Caron Poivre & Coup de Fouet: fragrance reviews & comparison

Poivre by Caron plays out like J.S Bach's double concerto for 2 violins in D minor, 1st movement: Two complimenting themes, carnation and clove, in contrapuntal dialogue, one finishing off the phrase of another in a leitmotif which manages to punctuate time with its own special seal. Despite its name, which means pepper in French, and the vicious-looking studded with peppercorns bottle, Poivre features the hot "king of spice" in a supporting role. To bring the musical analogy full circle, let's just say pepper in Poivre is the basso continuo.

Poivre is the kind of fragrance that creates the feeling J.S Bach compositions stir in my soul and has been a longtime companion for as far back as I was aware of Caron; if not as far back as Bach. There is such contextualised coherence that everything in the world seems at its rightful place, everything in perfect, clashing harmony. If the composer once walked 200 miles to hear Dieterich Buxtehude play the organ, I'd walk on hot coals to get an ounce of Poivre parfum in its vintage state.

History of Creation
In 1953, Félicie Wanpouille -savvy of the emergence of a different aesthetic inaugarated with the New Look by Dior- asked perfumer Michel Morsetti for a fragrance that would be out of whack with its times. Morsetti had already created (at least 2) classics in the Caron stable: Farnesiana (1947), Rose (1949), and Muguet du Bonheur (1952).  The fifties were all about good-mannered lactonic florals and sheer floral chypres continuing from the late 1940s. Only Youth Dew was braving the wave, making it possible later for Cinnabar, Opium and all the rest of the Medina-spice caravan-brocard tapestry orientals that followed. Michel Morsetti obliged and in 1954 Poivre emerged; impulsive, rich, sinful, drop dead sexy! "Parfum de la femme moderne" as per the vintage advertisements: the perfume of the modern woman.
The bottle design with the peppercorn studs was no doubt a throwback to classic pomanders which relied on cloves for their antimicrobial prophylactic properties; perfume as medicine...

Scent Description 
The original 1950s advertisements featured a Chinese-style dragon, in tune with the firecracking pyrotechnics of the fragrance's fiery breath.  The daredevil spices open the scene, intense clove, flanked by pepper, and they come back again and again in an endless recycling and expansion of the leitmotif, a structure that is reminiscent of older ways of composing, but maxed out to orgiastic effect. The lush floral chord is built on carnation and ylang ylang, the peppery bite of one falling into the solar embrace of the other. As the scent progresses, there is a hint of vanilla, hazy opoponax and leather on the skin, a soft focus camera lens on a racy subject. The combination of carnation and leather brings to mind another Caron legend, En Avion, dedicated to women in aviation.

Coup de Fouet & comparison with Poivre
Poivre was conceived as the original extrait de parfum creation out of which Coup de Fouet (a most brilliant & fitting name, "crack of the whip") emerged as a diluted Eau de Cologne Poivrée. The theme is similar, the effect somewhat lighter in the weaker concentration, with a boosted effect of rose that is orientalised, spicy and raspy, still mighty impressive. Coup de Fouet is as warm as a fur coat and as commanding attention. It prompted writer Susan Irvine to  state it's "what Cruella de Vil would have worn"; so if you're the soft type crying over those poor 101 Dalmatians and can't manage a streak of bitchiness, don't even bother.
Coup de Fouet nowadays is offered at Caron boutiques as the Eau de Parfum analogue of Poivre extrait, the latter also available there from the fabulous crystal samovars affectionately referred to as "urns".
Both concentrations are totally passable (nay, downright alluring!) on men as well.

Reformulation of Poivre and Coup de Fouet
Contemporary batches of both fragrances seem to insist on a mustier, soapy rose and have less of a spicy oriental character, falling into the limbo state of floriental. Sadly Poivre (and Coup de Fouet as well, since they share those notes) faces IFRA restrictions on spicy materials which no doubt will leave future generations wondering what all the fuss was about anyway. Tragic, in view of Poivre (in the classic peppercorn flacon in Baccarat crystal) ranking as #3 of "top most expensive perfumes in the world" [$2,000 for 2 oz]....
When this happens the dragon loses its fire, the whole world gets out of whack and Bach isn't be there to save the day.

Notes for Caron Poivre: (add rose for Coup de Fouet)

Red pepper, black pepper, clou de girofle (clove), carnation, ylang ylang, jasmine, opoponax, cedar, sandalwood, vetiver, oakmoss, musk.



