Newsflash: L'Eau Serge Lutens in new size

The derisive L'Eau Serge Lutens (find our review and musings on these pages) now comes in a smaller size for those who want to try it or carry it on the go: 50ml for 69 euros.
Available online.

Serge Lutens Bois et Musc: Fragrance Review & a Draw

Among the four variations on the original Féminité du Bois, which in 1992 catapulted Les Salons business into the niche market (namely Bois de Violette, Bois et Fruits, Bois Oriental and Bois et Musc), this one is possibly the most polished, the most seamless, the most like natural skin scent and yet the lesser known. The latter possibly because it has never so far been issued in the export line, resolutely remaining a Parisian exclusive. Alongside Un Bois Sépia, Un Bois Vanille, Santal Blanc and Santal de Mysore, these woody fragrances form part of an informal family pegged as "Les Eaux Boisées" which cemented the Lutensian canon as we know it today.

Bois (pronounced "bwah") means of course woods and Bois et Musc is a fragrance which marries the two components of the name exactly as promised, in equal measure; first experienced in rapid succession (woods first, musk second), then in unison. The synergy of Moroccan cedar and smooth musk is at the core, while the usual Lutens accord of spice & dried fruits, with which he has invested his orientalised compositions for long, is subdued to the point of transparency. I seem to detect a creamy note of rosy sandalwood too, even though it is not officially mentioned, like those traditional incense beads fashioned in India and the Middle-East. The effect cannot be described as anything less than silky...
This is a fragrance which enters the scene like a shy guest who radiates the room with their quiet presence even though they don't utter a single word and are bespectacled. You'd be hard-pressed to find dainty features, or beauty writ large over them, but they just exude a positive energy that surrounds every living thing within a one-foot radius. Contemplative, sensuous, brainy with the kind of wits that don't show off. Compared with the other Bois variations on Féminité du Bois, it is closer to Bois de Violette, but without the shadowy ambery backdrop.

Bois et Musc is totally unisex, completely ageless and a superb skin-scent (i.e. smelling like human skin would if only angels and devils had cradled it), what the French call "à fleur de peau". Possibly, the idea which perfumer Christopher Sheldrake had in mind when describing a "sexy", attractive scent. And this is even more so the case than in Clair de Musc which misses by an inch via its opaline soapy florals that read as ethereal. In contrast this is nothing like a white musk: In fact it's closer to intimate and impolite, but it's so noble that it invests naughtiness with impecable manners. A sort of Fanny Ardant in a François Truffaut film, totally French.

Amidst subtle woody musks, this Lutens stands as a personal favourite ever since I had sampled it during a rather rushed visit (I had exited craddling a bell jar of La Myrrhe which had just been issued and which is also beautiful). Bois et Musc would make a wonderful musk choice for anyone who finds the concept of animalistic and outré Muscs Kublai Khan ~which I love, love, love~ quite attractive, but is leery of wearing such a potent musk outside the bedroom.

Bois et Musc is a Paris exclusive, sold at Les Salons du Palais Royal only, in the beautiful bell-jars of the exclusive line 75ml Eau de Parfum for 110 euros.

For our readers: One lucky reader will receive a big-sized decant of this exceptional, Paris exclusive fragrance. Comment if you want to be eligible. Draw will be open till Sunday midnight.



Related reading on Perfume Shrine: Scented Musketeers (musks reviews), The Musk Series: ingredients, classification, cultural associations


Photo from the film La femme d'à côté (Woman next door) by François Truffaut, 1981.

L'Eau par Serge Lutens: fragrance review & a draw

I was wondering when next there would be some blogosphere ruffle about a release which creates chasms of opinion, has Turania pan it mercilessly because it doesn't exactly follow the "grand manner"* and creates queues at online decanters to sample it to satisfy the most aimed-at attribute of them all: curiosity! Serge Lutens doesn't miss a beat: With L'Eau Serge Lutens he presents a completely atypical composition ~clean, iron-pressed, steaming like the hot towels infused with citrusy accents presented at luxury hotels for guests to freshen up before diving to the house-warming basket of delicacies.
And he will certainly have everyone wondering how and why he chose this path. Some will put it down to artistic decisions after exhausting the theme of balsams, cedar, cumin and dried fruits, which Serge has indeed culminated into an apotheosis. It could be; great artists are those who abandon la manière (and please note how Gris Clair, Clair de Musc, Iris Silver Mist and Encens et Lavande are essentially none of those things). Some others will venture this is a move to corner the emerging China market. However it is reported that the real turnover on luxury products in China accounts for the household name brands (Cartier, Chanel, Hermès etc). Nah...Others still will put it down to the industry being restricted right and left because of IFRA; if one is only allowed to play with a diminished palette they might as well be insolent and do a 180degree turn!

