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.

Etat Libre D’Orange – Secretions Magnifiques

Posted on February 21, 2013 by Leah

Etat Libre D’Orange – Secretions Magnifiques

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.

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.

Coty – Muguet des Bois

Posted on February 19, 2013 by Leah

Coty – Muguet des Bois

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.

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

Coty – Ex`cla-ma`tion

Posted on February 15, 2013 by Leah

Coty – Ex`cla-ma`tion

Continuing with the Coty theme this week, Ex`cla-ma`tion was launched by Coty in 1988 and is truly a product of its time. Ex`cla-ma`tion was created by Sophia Grojsman, the extraordinary nose behind such innovative fragrances as Estée Lauder White Linen (1978), Prescriptives Calyx (1987), Calvin Klein Eternity (1988) and Lancôme Trésor (1990). One of the hallmarks of Grojsman’s creative process is her ability to weave groundbreaking scents out of minimal ingredients. While it is not uncommon for perfumes to be a formulation of hundreds of different scents, Grojsman’s typical fragrance may contain fewer than 10.

While violet is not listed anywhere in the official notes, my overall impression of Ex`cla-ma`tion is of a powdery, light, woodsy violet with vanilla overtones. The fragrance opens with a fruity mix of apricot and peach, brightened by the effervescence of bergamot and green notes. The beauty of Ex`cla-ma`tion appears in its middle notes, a combination of orris root, jasmine, heliotrope, lily-of-the-valley and rose, which together create a light, innocent floral sensation. As the base notes appear, the main impression is of a lush vanilla rounded out by woods thanks to sandalwood and cedar. The woodsy impression is enhanced by notes of amber and musk, however, the fragrance maintains an overall floral character.

Ex`cla-ma`tion would be perfect for a young woman just beginning to explore the world of perfumery. It is delicate enough to be age-appropriate, and yet has sufficient depth to serve as a gateway perfume.

Floral

Notes: apricot, green notes, peach, bergamot, orris root, jasmine, heliotrope, lily-of-the-valley, rose, sandalwood, amber, cinnamon, musk, vanilla and cedar.

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.

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.

Agustin Reyes – Royal Violets

Posted on January 21, 2013 by Leah

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.

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.

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.

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.

Quintessence

Perfume Reviews

Tag Archives: sandalwood

Chanel – No 19

Etat Libre D’Orange – Secretions Magnifiques

Coty – Muguet des Bois

Coty – Ex`cla-ma`tion

Chanel – Coco Noir

Knize Ten

Guerlain – Chamade

Agustin Reyes – Royal Violets