Frequent Questions: the differences between concentrations of Narciso Rodriguez For Her

Narciso Rodriguez most successful foray into fragrance so far has been his original Narciso For Her. We were discussing the other day while reviewing his new Essence how Narciso For Her became the kickstart of a whole new genre of modern fragrances that aim at the young-ish demographic yet do not smell of fruity cocktails or vanilla desserts and for that he should be applauded. However the range of this fragrance is rather confusing to say the least, as every product in it has some difference in smell and packaging. To elucidate matters and help readers along, I am hereby trying a breakdown of all the different versions in packaging with reviews and comparison on the Narciso brand fragrances themselves.

The original fragrance appeared first as Narciso Rodriguez For Her Eau de Toilette in a black austere bottle painted from the inside, so that there is a clearly discernible "edge" of clear glass at the bottle and the sides (this allows one to judge how much juice is left in the bottle too!). The lettering is in pink as is the box (where the letting is in black). I fell in love with this as soon as it hit the stores and I still cherish it. People of all walks of life loved it and there is a reason: It is soft, "clean" in the most sensuous sense of skin that has been bathed but is living its day along nevertheless; musky in the sense that it beckons you closer radiating harmonious warmth; and feminine all at once. Three days into faithfully wearing it, a compliment: "You smell very nice , like expensive soap! What is it?" Although I don't peg it as soapy, it gives an enigmatic vibe between just showered and sighing under a caress that won't remain at that for long. Its plaint nature makes it meld with one's personal smell ceasing to be something that floats above it and clinges on to clothing and bed-sheets in the most gracious manner.
The Eau de Toilette version is the most sillage-worthy (meaning it leaves a trail of scent behind when you wear it) and projects quite potently.
Interestingly, several people however have trouble smelling it properly due to specific "musk anosmia" (a common condition in which certain musks remain undetected from the nose, hence perfumers used a multitude in a single perfume so that the nose picks at least some). Others with less of a threshold for "living" smells report it is a bit "dirty" for their taste. As always in the subjective matters of fragrance opinions, your safest bet is trying it out before buying. Having said that it is terrifically well-made, even if I suspect it might be 100% synthetic, and a best-seller for all the right reasons!

The parfum concentration of Narciso For Her comes in a roll-on 10ml/0.33oz for the purse (depicted on the right), in clear glass with black painted on the inside. The scent is the same, although the volume and sillage are being a bit toned down as the fragrance is smeared on rather than sprayed, which produces a difference in evaporation of the molecules. The lasting power is very good, same as with the Eau de Toilette, although the same problem with musk anosmia surfaces again for several people.

As of 2012, the previous version of the purse roll-on has been discontinued and a new Narciso for Her extrait de parfum version is issued with a dabber style bottle with a black curvy cap, as depicted above.


The bottle that is black on the outside, same design as the Eau de Toilette, without clear glass edging however, in a pour bottle, is the Narciso Musc for Her version. The lettering is again in pink, reading Musc for Her. Beware the confusion as this is a completely different scent: this is pure Egyptian musc lacking the floral tone (orange blossom) and alcoholic sharpness of the Eau de Toilette as well as the patchouli-woods base. The scent is the softest, most erotic thing one could wish for in the "clean" lightly powdery musks genre and although it is based on Abdoul Karim's Egyptian Musk oil that Caroline Besette Kennedy ~who was the friend and muse after which Narciso Rodriguez created his fragrance~ was buying off the streets of Manhattan, it smells very upscale. One of the missions of any perfume board worth its salt is to find decent alternatives to popular scents which are either hard to get or too expensive (and this one is at 150 euros retail for 50ml/1.7oz, but oh, so worth it!). Although Body Time Egyptian Musc and Auric Blends Egyptian Goddess have been proposed as substitutes for perfumistas on a shoe-string budget, I am reporting that none of those rather fabric-softener musks comes really close. There is something unutterable in Musk for Her which makes it enigmatically alluring like nothing else on the market today: not too sweet, not too sharp, not too laundry-like, it traipses along the way of familiarity and supple mystery which is the sign of any product worth making one's own. It is a gift to make to those who come really close to you to savour the nectar.
Narciso Musk for Her has an oily texture based on silicone to be used on pulse points or all over quite liberally because it is a light enough scent. As it becomes one with skin and does not project as much as the Eau de Toilette does, one solution would be to wear it on hair ends to extend its sillage-radius, a trick used with very good results.
As this is notoriously the product with the most complaints about not being able to smell it from numerous people it is highly adviseable to try it out before buying. Also, as silicone-based products might go "bad" (ie.losing their scent in this case) over time, one would be advised not to stockpile.
Edit to add: As of 2011, this is discontinued, nowhere to be found, making it a rare collectible. 


