Between Work and Play...

The end of the road for 2010 finds me juggling a million things on my admittedly less than perfectly agile hands, trying to reconcile the business side of things of being a fragrance writer and historian with the aesthetic hedonism for which you have come to know me. An intermezzo which will promenade my shadow alongside the Elysian Fields is called for, that might keep me from too much technological access. There are a couple of scheduled posts however, so you might peek for a few surprises and many tasty nuggets as soon as the machine gets re-oiled and back at full swing again. À très bientôt!

"Diorissimo was used to conjure up images of the suffocated American housewife"

"It's a rainy Tuesday night, and I'm in a basement club in London wafting a perfume-impregnated cardboard stick under my nose. It smells good. I can detect a delicate floral note. But then I pick up the distinct aroma of cigarettes. The perfume is Jasmin et Cigarettes, a tobacco-infused scent made by Etat Libre d'Orange". Thus begins the article on The Guardian by Leonie Cooper concerning a decidecated group of fumeheads who assemble to watch movies enhanced by the experience of scent, much like Polyester by John Waters had ventured to do decades before. "This is Scratch and Sniff, a series of events aimed at enhancing our understanding of the arts through smell. Each month, a group of around 40 people gather to sniff perfume while watching film clips, or listen to talks about geography and history. This event is called Scent of the Movies and involves sampling unusual scents like Jasmin et Cigarettes, and then matching them to film clips – the idea being to make us think of what a film might smell like." Retrospectives are also indulged, last February comprising a history of the 20th century in scent and film making, combing two passions into one and including classic and unusual fragrances that would help perception. Much like Far from Heaven reprises the Douglas Sirk melodramas of the 50s, this is a reverse exercise meant as both homage and inquisitive gaze into an unknown parameter of the aesthetic pleasure. "I did enjoy the scent for Brokeback Mountain, though. It was called Lonestar Memories – and it smelt of campfires" concludes the writer. Mr.Tauer, I think you have created a classic reference!

And on to you: What is your favourite film and scent coupling? Or which scents would you like to experience/wear while watching movies?

Top photo still from film Far from Heaven starring Julianne Moore

Perfumery is Art: Permanent Center of Olfactory Art at the Museum of Arts & Design NYC

It was about time! New York City will be the pioneer metropolis to host an official permanent installation featuring perfume as an art form. The Center of Olfactory Art will consolidate the idea that perfumery is an art form, much like other arts (fine arts, cinema, design etc) and the exhibition will be hopefully renewing itself for the foreseeable future. Who will curate this new wing of the museum? Someone who is well known among fumeheads, Chandler Burr (click here for a comprehensive interview with him).



"The nose rarely figures in the sensory experience of a museum visitor. That is about to change at one New York City museum. The Center of Olfactory Art dedicated to scent as an art form was launched at the Museum of Arts and Design on Thursday."What we're going to be able to do ... with the center is place scent directly in the mainstream of art history and demonstrate that it is the equal of paintings, sculpture, architecture and all other artistic media," said Chandler Burr, the former fragrance critic of The New York Times whom the museum said it hired as its -- the country's -- first curator of olfactory art. More a curatorial department within the museum than a separate entity, the museum created the new center because "scent is a really interesting part of the world of design," museum director Holly Hotchner told The Associated Press.It fits the institution's DNA as a "sensuous, sensory-orientated museum" where patrons can touch and feel many of the objects. And of course, smell is as much a part of the senses," she added.The center will present its first exhibition, "The Art of Scent, 1889-2011" next November, examining the reformulation and innovation of olfactory works by some of history's best-known perfumers through 10 seminal scents.An audio guide, narrated by Burr, will explain the context in which they were created. Each perfume will be identified only by artist and year to allow visitors to appreciate each as an independent work.And don't expect fancy fragrance bottles, brand perfumes, design graphics and packaging to be part of the exhibit. Visitors to "The Art of Scent" will experience each fragrance along a 6-foot-wide path that will follow the curvature of the gallery wall where buttons on a specially-design atomizing machine will release "the work of art."With the center's launch, the MAD is the only museum to study fragrance as art. A museum in Grasse, France, focuses on the history of perfume and another perfume museum in Madrid "is entirely about bottles," said Burr, who is also the scent editor at GQ magazine and the author of two books on scent.

Burr also clarified something on the above, where it's mentioned that "He will also conduct scent classes." He told us: "Not exactly. I'm not going to teach classes, which is what it sounds like, I'm going to organize talks with perfumers who will lead interactive lectures "in which participants will learn about various raw materials that constitute fragrances, such asUgandan vanilla, Peruvian pink peppercorn, Laotian benzoin, and Rwandan geranium (sic), and will curate a series of lectures and workshops that bring thework of distinguished scent artists to life in MAD's Open Studio andartist-in-residence programs."

Check out the Museum of Arts and Design at http://www.madmuseum.org/

The winner of the draw...

.....for the Tauer advent bottle is Maria (perfume decadent). Congratulations and you've got mail. Thank you everyone for the wonderful participation and the enlightening comments! Till the next one.

