Dior Diorama new re-issue 2010: Fragrance Review & Musings on Reformulation

When one of the revered classics gets re-issued, it is cause for celebration. Or disenchantment. It really is a delicate balance. Diorama is no stranger to various versions circulating through the years since its original creation by Edmond Roudnitska in 1949. (You can read our own review on this page) Alternatively dirtier/raunchier (perfume aficionado speak is "skanky") or like a bowl of sunny late summer fruit left on the table to ripen a tad longer than usual (thanks to the famous Prunol base which Roudnitska was so fond of), Diorama has had its phases. The latest one involves a re-issue, just this minute going downtown in specific stores wordlwide (contrary to its Parisian Avenue Montaigne exclusivity as of last year) and a different attribution: to François Demachy, creative art director and head perfumer at parfums Dior, rather to Edmond Roudnitska. What does this mean? Many things.

• First of all, the industry secret on it being reworked was revealed to me quite a while ago alongside the difference attribution, when approached by a journalist who wanted my input for his research on something concerning the brand and the perfumer. I hope to be able to reveal the length of our coming and goings in the future. But I digress. The matter is the attribution to Demachy signals a change in the formula. Surely, the formula had been tweaked a couple of times already, like mentioned above. But the name of the illustrious creator was guarded as a porte-chance (a good luck charm). Divesting it of its legendary lineage creates an enigma as to whether Demachy has gained full creative control at Dior under the LVMH shortage of budgets for creations or whether his talents are sort of "sold short" as I believed, especially given his tutoring under Edmond himself. (After all François Demachy did beautiful work when the formula restrains were either lifted momentarily for J'Afore L'Absolu or concaved into the inherent idea of simplicity in the style proposed, as in Escale à Portofino). Is an attribution of the reworking of an acclaimed fragrance the final test and the signal from LVMH that there is perfumer lineage there? Is it merely a marketing trick? Or a desire to highlight the role of their head perfumer?

• Another aspect is that the former unattainability of Diorama (being a Paris flagship Dior store exclusive) for most of the perfume lovers the world over is now into crumbles, even if the places of sale are not low-brow at all. Still, the opening to the Anglo-Saxon market signals something important in the luxury business outlook. Namely that creating a hard-to-get exclusive creates a frenzy (uncle Serge played this game first and best) but you have to make sure that that frenzy finds a way to invade the biggest consumer market of them all and the one more attuned to the Internet: the USA and North America in general. Ergo Saks is now carrying Diorama as an exclusive, catering for the increased awareness of classics and more obscure fragrances by an audience which was brought up on the Internet or delurked enough to take notice. It was with surprise I had found out last year that even regular fare which we consider normal perfume counter-material (Diorella, Miss Dior etc.) is hiding beneath specific counters in the US and you have to explicitly ask for them to try them out. Maybe LVMH has finally realised they're sitting on a (very) dumped down brand (lately) and decided to make amends? Let's hope so!

• Which leaves us with the actual fragrance of the re-issued Diorama. How does it smell like? To cut a long story short, it is still recognisably Diorama, meaning a ripe juice with plummy goodness embracing an unidentified white flower at the heart, somewhere between sweet jasmine and the caramelised scent of immortelle.
  Comparing with the till recently circulating re-issue on Avenue Montaigne one would detect some cleaning up which veered it further into Le Parfum de Thèrese direction with a bastardised peach overripeness rather than melon; and at the same time further away from Femme (both Roudnitska creations, the latter preceding Diorama, the former following it). It was still a nice perfume, but not on a par with the older vintages and I personally voted with my wallet for the contemporary bottles of Diorling.
  The Diorama re-issue of 2010, much like the 50s vintage versions, is closer to Femme with its patisserie density and its bosom-heavy cumin tonalities and sports a particularly vivid Damascena rose on its lapel alongside the peaches and plums. Still, the inky, muddy depth of oakmoss is flamboyant in its...absence. The new re-issue of Diorama feels more like a fruity woody with a thin voice than a traditional chypre with timber tibre, much as it tries...

The re-issued Diorama is currently a Saks exclusive in the US, and available at Harrods and Fortnum's in London. Dior is re-issuing their classics under an umbrella collection called Les Créations de Monsieur Dior (no matter that Dior died in 1957 before many were conceived). You can read all about those here.

