Guerlain – Chypre 53

Posted on February 6, 2013 by Leah

Guerlain – Chypre 53

There are moments when life proves serendipitous and sends unexpected opportunities our way. A friend of mine recently asked me for my assistance in transporting some precious cargo to him overseas. He had acquired an extremely rare bottle of Guerlain’s Chypre 53 but experienced some complications in having it delivered. Always willing to lend a hand, I agreed to have the perfume sent to me in order to ship it safely on to my friend.

Chypre 53 was created by Jacques Guerlain and released by the house in 1948. While I am fortunate enough to have some vintage Guerlains in my possession, this one is quite a rarity and indeed not among those in my collection. In fact, I have had great difficulty finding any information on the fragrance. Imagine my excitement then when my friend requested that I open the box for inspection and repackaging prior to forwarding on to him!

The bottle and box were in pristine condition, unused and close to half full of beautiful, deep brown nectar. I will admit that holding the magnificent quadrilobe bottle in the palm of my hand without opening the familiar Guerlain string and seal took all of my humanly restraint. While the bottle was sealed, given the level of fluid in the bottle, it was evident that some of the perfume had evaporated, and here was where I was given the greatest gift, second only to being the owner of this beauty. Where there is evaporation, there must be some means of escape for the fragrance inside between the neck of the bottle and the stopper. On the odd chance that I might catch the briefest glimpse of this heaven, I held my face close to the bottle and inhaled deeply. I was greatly rewarded.

To my surprise, despite the wide gulf between the dates of their release, Chypre 53 is not unlike Mitsouko. While there was no discernible peach note and a subtle floral smell a la Guerlain, much of Mitsouko’s overall structure was present. This brought to mind L’Heure Bleue and a number of variations on its theme which were released by Guerlain, namely Fol Arome and Pois de Senteur, the latter being released by Guerlain five years after L’Heure Bleue. While Chypre 53 was not released until nearly 30 years later, it is not implausible that it represents a variation on a theme, subtly adjusted to match the trends and sensibilities of a post-WWII world. Indeed, thematic variations have been explored by perfumers and musicians alike and my brief experience with Chypre 53 brought to mind a Mitsouko rendered slightly more ethereal by a subtler tonality, a soprano to Mitsouko’s alto voice.

While it is unlikely that I will enjoy a day of wearing this fragrance and experiencing all of the surely beautiful facets explored in its drydown, the very fact of its closeness to Mitsouko was some consolation that perhaps I knew something of this beauty after all. If anyone has any experience with Chypre 53, I would love to hear about it!

Chanel – 1932 Les Exclusifs

Posted on February 5, 2013 by Leah

Chanel – 1932 Les Exclusifs

I was thrilled beyond description to receive a sample of the newest Chanel Les Exclusifs release from the lovely Isidora at the Chanel Bal Harbour boutique in South Florida. As I posted earlier here, there was much speculation over the past year regarding this fragrance and whether or not it would indeed be released to the public. Happily, it is now available in the standard 75 ml and 200 ml Eau de Toilette sizes from the Chanel boutiqes and online, via their website at Chanel.

According to information provided by Chanel, the fragrance was named to commemorate the release of Gabrielle “Coco” Chanel’s first high jewellery collection. The nose behind the creation, Jacques Polge, took his inspiration from the collection and rendered it in Jasmine. In 1932, Europe was between two world wars and Amelia Earhart had completed the first transatlantic solo flight by a woman. The Great War fueled significant advances in aviation which would make commercial air travel a more distinct reality. What had once been a novel concept, now became a reality for the rich and elite. By the end of the era, known as the “Golden Age of Flight”, air transport would seem a necessity.

Necklace from the original 1932 collection

As a result, people’s minds were on the skies. Caron launched En Avion in 1932 and Guerlain would release its Vol de Nuit one year later in 1933. No small wonder then that Chanel’s exclusive jewellery release would be inspired by the heavens, with its falling meteors and constellations. Where Chanel had previously promoted faux glass jewelry to counteract the pretensions of the 1920s, her flight to quality following times of strife reflected her pursuit of the “greatest value in the smallest volume“. It is this insistence on quality that is one of the hallmarks of Chanel perfumes and 1932 is certainly no exception. The fragrance is an unique and inspired creation, highlighting the different aspects of Jasmine, one of Chanel’s signature flowers.

