Myth Busting: What Fragrance Concentration Really Means (Eau de Toilette, Eau de Parfum, Eau de Cologne, Extrait de Parfum, Parfum de Toilette, After Shave, Mist etc)

Although received knowledge wants fragrance concentration to be synonymous with lasting power and "strength" of the scent, largely influencing selling price as well, the truth is a little more complicated, with obscure terms like Parfum de Toilette, Eau Parfumée, Mist, Esprit de Parfum, Eau d'Abondance etc. confusing even some of the more knowledgable perfume lovers! In this small guide, prompted by frequent questions by our readers on fragrance, we try to explain the different terms that pertain to fragrance concentrations with some historical data showcasing the reasons why.

The concentration of a fragrance refers to the concentration of aromatic compounds in the solvent; in fine fragrances this is typically ethanol or a mix of water and ethanol, as denoted on the list of ingredients/allergens on the box. Although a general guideline is presented about ratio of aromatic compound percentage, different perfume houses assign different amounts of essences to each of their perfumes, further complicating the matters. Most agree on at least the general truth of the following though.

Extrait de Parfum, also known as parfum or pure perfume (or even as "perfume extract" following the literal translation from the French), is the highest concentration of scent, containing 15-40% of aromatic compounds. According to the International Fragrance Association (IFRA) the typical percentage is closer to 20% than to 40%. Even though extrait de parfum demands high prices (sometimes stratospheric) and comes in the smallest bottle, making you believe that it should be the strongest concentration, it would be more accurate to say that is in fact the longest-lasting. Several extraits de parfum can be rather subtle and skin-friendly, wafting from the wearer in a less aggressive manner than a loud Eau de Parfum formulated with lots of "projection" or sillage potential. Especially in classic fragrances, which are epoque-representative (such as Guerlain Mitsouko, and Shalimar, Caron Alpona, or Lanvin's Scandal ) or in cult, rare scents, such as Hermes Doblis and Shiseido Nombre Noir, experiencing the scent drop by drop, as befits something precious is the only truly satisfying method of cherishing them.

Originally all fragrances came in extrait de parfum: The perfumer mixes the compound for testing before diluting to several variations. Colognes (or more accurately Eau de Cologne scents, which follow a traditional recipe of citrus & herb notes with very little anchoring by base notes, in reality being a trademark and a specific fragrance) were the exception and formed a category of their own; indeed these were also made in abundance by local apothecaries and pharmacies throughout Europe, each had their own "edition". When fine fragrance was democratisized in the turn of the 19th century, through the invention of aroma synthetics, and more pointedly in the 20th century when it became a veritable industry, perfume houses began offering an Eau de Cologne (EDC) version of their popular scents: This meant a lighter concentration (about 5% of aromatic compounds) in a bigger bottle, which would mean lower price and more juice to be splashed on. These Eaux de Cologne however were not the traditional recipe, nor were they only "lighter" in strength and lasting power compared to the parfums they interpreted. Very often, as is the case of Guerlain, classic Dior and Chanel fragrances from the first half of the 20th century and into the 1960s or even early 1970s per individual case, these Eaux de Cologne were formulated to contain more of the brighter top notes as opposed to their more concentrated counterparts, so as to provide a "sparkle" upon putting on skin, familiar to the consumer from the quasi pharmaceutical/aromatherapeutic use of traditional Eau de Cologne for all ailments. Thus the progression from buying at the chemist's/apothecary and buying at the perfume counter of a famous couture or cosmetics house was made seamless.

Testing a vintage Eau de Cologne (see Guerlain's excellent Vetiver which retains that wonderful tobacco-laced accord) by Lanvin, by Guerlain, by Chanel or by Coty often means a quite lasting fragrance, close -or even better lasting in some cases- than a contemporary Eau de Toilette! They also tend to present different fragrant nuances than other concentration, exactly due to different construction (as infamously evidenced in many Chanels).

Eau de Toilette (EDT), a concentration of between 5-15% of aromatic coumpounds, is also a time-honoured concentration catering to the needs of those who could not afford the precious extrait de parfum, yet still wanted to partake of the dream of glamour that perfume promised, or alternatively  the version meant for daywear, instead of the parfum which was indicated for night-time wearing, much like jewels in bobbed hair and silk satin. The phrase came from the French "faire sa toilette" which denotes the ritual of getting ready, getting dressed. Putting on perfume was considered the final touch on an exquisite presentation of the self.