Aftelier Fir and Roses: fragrance reviews

Mandy Aftel is behind Aftelier, a niche brand of all natural perfumes which has a cult following. Mandy herself is considered a perfumery guru. In her words: "When creating a formula, I aim to capture a sensuous feeling that results in an aesthetic experience that is both modern and luxurious [...] It gives me great joy when Aftelier Perfumes become part of people's lives and enhance their sense of luxury, well-being, and beauty". It was in that spirit that I came to sample two of her new solids, Roses and Fir. (Hot on the heels of the news that Mandy had collaborated with AHAlife.com where she was distributing a trio of her perfumes in elegant bottles, by the way). Solid perfume is a good idea, especially in our times as you can slip some into your handbag and travel through Draconian measures at airports or never care for accidental spillage. When they come in a beautiful compact it's even better. I haven't seen the latter, because my samples were poured into plastic, but I bet it's pretty as it's supposed to be Mexican sterling silver. But the important issue is what hides inside.

The fragrances are mixed into a base of organic unfiltered beeswax and jojoba oil and they meld at body temperature leaving behind a veil of scent. Roses is a warm honeyed rose aroma which smells lush and warm, that feeling of euphoria upon smelling the first blossoms absorbing the rays of a fondling sun. Contrary to most rose renditions in mainstream perfumery which project with a sharp and sour scent on my skin, natural essences of rose can veer into either liquer-like, almost boozy fruitiness or hesperidic-honey facets (it reminds me of honey harvested by bees grazing on orange groves). Depending on the dosage in the mix, they both do nice things on me, assuming they do not end up engulfing me. In Aftelier Roses despite the name, although unmistakeable a rose blend, the roses aren't agressive but reveal welcome spicy and incense-y nuances.
Fir is more of a classic resinous (and quite mossy!) composition which plays on many a perfumista's favourite tune: the smells of autumn in the country, a walk in the woods, leaves trampled underfoot... The overall ambience is one of gentle sweetness and a little bit of dustiness, as if I am striding into said woods, a cane on my side and tweeds on my back, never knowing I had that urge. The mossiness can be rendered through IFRA-defying revolt and I wonder just how many of the natural perfumers will continue to be able to source the proper materials to do so. At any rate, Aftelier Fir is warm and inviting, possessing a succulent quality which I cannot put in better words than "jammy".
But the best tip was given by Mandy herself: layering the two on skin (she even has one compact with the two scents featured side by side) creates the coveted effect of having roses stretching, reaching out for the sun in a big, shady forest. Autumn, here we come!Product samples are available on this Aftelier page.

Photo of "Roses in the Woods" byWithrow/flickr, some rights reserved.
Disclosure: I was sent two solid miniatures/samples by the brand itself.

Guerlain Rose communelle, new Shalimar bottle by Jade Jagger, Parfums d'Amour book by J.P.Guerlain

Two clips concerning Guerlain perfumery via Wim Janssens who is an ardent Guerlain fan:
First the journey of the perfumer to Bulgaria to pick Bulgarian rose batches for the creation of the Guerlain "rose communelle" (the term used to denote the "blend" that becomes the Guerlain signature for that note)
Wasser choosing roses in Bulgaria
The other is centered on the creation of the new Shalimar bottle designed by Jade Jagger, explaining the vision between the modern, fresh look and the traditional design of this emblematic oriental. The footage comes from the press release at the Ritz, Paris.
Jade Jagger: "I wanted something modern and fresh"
Worth a look!



Jean Paul Guerlain on the other hand is coming out with a new publication via Le Cherche Midi. The new book penned by Jean Paul Guerlain is titled "Parfums d'Amour" and will be in French. In it he highlights his eternal love for vanilla while at the same time he promises to uncover some of the 'secrets' behind the creations of Samsara, Spiritueuse Double Vanille, Nuit d'Amour, Cherry Blossom, Habit Rouge, Vetiver and Vetiver pour Elle. Along with the book a 15ml vial of Spirituese Double Vanille will be included. "Parfums d'Amour" will be available in Guerlain boutiques from October 1st, 2010 and more widely distributed from 21st October onwards. Jean Paul is also the author of another book which takes the form of journey souvenirs for his many fragrance expeditions to source fragrance materials for his family business.
And don't forget: M.Guerlain will attend an evening of book signing on 30th September at the Champs Elysées boutique!

photo from the Guerlain boutique at Le Marais (thinkretail and elisadefeudeau

Frederic Malle Portrait of a Lady: new fragrance

Les Editions de Parfums Frédéric Malle have ventured into home fragrance lately (here & more below on this post), but the fine fragrance department was seemingly neglected for a while. Portrait of a Lady, their newest feminine fragrance is going to change all that, introducing another coveted item in the niche line. The name is of course inspired by the same-named novel by Henry James from 1881, focusing on a heroine who afronts her overwhelming destiny with all the tragic mood of a classical Greek tragedy and set in a context which clashes the Old and New World sensibilities to great aplomb.