1932 opens with a sweet citrus accord, a melange of orange and lemon notes which seem to float on the air. The aldehydes in the opening are not as effervescent as some of Chanel’s vintage creations, giving the fragrance a more modern feel. The fruity opening quickly gives way to a slightly spicy, green floral accord that calls to mind stems and juniper berries. While in theory, I thought the fragrance might head into the Chanel No 19 territory, the Lily of the Valley and subtle Hyacinth notes reminded me slightly more of Cartier’s Baiser Vole’s opening notes: sharp, bright and light, much like the brilliant collection of diamonds for which the fragrance is named, though more subtle and fruity than Mathilde Laurent’s 2011 creation.

Diamond ring from the modern 1932 jewelry collection

If we imagine the green accords to be the outer casing of the Jasmine bud, as the fragrance develops, the rich and slightly indolic jasmine petals unfold, revealing a heart deepened by a slightly waxy rose and the slightest spice from geranium. Here the fragrance is at its most hypnotic, softly undulating, all the while wearing closer to the skin. While usually reserved for a basenote, I detect a coumarin note present throughout, giving the fragrance a sweet, hay-like note with just a touch of vanillic warmth.

What I found to be the most beautiful aspect of the fragrance was unfortunately the most fleeting. As the jasmine settled into a soft floral whisper on my wrist, a singular vetiver note hovers in and out of focus, supported by the slightest hint of musk, as though a tiny drop of Chanel’s Sycomore had been allowed to penetrate the signature Chanel flacon. I can only imagine how lovely this combination of the palest jasmine with a touch of woods would be in a stronger concentration. Unfortunately, as flowers are ephemeral, so is 1932. As with some of the other Les Exclusifs, particularly 28 La Pausa, Jersey and Bel Respiro, the initially powerful sillage diminishes to a wisp of a fragrance that I long to experience again.

Many thanks to Isidora Kostic of Chanel for providing me with a sample. If you are in South Florida, I highly recommend visiting Bal Harbour’s Chanel boutique at 9700 Collins Avenue, where you can view and sample the entire Les Exclusifs line.

Fruity Floral Woody

Notes: Bergamot, petitgrain, lemon, lily of the valley, hyacinth, iris, rose, jasmine, vetiver, coumarin and musk.

Hunting for Bottles

Posted on February 2, 2013 by Leah

Hunting for Bottles

Today I went to an antique show at the Miami Beach Convention Center. The show, known as the Original Miami Beach Antique Show, is stated to be the largest indoor antiques show in the world. While the show contained hundreds upon hundreds of incredible exhibitors, needless to say, I was on the hunt for perfume.

While there were several vendors with impressive displays, few had examples that still contained fragrance, which is where my interest lay. The most impressive by far was a group out of New York called DJL Lalique. The group specializes in pieces by René Lalique, a French glass designer known for his elegant, and often illustrated creations.

Lalique’s Deux Figurines from DJL Lalique
www.djllalique.com

While I was unable to take any post-worth pictures, I highly recommend visiting their website to view their collection of Lalique bottles. The bottle displayed above was especially beautiful and unique, as the center of the bottle is indented – allowing the perfume to pour around the two women at the center of the disk. Unfortunately, at an average cost in excess of $10,000, I did not return home with any of these beauties but I felt extremely fortunate to see them in person and learn a little about their history.

One of the collectors, Takashi, was kind enough to take the time and give me a little of the history of the bottles, which included bespoke creations for Roger & Gallet as well as Vinca, a perfumer which unfortunately I was unable to locate any information on.

The show runs through Monday and is a must for anyone with an interest in antiques.

Chanel – Coco Noir

Posted on January 29, 2013 by Leah

Coco Noir – The Unloved Chanel

I must start this post with a disclaimer: I adore all things Chanel to a fault. In fact, my friends joke that I must be Gabrielle Bonheur reincarnate, so great is my passion for Chanel products, history, and tidbits. With perhaps the exception of a couple of male fragrance flankers, the truth remains that Chanel reigns supreme.

