Germaine Cellier (1909-1976): Innovator and Iconoclast

In the pantheon of great modern perfumers it is not often that we come across women, at least during the first half of the 20th century. Amongst them, one star shines brightest, that of Germaine Cellier; untrammeled by convention, free-spirited in an era that frowned upon most of her customs, but which could not deny her bold, ebullient approach to perfumery. It is no accident that Guy Robert's book, Les Sens du Parfum, himself the stuff of legend, dedicates precious space to her opus.

Her wit wondrously helped her into coming up with stunning compositions: The galbanum-souled Vent Vert by Balmain with its biting verdancy forever changing the visage of florals, the knife-scathing outlaw of Bandit with its intense leathery bitterness of quinolines in 1944, the oriental passport of Visa in 1946, the buttery radiance of tuberose in 1948's Fracas (all three for Robert Piguet), the nostalgic violet chypre Jolie Madame for Balmain (1953) which reworked the Bandit theme in more muted tones, as well as the masculine Monsieur Balmain which proved a success with both sexes.

One of her mysteriously disappearing acts is "Elysées 63.84" for Balmain, the name standing for the telephone number of the couture house, as well as a geranium-based Eau which Pierre Balmain fiercely guarded for his own use. For Nina Ricci she collaborates with Christian Bérard who designed the romantic heart flacon in Coeur Joie, an elegant and uncharacteristically delicate floral aldehydic of great refinement (1946). For Nina Ricci she also composes Fille d'Eve, with its "dirty hair" cistus note. Hers is the lesser known, but none the less majestic, La Fuite des Heures for Balenciaga in 1949, a Provençal herbs and jasmine formula of great radiance and tenacity. Among her portfolio there is also the agrestic Eau d'Herbes (Herbal Water) conceived for Hermès at an unspecified date during the 1950s meant to recreate just cut herbs, which remains an enigma, and several compositions for Elizabeth Arden for distribution in the USA during the 1950s and 1960s. (Click the links for my reviews on the scents) ....

This is part of a fuller article that was published on Fragrantica.com. For a comprehensive glimpse into one of the truly great perfumers of modern perfumery, please read my full article on this permalink.

Photo portrait of Germaine Cellier via xiangshuiblog.cn

New perfume addresses in Paris: shopping info

In the middle of an economic recession that affects fashion as well as the fragrance sector, new stores are still opening. For Parisian shoppers and those travelling to the city to savour perfumes and other pleasures, two new worthy of note addresses:

Different Latitudes, a company founded in 2005 by David Froissard and Loïc Le Guen as an International Luxury Trader that specializes in distribution of luxe brands, image counselling and marketing, is coming to the Parisian market with a dynamic move. They're bringing some of their portfolio in Galeries Lafayette Haussmann, a shop-in-shop stand including niche brand Neotantric, Frapin, Amouage and Robert Piguet.
Piguet is amply represented by Fracas and Baghari pour femme, Bandit and Visa pour femme, Cravache pour homme and the newly re-issued Futur, a formula closely following the instructions of Rober Piguet himself in the 1960s: the US-owned Fashion Fragrances company had the rights for a decade and the re-issue was finally orchestrated by Aurélien Guichard of Givaudan. Futur by Piguet is a blend of hesperides, violet, jasmine, yalng ylang, cedar and patchouli for a fresh and floral touch.
Amouage, much loved on these pages, is enjoyed in 30 countries with fragrances created by la creme de la creme of perfumers: Guy Robert, Jean-Claude Ellena, Bertrand Duchaufour, Maurice Roucel et Lucas Sieuzac. The result in scents such as Jubilation 25, Gold, Dia, Lyric, Ubar and Epic is nothing short of majestic.

Guerlain on the other hand is opening a new stand-alone boutique in le Marais designed by Patricia Grosdemange at 10 rue des Francs-Bourgeois. The new store is paying homage to several emblematic fragrances and products of the historical house in 110 square meters full of the best craftmanship.
Guerlain has always paid attention to their stores and the history of the Guerlain house boutique addresses is interesting: The first one was opened at 42, rue de Rivoli in 1828, conceived by the fertile imagination of Pierre-François-Pascal Guerlain. In 1830 a new building is chosen for Guerlain perfumes and cosmetics in 15, rue de la Paix. Jacques et Pierre Guerlain establish themselves at the helm of the house in 1914, and with the help of architect Charles Mews they build the legendary boutique at 68, avenue des Champs Elysées. The space will host the institut Guerlain in 1939 and will be panegerically renovated in 2005 with the innovative skills of interior designers Andrée Putman and Maxime d’Angeac. Places to make one dream...

Chronicles of a Destiny Foretold: Why Olivier Polge Was Set to Become Head Perfumer at Chanel Since Forever; a 3 Person Drama

No exaggeration to flat out suggest that Olivier Polge was set to claim head position at Chanel perfumes since birth. France is a conservative, traditionalist country. This is what most Americans lacking a connection to the European establishment fail to grasp, mentally conflating sophistication with progressiveness; it's all right having a country as soft as putty to mould as you wish in your hands, this is a luxury given to few. Coming from an equally traditionalist culture -to the point of ridiculous excess- I can realize that the news of Olivier Polge getting officially employed at Chanel parfums effective September 2013 (as a deputy, not head) has created a stir (and rendered me fatally bored of this meaningful head shot of Olivier reproduced everywhere), but I don't quite "get" it, to be honest! The gossip, the false statements ("Jacques Polge, father of Olivier, to relinquish his position as head perfumer at Chanel in favor of son" ~he denies it), the accusations of nepotism and the hush hush of connections or regionalism surpassing proven, already employed talent (Chris Sheldrake) are -to my mind- stemming mainly from this basic incomprehension. To me, Olivier Polge getting employed at Chanel were -to paraphrase Gabriel Garcia Marquez- chronicles of a destiny foretold. A fact just waiting to happen! The man was practically born with a Chanel spoon in his mouth, taking in mind Polge's tenure at Chanel dates back from1978!

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Let's consider the following facts.

Gosses de stars, roughly translating as "stars' kids", is a widespread phenomenon in France. From Charlotte Gainsbourg and Kate Birkin-Barry to Philippe Zitron, Marie Trintignant, Cloclo Junior and countless others, Olivier Polge doesn't feel like a fish out of water in a society where the kids given a head-start thanks to their well-known parents do not feel clumped down as a rule (there are exceptions to that of course, see the Depardieus).