Composed by Dominique Ropion (who had collaborated with Malle on Une Fleur de Cassie, Vétiver Extraordinaire, Carnal Flower and Géranium pour Monsieur), Portrait of a Lady, the upcoming F.Malle fragrance, is centered around rose alongside spicy notes of clove, cinnamon and incense, developing a complex sillage that is promising to be oscillating between an oriental and a chypre. After all the F.Malle Une Rose is indeed almost chypré already. The woody note in Portrait of a Lady is patchoulol, a terpene extracted from natural patchouli, whose one isomer is responsible for the scent of patchouli itself. This refinement allows to avoid some of the technical problems of using the unfractured patchouli and leads to a purer scent. Rose and patchouli have been a beloved theme of modern perfumery in the last decade with several worthy speciments in niche fragrances, from Voleur de Roses by L'Artisan to Lady Vengeance from Juliette has a Gun. But the orientalised take and the spice addition alongside the smokiness of incense seem like a novel take that seems exciting and promising. Could it prove to be the perfect Gothic rose fragrance that sometimes people are seeking?
Portrait of a Lady will retail from 145 to 215 euros for 50ml and 100ml respectively, available from November 2010.

In the home fragrancing front, ‘Diffuseur Solitaire’, a non electric minimally designed new gadget, shaped like an aluminum cylinder in either black or metal-finish adapts itself to confined spaces. The more modest price point (compared to the 360 euros that were asked for Fleur Mécanique) is another advantage. It is for the moment offered in re-worked scents of ‘Coffee Society’ and ‘Saint des Saints’ (review on the link) which were originally developed for the scented candles in the F.Malle line. But the recharges of the Fleur Mécanique line have also profited from a lifting: a new concentration extrême, touted as more than 50 % is being presented as "+" version.

All pious at the Malle shrine, enter!

Diffuseur Solitaire : 85 euros ; Recharge "+" : 55 à 75 euros, available on the oficial site editionsdeparfums.com/

Related reading on Perfumeshrine: Upcoming releases, Frederic Malle news & reviews

pic via osmoz

The Perfume Diaries ~ A Private View

~by guest writer Fiordiligi

On Tuesday afternoon, September 14, 2010, a small group of people had the tremendous privilege of attending a Private View of the Harrods exhibition The Perfume Diaries hosted by the curator, Roja Dove. (If you missed the previous reportage of the Guerlain evening, please read this article). The exhibition, the brainchild of perfumery buyer Emma Hockley, is the biggest that Harrods has ever staged and Roja’s reputation in the industry is such that legendary perfume houses, as well as private collectors including Roja himself, have lent priceless items, many of which have never been seen in public before.

Structured by reference to socio-economic influences over the past century, the exhibition opens with an explanation of the standard construction of perfumes (the pyramid) and the recognized fragrance families and moves on to mouth-watering displays of rare and beautiful items decade by decade. The initial display covers the century from 1800 to 1900 and Roja, a born raconteur, had his audience spellbound explaining the birth of perfumery in England and, later, in France. Many amazing examples were on display, including the original bottles of perfume made for Queen Victoria, Prince Albert and Napoleon. Roja explained that in the early days there was no such thing as advertising and bottles were generally of a very simple apothecary style, but with large labels indicating the content. The hope was that passers-by would be enticed by the labels and drawn in to the shop to make a purchase.

We are all familiar with the idea of eau de toilette but the origin of the term was explained by Roja. In the very early days, toile (cloth) was scented with oils, dried, scented again, dried again, and so on, until it became thoroughly impregnated with perfume. It was a very costly luxury. The toile was then used, dry, to rub down the body after sleep and provide freshness and scent when bathing was not terribly common! After this start, it evolved into the liquid product called eau de toilette which we all use today. Roja pointed out an incredibly rare sealed bottle which was the original eau de toilette (“water from the little cloth.”)

In the beginning of the 20th century, great houses such as Guerlain, Houbigant and Piver moved from the simple soliflore scents they had been producing and started to give their perfumes fanciful names (how about Voila Pourquoi j’Aimais Rosine?) as they started to use some of the modern synthetics to make their fragrances more complex. Roja joked that celebrity scents are nothing new, as Guerlain named one of their perfumes Jasmiralda (and yes, there is a full bottle in the exhibition) after Esmeralda, the heroine of Victor Hugo’s popular novel Notre Dame de Paris.

