Guerlain Chamade (1969) Fragrance Review Series Part 5: Epilogue

A poem records emotions and moods that lie beyond normal language, that can only be patched together and hinted at metaphorically.
―Diane Ackerman

~by guest writer AlbertCAN

Love is the great unpredictable, the original X factor: almost everyone admits that love is a necessity for our survival, yet no one agrees on just what exactly it is. Even the concept itself is an enigma: scholars manage to trace the idea back to the Sanskrit word lubhyati, meaning “desire”; yet its root disintegrates thereafter. The word we now use actually is of German origin and not set until Middle English:

From Old English lufu (“love, affection, desire”), from Proto-Germanic *lubō (“love”), from Proto-Indo-European *lewbʰ-, *leubʰ- (“love, care, desire”). Cognate with Old Frisian luve (“love”), Old High German luba (“love”). Related to Old English lēof (“dear, beloved”), līefan (“to allow, approve of”), Latin libet, lubō (“to please”).*

Perhaps all this confusion is a direct reflection on the often chaotic nature of the heart, how it governs its affairs? Comes with the territory is the gamut of expressions: Guerlain Chamade is surely a memorable grace note in the mankind’s on-going paen.

Jean-Paul Guerlain was certainly amorously inspired when creating Chamade: “I won’t tell you the name of the lady for whom I created Chamade, but she was very beautiful. For me, Chamade was Guerlain’s first modern perfume after Shalimar and Mitsouko. I am still in love with it” (Edwards, 148).

The influence of Chamade on French perfumery is subtle yet fascinating upon a closer second look. Its combination of hedione and blackcurrent, pairing with white florals, was reprised almost a decade later when Jean Claude Ellena created First (1976) for Van Cleef & Arpels, the master perfumer’s initial success. Its green floral motif would even resurface arguably in Chanel No. 19 (1971), which Henri Robert was busy developing with Mademoiselle Chanel when Chamade came out, though the soft vanilla base was no doubt stripped away in lieu of a more assertive chypre base.

On a personal note I really wish the structure of Guerlain Chamade played a more prominent role in the recent modernization of the house, for the scent’s stunning bone structure leads to many possibilities: the opening verdancy could easily be morphed into milky greens such as Glycolierral, the ivy oxime that provides so much glow in the opening of J’Adore (1999) by Christian Dior. The fruits could be softened with more transparent floral notes such as fresh sambac jasmine, and woods more ethereal. Yet I’m not sure this is the current emphasis of Guerlain, nor am I certain if Thierry Wasser, the current in-house nose, would want to partake in that direction. Neither am I certain that people are courageous enough to take the time to get it nowadays when everything is going at a breakneck pace.

Chamade is not for everyone, nor is that the underlying idea. The development is complex, the embedded cultural depth required for its appreciation is advanced. Yet those who take the time really appreciate how the fragrance manages to get things right. For this post I’m going to leave the last word to Luca Turin, who calls Chamade a miracle in the original Parfums: le guide―

A smooth green top note introduces a miracle that develops over a few hours, indeed a few days. As the initial breath fades, a powerful white note slowly evolves, polished and seamless, powdery and sculptured, developing with no hint of becoming simpler or thinner. Typically Guerlain in its flattering and tender character, Chamade is an arrogant perfume, pure and far removed from the chic audacity of Jicky and Shalimar. Its tenacity is amazing. One might even think it was composed to be smelt after two days, so put it on at least two house before you ask it to be effective. [Chamade is] a masterpiece of elegance and poetry, one of the greatest perfumes of all time (Edwards, 150).

Photo: Original photography from designer and friend Ms. Danielle Jarvis. All rights reserved by the artist.

Citation

Edwards, Michael. Perfume Legends: French Feminine Fragrances. Crescent House Pub, 1999. ISBN: 0646277944

Turin , Luca. Parfums: le guide, Editions Hermè ( Paris , 1992), p. 37, 38

* http://www.etymonline.com/index.php?term=love

Guerlain Chamade (1969) Fragrance Review Series Part 4: Separating the Myths

Morsels of legends, however interesting, may not necessarily be true within the sea of civilization.

―By guest writer AlbertCAN

Upon discovering Chamade yours truly was told that master perfumer Jean-Paul Guerlain conducted over 1,100 fragrance trials. While there is a grain of truth in this story-since all memorable vintage Guerlain fragrances were the results of meticulous modifications- the title of the most fine-tuned within the Guerlain realm officially belongs to Nahema (1979). Guerlain Chamade was developed for years before coming to light, but whether it took over 1000 tries is another debate of itself.