The first perfume to have the parfum made as an afterthought is rumoured to be Coco by Chanel: Perfumer Jacques Polge was intructed to think of the Eau de Parfum, the popular 1980s concentration, while composing, rather than the denser extrait: By the time that Coco launched, the new generation of consumers were oblivious to the old habit of applying droplets of scent with the dropper/stopper and were familiarised with sprays which had become the norm throughout the 1960s-1970s, catering to the "women on the go". Sprays/atomisers by their very nature tend to dispense a lot of liquid, thus familiarising consumers with abundance. As the 1980s rolled their weird mix of consumerism, carnality, frantic social climbing and political conservatism, fragrances became more and more agressive, a form of olfactory shoulder pads. Thus the idea of a stronger concentration that would introduce the wearer before they even entered the room was born: Eau de Parfum (EDP). Typically 15% (and fluctuating between 10-20% of aromatic compounds), this is a concentration that lasts a long time and is very perceptible in terms of "waft". For those who were of the "bang for the buck" school of thought it also made perfect economic sense, being the best of both worlds.
In certain brands, there might be a separate nomination to denote that, such as millésime at Creed (a term borrowed by wine, denoting a particularly good year).

Some Eau de Parfum fragrances are in marked contrast to their Eau de Toilette counterpart: This might be one of the reasons why the scent you smell on another smells rather different when you buy a bottle yourself. Famous examples include Chanel Cristalle which in EDT is a bright citrus with a light chypre-like base, while Cristalle EDP is a full-blown floral chypre with honeysuckle emphasized in the middle. Yves Saint Laurent Paris is more powdery and crisp in EDT, while being sweeter and more liquer-like in EDP. Chanel routinely twists their fragrances to be slightly different within the different concentrations.
In rare occasions they're a completely different fragrance altogether! Rykiel Women (Not for Men!) in EDP is a sensuous musky-leathery skin-scent. In EDT it is a bright and sweet fruity floral! Elixir des Merveilles, the EDP version of Hermes Eau de Merveilles (EDT) injects fruity-chypre tonalities in the sparser woody-salty scent  ambergris formula of the original.

From then on, there is a bit of chaos. Generally speaking Parfum de Toilette (PDT) is the equivalent of Eau de Parfum, perhaps a bit more spiked towards the higher end of percentage of aromatic compounds (20%), a very lasting, velvety concentration. One of the houses that really rode this notion high in the 1980s was Guerlain, before dropping the term in lieu of the standard Eau de Parfum in the 1990s: Each and every one of their Parfums de Toilette in their popular perfumes was stellar.
Esprit de Parfum  (no abbreviation available for obvious reasons) is a term that is seldom used: Poised between EDP and extrait, containing almost 30% aromatic compounds, it is most famous from Dior who used the concentration in their iconic of the 1980s scent Poison: Interestingly Poison originally came in Eau de Cologne concentration and Esprit de Parfum (alongside extrait de parfum of course), before these two being dropped in favor of the more standard Eau de Parfum and Eau de Toilette in the 1990s.
Secret de Parfum is a specific variant used by Yves Saint Laurent for Opium in the mid-1990s: The maroon bottle involved lattice-work, the concentration akin to Eau de Parfum, but the subsequent substitution with a reformulation of the formula for the Eau de Parfum wasn't unjustified: the product had a greasy, opaque tonality that betrayed the better facets of the original perfume, while the newer Eau de Parfum was truer till very recently (till the 2010 reformulation). 

