I was questioning myself what I have worn most during this crazy summer and why. The tallying up was funny, in an anal retentive way, since making a list before a certain arbitrarily set period of time has come to a close can only be explained by the need to put method to one's madness. But if you're following these pages, you might be just as mad yourself (mad about sensual pleasures, about analyzing patterns and Lacanian subtexts and about lists too), so it might not be too boring to share I hope.
Please share what you have worn yourselves so far this summer in the comments, as it makes for very interesting reading during my weekend when I'll be by the seashore at a small fishing village no busier than applying Bain de Soleil sunscreens, Mayday by Dior on my lips and Phytoplage conditioner on my hair.
Hermes Un Jardin sur le Nil~ because choosing a fragrance when it's 38C outside is a tall order, one needs something that works for sure.
Neela Vermeira Mohur EDP~there is something about this rosy gourmand musky marvel which keeps me hooked. There is both an eau de parfum (delicious and very wearable) and a diva-like Mohur extrait de parfum version. If you've been scared of roses due to ebullient ones likeParis by YSL or by old-fashioned ones like Tea Rose (Perfumer's Workshop), give Mohur a must try!
Caron Alpona ~the citrus element keeps it from becoming too dense, the inherent Caron "weirdness" (said in the best possible way) is perfect when everyone else is in Light Blue by D&G or Aqua di Gioia by Armani.
Shiseido Koto EDC ~one needs something green and mossy without going too green and mossy.
Piguet Bandit EDP ~nothing speaks of too green and mossy like this one. Right when it's sweltering hot and sweaty it performs the best! Very sexy too in a totally unconventional way.
Tom Ford Neroli Portofino~latest craze for days when I want to emulate the Ligurian lifestyle, this captures it perfectly. Perfect with a navy striped matellot blouse, drawstring flowing pants and a traditional men's straw hat!
Chanel Antaeus EDT~ever since receiving a lavish compliment from my man (and a wink in his eye) on this masculine cologne, I have come to rely on it for adventurous nights and promising getaways. Should be keeping company to Yatagan (Caron) and Kouros (YSL) on the shelf for the sexiest androgynous perfume options.
I realize these are mostly "oldies", which isn't meant to imply I didn't discover new things which took my fancy (I did, just look for my Aedes Oeillet Bengale and Serge Lutens L'Orpheline reviews in the posts). But, you see, I haven't yet bought anything more than a decant of the newer stuff, so they should probably be in the autumn list, as soon as the time rolls; à tout à l'heure!
Come on, tell me the things that made you click this summer!
The pin up Sasha Philippe (from holala.ch) is discovering perfumes and cosmetic powders at the Caron boutique. The concept belongs to Caroline de Surany. Sasha Philippe talks to (and kisses on the cheek) directeur de Caron monsieur Romain Alès.
It wouldn't be an overstatement to say that Roja Dove is the encyclopaedic resource to turn to on everything perfume-related. Even better that he is a very charming man to talk to as well. A former Cambridge medical student, Roja worked for many years for Guerlain: it all started when Robert Guerlain decided to stop his insistent questioning the company's global subsidiaries for info by harnessing this rampant enthusiasm of the 21-year-old by recruiting him and later appointing him Global Ambassador of parfums Guerlain; a title never before bestowed to non-Guerlain family members. Roja later teamed up with George Hammer (founder of the Sanctuary in Covent Garden and the one who brought Aveda to Britain) to create Roja Dove Haute Parfumerie in the Urban Retreat in Harrods. The mission stated in the brochure? "Haute Parfumerie defies the contemporary notion of "spray and pray" to bring together the finest fragrance offerings within sumptuous, lavish surroundings. Roja's personally trained experts will be on hand to help each customer find their signature fragrance." He continues to lecture audiences for prestigious establishments such as the Victoria & Albert Museum and oversees the creation of a bespoke line of exclusive fragrances for a select clientele as well as his own very special trilogy (Scandal, Enslaved, Unspoken) available at Harrods.
All this experience and passion has been distilled into Roja's newest book The Essence of Perfume. A coffee-table sized volume of glossy luxury, it is beautifully illustrated with photos of rare vintage bottles, especially in the final chapter: from the Egyptian Sphinx inspired Gardez-moi by Jovay (1926) to Baccarat crystal flacons such as the jewel-hued yet tastefully spartan hip-flask shaped Ybry line (1925-27), the Art Deco malachite-green of Trois Passions by Myon from 1928 and the rococo style decorative Bertelli perfumes from 1917. The exquisite naturalistic Lalique flacons for Bouquet des Faunes for Guerlain (1925) and their poetically formed L'Effleurt for Coty (1908) and Ambre d'Orsay from 1913 are also presented in all their glory. Bottles from Roja's private collection such as the Guerlain Bouquet de Victoria, Prince Albert's Bouquet and Bouquet de Napoléon (III) from the 1850-70s make a unique appearence as does the only known complete Chanel box containing No.5 and the never commercially released No.2 and No.11
But the book is not primarily aimed at the bottle collector. The Essence of Perfume strives to be a tome comprising information on various aspects of perfumery starting with a brief consice history of fragrance creation and use from antiquity through the birth of modern perfumery in the 19th century: I find little known facts that delight my historian soul such as the Appolonius' quote "perfumes are sweetest when the scent comes from the wrist" or who the first Grasse company to use solvent exctraction invented by the Robert clan (them of great perfumers' fame) is. The chapters then follow the course of introducing the perfume lover into the methodology of perfumery: explaining the methods of aromatics extraction (steam distillation, solvent extraction, expression, enfleurage and tincturing) with the aid of diagrams; a description of raw materials of natural origin accompanied by photographs and a two-word descriptor of their odour facet as well as a very brief guide to aroma-synthetics (not strictly non occuring in nature, such as natural isolates, lab reconstitutions, novel synthesized molecules and aldehydes), useful to the budding perfumephile who is questioning what is that long series of ingredients listed in their new box's allergens list. Roja then goes into detail explaining how the composition of a fragrance is constructed in the classic pyramidal style, the basic fragrance families (floral, chypré, oriental, fougère) and the fragrance facets within those divisions (for instance the "aromatic" facet is further divided into lavender, aniseed and minty tones or the distinction between "soft", "resinous" and "powdery" balsamic) as well as the differences in concentration of compound in the finished product resulting in Eau de Toilette, Eau de Parfum, Extrait de Parfum/pure parfum and the always confusing matter of Eau de Cologne and the origin of Eau Fraîche types. Basically the seasoned perfumephile will want to leaf through these and instead focus on the delightful perusal through the great classics that follows.