That being said, I was surprised to find so many bloggers disappointed (almost to the point of distress), with Chanel’s latest release, Coco Noir. While I understand some of their frustrations given the pre-release marketing descriptions of this product as the ultimate in Byzantine black magic, my interpretation of this fragrance was radically different.

Finding that it is always best to start at the beginning, let’s get one thing straight. Coco Noir is not, and shall never be, Coco. Coco was born in 1984 and as such, embodied all of the characteristics of that era. Noted for its sillage which often entered a room before its wearer did, Coco reflected the larger than life ideals of the 1980s. While most categorize this era as one of opulence, I would argue that another defining factor of this era was a certain innocence and hopefulness. The 1980s saw sweeping social and economic changes as a result of newly industrializing economies, creating a prevailing sense of unstoppable wealth and prosperity. Similar to other fragrances born after times of strife, the focus was on celebration and expression. This was a time when we were just being introduced to life-changing inventions such as the cell phone and Walkman, and we were exhilarated. Little did we know how these devices, then in their infancy stages, would propel us into a super-fast moving and “connected” society which would ironically erode all the time they attempted to save. The 1980s was a time characterized by luxurious enjoyment and contemplation, as opposed to the more immediate gratification desires of our current era. Perfume could take its time unfolding and wafting its charms as opposed to today’s mandate: “Need. Scent. Now”.

The majority of the reviews I read bemoaned the fact that Coco Noir was not Coco, instead of celebrating the fact that it was not Coco Mademoiselle. While Coco Noir does nod in the direction of its candy-coated sister born in 2001, I saw Coco Noir as Chanel’s attempt to claw back the territory away from the sugary lollipop flower fruit-choulis that have come to dominate the landscape, and drag the consumer back to a place of complexity, even if by baby steps only.

While Coco Noir’s top notes of grapefruit and bergamot sparkle in typical Chanel fashion, the reference is more to the newer Chanel creations under the direction of Jacques Polge than either of his predecessors. This is no magical aldehydic veil a la Chanel 22. Contained within the Chanel heart of rose and jasmine are narcissus and rose geranium leaf, which lend the fragrance a subtle spicy quality, though far different from the warm clove heart of the original Coco. The effect of warmth is enhanced once the base notes of musk, tonka bean, sandalwood, and vanilla take over.

Present throughout is the patchouli. While I understand that it is challenging to disassociate this scent from its current popular and often warped interpretations, patchouli was historically regarded as an exotic fragrance, frequently utilized in opulent incenses. Here then is the reference to the original Coco, and to Chanel’s “Coromandel culture” as referenced by Mr. Polge. The reference to Coco is not literal, only figurative. One must read between the lines. While the longevity is superior to some of Chanel’s more recent releases, it does not possess the tenacity of Coco. It does stay with me through a workday, though by the afternoon I can be caught pressing my nose to my sleeve.

While Coco conveys the organic warmth and fluidity of caramel brown, Coco Noir embodies the spirit of black: defined, contained and discrete. Where Coco is a warm cashmere wrap over a sumptuous silk blouse pulled together with a thick gold necklace, Coco Noir is a well-tailored black velvet jacket. Coco Noir hovers close to the skin unlike its sisters, creating a very personal and intimate experience of warmth, precisely what I need on days when all of my “modern” inventions are driving me to distraction.

Oriental

Notes: grapefruit, bergamot, rose, jasmine, narcissus, rose geranium leaf, musk, tonka bean, sandalwood, and vanilla.

Coty – La Rose Jacqueminot

Posted on January 28, 2013 by Leah

Coty – La Rose Jacqueminot

For today’s post, I thought I would focus on a vintage Coty fragrance based on the flower which perhaps more than others has come to symbolize Valentine’s Day: the rose. The Général Jacqueminot rose is an early hybrid believed to have originated in Roussel, France 1853. The Jacqueminot is known for its deep red petals and intoxicating fragrance. It is this rose which was the inspiration behind Francois Coty’s creation La Rose Jacqueminot. While there is some dispute regarding the date of the fragrance’s creation (some sources indicate 1903 while others have stated a later date of 1906) what remains uncontrovertible is this: the success of Coty’s vision of the beauty and depth of this flower.

