Chanel No.5 Eau Première 2015 edition: fragrance review

Chanel often comes to mind when we talk about festive occasion drenched in champagne, if only because of the reputation of aldehydes being fizzy and sparkling materials (the aldehyde sequence in No.5 is mostly citrusy and waxy, to be honest, though). 

 

Chanel's perfumer, Olivier Polge, taking the baton from his father Jacques, had stated clearly that the legendary perfume of Chanel No 5 Eau de Toilette has no age, yet the newer edition Chanel Eau Première No.5 from 2008 would "effortlessly outshine the original without denying its relevance." The choice of words was not random, it seems. Effortless seems to comprise the very essence (no pun intended) of the bright insouciance of the newer interpretation of the venerable classic.

However great Eau Première from 2008 was, nevertheless, the advancement of tastes meant that it wasn't really appreciated by mass consumers, but only by us, perfumephiles. Logical enough, it followed the well-known formula rather closely. Therefore in 2015, the company revamped it in No.5 Eau Première 2015, in the process liquefying it according to the IFRA regulations, which made an impact around 2012. 

One perfume lover once said, "No5 Eau Première is a gateway perfume to the aldehydic genre. This is a beautiful mix of soft, bright, fizzy, and powdery. Eau Première is Diet No5, about 60% the flavor but still highly pleasing." 

I find myself flirting with a bottle for a long time now because it brings on that girly, lovely, fizzy quality to the fore, most of all. It's not the aliphatic aldehydes' cluster of perfumery materials that made the older versions waxy and clean-soapy; it's the brightness of its facade that belies its being born with a silver spoon in its mouth. It reminds me of New Year's Day mornings sipping champagne and eating eggs Benedict at a posh hotel dining room after a night out dancing. It's festive, dazzlingly bright, ethereal, and with its hopes for the best risen to their apex. The balancing act of the fragrance lies in judging how the citrusy freshness extends and rejuvenates the rose in the heart; there's a delicate, wisp-like chord of citrus and rose. What has kept me then from owning a bottle? Poor performance, mostly, as I have mentioned in an article I wrote "Eau Couture for Chanel No.5 L'Eau". Yet it smells good and puts good-natured charm in one's mien. 

There's a time and place for that, too, and champagne bubbly for January of a new year could not meet with a more reliable ally. 

 

Careful: the 2008 edition had a tall architectural bottle resembling that of Elixir Sensuel, while the 2015 edition has the classic squared shouldered bottle of No.5. 

Dior Homme: thoughts & fragrance review on a milestone

 It doesn't matter that Dior Homme is everywhere, either in one of its -many- versions, or in some copy of it from another brand. It remains one of the most interesting men's releases of the last twenty years, because the formula brings a more unusual note of iris root, halfway between dry retro face powder or old lipstick along with dusty dried flowers, to an otherwise standard formula for a mainstream men's fragrance, making it revolutionary. It doesn't surprise me that many women love it and love wearing it themselves. It is the most affordable of the lot of Dior men's fragrances. 

 via

 Attention: the original, "authentic" Dior Homme is the one from 2005, by Olivier Polge, which was removed only to be removed by Demachy later in the completely unrecognizable 2020 version of the same name, when the Polge son was now permanent at Chanel . Yes, yes, I know, typing Dior Homme gives you 883045 versions on Google, how the hell do you know which is which, you go to the first one in the drop down menu. Well, let's pay attention to it a little since you are involved in the aficion.

 

via

The 2011 version is still very good, despite the credit to Demachy, as it does not alter Polge's original recipe and retains its special characteristics. The iris in Dior Homme alternately takes aspects of soft aftershave powder like that used in trendy hipster haircuts, cocoa powder and amber starch. It's a smooth, glossy, no edge scent, feminine, but retains a hint of freshness, which I find a very alluring and essential ingredient in fragrance in general. You don't want to be completely smothered in a cotton cocoon after all, when you're on a social or romantic date, you want to be able to breathe and appreciate the (hopefully beautiful) view. :)

 

NB. The 2020 version is a completely different fragrance making for a LOT of confusion since it bears the same name, Dior Homme.  The prior to 2020 editions from a few years ago bear the bee emblem, the older formulations have no bee but the box has minor differences and the original 2005 formula has a silver tube sprayer in the jus instead of black, as after the Demachy transition.

Chanel No.5 L'Eau: fragrance review & marketing insights

 Chanel No.5 L'Eau, endorsed by the debutantes of the Chinese press, has been hailed as an innovation, but it's really "new old school". And I'm stating this in a positive light. It's a very likeable fragrance by Chanel which retains the spirit of the classic with a very contemporary sensibility of new beginnings and a freshness that differs from the exigencies of the 1920s, a century later. But its composition is not innovative, rather it makes abstract and elegant (in the mathematical sense) what has been passed down from tradition, in order to appear new. 

To wit, the use of aldehyde C8 is an addition that is not particularly modernist, nor is Australian sandalwood or the fractional-distillation ylang ylang that Polge père (Jacques) and Polge fils (Olivier) have been surely contemplating using for a couple of years now. The balancing act of the fragrance lies in judging how the citrusy freshness extends and rejuvenates the rose in the heart. And how an aldehydic fragrance appears non stuffed, nor "old lady perfume" (explained).

The core of No.5 L'Eau is shifted from the densely ylang and perceptible musk chord that dominates the modern varietals of No.5 to the delicate, wisp-like chord of citrus and rose. Almost a skin scent. By definition the concentration is light, ethereal, reflected in the choice of Lily-Rose Depp as the face of the ads. But why an ethereal version with a youth as the face?

It all started in the 80s when then in-house perfumer, the erstwhile Jacques Polge, created the first real "tampering" of the authentic formula to bring it up to par with the powerhouses of the decade of excess. When you have to keep your footing in the market that saw the original typhoon of Dior's Poison and the lead density of detonator of amber waves that was the original Obsession by Calvin Klein, you have to have a classy and elegant formula boosted to its logical limit. Ergo No.5 received a generous helping dose of the sandalwood synthetic Polysantol which effectuated that smooth, lactic boost that was missing from the earlier versions. No.5 Eau de Parfum is possibly not the "truest" No.5 but it is a satisfying edition that is made with great care.