From Jicky by Guerlain (1889) and L'origan (1905) by Coty all the way through to Narciso Rodriguez (2003) and Perles de Lalique (2006) Roja Dove saves the bulk of the book for the detailed exposition classified by decade of the perfumes that marked their era due to their popularity and innovation. This is accompanied by vintage ads, socio-economic commentary on the evolving mores that were expressed into the change in tastes and trends on each sub-chapter introduction and pictures of iconic style representations such as Great Garbo, Barbara Goalen in a Dior couture dress from 1947, Jacqueline Kennedy Onassis, the Andy Warhol entourage of the 70s, Lady Diana Spencer and Jennifer Lopez. Reading about them we come across facts we have encountered and shared before and others which we have not. Jacques Guerlain being touched by a previous Guerlain mention by Claude Farrere leading to using one of the author's heroines name in Mitsouko. Patou wanted "Joyto be to perfume what Roll-Royce is to cars". How naive older practices like the one used by Opium (and Caron 60 years before it) to cut short the long waiting list when the product did come in the stores to keep fueling the demand seem in our marketing-obsessed times...And how truly it resonates with poignancy about the changes in attitude towards intimate smells when Roja describes Shocking by Schiaparelli "like the interior of ladies' underwear" and its progeny Boudoir by Westwood "like Shocking wihout the knickers"!
After this mesmerising foray into anecdotes and descriptions on so many fragrances, there are alphabetized entries on each house from Coty to Carven through Robert Piguet and Christian Dior to Jean Patou and Yves Saint Laurent also illustrated with famous and not so famous pictures of the protagonists behind perfume vision and little stories about some of the myths that surround them: it is here that we find more detailed info on Coco Chanel's sobriquet being inspired by a tune sang by her in cafes with the chorus "Qui Qu'a Vu Coco" about a little dog ~dispelling the rumour that it had to do with hosting cocaine parties; that Madame Carven was behind fragrances sold aboard airplanes concept; that Patrick Alès (the buyer of the Caron house) calls Roja "Monsieur Caron" for his dedication while Anarchist was named in tribute to the revolutionary spirit of the house's founder Ernest Daltroff; and that Cacharel is named after a small migratory bird of the Camargue.
Roja Dove thinks "perfume has become debased over the past 10 to 15 years. The marketing brief is getting younger and younger: it's all for 18-25s. I don't know of any house that's creating perfumes for women over 30, and all the great perfumes are disappearing by stealth. Perfumers are frightened to take risks, but many of the great perfumes came about by mistake." and "A lot of perfumes disappeared because they were no good or were of the moment and ceased to be relevant. But these ones - all the ones in my parfumerie - are more than relevant today; they were probably just ahead of their time. When you take scents likeMiss Dioror Vol de Nuit by Guerlain, you have formulas which are still avant-garde and totally wearable. Commercial perfumery is nowhere near as creative," as quoted in an interview to Alison Kerr in The Scotsman. "But a small renaissance has begun as not everyone wants to smell cheap. Consumers are waking up to the idea of individuality once more; the cognoscente is turning back on mass-marketed fragrances. There is a revival in creative perfumery; shifting the craft back to the genius of the master perfumers", Roja comments on the foreword of his new tome. A sigh of relief...
If I were to find fault with anything it would be that there is some English-ised construction in several French phrases (eau de colognes instead of eaux de cologne, Professeur de parfums instead of des parfums, fougere's for the plural fougeres on page 86), as well as the perennial but widely standardised formulas instead of the Latin plural formulae. But these are misdemeanors that can be easily sidetracked by the sheer scope of the book. If not absolutely indispensable to those who have perhaps read too much on the subject, it is still a very concise and worthy addition to a library that focuses on fine fragrance.
You can watch Roja Dove talk about his niche and classic fragrance choices here:
"When you wear a fragrance you create tomorrow's memories". Aaah!
Official issue date of The Essence of Perfume for the US is 28th October (70$) Apart from pre-ordering at Amazon, you can get a 40% discount off the retail price by contacting Jess Atkins at jess@blackdogonline.com stating "Perfume Shrine discount" in the title of your mail.
Pics through Black Dog Publishing, not to be reproduced without permission Clip provided via handbag.com
This day is marked by solemn observations in memory of Jesus' crucifixion. Christians believe that Jesus thus accomplished reconciliation between God and man. Accordingly the crucified image of Jesus or, even the cross itself, came to be regarded as the main symbol of faith for Christians. Roman Catholics as well as Orthodoxs observe the day through fast and abstinence to commemorate the pains and sufferings Jesus underwent on the cross so it is a day of mourning. The communion of the Eucharist is suspended.
Good Friday first came to be observed as a separate occasion in early 4th century. Before this, an annual celebration was held as Christian Passover, or, Pascha (deriving from the Hebrew Pesach), to mark both Christ's death on Cross and the Resurrection. Our Lord is crucified. In the iconography of the crucifixion there is a number of people that are often depicted together: three women together with the Theotokos (=mother of god) ~Saint Mary Magdalene, Mary the mother of James and Joses, and the mother of Zebedee's children (Matthew 27:56) Saint John the Beloved Disciple is usually placed right of the cross. While Saint Longinus the Centurion, the Roman centurion mentioned in Saint Mark's Gospel account of the Crucifixion (Mark 15:39) can also be present. There is an inscription on the top bar of the Cross that reads I.N.B.I., the initials of the Greek words meaning "Jesus of Nazareth, King of the Jews." While at the foot of the Cross, we can see often a skull because Golgotha, the Mount of the Crucifixion, means 'the place of the skull." Tradition relates that the Cross of Christ stood directly above the grave of Adam.
