Yes, but is it original?

"Newness is in the mind of the artist who creates and not in the object he portrays.[...]What moves men of genius, or rather, what inspires their work, is not new ideas, but their obsession with the idea that what has already been said is still not enough."

~Eugene Delacroix, May 14, 1824

With this aphorism in mind, this past weekend I was contemplating whether perfumery still possesses originality. Originality in art manifests itself in both subject choices (what to tackle) as well as style (technique). The fact that perfumery can be an art form if the people behind it are so inclined is undoubted in my mind, as I had elaborated a few years back wondering what constitutes art in perfumery and what does not. I had also mused on whether post-modernism influenced perfumers. This train of thought was re-kindled by a comment on Denyse's Grain de Musc: the new Serge Noire is great, per our combined opinions; “yes, but is it original”? asked BillyD.

In The Thought Gang, the British author Tibor Fisher wrote that all ideas were covered by the Greeks long ago and we're merely rehashing the collectively forgotten. This is the conundrum of the artist: "I won't look at what has come before, I won't go to galleries or museums, I won't read or talk to artists, and thus I can't help but be original." Is this even possible? Is it even desirable?

Originality in perfume seems somehow unattainable today, if only because Serge Lutens has been so instrumental in the emergence of original compositions and niche perfumery in general, raising the bar high for others as well as himself.
Nevertheless the first niche lines were probably L’artisan Parfumeur founded by Jean François Laporte and Diptyque by Yves Coueslant and Desmont Knox Leet. The former started by issuing lighter compositions than the mainstream brands, inspired by nature and focusing on forgotten or completely novel ingredients (Mûre et Musc, L’eau du Navigateur, Prémier Figuier, Vanilia, Bois Farine) ; the latter, striding over the more picturesque scenery of Greece, coming up with intensely unusual compositions such as the herbal L’eau trois, the strange beast of L’Autre or Eau Lente, inspired by historical descriptions of the time of Alexander when such concepts were the Ultima Thule .
But it was Lutens that shrouded his craft with prestidigitation, a touch of Japanese aesthetics and the opulent tradition of the Arab world. The boom of the Internet made this small, elitist line with the exquisitely unique fragrances a cult item, prompting others to step their toes in the pond of niche. Some of them, such as Les éditions des Parfums Frédéric Malle had original ideas: acting as a book editor to a lineup of authors-perfumers who compose what they want without commercial restrictions. Some other brands capitalized on the new boutiques such as Aedes, Luckyscent and First in Fragrance, to issue their own less original paradigms.

Who bought all those fragrances?

Some ask praise of their fellows,
But I being otherwise
Made compose curves
And yellows, angles or silences
To a less erring end.

Thus delineated E.E.Cummings his desire to go off the beaten path in 1926. This was very much the mindset of the audience which Lutens first accosted in his foray into Les Salons du Palais Royal de Shiseido in 1992. I recall an article by Susan Irvine for the British Vogue in mid-90s which quoted someone who didn’t want to go out to dinner and have the waitress lean over smelling of the same perfume; therefore she went for niche! It seemed that there was both an elitist and snobbish streak running through.
And although I have been a perfume lover as far back as I can recall, when I first immersed myself into the Internet world of perfume boards before the boom of perfume blogs in 2005 I remember it increasingly impressed me as if the more weird a composition was, the more devoted its fans were and the cooler they were perceived by others. It was as if an unwritten rule set the measure of sophistication as liking fragrances that would produce confounded whispers and raised eyebrows among the non-initiated. The hallmark of a cult, if there is one!
“Ohhh! Dust-on-an electric-lamp accord!” the collective frisson of excitement was palpable as we were reading the notes in Odeur 53. What had happened to Guy Robert's axiom that a fragrance must smell pleasant?
Other times it was the quest for the rare, the hunt for the pearl beyond measure, a fragrance forgotten by time, mere dregs at the bottom of a derelict bottle hiding in someone else’s attic and auctioned at exorbitant prices.
Soon brands cottoned up: they began to bring out fragrances both resurrected like Phoenixes from the ashes (i.e. Guerlain, Lancôme) and based on the most provocative or outré concepts (ie. état libre d’Orange, Le Labo, By Killian).