Chamade bottles via estellana.com

pic via Basenotes.net

And then there's the bottle: even Guerlain the company can't agree on the same story. Officially it's a heart upside-down, pierced by the arrow stopper, but its creator Raymond Guerlain begs to differ. His actual muse? See below.

The Birth of Venus by Sandro Botticelli, complete with the giant clam shell as the bottle and the young goddess as the stopper. Interesting how life works sometimes.

For a fragrance review of Guerlain Chamade refer to this link. For Part 1 Introduction to Chamade and Part 2 Guerlain's Chamade and its Muses refer to these links.

 

Photos: Detail of The Birth of Venus from Google; Guerlain Chamade bottle from Etsy

Guerlain Chamade (1969) Fragrance Review Series Part 3: The Fragrance

"Perfume is made mainly so that one remembers the woman who wears it. I like to call it the elevator effect. This is the man who goes to meet his lover—whether it be his fiancée, his wife, or his mistress—who has entered a building before him. She is wearing perfume, and he smells it. Suddenly his heart beats faster and the blood rushes to his head."

—Jean-Paul Guerlain via “Perfume Legends: French Feminine Fragrances” by Michael Edwards (1996)

~by guest writer AlbertCAN

[For Part 1 Introduction to the Myth and Part 2 The Muses refer to the links]

Of all the approaches to fragrance criticism I’m most dreary of the revisionist approach, pulling a scent out of the context of its time and aiming at regurgitating an ill-advised paradigm. Somehow the critic’s bias shines through more than anything else. Of course, fragrance masterpieces deserve to be respected—and insincere efforts need to be chided—but a fragrance ultimately needs to be judged based on its genre and its cultural context. It’s not a fragrance critic’s job to ignore the innovations set forth by a classic fragrance, nor forgetting to mention the classicism within a new launch. They are simply two sides of the same coin in perfumery.

After more than four decades Guerlain Chamade is of course deservedly termed a grand classic, but to assume that a classic-smelling French fragrance lacks an ounce of rebellion is not a correct notion, either.

Perhaps the biggest misconception about Chamade is its doyenne status. There lies the paradox: sure, the definition of youth has changed dramatically, but back in 1969 Chamade’s opening would be considered quite interesting. Hedione. Blackcurrant. All then new materials and not widely used. Of course Edmond Roudnitska employed hedione brilliantly in Eau Sauvage (1966), but the chemical hadn’t been widely dared in women’s fragrances. Nowadays the blackcurrant note has been used to a fault, but Chamade was arguably the first to have done so. Again, one shouldn’t fault the early adaptor, even if the innovation becomes commonly accepted.

But I’m really ahead of myself. The trembling of the heart really starts with two key players: the interplay of galbanum and hyacinth. Both are quite polarizing, having a refreshing but strong-willed diffusion—hyacinth, having an unapologetically white floral scent with a slightly bitter edge; galbanum, emitting an all-out, almost knife-sharp verdancy. The chills, when set on the typical Guerlain warmth, surprisingly pulsate and mimic the intrigue upon feeling "the mad ache". (Doesn’t one often feel a moment of clarity even when falling madly in love with the wrong person? The interplay of fire and ice can be so cruel sometimes.) Had the opening act been allowed to dominate the fragrance would have been reduced to a bony, postmodern solarium, but all this feels like the opening clash of the battlefield surrender signal.

The undulation between the cold and the warmth really creates a dual effect when narcissus and vanilla add to the tension. Within the context of ylang ylang and blackcurrant the narcissus feels opulent and insolent at the same time, yet there’s a certain ambiguity about the shapelessness of it all, as if the character of Sagan’s heroine Lucile comes to life. Chamade the fragrance would have been the necessary luxury she craves, yet like the fragrance she doesn’t fully give in when facing her feelings, essentially not out of defiance, but actually coming from an undulating ambivalence. Do not be mistaken by the gauzy, silken aura with a slight golden sheen: Deneuve has that the necessary indirectness down pat—the confusion is essentially self-serving and really the destination, not the process.