Chanel continued to keep a very tight, and careful, modus operandi on any and all subsequent editions of No.5. I distinctly and fondly recall the No.5 Elixir Sensuelle which boosted the soapier smelling and muskier elements to render a less faithful but still sexy-as-hell body gel. It encapsulated what Coco Chanel herself had meant for No.5 to symbolize: a clean woman that wasn't at odds with her natural scent. The idea that women could be both sexy and not dirty. After all, her inspiration was a famous cocotte friend who smelled "clean", contrary to society women of the times "who smelled dirty" according to the French designer herself. 

The logical extension could only be manifested in something like Chanel No.5 Eau Première. Indeed praised by almost everyone in the industry for adhering to the original concept, without deviating too much, and at the same time bringing forth a new sensibility, Eau Première was critically praised by critics and bloggers, as well as connoisseur wearers only to be daunted at the fragrance counter by a relative indifference in its modern message. Eau Première, fabulous though it was, couldn't address the needs and wants of a youthful audience who knew No.5 from its legendary course and urban fashion clout, but did not feel confident in pulling it off in real time.

Unlike many, maybe even most, flankers by Chanel, such as Coco Mademoiselle and Coco Noir (extending and renewing the fragrance concept of Coco Eau de Parfum), which had little relation to their predecessor, No.5  l'Eau inherited enough of the original's nucleus to serve as a valid reimagining on the original idea.

Related reading on PerfumeShrine:

Coco by Chanel: fragrance review

Chanel No.19 & Heure Exquise: Twin Peaks

On Classifying Chanel No.19 & perfume review 

What's the True Story of Chanel No.5?

Cultural history: Exposition Chanel

Chanel No.5 Through the Years

Chanel No.46: fragrance review & history

I Don't Want to Set the World on Fire: Imaginative Fantasies

Chanel Les Exclusifs Misia: fragrance review [And a collective Chanel Les Exclusifs link.]

Chanel Les Exclusifs Boy: fragrance review

It's hard to go wrong with an aromatic fougere; men have been conditioned to opt for them and women to respond to them as "the natural scent of men" since at least the end of the 19th century when Jicky by Guerlain became the first to make an impact. Lavender and musk plus a spattering of sweeter notes is the basic recipe but each maker gives them their spin.

Chanel made Boy (after "Boy" Capel, a lover of Coco's) in their boutique range Les Exclusifs to appeal to those men who want that steadfast tradition in a sleek modern bottle and who don't mind a bit of a retro touch. This is what perfumer Olivier Polge (son of Jacques who was head perfumer for 3 decades) envisioned I'm sure.

What I smell distinctly after the top note of sharpness is the heliotrope and tonka which give a slight effect of marzipan paste; they elevate lavender from the usually medicinal territory into something softer and cuddlier. Hard to find this not fitting any occasion, casual, office or night out.

New Chanel Eau No.5 Flanker Perfume Later in 2016: Fragrance Rumor (Chanel No.5 L'Eau)

We've all been brought up in the legend of Chanel No.5. Books have been written about it, it topped best-selling lists and the rumor that a bottle is sold someplace in the world every X seconds has trailed sales pitches for ages. And yet there are two disturbing facts about it: one is that Chanel is exceedingly secretive of actual figures of sales; the other is that the perfume routinely performs badly in blind tests. What gives? A new fragrance is out later this year so as to combat this double-edged knife in the ribs of the French house. This is a PerfumeShrine rumor article. But let's take things at the top.

via wikimedia commons

The sales of No.5 have been steadily dropping, no matter the glossy campaigns. The French sales of No. 5 dropped from No. 1 in 2010 to No. 5 in 2015 in favor of Lancome's La Vie Est Belle, the incontestable top slot since its introduction a couple of years ago. The American market has been worse still. Young women find it too strong, too "matronly" in its odor profile; something they revere as a myth but not as a personal fragrance for themselves, perfume "for old ladies".
But it's also the rest of the Chanel fragrances which haven't been going that well either; Coco Mademoiselle seems to have run its culmination arc with a drop of 3.9% last year, the original Coco de Chanel perfume dropping a rather predictable 5.2% (nothing is as obsolete for young women now as 80s spicy orientals) and Allure dropping a whopping 8%. Only Chance and its various flankers are doing really well, woe to the discerning perfumephile: they have risen up to 6% only last year. Bleu de Chanel, another mainstream lukewarm soup, has become the prime choice of the banlieu, i.e. French suburbia material.

ADDED 16/5 via punmiris.com

Chanel has always been meticulously attentive to their treasured heritage. No.5 has been the emblem of the house and its advertising, stirring the fantasy and solidifying the reputation of a classy yet sexy fragrance, especially as boosted by Marilyn Monroe's infamous quote. In later years a string of advertising campaigns have tried to re-inject interest in the formula of No.5, sometimes with impressive if a tiny bit laughable results (the Luhrmann commercials, first with Nicole Kidman, then with Gisele Bundchen), other times with spectacularly laughable results (Brad Pitt...I'm looking at you) and on some occasions with truly fantasy-cart-wheeling side-effects (such as the Jeunet commercial with Audrey Tautou aboard the Orient Express).