Perfume Mist, Brume de Parfum, Voile de Parfum, Eau Parfumée, or Eau Sans Alcohol is typically the lightest form of a feminine fragrance: The ratio of aromatic compounds varies between 3-8% while solvent is typically non alcoholic. This was necessitated for two reasons historically: The aerosol mists using propellant were formulated so as not to sting or squirt alcohol in the eyes. Secondly, in the 1990s, when concerns about the allergenic properties of fragrance became more widespread, companies introduced the notion of a non photo-toxic version of their fragrances so that they could be worn all over or at the beach. Some of these fragrances are specifically made as such, such as Dior Bronze "Sweet Sun", which incidentally is launched as "Eau de Bienfait" (approximately Feel-Good, Beneficial Water, as it was included in their suncare line Dior Bronze). Yves Saint Laurent has a very light Opium flanker called Opium Voile d'été.
Please note that the older the fragrance tagged "eau", the greater is the chance that it is quite decent in the smelling/lasting department (superior to a modern variant by the same name): witness Eau de Lanvin concentration for instance for several of their vintage perfumes (My Sin, Arpege etc.)

Masculine fragrances present a mix-up: While as we said Eau de Cologne refers to either the traditional Eau de Cologne recipe/trademark scent first made in Cologne, Germany, or the lighter concentration of a given perfume, many men refer to their fragrance as "cologne". This is mostly an American or Anglo-Saxon phenomenon, due to the reluctance of ascribing themselves as "perfume wearing" (considered effeminate).For instance in Greek the term "cologne" (as well as perfume) is used to denote fragrance for either sex.
More elaborate, additional terms after the name on bottles, such as extrême, intense, or concentrée might seem like indicating concentration but usually they pertain to completely different fragrances, related only because of a similar perfume accord: compare and contrast Chanel's Pour Monsieur and Pour Monsieur Concentrée.
After Shaves of non-lotion-consistency are more old-fashioned: These typically contain a fant 1-3% of aromatic compounds, meant to create a feeling of euphoria upon putting them on without stinging sensitive freshly-shaven skin and quickly disappear altogether.

Eau Généreuse or Eau d'Abondance is a relatively new term, denoting the luxury of huge, honking bottles, meant to be splashed with abandon, a luxury trait inaugurated by the house Hermès (see Un Jardin après la Mousson for instance and the rest of their Jardins fragrances) and followed by Cartier (see Pasha Eau Généreuse or Declaration Eau Généreuse) These scents come in homonguous bottles but in reality are of Eau de Toilette concentration as usual.

Of course there are several other fragrant products, especially in vintage fragrances, when such practices were more common and more varied, from hair lotion (stillboide) by Guerlain to hand-sanitizing water, Eau de mouchoir (handkerchief scent from the Victorian era) and eau de dentifice (for oral hygiene). But they're beyond the scope of this little guide; perhaps we will return on a subsequent guide.

As with everything, largely concentration perception is a personal interpretation within the official guidelines: What seems more lasting or more forceful might have to do with personal sensitivity to specific ingredients and with associations rather than fixed ratios. So, when heading to the perfume counter or when savouring a vintage treasure, give a minute or two to think about what you're smelling exactly.

pics via gildedlife.com & seharm/flickr/somerightsreserved

Guerlain Cologne du Parfumeur: new fragrance

News for Guerlain lovers and haters alike: A new Eau de Cologne in the classic mould but with a modern twist is being introduced in May 2010. Osmoz reports that "Guerlain and Cologne go way back. Each of the house’s perfumers has invented his own. Following in the footsteps of L’Eau de Cologne du Coq (1894), L’Eau de Cologne Imperiale (1853) and L’Eau de Fleurs de Cedrat (1920), in 2010, Thierry Wasser presents ‘La Cologne du Parfumeur’ [sic] a creation that Thierry admits having originally thought of for himself. The key note is a lovely Calabrian orange blossom intertwined with other citrus fruit. Yet this fairly classic cologne also has a ‘modern twist’ thanks to green, musky and sweet facets. The designer also acknowledges that it can be worn alone or layered with your usual scent. For the occasion, Guerlain’s various Colognes have all been graced with a new label on which you’ll find their date of creation and the name of the perfumer who designed them. Look out for La Cologne du Parfumeur from May 2010" .