The pink bottle with black lettering in a black box with pink lettering (the mirror image of the original, therefore) came more than a year after the initial products above and is Narciso Rodriguez For Her Eau de Parfum concentration. It has a slightly tweaked formula, resulting in a different scent. Its rose/peach-flesh top note is quite pronounced, veering it into more fruity chypre avenues than a woody musk, which didn't exist in the original Eau de Toilette. Less people seem anosmic to this version as the more floral elements take center stage.

Limited editions: There is a limited edition For Her bottle numbered and signed by the designer that circulated a few years ago. Also a bottle with little sparkly stars for the holidays of 2005 and a new home candle in a black minimalist tin. The white bottles are limited editions from 2006 and 2008 respectively to commemorate the scent's success. All those variations have the exact same delicious scent as the Eau de Toilette and are aimed at bottle collectors mostly.

There are also ancillary body products: a body lotion tagged Narciso Her Scented Body Defining Lotion (not very potent in the smell department)in a pink bottle with black label, a shower gel in a black and peach bottle and a squat pot of Narciso Her Body Cream in a black glass pot(better fare this one on lasting scent than the lotion). Additionally there is a Narciso Powder Brush with the product incorporated in the device, a Narciso spray deodorant and a Narciso Hair Mist in a 30ml/1oz spray bottle which is weaker than the Eau de Toilette but eerily reminiscent of its mysterious aura.

Narciso for Her had received praise even from the difficult mr.Turin on his blog on 27/11/05, when he noticed that despite not a great deal of innovation it sure smells wonderful. He later wrote in Perfumes, the Guide: "But give Narciso to someone you like and stand at attention as she sweeps past. You then realise that some fragrances, like gravitation, reliably generate an attractive force that day in and day out, without fuss or explanation, though theories abound".
Excellently said!

Notes for the Narciso For Her edt: Honey Flower, Solar Musk, Orange Blossom, Osmanthus, Amberlyn, Vanilla, Tactile Musk, Tactile Woods, Vetiver.
Notes for the Narciso For Her edp: Pink Chypre, Pink Floral, Voluptuous Woods, Soft Amber, Sheer Chypre, Flower Honey, Tactile Woods, Amber Light.

Perfumeurs : Christine Nagel and Francis Kurkdjian (Quest).

Available through major department stores.

LIMITED EDITIONS/VARIATIONS IN THE NARCISO RODRIGUEZ "FOR HER" LINE


The two versions of Her and Him in "the Musk Collection" are limited editions from 2009 in shiny bottles. The packaging is black with a coloured inlay on the bottom citing "Musk Collection, Eau de Parfum Intense".
Narciso Rodriguez for Her limited edition Musk introduces musk in the central role, along with notes of ylang-ylang, jasmine and orange blossom.  
Narciso Rodriguez for Him limited edition Musk, will fuse musk with essences of iris and red berries.
Available both in 50ml Eau de Parfum Intense.

Narciso Rodriguez For Her Iridescent is a limited edition launched in April 2010. Perfumer Francis Kurkdjian made it as soft as silk, while the liquid contains tiny sparkling particles. Personally I haven't noticed any sparkling effect on either skin, hair or clothe, but it looks pretty on my vanity.

The scent is similar to the pink EDP. For Her Iridescent contains fragrant notes of honey flower, orange blossom, osmanthus, amber, musk, woody notes, vetiver and vanilla.

It is available as a limited editions of 50ml and 100 ml of Eau de Parfum.

Narciso Rodriguez for Her in Color Eau de Parfum was launched in 2011 and is bottled in a fuschia bottle and pink box.  Available in 100ml.

Top notes are rose and peach; middle note is amber; base notes are musk, sandalwood and patchouli.

It's very close to the original EDP but with a peachier warm note in the floralcy of the core.