The introduction of No.5 Eau Première a few years ago indicates that apart from rejuvenating the brand, through targeted advertising using the faces that people love to look up to, the jus needed its own rejuvenation as well. Highly praised critically, this new edition by then in-house perfumer Jacques Polge, however, didn't do as well as had been expected commercially.
According to reportage from Fortune, seeing the light of the day in late January 2016 and brought to my attention by an eagle-eyed friend, CEO Maureen Chiquet, one of the precious few women CEOs in luxury brands (a fact she was meaning to stress in an upcoming book, which might have created an unfavorable stir at Chanel) and a force to reckon with regarding the inspiring growth of the company at large in the last few seasons, stepped down "due to differences of opinion over the strategic direction of the company" after a 9 years long tenure. Alain Wertheimer, chairman and grandson of the original owners but also a recluse billionaire till now apparently, is taking control of the company's operations for the foreseeable future.

via

There's no doubt in my mind that the seemingly disappointing commercial course of No.5 Eau Première (so bad that it had to change its bottle to reflect more of the legendary austere lines of the original No.5 last year?) didn't significantly deviate from the tried & tested skeleton of the immortal icon. Personal consultation with perfume seekers has painfully made me realize No.5 is considered a fossil; awe-inspiring more for its ability to withstand time than for its familiarity or appeal, a once beautiful intergalactic alien from another moment in the universe's timeline. 

With La Vie Est Belle cornering the top spots reserved for Chanel and with contesters Christian Dior (with the new Poison Girl fragrance heavily promoted) and Yves Saint Laurent (with the rather bad Black Opium as well as the rectified, while still very approachable Black Opium Nuit Blanche) Chanel has entrusted a major bet on the slender shoulders of its newer perfumer at the helm, Olivier Polge.
The new No.5 flanker must therefore reflect the legend, surely, but it should also get a slice of the pie of La Vie Est Belle buyers. September 2016 has been the rumored date of the introduction to the market, although Polge is said to have been working at the wings ever since Olivier's tenure starting in 2013, funnily the creator of...La Vie Est Belle. It's a battle against one's self. A William Wilson tale, if you will. A Chanel for millenials, that prized segment of the market aged between 20-35 whose tastes influence everything.

There is no concrete info on the finalized name yet: Chanel has re-copyrighted the old 1929 name of Une Idee, which could be a good fit for a No.5 flanker, as in "Une Idee de No.5, which has the added aventage of working equally well in the French and Anglo-speaking audiences, but this is pure speculation on my part.
It thankfully remains doubtful whether the extra strong, extra syrupy tentacles (don't get me started on Repetto or Flowerbomb) are going to engulf everything. Polge's Les Exclusifs Misia eau de toilette is super refined excelling in the "cosmetics accord" fragrance genre and his Chanel Boy sounds mighty interesting too. With No.5 holding its own in at least the "spirit of Chanel" maybe the bet won't be against all odds. Come September we will see, I guess.

EDIT TO ADD: Chanel has officially announced the new version Chanel No.5 L'Eau which is  supposed to be built upon Grasse May rose by perfumer Olivier Polge and aimed at millenials.

Chanel Les Exclusifs Misia: fragrance review

Few toiletry indulgences feel more decadently feminine than owning a fine goose down puff for applying face or body powder. Few rituals feel more delicately ballet-like in their choreographed sequence than the traditional powdering of the body, fresh out of a bath, using said goose down puff with small pat pat pat motions that are as close to caresses as they are to little slaps, both erotic provenance of the demi-mondaines of another time. Misia the fragrance encapsulates in liquid form this graceful dance in Chanel's 15th Les Exclusifs perfume launch, redolent of the retro makeup scents of yesterday.

Emanuelle Beart in Le Temps Retrouvé by Raoul Ruiz via

Chanel via its new head perfumer, Olivier Polge, son of Jacques, only the fourth perfumer in the revered history of the French brand, bows to Guerlain's Après L'Ondée; a composition from the first years of the 20th century based on the ethereal marriage of heliotrope, violet and iris. Yet Chanel's Misia, like the eponymous lady friend of Gabrielle Chanel's it was named after, holds its own ground as well, an outstanding entry for Polge junior regardless of the trodden course. 

Olivier Polge may have excelled in Dior Homme previously, exploring the cocoa dust facets of the iris note in a men's scent, but it is in this feminine composition that he propels the retro facets of iris in their logical apogee, somewhere between the retro cool powder of Love Chloe and the earthy dustiness of Norma by Histoires de Parfums.  The "lipstick note" is after all its own perfumery meme, swirling its tutu years ago with Drole de Rose by L'Artisan Parfumeur and stomping its foot down naming names in Lipstick Rose in the Editions de Parfums Frederic Malle line. (Even Guerlain revisits their own themes, what with Meteorites limited edition fragrance and now with French Kiss.) Chanel's lipsticks account for a huge segment of the brand, so walking down that road felt like a given.

After all, Polge Junior has something of the Midas touch in him; count with me: Flowerbomb, La Vie Est Belle, Mon Jasmin Noir, Burberry The Beat...

The intensely powdery, starchy cloud of orris (the dried rhizome of iris flowers) is at the very heart of Misia with very perceptible cool, sweet violets for "lipstick" (α methyl ionone); in fact the very scent of proper, ladylike lipsticks with their violet-rose aura which separates the teens from the grown ups. While Misia starts with a bittersweet top note reminiscent of time-honored perfumery aubepine-heliotropin chord, the heart of the fragrance is pure cosmetic impression, an archetype of grooming and of la salonnière. Polge used both rose of Grasse and Bulgarian Damask rose for the floral component and a cluster of benzoin resin (caramelic, vanilla plush), tonka beans (hay and almond like) and modern musks for the downy soft drydown.

“I thought of the Palais Garnier in the days of the Ballets Russes: pearls and aigrettes in the women’s hair melding with the scent of red-tinted lips; the sound of musicians tuning their instruments; and the dancers wearing make-up from head-to-toe, warming up behind red velvet curtains. I thought of how to interpret lipstick and powders into a perfume and decided to use violet dressed with rose de Mai and Turkish rose, which trigger memories of lipstick, while the benzoin I added creates a powdery effect, like make-up. It’s very feminine and floral but it’s also sumptuous. The strong violet accord is a new ingredient in the grammar of Chanel”  reveals Polge to Lucia van der Post.