Come to think of it (influenced by our own ridiculously nepotistic society, shame on me), kids follow in the footsteps of parents and elders all the time. Especially when it comes to profession choices.

"My father was very encouraging when I decided to attend perfumery school because I started out studying art. I believe somewhere in his heart he hoped I would follow in his footsteps, as most parents do. He taught me to follow my dreams and passions in life. He also taught me that instinct is important in creating a fragrance" claims Olivier Polge in a 2012 interview on Makeup.com. 

Olivier has been working at IFF since 1998. He even won awards. And with artistic triumphs like Dior Homme or Spicebomb and best-sellers like Flowerbomb, Alien or Balenciaga Paris under his belt (we can allow Lancome's La Vie est Belle languish a bit and I will trash his Repetto eau de toilette tomorrow...), who can blame him? Jacques Helleu, iconic artistic director of Chanel, now singing with the angels in heaven, was also the son of someone within the company: his father Jean Helleu, also artistic director for parfums Chanel.  More specifically perfumery is wrought with families passing the baton on and on and on and on....the Guichards, the Roudnitskas, the Ellenas, the Roberts (Guy Robert and clan) and countless others.

Jacques Polge is revealing another facet of the son's progress and the timeline is most intriguing:

'Despite Polge's pessimism about the future, however, he has been unable to deter his 23 year old [ed.note:at the time] son Olivier from wanting to follow in his father's (how should one put it?) - footsteps. "I tried to talk him out of it", Polge confesses. "But then I thought about it and concluded that I didn't have the right to do any such thing. I can't say that I will be able to make a great nose out of him. That's impossible. But of course I hope that one day he too will become the nose of Chanel. Because for someone passionate about perfumes, there really is no better position in the world." [the quote comes from a 2004 interview on Art of Smell]

It would be interesting to wonder whether Jacques, whose son is a fellow art history major, considered this with a typical middle-class Gallic shiver and eventually came to view that perfumery would be the lesser of two evils, art history being almost a guarantee of being jobless and penniless. (Part of traditionalism is the appreciation of a spending income). This would nicely coincide with the timing of Jacques's statements.

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Last but not least, in every business, but even more so at Chanel, the transition from one status quo to another takes time. In the words of Christine Dagousset, the new Chanel Global President for Fragrance and Beauté, this could be called "Chanel time". Usually this takes 2 years (Maureen Chiquet has had 2 years to Global CEO, Christine Dagousset is also given a comparable time and Jacques Polge will also have 2 years before giving the baton, I bet, so his denial of retirement come September 2013 is certainly not inaccurate!)
The official blurb stated "Jacques Polge will continue to exercise until Olivier Polge takes his place as Chanel Perfumes Creator. Olivier Polge will officially start working with Chanel next September."[Chanel press release]

But consider this for a minute: "why now?" 

Monsieur Jacques Polge has technically reached an arc in his tenure, having completed most -if not all- foreseeably major long-term projects: the reinterpretations of No. 5 (Eau Premiere), Cristalle (Cristalle Eau Verte), Chanel No. 19 (No.19 Poudre), Coco (Coco Noir and of course Coco Mademoiselle), the celebration of the 80th anniversary of Chanel Haute Joaillerie with "1932" fragrance (Les Exclusifs), and with Chanel les Exclusifs being an established collection by now. The last new fragrance pillar for ladies, Chance, was launched in 2002! There would have been a pressure now to define the women of this decade as the next long-term project, and I very much doubt, after that lost Chanel fragrance, the Chanel owners would settle. The timing was also very well calculated: Madame Dagousset wouldn't formally take over until January 2015, the perfect time in the meanwhile to train Olivier further and formally integrate him into the brand.

hauteliving.com

And where does this leave deputy perfumer Chris Sheldrake? The perfumes created ever since the call back on Chris a few years ago (his alma mater had been Chanel in the 1980s before being snitched for a stint chez Serge Lutens) have all been solely credited to Jacques Polge, as head perfumer. Additionally Polge, as attested by Christopher himself in an interview, personally phoned Chris Sheldrake after LVMH poached Francois Demachy. Hiring an Australian a British [edit: I'm not 100% sure, a reader corrected me and evidence so far indicates so] as deputy instead of a Frenchman was a move that superficially negated regionalism but more deeply foreshadowed other developments, perhaps in the works for several years.

 I will leave you with a Parthian shot: The supposition whether the newer perfumes' "communicability" (to put a more gentle mantle on their commercialized appeal) was a deliberate aesthetic choice not only imposed by the marketing and business development departments but stemming from people working within the perfume development to facilitate the transitory route from older to younger (and into the gourmand, sweet notes that Olivier is especially fond of, as he admits) is better left for the no doubt fertile imagination of my readers...I welcome your wise commentary.

Etat Libre d'Orange Secretions Magnifiques: fragrance review

I'm in the attic of an old video store downtown. Stuffy and with the permeating smell of hot, new plastic from the inner jackets of DVDs with questionable material. The seedy sales assistant is dressed and "groomed" like Ian Lamont in the disastrous remake of The Jackal, only he utterly lacks any charm Jack Black naturally possesses. He's oggling female customers with a roving eye, but it is actually the shy, low-browed "help" with the upstraight collar that is really a sexual offender. That attic smells of dried up semen and surreptitious impositions on unwilling females, of threat and defilement, of a sense of panic where your trachea closes as if you can't breath and no voice can come out...no matter how many primary colours change hues beneath your shut eyelids.

I'm in the operating theatre of a hospital, lying supine and cold. The ceiling above me has the listless greyish white of ashes in a crematorium and I feel like I should belong in one. Lochia is oozing off me, the burden of having my guts torn out, hatched job of 20 weeks when the air was still pregnant with hope. There are no salty tears falling off to the edge of the ears making the familiar plonk sound, only the buzz of the fluorescent lights atop. Nothing moves save the mops across the corridors spreading another layer of bleach on the floors.

I'm in a small African camp where Action Aid is volunteering. A teenage mother of no more than 13 is sitting back up the wall of a thatched cottage, as the weather is taking a turn for the damper, her baby infested by a thousand flies, in the same position as it last had grabbed her breast in an attempt to draw life-sustaining liquid. Liquid which trickles down still under her expresionless face, stale, and mixed with sweat and the scent of famine; whitish liquid on black skin, so agile, so puerile, you think you could take this mother and lull her to sleep herself.