In orthodox tradition evening service concerns the recounting of the 12 Gospel lessons. The first one, from the Gospel of John (13.21-18), relates the account of the Lord’s discourse with the disciples at the Last Supper. The next ten Gospel readings deal with accounts of the Lord’s sufferings as told by the apostles. The last one gives an account of the Lord’s burial and the sealing of the Tomb. The response after each gospel reading is a variation of the usual one: "Glory to Your forbearance, Lord, Glory to You." On the morning of the day each church makes its own epitaph bed for the dead Jesus: a cradle of icons and fresh spring flowers that young women have gathered and put on it: in cities and towns these are roses, lilies and freesias. In country churches it is usually lilacs and violets. People come in the church during the morning to pay their respects and the atmosphere is heavy with the heady blooms, head spinning from the incense burning and the flowers exuding their last breaths on the death bed. In cities the epitaph exits the church on an evening parade to be joined with other epitaph beds from other parishes on a common meeting point, where people gather holding dark yellow beeswax candles as the only source of light, awaiting. The procession comes holding the holy symbols first, the epitaph bed next full of flowers that are sprinkled on the congregation and the mayor’s band last playing solemn funeral marches as people sing the ancient lament “ Oh, my sweet spring”; supposedly the lament of the Virgin Mary for her son on the cross, one of the most beautiful of greek orthodox hymnography, recalling the death of nature and its subsequent resurgence upon spring's awakening.
"Oh my sweet spring, my most sweet child, where did your beauty set?" You can listen to it or clicking here. or directly here:
In Salonica the town’s band customarily plays Funeral March by Chopin before that.
It is also usual in country churches to go through an elaborate and mystical procession before reading the twelfth gospel lesson at the evening service. The experience is really hair raising and deeply moving, even if one is not religious. The procession of the holy symbols, the cross and the icons carried on long poles, followed by the epitaph bed, by young people dressed in black exits the church and the great gates are firmly closed. They remain outside until the reading of the twelfth gospel lesson, upon which they knock on the gate representing Jesus knocking on the gates of Death, three times. On each knock a blessing is heard from the priest inside who denies however entrance. Utter silence in the congregation, who is watching solemnly in the cold evening spring air. As the last uttering from the priest inside is heard, the head of the procession opens the gate entering saying in a high voice “Open for the king of life”.
It is also interesting to note one particular custom on the island of Santorini (and other islands on the Aegean): as the up most parts of the isles had fortified villages, “castra”,for fear of pirates pillaging through the land in medieval times, (just like in Pyrgos on said island), those have narrow pathways of winding roads that have only one exit and entrance. On the corners of the streets, up on the barricades, great lanterns and bonfires are lit while every other light is turned off so that the whole village seems to have sprung up from Polanski’s The Ninth Gate. The sight is bewitching and breathtaking…
For such a powerfully symbolic day I chose sad, mournful incense fragrances with a deep floral background to them to reminiscence of all those associations I have with the day.
Avignon by Comme des Garcons: What could be more appropriate, more solemn, more sad and elating at the same time than this completely realistic catholic/orthodox incense smell? Named after the French city in which there was a second Pope instituted after an inside dispute in the Catholic Church in the middle-ages, it evokes phantasms of such a dark time. Full of the aroma of pure frankincense it is redolent of childhood memories of smoke rising from the censers, priests dressed in all black, Byzantine churches hidden under the barricades of an old city-fort and the far away smell of flowers in the night air. Beautifully contemplating, deeply moving, heady in its thickness. It is rather difficult to wear as a personal scent, because of its pungency and potency, at least the ordinary way (spritz, spritz, woosh…) but it can be dabbed a little on hands to make one fit the mood of such a day or sprayed lightly in the room to bring a glimpse of High Mass with them. It represents the pic I chose like nothing else can.
Incensi by Lorenzo Villoresi: A rich and pungent incense scent that is very churchy in a delightful way, laced with sweet and dry notes throughout. Church pews and freshly waxed floors, golden chandeliers and low light reflections on the somber faces on the icons, this is an Italian incense to be sure and it shows. The opening is rather dry with a touch of bergamot and probably elemi, coming to the fore, while the unfolding upon drying down on the skin is full of drama and with a discernible touch of spice in the form of beloved cinnamon and ginger with powdery accents, Incensi floats in the night air like the spell of another world, luring us into a world of mysticism and apocryphal meanings. Although this one has no apparent floral notes, its character reminds me of church processions and the mournful music they’re accompanied with, hence I include it. The gorgeous blue bottle it comes in is like the window pane of a cathedral, all shine and mystery. Very long lasting, so it is a good investment despite the high price.
Or et Noir by Caron: The predecessor of modern Parfum Sacrι, Or et Noir is a classic Caron that makes no compromises on the challenging accords of must and powder in its rendition of the rose. Opening on a strong note of geranium this is garlanded with intense oily rose, some lilac, spicy carnation and a whisper of incense to render the whole quite close to an epitaph procession, young girls raining tear soaked petals upon the bystanders who whisper blessings along the way. The name might be a little far-fetched as it is neither gold (Or) nor dark (noir) really compared to other incense fragrances, however its contemplative nature and deep character are very pronounced. Chanel #22 is also a floral with a hint of incense in the background, but where that one is a light and airy, cheerful, lovely composition, this one is sacred and deep with a much more mature character. Available only in parfum concentration in the Caron urns (those Baccarat crystal samovars that contain the precious essences) at the boutiques, it is hard to find and maybe challenging to wear for most, however no Good Friday procession would be complete without it.
Pyrocaustic incense for bonfires for our next instalment. Pic is from the Knights Templar castle that surrounds the medieval city in Rhodes, Greece.
The more organised amongst you have already thought out of suitable Christmas Gifts for all your eventualities. If you have been following our Christmas '09 Gift Ideas articles you are all set on great scented trinkets. But there are a few more that are worthy of note and can be bought at the nick of time, to offer at the hostess where you're invited for Christmas dinner or on New Year's Eve, to be the perfect little stocking stuffers, as well as pamepring for yourself or someone close to you.
