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Chanel – No 19

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Chanel – No 19

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We are all familiar with the expression “It’s not you, it’s me”, words that have been inextricably tied to the end of a love affair. In my case, these words came to signify not the end of an affair, but a delay in the commencement of what would become one of the greatest loves of my life.

The 1980s were the era of the signature scent. In contrast to the current over-saturation of the market, fragrance companies focused on promoting brand loyalty. And while women might be lured to explore a new release, temptation typically set in only after a beloved bottle was running low. Being a young woman at this time, just starting to purchase fragrances with my own money, the concept of a signature fragrance seemed practical to me.

After a consistent affair with Chanel No 5, in the then available Eau de Cologne version, I fell in love with the sharp brightness of Chanel Cristalle. Given my utter satisfaction with Cristalle, our affair was exclusive for several years. While Cristalle still holds a very special place in my heart and on my shelf, my only regret is that I was blinded to the beauty of a more silent suitor, who stood by in the wings, waiting to be noticed.

Oh, No 19. When I fell, I fell hard. My initial impression of No 19 was so intense it bordered on off-putting, which is surprising given that Cristalle has an equally sharp introduction. The opening notes are a bold blast of green galbanum and neroli, which seem almost metallic, a quality which is psychologically reinforced by the unique brushed silver top of the traditional flask. The opening is rounded out and very lightly sweetened by bergamot and neroli. The green sensation is enhanced by hyacinth, which makes an appearance in Cristalle as well. I find that the hyacinth note in the eau de toilette version is much sharper than in the eau de parfum and versions where it takes on a sweeter quality, a sensation which occurs similarly in Cristalle, but the similarities end there.

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The heart of No 19 references the smooth Chanel duo of rose and jasmine, however, they are rendered more tangy and fresh by the introduction of narcissus and lily of the valley. While the addition of ylang-ylang into this already floral heart could theoretically have pushed this into the territory of cloying fragrances, the dry, powdery sensation created by iris tempers the whole bouquet and reinforces the bright green opening.

The true magic and beauty of No 19 however lies within its base of musk, oakmoss, leather, sandalwood and cedar, which ground the entire heady creation. No 19 was marketed with the tagline “Audacious and assertive. Never conventional” and is often referred to as a “power” scent for a woman. While the opening and heart notes certainly lend themselves to this interpretation, the earthiness of the dry-down reveals a warmth which is surely the soul of this strong woman. Silent and slow to reveal itself, but present nevertheless. Despite the intended direction of the marketing, this is a comfort scent for me, one I often reach for after a difficult day. She is like a close friend, one which needs no words to understand the language of your heart.

No 19 was named in celebration of Coco Chanel’s birthday on August 19th. There is some controversy regarding the release, as it is often claimed that this was her signature scent, a theory which seems confusing given that it was released one year before her death and that Henri Robert, Chanel’s second nose in residence was credited with its creation. In her book “The Secret of Chanel No 5”, Tilar Mazzeo offers a wonderful interpretation.

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During 1945, and owing to conflicts over control of Les Parfums Chanel, Coco Chanel launched a separate line of perfumes sold exclusively in her boutiques under the name Mademoiselle Chanel.  One of the Mademoiselle Chanel fragrances became her personal favorite and as a result was set aside for her private use. According to Ms. Mazzeo’s research, after some reformulation by Henri Robert during his tenure at Chanel, this fragrance was later made available to the public as No 19. While we may never know the complete truth, I will relish the thought that Mademoiselle Chanel’s favorite scent is now one of my own.

Floral Chypre

Notes: Galbanum, Neroli, Bergamot, Jasmine, Rose, Lily of the Valley, Iris, Vetiver, Sandalwood, Leather, Oakmoss and Musk.

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Balenciaga – Florabotanica

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Balenciaga – Florabotanica

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One of my main issues with modern perfumery is the manner in which fragrances are penned by a team of market “specialists”, only to be translated into a fragrance which often bears little or no relation to its official description.  Florabotanica, released by the house of Balenciaga (in collaboration with IFF) in late 2012, is one of the best recent examples of this phenomena. The fragrance’s tagline is below.

“Florabotanica evokes ambivalent bewitching beauty. Velvety and thorny, flirting with hemp and vetiver roots. The scent is flowery, developed on a rose note with a narcotic hemp twist. The wearer is beautiful but dangerous, like some rare botanical species.”