Sécrétions Magnifiques rather amazingly smells like all of these places. I just don't want to be in those places...ever.

Definitely out of the Guy Robert perimeter of perfumery standards ("perfume should smell good") and into avant-garde in earnest, this is a fragrance that acts like Duchamp's Fountain (Urinal); it serves as a springboard for discussion more than an art piece to put and enjoy in someone's home. Smelling aquatic-metallic with an algae note and a lot like sweet floral notes and coconut blanched in bleach (featuring Azurone, a Givaudan trademarked "clean" note), with a spattering of spoiled condensed milk and pure bile in the mix as it "opens up", Sécrétions Magnifiques by État Libre d'Orange is a scent not to leave anyone indifferent and is both totally original and undoubtedly a technical feat (the demonic notes reverberate into eternity opening up with gusto). Supposedly it's trying to replicate scents of saliva, milk, blood and semen, these magnificent secretions for which humans are known (if you were hoping for Eau de Merveilles though, forget it) but there is absolutely no animal hint or human intimacy, rather a sterile Alien accord that is a study on every female fear.
Its perfumer, Antoine Lie, has been known for his work at Comme Des Garcons (888, Lime and Grapefruit from the Energy C series, Wonderwood as well as Daphne), as well as others in the État Libre line (Tom of Finland, Rien, Divin Enfant, Je Suis un Homme, Don't get me wrong baby). Sécrétions Magnifiques by État Libre d'Orange is available as Eau de Parfum. Its fame precedes this bête noire; approach with a sense of respect.

Notes given for Sécrétions Magnifiques:
Iode accord, adrenaline accord, blood accord, milk accord, iris, coconut, sandalwood and opoponax.

For a funnier take with less drama, watch Katie's review on Youtube.

pic originally uploaded on mua by mzterrim sent to me by email

Perfumers' Profiles

PERFUMERS' PROFILES

• Annie Byzantian
• Carlos Benaim
• Chris Sheldrake
• Christophe Laudamiel
• Clara Molloy
• Edmond Roudnitska
• Francis Kurkdjian
• Francois Demachy
• Francoise Caron
• Germaine Cellier
• Guy Robert
• Isabelle Doyen
• Patricia de Nicolai
• Pierre Guillaume
• Yves Dombrowsky

The "Mousse de Saxe" Base: Creation History, Notes, Influence on Perfumery

Writing about perfume history is an acre of land strewn with minefields. Little has survived into its original form and the industry has been ferociously shrouded in secrecy. Writing about those more elusive, less known aspects, such as perfumers' bases, is even harder because it involves talking about raw materials, and raw materials that are a manufactured composite rather than a single ingredient/molecule at that. Among the most famous bases is De Laire's "Mousse de Saxe".

Structure & History of Creation of "Mousse de Saxe"

The "Mousse de Saxe accord" is comprised of geranium, licorice (created with anise), isobutyl quinoline (leather notes), iodine and vanillin (synthesized vanilla). It was used since the turn of the 20th century and produced by the great aroma-producing firm of De Laire, a composite made by Marie Thérèse de Laire. Edgar de Laire's wife gave birth to the new branch of the factory dedicated to the production of aromatic compounds in 1895. Founded by chemist Georges de Laire (1836-1908), the de Laire firm quickly became a source of synthetic aroma chemicals and "perfumers' bases" (i.e. a ready-made accord of ingredients producing a specific effect, such as famously Prunol, Bouvardia, Ambré 83 and Mousse de Saxe), but also of finished fragrances such as de Laire's Cassis from 1889 or Miel Blanc.

Dark, earthy, mossy bases were in production even in the late years of the 19th century, long before oakmoss and tree moss would fall under the rationing of perfumery regulatory body IFRA, and besides Mousse de Saxe there was also Mousse de Crête (Creatan moss) and Mousse de Chypre (Cypriot moss). The geographical names might hint at some inspiration coming from a material found in Prussia (most of the perfumery mosses traditionally came from the Balkans), much like the dark blue hue in painting is called Bleu de Prusse (Prussian blue) from the military uniforms of the men of the -then independent- Prussia, a counry sharing lands amongst modern day Germany and Poland (The dye was produced in the eighteenth century via sulfuric acid/indigo).

Odour Profile

Mousse de Saxe is a complex creation: It has a dark, sweetish, mossy-woody powdery aspect (indeed chypré) with green, fresh, bracing accents and a musk and leather background of "animalic" character, which is very characteristic once you experience it. De Laire probably infused it with its own revolutionary ionone molecule (which entered in Violetta by Roger & Gallet). The bracing, "cutting" freshness is due to the quinolines (bitter green leathery with a hint of styrax), as De Laire was among the first to produce these novel ingredients.
This base must have been a novel approach in the years of its creation and one can only imagine how perfumers of the time had received it, since perfume formulae have remained a well-kept secret for so long. That reception must have been overwhelmingly positive nevertheless, because of its influence in perfumery in later years.

Fragrances in Which Mousse de Saxe is Perceived

The Mousse de Saxe base is most prominent in Caron's classic Nuit de Noel (1922) but it's used in many Carons; especially the older ones composed by founder Ernest Daltroff. This accord is what gives many of the older Carons their dark undercurrent.

A similar effect is reproduced in perfumes from other brands; notably acclaimed perfumer Guy Robert admits as much as using the backbone of it in his creation for Rochas, Madame Rochas and in Calèche for Hermès.
Other perfumes which present a similar background note are Habanita by Molinard (which also used the Mouse de Saxe base), or the directly influenced base notes of Bois des Iles, Chanel No.19, Grès Cabochard, Shocking by Schiaparelli and YSL classic Opium.

Recently the term "Mousse de Saxe" has lapsed into the public domain and now belongs to Parfumerie Générale and its perfumer Pierre Guillaume who used it in his Papyrus de Ciane press material to describe the base notes used for his modern green, mossy fragrance. Dawn Spencer Hurwitz is also doing an homage to Mousse de Saxe in her Pandora perfume.

Mousse de saxe is discussed in Michael Edward's book Perfume Legends: French Feminine Fragrances.

