Friday, April 30

Chanel No 5 movie - the birth of the perfume

Some scenes from the movie Chanel & Stravinsky about No5 creation, Grasse, Ernest Beaux and many beautiful dresses.
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Diorama - Christian Dior - do you remember it?

Do you remember the beautiful dress from 1948 that caused almost a scandal? That was Diorama from Christian Dior and here you have a video collage about Dior fashion, history and a beautiful bottle for Roudnitska's masterpiece.
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Thursday, April 29

The american beauty industry in 1945

I made a selection of clips from a 1945 movie presenting a fascinating perspective on the American Beauty Industry right after the war. It shows several great images about the beauty culture, the industry and of course the perfumes. Several great perfumes from the past can be seen in the dept stores - Soir de Paris (Bourjois), Flame (Helena Rubinstein), many Caron and the first Nina Ricci. 
The FDA presents their new rules for the consumer safety. But take a look at the FDA building entrance - it reminds the Reich Chancellery. The lady from that scene looks very similar to the famous Helena Rubinstein (but younger). In the movie you can see some beauty salons (from Helena Rubinstein and E Laszlo) and Mala Rubinstein (I guess it's her) giving a beauty lesson to women. One beauty mask has a really special design, you'll see why.
I hope you'll enjoy it (the sound is not great).
"To the american woman the struggle for beauty is not only a means to an end - it is an end in itself".


There is a very interesting DVD called The Powder and the Glory about the story of two of the first highly successful women in american cosmetic industry, Elizabeth Arden and Helena Rubinstein, showing special footage from archives.
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The mysterious perfume of Mona Lisa

Almost 100 years ago, on August 21, 1911, Leonardo da Vinci's Mona Lisa was stolen right off the wall in the Louvre museum. In the same period, during the decadent Belle Epoque, Brocard created a special perfume inspired by one of the most famous paintings. La Joconde was a luxurious creation for the Russian aristocrats but WWI has started and ended with the 1917 Revolution. The perfume had not the time to bloom and disappeared too soon in the history leaving almost no trace. The painting was found but the scent of Mona Lisa imagined by Brocard not. Like the smile on the face of the mysterious Renaissance beauty, the precious perfume has vanished leaving some some puzzles to solve. Today the painting in the Louvre is sealed in glass like a mummy in a crystal coffin. You cannot come too close to Mona Lisa and nobody could ever smell her presence, if by any chance there would be a drop of life in her smile, a drop of perfume on her neck.
Profumo.it created in the past a bespoke perfume called Mona Lisa, very sensual, musky, civet and white floral, all natural.
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Wednesday, April 28

Burqua - scent of controversy this week in Paris

This week TIME magazine has an article about the controversial veil in France because the president Nicolas Sarkozy is moving toward an official ban of the garment considered "a sign of subservience". On April 21 he ordered the government to present a law to make wearing total veils (burquas) illegal in public places. In this context a new perfume appears and will be launched by SoOud very soon (you can read a small presentation I wrote last month when it was unveiled in Milan at Esxence). If France wants to unveil the Muslim women, this brand does the opposite. It speaks about the hidden beauties like the orientalist paintings of the XIXth century about the idealized life in the French colonies (and their stereotypes). The author of the perfume has done previously some very special scents but also a set of candles that are among the best to be found today (they are original and highly emotional). You can see also "Looking behind the veil" a photomaterial from TIME about burqua and women rights.

Burqua (SoOud) is a dark scent on a very strange and heavy base with gaiac, oud and amber with a typical black ink note, enriched with myrrh and milky notes. The floral notes of rose and violet are contrasted with the spicy and cold cardamom.
In the press release the perfume is described like a dark blood or a dark ink:
"Comme le sang pur s'écoulant de tous les temples, mystique et fluide, marqué d'encre, ensorcelé de bois durs, ce parfum anthracite propose une senteur singulière entre opacité et transparence."
« Les formulations ne sont pas faites pour plaire à une clientèle pressentie, elles sont libres et libérées, cette valeur implique une esthétique violente non lissée. » Stéphane Humbert Lucas
Other perfumes from the line: Kanz (le trésor) - Ouris (la sublime) - al Jana (le paradis) - Fam ( la bouche) - Hajj (le pur) - Asmar (le brun) - Nùr (la lumière)
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Sunday, April 25

Perfumes in Germany before 1945 & a Nazi fragrance

Several weeks ago a reader was asking me about the perfumes produced in Germany during the Nazi regime and what was the olfactory landscape of that era. Preparing the answer I realized that this is a huge subject that is almost impossible to describe in one post. I would rather call it an introduction to a world where fragrance creation and politics were in a strange mix.
The German fragrance industry knew a radical change after WWI and was redefining itself for a new future. New marketing methods, learnt from US, where several companies were already present since the late XIXth century, were applied. With surprise I discovered that an American investment group had important shares in a major German company in 1943. Several important companies were owned by Jews and with 1938 everything changed: aryanization followed by the emigration of several important names to London or USA, that will play a major role after 1945 in their new countries (soap, detergents, cosmetics, perfumes, etc.). Also some foreign businesses had to suffer in Germany (like Helena Rubinstein) and other did not.
One important name is Elizabeth Arden - her scents, cosmetics and salons were highly appreciated in Berlin and some notable wives or mistresses were in love with this brand. In the under world of business during WWII , Elizabeth Arden, known for her anti semite feelings, was investigated by FBI for allegations that her salons in Europe were being opened as cover for Nazi operations. Some dark aspects of this industry were described in the book War Paint.