Perfumer Thierry Wasser is reported to be a great lover of "green" (in olfactory terms) and to have been selfishly enjoying this new cologne which he composed simultaneously with Idylle in his downtime. The really interesting part is that the launch of the new cologne coincides with a revival of a very old tradition dating back from the conception of the Eau de Cologne (Read more on the history and composition of Eau de Cologne on this article). When Eaux de Cologne were considered a panacea for all ailments, people had been known to actually drink them by the gallon! Naturally in those days the alcohol was indeed drinkable, not perfumer's alcohol like today. But this old ritual possibly inspired Guerlain to introduce the new cologne with an accompanying cocktail drink that will be served to all customers at the boutique 68, Champs Elysees and which will include similar aromata as the fragrance itself, namely notes of lemon water, orange blossom, orange juice, lavender syrup, mint and rosemary! Sounds rather good.

Another interesting aspect is that the bottles of all the Guerlain Eaux de Cologne are revamped for the occasion: Each Eau flacon from now on will bear the name of its "author": Pierre-François-Pascal Guerlain, Aimé Guerlain, Jacques Guerlain and Jean-Paul Guerlain (for the lovely Eau de Guerlain from 1974). To that illustrious line-up Thierry Wasser is now adding his name too, F.Malle-style. A propos, please note that the recent Cologne du 68 (2006) by Sophia Labbe isn't included in this "classics" line-up, probably because despite the name it aims at providing a different, less traditional concept. Hence its exclusion.

A turn such as this regarding the positioning of the Cologne du Parfumeur leaves us musing about both Guerlain's and LVMH's (who own them) motivation into tapping into such a revered legacy, as well as Thierry Wasser's uphill battle to position himself firmly at the helm of the historic house as head perfumer. In my opinion, this move both attests the desire to make this position plainly obvious on behalf of the management and the motivation to let Thierry create fragrances that may appeal to both the classics clientele and the younger/more modern crowd who prefer a lighter scent. Clearly the well-familiar Eau de Cologne recipe is a prime target for reconciling both: who really hates it, I ask you?

The practice of hereby chronicling the heritage of the house by naming each successive perfumer on the eaux bottles themselves also indicates that the more cynical amidst the perfumeland ~who have been bemoaning the LVMH takeover as the cultural ruin of Guerlain for long~ are being heard. Possibly (but not conclusively) this is also a move to assuage the negativity of the Guerlain detractors being vocal on the Net. Whatever it is, it is a move that is bound to be discussed and dissected. We did our part and will return in due time.

Edit to add: Full review on this link.

pic via osmoz

Bergamot in Fragrances and in Eau de Cologne: a Match made in Heaven

The use of bergamot in the Mediterranean fragrant waters is something of a tradition, even to this day. My mother, same as lots of men and women in my culture, used to carry a small splash bottle of fragrant alcoholic “eau” in her purse at all times, to refresh her hands or handkerchief during the day with a swift and effective “pick me up” and to even quick-cleanse mine in the absence of water and soap as a small child, thus killing two birds with one stone: eliminating some bacteria from casual contact with dirt and making me a fragrance aficionado ever since!


Although she kept her precious exotic perfumes at home, the bergamot, lemon or even pine-infused eau de Cologne travelled with her, refreshing many a time a weary travelling companion and alleviating a stuffy atmosphere of a couped- up car on a long drive across Europe. The citrus base of such waters has left an indelible mark on my conscious making me hanker after the smell of bergamot as the one cure to prevent nausea. But the history of Eau de Cologne and its inclusion of bergamot goes far, far back...
Although technically neroli (the essence rendered by the steam distillation of orange blossoms) is the prime constituent of an Eau de Cologne "type" of fragrance, bergamot gives it a finishing joyfulness and polish like no other thing.

The most influential scent of the 18th century and the court of Louis XV (nicknamed la cour parfumée due to the dictation of wearing a different scent every day) was Aqua Admirabilis, a composition by Gian Paolo Feminis. G.P.Feminis blended grape spirits (instead of today's undrinkable perfumer's alcohol), along with essences of neroli, lavender and rosemary adding the basic component of freshness, bergamot essential oil, thus creating the first recipe for what would later become celebrated by another name: Eau de Cologne. When Feminis moved from his native Italy to Köln/Cologne, in Germany, his nephew Jean Marie Farina from Santa Maria Maggiore Valle Vigezzo, in Italy, tweaked the refreshing elixir, which then became known by its place of production as Eau de Cologne or more specifically “Johann Maria Farina gegenüber dem Jülichs-Platz” (John Maria Farina opposite the Jülichs place) ~the address of the world's oldest Eau de Cologne and perfume factory.