Related reading on Perfume Shrine: Vintage fragrances (history, info, reviews), Aroma Materials for perfumery
photo on top via Lightyears Collection

Guerlain Vol de Nuit: fragrance review and history

Roja Dove likes to narrate the tale of an American customer who came into a British shop opulently dressed in mink and diamons when Vol de Nuit was not available in Britain, and upon being offered by the sales assistant to try something else, she quipped "Honey, I didn't get where I got today wearing anything but Vol de Nuit and I am not changing for no-one!" Such is the emphatic loyalty Vol de Nuit produces in its admirers ~dame Diana Rigg, Katherine Hepburn and Barbara Streisand among them. I can very well understand why, because I have been securely caught in its web myself. Its haunting, powdery, almost skin-like quietude accounts for a rather sweet fragrance that caresses the senses much like the moody bass and saxophone in a smooth jazz piece. It is seductive despite itself ~in contrast to the calculating wiles of Shalimar~ peppered with the noble juxtaposition that a pressed shirt decorated with an art-deco jewel would evoke.

Guerlain followed their tradition of using evocative names inspired by famous personalities or stories (Eau Impériale for Empress Eugenie, Eau du Coq for French actor Coquelin of Syrano fame, Shalimar for the imperial gardens of Lahore, Mitsouko after Claude Farrere's protagonist in "La Bataille"; and much later Liù after Puccini's heroine in "Turandot" and Chamade after Sagan's novel). They chose "Vol de Nuit"/ Night Flight by Antoine de Saint-Exupéry, chief pilot of Aéropostale, French continent-to-continent mail operations company, and a combat pilot in World War I. Saint-Exupéry also wrote "Courier Sud"(Southern Mail) and "Terre des Hommes"(Wind, Sand and Stars) but was immortalised via the classic allegory "The Little Prince". A close friend of Jacques Guerlain, famous for his romantic conquests and very much read at the time, he disappeared in a reconnaissance flight during World War II (1944). His fate, eerily similar to Fabien's, the newly-wed protagonist of "Night Flight", a pilot on the airmail plane from Patagonia to Buenos Aires who is caught in a cyclone and dies while his wife Simone anxiously awaits signal atop the control tower, is shrouded in romantic mystery. Thus, two years after the publication of the novel, in 1933, Jacques Guerlain launched his fragrance by the same name.


The fragrance Vol de Nuit, inspired by the brave early days of aviation, much like En Avion by Caron, or alternatively the ocean-liner named Normandie by Patou, they all coincided with the at once fascinating and perilous exploration of uncharted territories, exotically comparable to our contemporary exploration of the galaxy. And yet despite everything Vol de Nuit compared with En Avion or even Normandie is tamer than its whirwind name would suggest but none the less magisterial for it. Technically a woody oriental, yet with its pronounced opening green note it totters between an oriental and a chypre. Which is understandable if one considers that it was the first fragrance to make overuse of galbanum, thus influencing classics to follow such as Germain Cellier's Vent Vert, Paul Vacher's Miss Dior and Guy Robert's Chanel No.19. The other characteristic element in Vol de Nuit is jonquil absolute. The initial green rush of those two notes along with spice (a delectable touch of cinnamon, perhaps deriving from benzoin) follows a swift diminuendo into delicate flowers similar to those that appear as if pressed between the pages of a stranger's antique journal in the heart of Chant d'Aromes. The ambience of that floral hug is softly-spoken, refined and gentle ceding to a haunting drydown of woody musky nuances, with the characteristic ambery-vanilla-orris-coumarin sweetness that comprises the tradition of Guerlain (the Guerlinade). The original composition contained costus oil, but today that ingredient is restricted, therefore synthetic approximations by IFF are used. That powdery, discreetly smoky phase resembles the quiet plush of Habit Rouge (the masculine version of Shalimar ) laced with the slight wistfulness over a wise advice that you just didn't follow...

Notes for Guerlain Vol de Nuit:
Top: orange, bergamot, lemon, mandarin, petitgrain, galbanum, sage, aldehydes
Heart: violet, rosewood, palmarosa, jasmine, jonquil/daffodil, pimento
Base: Vanilla, benzoin, Peru balsam, musk, cedarwood, orris, tonka bean, oakmoss, agarwood, sandalwood, vetiver, ambergris, castoreum.

Originally the Vol de Nuit flacon was designed with a front that represented an airplane's propeller at the time when Air France was born and air-travel held the lure of adventure. The name is cut out of a circle of gold metal suggesting the propeller belt. The outer box was conceived to look zebra-stripped to denote the fascination with exotic travelling and Africa, the wild continent.

Later on the flacon followed the almost vase-shape of other Guerlain scents. In the '80s and '90s a refill was made in plain glass for the classic gold Habit de Fete canisters. The parfum circulates in the squat short flacon with the quadrilobe stopper that still holds Jicky and Nahéma in extrait de parfum. The French Air Force Collge orders bottles of Vol de Nuit to be emblazoned with their emblem so that their cadets can offer as gifts when officially visiting abroad. There even was a talc product aromatized with Vol de Nuit which I hope I could come across one day.

The parfum concentration in Vol de Nuit is eminently nobler, yet the Eau de Toilette especially in vintage versions is very satisfactory and rich. It is incidentally one of the Guerlain fragrances where the newer batches have not the pillaged air other thoughroughbreds have suffered, although it lasts somewhat shorter, perhaps because under LVMH supervision all the animalics have been replaced with synthesized versions to comply with current ethical concerns (as is the case in all Guerlain fragrances).
NB: Not to be confused with the recent introduction of Vol de Nuit Evasion (2007) which is in fact an eau de toilette concentration of Guerlain's Guet Apens/ Attrape Coeur (more on which subsequently).

Vol de Nuit is available from Guerlain counters although not all of them carry it and if they do it might be tucked back behind the countertop. Ask for it!

Related reading on Perfume Shrine: Guerlain series.

Pics through euart, ebay, parfum de pub.

Vero profumo line ~Kiki: fragrance review

The new niche line I have promised you is none other than Vero Profumo, the spiritual child of Vero Kern, a Switzerland based aromatologist and Paris trained perfumer under the mentoring of none other than famous legend Guy Robert.
I was immensely flattered to find that Vero had been browsing my blog from time to time and as conversation about perfume has a way of broadening horizons and make leaps into the territory of the unknown, I came to virtually meet this kind, eloquent, thoughtful person and try out the precious perfumes.

