Coromandel – Chanel

Posted on January 9, 2014 by Leah

Coromandel – Chanel

Walk into a Chanel boutique anywhere around the globe, and you are immediately transported into a world of the utmost luxury. The stores are beautifully appointed and the staff is knowledgable about Mme Chanel’s indelible mark upon fashion, and indeed upon society itself. From the various biographies I have read of her, it is said that Mme Chanel understood the importance of imbuing her visitors’ experience within her boutique with a sense of grandeur and magnificence – to render the visit a flight from the ordinary.

It is this sense of precise luxury that Messrs. Polge and Sheldrake sought to convey in the Les Exclusifs line. While most would agree that they were successful in nearly all instances, Coromandel, named after the chinoiserie lacquered screens which Mme Chanel so favored in her personal decorations, seems to squarely hit the mark.

Part of Coromandel’s success is in taking patchouli, a note which many struggle with given its strong correlations to 1960s counter-culture and elevating it to luxury status. While Coromandel is proof that patchouli can certainly be used to enhance an exotic and sensual fragrance, in the wrong hands it can be heavy, earthy and perhaps slightly musty.

Coromandel is a rich woody oriental based on a central theme of patchouli, with a haze of ambery powder and vanillic warmth. Coromandel’s initial citrus burst is short-lived and tempered by frankincense, a scent with exotic implications of faraway lands. The fragrance unfolds to reveal a warm base of patchouli and woods with a hint of powdery softness from benzoin, a resin with light vanilla tones.

While Coromandel has the warmth of a plush woolen shawl, it maintains a dry and slightly effervescent feeling which keeps it from becoming cloying, even in warmer weather. And unlike the patchouli superstar Angel by Thierry Mugler, Coromandel has only a whisper of the gourmand.

Unlike many of its exclusive sisters, Coromandel has a tenacious longevity and imposing character. Indeed, it possesses a nearly palpable presence, making me envision Mme Chanel reclining in her rooms above the 31 rue Cambon, clicking her pearls between her fingers, seeking inspiration in her possessions.

*As a side note, when Coco Noir was released, I imagined it smelling a bit more like Coromandel and a bit less like Coco Mademoiselle.

Notes: Jasmine, Patchouli, Woody notes, Amber, Benzoin, Frankincense

Chanel – Nº 19 Poudré

Posted on July 30, 2013 by Leah

Chanel – Nº 19 Poudré

There are some fragrances which take me ages to review, simply because I find them uninspiring. Then there are those fragrances which are so sublimely iconic that they are nearly impossible to reduce to mere words. Finally, there are those fragrances which I have difficulty getting my head around and need time to reflect upon before formulating an opinion, let alone a review.

No 19 Poudré falls into this last category, emphatically so. My expectation upon its release in 2011 was that it would be something along the lines of how the Chanel website describes it – a “luminous re-imagining of Coco Chanel’s signature scent”. Given how bold the original Nº19 is, I envisioned its Poudré sister would be equally so, with a dose of modern perfumery’s requisite sweetness and of course, powder. I could not have been more mistaken.

Admittedly, it took me some time to get over my preconceptions, so much so, that I made a (short-lived) vow never to read a perfume press release again. But once I got past the lack of crisp galbanum, the boldness of leather and the rich, earthiness of oakmoss, I started focusing on what the fragrance did possess.

To truly appreciate this fragrance, my recommendation is this: forget the name. Put it completely out of your mind that this bears any relation whatsoever with Nº19, since the only impression of the original is as though smelled from a great distance, through a smoky veil.

Nº19 Poudré possesses subtle, delicate green notes which feel as soothing as toner on sunburnt skin. Rather than focus on the sharp, angular aspects of the original, the fragrance highlights its subtleties. Stripped of its edgy aspects, Poudré feels like a powdery floral, rounded out with super-clean musks and sweetened with tonka. The overall effect of is of an iris powder-puff surrounded by a fuzzy incense cloud. While I cannot help but wish for more dimensionality and lasting power in the scent, Jacques Polge did create a lovely-enough iris fragrance.

Notes: Mandarin, Neroli, Iris, Jasmine, Galbanum, Vetiver, Musk, Tonka Bean.

Chanel – Cuir de Russie

Posted on June 7, 2013 by Leah

Chanel – Cuir de Russie

There are those fragrances that carry with them strong emotional associations, either because they were worn by a loved one, or because they were our close companion in the journey of life. My first encounter with Chanel’s Cuir de Russie was not unlike a scene in a movie where the protagonist’s life flashes before their eyes, revealing a series of memories and profound emotions. I was flooded with a thousand images and impressions. The stillness of the air on a cold winter night. The fur collar on my Russian great-grandfather’s coat mingled with the sweet scent of tobacco. The finest leather gloves and the elegance of a scented handkerchief. And yet how could a fragrance unknown to me have this effect?