It was Polish muse Misia Sert, née Maria Sofia Olga Zenajda Godebska, a Belle Epoque fixture and the subject of many a Renoir and Bonnard painting, who introduced Gabrielle "Coco" Chanel to many of her subsequent fixtures; Venice, baroque, Les Ballets Russes, Paul Reverdy...
She was also the confidant to whom Chanel poured her heart out to when the latter lost her first true love, Arthur "Boy" Capel, to a car crash.

In a way Misia the fragrance aims to be as emblematic and prophetic of great things ahead as Misia the muse was to Chanel's career. May it prove so!

Chanel Les Exclusifs Misia eau de toilette is offered in 75ml and 200ml bottles with magnetic closure, same as the rest of boutique exclusive Les Exclusifs perfumes.

Related reading on Perfume Shrine: 
Best Violet fragrances guide
Powdery & Dry Perfumes
Parfums Lingerie: intimate femininity

Olivier Polge: "You Don't Make Beautiful Fragrances with Complicated Ideas"

"Preferences change. In the 1990s, people wanted a very light fragrance. Today that’s not the case.

There are now so many heady scents, like ouds galore. I’ve heard that superstrong scents are meant to please customers in places like the Middle East and Russia. 

That’s a reality: Certain stronger scents do better in the Middle East, and Asian countries like their scents lighter. But I try not to be so opportunistic. I care less about geographic territory than spirit territory. Is this scent in the spirit of Chanel?"

Olivier Polge on the left, at the advertising campaign of Valentino Uomo, via welt.de

The above snippet comes from an interview of perfumer Olivier Polge at Chanel (formerly creator of the gorgeous Dior Homme, Balenciaga Florabotanica, Balenciaga Paris and all its flankers, Guerlain Cuir Beluga, Valentino Uomo, Viktor & Rolf Spicebomb, the newest Mugler Les Exceptions fragrance series and of the perfume best-sellers Flowerbomb, Lancome La Vie Est Belle, and Dior Pure Poison) given to the New York Times and Bee Shapiro.
Please find the interview in its entirety on this link. 

As we had reported before, concerning Olivier Polges' first scent for Chanel, named Misia after Coco Chanel’s friend Misia Sert, which joins the Chanel Les Exclusifs lineup of more-experimental scents midmonth (retailing at $160), the young perfumer is at the helm of the prestigious French house from now on, succeeding his father Jacques Polges. (Who in his turn had succeeded Henri Robert, who followed Ernest Beaux, essentially making Olivier only the 4th ever in-house head perfumer at Chanel).

 Smelling of lipstick, rose and powder, Chanel Les Exclusifs Misia perfume is said to conjure the dressing-room scents of the Ballets Russes.

Chanel Les Exclusifs Misia: new fragrance

The fragrance line Les Exclusifs by Chanel has been having its ups and downs through the years, but it has always appealed to customers who are interested in perfume first and foremost, with the famous logo as an addendum rather than the whole raison d'être of the purchase.

Les Exclusifs Misia, named after the best friend of Gabrielle Bonheur (Coco) Chanel, joins the wondrous juices of 31 Rue Cambon, Sycomore, Coromandel, Beige et al, in the exclusive circuit sold at Chanel boutiques and online at the official site of Chanel.com, encased in magnetic closure bottles holding either 200ml or 75ml.

Misia Les Exclusifs by Chanel comprises fragrance notes of violet, May rose from Grasse, Turkish rose, orris, benzoin, tonka bean, and musks. The fragrance of Misia is composed by in-house perfumer Olivier Polge.

Chanel is after all busy in business as usual, with even news of "looking to open a new factory in the Compiègne area of France, creating several hundred jobs and perhaps 10,000 tangential jobs for suppliers in the region", according to French local newspaper, the Courrier Picard.

For those interested in the story between the two women, Lisa Chaney's biography Chanel: An intimate life and Justine Picardie's classic tome Chanel: Sa Vie are both thorough and highly recommended. You can order them following the highlighted links.

notes via Fragrantica

Thierry Mugler Les Exceptions: new fragrance collection

Launching October 2014, the release of the new haute parfumerie collection celebrates the new modern direction of the MUGLER fashion house under Artistic Director, David Koma, and Director Of Development, Marketing and Communications, Virginie Courtin-Clarins.

Les Exceptions symbolizes the dynamic revamping of MUGLER fashion and fragrances. Blends of original alchemies and inventive, unique ingredients come alive in five exceptional fragrances that characterize the essence of MUGLER: Chyprissime, Supra Floral, Fougere Furieuse, Oeintal  express and Over the Musk.  Created in France by renowned noses Olivier Polge and Jean-Christophe Herault, MUGLER Les Exceptions reinterpret and magnify the great blends of traditional fine perfumery.

Each Art Deco-inspired bottle with its streamlined, faceted design - decorated with a playful metal stirrup clip - showcases the distinctive luxury and provocative architectural design that is the House of MUGLER.

The 80 ml (refillable) EDP sprays will be available nationwide starting October 2014 on www.mugler.com ($225)

Repetto eau de toilette: fragrance review

Do ballerinas secretly stuff their lithe forms with cherry-pie flavored cupcakes? If models routinely consume tissue paper in order to satiate their hunger, as infamously stated by Australian Vogue ex-editor Kirstie Clemens, I'm willing to believe anything. Powdery woody florals are a direction that is ripe for the picking, judging by recent releases such as Love, Chloe, See by Chloe, Esprit d'Oscar, Burberry Body perfume and the like, but in Repetto the direction is tilting the scales into gourmand  fragrance nuances which seem incongruent with the associations we -involuntarily- make of dancers. Musky roses (with the odd white floral mixed in) with sweet nuances, reminiscent of such girly accessories as lip cosmetics, goose feather down and tutus, date at least as far back as Drole de Rose by L'Artisan Parfumeur (1996). Perhaps what seemed new then looks derivative now, but I wasn't wowed by the newest Repetto fragrance.