The introduction that is offered on the impressive and quite artistic site (click here to take a look) is very telling of the motivation that exists behind any intelligent, artful creation. Because perfumery is commerce, but in this day and age we so often forget that it is also an art form: something that does not take account so much the name, the image, the advertising budget and subsequent campaign as the topmost qualities to determine the impact of a scent in the market, but also a product that can bring elation and beauty in one's life at the spritz of an atomiser. As Vero so rightfully says:

"Fragrances and aromas are with us all the time, wherever we go. They can touch us emotionally, even seduce us, and they influence our wellbeing.
Perfume is more than a temporary accessory. It is an unseen "calling card" representing your personality. An imaginary embrace, a "folie a deux" or maybe even a liaison dangereuse. A "je ne sais quoi" that follows like the tail follows a comet".

Indeed unravelling the ties that make up a beautiful composition is like opening up an oyster to find a luminous pearl hidden inside; hidden from the world for the delectation it seems of an inward need. Vero uses precious essences and natural compounds as much as possible realising that the quinta essentia that those materials harbour in their core is accounting for a richer, more multi-nuanced experience than the one rendered by only aromachemicals as is the case with most mainstream perfumery. Of course the synthetic molecules out of a lab can also be used to great aplomb and in this line they are not excluded, but they do not take center stage; rather aid the main act like a chorus in ancient drama ~echoing the main theme, commenting subtly on the protagonists, offering some coaxing when needed.
Her line of perfumes includes three loveable creations in extrait de parfum concentration that captured me in varying degrees: Kiki, Onda and Rubj. Each individual and unique, yet all bonded by an artistic signature that accounts for a certain style through the line. And that is usually the mark of someone who knows what they're doing.
There is a desire to revert to the classicism of yore that provided masterpieces that endure, yet seen through a modern look that makes them awaken the emotions of a contemporary sensibility.

It is in this context that I came upon Kiki, a precious gem of a perfume that has me hooked and hankering for a note that I am usually averse to: namely, lavender. As readers of PerfumeShrine may recall, Andy Tauer's Rêverie au Jardin is one of the few lavender scents that have managed to capture my heart exactly because he managed to render a soft embrace out of it, caressed in a warm scarf worn around the neck on a cool evening strolling along a peaceful garden with a loved one.

If Andy's lavender is a casual, feel good scent that is to be shared with your long-time lover while holding hands and breathing the evening provencial air, making dreams about the eminent future, envisioning a cozy existence of loving sharing, Kiki is more extroverted and naughty signifying the attitude of an illicit couple out for a good time in the city of Light, Paris.
Although lavender is herbaceous and somewhat medicinal by nature (albeit the user of most commercial mass-market products would be hard pressed to realise that, as it is usually swamped by synthetic vanillin to make it cuddly), in Kiki it is clear and distinct for a long while but never becomes bitter nor unpleasant. The undercurrent of a bodily warmth hides in there and some muskiness that retains the sweet smell of sheets in which you have rolled over with your lover and later eaten on while on a Paris tantalizing naughty trip. It is redolent of sexy but classy lacy underwear in ivory that has been kept in those powdered-scented big cardboard boxes with tissue paper, to be used with the sole intent of getting out of it real soon. And if there is some caramel suryp in the room, it will see good use as well.

As the scent progresses interweaving elements of slightly sweet fruity notes that do not overwhelm it becomes intoxicating, like a promenade along the Rive Gauche and the Monmarte, trying to visualise the infamous Kiki de Montparnasse (real name Alice Prin) and her crazy 1920s days: a model, a lover, a nightime queen.
The lasting power and sillage are amazing, as this wafts caramely whiffs with powdery opoponax-patchouli accords throughout the day and into the night, whispering sweet nothings into the ear of the object of a dangerous and irresistible affair. As it can be shared by both sexes, it becomes a memento of a time spent in pure sensualism and pleasure in the big city. Who would have thought that when saying "lavender"? I knew you wouldn't be able to come up with an answer to that one...



Vero Profumo fragrances can be sampled/bought in Switzerland and neighbouring countries through the site. You can also contact Vero at profumo@veroprofumo.com.
Plans to bring the line to the US are scheduled for mid 2008.
Prices for Kiki extrait de parfum are 105 euros for 7.5ml and 165 euros for 15ml.


Next post will tackle another Vero Kern perfume.



Top pic from film Hors de Prix, courtesy of athinorama.gr
Pic of Kiki courtesy of kaismart.com/journal

Kelly Calèche: fragrance review

The haunting, eerie feeling of Eric Satie's Gnossienne no.1 is tied to my mind to smells that resemble Kelly Calèche, the new feminine scent by Hermès, created by acclaimed house perfumer Jean Claude Ellena.

Like the ethereal yet stangely hypnotic nuance of the musical piece, this new perfume takes sparse elements and interweaves them into a complex and evocative piece of abstract, almost atonic art.

The name of the fragrance derives from the notorious Kelly bag, made famous by Grace Kelly who used it to hide her pregnancy on a photo shoot for Life mag in the 50s and somehow the name stuck. Calèche is of course the delicate and classy floral aldehydic chypre created by Guy Robert in 1961 which takes its cue from the fineest type of carriage (however the one depicted on the house's logo since 1945 is le gran duc).

Since Hermès begun its illustrious career in 1837 selling bridles and harnesses, catering to the equinine rather than the sartorial -for which it is more widely known today- leather scents had been into the core of the house for a long time.
Equipage (1970) is linked to that tradition mostly by name while Bel Ami (1986) is indeed encompassing the warm tannic, bitter notes of leather for discerning males. However a leather scent for women was missing from the line-up and Kelly Calèche was to be the new addition to the pantheon.

The luxurious and haughty manner of previous Hermès perfumes like 24 Faubourg for instance has been substituted with a sparseness and minimalism that is due to the signing up of Jean Claude Ellena as house perfumer fairly recently, a move that resulted in such offerings as the mineral-smelling Terre d'Hermès, the quietly serene Un Jardin en Mediteranée , the limpid, tart wonder that is Un Jardin sur le Nil and the restraintely gourmandish Elixir des Merveilles. But maybe he is mostly known for his Hèrmessences, a pleiad of scents that are selectively distributed only in Hermès boutiques, which present facets of different textiles tranlsated into an olfactory ambience. Needless to say that Perfume Shrine has long been a fan of mr. Ellena's work.