Narciso Rodriguez For Her Eau de Toilette and Eau de Parfum Delicate Limited Edition is launching for 2012. The bottles are recognisable by the lilac-tinge to the packaging and the "delicate" on the box (pictured above).
The fragrance is somewhat changed compared to the original NR For Her and features notes of vetiver, musk, african orange flower, amber, coriander, vanille, bergamot and black fig.
Available as eau de toilette in 125ml/4.2oz bottles of light purple and a matching box.

Pics via ebay & punmiris

Chypre series 3: the new contestants

 If we are to talk about New Chypres (also nouveau chypres or "pink chypres" see below), we need to clarify some things. If you're new to Perfume Shrine's Chypre Series, please refer to the following basic articles:
What ARE "chypre perfumes"?
What are the aesthetics of chypre fragrances?
What's the history and zeitgeist of "chypre" evolution?

In our quest for chypre perfumes we stumble upon a peculiar phenomenon: there are scarcely any true chypres getting produced in the last 25 years!! Why is that? The answer is two-fold and fascinating in its denouement.

First of all, there is the matter of ingredients getting replaced and restricted, with oakmoss being the most crucial and prominent one as mentioned before. However surely this is a very recent phenomenon that only lately has seriously affected perfumers and houses into producing fragrances that do not make use of this elusive, wonderfully sensual ingredient. For example it was only at the beginning of the year that Mitsouko begun its journey into its latest reformulation, the one that lowers the oakmoss magnificence into the accountant-minded IFRA guidelines. Perhaps it's just as well that the process is going slowly in those instances so one can stockpile a favourite version/vintage while they still can. Labdanum is also slowly being replaced by other ingredients. Miss Dior, this legendary New Look debutante has had a makeover by Queer Eye for the Straight Guy. The effect is not quite as endearingly old-fashioned as it used to be. The sister fragrance (or should I say evil step-sister?) Miss Dior Cherie is the new direction in which the pendulum swings.

Nevertheless there must have been something else besides ingredients' embargo at play, influencing trends and production, which we will explore in another installment on the Chypre series real soon.

In the meantime, it might be interesting to note that after what seemed a total eclipse of chypres in releases of late years, there has been a new category of fragrances coming out slowly but surely that although not typical of their family they bear the illustrious label regardless.

They encompass lovely watercolours like Narciso for Her by Narciso Rodriguez, the coquette qui fait la coquinne Coco Mademoiselle by Chanel (classed either as floriental or fruity chypre, leaning more to an orientalised patchouli), the grapefuit laden abstraction of Ralph Lauren's Pure Turqoise , the sexy safron rosiness of Agent Provocateur that might have been at the vanguard of the trend.
These new entries into the galaxy of chypre have been ingeniously coined by Ayala Moriel as "pink chypres", simply because they exude a modern, young and girly air that is a novel take on the old sophistication of a classic chypre.

Michael Edwards, the man who is responsible for the "Fragrances of the World" system is classifying them under the "mossy woods" umbrella as evidenced in the Sephora directory. Oakmoss is mentioned in the introductory note, yet it is distinctly shunning the invitation in several of those listed.

But then how conclusive are fragrance families and categories anyway?

Referenced in the series "Que sais-je?" in the volume Le Parfum Jean Claude Ellena notes:

I've taken part in the perfume classification committee of the Société Française des Parfumeurs, but nowadays I wonder what its use really is. [...]In today's olfactory classifications, I believe that the most valuable information lies in the perfume's date of creation, its name, and the name of the brand that launched it on the market. The date allows us to put perfumes in an evolutionary perspective (as long as we are able to smell them), while product names and brands give us some indication of the degree of creativity involved in each company. (p. 77-78)

(quote copied from Marcello on nowsmellthis)

Clearly this is a renouncement of formal classifications and perhaps a rather elitist streak, one might say, that runs into this 60 year old minimalist perfumer responsible for such masterpieces as First by Van Cleef, Declaration by Cartier, the Hermessences and the Jardin series (en Mediteranee and sur le Nil) for Hermes and numerous others. But then again Jean Claude has a family which cherises aromas in everyday life and sits down to Christmas dinner hiding little aromatic gifts under the napkins. His daughter is also a perfumer, Cecile Ellena, the co-nose of The Different Company. It goes with the territory.

With that in mind, if we choose to take his side, this new category of chypres is worth exploring even though they lack the characteristic bergamot-oakmoss accord that is typical of the classics of yesterday.