Maybe it is that the brand has such an iconic pull that you expect more, more, more. In this case, however, it was a clear case of wanting less, less, less.

via punmiris.com

The cult brand of ballerina shoes the world over is without doubt the French Repetto; not only have they decked everyone from Brigitte Bardot to Vanessa Paradis, they're prized for being as comfortable as wearing nothing on your feet without sacrificing style. Just in the space of last year Repetto has seen an increase of 20%, mainly outside France where the brand is a national standby (the company is also present in 60 countries), which highlights the enthusiastic reception that this classic Gallic brand is enjoying in the domain of luxury and export. Let it be said in passing that Japan is their second biggest market outside France and they're planning on opening a boutique Repetto in Shanghai, China in September 2013.

via meltyfashion.fr

After a spectacular development following the 1999 resurrection of the brand, founded in 1947 by Rose Repetto, costumer to the Opera, Repetto is launching their first feminine fragrance, developed with Interparfums who manage the uber-successful Burberry portfolio alongside many others. The perfumer chosen for the development of the fragrant jus is Olivier Polge, newly officially appointed to Chanel perfumes assisting his father Jacques Polge whose tenure dates since 1978.

"My goal was to create a handmade effect and bring together luxurious and authentic bases, suhc as powdery musky rose, which is the spirit of femininity. The result is a purified formula with essence of rose and vanilla", elaborates Olivier Polge. The fragrance also includes pear, cherry tree flowers and orange blossom notes, underscored by vanilla and amber woods.
The effect is powdery with the characteristic almond "fluffiness" of heliotrope and macaroons (if I were blindfolded and hadn't received info of the launch I would have pegged it as a Ladurée fragrance more than Repetto), soft, sweet with Frambinone, maybe rather heavy if you're sensitive to sweet notes like I am; heavy like an overweight ballerina in the unfair, politically incorrect world of classical dance where teachers are routinely drawing their nails along tender backs to make you stand straight. Could the Repetto-scented ballerina personification survive in that environment? Not if she shed her Dawrinian advantage, she would not...  But the crux of the matter is that Repetto isn't but a ghost of ballet. It is a brand divested of its reality, it's fantasy.

Whereas Michel Almariac chose to instill an inedible element into the scheme of the powdery musky floral in See by Chloe, opting for the bitter sheen of soap, even though the brand could do with sweetness, Polge, armed with his recent experience in La Vie Este Belle, looked into cupcakes. In fact cupcakes are part of the promotion of the fragrance (I kid you not!) In that regard, it sounds like sacrilege but Guerlain presented a better "contemporary taste" perfume with La Petite Robe Noire.

It's not required that wearers of Cabaret by Gres burst out in spontaneous songs by Patachou, but when the incongruence between brand, finished fragrance and market demographic is so diverse you have a fine mess in your hands.

Repetto eau de toilette is presented in eau de toilette concentration (39 euros for a 30ml spray bottle, 79 euros for 80ml), accompanied by a matching body lotion, while the bottle is adorned by a medallion on a pink ribbon like the one in the emblematic Carlota ballerina flat. The fact that the fragrance is inspired by ballet dancing is emphasized by keeping as ambassadress the star dancer Dorothée Gilbert (who claims “Le parfum Repetto a du poids, du charisme”). The signature fragrance hit French counters on Monday July 1st and is set to create buzz in the international market soon after.

Lancome La Vie Est Belle: fragrance review

The upcoming Lancome fragrance, La Vie Est Belle (i.e. Life is Beautiful), is exactly the kind of perfume we dedicated perfumephiles love to kvetch about without any grave reason, come to think of it: It won't knock your Spanx off, sure; it's a "pretty" smell for pretty ladies (as evidenced by the face fronted it, the original Pretty Woman) but it's not a genuinely bad release all the same, just derivative. It suffers from the major problem of mainstream perfumery: a sense of sameness, a sort of deja vu, when what we yearn for is earth-shattering uniqueness, Heathcliff boldness and passion, springboards for heated discussion with a slice of brie in one hand and a good goblet of Laphroaig on the other while Mahler's 3rd blasts out of the speakers.
If you're that sort of person you won't be wowed by La Vie Est Belle. If on the other hand you just seek a wearable, non completely teeny-bopper fruity scent to get you through the day (and night) then the newest Lancome release isn't the worst to come out on counters for a while; nor is it the best, worse luck...

To cut a long story short: La Vie Est Belle an iris "gourmand" with patchouli. Just how many irises, gourmands and patchoulis are there on the market currently? Do I hear you say hundreds? I thought so! And yet, this fragrance is pretty well-executed within the genre, if sweet and over-tenacious. It's really a floriental for the 30-50 age group of women who want something contemporary that wouldn't have their teeth fall off at the same time. Lancôme after all has never ditched their more "mature" outlook (Tresor Midnight Rose non withstanding) and the accompanying image the way Dior has, as I was discussing with one of my online friends. In that context, the fragrance succeeds in its intended demographic, all caveat emptors in place.

This gourmand yet rather delicate composition was developed by famous perfumers Olivier Polge, Dominique Ropion and Anne Flipo, all known for their talent and technical skill. The final formula is claimed to be the result achieved after 3 years of testing and 5000 versions including precious ingredients (Iris Pallida concrete, Jasmine sambac absolute, orange blossom absolute, and patchouli essence; we can take this with a grain of salt or not). When you're hearing things like that, you know you have reason to get worried.
Iris is supposedly the key ingredient of the perfume, surrounded by orange blossoms and jasmine in the heart. The iris isn't really perceptible as such to my nose, though, I have to say: that carrot-rooty often metallic note we associate with iris fragrances is very subtle and floats in the background as a murmur rather than a clear command. The composition’s opening provides fruity flavors of black currant and pear, those can be felt, while the base is warm, gourmand and powdery due to almond-like accords of tonka bean (high in coumarin), praline (shades of Angel, especially coupled with the next two ingredients), patchouli and vanilla.