I will admit to having no idea what the foregoing means, or what the perfume was intended to smell like. How does one go about “flirting with hemp”? What does something dangerous smell like? Fear? I can only imagine the expressions on the faces of Olivier Polge and Jean-Christophe Herault, the noses behind this fragrance, when they were presented with the brief for Florabotanica.

While Messrs. Polge and Herault succeeded in making a nice-enough fragrance, Florabotanica is none of those things. The fragrance opens with a slightly spicy green note that quickly turns minty. Not quite a gum-smacking variety, more of a soft, pale mint that is closer to a mint herbal tea.  As the heart opens, the fragrance reveals itself to be more truly a floral, though the rose and carnation at the heart of Florabotanica are fairly one dimensional versions of these two powerhouse flowers. They almost smell like a cardboard pop-up of the advertisement with Kristen Stewart.

At the base of the fragrance is a melange of caladium leaves, amber and vetiver, which is where I expected the danger to lie, since my research revealed the caladium plant to be poisonous. Quite to the contrary,  these three notes in unison produced a slightly soapy, light chocolate effect on my skin, giving the creation a bit of softness and warmth. These notes nicely offset the flat, powdery florals, making for a pretty-enough fragrance, but nothing particularly “bewitching” or “thorny”.  Certainly not “dangerous”. While I like Florabotanica well enough, I might have had a greater appreciation of it were it not for the bizarre expectations set by the marketing line.  Probably the edgiest thing about the fragrance is the unique flacon it comes in, but for me, the design bore no relation to the scent either.

Floral

Notes: notes: Mint, rose, carnation, caladium leaf, vetiver and amber

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Cartier – Eau de Cartier Goutte de Rose

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Cartier – Eau de Cartier Goutte de Rose

 

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Twelve years after the launch of their best-selling Eau de Cartier, Cartier has released Eau de Cartier Goutte de Rose, the latest flanker in the line that brought us Eau de Cartier Essence de Bois (2011) and Eau de Cartier Essence d’Orange (2010). The January 2013 release is sure to be extremely popular as the temperature rises, as it is a light and easy-to-wear fragrance. On the morning I went to obtain my sample, the SA at my local Sephora had sold 8 bottles within the first 20 minutes of opening.

Goutte de Rose is based on the general Eau de Cartier storyline, a light woodsy fragrance with a touch of amber. Goutte de Rose which translates as “drop of rose” is true to its name, adding a slight rose note to the original creation. The fragrance has a crisp green opening which feels similar to the house’s other creations but more mellow in scope. The rose quickly comes to the forefront, though it very light, as though one entered a room and smelled a bouquet of roses set on a mantelpiece from afar.

As the fragrance settles, the original Eau de Cartier makes its appearance as the fragrance takes on a woody character, warmed by amber and a light vanilla note. The rose seems to hover in and out of focus, but on my skin the wood and amber are predominant. Eau de Cartier Goutte de Rose was created by the uber-talented Mathilde Laurent, in-house perfumer for Cartier since 2005. Goutte de Rose is a lovely, light fragrance that reflects the understated elegance of this house. I only wish Goutte de Rose had a little more heft. For a comparison of Eau de Cartier Goutte de Rose against other current rose releases, be sure to check out the review by Bois de Jasmin.

Floral

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Mathilde Laurent

Notes: Rose, woods, amber and vanilla

 

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Serge Lutens – Chypre Rouge

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Serge Lutens – Chypre Rouge

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It is said that there is a fine line between madness and genius. Nowhere is this more apparent in the world of modern perfumery than in the creative duo of Serge Lutens and Christopher Sheldrake. Even the most classically beautiful of the fragrances in the Serge Lutens line have an underlying tension and subversity which make them fascinating at best and challenging at worst, but never, ever mundane.

Chypre Rouge was released by Serge Lutens in 2006 as part of his export line. I found this to be an interesting move, since the house generally releases those fragrances fit for U.S. (i.e. less sophisticated) consumption, and by many accounts, Chypre Rouge can be a challenging scent. Out of the bottle, Chypre Rouge smells thick: a plummy, jammy, spicy mash that feels more like something you would spread on toast than an actual perfume. The spices invoke all of the warmth and opulence of Lutens’s beloved Marrakech, and makes me feel completely transported. True to its name and hue, Chypre Rouge smells deeply red and calls to mind autumn leaves on the forest floor, damp and musky, with a hint of decay, sweet and pervasive like dense maple syrup.