In this one he was inspired by a passage from writer Jean Giono's Jean Le Bleu. There the narrator talks of his departed father, a cobbler, who is "making soles in angel leather." (quote according to Woman's Wear Daily). The muse sounds incredibly alluring and it has created an anticipation across perfumephiles like no other scent for its upcoming release in summer. Luckily provident procurers have made it possible for me to obtain a sample and test it in the convenience of my own home which is always a plus.

The official notes are:

mimosa, narcissus, iris, lily of the valley, climbing rose, tuberose, leather

.

If I am to be honest, I have to say that this is not exactly what a die-hard leather fan who likes to don breeches and carry a whip, like the one depicted in the naughtily tantalizing yet very classy ad of the house, would imagine. The leather is so subdued as to make this incredibly wearable by all, eminently pleasant and very easy to adopt by women, as easy as a pair of driver's kid gloves in a buttery shade.
Men who like to dabble in women's scents unabashedly (and so they should) will find this a little too whispery for their tastes, perhaps. It's a very soft caress.
The floral notes do not make their appearence simultaneously. At the opening a limpid, slightly tart and a tad bitter citrusy note, comparable to the green mango-grapefruit note of Un Jardin sur le Nil , is opening the act to lure us into the ethereal dance of the flowers in attendance. In contrast to the afore mentioned scent however it doesn't last throughout, giving way to notes of powdery iris for a short while and then a honeyed mimosa note, so charming, so delicate, that plays tricks along with slightly greener blossoms. The soft touch of blanched suede is emerging slowly whispering words of cherubic innocence as the coda.

Like Satie's piece Kelly Calèche retains a coolness that is not to be mistaken with haughtiness. It is rather the slightly melancholic gaze of a woman who would also wear Après l'ondee by Guerlain. And this is no mean feat in my books.

Kelly Calèche makes its debut at the new Wall Street Hermès store on Friday June 21st 2007, then distributed more widely in other Hermès boutiques in August while it will be available in high-end specialty stores in the US, undivulged as yet.
According to Woman's Wear Daily :

"The new fragrance's lineup includes a 50-ml. eau de toilette spray for $75, a 100-ml. edt spray for $110, a 200-ml. body lotion for $65, a 200-ml. bath and shower gel for $45 and a 100-ml. spray deodorant for $40.
Prices are for the U.S."

You can purchase samples and small decants though through "Fragrant Fripperies".

Pic of Grace Kelly courtesy of Quorbis and ad pic from Hermès advertising.
Youtube clip originally uploaded by muzikahram.

Dior Cuir Cannage (La Collection Privee): new fragrance

Dior's La Collection Privée (formerly La Collection Couturier Parfumeur) is supplemented for 2014 with a new addition called Cuir Cannage. The "leather fragrance" in question is inspired by the scent of the insides of a leather handbag and reflects that beautiful combination of flowers and leather "notes" which is the mettle of many gorgeous classics in perfumery.

May I remind how the legendary, late perfumer Guy Robert described a long lost Lanvin perfume, Scandal, "like a beautiful flower snapped inside a leather handbag".
In the case of Cuir Cannage, the flowers in question are orange blossom, rose, ylang ylang and jasmine, buttressed by the leather accord (from birch wood and cade oil notes) and given the downy treatment thanks to the inclusion of orris. The perfumer is Dior's steady Francois Demachy.

The name is inspired by the beautiful "woven" treatment of the Dior "cannage" handbags, which reprise a popular technique of weaving calamus and daemonorops for furniture use and basketry (producing a beautiful effect that reminds of lacework). By reference the name then predisposes for a dry, rasping fragrance.

The new Dior exclusive perfume, Dior Cuir Cannage, will be available in the usual 125ml and 250ml sizes of La Collection Privée as well as the giga 450ml size at the specialized Dior boutiques catering to the exclusive collection buyers. Available in June 2014.

2012 Best & Worst in Fragrance & Style: a Recap & a Giveaway

It's that time of the year again. Making lists is fun because it makes one think they're smart and organized. Reading lists is fun too, because it allows one to vehemently disagree with what are idiosyncratic choices to begin with. So see if you share or not any of Perfume Shrine picks for 2012 in the comments and we will all have fun.

The past year was generally not exactly bad for perfume, though it was largely repetitive (even Lutens reprised Passage d'Enfer for his L'Eau Froide!). The bad news is probably coming in 2013, if Dr.Ian White, chairman of the EU Scientific Committee on Consumer Protection (SCCP) is to have his way. The (new and "improved") impending perfumery restrictions (look up our tag Restrictions under the Index on the right hand column of the site, if you're clueless) mean a total recomposing of the entire Guerlain, Dior, etc canon! Unpaid, I might add, so it's a conflict of interest on a very high level. This is also NOT necessarily only due to opting for cheaper synthetics (in lieu of naturals) or for "allergy-risk-minimizing" ingredients; one issue that is not talked about is stabilization (for instance, the molecules that account for the beauty of Diorissimo have been restricted because they can't be effectively stabilized from batch to batch, which meant the ruin of Diorissimo...)

But for now, let's explore what 2012 brought...

pic via basenotes.net

Worth Investing In Mainstream Fragrances 

L'Ambre des Merveilles (Hermes)
[NB. I'm not including Jour d'Hermes (a review of which is linked here) as the wide release is scheduled for 2013]
Spicebomb (Victor & Rolf)


"Meh" Mainstream Fragrances

Florabotanica (Balenciaga)
Gucci Premiere (Gucci)
Coco Noir (Chanel)
La Vie est Belle (Lancome)

The greatest crime of the above is their lukewarm aspect. Not reprehensibly bad, and I'm sure they will have their fans, but in the end...yawn inducing.

collage via dailymakeover.com

Niche Lovelies: Fragrances Worth your Time 

Opardu (Puredistance)
Une Voix Noire (Serge Lutens)
Loretta (Tableau de Parfums by Andy Tauer)
L'Homme Infini (Divine)
Tawaf (La Via del Profumo)
Fis de Dieu du Riz et des Agrumes (Etat Libre d'Orange)
Hedera Helix (Roxana Illuminated Perfume)
...also see my Personal Discoveries below.