Ayala Moriel Mini : Cute as a button and sweet as a treat, this mini splash bottle is the perfect size to sneak into a stocking, a pocket or a purse... Yet large enough to contain 4ml (1/8oz) of pure perfume bliss! Ayala Moriel, the talented Vancouver indie naturals perfumer, wants everyone on your list to have a scent to call their own this holiday season, yet without blowing up your budget - the Ayala Moriel Mini is therefore only $35 and comes in a cute jewelry box bow-tied with a satin ribbon, ready for gift-giving. All you need to do is pick your scent! Visit Ayala Moriel Parfums: http://www.ayalamoriel.com/
Caron needs no introduction: Their fabulously French chic perfumes have written their own history. For Christmas there is the ultimate glove-fitting scent ~Nuit de Noël (Christmas Night). Created in 1922 by founder Ernest Daltroff, Nuit de Noël is a chypre in structure, with a citrus top and oakmoss base, yet the feeling is of an orientalised bottom with sandalwood and vanilla with darkness creeping at the corners. Rose, jasmine, ylang-ylang, orris root, and precious woods with a sprinkling of spicy cinnamon mingle in its heart along with an overdose of the mysterious Mousse de Saxe "base" (an accord which contains geranium, licorice, leather, iodine and vanillin and which characterises many of the classic Caron scents). Roja Dove, the perfumery head of Urban Retreat at Harrods, saves it to wear every Christmas night. Why don't you try it for this time of the year too?
Indian Song candle (Amouage) The luxury fragrance brand from the Sultanate of Oman also proposes elegant candles. This one offers an oriental trail of exotic woods, ginger, cumin, vanilla and sweet-scented flowers.www.amouage.com/boutique
Infusion d’Iris candle (Prada) This luxurious white candle engraved with the Prada logo reveals a very gentle balsamy-iris fragrance that will thrill fans of Infusion d’Iris and Infusion d’Homme.www.prada.com/fragrances
Roxana Illuminated Perfume: Support the handmade, the arts and an agricultural based industry while gift giving this season. Be part of the change you want to see in the world. Natural botanical perfume is a necessary luxury, most especially during dynamic times. In this age of synthetic chemicals, large corporate structures and computers, botanical perfume offers an escape into the wilderness of nature. Now through Thursday December 31st receive 15% discount on any order over $25, excluding jewelry at the Illuminated Perfume shop at Etsy. Enter the code word "PURPLE" upon checking out. Read more about the special under the heading Coupons in the shop policy section.
Paul Smith Man candle (Paul Smith) Men CAN like candles, if they look solid, no frills and functional and if they accompany a nice bottle of something drinkable in there too (Tuck this into a basket with home delights). Iris, violet, tonka bean, patchouli, frankincense… the composition follows latest Paul Smith fragrance. Limited edition, available online only.http://www.paulsmith.co.uk/
Elixir candle (Penhaligon’s) The classic British brand has a candle to match their fragrance Elixir: warm wisps of spices, frankincense, balms, woods and more. http://www.penhaligons.co.uk/
Candied Rose candle (L’Occitane) A limited-edition candle to give the subtle scent of sweet petals around the house, in longing for spring. Also delicious? The brand’s Sweet Cherry and Delicious Almond candles.http://www.occitane.com/
Eau de Jade candle (Armani Privé) In its dark wooden candleholder, this candle recreates the refreshing charm of the fragrance Eau de Jade. Featuring Calabrian bergamot adorned with accents of neroli, pepper and vanilla. http://www.giorgioarmanibeauty.com/
Pics & notes via official sites, some pics via ebay
The Fragrance Foundation UK is celebrating National Fragrance Day on March 21st and what better opportunity to share your scented thoughts and choices? Every day is a fragrance day around these pages, but having a semi-official excuse to celebrate makes it more palatable to the rest of the people around one's obsession.
Fragrance has the ability to make us feel, to make us really think, to make us believe that we can fine-tune our own personal aura and presentation to the public in a way that no other "product" can.
It's evocative, it's transporting, it is even felt in the dark.
Today I'm wearing Caron's Tabac Blond extrait, a very special perfume for me, as it paved my plunging into a house I had little exposure to in my formative years, Caron being semi-absent from the local market. It more or less consolidated my longing for things unattainable and hard to get but it also made me realize that one likes what they like and that's priceless.
via Givaudan
In celebration, please share your own scent story in the comments, right below this post. I'd love to read your stories!!
“She is a strong woman. Excuse – strength is not the word I am after. Women, pretty women at least, are never ‘strong”. I need a word that expresses energy, the quality that makes a man who speaks of ‘frail Eve’ – referring to the female sex – look like a fool! Her neck is arched and tense. Tense also her features, her whole carriage indeed! Her demeanour is that of a duellist awaiting the attack! Attack from whom! From you, sir, and from me… from man, in general.”
“The Flapper – A New Type”, by Alfredo Panzini, Vanity Fair, September 1921 (from oldmagazinearticles.com)
As the “lost generation” returned from the trenches of World War I to civilian life, they faced a new kind of war: the war of the sexes. It’s hard to realize nowadays the utter shock it must’ve been, for men who grew up alongside women in corsets and bustles, with huge flowered hats teetering on their long upswept tresses, to see them mutating into the cocktail-swigging, cigarette-smoking, car-driving, bob-haired, short-skirted breed Americans called “flappers” and the French, “garçonnes”. This second, much more telling designation (a feminization of the word for “boy” in French, “garcon”), was popularized by the eponymous 1922 best-seller (700 000 copies) by the French author Victor Margueritte. With its liberated heroine’s sexual escapades (including a lesbian affair), La Garçonne was deemed so scandalous that Margueritte was stripped of his Légion d’Honneur…
The Bohemian classes of the Belle Époque had already engaged in some gender-bending ~ the term “garçonne” was actually coined by the decadent late 19th century novelist Huysmans ~ but what occurred in the 1920s was an out-an-out, highly symbolic raid on masculine closets. Led on by Gabrielle Chanel, garçonnes shed the corset to adopt the more strict, practical and streamlined menswear styles, including the white shirt, suit and boater. Jean Patou provided them with sportswear to ski and play tennis; Dunhill and Hermès offered them leather motoring gear to match the luxurious interiors of their new, leather-upholstered cars; Hermès even produced flight suits for the fashion-conscious aviatrix.