In what has become a notoriously brilliant marketing move, legend has it that Francois Coty, unable to find a store willing to carry his newly-developed La Rose Jacqueminot “accidentally” let a bottle of it drop and smash on the floor of one of Paris’s most exclusive department stores, sending the ground-breaking scent wafting through the store. Women soon crowded around, clamoring to purchase the fragrance, but whether these were innocent bystanders or “shoppers” planted by Coty, we will never know. While this may be the stuff of legend, Coty was an astute businessman who went on to become wildly successful.

The fragrance starts out with a bright mix of spicy greens and soft honey, creating the impression of a rosebud preparing to unfurl and reveal its bright petals. While some sources list La Rose Jacqueminot as a rose soliflore, I find this to be far from true. As the fragrance progresses, the honey impression is punctuated by warm Autumn spices of cardamom and clove which make for a dark and complex rose. As the fragrance warms on the skin, the spices settle and the rose becomes more subdued. Thereafter, as the more animalic basenotes of musk and amber emerge, the effect is more of a chypre tinged with rose than a true rose scent, as though the rose is simply there to temper the complexity of the chypre accords. The fragrance in the Eau de Parfum concentration is fairly long lasting, yet wears close, with a subtle silage. The vintage sample I tested is identical to the bottle displayed below.

For the wearer accustomed to a more opulent, fruitier rose such as Nahema or YSL’s Paris, or a powdery rose like Ombre Rose, this will be a distinct departure as Jaqueminot appears drier, with more emphasis on the spice and green, plant-like aspects of the flower, than on the lush petals.

Notes: Rose, honey, cardamom, clove, musk , and amber.

Lucien Lelong – Balalaika

Posted on January 26, 2013 by Leah

Lucien Lelong – Balalaika

One of the advantages of having friends who share an interest in perfumery, is the exponentially increased access to various fragrances, especially vintage or niche items. A friend of mine recently acquired a bottle of Balalaika by Lucien Lelong and was kind enough to allow me to sample for review purposes. Named for a three-stringed, triangular, Russian folk instrument, the name alone held the promise of the exotic.

Lucien Lelong was a French coutourier who gained considerable popularity between the 1920s and 1940s. He favored a fluid, draping style for women, one that would move with its wearer. As a result, many of his creations appear distinctly modern today. Lelong did not create his own designs, rather, he oversaw and directed a team of designers which included Christian Dior at one point. He is credited with rescuing the Parisian fashion scene from forced migration to Berlin during the Nazi occupation, arguing that talent of this quality and calibre had taken generations to develop, and could not simply be reproduced or taught overnight. The Lelong house began producing fine fragrances in 1924 and is still in existence today.

While Balalaika did not smell too promising to me upon first application, my patience was rewarded. While I do not have another sample for comparison purposes, my impression was that the Mandarin top note may have deteriorated slightly, as it came across a bit brash and pungent. This impression was brief however as the fragrance soon took on a lovely warm character. At the heart of Balalaika is an earthy, woodsy quality made lush by a combination of rosewood, gardenia and violet, just as the name might indicate. The wood and musk basenotes appeared fairly early on, giving the fragrance a distinct earthy odor, reminiscent of ancient tomes in a vast library. Despite the strong opening, the fragrance is fairly mild-mannered and light, however, I only tested the Cologne concentration. While the fragrance lasted through the day, it wore close to the skin, with minimal sillage. I have no doubt that Balalaika’s unique combination of woods and flowers would be exquisite in a parfum concentration, but for now, I will have to content myself with my imagination.

Natalie Paley, wife and muse of Lucien Lelong

While many vintage perfumes are still widely discussed, I have seen little mention of Balalaika. It may be that the musty, earthy quality renders it too “dated” for some but it nevertheless is an artful creation and one which I consider myself supremely fortunate to have experienced.

Notes: Gardenia, Woods, Mandarin, Musk, Rosewood, Vanilla, Violet

Knize Ten

Posted on January 25, 2013 by Leah

Knize Ten

I have found that some of my most passionate and enduring olfactory affairs have started out on an intense note along the lines of “what IS that?” While I am by no means drawn to flash, there are those fragrances whose openings are so unique as to create an indelible imprint, one that I often crave to smell again and again once the initial blast has subsided and the more delicate drydown commences. Like the sultry stranger who catches your eyes across the room with a smoldering glance, only later to become your devoted and domesticated bedfellow, so it is with Knize Ten.