Come to think of it Chamade’s legendary development curve adds a beguiling interplay to the theme of Sagan’s novel as well: this has never been a forthcoming, no-barred-hold type of wild attraction story at heart, but more of an exquisite torture. The pang of the hyacinth and galbanum really hold fort for a good while before the drydown of the narcissus-amber sets in. In fact it’s exactly this character that makes exposes the problem of testing fragrances on paper blotters: testing a multi-dimensional olfactory sculpture on a two-dimensional medium is an act in futility in itself.

On a personal note I was determined not to make that sampling mistake when presenting Chamade to my godmother Jeannie, instead testing the scent directly on her skin. Surely enough the golden gauze envelopes her upon first spray; after decades of using L’Air du Temps, Chamade became her signature, no doubt in part because my beloved godfather was hooked from the get go!


Photo: Guerlain Chamade fragrance advertisement from the 80s, via Google

Guerlain Chamade (1969) Fragrance Review Series Part 2: The Muses

~by guest writer AlbertCAN

The idea of la chamade floated wide in the Parisian psyche years before the Guerlain creation. Françoise Sagan (1935–2004), a French author best known for works revolving around the romantic lives of wealthy but disillusioned bourgeois characters, first published her novel “La chamade” in 1963. Set in high-society Paris in the mid-1960’s, the plot reads like an anti-fairy tale romance as the novel tells the story of Lucile, torn between Charles—twenty years her senior but rich enough to keep her comfortable—and Antoine, the more age-appropriate but broody young man she is attracted to. Classic Jane Austen romance would give Lucile a more determined heart, but alas, true to Sagan’s heroines she has a flighty soul:

“Life mostly made sense to me until I left my parents' home. I wanted to get a degree in Paris . But it was all a pipe dream. Ever since I've been looking everywhere for parents, in my lovers, in my friends, and it's all right with me to have nothing of my own—not any plans and not any worries. I like this kind of life, it's terrible but true.”*

Over the years Charles had a steady supply of mistresses at a salon he frequented, hosted by Claire. The arrangements would usually last a year or two, but Lucile turns out to be different as Charles doesn’t exactly have a trivial relationship with her:

What he couldn't say to Lucile was this: "All I care about is you. I spend hours and hours trying to fathom your psyche, I'm hounded by one single idea. And I, too, am frightened, just as you were saying, frightened of losing what I have. I, too, live in that perpetual state of despair and yearning you described."†

Antoine, a typical French 'intellectual' romantic hero of film and fiction, is kept by an older woman as he falls for Lucile. Thus begins a delicate social dance: people within this small circle are all aware of this attraction, even be pushing them towards it, but Lucile and Antoine do try not to betray those who love them. As Lucile notes, Charles "might be able to accept my sleeping with Antoine, but not my laughing with him". She eventually gives passion a shot, but life in the garret doesn't suit her one bit; worse luck, she finds herself pregnant but unfit to be a mother. Lucile’s solution to life thus requires funds, leaving no choice but to return to Charles, still loving Antoine but no longer loved loving him...

The imperfect love story might pale in dramatic intensity compared to Sagan’s magnum opus “Bonjour Tristesse” (1954), but Catherine Deneuve eventually gave her blessing in 1968 as she starred in the cinematic adaptation, continuing her wardrobe collaboration with Yves Saint Laurent along the way. Now here’s that movie in its entirety, complete in its original dialogues: I couldn’t negotiate English subtitles so unfortunately some would have to read between the lines.



Thus what exactly is this French word chamade? Unfortunately there isn’t a comprehensive English equivalent to capture all of its French nuances. Sure, the English dictionary recognizes its antique military usage, denoting a distinct beat in battlefields that signals the surrender of the troops, most notably used during the Napoleonic age. (La chamade would have been played prominently when Napoleon lost the decisive battle of Waterloo .) Now not many people have actually heard of the actual drum beat so here’s an enriched sample below.



Yet the French also have another usage of the word, the expression un coeur qui bat la chamade, a double entendre to our wild heartbeats when surrendering to the latest object of affection. It is this second meaning that plays a huge influence to the Guerlain fragrance―but to be precise, all of the influences above have contributed to the character of this fragrance, which I shall explore in detail in Part 3.

Photo: Still from the film La Chamade (1968)

* Unless otherwise noted all English excerpts are from “The Mad Ache”, the 2009 translation by Douglas Hofstadter

† The original text uses the French formal “vous” and the second person pronoun; normally a more intimate “tu” is applied in this context.

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