And, of course, they began filching men’s eau de colognes – interestingly, Jean Patou’s 1929 Le Sien (“Hers”), shown at the Paris museum of fashion Palais Galliéra in the current “Années Folles” exhibition, is explicitly marketed as a fragrance men could wear, but produced for women. The same exhibition commissioned a (non-commercialized) perfume to embody the spirit of the Jazz Age, composed by IFF’s Antoine Maisondieu. It is, of course, a leather scent (for a review, click here).
The Cuir de Russie, as we’ve seen previously, had been around since the last quarter of the 19th century. But the 1920s and 30s would be the heyday of leathers from the spectacular 1924 double feature of Ernest Beaux’s Chanel Cuir de Russie and Vincent Roubert’s Knize Ten and Jacques Guerlain’s odd Djedi in 1927 to later renditions: Caron En Avion (1929), Lanvin Scandal by André Fraysse (1932), Lancôme Révolte by Armand Petitjean (1936) and Creed Cuir de Russie (1939), initially Errol Flynn’s bespoke fragrance, and LT Piver’s Cuir de Russie the same year. At least thirty houses launched their own versions of the Cuir de Russie from the late 19th century to the late 30s (the trend continued into the 50s), which bears witness to the enduring attraction of the note.
But the real turning point came about in 1919 with Ernest Daltroff’s epoch-making Caron Tabac Blond, the first leather scent to be directly marketed to women. Is it just by chance that the first perfumer to cross the gender boundaries of the “cuir de Russie” was himself a Russian?
To be continued.....
Pic of Marie Bell in Jean de Limur’s 1936 La Garçonne, courtesy of encyclocine.com
When one is faced with greatness it manifests itself in no uncertain terms. Awe, amazement and a feeling of having tingles down the spine greet you upon entering one of the sacred altars of perfume, Roja Dove’s Haute Parfumerie on the 5th floor of Harrod’s, the Titanic of all stores: impressive, astounding in fact and certain to lead you to your doom. Financially speaking, that is.
Roja Dove is no stranger to perfume and his very special place in that Mecca of shoppers is magnificent. Formerly professeur de parfums at Guerlain (a title he gave himself, when they were at a loss on how to call him, as he is not a “nose” ~meaning a practicing perfumer) he is in reality a Roger who spelled his name the way it is pronounced in a heavy-set aristocratic English accent. Haute Parfumerie was a concept near and dear to his heart, as it is meant to work like a museum and a shop combined: among the myriads of vintage bottles in opulent Bacarrat crystals there are many recreations and infinitesimal versions of favourite smells for customers to pick and choose, so that they are guaranteed to find their perfect holy grail scent or just the latest fling with which to dance the night away. All subject to their taste.
The grand staircase that recalls an Egyptian tomb fit for a Pharaoh in a modern version of Liz Taylor’s "Cleopatra"is nowhere near possible to describe without being unjust and the evocative lighting of the space is akin to entering a shrine to the high priest of perfume indeed. Rows and rows of vintage bottles with impressive names stand in aloof poise, among them the Bacarrat rarity Les Larmes Sacrees de Thebes (=sacred tears of Thebes ~fit for the Egyptian theme!), Nina Ricci’s discontinued classic Coeur Joie (=heart of joy), Ombre Rose by Jean Charles Brosseau with its rich powdery hay and oppoponax base or the individual Caron masterpiece of Ernest Daltroff En Avion, dedicated to aviation and its brave first steps. Indeed they do have many of the Caron urn perfumes: those are the pure parfum/extrait perfumes that the venerable French house only sells from big crystal “vats” at their boutiques by request. They also have the rare gems of Christian Dior from the days of their illustrious past: Diorama and Diorling. They are too beautiful to dismiss in a single expletive, so they deserve their own space and time in the near future to which you will be treated shortly.
Additionally Roja has created some individual scents for selling there, as I found out for about £2000 a bottle. The price being prohibitive I was reluctant to even try them out for fear I might have to break down and put a little mortgage to acquire one of them. On the other hand he is also launching three more moderately priced yet quality superior feminine scents for the upcoming season (October to be precise). They are based around one fragrance family each and they are named Scandal (a rich white floral), Enslaved(an oriental) and Unspoken (a chypre).
Roja’s theory of why smell is so important to us is interesting though and worth recounting. He maintains that the part of the brain that deals with odour is empty when we are born and we spend the first years of our lives (well into our puberty and beyond, I get to understand) forming preferences and distastes. This might be the reason why babies and small children often do not have a notion of “bad” smells and they venture into skatole-filled adventures that would make us shudder. It might also explain why there are definite preferences in certain aromas when we grow up that we can’t seem to shake off: they just move us on a deeper level, reminiscing of our childhood experiences and memories.
Roja elaborates that this is what is called an “odour profile”, sounding very much like a special FBI agent intent on capturing a serial killer, and in a way, you might want to think that smell is a serial killer, the way it strikes again and again and again with shocking results every single time. This odour profile constitutes what we find appealing and what not and also pinpoints which fragrance families tend to attract us more, giving a glimpse into our personalities in the process. This also coincides with what Mandy Aftel has to say when creating a bespoke fragrance for a client, by the way. She maintains that you can judge somewhat the tendencies of a personality according to the basenotes they choose for their tailor-made fragrance: shy or conventional types go for vanilla; hell-cats go for hay or blond tobacco and so on. It’s an interesting thought, to be sure.
To revert to the subject at hand though, Roja continues by elaborating on how to choose an appropriate scent for oneself, using the odour profile. First there is some testing to determine which fragrance family is most appealing in general. For general purposes this is three-fold, encompassing floral, chypre and oriental. It is essential to clarify at this point that this is not meant to exclude one from the other or indeed disregard the nuances of cross-pollination that very often happen across families. It is simply a matter of simplifying a basic tendency that might produce more recommendations that would be most suitable. It doesn’t mean that a person can’t very well enjoy certain fragrances from all those families above. Indeed after establishing a preference, one then goes through a process of elimination and specification that involves smelling separate notes. This is done through the use of scented candles, Diptyque it was from what I recall, and they let you smell the glasses they came in and share your impressions, as those particular candles are single-note based. My own preference for Oak, Oeillet, Jasmine and Pomander resulted in recommendations of Bellodgia, Mitsouko, Bal a Versailles and Coup de Fouet. Oh, dear, I already knew that…, I inwardly think. Still, the process is fascinating, especially as there is no divulging of what you are smelling till after you have proffered an opinion. Which maintains the quintessential factors of a good test: objectivity and no influence by advertising or packaging. I highly recommend the trip!