Whatever it is, Serge Lutens presents L'Eau Serge Lutens, "L'Anti-Parfum": "le savon le plus cher du monde" (i.e.the world's most expensive soap), that is to say a perfumer's idea of "clean", conceived alongside his long-time collaborator Chris Sheldrake. The new fragrance, which I got as a preview and have been testing this past weekend fascinated by its surprising yet familiar feel, is not an eau de cologne version, certainly not an aquatic, nor a light skin-like oriental in the manner of Clair de Musc. L'Eau Serge Lutens is almost mineral-like, in the manner that Eau de Gentiane Blanche is like white volcanic dust on a cool morning, and it would make me feel that the convergence of Mars and the dark side of the Moon ~two diametrically different artists~ has finally happened.
Yet the feel compared to the Hermès cologne is different: a little less bitter in the opening, a hint of bleach even, a little sweeter overall while still a quite bitter "clean". It's like a silvery white book on a shelf, all cool glossy pages, bookended on one side by citrus (the tinge of a little grapefruit, some of the nitrile in Sécrétions Magnifiques too; Quest's Marenil molecule it seems? but good God don't stop reading yet!) and on the other end by musks. There is kinship** with Essence by Narciso Rodriguez as well as Perfect Veil by Creative Scentualisation to give you an idea, but it manages to be neither's replica and to stand on its own feet, more aloof, more Chinese dry-cleaner's white shirt than either.
I bet it will infuriate those who expect opulent baroque from Lutens by default and it will be shunned by neo-bourgeois as well as those who insist on "smelling pretty". L'Eau Serge Lutens is handsome ~and perfectly unisex~ in its austere cleanliness, but pretty it is not. The lasting power is phenomenal, especially on fabric, where the facets of bitter and "nautical" are more evident.

But if papa Serge maintains cleanliness is the new ideal, is "cleanliness next to godliness" or is that only a Protestant concept?
The avant-garde painter Francis Picabia (1879-1953) had interestingly proclaimed between 1912-1920 that "la propreté est le luxe du pauvre: soyez sale!" (i.e. "cleanliness is the luxury of the poor: be dirty!") Certainly with the increasing commodities in plumbing and indoors water supply, the urban lower classes ~ for centuries destined to live among filth~ suddenly had access to the elements of hugiene, equating them in outer appearence at least to the upper classes. This elitist stance by Picabia was echoing in my ears as I read the new promo material by Lutens in which "cleanliness is the new luxury": Could it be that Serge is having a good laugh on us all? It wouldn't be the first time he employs a healthy dose of humour in his opus (see Fille en Aiguilles, Tubereuse Criminelle, Mandarine Mandarin...) Personally, it's that wry humour which I most appreciate in his work, regardless of whether I wear them all.

*Well, we saw what happens to new releases following the grand manner: they get discontinued!

**One of the ingredients is Tris (tetramethylhydroxypiperidinol) Citrate, a widely used Ph adjuster and "buffer" which extends the life and aroma of deodorants, after shaves and eaux de toilette. I suppose this is part of the familiarity too.

The new L'Eau Serge Lutens is embottled in a longer, even more architectural flacon which reminds me of the first cosmetic preparations by Shiseido and Eudermine, the beautifying lotion-cum-aromatic in the long red bottle. L'Eau Serge Lutens is part of the export line and will be available in Europe from February 1st at the boutiques selling Lutens scents and from February 15th also online. Release for American stores is scheduled for March.

For those of you who simply can't wait, I have a sample for a lucky reader. State your interest in the comments! Draw is now closed, winner announced shortly!

In the interests of full disclosure I got sent a small sample as part of the communication by Les Salons which I am offering for the draw.

Painting Girl in the Bathtub by Everett Shinn (1903). Lutens portrait via press material

L'Eau Serge Lutens: new fragrance, l'anti-parfum

If cleaninliness is next to godliness in Anglo-Saxon cultures, then Serge Lutens, the maestro of conceptual orientalia with plenty of "dirty", cuminy sprinkles along the way, re-introduces the idea with the moniker that cleanliness is next to luxury. His motto for his upcoming release leaves little doubt: "La propreté est une luxe!" Cleanliness is a luxury. Serge Lutens presents L'Eau Serge Lutens, "L'Anti-Parfum": "le savon le plus cher du monde" (i.e.the world's most expensive soap), that is to say a perfumer's idea of "clean", conceived alongside his long-time collaborator Chris Sheldrake. Testament to his path till now is Clair de Musc with its transparent, crystalised musk, the idea of a cozy second skin which breathes and lives with you. Or perhaps Nuit de Cellophane, an atypical floral Lutens based on osmanthus and light honeyed notes that crackle under the crispness of cellophane and the night.