So what goes into the production of those modern chypres?

The typical bergamot top of classic chypres has long been known to be phototoxic, resulting in brown patches on the skin upon exposure to UV radiation. It has been advised ever since I can recall to avoid placing perfume in spots that would be exposed to the sun, exactly because of that. And it has been well-known and accepted for decades. Why it has become such a derisive issue now, which demands the restriction of its use in minute amounts or the clear labelling on the box, is a matter that has to do with complicated legal reasons and the fervent desire of companies to not get entantangled in judicial battles that would cost them fortunes.
Bergamot has thus been shunned for other citrusy and bright top notes that include fresh and slightly bitter grapefruit, sweet mandarin and tangerine (like in Miss Dior Cherie), homely orange in some cases, and even floral essences that marry the florancy with the high volatility and sparkle of hesperides, like neroli or even orange blossom (as is the case in Narciso which uses a synthesized orange blossom that is also apparent in this year's launches for men Dior Farhenheit 32 and Gaultier Fleur du Male).

Fruity notes such as mangosteen (Hillary Duff With Love), lichi, watermelon and passion fruit (Masaki Matsushima Masaki), strawberry (Miss Dior Cherie)and berries (Badgley Mischka) are also appearent, although this might have to do with the overuse of fruity aromas in perfumes of recent launch anyway.
Sweet gourmand touches (caramelised pop corn of Miss Dior Cherie and creme de cassis in Badgley Mischka) might also be attributed to that and not to any desire to revolutionise the chypre notion any further. Which is just as good...

Oakmoss and labdanum have been substituted by grassy, pungent vetiver ~that aromatic root from Java that is the dream of every engineer as it binds itself into substructure; and by patchouli ~that indian bush with the sweet smelling leaves that produce the most potent smell in the vegetal kingdom. The two have been the base accord of almost every new chypre to emerge since 2000 and are going steady in their triumphal marching into perfumery even in seperate capacities. They are tremendously popular notes in both feminine and masculine perfumes.

Often spicy notes, such as coriander (Emporio Armani City Glam Her), or herbal ones, such as angelica, mingle with various musks to accent the murky character of the new chypres. Producing thus oeuvres that although they bear no relation to the old-fashioned intense warmth and powder of their predecessors, they appeal to similar audiences; audiences who have been conditioned to love chypres since childhood perhaps, be it from received memories through beloved family members, or through an appreciation for the unidentifiable character of those Old World sumptuous fragrances.

In any case the future for modern chypres is looking very bright indeed!


Next installement will tackle matters of aesthetics.

Top pic sent to me by mail unaccredited, pic of Narciso bottle courtesy of Nordstrom.com

Orange blossom week: part 4 - abstract brushstrokes

What is abstract and how it pertains to olfaction? Let's question ourselves. If we're talking about abstraction as the thought process wherein ideas are distanced from objects then there is a whole school of offerings that evoke some distant memory of something through the use of non-representational means, just like in art; especially in Lyrical Abstraction (a term originally coined by Larry Aldrich in 1969 to describe what he saw in the studios of artists at that time)or even Abstract expressionism, of which Pollock is a representative example, on to the geometrical stylisation of Yiannis Moralis.

In such a context it is not hard to see that the rendition of an aromatic note, even such a familiar one as orange blossom, can be sublimated in a way that exalts its effect without featuring its true characteristics. In fact without featuring the actual thing at all!
Aromachemical engineers have the additional ability to use a note that naturally is only a top or heart or even base accent and manipulate it in order to make it last longer or for a lesser amount of time. Therefore orange blossom, a note that in its form of "absolute" is a heart to bottom note may appear out of the vial as soon as we open to smell or indeed neroli (the essential oil from orange blossom) might be discernible throughout a fragrance's development.
It is also possible to use aromachemicals that evoke the essence of orange blossoms like the ghost of someone near and dear appearing out of a desire to see them much like Hamlet's father, in a composition that is centered around them yet contains none. Ingredients that could be used include Aurantiol, Methyl Anthranilate, and Oranger Crystals.
Primary examples of this technique would be amply illustrated by Fleur du Mâle the new fragrance by Gaultier, Narciso For Her by Narciso Rodriguez and Castile by Penhaligon's. Indeed those are fragrances that fine though they are feature such an abstract orange blossom that it is spectral in its appearence rather than physical and tangible, like in examples previously mentioned.