Knize Ten is one of several fragrances introduced by the Knize fashion design house out of Austria. The fragrance made its debut in 1925 and is still in circulation. The current version is by most accounts fairly true to the original vintage version, making it a gem among fragrances. Indeed, even the clean and simple design of the bottle and crisp black and white packaging are both timeless and supremely modern. While Knize Ten (roughly pronounced kuh-knee-shuh) features the byline of “The Gentleman’s Toilet Water”, it is largely a misnomer, since it is not particularly “gentlemanly”, nor does it suffer from poor staying power. In fact, the opening notes of this reference leather fragrance are slightly reminiscent of a leather bomber jacket strutting around a gas station. Small wonder then that this was rumored to be the signature fragrance of none-other-than James Dean.

Knize Ten starts out with a slightly bitter citrus note of bergamot and petitgrain (derived from the leaves of the bitter orange tree), which to my nose has a greener smell further enhanced by a savory note of rosemary. The opening is potent and somewhat suggestive of gasoline. While this may sound off-putting, it is this very unique introduction to what ultimately becomes a warm and somewhat powdery vanillic leather, that I find most appealing. While the dry heart note is largely woody, for me the most prominent notes are a sharp patchouli and green jasmine which reinforce the rich leather aspect. While the Knize Ten “gentleman” may come on rather strong initially, he quickly shows his soft side. The sharpness of the leather is smoothed out by orris and deepened by ambergris and castor which lend it a slightly animalic, body smell. While François Coty and Vincent Roubert designed this as a men’s fragrance to accompany the elegant and slightly off-beat bespoke designs of Knize, this can easily be worn by a woman in the style of a Tabac Blond. The bracing opening and softening drydown feel like a lingering embrace from a not-so-gentlemanly gentleman.

Ultimate Leather

Notes: Lemon, bergamot, orange, petitgrain, rosemary, geranium, rose, cedar, orris, carnation, cinnamon, orange blossom, sandalwood, leather, musk, moss, patchouli, ambergris, castoreum and vanilla.

Guerlain – Chamade

Posted on January 24, 2013 by Leah

Guerlain – Chamade

A good friend of mine is from Iceland, which like any country, features an unique culinary tradition. Given the island’s reliance on the fishing industry, much of their cuisine revolves around fish, although their excellent dairy places a close second. Since we first met each other toward the end of the year, the subject of holiday meals came up. Always eager to learn about a new culture, I asked my friend if there were any special dishes that were eaten on the holidays, conjuring visions of holiday recipe-swapping. The response was not quite what I was expecting: fermented stingray. After clarifying that this was not a joke, my friend went on to explain that stingray was traditionally prepared by Iceland’s Viking ancestors by burying a dead stingray and letting it “ferment” (her word, mine “rot”). While I will spare you the minute details, the ammonia contained within the stingray’s body essentially “cooks” the fish, not unlike a ceviche. Needless to say, I would not be preparing this in my kitchen anytime soon.

When I asked my friend if she liked it, she said “Not the first time. The first time it smelled so awful, I thought I might get sick”. The use of the term “first time” implied that there was a second or even numerous times. She explained that while it was an acquired taste, after the initial opening stench of ammonia, the stingray was delicious. I was baffled! How did she get past that offensive opening and come to love this strange creation? It made no sense to me. And then I realized it did: Chamade.

While I am a lover of bright, intense openings and even more so a lover of Guerlain, in all honesty I must admit that the first time I smelled Chamade I thought that someone, somewhere had made a mistake and filled this beautiful, inverted heart bottle with nail polish remover. While I adore several fragrances which feature prominent hyacinth notes (Chanel’s Cristalle and No 19, Balmain’s Vent Vert) they are tempered by the introduction of other elements. Not so with Chamade. The combination of hyacinth with galbanum and blackcurrent created an opening that cut through the air like a sharp green saber which showed no signs of relenting. I put the bottle back, far into the darkest reaches of my perfume cabinet, untested.

But something didn’t feel right about walking away from this fragrance, named after the distinctive pitter-pat of a heart in love, a nod at the Françoise Sagan novel and French film by the same name starring none-other-than Catherine Deneuve. So many had waxed poetic about its charms, and the skill of the then-young Jean-Paul Guerlain, I felt I must be missing something. I had read the fragrance notes, and I knew there was a Guerlain accord hiding in there somewhere, if I could just steel my reserve and do the unthinkable: test it on skin.