With possibly the exception of Hedera Helix (an all naturals composition focused on the elusive greenery of ivy) the above mentioned are not getting praise for sheer innovation so much, as for their exceptional mastery in execution. Smooth, polished, masterful, they create their own little space which like true beauty requires a second (and third, and fourth) glance.

pic via evilmolly.com

So Ugly It Deserves to be Enshrined as an Exemplary Artifact of our Crazy Times
I'm talking about the Nikki Minaj perfume bottle. Yes, this above is a perfume bottle... I know!!

Perfumes You Wish Weren't Exclusive, But Darn They Are (For Now...)

The Guerlain Les Deserts d'Orient line, destined for the Middle East Market (though there are a few bottles available in Europe, here and there, too -a reader has since informed me there are some at Bergdorf's too): Rose Nacree du Desert, Songe d'Un Bois d'Ete, and Encens Mythique d'Orient are too beautiful not to be enjoyed by more perfume lovers, so get some if you can.

Hors Categorie 

Dark Passage (Tableau de Parfums by Andy Tauer)
Delicious patchouli. Dark as the pitch-black night. Decidedly limited distribution, whoever got one owns a true collectible.

Losses of the Year

The death of master perfumer Guy Robert signaled the toll of an era gone the way of the dodo. His masterpieces Dior Dioressence, Madame Rochas, Hermes Equipage, Amouage Gold, and Hermes Doblis are an ephemeron reminder of how perfumery used to operate.
Josephine Catapano quietly passed away full of days, but it was the Shock of the Year to hear of the untimely death of Alec Lawless; his wit and knowledge will be missed.

Kickstarting Discourse of the Year

The MAD Museum exhibition The art of Scent curated by Chandler Burr. Not the first fragrance exhibition in an academic setting, as erroneously reported on some journalistic venues, but the first to disassociate the jus from the packaging, the fashion houses and the advertising paraphernalia completely. A brave new step ~with controversy naturally attached to it, as befits such projects.

Greatest personal "discoveries" in 2012

The entire Ramon Monegal perfume line
The Maria Candida Gentile perfume line
Monegal launched this summer in the USA, although it comes from an old perfumer quite active in Spain. Mon Patchouly, Mon Cuir and Impossible Iris are absolutely smashing (and full bottles are on my wishlist). The rest of the line is also wonderful (Dry Woods, Umbra, Lovely Day etc), you really can't go wrong! C.M.Gentile produced fragrances rich in gorgeous naturals for a while, but I only got to know her oeuvre in early 2012, so I consider it apropos (read my reviews of Exultat, Cinabre and Hanbury on these links if you like).

Celebrity Fragrance Talk Yawn of the Year

Fame by Lady Gaga
If Gaga of all people can't bring out a controversial juice on the market, the whole celebrity fragrance concept is artistically doomed. Not that we didn't suspect as much all along.

Celebrity Fragrance "No Kidding" of the Year

Truth or Dare by Madonna 
Madonna issues a celebrity fragrance (and a sheerer flanker too) a million years after her zeitgeist zenith. But the juice is good!

Time-Sensitive Editions you Should Have Grabbed When You Could

Aqua Allegoria Lys Soleia (Guerlain)
I'm never sure whether any of the newer Aqua Allegorias actually start out as limited editions or just get axed when they don't perform as expected (Herba Fresca and Pamplelune are in the line for ages, for example, whereas Flora Nerolia due to no fault of its juice disappeared all too quickly). In short, if you like it, stock up.

Promising Upstarts

Rouge Bunny Rouge fragrances
The chic and playful makeup brand has dabbled in fragrance. Pas mal! I'm going to write up a bit on those in the near future.

collage by fashionista.com

Butt-Clenching Commercial of the Year

Chanel No.5 featuring Brad Pitt
When the SNL spoofs are more interesting, hilarious and non sensical than the commercial itself you know you've hit an all time low. This goes under the "what were they thinking?" tag and should be defended in a court of law under the temporary insanity plead. I sure hope Joe Wright's ego gets a needed resizing (he's not that great) and that the people at Chanel recover. Commercially I'm told the Brad Pitt fronted campaign rejuvenated interest at the counter (wtf?!). Artistically speaking, it's -sorry- the pits.
As one commenter accurately says: "Brad Pitt looks like a wet labrador. A wet, loyal labrador who's talking about I dont know what. Soaked dogs isnt something Chanel is known for so I'm just as confused as everyone else as to what's going on in that ad".  Couldn't have said it better myself...

And now time for the Giveaway: One lucky reader gets a big goodie bag with mini bottles/decants of ALL the fragrances I thought as worth sampling this year! All you need to do is write a comment with your own thoughts, feelings, opinions, agreeing/disagreeing in the comment section below the post, anything goes.
Draw is open till January 2nd midnight internationally; the winner will be announced on January the 3rd.
Good luck!!

Amouage Jubilation 25: fragrance review

My tumultuous love affair with chypres has always been like flipping through the pages of an old family album; grudgingly recognising familiar features reflected on my own visage and looking quizzically yet with admiration on fashions past. Jubilation 25 by Amouage comes as the crowning glory of an introspection in sepia, ascertaining its place as one of my core favourites ever since its launch. In my ever expanding collection it is competing for stage space with the beautiful bell jars of the Parisian exclusives of Serge Lutens, to which it feels like kin.

The comparison with the olfactory seraglio of Lutens comes naturally, Arabia the Felix being at the DNA-helix of both. But whereas Lutens’s elixirs speak beneath dark-kholed lids assuming nevertheless a Japonesque apocryphal coyness, Jubilation 25 flaunts its proud breast in the fabled manner of perpulchra Eleanor of Aquitane astride her horse on the Second Crusade while facing the gates of Damascus.

The Omani uber-luxe brand Amouage released Jubilation 25 in 2007 to celebrate its 25th anniversary with their customary brief: spare no expense! To that effect let’s remind ourselves of the free reign legendary perfumer Guy Robert (Hermès Equipage, the buttery soft Doblis and Calèche, Christian Dior Dioressence, Madame Rochas) received upon the commission of creating the introductory fragrance of the house of Amouage when it was established in 1983 by the Sultan of Oman. Now named Amouage Gold, along with Amouage Dia, for men and women, the scents help prove that opulence acts as a constant in the direction of the venerable and genuinely exotic house.

