Guerlain Chamade (1969) Fragrance Review Series Part 6: Afterward & Thoughts on Fragrance Criticism

~by guest writer AlbertCAN

Tout entière

Le Démon, dans ma chambre haute,
Ce matin est venu me voir,
Et, tâchant à me prendre en faute,
Me dit: «Je voudrais bien savoir,

Parmi toutes les belles choses
Dont est fait son enchantement,
Parmi les objets noirs ou roses
Qui composent son corps charmant,

Quel est le plus doux.» - O mon âme!
Tu répondis à l'Abhorré:
«Puisqu'en Elle tout est dictame,
Rien ne peut être préféré.

Lorsque tout me ravit, j'ignore
Si quelque chose me séduit.
Elle éblouit comme l'Aurore
Et console comme la Nuit;

Et l'harmonie est trop exquise,
Qui gouverne tout son beau corps,
Pour que l'impuissante analyse
En note les nombreux accords.

O métamorphose mystique
De tous mes sens fondus en un!
Son haleine fait la musique,
Comme sa voix fait le parfum!»
—Charles Baudelaire


All Together

This morning in my attic high
The Demon came to visit me,
And seeking faults in my reply,
He said: "I would inquire of thee,

"Of all the beauties which compose
Her charming body's potent spell,
Of all the objects black and rose
Which make the thing you love so well,

"Which is the sweetest?" O my soul!
Thou didst rejoin: "How tell of parts,
When all I know is that the whole
Works magic in my heart of hearts?

"Where all is fair, how should I say
What single grace is my delight?
She shines on me like break of day
And she consoles me as the night.

"There flows through all her perfect frame
A harmony too exquisite
That weak analysis should name
The numberless accords of it.

"O mystic metamorphosis!
My separate senses all are blent;
Within her breath soft music is,
And in her voice a subtle scent!"
—Charles Baudelaire, translation from ReadBooksOnline.net



Let me tell you when I first promised our Elena to review Guerlain Chamade for this blog: December 11, 2008. In fact I still have a copy of my request:

"Just wondering if I may review Chamade and/or Samsara. I've been accumulating material for those two and they are going to be interesting. (You would be surprised by how the Buddhist definition of samsara, considered the root of pain and suffering, is worlds away from what Guerlain is trying to portray.) As for Chamade I may even upload the actual drum beat! (Plus the pivotal moment of the movie.)"

Well, writing a review for Samsara was not that labour intensive. Yet as all of you could tell it took me more than three years to get this review done, and never would I imagine turning the piece into a multi-part marathon.

Why? As some of you might have noticed I have chosen to blog less and less over the last couple of years. Started out as a mild lethargy and gradually morphed into a full-blown hiatus at one point. Have I been busy? Yes and no: I’ve always managed to find time to blog before, even a miniature piece or two.

So what happened? I started to see a huge chasm between the artisanal and the commercial in this business, the art really not lining up with the money. Don’t get me wrong: as a business graduate I know very well that perfumery houses are here for its survival. Yet the interesting side effects of the 2008 financial meltdown are still unfolding among perfumery brands: all major players, for one, are more lean and determined to get a piece of the action. Translation: the bottom line now really counts, more than ever.

To be perfectly honest I’m all for marketing research, and pushing a product nobody wants to buy, at least to me, is the greatest sin on earth; with this being said I can only stand mindless renditions of Marc Jacobs Daisy for so long.

Kindly allow me to reiterate: I’m not against commercial viability; I’m just against mindless plagiarism. I’m not against approachability; I just don’t like philistines all that much. I don’t even mind cutting costs on material and development; I just won’t stand thoughtless slash across the board because nobody was “supposed” to know when materials are downgraded.

I prefer, in all my sincerity, modernization—but I want to do it with standards. If it comes at the costs of cutting excessive corners than, well, what good are brand managers, let alone executives?

Of course, I know there are still passionate, conscientious people working in this industry, working very hard to make a difference. And my thoughts are not in any shape or form trying to disparage the true artists. (Please don’t ask me to name names of this or that—because I simply won’t.) But I decided to listen more since then. And to really start thinking about what makes the legends of the past so great in the first place: after all, those who cannot learn from the past are doomed to repeat the failures.

That’s my ultimate purpose for reviewing Chamade, articulating what made it great in the first place. Perhaps the ideas could be transported and lifted for generations to come, even though the exact ideas might not be in vogue any more.


To me the ultimate reason behind the success of Chamade is quite simple. People cared. Say what you will about French perfumery, its politics: people took the time to think about the genuine dialogue between the product and the culture, how the time affects its culture before coming up with a genuine proposal. Making genuine products with perfectly valid constructs. Again, I know not every perfumer can be Ernest Beaux, nor all fragrance account managers have the immaculate tastes of Coco Chanel, but if the latest release is a very simple xerox of the latest marketing reports (bottled, of course) with zero imagination attached then, again, what good are people arming diplomas from top-notch MBA programs?