Of the four Cuir de Russie fragrances I have tested, for me, Chanel’s interpretation most closely embodied the romanticism and elegance of the genre and of the individuals who inspired its creation. Chanel’s fragrance embodies the exotic elements which the exiled Russian community brought with them to Paris, and yet it captures all of the refined elegance of their new home. Chanel’s Cuir de Russie personifies the spirit of the Roaring Twenties, where flappers shocked the world with their emancipated fashions, their dancing and smoking.

Chanel’s Cuir is a close contemporary of Lubin’s, and indeed the two share some similarities making it evident that they are variations on a theme. While the Guerlain Cuir de Russie invokes a rustic, revolutionary feel, Chanel’s is starkly different. Chanel’s Cuir de Russie was created in 1924, by master nose Ernest Beaux, himself a Russian exile. Beaux was born in Moscow and trained in perfumery with the prestigious A. Rallet and Company, creator of perfumes for the courts of Imperial Russia. He eventually settled in Paris in 1919. He was introduced to Coco Chanel by the Grand Duke Dmitri Pavlovich of Russia, giving rise to a very successful and prodigious professional alliance.

Chanel’s Cuir starts out with a familiar burst of hesperidic aldehydes, which will be immediately familiar to devotees of Chanel No 5. But where No 5 softens to reveal a floral heart, Cuir de Russie unleashes a series of provocative notes: the sweet and acrid tobacco, an animalic fur note complete with a touch of mothballs, as though an elegant old coat had been taken out of storage in preparation for winter. The heart is an elegant floral composition which also feels like familiar Chanel territory, the finest examples of jasmine, rose and ylang ylang available. The fragrance culminates in the beauty of leather, the softest, most supple leather imaginable, and yet through its smoky darkness, retains a touch of the soft floral heart.

This review is based upon both the vintage parfum and the reformulated version available from the Chanel Les Exclusifs line. Both are phenomenal, with the parfum revealing more of the depth and beauty of the animalic leather notes and the eau de toilette possessing more of the life of aldehydes.

Leather Oriental

Notes: Orange Blossom, Bergamot, Mandarin, Jasmine, Rose, Ylang-Ylang and Birchwood

Chanel – Égoïste

Posted on May 13, 2013 by Leah

Chanel – Égoïste

One of my all-time favorite fragrances from Chanel is not even a woman’s fragrance, though according to an interview with its creator Jacques Polge, Égoïste was inspired by one of Chanel’s most iconic women’s fragrances, Bois des Iles. Polge reportedly stumbled upon Ernest Beaux’s original formula for Bois des Iles, which was released in 1926 and adapted it to a male sensibility. Égoïste, not to be confused with Égoïste Platinum which debuted in 1994, was released in 1990 and despite an almost cult-like following among its admirers, failed miserably outside of the European market. As a side note, Égoïste Platinum which was created in keeping with a more American olfactory aesthetic of clean, sporty fragrances flourished, in the travesty of what my friend at Chanel refers to as “the baby killing the father”.

Égoïste was originally released under the name Bois Noir, a nod at the source of Polge’s inpiration, and only available at Chanel boutiques similar to the way Les Exclusifs are marketed now. The fragrance was intended to accompany a line of men’s clothing, although this idea was later axed by Chanel, leaving Bois Noir orphaned. When the fragrance was finally made available for wider distribution, it was done so under the name Égoïste, perhaps another reason for its lack of popularity in the United States. Égoïste roughly translates into “selfish person”, one who is self-centered and overly preoccupied with their individual needs. Without getting into a debate over why it is healthy for a person to be concerned with their own needs and desires, let’s just say that while this name was perfectly acceptable abroad, it was not well-received state-side.

I will never forget the first time I saw the commercial for Égoïste, probably one of the most brilliant and bizarre marketing campaigns I had ever witnessed – beautiful women dressed in magnificent couture gowns, throwing open the doors of a French apartment building, shouting impassioned cries at the offending Égoïste, their lines loosely based on Pierre Corneille’s “Le Cid”, while Prokofiev’s dramatic “Dance of the Knights” plays in the background.