Pic "Favourably inclined" originally uploaded by cishikilauren /flickr
Although only one out of the triad issued by Baccarat is known among perfume aficionados, Les Larmes Sacrées de Thèbes, the collection by the venerable verrerie (crystal makers) included two other worthy specimens: Un Certain été à Livadia and Une Nuit Étoilée au Bengale. All three formed Les Contes d'Ailleurs trilogy (Tales from Faraway lands) which reprised oriental themes, seducing and enrapturing, allowing the perfumer unrestrained choice in materials and composition. The occasion was to commemorate the new millenium and thus Baccarat commissioned three precious limited edition perfumes that would honour their patrimony in flacons of heavy crystal. Christine Nagel undertook the task of formula creation, at the time just entering Quest France and given carte blanche as to the commerciability of the fragrances: These were going to be Limited Editions for collectors and not focus-group marketing productions! Colombian-born Fédérico Restrepo was the flacon designer for the parfum bottles and each parfum bottle bore its own certificate of authenticity and lot number. There were only 1500 specimens issued for each of the Baccarat perfumes. Original prices were 880 euros for 30ml/1oz of pure parfum/extrait de parfum. All three fragrances however also had an Eau de Parfum version in a plainer bottle, as depicted on the bottom of this article, retailing for 400$ for 75ml/2.5oz, at the time available at Bergdorf's and Harrods (they are now discontinued and out of stock). Please note that the design of the EDP bottle has been accused of aiding evaporation.
Une Nuit Étoilée au Bengale (A Starry Night in Bengal) was the first perfume, inspired by India palaces and gardens, issued in 1997. The bottle is a blue-shaped heart with an outsprout of green, like curling stems of a mysterious plant or water sprouting out of an exotic garden fountain. The whole is resting inside a Π-shaped construction of transparent crystal with stars of gold designed on it. The whole is encased in a deep blue box with zigurat steps on it, recalling the maharajahs palaces of India (the maharajahs had been great crystal customers in their time).
The fragrance itself is an ambery floriental with spicy accents: Une Nuit Étoilée au Bengale is comprised of a citrus top of bergamot, segueing into rose, with a cluster of spices: ginger, cinnamon, and Ceylon "spice bouquet". The bottom is rich and sumptuous with notes of Mysore sandalwood, amber and vanilla.
There are no samples available for purchase at the moment, as far as I know. Apart from the ultra costly parfum version, there was the Eau de Parfum concentration circulating in a plainer bottle with a drop-style applicator (pic below). Both are discontinued and very rare.
Les Larmes Sacrées de Thèbes(Sacred Tears of Thebes) was inspired by Egypt and the wares of King Tut's tomb and was issued in 1998. The bottle is ~predictably~ a puramidal structure capped in amethyst crystal, with a fine "bubble" of yellow crystal blown into it, which houses the scent. It sits on amethyst cushion feet on the four edges. The whole is encased in a square bottle of egg yolk yellow for the innner carton and amethyst for the outer carton (see pic at the beginning of the article).
The fragrance, although an homage to Egyptian rituals, is by no means a replication of those alloys like other projects (see this one on Kyphi and others by Sandrine Videault) but a modern perfume. It is however predominantly resinous and balsamic with a peppery top note, focusing on intense myrrh, frankincense and a deep amber mix, flanked by jasmine, geranium, ylang ylang, cardamon, basil, myrtle, sandalwood and musk. Although compared to Parfum Sacré by Caron (1990), the resemblance is only passing, Les Larmes being much more balsamic with less of a rosy heart than the Caron. Les Larmes is the best-known fragrance in the Baccarat triptych, possibly due to its optically approachable, exquisite bottle and the fact that it has been repeatedly hailed as among the most expensive perfumes in the world at 6,800$ in the press; largely thanks to the bottle.
Harrods Haute Parfumerie stocked a few remaining specimens, although info claims that reserves have been by now dried up. The Perfumed Court has samples of the Eau de Parfum concentration for sale for those curious to investigate for themselves.
Please be aware that the hereby pictured exquisite presentation isn't the only one: There is an EDP bottle (click on this link) with a plainer design which retailed for 400$ for 75ml/2.5oz of Eau de Parfum at Bergdorf's in the past, as noted for the rest of the trio as well.
Un Certain été à Livadia (A Certain Summer in Livadia) was inspired by Russia and the Imperial Court and was issued in 1999. The bottle takes on the "onion"-shaped domes of classic Russian Orthodox churches, with a starry " gold cross" on top and green crystal, and superimposes it on a red "body", housing the perfume, which rests in turn on a curved "boomerang" shaped crustal base with Russian lettering. The whole rests on a red base, encased in a red round box. Livadia is of course was the place in the Crimea where the palace of the last tsar Nicholas II was situated, later seized by the Bolsheviks and now transformed into a museum. Un Certain été à Livadia received the prize of Best Perfume of 1999 for Christine Nagel 's work, awarded by a jury of French journalists (info according to her mentor's, Jean Claude Ellena, archives). The fragrance is centered around a blooming orientalised/musky heart of seringat (i.e. Philadelphus, a plant of white-petaled blossoms with a scent between orange blossom and jasmine; also known as "jasmin des poètes"). The top introduces complimentary hesperidic notes of citruses while the base is comprised by a soft, enveloping musk accord.
There are no samples available for purchase as of this moment. Rare specimens of the bottle crop up online from time to time, with an estimate of between 500-700$ for a bottle, although Ebay auctions have occasionally demanded 1200euros with ambiguous results. Also circulated in Eau de Parfum concentration as seen below. It is of course discontinued and out of stock.