Composed by Lucas Sieuzac, (Fashion Group International's Rising Star award receiver in 2004), Jubilation 25’s resolutely noble lineage can be traced to the succulent and confidently sexy fruity chypres of yore, like Rochas Femme, hold the exuberance, and Guerlain Mitsouko, hold the wistfulness. Pointedly the antecedent accord in the heart of Jubilation 25 is that of Edmond Roudnitska’s enigmatic Diorella, minus the melon freshness and flanked by a generous side helping of amber and resins. Yet in many ways the Amouage fragrance is a seasoned grand dame whereas Diorella is a budding ingénue of aristocratic pedigree. The intense hedonic character of the fruity nectar is not far removed from the legendary Colony by Jean Patou.

Smelling Jubilation 25, soft billowing layers of rose reveal themselves one after the other as if testing a rich millefeuille, while the sumptuous sensation of liqueur-like essences such as davana compliment the fruitier facets of the floral accord. The beguiling austerity of liturgical essences (frankincense, myrrh) is contrapuntist to the nectarous tonalities and the unmistakably mossy-woody base foiling them ~which makes the chypre accord so complex and intensely memorable. In comparison to Rochas Femme (and especially the 80s reformulated version), Jubilation 25 comes off as more lemony and delicately ambery, less spicy but with a discreet leathery aftertaste. Surprisingly, it exhibits a more cultivated Gallic air than the French-born themselves! Its amazing lasting power is testament to its firm grip on your heartstrings, if you are even remotely attracted by the genre of fruity chypres, of which it is a stellar example.

Amouage Jubilation 25 notes:
Top: tarragon, rose, lemon, and ylang ylang
Heart: davana, labdanum, rose, and frankincense
Base: amber, musk, vetiver, myrrh, and patchouli.

Amouage Jubilation 25 Eau de Parfum comes in 50ml/1.7oz and 100ml/3.4oz bottles and sometimes it’s available in 25ml starter bottles which are excellent value for money considering the high quality of the juice.

Related reading on Perfume Shrine: Chypre scents, Chypre series.


Pic via wickedhalo.blogspot.com
Clip of The Lion in Winter originally uploaded by Moviemonologues on Youtube.

Perfume Ingredient: Salicylates ~Smell, Role and Function

Savouring Vanille Galante by Hermès now that the weather is getting cooler again, I am struck by its "solar" effect, a warming, "open", bright effect that is rendered through the use of salicylates: benzyl salicylate, cis 3 hexenyl salicylate, and iso amyl salicylate. To the perfume student these molecules present fascinating facets on the path of creation because salicylates encompass complimentary aspects and aid diffusion, making fragrances open up and "expand" in a sunny, exhilarating way. Gardenia, tiaré, and frangipani accords are usually built on salicylates and their summery vibe warms our heart even in winter. In this article we're going to occupy ourselves with the ones which are most often used in fine fragrances.

Benzyl Salicylate (benzyl ortho hydroxy benzoate) is an almost colourless liquid that has a mild balsamic, sweetly floral note possessing excellent blending capabilities. Often used ~like foundation is for make-up~ as a base for heavy florals such as ylang, gardenia, jasmine, lily etc. It is also used in functional products such as soap, shampoo and fabric softener. Along with Methyl Salicylate, salicylates “turn the most banal floral composition into a real perfume, with majestic weight and sweep” divulges Luca Turin. However some people are anosmic to it, including some perfumers. Guy Robert could not smell benzyl salicylate at all, but could instantly recognize its presence in perfume: “I recognize it as if it were a friend seen from behind in a crowd, by the cut of his shoulders”. Indeed in the words of nose Bernand Chant “it produces a diffusing, blooming effect very pleasing to the public”. Many orchid fragrances are built on salicylates, while the mysterious emerald glow of the vintage Je Reviens is also due to them. Coupled with eugenol and isoeugenol, the effect becomes almost carnation-like with its clove tint. The magic of benzyl salicylate can be best experienced in the archetypal floral bouquet of L’air du Temps featuring an overdose of the ingredient. Its progeny included Wind Song, Norell, Estée, Charlie, even Angel! However the recent restrictions on the use of benzyl salicylates have taken their toll on many floral fragrances, L’air du Temps included, which simply do not smell as they used to.

Methyl salicylate (salicylic acid methyl ester or oil of wintergreen ~because it is present in lots of evergreens such as birch and also rhododendrons~ and commonly featured in arthritis and muscle body rubs but also in Life Savers) has a green glow with camporeous aspects. Naturally occuring in tuberose, jasmine and hyacinth absolutes, as well as ylang ylang and neroli oil, it provides that characteristic eucalyptus-mint nuance of Tubéreuse Criminelle and to a lesser degree Carnal Flower. It is also a big ingredient in birch tar, used in Russia in treating leather and therefore associated with Cuir-de-Russie-themed fragrances, modernly interpreted in Dzing! and Bulgari Black. Also present in cassie absolute, so it seems to be the bridge between those and Une Fleur de Cassie; the connection being that acacia bark (the inspiration behind the latter) was also used in treating leather, in France.

Amyl salicylate (pentyl ortho hydroxy benzoate) is a colourless liquid related to coumarin olfactorily, frequently used to round off a composition and fix fine fragrance (floral or non-floral) even though not a constituent of volatile oils. The molecule is also referenced as orchidee, trefle or trefol due to its orchid-like lightly sweet floral and herbaceous-green aroma and its inclusion in L.T. Piver's 1898 mythical Le Trèfle Incarnat. A tiaré accord built on amyl salicilate is used in the Dior Bronze range to impart the lightly powdery floral nuance which serves as a reminder of beloved products of sunbathing (see below). Chances are you've smelled amyl salicylate in your favourite shampoo, deo, hair spray or fabric softener too as it is so prevalent in those products or used it in your anti-rheumatism prescription.

Ylang ylang (cananga odorata), a very frequent floral essence in perfumery and a constituent in Vanille Galante which prompted these syllogisms in the first place, naturally encompasses salicylates and eugenol (a spicy ingredient); the former in the form of benzyl salicylate is the basic ingredient in the Ambre Solaire suntan lotion, with its white flowers tinge, which is synonymous with summer vacations to many Europeans (The ingredient first entered the composition for its sunscreening properties and later overstayed thanks to the fond reactions of users to its smell). Even the humble aspirin is a product of salicylates. The magic of salicylates is that they creep up on you from the most unlikely places!

Ref: E. Gildemeister, The Volatile Oils

Pic via edwan.blogspot.com, Ambre Solaire ad via mtblog.self.com