist’ thanks to green, musky and sweet facets. The designer acknowledges that it can be worn alone or layered with your usual scent (and I can totally see the latter). The practice of hereby chronicling the heritage of the house by naming each successive perfumer on the eaux bottles themselves also indicates that the more cynical amidst the perfumeland ~who have been bemoaning the LVMH takeover as the cultural ruin of Guerlain for long~ are being heard. Possibly (but not conclusively) this is also a move to assuage the negativity of the Guerlain detractors being vocal on the Net.

The fragrance however removes itself from any traditional Eau de Cologne mould, injecting an opaline green rather than distinctly herbal/aromatic touch (a hint of rosemary instead of the fuller pungent lavender and bouquet de Provence) atop a very "clean" (not tart!) orange blossom (see Yves Rocher or Prada Infusion des Fleurs d'Oranger) and a pale woody musk at the base which produced a "white" effect. But whereas the dry feel of "vegetal" musks worked superbly (and daringly) in Hermes's Eau de Gentiane Blanche, evoking white washed rocks under a hot sky and staying bitterish and insolent, Guerlain's Cologne du Parfumeur feels pale and wane in comparison, too tame & behaved for a vegetal musk, whereas too subdued and sanitized for a Mediterranean cologne; and believe me, I grew up with the latter. Like the perfumer's country of origin, this is Switzerland among perfumes: Always neutral, never engaging in exalted passions, and sometimes reminding me of the very unfair ~yet perfectly witty~ criticism of Orson Welles: "In Italy for thirty years under the Borgias they had warfare, terror, murder and bloodshed but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland, they had brotherly love; they had five hundred years of democracy and peace and what did that produce? The cuckoo clock.”

But of course Thierry isn't to blame solely. Decisions are very rarely only taken in the lab! The cologne is perfectly unisex, undoubtedly pleasant, reminiscent of several familiar themes, but it doesn't really cut through the "white" gauzy net of eaux that flood the market currently, which is its major disadvantage.
Cologne du Parfumeur has average tenacity (not at all bad for a cologne) and subtle sillage, but ultimately it reinforces the idea of Guerlain's "Diorisation" after the take-over by LVMH, a plight which is not ultimately desirable by neither core fans of the brand, nor new audiences who can find catchier names and catchier marketing featured in glossies from other brands.
It is available from May 2010 on those Guerlain counters which carry the Eaux line in a redesigned bee bottle bearing a label with the perfumer's name on it.
Please note the moniker "Les Exclusifs" under the Guerlain name and funnily enough...the French definitive article before the name Cologne (i.e. La Cologne).

Notes for Guerlain Cologne du Parfumeur:
Citrus, Amalfi lemon, African orange blossom, rosemary, mint, lavender, musk.

I was honoured to be sent a generous preview decant from a very dear friend and in appreciation of their kind offer I am extending one sample to a lucky reader. State your interest in the comments! Draw will remain open till Wednesday 8th June midnight.

Read another view by Octavian. Illustration via getnouveau.com

Chanel Chance Eau Tendre: fragrance review

It's always a frightful day when a respected brand falls down from the skies into the puddles of stagnant water in the pedestrian crossing. The introduction might seem dramatic, but it is necessitated. Chanel has so far benefited from a lofty image, a steel-handed management thanks to the Wertheimer brothers and an in-house perfumer, Jacques Polge, who has steered the house into a more or less coherent direction for decades. But it seems that this course has lately diverted: The two flankers of Chance, Chance Eau Fraiche and now Chance Eau Tendre alongside a couple of forgettable masculines, show clearly that Chanel takes into consideration the market angle more than it is getting blame for.

In the case of Chance Eau Tendre the effect feels like dumping down, instead of modernizing an idea for a young audience; unlike the excellent No.5 Eau Premiere which took a classic and flew it into the ethers of poetic but approachable Elysium. In short, Chance Eau Tendre is only technically a well-crafted formula (good tenacity, plenty of sillage, coherent notes in unison) but artistically it's a plea to the lowest common denominator. And that's surprising from someone as skillful as Jacques Polge who clearly knows better, so it cannot be anything but a deliberate marketing decision from above.

A soapy fruity on a white musk base which recalls every similar major department store launch of the last coupe of seasons and in particular Daisy by Marc Jacobs. No offence to Daisy, but there is something seriously wrong when a Chanel fragrance starts smelling like Daisy. The fabric softener (on pale woods that read as non-descript) feel is especially in contrast to the haute ambience of other Chanels, even in their modern versions. There was a hint of a diversion when Beige by Chanel was launched in Les Exclusifs sub-line, its approachability and pastel-coloured smile easier and friendlier in its mien than other specimens. Yet whereas in Beige this worked due to the overall honeyed floral character and the suaveness of the hawthorn note which enveloped in a hug, in a fruity white musk composition any such intention falls flat and feels like an air-kiss at a social gathering of no greater importance than the pocketbook.

A pity...I wonder how well Chance Eau Tendre will sell, since similar smells can be had at a lower price. Then again, the whole axis of a luxury brand lies in selling even mediocre products just because they bear a prestigious name...

Might I remind you that the upcoming masculine is called Bleu de Chanel, scheduled for release in August 2010 with an international ad campaign shot by Scorcese as previously announced. As for the scent itself, according to the website RelaxNews, "it is fresh and woody, with notes of citrus, pink pepper, mint, ginger, jasmine, cedar and patchouli". [source]


A propos: L.Turin had said it best talking about brands: "To borrow terms first applied by 19th century journalist Walter Bagehot to the monarchy, brands have both an "effective" and a "dignified" function. [...] The dignified function is image: the buyer advertises his purchase to others.[..] That label, not the white baby sealskin bag to which it is attached, then gradually comes to mean "money". In other words, it becomes a currency. Once you have a currency, you can do lots of fun things with it. You can debase it (real Vuitton bags); you can counterfeit it (fake Vuitton bags); but best of all you can play on the fact that all currencies work by mutual consent. In other words, if you can persuade the rich to use your debased coinage, then the poor who buy real fakes and fake fakes will not feel shafted or silly and the scam becomes self-sustaining. [...] This is what is called brand "mystique" and it works best when those who produce the lies believe in them. [..]You have to believe, and to communicate the belief, that there is something intrinsically different about an object that bears a particular name. This is not a new trick: the aristocracy has practiced it to great effect since the French Revolution. A titled name used to mean having, it now means being. Titles are, in marketing terms, the human limited edition. What this means in practice: you've just bought a frog, but the ads swear it's a prince".

Notes for Chanel Chance Eau Tendre are:
Top: grapefuit, melon, quince
Heart: hyacinth, jasmine
Base: iris, white musk, Virginia cedar, amber

The campaign is fronted by Sigrid Agren, and photographed by the legendary Jean-Paul Goude, a longtime collaborator of Chanel parfums. Chanel Chance Eau Tendre will be available as an Eau de Toilette in 50ml/1.7oz and 100ml/3.4oz at major department stores.

Illustration via Foliadesign