Thus by the same token I am still stand behind my favourable review of Hermes Hermessence Iris Ukiyoe (2010). Or Chanel No. 5 Eau Première (2008). And honestly I am even that tough of a fragrance critic—but showing one’s work is a pre-requisite in my book. Kindly allow me to repeat: showing one’s work is a pre-requisite.

Still, back to my story: I started writing this series on Tuesday, March 6—

It's going to be the longest review I've ever written! I'm at the bottom of third page and haven't fully covered the cultural background.

That’s when Elena’s common sense kicked in: otherwise all of you would have to read this series in one, extra-lengthy post. Five parts in one sitting.

(At this point I have to give credit where credit is due: without Elena’s tireless patience in the first place not a single word of this series would come to life, let alone her often thankless edits of my unruly writing. She’s really a trooper.)



The series, once get going, proved to be a quick waltz. Part 1 through 4 was submitted within one day. Part 5 came a day later because I couldn’t find the right artwork: luckily Ms. Danielle Jarvis showed me her piece; otherwise the readers would have to stare at nothing but words upon reading the blooming epilogue.

Before I go I want to share with all of you one more thing about my thoughts on Chamade. I’ve always deduced that Rachmaninoff’s Symphony No. 2 in E Minor, Op. 27, its third movement Adagio, is a musical approximation of its ideas, the romantic mad aches. Try testing the fragrance while listening to the performance below: there’s nothing on earth quite like the pairing.




Thank you all for listening. It’s been a joy from the heart.

To read the whole Guerlain Chamade Series, visit Part 1, Part 2, Part 3, Part 4, Part 5 clicking on the links. 

Photo: Guerlain Chamade advertisement, via Google

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

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

~by guest writer AlbertCAN

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

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

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

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

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

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

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

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

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

Citation

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

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

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

Little known facts: fragrance history

I have been keeping these "on ice", so to speak, for some time. They're interesting and fun to know and probably not too practical either, but thought I'd share.



Light Blue: It's the title and colour of attire by which a representative of Cambridge in an athletic tournament goes by, its counterpoint being Dark Blue *for Oxford. It goes back to the boatraces between the two university towns many years ago, specifically the Varsity Match. Something tells me Dolce & Gabanna never thought of that!

"The man who began the Varsity match tradition was Charles Wordsworth of Christ Church college Oxford, who in June 1827 arranged a two-day cricket match against Cambridge at Lords. The first Boat Race between the two universities was in 1829, and was rowed over 2 and a quarter miles between Hambleden Lock and Henley Bridge. The second Boat Race was not until 1836 which was rowed over more than double the distance, from Westminster Bridge upstream to Putney Bridge. It was in this race that one of the Cambridge oarsmen tied a light blue ribbon to the bows of the Cambridge boat (the colours of his school, Eton College). The colour dark blue was then ascribed to Oxford because it is the colour of Christ Church college, and the Oxford crew sported white jerseys with dark blue stripes during the race. These colours have remained over the years and now sportsmen who have represented Oxford in a Varsity match against Cambridge in a Full Blue sport are entitled to wear a dark blue blazer".

~according to Sport.ox.ac.uk



Chamade: Technically thus is called the drumroll that in the Napoleonic wars signalled retreat. Also used by Françoise Sagan in her novel, La Chamade as a sign of erotic surrender ("son coeur bat la chamade"). Interestingly, on top of all that, the name of a quite successful car model by French auto-industry Renault!
Guerlain had chosen a wonderful vehicle for conveying the sweet message of romantic surrender to love.

Listerine: Now known as a deodorising mouthwash and also a series of oral hygiene products, it began its career as a house and hospital general antiseptic in the 1870s! It only re-invented itself as a mouthwash in 1920, through cunning and rather manipulative advertising; even inventing the non-existent medical term halitosis for what is commonly known as bad breath!

Ma Griffe: In French it means both "my signature" (hence a designer's marquee is called one's griffe) and "my talon" (accordingly pictured in advertisements in the 1970s). So basically, Ma Griffe hints at having someone at your clutches: not exactly the prim image we have of it, now, is it?

Eternity: The Calvin Klein scent derives its name from the eternity ring of Mrs.Simpson (which was a gift by the Duke of Windsor) that Calvin bought at an auction for his then wife Kelly Rector. Inside the ring there was a simple inscription: Eternity. Which was the case for the Windsors, but not for the Kleins as they seperated later on.

More fun later on!


*Thanks to Bela for pointing out that the translation for "dark" vs "deep" does denote a difference in shade in this instance.

Pics courtesy of ciao.fr and parfumdepub