Indeed Lutens had been thinking about the notion of "clean" and how to interpret it for quite some time now, it's not just a sudden break with his previous portfolio. The avant-garde painter Francis Picabia (1879-1953) had interestingly proclaimed between 1912-1920 that "la propreté est le luxe du pauvre: soyez sale!" (i.e. cleanliness is the luxury of the poor: be dirty!") Certainly with the increasing commodities in plumbing and indoors water supply, the urban lower classes, for centuries destined to live among filth, suddenly had access to the elements of hugiene, equating them in outer appearence at least to the upper classes. This elitist stance by Picabia is echoing in my ears as I open the new promo material by Lutens: Could it be that Serge is having a good laugh on us all? It wouldn't be the first time he employs a healthy dose of humour in his opus (see Fille en Aiguilles, Tubereuse Criminelle, Mandarine Mandarin...).

The new offering is the upcoming international release for next spring (March), although it will be available in Europe from February 1st, and be part of the export line of fragrances aimed at both sexes. The promotion text is talking about this new diametrically antithetical stance which deviates from the opulent orientalia of plush woods and spices. "This creation is my response to a world that is overscented... I might even say 'embalmed'... in the sense that the ritual of wearing perfume is no longer about romance but part of a meaningless ritual." [quote] Stopping to think about the oversaturation of the market with several hundreds of intrusive perfumes that are screaming "me too" mentality about its wearers, he's got a point! Certainly the playfulness with which he has been handling his eponymous line in both concepts and names is a sign of his full grasp of how the discerning customer wants to distinguish themselves.

"Une chemise blanche, fraîche, à l'instant où on la passe. Une fraîcheur qui pursuit les heures. Une page blanche.": A clean white shirt at the moment one puts it on. Freshness which persists hour after hour. A blank page. Perhaps the real meaning lies at this last phrase: The new anti-perfume serves as a canvas on which to graft one's own personality. The whole notion of an eau (scented water) is a priori a study in lightness but also of tautology: "comme le chat s’appelle le chat!" (the way a cat is called a cat!). Lutens doesn't like cologne, so this is not following the Eau de Cologne genre. Therefore we have a composition which should be diaphanous (but not aquatic!) and easily lend itself to the personality of its wearer, projecting a clear, distinct message. Perfume historian Elisabeth de Feydeau, who was present at the presentation, insists on the complexity of its accords built on well-known notes: bracing hesperidia for the opening, magnolia with its waxy, paraffin-like aspect highlighted in the heart, soapy background of notes that recall the hermine furs that hide behind the royal personages of France's history. How ironic that this royal heritage is intermingled in a "parfum pauvre" if we are to take Picabia's quote to heart!

L'Eau Serge Lutens is presented in a very artistic, conceptial video on this link. Serge is seen smoking (there goes the French idea of "clean"), going up and down the elevator, contemplating with his usual philosophical attitude, the camera zooming on his shirt and tie, his hands, his gaze... I wouldn't expect anything less.

The new L'Eau Serge Lutens is embottled in a longer, even more architectural flacon which reminds me of the first cosmetic preparations by Shiseido and is perhaps a hark-back to those days of Eudermine, the beautifying lotion-cum-aromatic in the long red bottle. Its white, spartan looks suit the idea of "clean" admirably and it has something of an understated luxury about it. After all, "porteriez-vous des bijoux sales ?", would you wear dirty jewels?

The concept of perfume as parfum bijou is at the heart of the Lutensian mentality and finds us very simpatico. Perfume to be seen as luxury has to be seperated from both its status-symbol placement (so bourgeois! so nouveau riche!) and its use as a habitual gesture, like brushing one's teeth or applying face cream, mechanical moves that comprise the grooming routine. It needs to be savoured fully on the appropriate occasion. As he has intimated in a previous interview "I am not one to go for perfume wearing for every day, like a commodity. But when I do, I am not miserly, I use it with abandon..."

L'Eau Serge Lutens Eau de Parfum 100ml, 100 euros availalble next March everywhere the export line of Lutens is sold.

Related reading on Perfumeshrine: Serge Lutens news and reviews

Please visit Elisabeth de Feydeau, and journaliste.overblog and grain de musc for more impressions.