Hermes Hermessence Iris Ukiyoe (2010): An Off-Beat Fragrance Review from a Club Patron

~by guest writer AlbertCAN

Voici des fruits, des fleurs, des feuilles et des branches

Et puis voici mon coeur qui ne bat que pour vous.

Ne le déchirez pas avec vos deux mains blanches

Et qu'à vos yeux si beaux l'humble présent soit doux.

J'arrive tout couvert encore de rosée

Que le vent du matin vient glacer à mon front.

Souffrez que ma fatigue à vos pieds reposée

Rêve des chers instants qui la délasseront.

Sur votre jeune sein laissez rouler ma tête

Toute sonore encor de vos derniers baisers;

Laissez-la s'apaiser de la bonne tempête,

Et que je dorme un peu puisque vous reposez.

(Here - some fruit, some flowers, some leaves and branches,

And here - my heart which beats for you alone.

Do not rend it with your two pale hands,

But let it be a small gift, sweet to your beauteous eyes.

I arrive covered with dew,

Which the morning wind freezes upon my brow.

Suffer me in my fatigue to lie at your feet,

Dreaming of sweet moments that will revive me.

On your young bosom let my head rest,

Still filled with your last kisses;

Let my thoughts subside after such a wondrous storm

And let me sleep a little while you lie by my side.)*

--Green by Paul Verlaine (1844-1896), from Romances sans paroles (1874)

No, the world hasn’t bestowed me the gift of colour blindness, but synesthesia deftly filled my mind in delicate verdant extravagence with the Paul Verlaine poem above; more precisely, in true Symbolist fashion,the aquarelle images of the poem glow in succinct progression one after the other. It happened late afternoon today, as I was sampling Iris Ukiyoé, the ninth instalment of the Hermessence collection by in-house master perfumer Jean-Claude Ellena, at the Hermès downtown Vancouver boutique.

At this point many avid readers of Perfume Shrine—and my humble blog Les Tuileries—might just know the idiosyncrasy of the paragraph I just composed. By courtesy I should have cited Ellena’s muse, Water Iris and Grasshopper by Hokusai, and based on all official press release to date I doubt my mental short-circuit would be even considered logical by merit—but strangely enough my private recitation of the poem in hindsight is nonetheless a gentle launch pad in order to dive into the diaphanous story. Still, I should probably backtrack myself a bit and talk about how I got there, for the anecdote is probably one of the most bizarre episodes I’ve ever encountered: one could say that I was stranded in Hermès!

My tale to be told actually started this May when I requested maintenance service to my vintage khaki green Ex Libris silk scarf, since the once plump hand-rolled edges got dutifully flattened by a callous dry cleaner. It was the fourth time I went through a repair process at the downtown Vancouver boutique, and by all accounts everything was going to be routine—my sales associate sat down with me, examined the conditions of the item and filled out a specific form. Six months flew by and I figured, like all previous three times, I would simply show up and collect my treasure—in and out, ten minutes top.

Except this day, December 6th, wasn’t just a typical Monday: the intimate store was packed with patrons. My lovely sales associate Irina was in fact running around because she was in the midst of an intricate watch consultation. Ten minutes flew by before she had a chance to chat with me, “I’m so sorry, Albert! Your scarf is all ready for you.” And she turned to her colleague (who shall remain nameless for reasons that would be soon obvious) and said, “The client is here to pick up his scarf from Paris. It’s in the back storage room.” Irina promptly left, I was asked if I have my repair form with me.

Upon being told that I did not have my maintenance form with me the sales associate started raising her voice, “Just so you know, you will NEVER be able to pick up your item unless you have your form with you! Did you get a call from us?” There I was, in the middle of the showroom, with everyone looking at me! I was horrified as I explained that nobody in the past asked me to bring the form back and it was, in fact, Irina who helped me with the maintenance process last time so my identity should not be in doubt. Without the slightest pause the sales associate replied, “Very well, it’s probably best that Irina help you. Have a seat.” After expressing my desire to explore the store further the lady didn’t budge. “Have a seat.” It was then that I felt like a disobedient puppy that got thoroughly disciplined, but fortunately that was when I noticed the new Hermessence so I had something to do while waiting for Irina to come back. Five minutes went by; ten more minutes went by; another fifteen minutes went by as I immersed myself in Iris Ukiyoé, and my personal discourse with Verlaine promptly started.

To be frank I was prepared to be surprised by the opening of Iris Ukiyoé, but nothing could prepare me for the neo-classical eau de cologne effect of the fragrance opening, complete with a tart green tangerine, petitgrain, neroli—except a mildly bitter vegetal/floral axis kept the whole story on track. And lo and behold the abstract floral effect started to take shape, aided no doubt by a slight aquatic, lily-like effect that Ellena visited in Vanille Galante (2008). Now I should note that the sillage, given its combination of lily and the refreshing bitter elements, reminds me of the original Issey Miyake L’Eau d’Issey (1990), but done so in a much more delicate, precise manner, meant as an evocation of morning dew instead of a mini zen waterfall.

