Tag Archives: rose

Chanel – Coco Noir

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Coco Noir – The Unloved Chanel

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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.1936-Chanel-in-Venice

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.

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Coty – La Rose Jacqueminot

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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.

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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.

laroseFor 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.

 

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Knize Ten

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Knize Ten

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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.

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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.

James Dean

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.

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Agustin Reyes – Royal Violets

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Agustin Reyes – Royal Violets

For this first review, I thought the best place to start was with my first fragrance. While I would graduate on to more sophisticated fragrances, by cultural and maternal imperative, my introduction to scent was with “Royal Violets”, or, as commonly referred to in Spanish, “Agua de Violetas”. It is common practice for children of Latin descent (i.e. Spanish, French, etc.) to wear fragrance from infancy. This practice applies to girls and boys alike, and while the composition may differ from florals to citrus-based fragrance, most products contain a mixture of both. The fragrance is often applied to the hair, a practice which many women continue into adulthood, in a manner similar to the way one would use a dry shampoo.

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Agustin Reyes

“Royal Violets” was developed by Agustín Reyes, who began his career as a pharmacist’s apprentice in Havana, Cuba. He created the formula for Royal Violets in 1927, where it was originally marketed as “Violetas Rusas” or “Russian Violets”. The original name and packaging reflect the world’s, and especially Paris’s fascination with all things Russian as evidenced by the popularity of Sergei Diaghilev’s Ballets Russes and the works of Igor Stravinsky. Cuba was often described as the “Paris of the Caribbean” and its citizens took great interest in the styles, architecture, and fashion of Paris. Indeed, much of the formerly elegant city of Havana was built in the baroque and neoclassic styles, similar to much of Europe.

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Original Packaging for Violetas Rusas

This Paris-mania extended into the ultra-luxurious realm of perfume. The perfume industry was producing radically new fragrances at this time, in part due to advances in perfume science, but also thanks to the jubilant zeitgeist that followed WWI. Styles were changing, social mores were changing, all of which was reflected in the new perfume creations of the time including Quelques Fleurs, Chanel No 5, Shalimar and Nuit de Noel.

While far removed geographically, many Cubans traced their ancestry back to Europe and maintained strong interest in what happened overseas. This extended into the world of fashion and perfumery, and indeed the famous houses of Guerlain and Caron were well-known on the island. It is in this spirit that Royal Violets was created, a factor which is apparent in its smell and composition.

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Bottle inspired by Guerlain

The scent was very well-received in Cuba, as were Reyes’s other creations including: Axil, Agua de Portugal, and Nuit de Samedi. The firm also produced their own sandalwood and lavender soaps. The original glass bottles made in Cuba were often modeled after the bottles of the great perfume houses including Guerlain. With the rise of communism in the 1950s, the recipe for Violetas Rusas was smuggled out by the Reyes family into the United States. The formula also underwent a name change to Royal Violets to avoid the painful political associations of exile that the Reyes family and numerous Cubans faced.

Given that I could not recall a time when I did not wear Royal Violets, I never considered its composition. It was simply what one wore. However, as I grew older and began exploring fragrances, I was often drawn back to this first fragrance. Indeed, my love of certain fragrances like Coco Chanel, was surely influenced by this earliest fragrance, which made me think that it was perhaps necessary to take a closer look.

While several of the more popular violet fragrances attempt to capture more of a violet soliflore, Royal Violets is closer to the experience of the entire plant. The top notes of violet are strongly punctuated by a middle accord of bergamot, giving the impression of crushed bright green leaves to the powdery violet. The violet sensation is rounded out by lily of the valley and a touch of rose, giving one the impression of a bouquet of wild flowers. Most surprising however are the bottom notes, which are both warm and spicy thanks to the introduction of vetiver, sandalwood, and orris. This spicy, almost cinnamon-like sensation is softened with a hint of vanilla, and yet remains remarkably sharp, especially when considering that this is a fragrance applied to infants. Despite being extremely affordable, indeed this item can be purchased in many drugstores, it is evident that much consideration was given to the composition. The fragrance has good sillage and a rather potent longevity.

Royal Violets still features a place in the fragrance collection of many Cuban women. Perhaps it is the need to revisit simpler times with a formula that remains largely unchanged, especially in an era when so many beloved fragrances have been altered beyond recognition. One note: please don’t be put off by the low price tag or poor website of this fragrance. We all need some affordable alternatives in our perfume wardrobe and Royal Violets is a marvelous time capsule for less than ten dollars.

Royal Violets can be purchased online at several discount retailers. Please note that this review is for the amber colored Royal Violets in the glass bottle. The company also makes a purple colored version which smells completely different, slightly reminiscent of an inexpensive Kenzo Flower.

Floral oriental

Notes: violet, bergamot, lily of the valley, rose, vetiver, sandalwood, orris and vanilla.

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