The recognizable reference in La Vie Est Belle comprise a hint of Delices de Cartier (instead of cherry, the fruity nuance is orange-toned but in a clean, fresh and pleasant way) and Flowerbomb's fruity-patchouli sweetness rising from the core. It's somehow airier, like a gourmand done in devore velvet rather than heavy damask. It also vaguely reminds me of Hanae Mori #4. Of course all these facts point to the theory that if you own any of the above, there's not much point in owing La Vie est Belle as well. That's for you and your Visa to decide.

The lasting power and projection of La Vie Est Belle, available as eau de Parfum, are both very very good, a technically able fragrance, and though I wouldn't be too displeased to be in the company of the woman wearing it, I wouldn't buy a full bottle for myself all the same.

La Vie Est Belle is the newest Lancome fragrance, available on the market from autumn 2012 in major department stores. The concept of this fragrance is centered on real beauty in small things, freedom from conventions and the wisdom to go after one's heart.
The (beautiful) flacon is a redesigned version of a Lancome bottle from 1949 from the brand's archives. Actress Julia Roberts is the face of the campaign, shot by director Tarsem Singh.

NB: I shared a sample with a friend who works in the press and got a preview herself. 

Viktor & Rolf Spicebomb: fragrance review

I sometimes wonder what would happen if the art of fragrance naming is asked to be, as the French would put it, en clair―to speak in plain language.

     ~by guest writer AlbertCAN

I am by no means chiding the mass launches, for niche brands wax lyrical, too. (Case in point: Serge Lutens Daim Blond ought to be Daim Abricot.) Viktor & Rolf’s latest masculine introduction, Spicebomb, could benefit from en clair. To spell out its proper name would probably look a great deal like this:

Une ‘grenade’ ambrée à la manière de Tom Ford Tobacco Vanille avec un peu de L’Artisan Parfumeur Tea for Two

(An amber ‘grenade’ in the style of Tom Ford Tobacco Vanille with a little bit of L’Artisan Parfumeur Tea for Two)

Of course, the ironic thing with the truthful title above is that a copyright infringement lawsuit would probably ensue, followed by the requisite injunctions and appeals. And how to fit the sentence above onto the bottle is beyond mysterious to me. So, no in a million years. Yet it is probably the most apt description of the scent one could find, for the similarities between the scents in question are uncanny.

Now one might notice that that I’ve put quotation marks on the word ‘grenade’, for although the campaign promises something explosive and daring Spicebomb is hardly so. In fact the bomb motif is really a hand-me-down from V&R popular franchise Flowerbomb (2005), more of tie-in for marketing integration purposes. It’s a handsome tobacco-infused amber dandy with a fair hint of spice, but hardly a bomb threat as suggested by model Sean O’Pry’s tease with the grenade safety pin.

The resemblance between Spicebomb and Tobacco Vanille is truly remarkable, although I wouldn’t call them Siamese twins. V&R Spicebomb opens with candied citruses—or so I call them since synthetic bergamot and grapefruit are tempered further with fruity pink peppers, giving the scent a suave, silken sheen. It’s on the sweet side, though short of the full-on dried-fruit effect found in Tom Ford’s opus. The bouquet is really ho-hum and plays second fiddle to the tobacco accord, which really asserts its dominance after a short introduction. The press-release lists the tobacco as the base note but it really acts front and centre like a heart note since the scent is so character driven, forming a very obvious alliance with vetiver and amber. Knowing Spicebomb’s creator, Olivier Polge, I would bet my money on the liberal use of ambroxan (and even some tonka bean) when forming the amber—and indeed that amber motif is evident in Dior Homme, another creation by O. Polge. The leather and elemi are there, too, although really upholsterings to create subtle dried fruit facets. On the other hand I would say Tobacco Vanille lacks the spicy edge, though it’s hardly a surprise when the name is Spicebomb—what comes with the subtle spice is the real surprise.

Tea is nowhere to be found in Spicebomb’s press release, but the smokiness found in L’Artisan Parfumeur Tea for Two (2000) is fairly evident in the drydown of Spicebomb. It’s by no mean literal, for there’s nothing transparent or soft about V&R, but the spiciness is there—a touch, really—once its presence is felt. To me it isn’t the main attraction, just there to keep things in good social order.

Thus given all the information above Spicebomb is an interesting breed: Considering V&R license is owned by L'Oréal, one of the more conservative cosmetic conglomerates out there, having a mass-market launch based on two niche offerings—with Tea for Tea being discontinued to boot—Spicebomb is a slick take on past creations, almost like a ready-to-wear referencing a Tom Ford couture. Yet does it really take a perfumer of Olivier Polge’s calibre to do such faithful reference? I honestly don’t have an answer to that, and I might have gotten a bottle if: 1) I didn’t have a small bottle of Tom Ford Tobacco Vanille, which I have, and 2) If the bottle for Spicebomb were more sleek, as the tinted bottle looks a bit clumsy in person. Mind you, if I were given a small bottle I wouldn’t mind wearing it from time to time.* But I’m probably not detonating Spicebomb anytime soon.

Viktor & Rolf Spicebomb is created by perfumer Olivier Polge and contain notes of bergamot, grapefruit, elemi, pink pepper, cinnamon, saffron, chilli, leather, tobacco and vetiver. The bottle is designed by Fabien Baron. My review is based on a free sample I received from a sales associate at The Bay, who was horrified by me using Dior Eau Sauvage and promptly quipped, “It’s really for old men, no?” (Thank goodness I’m not buying anything from her.)

*Read: This is not a hint. Do not consider buying me this as a present: and I’m not being ironic.