In 1708, Farina had written to his brother Jean Baptiste: “I have created a perfume which is reminiscent of a spring morning following a soft shower where fragrances of wild narcissi combine to that of sweet orange flowers. This perfume refreshes me and stimulates both my senses and imagination...” [1]. In June 1709 Johann Baptist Farina travelled to Cologne where his younger brother Johann Maria Farina had been working for his uncle since 1708. And so on the 13th of July Johann Baptist founded the company G.B.Farina, its production uninterupted ever since. Such was the popularity of the scent that according to records, 3700 bottles were delivered to a total of 39 addresses between 1730 and 1739! [2] Small papier-mâché boxes aromatized with bergamot were used to keep small precious mementos like locks of hair and billets doux wich showed bergamot's already established popularity. So the fragrance of the new "water" delighted the upper nobility and soon became a royal and imperial favourite. The red seal bearing the family crest which appeared on all products was a token of quality and authenticity. The bottles were moreover accompanied by a signed document with directions for use as “Eau de Cologne” wasn’t exclusively for exterior use. It was recommended for dental hygiene, a cure against bad breath and a way of avoiding infectious diseases! A panacea in disguise!
Napoleon Bonaparte who favoured Brown Windsor soap (which included lavender, bergamot and clove oils) used Eau de Cologne by the gallon, going through a bottle a day and consuming sugar cubes dipped in it. The German composer Richard Wagner on the other hand is credited with this quote in his correspondence: “I expect to use one liter of Eau de Cologne per month. Please send me three liters for one quarter so we can see how we manage”
Other Eaux de Cologne, such as the famous Cologne 4711 (Echt Kölnisch Wasser), named after its location at "Glockengasse No. 4711", share the name in common but not the formula. Before retiring, Farina sold the formula to Léonce Collas, while in 1806 Jean Marie Joseph Farina, a grand-grand-nephew of Giovanni Maria Farina (1685-1766), sold the rights to Armand Roger and Charles Gallet in 1862, the duo behind the Roger & Gallet brand [3], who produce the Eau de Cologne Extra Vielle in contrast to the Original Eau de Cologne from Cologne.

The suaveness and complexity of bergamot make it a supreme choice for inclusion in many an aromatic blend, not only for Eaux de Cologne, where it pairs with neroli (the par excellence ingredient in the Eau de Cologne blends), but other fragrances as well. Apart from the classic chypre accord and its ubiquitness in the olfactory family of “mossy woods”/chypres, bergamot adds its magic in a plethora of fragrances from other families as well, both for men as for women. It's especially welcome in leather scents, where its suaveness provides the perfect pairing for the pungent hide notes or bitter greens of quinolines.

Here is a small (by no means all inclusive) list of fragrances in which bergamot is clearly discernible:

Antica Farmacista Alonissos,
Antica Farmacista Mediterranean,
Aramis Aramis,Aqua di Genova Colonia,
Aqua di Parma Colonia and Colonia Intensa,
Bois 1920 “1920 Extreme,”
Boucheron Boucheron femme and Boucheron homme,
Calvin Klein CKone,
Cerrutti 1881,
Chanel Allure,
Chanel Allure Sensuelle,
Chanel Bois des Iles,
Chanel Coco Mademoiselle,
Chanel Cristalle (both EDT and EDP),
Chanel No. 19,
Chanel Pour Monsieur,Christian Dior Miss Dior,
Christian Dior Diorling,
Christian Dior Diorama,Creed Amalfi Flowers,
Estee Lauder Azurée,Etro Palais Jamais,
Fabergé Brut,
Floris Cefiro,
Gianfranco Ferré Bergamotto Marino,
Guerlain Aqua Allegoria Orange Magnifica,
Guerlain Cologne du 68,
Guerlain Derby,
Guerlain Jicky,
Guerlain Les Eaux : Eau de Coq, Eau Impériale, Eau De Fleurs De Cedrat, Eau de Guerlain,
Guerlain Mitsouko,
Guerlain Parure,Guerlain Rose Barbare,
Guerlain Shalimar,
Hermès Amazone,
Histoires de Parfums 1740 Marquis de Sade,
Institut Tres Bien Cologne à l'Italienne,
Jean Paul Gaultier Le Male,
Jo Malone 154,
by Kilian Cruel Intentions,
Knize Knize Ten,Lanvin Arpège,
Lancôme Cuir (2007 re-issue),Ormonde Jayne Ormonde Man,
Parfums de Nicolaï Cologne Sologne (a citrus explosion with lime and lemon too),
Ralph Lauren Safari for Men,
Rancé 1795 Eugénie,
Robert Piguet Bandit,Sisley Eau de Soir,
Sisley Soir de Lune,
The Different Company Divine Bergamote,
Visconti di Modrone Aqua di Selva,
Yardley Gentleman,
Yves Saint Laurent Y