Fashion's Night Out, Friday September 10th, hides a few surprises for our readers. Phyto Universe in New York City is organising an evening of offers and discounts from 6pm-8pm, with champagne served on the side too! Namely 20% off all Caron fragrances (remember they have the "urns" with pure parfum in there!), Lierac skincare and Phyto haircare. (You can also gain a 20% discount on future approintments booked on that evening and enter to win a 160$ Botanical Bliss treatment).
Where & When? Friday September 10th, 6pm-8pm at Phyto Universe, 15 Lexington Avenue (Entrance on 58th St.), New York, NY 10022
Some perfumes, like the best kept mysteries, keep their secrets close at heart and do not intend to be easily deciphered. That's part of their charm. Chypre 53 by Guerlain is the latest in this row of scented mysteries and I will try to break down its coding today with Chabollion determination, but non conclusive results. Let's call it the Linear A of Guerlain. :-)
My research indicates that there are actually two formulae of the elusive Chypre 53 and it would depend on which edition one gets hold of. The original Guerlain Chypre 53 was issued in 1909 in the standard quadrilobe extrait bottle with the phallic cap, holding 30ml, which we have come to associate with Guerlain extraits in general. The perfume was soon discontinued leaving more commercially successful Guerlain fragrances such as Mitsouko, Shalimar, Vol de Nuit or L'Heure Bleue in the limelight while it retreated in the shade of the archives. The year 1948 saw a re-issue of the Guerlain fragrance. The concentration of eau de cologne was opted for Chypre 53 and indeed "flacons montre" (the familiar round disk bottles with the gold pyramidal stopper which routinely hold the eau de cologne version of Guerlain fragrances) hold the splash edition of the more effervescent take.
via Pinterest
Besides those two types of bottles, there is also the amphora extrait bottle and the "goutte" (which means drop or bead in French) bottle for the eau de toilette concentration of Guerlain Chypre 53. The amphora and goutte bottles, as well as the montre one, were circulating well into the 1950s, according to the Guerlain archives. There also seems to exist a Lotion Vegetale which was intended as a grooming product, canonical to Guerlain standards of providing scented exhilaration while preparing one's hair and skin. [a collective imaging of the various bottles can be found here]
The providence of my review sample is a collector, a serious and well intentioned one, who was generous enough to share with me and request my opinion. Unfortunately I do not know the providence of the juice, though I assume it comes from some online auction where the rare fragrance makes a sporadic appearance. Exactly because the origin and authenticity of the fragrance is something that cannot be guaranteed, the exercise is tentative at best, colored by a highly subjective impression at worst.
via Photobucket/bbBD
What strikes me in my edition of Guerlain Chypre 53 is the inkiness and leatheriness of the acrid note coming from the depth of the perfume, indicating the use of isoquinolines plus oakmoss. The skeleton of the chypre fragrance dictates the use of the latter, so this is no surprise. Considering that the 1948 edition of Chypre 53 comes one year after the launch of Piguet's Bandit with its butch, described as "for dykes"ambience, the inclusion of the former isn't far fetched at all either. Although Chypre 53 was intended by Guerlain to be a feminine fragrance my olfactory appreciation informs me that men could wear it very convincingly as well. The boldness however is gentler and less bitter green than Bandit, with richer elements of spices (carnation) and Provencal herbs (thyme mainly) that bring it close in feel to both Caron Tabac Blond from 1917 (with its distinctive carnation leather) and Chanel's Cuir de Russie from 1924 (with the same carnation, the spiciness of styrax and the background of a refined animality comprising clary sage, new car upholstery and precious flowers). This mental tie can be explained by sampling the 1948 edition but not the 1909 one, therefore my understanding is that I am experiencing the later one.
The overall feeling is dry but also warm, with a rustic touch, savoury sweet at various instants and with the cinnamic-eugenol facets I mentioned before. This carnation-leather combo is perplexing, as it's so indicative of the 1920s (where these garconnne leathers reigned supreme as well as carnation florals like Caron's Bellodgia), which is unsettling considering the chronology of either edition, additionally the opening seems like a different segment with the vetiver being more prominent.
Like all Guerlain perfumes of vintage cut there's a lot to recommend testing it out on your own skin, although it would be perhaps counterintuitive to pay through the nose for an old Chypre 53 specimen, unless you happen to land on a very lucky incident of value for money, an exceedingly rare sight in the world of online auctions. Having provided this caveat emptor, I'm very happy that I managed to round up my perfume knowledge of rare, historical Guerlain perfumes, fromAtuanaandFleur de Feu to Loin de Tout and Guerlain Cuir de Russiethrough Coque d'Orand Djedi. Now that Chypre 53 has joined the ranks, my appreciation of la maison Guerlain has gained one more shade of the rainbow.
Maybe now that Guerlain is re-issuing the parfums de patrimoine (heritage perfumes from their archives, for exhibition purposes only), Chypre 53 is a good addition to the collection that is just waiting to happen ;)
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As far as leather scents are concerned, the image prevailing in the first half of the 20th century was either one of emancipation and amazonesque flair or of luxurious leather goods and upholstery of posh venues catering to the tastes of the upper classes. Little by little something emerged from the fashion and cinematic world: a new frame of mind that distanced itself from the more traditionally sexualised images of the 50s a la Marilyn, but also patently different from the emancipated flappers of the 20s. Talking this over with my friend Denyse, she suggested the Gamine term and we pondered on it in order to describe the evolving cultural sensibilities in relation to fashion, olfaction and art in general.
Generally the term Gamine (feminine to French gamin) is translated in English as "urchin" or "waif". But despite its use in the English vernacular ever since the middle of the 19th century (appearing in Thackeray) it only approximated the French equivalent in the mid-20th century gaining popularity through various strata of society. The gamine has to be sort of a tease, but good-natured; a young sprite of a woman that will wink at you and be a little mischievous. Never too sexual or femme though, never aggressive, ultimately never dangerous in the Freudian sense.
It is an accepted fact that the modern iconography of popular culture derives its idols from the matinee as well as the fashion glossies. Early exempla of gamines could be argued to go back as far as Louise Brooks or Mary Pickford, but to me the former was too restless and independent for the tag, the latter too sweet and accomodating. Maybe Paulette Goddard in Modern Times by Charlie Chaplin is closer to the notion.