Cacharel Noa, Noa Fleur & Noa Perle: fragrance reviews & comparison

"Fit for nuns and virgins" is as enticing a description of fragrance [1] for some of us as talking of a scent weaving a web of seduction the way a femme fatale would. Clearly, it's not because we belong to either category, but rather that its programmatic unconventionality of what feminine fragrance should stand for makes it ripe for personal exploration. It's so easy to underestimate a fragrance just because it's widely available and comes from a brand that doesn't have haute or luxe pretentions such as Cacharel and Noa. I bet good money that were Noa issued by a niche company into some fancy-named contraption and fronted by a du jour perfumer it would elicit more enthusiastic response. Despite Cacharel's fashion presence and their rather large input in fragrance history (a pre-emptying floral in Anais Anais, a magical retro heliotrope in Loulou, the first aquatic fruit-oriental in Eden, a good effort at tobacco-laced feminine in discontinued Gloria) they fly under the radar on what concerns hard-core perfume lovers. Which is why we're here and have been reviewing the Cacharel canon for a little while now on Perfume Shrine.



Noa is an underappreciated little gem that didn't deserve the lack of attention it receives and which spawned somewhat less noteworthy flankers, called Noa Fleur (2003) and Noa Perle (2006). But let's see the strong and weak points of each and compare them.

The original Noa by Cacharel (1998) was composed by perfumer Olivier Cresp, the fragrance encased in a diaphanous bubble of a bottle, a zen approach to the spiritual 1990s (hence the tag line "the gifted fragrance", one would almost expect a Messiah in a bottle), designed by Annegret Beier.
The passage of a few minutes results in a slight recalibration of one's original view of Noa, which would have been of an aquatic floral: it's really a floral musk with a hint of powder and soapiness and a delightfully unexpected smoky wood top note. The initially detectable ylang-ylang blends into the background, while the soapy aspect of the musk intensifies as the minutes pass by, boosted perhaps by some aldehyde. This produces both a smooth, clean scent, but also a reduction in volume, making Noa appear "light" and "fresh", although don't let that fool you into thinking it doesn't last; it does.The musks are fuzzy, cozy, warmish and comfortable, accented by a small note of spice like coffee laced with cardamom. Tania Sanchez identifies the spice as cilantro.


Noa Fleur by Cacharel came next in 2003 and its take is more unisex than its rosy character would suggest. Essentially a clean, rather screechy floral, flanked by musky notes like hibiscus and white musks, plus pale balsam and indeterminate notes that project with a faint powderiness, it's predictable and pliable. The inclusion of black currants gives a rather fruity facet to the proceedings, but there is no denying this is a rose fragrance with more woodiness than a typical soli-rose. This would make it fit for those occasions when you just don't know what to wear; rushing out of the door to get the kids on the school bus, going shopping impromptu, having a last-minute "wanna pick you up?" date when you're uncertain of your date's tastes...But you could do better than that: Grab Gucci Eau de Parfum II or Miracle So Magic.


Cacharel's Noa Perle (2006) was co-authored by perfumer Domitille Bertier and Olivier Polge. The formula was reprised, resulting in a more fruity floral mold, in which however the distinctive note of hazelnut swifts things to a slightly more interesting direction than the average fruity floral. The opening is lightly sweet citrus reminiscent of clementines with that standard "clean" floral that companies peg as peony nowadays; the drydown is an inoffensive powdery musk plus milky woods. Noa Perle is a nice enough if completely inadventurous scent, but for the price and the lack of pretence, it's still a better option than many out there. Points taken for the glaringly fake "pearl" inside, made from 100% plastic. With a name like that...

[1] by Susan Irvine, 2000 Perfume Guide

Balenciaga Paris: new fragrance

A while ago we had been thrilled by the choice of Charlotte Gainsbourg, shot by Steven Meisel, as the new face of the upcoming Balenciaga signature women’s scent, due out in February in Europe (March and April for Asia). Called Balenciaga Paris, it is the first fragrance authored by Balenciaga and Coty Inc., a partnership which began in 2008.
“We’ve been basically out of [the fragrance] business for almost 15, 20 years,” said Isabelle Guichot, Balenciaga president and chief executive officer. “It was important for us to wait until the right moment to really express ourselves back in the industry.” "The aim is to make Balenciaga Paris into a new classic", said Ghesquière and something tells me they're eyeing the uber-success of Narciso Rodriguez For Her in that regard, especially in view of the family in which they're positioning their scent, more of which below. The Balenciaga portfolio included excellent, elegant and distinctive scents (right down to the early 80s Michelle), making this a tall order. Despite the relatively restrained distribution (about 2000 doors worldwide) the expectations run to 90 million $ during the first year, so I would assume that the scent should reflect a wide acceptance potential, especially since Nicolas specified they aimed to reach a wider audience than the one they reach with their accessories.

Right off the bat, I should start by saying that regarding any name conflict which one might be thinking is afoot between the new Balecianga Paris and the classic YSL Paris from the 1980s, we shouldn't hold our breath: As discussed with my collaborator AlbertCan, YSL Beaute and Balencianga both belong to PPR (otherwise known as Gucci Group) which makes a legal case nonsensical as the compensation would come out of the same pocket. Additionally according to the Fragrance Foundation and Michael Edwards, YSL registered their own scent as "Paris d'Yves Saint Laurent" so "Balenciaga Paris" is probably marginally different enough to make the cut. YSL is busy promoting their own Parisienne right now, so the more Paris is heard in fragrance names the better. But enough about the name!

Balenciaga's house designer Nicolas Ghesquière took the plunge for the first time in fragrance launching aided by the young but talented perfumer Olivier Polge (Jacques Polge's of Chanel son) of IFF. The idea for the scent was mining on favourite smells Nicolas could think of and then arranging it in the "both artistic and mathematical process" that creating a scent is all about, according to him. His memory banks contained floor wax and flowers (violet and carnation), plus more urban odors, like gasoline, according to Caroline Javoy, group vice president of Balenciaga, Chloé and Jil Sander at Coty.