Fleur du Mâle by Galtier has already had a full review at Perfumeshrine. Suffice to say that it is the essence of a fluffy cloud, all hay-coumarin and ersatz orange blossom through the eyes of a master of abstraction and could be worn by women just as easily as men.

Castile by Penhaligon's on the other hand is in another vein. Technically also a masculine fragrance, yet highly asexual in its soapy nature, it soars on notes of clean neroli and bergamot at first to warm up just a bit later on with hazy orange blossom, all the while retaining a clean atmosphere of minimalism.
I have a confession to make at this point. When staying at european hotels -the luxurious kind; I avoid the cheap ones after one horrible experience not due to my choosing which however left me probably scarred for life- I love to enter the bathroom first. Gaze at the white clean towels, all pressed and folded, the bath acroutments, lined up for my using, little soaps on the sink, inhale the aroma of cleanliness and proceed to the pulverised sheets on the bed that are starchy and unlined like big sheets of paper on the desk of a writer longing to be filled with ink recounting thoughts and memories of ambiguous value.
This is what Castile evokes in me: staying in a luxury hotel, posing as some person more important than the prosaic historian that I am, halo of far away distance from mundanity fimly placed on my head and not a care in the world behind my aviator sunglasses. "Clean" in a minimal, austere, yet also friendly way without featuring one sharp or musky note.

Narciso by Narciso Rodriguez on the other hand goes into the other direction of "clean". It has been such an influential, seething discovery in my relatively recent perfume past that I have real trouble talking about it. This might sound like a hyperbole and an unsuccessful one at that, yet I assure you that the way it has sneaked its way into my heart with its wiles is astounding. The concentration in the admittedly confusing range that I am focusing on at the moment is the Eau de toilette, with its sexy ambience of clean musks at the background and the inclusion of an abstract orange blossom touch on the foreground.
Nary does a day go by when wearing it that the passing stranger (and a loved one) does not turn to sniff a little longer, lean a little closer, sometimes even comment on it in complimentary terms. Nary does a day go by when wearing it that I am not trasported in a place of contentment, of confidence, of feeling fresh and young and able to conquer the world on a wink or a smile.
To categorise it as clean or as sexy is doing it an injustice. Its erotic power hinges on the creation of a distinguished, sophisticated eroticism which is ethereal and distanced from heavy seductions that in reality repel rather than entice. The absence of saccharine girliness despite the assured overall youthfulness of the composition speaks highly of a sexual being who is ready to consumate the affair with a playful toss of the leg up in the air and not after losing its virginity at the school's prom dance. Whether that would be the net result in the end is fair game to its paws, but nevertheless this is not the iniative on which the fragrance operates. It hums of unmade beds in homes rather than hotels, where the warmth of humans and the life of lovers has found a nest out of the cold harsh mechanical world outside.
Narciso Rodriguez eau de toilette is said to include notes of honey flower, solar musk, orange flower, amberlyn, tactile musk, and tactile woods.
Amberlyn by the way is a petrochemical that is intended to smell a bit like ambergris. Honey Flower is an evergreen shrub (genus Melianthus)native to Cape of Good Hope.
Too abstract for words really in its aroma-synthetic marvel, this Francis Kurkdjian oeuvre is a masterpiece that has it own place in the pantheon of great scents. I am sure that the future will be kind to its beautiful visage.



Painting "Young Girl" 1971 by greek painter Giannis Moralis courtesy of eikastikon.gr

The new Rumeur by Lanvin: Fragrance review & history

When the old becomes new again we may be witnessing Gaudí's "Sagrada Familia" or "Le Tombeau de Couperin" by Ravel.
What I mean: it’s not necessarily a bad thing! Enter the re-orchastration of Rumeur by the house of Lanvin which is both rather pretty and completely different than the somptuous vintage formula.

Jeanne Lanvin was originally a milliner that came to design clothes for her daughter and her friends’ daughters, establishing a salon that finally catered for adults just before World War I. Soon the salon became an entity of its own, continuing the tradition till today under the creative baguette of young designer Albert Elbaz.
It is however the perfume spectrum of Lanvin that has not survived that well over the years and that is assuredly a pity.