On skin, however, the fragrance tells a different story. Similar to his Tubereuse Criminelle, Chypre Rouge’s opening belies a softer, more accessible fragrance underneath. As the intense oriental opening diminshes, the spices simmer down to a mere whisper, allowing a soft, sweet and slightly creamy woods to emerge with notes of honey and vanilla. It is in these deeper, twilight hours, that we experience the chypre aspect of the fragrance, as a light mossiness overtakes the dense immortelle-like scent, creating a sedcutive, silky veil. The sillage follows suit, wearing closer and closer to the skin as the hours pass, though as a Lutens creation, it is tenacious.

As I have found to be the case with other fragrances in the Lutens line, the aspect which I initially find most defiant in the fragrance ultimately becomes my favorite. Hours into the more demure drydown, I find myself missing the heady, viscous opening, leading me to carry around a sample vial whenever I wear it to recapture the initial assault. My sincere thanks to Messrs. Lutens and Sheldrake for creating provocative fragrances that push our limits, for it is through this olfactive adversity that we grow.

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Oriental Chypre

Notes: thyme, pine needles, honey, beeswax, jasmine, patchouli, vanilla, moss, amber, musk

 

Lancôme – La Vie Est Belle

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Lancôme – La Vie Est Belle

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I anticipated the release of La Vie Est Belle with great excitement. It was developed by Olivier Polge, Dominique Ropion and Anne Flipo, a formidable team. Iris is one of my favorite notes for the ghostly, earthy, and chilling aspect it lends to perfumes and La Vie Est Belle was touted as “the first ever iris gourmand”. While there are other perfume houses that could dispute that claim, as an iris lover, this sounded profoundly promising. Nothing surpasses the beauty or elegance of iris in Guerlain’s Apres L’Ondee, Chanel’s 28 La Pausa or Serge Luten’s Iris Silver Mist. Yet despite numerous attempts and testing on blotter and skin alike, I have yet to detect any discernable iris note.

La Vie Est Belle created a bit of a dilemma for me. Perhaps I have been lulled by the fragrance’s cheerful demeanor or predictable plotline. Yes, La Vie Est Belle is well-made, more-so than many of the numerous fragrances I pass on the fragrance counters. And as must be the case with a perfume that seems to loosely follow the formula of the more seductive Angel by Thierry Mugler and the more refined Coco Mademoiselle, La Vie Est Belle is pretty. Perhaps that is where the problem lies. La Vie Est Belle feels like the pretty girl at the party who is quite nice but perhaps a bit lacking in intellect. She smiles so sweetly, perhaps a little too sweetly, I want to like her, but after speaking to her for five minutes I am terribly bored. When I look around the room, there seem to be several girls who look quite a bit like her, but perhaps have a more sultry or rebellious side that maintains my interest.

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The fragrance moves along the fruit-flowers-patchouli track, hitting you all the while with a gourmand accord of  vanilla, tonka and praline. Had the iris note been truly prominent, this fragrance would have stood a greater chance of achieving olfactory immortality. Without it, it’s just another pretty face in the fragrance crowd. The fragrance does possess an incredible sillage and lasting power however as my blotters were still going strong the next day. La Vie Est Belle is a nicely-done fruitchouli, a bit overpowering and forgettable for my taste, but it did win the popular vote in Fragantica‘s 2012 community poll. If you don’t have any fragrances in this genre and Angel and Coco Mademoiselle are too bold for you, La Vie Est Belle may work for you.

 

Gourmand

Notes: Iris pallida, iris aldehyde, jasmine, orange blossom, patchouli, vanilla, tonka bean, praline, black currant and pear.

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Lucien Lelong – Tailspin

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Lucien Lelong – Tailspin

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The elegance of Lucien Lelong’s designs are undisputed and his fragrances tend to have a refined character and unique signature. Tailspin, which was launched in 1940 as a collaboration between Lucien Lelong and nose Jean Carles, is no exception. The fragrance has a joyful and fresh character, possessing an unique combination of accords.

Tailspin opens with what seems like a competition between two sets of notes: the first is a green, slightly spicy note, somewhere between an herbal scent and the smell of flower stems. The second is a strong soapy accord, reminiscent of the tiny, fancy soaps one might set out for guests in the bathroom. While the scent is decidedly fresh, it is not the modern definition of fresh with its citrus and marine notes. Tailspin reminds me of the days when ladies included perfumed talcs, lotions and soaps in their repertoire, giving them a layered and pervasive scent, one that would remain imprinted on one’s memory.