The genius known as the father of modern perfumery, the Corsican Francois Coty, revolutionised the perfume world in the early part of the 20th century, not only with his wonderfully innovative creations but also with the presentation of his scents. He had his friend Baccarat make bottles and another friend, a jeweller by the name of Rene Lalique, make labels and boxes for his perfumes (previously unheard of). The rest, as they say, is history.

The 1920s saw the launch of many masterpieces, and the creation of Chanel No 5 in 1921 with the use of aldehydes was a milestone. Roja showed us an exhibit which belongs to him – a red leather box containing Chanel No 2 (never produced commercially), Chanel No 5, Chanel No 11 (again, not a commercial production) and Chanel No 22. His box is the only one known in the world!

As the exhibition moved through the decades, the stories came thick and fast. We saw the fabulous silver ship presentation of Patou’s Normandie which was presented to every lady in First Class on the inaugural voyage of the luxurious transatlantic liner of the same name. The example of the bottle on display is numbered one, belongs to Roja and was recovered from a skip where it had been jettisoned after Patou was sold.

In the 1940s the wind of change was sweeping through the world after World War II and it brought with it fragrances such as Vent Vert and Miss Dior. One of the few non-perfume exhibits is the original dress from Dior’s New Look collection of 1947, named Miss Dior. Roja also pointed out a bottle in the shape of a dog, called Tian, which contains Miss Dior. This incredibly rare item is named after Monsieur Dior’s dog, called Tian as a diminutive of Christian, his owner’s name.

As we moved into the 1960s Roja talked about the social changes which would have such a huge influence on everyone – the Beatles, the Pill, the mini-skirt and the new freedom of the decade. Dior launched Eau Sauvage which capitalised on the new synthetic hedione (a jasmine derivative). Such was the influence of this scent that just about every perfume made since that time has incorporated this element. Roja showed us an unbelievably rare bottle in the familiar Eau Sauvage ribbed style but with the label Favorit, for that was to be the name until a Dior employee named Monsieur Sauvage, always late for meetings, walked in one day, late as usual, and a colleague said “oh, Sauvage!” The perfume had its new name.

The display for the 1980s had everyone laughing and amongst the tales of excess was the one recounted by Roja which was that when Giorgio was released there was a line outside Harvey Nichols in London stretching right down the street every single day as people rushed to buy this blockbuster! It is also interesting that the first true celebrity fragrance appeared in the 80s, and it was Elizabeth Taylor’s White Diamonds.

The 1990s, with the rejection of excess and embracing of minimalism, together with the fear of HIV/Aids, brought us the anti-scents of Calvin Klein’s Escape and Issey Miyake’s l’Eau d’Issey, using the synthetic Calone, previously used to fragrance detergents. It also brought us the return to childhood which is the sweet and sticky candy-floss of ethyl maltol found in the astonishingly successful Angel.

None of those present wanted the guided tour to end, but after almost two hours we landed in the present day with its “sets” of fragrance, such as Cartier les Heures, Chanel’s Les Exclusifs and Van Cleef and Arpels range. Roja pointed out that this craze for a group of perfumes was started with Guerlain’s Aqua Allegorias and Jean-Charles Brosseau’s Fleurs d’Homme, so there really is nothing new under the sun.

Among the highlights of the afternoon were the incredibly rare early bottles and all the amazing Guerlains, many in mint condition and in very large sizes, all described so vividly by Roja. Next time you feel guilty about buying perfume, remember that until relatively recently, perfume extrait was sold in 30 ml, 60 ml, 120 ml and 250 ml bottles. The little 7.5 ml size was for a lady to keep in her handbag, before the advent of the travel-sized atomizer. And Hermes made (unsigned) coloured leather or crocodile cases for Guerlain, containing bulb atomizers to fill with your favourite scent. Imagine!

A few of the other special items on display and their stories:

• The Baccarat Papillon (bow-tie) bottles were made of blue glass and covered in gold (they originally contained Guerlain’s Coque d’Or) but some were not covered in gold. Why? Well, the factory doing the gilding burnt down!

• Receipts and bills for Marie Antoinette, who had the Sevres factory make porcelain flowers for her garden at Versailles, which were scented every day with her favourite perfume.

• A large leather ledger from Floris shows orders for the King and Queen. The late Queen Mother paid her Floris bill by Postal Order!

• A “plan” of the Chanel No 5 bottle (i.e. the view looking down from above on the stopper and bottle) reveals itself as a diagram of the layout of the Place Vendome in Paris.

There is so much to see in this museum-class and absolutely enthralling exhibition and anyone who can manage to get to London should make a point of visiting as soon as possible.

pics via cultbeauty.co.uk, vintageposterart.com, britishbeautyexperts.com, quirkyfinds.com