I would be very hard-pressed to report that orris, the traditionally powdery extraction of Iris pallida, is actively present. And my experience with Hermessence has taught me not to take any launch after Osmanthe Yunnan (2005) at face value: and since Paprika Brasil (2006) was a manifestation of spice via orris, Vanille Galante a study of vanilla from lily I presumed that this iris would come out of cocoa, as Ellena previously stated. The hypothesis, of course, is null. What we have here is an abstract blossom of Iris germanica, modern hybrids to be exact.

What most perfume brands would not tell consumers, while enamoured with the aspirational prowess of the costly orris root (with the scent best described as violet covered in chalk—works wonders when the right amount of gravitas should be called for, as classically demonstrated in Chanel No. 19 parfum), the mauve blossoms of Iris pallida smells exactly like inexpensive grape candies: quite sweet, in fact. Now the flowers themselves, which display the classic fleur-de-lys shape, are at no fault, but its harsh grape-scented accent would prove to be too strong in a fragrance.

Blossoms from the modern hybrids of I. germanica, on the other hand, are the almost exact opposite: the French word inclassable comes to mind. Based on the ones I’ve sampled a norm doesn’t exist, but most have a citrus backbone with a dash of fresh rosy nuance—soft and somewhat non-descript to be honest. (It doesn’t help that most irisarians value the bloom visuals over scent, and that the scent changes once cut.) Thus in order to create this iris Ellena needs to conjure up ghosts—a dash of non-descript floracy here (IFF’s hedione supérieure, complete with its clean jasmine facet, would be my guess), an icy rose accord there—to bring the whole thing to shape. In fact I would attribute (applying my no-doubt elementary perfumery knowledge here) the orris effect, which murmurs pretty much at the end as a velvety touch, more to a tea-like methyl ionone rather than orris absolute.

So in this sense of hologramism that I consider Iris Ukiyoé true to the original transient nature of its Japense namesake artistic genre: so fragile that it never was, because it was precisely never there in the first place. Behind each ukiyo-e print block is a Buddhist caveat: it’s a painting of the floating world, and with the next turn of the world the picture would be all that remains. Iris Ukiyoé isn’t a realistic decoding of an iris blossom fragrance, nor has that been the point all along: it’s a composition of bubbles threaded together with precision, but done with so much care and quiet observance that one forgets the mosaic tiles, instead marvelling at the hologram.

In fact it’s that exact care coming from Ellena that, at least to me, differentiates Iris Ukiyoé from mass launches: not only there’s cohesion in fragrance development, it feels as if the olfactory structure has been thoroughly hollowed out and knocked down before the whole was put together. To me this is very much a continuation of Ellena’s Hermès survey to the aquatic world ever since Un jardin après la mousson (2008), with a detour at Vanille Galante. But the story is there if one looks for it. The challenge to Ellena, of course, was to create an aquatic without using the traditional aquatic elements—Calone, musks... The master perfumer is averse to both, so a hologram on top of an iris blossom hologram. Still, underneath all that aquatic/ citrus / floral verdency lie a gentle frankness, a tenderness that reminds me of the Verlaine poem above. It’s the syntax after all, perhaps.

At this point I should recap what happened to my scarf. After 35 minutes of waiting, a third sales associate came along. Wendy—whom has seen me at the boutique for four years running now—asked me if I’ve been helped. Technically no, and I wasn’t amused…but she overheard what happened, so she quickly asked my name, dashed to the storage room and found my scarf. All done, wonderfully repaired—and true to Hermès generosity I was asked a reasonable price to compensate for the craftsmen’s effort. That’s why I’m here, I signed as I took my scarf back.

But that’s not the end of the story: Irina wrapped up her consultation around this time and apologized again for her delay. (She’s truly one of the best I’ve known.) And without hesitation she gave me samples of Iris Ukiyoé, and since the classic scarf box was out of stock a new rectangular Hermès orange box, enclosed with an additional box in the motif of Mosaique au 24 was given instead. All this was done with more apologies for the delay and the gentle explanation from Wendy that security measures would have to be performed for maintenance items. (I was promptly asked for my ID and my autograph on the official maintenance form.) Without a doubt I replied that, having been working at a major international financial institution for almost a year, while I can appreciate the thoughts behind the idea (God forbid if someone else walks away with my Hermès leather boots—and I couldn’t begin to imagine the horror any sales associate would go through if a crocodile Birkin is returned to the wrong person!) I was never told to bring my maintenance form—and the fact that I was ID-ed from the start from Irina as the right client added a whole new level of mystery to me. But at the end of the day I got everything I wanted: well, almost—I was disappointed that I couldn’t get any new silk tie and cashmere scarf because I already have had at least one of everything (that I like) from this season already. Well, better off since my drawers are already bursting with orange bags & boxes.

Would I be back? Absolutely, but maybe that latest Haut à Courroies bag custom order can wait for now. In the meantime I shall be busy experimenting with Iris Ukiyoé.

For a list of notes please refer to this link here. Iris Ukiyoé is now available at Hermès boutiques.

* English translation by Gary Bachlund

Scarves & samples pic: copyright by AlbertCAN. Bottle from the Hermes website