Tailspin’s heart is lightly floral, with a touch of gardenia and lily of the valley, but remains tinged with the soapy character. Despite the floral notes, the fragrance is in no way sweet and as such would be suitable for use by a man. I tested the Cologne version of Tailspin and it was fairly tenacious, lasting through the day, though possessing a moderate sillage. At its base is a slight animalic note, reminiscent of Lelong’s other creations. While it is not strong enough to be immediately discernible, it nonetheless balances the fragrance nicely.

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Floral

Notes: Green notes, gardenia, white floral, animalic

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Viktor & Rolf – Spicebomb

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Viktor & Rolf Spicebomb – A Case of Mistaken Identity

 

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I do much of my fragrance and cosmetics shopping at Nordstrom, in part because they have a wonderful points system and frequently have special gift offers. They also have a wonderful, do-it-yourself sampling system. During one such offer, I received a goody bag filled with various lotions and potions, but one in particular caught my eye: Viktor & Rolf’s Spicebomb. I will admit that I did not care much for Flowerbomb, although it is a pleasant fragrance. It was just a bit too sweet and it seemed like yet another variation on the post-Angel theme. I found the advertisement for Spicebomb very intriguing because it seemed like such an innovative way of reaching the female audience. At least I thought it was trying to reach a female audience, because no man I know would want to wear Spicebomb based on the advertisement unless he also wanted to date the model.

Confident in my assumption that the fragrance was intended for me, I began wearing it and was happily surprised to find that while it bore some resemblance to its pink sister, it satisfied numerous categories that she did not. Whereas Flowerbomb was a simple, almost one-dimensional dessert dish, Spicebomb is more like a sumptuous spiced dinner, complete with an after-dinner snifter in a soft leather armchair.

Spicebomb’s accords range from the lightly spicy notes of cinnamon, saffron and chili to a warm, plush mix of leather and tobacco. The citrus and pink pepper opening smelled delicious but not overly sweet. The sillage was potent yet comfortable. So far, it seemed perfumer Olivier Polge had captured my attention with his version of oriental “light”, but the best was yet to come. As the opening accords settled, a subtle spicy mix warmed on my skin unfolding into richer accords of leather, tobacco and vetiver. Every once in a while, I would catch a whiff of pine from the elemi resin. Other times, the cinnamon and pepper seemed more pronounced. Had any of these elements been pushed to the forefront, the composition would have had an edgier feel, but Spicebomb is tied together in a very cohesive manner, while still allowing for the subtle impression of different notes. Overall, it is a well-crafted and attractive fragrance with moderate lasting power.

After sampling for a few weeks, I decided to commit and buy a bottle. I walked through Nordstrom, unable to locate the signature grey grenade. I approached a sales assistant, who brought me over to the men’s section. Upon seeing my bewildered look at its location within the store she explained “It’s a men’s fragrance” to which I immediately responded “Oh yes. Of course. I knew that. It’s for a gift”.

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Viktor & Rolf

Moral of the story: if you enjoy a fragrance and it works for you, ignore the rubbish marketing and target audience. Despite the press caption which states: “Infusing the codes of masculine perfumery with olfactory dynamite, Viktor & Rolf Spicebomb is an explosive cocktail of virility that transforms you into a powerful, intense and daring man”. Spicebomb is not particularly explosive, nor have I been transformed into a man.

Smoky woods

Notes: bergamot, elemi, grapefruit, pink pepper, cinnamon, vetiver, tobacco notes, leather, chili and saffron.

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Etat Libre D’Orange – Secretions Magnifiques

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Etat Libre D’Orange – Secretions Magnifiques

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With a name like “Magnificent Secretions”, it was evident that Etat Libre D’Orange had every intention of creating a provocative fragrance that would push the boundaries of conventionality. According to Etat’s press information, the fragrance is intended to invoke the scent of blood, sweat, sperm and saliva and to represent the “unique moment when desire triumphs over reason”. Novel concept indeed. And while Secretions Magnifiques can indeed be a polarizing scent, it is not as offensive or animalic as one would anticipate.