And someplace between this and that, myriads of brands issuing the 174th Ambre or the 48th Cuir and noses coming up with small cupcakes accord ~as if larger cakes smell differently~ we became jaded. The thrill of discovery was over. Have the niche brands stopped being creative and original or have we changed? I propose to you that it's a little bit of both. Releases in both mainstream and niche lines multiplied 50-fold in the last decade, meaning it was impossible in terms of time and brainpower to come up with something unforeseen; also, when one is sampling things more than actually wearing a constant rotation of favorites (which is what often happens to perfume writers and enthusiasts such as us), there is an amount of jadedness setting in. It is as if we know what we’re going to smell before we inhale, we know what we’re going to read before we lay eyes on the promotional text and as if we couldn’t really be bothered to hunt the new down anymore. There is ennui and boredom. Is it significant? Will perfumery suffer because of the waning interest? Probably not, judging by the fledging brands mushrooming up every day or the new Myrmidons banging fearlessly down on Aedes’s door, eager to sniff the newest this or that.

John Sloan wrote in Gist of Art in 1939:

"Sometimes it is best to say something new with an old technique, because ninety-nine people out of a hundred see only technique. Glackens had the courage to use Renoir's version of the Rubens-Titian technique and he found something new to say with it. Cezanne may have tried to paint like El Greco, but he couldn't help making Cézannes. He never had to worry about whether he was being original. Don't be afraid to borrow. The great men, the most original, borrowed from everybody. Witness Shakespeare and Rembrandt. They borrowed from the technique of tradition and created new images by the power of their imagination and human understanding. Little men just borrow from one person. Assimilate all you can from tradition and then say things in your own way. There are as many ways of drawing as there are ways of thinking and thoughts to think."

A thought well-worth keeping in mind for the perfumers and art directors of perfume brands. And for ourselves, as well!


Pics courtesy of mondino-update and manuelZx48K on flickr

2007 in Retrospect: 13 Honest and Cynical Musings of a Perfume Lover

What I liked in 2007

1) So many lovely new releases were mainstream perfumes that could be actually had at a big store. From Infusion d’Iris by Prada to Private Collection Tuberose Gardenia by Estée Lauder through Hèrmes Kelly Calècheand Gaultier Le Fleur du Mâle, I found quite a few scents that I am thinking of upgrading into a full bottle in the future. There is something to be said for being able to purchase a decent perfume without having to jump through hoops or paying inordinate amounts of money on online auctions or sellers.

2) So many fledging or “smaller” (in terms of reputation or business volume, not value) perfumers have come to my attention in the last year and it has been a real pleasure knowing them and sampling their work. Although Perfume Shrine has shown an interest for the artisanal houses from the very start, it is encouraging to see that those perfumers have gained recognition and respect. We will continue to back up their efforts whenever they deserve it.

3) The vogue for “celebrity” scents has finally begun to show signs of waning. Although the releases have been certainly numerous, they have often gone out of the scene without making much of a bleep on the radar. This is what I mean by waning…I interpret this as a healthy sign, after whole seasons when there were sane people who were eager to purchase Jessica Simpson’s nauseating Dessert line! This will allow the few, decent and sometimes quite good fragrances that have arisen from this trend of emulating one’s favourite celebrity through olfactory terms to stand prouder on the shelf and be unapologetic for their till now declassé image.

4) The direction towards the new “chypres” away from the fruity florals of the past few years is a welcome relief. However, this is risky, because they might pose the danger of becoming ubiquitous themselves. In fact they’re about to…I can’t begin to note how many feature the “clean” patchouli base so prevalent among these new contestants: YSL Elle, Dior Midnight Poison, Gucci by Gucci, DKNY Delicious Night, Britney Spears Believe... Companies, take note!

5) Givenchy did the coup and issued decent, delectable re-issues of their classic fragrances in their line Les Mythiques. If only every house did it as well. Brownie points, good people at Givenchy: you have redeemed yourselves for the lapses of previous years which had turned a luxury brand into a run-of-the-mill department store name.