“Égoiste. Où es-tu ? Montre-toi misérable! Prends garde à mon courroux, je serai implacable. Ô rage ! Ô désespoir ! Ô pourquoi m’as-tu donc trahi ? N’ai-je donc tant vécu que pour cette infâmie ? Montre-toi égoiste ! Égoiste…!”.*

The only glimpse we get of the cause of such calamity is the masculine hand of the Égoïste himself as he sets a bottle of the fragrance on the balcony of the apartment building he shares with all of the women has apparently seduced and forgotten. In an instant, without being bombarded with images of virile male models, we understand at once that Égoïste is about seduction. And while it is evident that our invisible Don Juan and his fragrance have moved on from these various women, they have left their indelible mark on these women, a scented memory of seduction.

The fragrance itself is gorgeous, a hybrid of Bois des Iles and Chanel No 18, the latter created around the scent of ambrette seed, one of the components of Égoïste. From the first opening notes, one is immediately aware that Égoïste was a new creation in men’s fragrances, one that left the classical fougere and chypres behind. In the opening we are greeted with a spicy mix of flowers and fruit, that comes across as rich and slightly plummy.

As the fragrance warms on the skin, the seduction continues. Égoïste deepens into a beautiful, slightly creamy woods softened by vanilla and traces of ambrette. The effect is stunning, and equally delicious on a man or a woman.

Woody Oriental

Notes: Tangerine, lavender, rose, coriander, Bourbon vanilla, sandalwood, rosewood and ambrette seed.

*Where are you? Show yourself, you wretch! Beware my wrath. I will be implacable. O rage! O despair! O why have you betrayed me? Have I lived only for this insult? Reveal yourself, egotist!

Chanel – Cristalle

Posted on March 27, 2013 by Leah

Chanel – Cristalle

I largely put myself through college via a combination of scholarships, student loans, and numerous jobs to supplement whatever assistance my parents could provide. While this would teach me the importance of careful planning and budgeting, it left little room for personal items, especially those which were not absolutely vital. Exacerbating the situation was the fact that I was attending college in Manhattan, a city not necessarily known for its reasonable cost of living.

Dedication to my studies was not as difficult for me as it was to some of my classmates. I was enrolled in a very challenging school, in one of the toughest cities of the world. I knew that I wanted to be bright and sharp and to do that in such a competitive environment would really require all of my effort to shine. While this did not reconcile well with my love for fragrance and for Chanel in particular, it was a great motivator for success.

During my first year of school, while attending a chemistry seminar, I met a young woman who ultimately became my best friend. She had a similar upbringing and we shared many of the same goals, both scholastically and personally. This included, not surprisingly, a love for Chanel. Given that we were both struggling to meet our immediate needs, together we devised creative ways of sampling and purchasing a few special items. This largely involved two activities which most of us master in childhood: dress-up and pretend.

My friend and I would save up for bus fare to Bloomingdale’s (which cost a dollar in those days) but made it a point always to walk back home. After all, we only needed to look presentable upon arrival. No one needed to know the many blocks we would walk back to return to campus uptown. To prepare for our excursion, we would put on our best outfits and make ourselves up to be sure we looked the part. We also did our research, which in those days involved pouring through magazines at the library. We needed to ensure that we seemed extremely knowledgeable when we arrived at the fragrance counter.

As we sampled the latest releases (which was not the terrifying task it is today), we came up with creative escape clauses for those we did not like, so as not to put off the eager sales associates who were so generous with the vials of liquid gold we so craved. “Oh, my mother just purchased that for me for my birthday” or “My sister wears that one and I could not bear sharing the same fragrance”. With these intentioned hints, we were often able to come away with considerable samples of the fragrances we did want, having given the impression that we were certainly able to afford any of these fragrances at a moment’s notice.

It was during one of these excursions that I happened upon Cristalle. It was unlike anything I had ever smelled before, though I have since seen it reincarnated to some extent in the magical Calyx by Sophia Grojsman. Henri Robert’s 1974 masterpiece was perfectly named, for it is the scent of something sharp and bright – precisely everything I longed to emulate. Cristalle cuts a sharp plane of light with its bergamot opening but it is the complexity and range of the green notes which is most alluring. These range from savory to sweet and grass-like thanks to a vetiver note. While the EDP version later introduced by Jacques Polge in 1993 pushes the floral accords into a sweeter, headier territory, the original 1974 release achieves in my opinion a greater balance by not allowing the floral notes to drown out the composition.

While Cristalle is often cited on top ten lists for summer and spring fragrances, it is a wonderful winter scent and shall forever remind me of cold Manhattan days and of the power of imagination to forge our destiny.

Chypre

Notes: lemon, bergamot, basil, petitgrain, galbanum, jonquil, jasmine, hyacinth, oakmoss, rosewood, and vetiver

Chanel – No 19

Posted on March 7, 2013 by Leah

Chanel – No 19

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.

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.

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.

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.

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.

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!

Quintessence

Perfume Reviews

Tag Archives: Chanel