The opening is extremely subtle – so much so that I immediately reapplied after smelling my wrist, thinking I had not applied a sufficient amount. The softness of the opening is immediately punctuated by a metallic, mineral smell reminiscent to that of blood. While this may not sound like the beginnings of a fragrant love affair, the strangeness and novelty of it is positively intriguing. The drydown is similarly subtle, where marine accords lend themselves to imaginative interpretations of various secretions. Given the strong sensual implications of the name, an animalic note is strangely absent. Animalic notes are often used to convey a “body smell” to a fragrance and are frequently very sexually suggestive, especially in vintage perfumery. It is as though the “secretions” were captured and removed from the host body, making them devoid of some of the warmth one might anticipate. The absence of a strong animalic accord in conjunction with an almost oily sensation from the metallic opening reminded me of more of “Mechanical Secretions” than magnificent ones.

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While Secretions Magnifiques will certainly be a challenging fragrance for some, I found it very enjoyable in an abstract, almost intellectual way. Despite the oddity of the accords and intended scent, it is actually a fairly light fragrance, and I found myself continually burying my nose in my wrist to recapture this novel creation.  Thanks go out to the amazing Victoria at Bois de Jasmin for providing me with a sample as part of a contest!

Notes:

Iodized accord (fucus, azurone), adrenalin accord, blood accord, milk accord, orris, coconut, sandalwood and opoponax.

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Coty – Muguet des Bois

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Coty – Muguet des Bois

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One spray of Coty’s Muguet des Bois and I am instantly transported in time: to afternoon walks in the woods and the innocence of shared childhood secrets. Muguet de Bois was created during one of history’s darkest hours, in 1942 when the dark specter of WWII shrouded the world in darkness. And yet this lovely soliflore (a fragrance based on the scent of a single flower) is the freshest breath of innocence and light imaginable.

Lily of the Valley is often associated with purity and innocence, making it a frequent choice for wedding bouquets. In France, it is customary to give Lily of the Valley as a gift on Fête du Travail, which falls on May 1st, in celebration of Spring. Tradition states that King Charles IX of France was given Lily of the V alley on May 1, 1561, as a good luck charm and he subsequently offered the flower annually to the ladies of his court. Ironically, all parts of the plant are highly poisonous. Even more confounding is the fact that while Lily of the Valley is known and treasured for its distinct aroma, the scent cannot be distilled from the flower and must be painstakingly re-created.

Muguet des Bois opens with a slight bitter green note, reminiscent of a freshly cut stem, which quickly gives way to the soft soapy freshness of Lily of the Valley. While the fragrance is for the most part a singular Lily of the Valley note, there are subtle shades of warmth from jasmine and rose. As the fragrance dries down, there is a suggestion of woods, enough to give the fragrance a bit of depth. A touch of sandalwood and musk also give the fragrance a slightly smoky quality, reminiscent of Summertime picnics. While the fragrance is not as complex as Diorissimo, it is nonetheless lovely and a believable Lily of the Valley. Muguet des Bois would make a lovely Spring or Summertime fragrance, when one is in the mood for something light and uplifting. It is also a perfect bedtime fragrance, promoting dreams of silent forest walks.

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Notes: aldehydes, orange, green leaves and bergamot, cyclamen, lilac, jasmine, lily-of-the-valley, rose, sandalwood, musk

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Coty – Les Muses

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Coty – Les Muses
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Continuing with the Coty theme this week, the last Coty fragrance that I was fortunate enough to obtain a sample of was Les Muses. Based on the research I did, it appears that Les Muses is the 1986 adaptation of an earlier Coty fragrance known simply as “Muse” which was released in 1945. Unfortunately, I do not have a copy of the pre-1980s release to compare it to, but it is my understanding that Coty reissues are not always necessarily true to original form. Les Muses was re-released along with Le Rose Jacqueminot and Chypre.
My overall impression of Les Muses is of a sweet, fruity, floral underpinned by a slight animalic and woody base. While I could not locate any official notes for the fragrance, most prominent is a melange of peach, tuberose and jasmine, supported by heady white florals. While Les Muses had the potential to be a terrific fragrance, this one unfortunately failed to fully capture my heart. While the white floral notes had a nice phenolic aspect (tar-like smell), once the base set in and the revealed a vanilla and amber duo, the fragrance had simply become too sweet. The fragrance seemed top-heavy and lacking in a stabilizing force. While animalic notes in a fragrance can often serve to offset sweetness, the amber (and perhaps musk) utilized were not of sufficient quality to balance the fragrance. If you, like me, enjoy the odd sweet tar-like smell of certain florals, the Shiseido’s Zen is a better option.
Fruity Floral
Notes: Peach, Jasmine, Tuberose, White Florals, Vanilla, Amber, Woods and Musk
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