Jeanne Lanvin had a mysterious personage named Madame Zed (doesn’t she sound like a Graham Greene novel set in post-war Vienna?), an elderly Russian, creating perfumes for her, the last of which was the legendary My Sin, a very successful triumph. After that it was André Fraysse who was hired as house perfumer in 1924, segueing on to create what was termed by another great nose (Edmond Roudnitska) “the most spectacular tetralogy in perfumery”: Arpège in 1927, Scandale in 1931, Rumeur in 1932 and Prétexte in 1937. Sadly, only Arpège with its sonorous musical name still circulates on perfume counters today (after some adventures in formulaic changes, but happily restored to its original glory finally), as the world is fickle and tastes change, it seems. It might have to do with the fact that the perfume department of the house was sold to L’oréal conglomerate, too. (But you’d call me leftist if I insisted and I wouldn’t want you to do that). In any case, Arpège saw a flanker on its tail in recent years, éclat de Arpège, a pleasant, lilac -coloured, fruity floral that coincided with the latest olfactory trends, but bore no relation to the rich tradition of the house.

And then, just like that, last year saw the re-emergence of the old glory of Rumeur. Or was it but a specter of its old self?
Certainly the new version bears no olfactory relation to the old one’s dark chypre trail of fruity nuances on a dark mossy bed of plush. Those were times when such things were appreciated. By today’s standards and due to the eclipse of oakmoss from perfume formulae the vintage Rumeur is intoxicating and very perfumey; although by no means unwearable or outdated. Still, the house needed a new perfume to boost its re-vamped image and the difficulty of obtaining rights for use of a new name, not to mention the brainstorming needed for the inspiration of a successful one, were stumbling blocks that eased the acceptance of an older name being stuck on a new product. This dampens our hopes of them ever re-issuing their older treasure, like for instance Guerlain did with their Sous le Vent, but rather continue on that path that Piguet led with Baghari. However, much like Baghari, the result in Rumeur’s case is not disappointing.

Conceived by Francis Kurkdjian , the talented perfumer who is responsible for among others Narciso for Her, Rose Barbare for the Guerlain art et matiere line, and Eau Noire for Dior, it has his familiar style of silky elegance that can never become cloying or childish. Retaining the mere sketch of a chypre composition as most new “pink chypres” do (the term was brilliantly coined by Ayala Moriel to denote the new chypres that lack an oakmoss base) it has the abstract powdery floral feel I have come to expect of this exciting new category of perfumes that come to the rescue after the avalanche of too many fruity florals and teeny bobber vanillic candysticks. It’s a welcome change and a subtly sensual trend I am quite willing to follow.

The new Rumeur begins on a subtle and fresh plane of aldehydes that support the exquisite florancy of pretty seringa, the family of which lilac is an offspring, and of quiet soft-petaled magnolia, like transparent veils of a white material on a soft feminine body illuminated by the afternoon sun. If you have been enamoured with the discreet sexiness of Narciso for Her especially in its superior eau de toilette version like I have, then you are sure to appreciate the loveliness such an effect produces in the new Rumeur. Although patchouli is listed in both scents you would be hard pressed to discern it as the whole effect is of a very sensual but abstract aroma that is hard to pinpoint.
There is subtle muskiness and sweetness that whispers come hither in a way that does not entirely do away with romantic sensibilities of yore. It culminates in a panorama of woody notes enriched with the depth of ambroxan lending projection and decent lasting power on skin and clothes.
On the whole, picture it as a silky rosy robe de chambre ready to shed its modesty with one fell sweep of the cute ribbon that anchors it to a supple waist and you’re there.

The bottle is quite pleasant to look at, a bit like the shape of Promesse by Cacharel, with a matte golden ring on the cap, from which I don’t advise you to hold it like the perversely smokey eyed and modernly coiffed model does in the printed advertisements. In my opinion there is a discrepancy between advertising image and actual scent in this one as the no doubt innovative clothes of the model do not reflect the prettiness and romanticism of the perfumed result. However in an aggressive society which reflects in the sexual arena as well, it is the visual rather than the olfactual that is predatory and mean. Happily the new Rumeur is neither.


Official notes for the reissued Rumeur by Lanvin: magnolia, white roses, jasmine sambac, seringa, orange blossom, lily of the valley, patchouli, musks, ambroxan.

Available from major department stores.

Top pic courtesy of cofe.ru, "My sin" ad from okadi, new ad for Rumeur from escentual.