6) Perfume lovers are not that stupid after all. After a scandal on Ebay this past summer, when someone was revealed to be bying and filling up vintage empty perfume bottles with undefined juice and then selling them masquerading as the authentic thing, it was determined that people do pay attention. Some more than others; but that’s nothing new. At least, those who did had the good sense of community to alert other people to the scam. Justice hasn’t been metted out yet, because damages to disenchanted buyers haven’t been paid, but at least now people pay a lot more attention and are not that ready to believe that there is some huge vault of vintage treasures that someone out of the goodness of their heart is selling at moderate prices.

6) The huge readership of Perfume Shrine has shown yet again that they are here for the –hopefully good- content first and foremost and not for public relations or networking. I value that and appreciate it more than you know. Even you, numerous lurkers who don’t want to admit reading us regularly! Heartfelt thanks for the support, your interesting commentary and your valueable feedback on assorted scented matters.



What I didn’t like in 2007

1) The pretence in advertorials continues: from the Nasomatto manifesto for their scent for hysteria(!) ~which reminds me of 19th century “scientific” treatises focusing on abusing women~ to the By Kilian encyclopedic name-dropping of famous authors and oeuvres (to a zenith of excess!), there is a point of saturation when a little modesty and restraint might serve them better. The consumer becomes jaded or sceptical after a while and –dare I utter the word? - a little repulsed.

2) The prices of niche lines have escalated inordinarily. At this point one has to put a small mortgage on one’s house, car or favourite pet in order to be able to get the scent they have been craving. Surely, more expensive doesn’t automatically equate more upscale quality.
But the online business catering to perfume lovers has also gone upward in prices. Understandably, they need to make up for the costs. But somewhere deep, deep down it saddens me to think that people who would really love to sample an exclusive Serge Lutens have to pay upwards of 130$ for a bell jar that is 1/3 full, when the new, full one is available throughout Europe for –the comparatively meak- 100euros. For their sake, I hope prices go down.

3) Chanel decided to make it hard for their discerning fans to get Les Exclusifs. I have elaborated on this sufficiently in the past. But, to add insult to injury, they have withdrawn the small extrait de parfum bottles from the online shops and almost all the boutiques across the world (barring Paris ~and Harrods perhaps), making it very difficult to get what is essentially the best representation of their illustrious creations. On top of that, private sources that shall remain unnamed tell me that at L’Osmothèque there is a practice of recreating the jus from the rather recent batches of Chanel parfums and not the vintages from the start of the century. This is sad…

4) Lancôme also decided to abandon the plans for a complete revival of their long lost wonders. Cuir/Révolte proved too costly to produce, Climat is getting harder to get when it was widely available before, Sagamore and Sikkim are not the easiest to come by. Lanvin is comparable: Rumeur has been drastically changed and although very pretty in its recent incarnation, it is misleading to retain the old name. Scandal is not scheduled for re-issue. Ever.

5) Luxury seems to have lost its meaning. What passes for luxury is overpriced scented liquid that has an obscure place of origin and is only available at two doors tops around the world. I am sorry, but this is so bourgeois to want to have that just because of its above mentioned attributes that it self-evidently contradicts the élite approach of luxe.
What happened to the genuine enjoyment of something that you love for the associations it has or its intrinsic value? The privilege of time and the attention to detail that went into selecting it for a loved one? The intimate knowledge that you are wearing it in your own unique way on your own unique person that will never be the same as anyone else’s? There will come a time when luxury will be to wear nothing but one’s own natural skin odour. That will be a hard time for the perfume industry I predict.

6) Ava Luxe decided to take an indefinite break. Just when I was discovering her line and finding favourites, worse luck! Serena Ava Franco needed a break after filling order after order for her coveted samples: I can understand that it must have gotten on her last nerve after a while, not being able to do nothing much besides. I just hope she returns full force at some point.

7) I was not really surprised, but I was a little disillusioned to find that so many people (judging by comments left here and there on the Net) found the Nasomatto practice of not issuing notes for their ~variable in quality~ fragrances lamentable and even insulting. For once, I thought this was an innovative and trully liberating move; a course of action that would allow us to really smell what we perceive with our olfactive nerves and not what we have been conditioned to smell through advertorials about notes and accords, when in reality the actual ingredients bear no relation to them.

But I am asking too much, I know... It's cool, Dude!

Pics from allposters.com

Our Leather posts will continue next week with a review of a rare gem. There will be lots of exciting surprises too.