Needless to say, I was rewarded. Chamade perfectly captures the cool detachment of attraction and the growing warmth of love, but its beauty is only revealed to the patient suitor. The intense opening was merely the awkward, butterflies-in-your-stomach feeling that proceeds the sweetest and most passionate of kisses. Chamade slowly unfolds into a soft floral base of rose, ylang ylang, jasmine, lilac, and lily of the valley: for every great romance must have its tenderness. As the fragrance settles further, drawing heat from the skin, the magic of Guerlain is revealed in a soft, velvety base of vanilla, amber, iris and woods: for every great love must have its warmth. And as we overlook the idiosyncrasies of our most beloved, I am finally able to embrace the sharp opening, knowing that a warm embrace awaits me.

Floral oriental

Notes of Turkish rose, ylang ylang, jasmine, lilac, blackcurrant, lily of the valley, hyacinth, cassis, galbanum, sandalwood, vetiver, vanilla, musk, amber, iris and tonka bean.

Chanel – 1932

Posted on January 22, 2013 by Leah

Chanel 1932 – Les Exclusifs

Last year, this enticing photograph appeared on the internet of a young woman holding a large size bottle of a previously unseen Chanel Les Exclusifs fragrance named 1932. After much speculation on the blogosphere regarding the authenticity of the item, including a report by Perfume Shrine on the subject, I began pestering (stalking) my friend at Chanel regarding the item.

She was initially as baffled as the rest of us, as Chanel had released no information on the subject. After a few months of calls back and forth, she reported that the fragrance did indeed exist, however, it had been issued as a very exclusive limited release to handful of clients attending the Chanel 1932 jewellery show. To make matters worse, Chanel appeared to have no plans to issue the item for wider distribution.

While I applauded the brilliant psychology employed by Chanel to make the item immediately irresistible (similar to the way Coco Chanel first distributed Chanel No 5 as a “gift” to her most valuable clients), I was nonetheless frustrated. Obviously, Chanel’s psychology had reached its mark and I wanted the fragrance.

Happily, Basenotes and Fragantica now report that the item will be available for distribution in early 2013, though I have yet to see it on Chanel’s online boutique. The fragrance is reported to be characterized by jasmine, vetiver, iris and musk and will be available in the standard 75 ml and 200 ml Eau de Toilette sizes. Time to start calling (stalking) my friend at Chanel!

Smell Theory

Posted on January 21, 2013 by Leah

Smell Theory

While our ability to perceive scents is based on genetics and physical factors, our interpretation of those scents is largely shaped by our personal experiences, culture and even heritage. The human experience is fraught with scents and these are often imbedded in our memory, parallel to the event or situation they accompanied. These associations can be so strong and emotionally charged, that we can often recall and recreate in our minds a favorite smell from childhood, or the scent of a loved one who has long passed on.

These recollections can occur voluntarily and deliberately, or involuntarily when some scent serves as a trigger or cue for the brain to recall certain events and associations, as explored extensively in Proust’s À la recherche du temps perdu or Remembrance of Things Past.

We inhabit a world that has become both more and less fragrant. Indeed, fragrance has been introduced into more and more products, with the dual effect of masking the true scent of the human experience, as well as creating a form of sensorial overload in many cases, so that it becomes impossible to distinguish between those scents that we truly are drawn to, as opposed to those which are imposed upon us.

While there are numerous excellent resources dedicated to fragrance and product reviews, my intent is to analyze these creations through the historical and/or social context that they were developed in. As is the case with any experience, it is difficult to remove oneself from the equation when describing one’s perceptions, so a portion of the “history” of these fragrances will understandably be my own.

Ultimately, the success of any product is dependent upon its ability to imbed itself into our imagination and create a psychological imprint. We select fragrances for so many reasons and occasions. Whether one has developed a signature scent or amassed a treasure trove of quintessence, there is certainly a fragrance to suit each mood and situation. I greatly look forward to exploring them with you!

Branche de pivoines blanches et secateur (1864)
Edouard Manet

Quintessence

Perfume Reviews

Category Archives: Home