Ghesquière said he wanted to give the floral fragrance a contemporary “twist” with something urban and slightly “metallic.” Early on, it was decided Balenciaga’s first scent would be in the floral chypre family — specifically, a violet chypre. “Violet has been used in the fragrance industry for years, but normally more for the powdery effect,” said Javoy. “What Olivier did here was use the fresh, natural effect of violet leaves, and what’s new also is that the violet is really at the core of the fragrance.” Polge integrated redistilled woods, such as cedar and patchouli, too. “It is not a romantic floral,” said Ghesquière. “It’s definitely the mix of tradition and something quite contemporary and urban.”

A violet chypre might recall Balmain's Jolie Madame, but I deduce we're not faced with such a deliciously old-fashioned prospect for various reasons having to do with tastes, focus groups et al. A propos the violet discussion, might I remind readers once again that violet as a note bears absolutely no similarity to violet leaves, as both the materials used to render them as well as the olfactory profile of the ingredients and the composed accords have very little relation, if at all. Violet leaves are par excellence used in masculine colognes for their cucumber-like green metallic freshness which shimmers most suavely in Eau de Cartier.




In the ads for Balenciaga Paris, the left-hand color shot is a still life including the fragrance and a column and an egg, architectural and fashion references. In the right-side, black-and-white image, Charlotte Gainsbourg sits on a Spanish patio (alluding to Balenciaga’s place of origin), while the black-and-white marble floor is a nod to the original Balenciaga boutique design in Paris. The pattern of the prism on the bottle itself (alluding to the plinths and portals in Balenciaga boutiques) and the cracked egg effect on the cap (referencing Italian design from the 1980s, 18th-century enameled vases and the graphics of Balenciaga’s vintage fabrics; or a classic football ball, take your pick!) present themselves as vintage touches seen through the porthole of a modern creation.

“White and ivory are two strong Balenciaga colors,” said Ghesquière. “I wanted this fragrance to be a little character. It has a head, a neckline and a body.” Balenciaga Paris’ streamlined outer packaging harkens back to the brand’s vintage boxes for fragrances (largely out of distribution), such as Le Dix.

In France, the 30-ml. eau de parfum spray will sell for 57 euros, or $84.45; the 50-ml. eau de parfum, for 75 euros, or $111.15, and the 75-ml. eau de parfum, for 94 euros, or $139.25. Ancillaries include a 200-ml. shower gel and a 200-ml. body lotion, for 37 euros and 40 euros, or $54.80 and $59.25, respectively.

Quotes & bottle pic from "Balenciaga Returns to the Fragrance Game" article by Jennifer Weil on WWD. Ad from the Spring 2009 fashions through fashionista.com

Cuir Beluga by Guerlain: fragrance review

"Beluga" in most people’s minds is tied to caviar associations, the richest and costliest variety actually, yet not the one on top of every gourmet’s list who often go for Sevruga with its more delicate, less fatty taste and smaller dark beads.
I was therefore surprised to find out that apart from Guerlain's exclusive fragrance Cuir Béluga , the name also refers to a species of small whale (Delphinapterus leucas) that is almost white in colour and completely endearing to watch. Beluga after all is white in Russian! The full name of course hints at some terrible cruelty that would have Brigitte Bardot up in arms, and justifiably so.
However no whale hide is necessary for the production of this scent and there is no other leather smell discernible to me or anyone else either. The chemical ingredient isobutyl quinoline that is most often used to render such a note is hard to miss, due to its bombastic character that has the ability to obliterate other scents. Even in Shalimar, the quinolines are there, under the plush. Thus, Cuir Béluga resembles a trompe l’oeil, the artistic effect of visually hinting at something that isn’t actually there; or even the manner of painter Magritte and his way of making us think in a completely different way than usual.

Created by Olivier Polge, son of famous Chanel nose Jacques Polge, the man who created such commercially successful numbers as Coco Mademoiselle and Allure, it promised the innovation and dare of a person who is young and willing to take a risk; the stance of someone who has artistic freedom to do as he pleases. However, regarding Cuir Béluga a risk it certainly does not take.
The Guerlain brief says about it: "A fragrance suggesting the absolute, contemporary luxury of leather. An initial burst of aldehydic mandarin orange, strengthened by everlasting flowers/immortelle contributes a luminosity all its own, then merges into deeper, sophisticated notes of leather, amber, heliotrope and vanilla".
The immortelle note, often compared to fenugreek, is nowhere near the omnipresence found in Annick Goutal’s Sables , the intense Middle Estern reference of El Attarine or even in the much tamer L de Lolita Lempicka. The hard, craggy Mediterranean beach cannot survive in the pedigreed salons of Paris, that’s understood. But neither is amber particularly present, never managing to make a full appearance on the dry down phase, making the composition somewhat linear.

Starting and finishing with a lullaby of soft suede-soft vanilla, with elements of slight bittersweet taste that is the heliotrope note echoing the minimalist composition of Eau d’hiver by Frederic Malle or Etro’s Heliotrope (but less sweet), it resembles the classic Hans Christian Andersen tale of the girl who sold matches: she glimpses the warmth of the rich house with the garlanded Christmas tree and the table full of delicacies, but it’s only behind the cold pane of glass. Never in my life have I smelled such an aloof vanilla. Although it has a very pleasant effect and is undoubtedly a delectable smell that would never become suffocating and heavy like many vanillic perfumes inadvertently do, it somehow cannot justify the cachet of exclusivity when it could just as easily sit on the shelf of a less exclusive store making gigantic sales by its lovely inoffensiveness. Wish it were widely available!

Notes for Cuir Beluga by Guerlain:
immortelle (everlasting flower), leather, amber, vanilla, mandarin, heliotrope

Cuir Béluga forms part of the L'Art et la Matière line sold exclusively at boutiques Guerlain and the Guerlain espace at Begdrof Goodman, in tall architectural bottles with the name on the side in a wide golden "band" and an optional bulb atomiser included (My advice on those is not to leave them attached on the bottle as they allow evaporation of the juice).

Related reading on Perfumeshrine: the Guerlain series, the Leather Series

Painting A couple by Fernando Botero via art.com. Pic of Beluga whale via wikimedia. Pic of bottles via Guerlain.