The optical, if not auditory, resemblance to the word “game” alludes to playfulness and naughtiness , which is transpiring through the iconic cinamatic gamines of the 50s such as Audrey Hepburn, Leslie Caron or Jean Seberg (especially in her Bonjour Tristesse and À bout de souffle roles). Interestingly, the musical that made Leslie Caron famous was preceded by a stage production in which Gigi was played by none other than Audrey Hepburn; personally chosen by the author, no less, the indomitable Colette, whose Claudine series of novels also wink towards the subtly sensual gamine.
Hepburn had been described by Don Macpherson as “overpoweringly chic” citing her “naïveté which did not rule out sophistication”, such as in her role in Funny Face. Thus she inaugurated a trend and a new perception in elegance. All those women were the pioneers paving the way to the waif look of 60s British models such as Jean Shrimpton and Twiggy, manifested in their “swinging London” image.
In the spirit of this new sensibility, fragrance trends followed and the piquantly feminine aldehydics and pretty, powdery florals of the early 60s attest to that seguing from the floral chypres of the 50s. Leather scents were never very popular in those days, due to reasons already discussed when revising the vogues of the 1950s, with only the most noble and suave among them denoting luxury and tradition, such as Doblis. However, there is at least one that could be classified as the arch-gamine one: Miss Balmain by Pierre Balmain, a sister scent to Jolie Madame, much younger and lighter in spirit.
Perhaps the dark Rennaisance angel that is Diorling could also crop her hair into a pixie cut and with butterfly-shaped sunglasses atop her head send you a naughty kiss across the room when no one is looking.
I contemplated long and hard whether the precursor to this phase was Cabochard by Grès, issued in 1959. In the end I decided against it, not because the fragrance is not insolent, audacious and mischievous, because it is. But because Cabochard has a certain exoticism and gravitas that seems to be dragging down the featherlight load of the gamine, imbuding it with expectations beyond its capabilities. Only a naughty and light leathery scent would fit the image I have in mind when thinking of those icons. Yet Cabochard is such an emblem in the pantheon of leather fragrances and such an utterly ruined recomposition that it merits its own obituary following this post.
Pic of Audrey Hepburn from Audrey1 fan site, pic of Jean Shrimpton from Vogue.uk
Back in 1995 when this Francis Kurkdjian composed fragrance launched Le Male didn't look like it would become that huge in popularity. Jean Paul Gaultier's first masculine fragrance (programmatically named Le Male) was honestly too sweet for the times. No man would capitulate to such a sweet scent surely? And I'm saying this in full knowledge that the archAngel of sweetness came out 3 years before. Angel by Mugler was still too sweet by any mass market standards in 1995 and a very slow commercial success in the market; it took confidence and patience to make it the monument that it is. Le Male followed an analogous path though a bit more speedy thanks to its intended audience.
Le Male was evidently camp with its rippled torso and sailor paraphernalia. It was made by a French brand, for Pete's sake, fronted by a "crazy" looking guy always dressed in a matelot top! But it caught on spectacularly because of a very specific reason. It caught on first with the fashion congnoscenti and the tasteful homosexuals who were drawn to its campy imagery and gender bender advertising aesthetics. Truth be told gay men with fashion savvy often have an uncanny ability to focus on just what is right and works in the style stakes and predict trends. Evidently all strides of life favoured it commercially in the end. The advertisements and the scent were so tongue-in-cheek that you couldn't ridicule it no matter what one's orientation were; it had a healthy portion of self-sarcasm to carry it through.
Composition-wise the sweet lavender over coumarin-vanilla recalls a hint of classic fougère specimens, but the execution is nothing but. To better view this one can do a side by side experiment with a classic sweet lavender built on coumarin notes; Caron's Pour Un Homme. Whereas the Caron is a fist in a velvet glove Le Male is rubber band or nitrile gloves that slap shapely buttocks in jest.You can detect the modern musks which make this powerful. Or at least which used to make this powerful and very long lasting. I hear it doesn't last as long nowadays though my last personal testing is a couple of years old to be honest.
Now that fragrances for men have become increasingly sweet, Le Male continues to be popular with all ages of men (fathers and sons alike), but especially young ones who have rediscovered it. Quite a feat for something older than the age of its wearers!
The bottle of Shalimar Parfum Initial is a jewel, and thus should be accompanied by jewels. The choice of pearls is not random at all, as the sheen of the vanilla powdery ambience of the scented liquid is gloriously feminine with that touch of elegance we dedicate to those beautiful globules. You can find a fragrance review of Guerlain Shalimar Parfum Initial here.
Flankers/derivative versions of Shalimar by Guerlain (with linked reviews & comparison with original):
The classic of classics and a scent redolent of women's emancipation, the eminable Tabac Blond (incidentally not a tobacco scent). You can find the fragrance review for Caron Tabac Blond here. The bottle is testament to the fact that I have exceedingly enjoyed the eau de perfume version, which is as good as possible.
Bad news don't have to be announced beforehand, they strike like lightning in a sudden summer storm getting you out of your comfort zone into the realisation that things follow their own course no matter how you think they're going. I was about to do a little article on Caron in light of the recent discussions pertaining to their reformulation by Fraysse and how this affects them or not, intending to procure samples of the current version to compare with my own older batches. All in the aim of accurate reporting, bien sûr!
Alas, at least one gem I was anxiously waiting to see if it had been altered significantly (at least from the version that I enjoyed) was Alpona, that weird beast which fascinated me. Yet, according to The Scented Salamander, Alpona is no more... Shed a loving tear for this individual chypre that would have celebrated its 70 years in 2009. Probably succumbing under the weight of oakmoss restrictions, it has been discontinued. An urn perfume no less, which is foreboding.
Your last chance to grab it before it goes away for ever is at the Caron Boutique for $100 for a 1/4 oz of extrait de parfum to $ 520 for 200 ml. The New York City boutique can be reached at (212) 319-4888. An Alpona review is in the works and will appear on Perfume Shrine shortly!
But enough with the fragrance world gloom and in a playful attempt to distract you from such sad occurences I am hosting a little contest.
Here is a clip that acts as a collage of perfume clips for several fragrances. The reader who identifies the perfumes seen in the correct sequence wins a decant of one of my spring perfumes.
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