Sources:
[1]Markus Eckstein, Eau de Cologne, J.P. Bachem Verlag 2006, Cologne
[2]http://www.farina1709.com/
[3]Edwin T. Morris, Fragrance: The Story of Perfume from Cleopatra to Chanel. E.T. Morris and Co. 1984, New York.
Pic Gates of Handax, Crete taken by Tsoublekas/flickr
Pic of Risoli flacon of Farina Eau de Cologne via wikimedia commons

Eau de Cologne from Chanel Les Exclusifs: fragrance review

Eau de Cologne from Chanel is just what the doctor prescribed for those lazy, hot summer days when you don't have the mental energy to think straight and pick a scent that won't clash with the humidity and the heat.

And it is now as good a time as any to dispel the myths around this type of scent named Eau de Cologne. Usually it is what men in the United States say they use. This is actually a tradition that has to do with avoiding the unpleasant connotations of the term Eau de toilette and not an accurate rendition of what they put exactly on their skin. Too many times you will hear men saying that and in fact what they use is Eau de toilette. The notion of why this is so undelicate a concept to grasp dawned on me after a discussion on the correct etiquette on asking to use a toilet in someone's house. I had been told that it's customary to say "bathroom" even if you're not going to actually bathe in there. Suffice to say that this particular delicasy of phrase has escaped my more sturdy european ears and we do use the term toilet aplenty. However faire la toilette is also the french term for preening and in that regard Eau de toilette fits in really well, as it is part of the ritual (hence the name of course).

Another type of mix up happens because Eau de Cologne is not just a concentration of a scent at the counter of any fragrance line, but also a special type of scent recipe, harking back to 1370 and the first alcoholic perfumed mix prepared for the Queen Elizabeth of Hungary. This got named Hungary Water and is still around today. However it took it a couple of centuries more, to become the Eau de Cologne that became famous in 1792 under the name 4711 Echt Kolnisch Wasser, after the homonymous town in Germany (Koln/Cologne) where it was produced. The house that produced it is called Muelhens (although now 4711 is owned by Wella), the name comes from the original address of the Muelhens shop and they claimed they got the recipe from a Carthusian monk nammed Farina who gave this as a wedding gift to William Muelhens. Its first name was "aqua mirabilis" (water of miracles) due to its stimulating, antibacterial properties that warded off disease and acted as a tonic. A different story attribues the origins to Farmaceutica di Santa Maria Novella in Florence (which was founded in 1612) where the monks manufactured the Aqua della Regina (water of the queen), made for Catherine de Medici who upon coming to Paris inaugurated the tradition of perfumery to the french capital. There suppossedly the recipe was copied by Paul Feminis and the vogue for eaux de cologne flourished well into the coming years. [You can read the history of Eau de Cologne on this link. ]

The classic recipe of Eau de Cologne includes bright citrusy notes of bergamot, petitgrain (the essence from the stems of the bitter orange tree) along with neroli and some fruit rind's expressed oil (such as lemon or orange), garlanded with herbs such as lavender and rosemary, the odd floral note (rose for instance, as is the case in 4711) and a light underpinning of a more sturdy base note that would anchor the scent so it doesn't evaporate into thin air too soon.

In Chanel's case the given notes for its new Eau de Cologne are:
neroli, bergamot, citrus, musk, vetiver.