Painting "The Sense of Hearing" by Jan Brueghel the Elder. Ads via beckerstreet.com and vintageadbrowser.com

Caron With Pleasure: fragrance review & Caron history

Certain fragrances grab you by the throat and demand to be asked "What are you talking about anyway?" Whether they do it via shock value or by undecipherable codes posing an enigma it is a matter of semiotics.

One such scent is With Pleasure, belying its very name, not because it is repulsive, but because it is on the edge of consciousness nagging you to tilt your head once more and mubble again "what is it about it, then?"

The Unknown Perfumer at Caron: Michel Morsetti

Caron's With Pleasure was issued in 1949, composed by perfumer Michel Morsetti, two years after the self-taught founder, Ernest Daltroff, had passed away. The bottle was customarily designed by Félicie Bergaud (née Félicie Vanpouille and the collaborator of Daltroff, with whom they shared an open, and controversial at the time, relationship out of wedlock). Contemporary to both Or et Noir (Gold and Black) and Rose it remained in their long shadow, a secret to be unveiled by those in the know. The same year also saw the introduction of the original version of Caron's Pour Une Femme, later discontinued and then re-issued in 2001 in an altered formula. It seems that the end of the war and the decade drawing to a close saw an orgiastic productivity at Caron! Yet although the former fragrances continue their unhindered path (with slight tweaks along the way), With Pleasure has been discontinued and become rare, a true collectible.
Michel Morsetti has been responsible for all these fragrances, along with others in the Caron stable of thouroughbreds in the late 1940s and 1950s, notably the cassie-rich almost gourmand Farnesiana (1947), the relatively unknown marvel Tabac Noir (1948) ~a counterpoint to the famous Tabac Blond of the roaring 20s~, the lily-of-the-valley ballet Muguet de bonheur (1952), and the fiery, peppercorn fury of Poivre and its lighter concentration Coup de Fouet (1954). Royal Bain de Champagne is also attributed to Morsetti, despite it being issued in 1941, at a time when Daltroff was still alive. Incidentally many of the classic Carons and a history of the house of Caron are covered in Parfum: Prestige et Haute Couture by Jean-Yves Gaborit (editions Fribourg, 1985).
The vereable French house started from meagre beginnings in 1901-1902 when Russian-Jewish brothers Ernest and Raoul Daltroff bought the small parfumeria "Emilia", located on rue Rossini in Paris, evident in their first fragrance baptized Royal Emilia in 1904. Aided by an obscure acquaintance named Kahann with deep pockets, Ernest Daltroff moved the address to 10 rue de la Paix and renamed it "Caron", with which name it became synonymous with French style and "fit for a duchess" chic, according to an infamous quote.

If there is a signature Caron-ade running through the fabric of the older vintage Carons, it is evident in With Pleasure, without doubt: a dark rose with musty, slightly earthy tonalities is peeking its face underneath a green-herbal façade. The rosiness is an upside-down image of the darker and rosier Or et Noir, with an almost anisic touch. The greeness of With pleasure is not chypré, nevertheless, but rather tilted into an aldehydic direction with a non tangy citrusy accent, folded into the rosiness along with snuffed-out candles notes. The more strident, angular chypres of the 50s were competing with more traditionally feminine aldehydics and their proper lady image; so very fitting, after the return of women to the home, the kitchen and the boudoir following the loaded responsibilities they had shouldered during the hard WWII days which helped emancipate them further.
There is nothing upbeat or girly about the scent, on the contrary there is a quiet mood, but one can sense that this is no mere capriciousness but a frank introspection, a look into a different angle of an at-heart secretive personality who lives her life day by day. I am not sure whether I like it or not, but it keeps asking me neverthless.

The English name alludes to an international venture, capitalizing on the rave reception that Narcisse Noir, Caron's leading fragrance of 1911, had received on the other side of the Atlantic thanks to its potency.
The bottle in Bacarrat crystal is old-fashioned, tactile and round and can be imagined on the vanity of a lady with ebony brushes bearing boar bristles for hair that is brushed a hundred times every night by an attentive chambermaid: A crystal flacon shaped like a honey jar with a T-shaped stopper resembling a glamorous pastry-roll on top (technically this design is called tonnelet) and the name "With Pleasure" emblazoned on the front. The Bacarrat signature in acid on the bottom seals its aunthenticity.

Related reading on Perfume Shrine: Fragrance History, Caron scents , Aldehydes

Photographs by Luca Cornel of Brenda Lee via fishup.ru, Ad pic via ebay, With Pleasure flacons via coutaubegarie.auction.fr