Indeed as one sprays the succulent juice on the skin a burst of bright, sunny, slightly bitter citrus fruits explodes and envelops the wearer in a sunny vignette of times gone by. Like people dressed in striped maillots preparing for a swim in a cosmopolitan beach, eau de cologne always brings to my mind a memory of lazy languid summer days of yore when parents and granparents started for the beach with panache and straightforward style. Think those classic Breton matelots and you're there. Soon the whole sweetens and obtains a rounder neroli and musky ambience that is supported by a light yet sensual backdrop. It does not last too long alas, which is of course the nature of such fleeting things, like a quick dip in the refreshing blue waters, but it does provide so much enjoyment while it does.
The gigantic 400ml bottle is prefectly made for lavishing this on with reckless abandon.

Pic by Nick Moschos courtesy of eikastikon.gr

Chanel Les Exclusifs: new perfume direction or perfume snobbery?

The new perfume line of Chanel was trumpeted all around the Netsphere with bated breath anticipation, reveries of upcoming delights and awe-stricken reception when the bottles finally landed in the boutiques. It was Chanel, they were super exclusive, it was le dernier cri! They were touted to be the new direction in perfumery and the 6 bottles you had to make room for on your dresser, per one critic, to the eclipse of all others.
Almost a fortnight later I think we are in a position to evaluate things with a clearer head and give what’s due without histrionics of teen fan excitement.

Chanel has a rich olfactory tradition to keep. Mainly because she revolutionized modern perfumery with her innovative Chanel #5 and the subsequent masterpieces of Ernest Beaux, like Bois des Iles, #22, Cuir de Russie and the older version of Gardenia. (I am saying older because the thin, pale, jasmine-rich specter of today does not fulfill the above given title). The luminous star lighting an enchanted forest that was to become Chanel #19 was to be launched years later, in 1970, created by Henri Robert. The Chanel brand languished after Coco’s death in 1971, for years remaining the doyen of the “old ladies” who dressed conservatively (how ironic given it was Coco who revolutionized women’s wear at the beginning of the century!). And yet it was an inescapable reality for years. It took the daring of Karl Lagerfeld to re-enter Chanel into young people’s consciousness with biker jackets decorated with camellias, torn skirt hems and tall boots with the characteristic two-tone instep. The brand witnessed a resurgence. At about that time Jacques Polge was hired as head perfumer, one of the few that remained in that position when houses stopped this time-honoured practice and were issuing briefs to big perfume companies who concocted various brews according to market research and evolving trends all through the 80s and 90s. Chanel instead produced Coco, Egoiste, Allure and oversaw the introduction of an eau de parfum concentration for Cristalle that utilized a different formula, giving it a more sophisticated chyprish feel.
And then something happened: as if Polge’s creativity unwound and he started producing crowd pleasers that would fit in with the trends: Coco Mademoiselle (surely inspired by the staggering success of the gourmands and the emerging vogue for patchouli), Chance (a lighter and fresher Coco Mlle), Allure Sensuelle (is it me or is this the least innovative of all of Chanel’s offerings?). Those all worked well, sold lots (no mean feat, granted) and everyone should feel happy, right?

However this is not how minds worked at Chanel evidently. Perfume is a highly snob business it seems, because as perfume has become a commodity to be shared by the masses (what was once the unwashed masses of dirty boulevards is now the average clean consumer who buys a gift for oneself or a loved one at a department store) the allure of the exclusive, the luxurious and the rare had escaped Chanel. Sure, there were the elusive Exclusive Rue Cambon scents, a collection of classics that was re-issued in the 90s for the delectation of perfume aficionados available at Chanel boutiques. All the same, the exclusivity was not 100% there, because that devil of an Internet, that Gloss.com site had secured rights to sell the Rue Cambon collection to the public on-line. Everyone in the US, from the stay at home wife in Minnesota to the career lady in a demanding job at Rhodes Island could secure a bottle of exclusivity cachet in the form of a bottle of Bois des Iles or Cuir de Russie. So that cachet was not really what it seemed to be. Anyone in the know and with a little amount of money could partake of it. That was simply unacceptable by the clientele of Chanel couture who probably wanted their own elite fragrances to go with their expensive gowns (let’s not forget that Chanel is a house that charges for giving you extra buttons for your missing ones in your clothes!) Or so I am guessing.

Hence the new line of Les Exclusifs was conceived: Bel Respiro, Coromandel, No 18, 28 La Pausa, Eau de Cologne and 31 Rue Cambon. All inspired by places and objects that were tied to Coco Chanel herself.
And sticking to the idea that it had to be something niche and ultra-luxurious it transpired that they should perhaps mimic the concept of other lines and houses which imbued their foot into the great pool of the niche perfumery: Hermessences with their very successful Jean Claude Ellena signature minimalist style, Armani Prive with their austere architectural bottles, Dior Collection with their unique aromas. Guerlain of course was a different proposition as they are a perfume house to begin with and they had inaugurated a boutique full of exclusives in Paris.
Chanel was the only great house that had not tried that field. It seemed like high time.

And henceforth Polge got into the act. It had been published that Chris Sheldrake, the Australian genius working under the maestro baguette of Serge Lutens at Palais Royal Shiseido was under contract to work for Chanel. However, it was to be as deputy perfumer while Polge remained head nose. Eyebrows were raised, questioning gazes were exchanged into the netsphere and the thing soon subsided. There is simply no official confirmation if Sheldrake worked on the new Exclusifs. We’ll leave it at that till further notice.

Anyhow, the 6 new fragrances were issued as gigantic 200ml bottles of eau de toilette concentration at a staggering price of 180 euros. I know that ml for ml the price isn’t steep (it would be 45 euros for 50ml to give you an idea) In fact doing the comparative math we deduce that it is quite economical compared with the Hermessences for example. However the fact that they have not talked about smaller bottles being available makes them a little pretentious and destined to be used as decadent splashes. Which their concentration and lack of sillage call for.
This is weird coming from a brand that caters to bourgeois tastes: people shopping for perfume in this prerogative want everyone to be conscious of their luxurious choice of fragrance leaving a trail behind and it is exactly that that’s hard to do with the new Exclusifs. The abundance of juice hints at a desire to abandon restraint and just spray away, a concept that somehow brings to my mind nuances of snobbism, in a world where there are people who are starving. The Eau de Cologne, one of the 6, even comes in a dinosaur size of 400ml! I cannot imagine the hands that are supposed to yield such a ginormous vehicle of scented consumerism.

The style and character of the scents themselves is like academic mannerism in my mind, because they do echo nuances of other Chanel creations: the incense of no.22 and the patchouli of Allure Sensuelle crop up in the tempered oriental of Coromandel, the iris and verdancy of Chanel #19 in 28 La Pausa and Bel Respiro, the tartness and citrus twist of Cristalle in Eau de Cologne and so on. I don’t know if this was intentional or a case of unconscious association (perfumery is such a pretentious field that it wouldn’t surprise me if they claimed that); as it is, it begs the question: why buy something new when the old is perfectly all right and vastly superior at that?
The new oakmoss-free chypre in 31 Rue Cambon may be trying to revolutionize the industry with the iris-pepper accord that supposedly mimics the traditional sophistication of a chypre perfume, yet it evolves as a light floriental on skin, certainly not the sophisticated bombastic effect of what we are accustomed to view as chypre. Perhaps my ominous, foreboding feeling that perfumery will never be the same after all those restrictions is not so pessimistic after all. It would pain me to really believe it, yet 31 Rue Cambon does not do much to alleviate the feeling, lovely as it trully is to sniff.
For fragrances that had been touted as the new direction in perfumery they distinctly lack a compass into the unknown and seem to tread well known waters with simple, unfinished accords that try to appear modern yet do not do so with firm conviction. Something tells me that Polge who is a self-professed oriental lover does not feel comfortable composing sparse oeuvres of a John Cage nature. He would be more in tune in doing a Prokofiev. And yet, someone somehow has managed to elicit those reactions in the lab, producing 6 new scents at a time frame that used to be adequate for only one or two great ones.

I will come back with more analytical reviews on each one of them; however I needed to be harsh this time. They can afford it, I gather….

Top pic from the film "Much ado about nothing" by Kenneth Branagh. Middle pic from imagesdesparfums