The relation of Hitler to perfumes was special and this was described in the diaries / notes of Eva Braun where she says: "I had not a drop of perfume at home and that was my good fortune for he hates perfume, at least he dislikes it. He always curses women who smell". There is also a short text (almost explicit) in Mein Kampf around the same idea. Another source indicates that Eva Brown had a perfume fetish (blending scents to match personalities).The dressing table of Eva Brown from her abandoned Munich apartment (in photos taken by Lee Miller) shows an Elizabeth Arden lipstick, skin tonics and a french perfume. She also used Palmolive and Pond's products (Nazi Chic) and one source says that she used L'Heure Bleue (but is misspelled). 
The fashion of Elsa Schiaparelli was also loved by some women and also her perfume Shocking (there were some games around her names always with an S).
A subject approached by some scholars is the scent of death and life in concentration camps and the use of perfumes by the doctors. Doctor Mengele is remembered wearing a lot of cologne (biography) and Irma Griese, the blonde angel from Auschwitz was also remembered for her scents, the immodest use and her habit of blending (Five chimneys).

After the war, the cosmetics was again a subject for the British services, and some interesting files were declassified several years ago. I will live the hidden parts of this story for another time. In terms of fragrance industry there are several points to underline, other will appear in the future as soon as I can study the documents I accumulated in the past 5 years (hard to understand).

- the chemical research (new molecules and bases produced at Agfa - IG Farben industrie and Heine&co, Haarmann & Reimer, Leopold Laserson, Schimmel). This is maybe less interesting that what happens in the same time in Switzerland because the focus is industrial application, cosmetics and less the refinement of complicated new synthesis.
- research on the native flora (extraction of rose, jasmine, mock orange)
- interpretation of the light florals, woody mossy, aromatic notes and very few ambery perfumes
- several well known types like:
Mystikum Scherk (rose, fougère, labdanum sweet) and Intermezzo
Khasana- Dr. Albersheim (very sweet coumarine oriental, methyl ionone heliotropine)
Echt Kolnisch Wasser 4711 - fresh eau de cologne, the German version
Tosca (4711) - sweet and powdery floral
Lavender water
Several soft leather notes
Dralle Illusion
Blue Grass (Elizabeth Arden)

I made a list of the most important houses, they are less inspired for the names and the bottles I have lack the French fantasy. Also the target was different, they were more mass market in today's words.

Muehlens (4711) It was founded by William Mülhens in 1792 and produced the famous Eau de Cologne 4711, one of the first worldwide successes, introduced in the US at the end of XIXth century. It was one of the first to use modern marketing techniques and operated in many countries. Famous perfumes were: Juchten (1921) rich leather, Tosca (1921) sweet neroli powdery, Shahi (1935) and Carat (1938).

Georg Dralle, Hamburg After operating already a small factory for perfumes and soaps, the official registration is made in 1876. Some very famous perfumes were launched, the first modern lily of the valley and a violet perfume using the first synthetic molecule - the ionone synthesized by German chemists, but also a cosmetic product (Birkenwasser - Birch water used almost 100 years and widely copied). Since 1908 several floral perfumes were introduced under the name Illusion and they were known worldwide.
F. Wolff & Sohn, Karlsruhe Friedrich Wolff founded the soap company in 1857 and became very soon one of the largest in Germany in this industry. In 1922 the company had almost 2000 employees and in the Third Reich it was regarded as exemplary. They were the first to market creams with lanolin. Indian flower soap was introduced in 1900 and received a Gold Medal at the Paris Exhibition. One of the most successful brands was Kaloderma (the beautiful skin). Several perfumes: Klytia, Divinia, Niamah, Vogue and many floral perfumes.

Khasana Dr.Albersheim, Frankfurt Was founded in 1892 by Dr.Moritz Albersheim, a chemist. The perfume Khasana, a heavy type, created before WWI was a great success and made the house famous. After its death in 1919 the work was continued by his nephew Walter Carsch. They launched the first shaving cream in 1925 and it was another big hit. The company was aryanized in 1938 under the name DR.Korthaus KG. The central shop was completely destroyed during the Kristallnacht and in 1939 the perfumer and his wife went in exile. During WWII the company supplied the army with personal care products and in 1944 was bombarded.
Parfumerie Elida, Leipzig This company evolved from other business and was founded in the modern form in 1925. The Elida soap was famous during the Weimar Republic and was a anagram of the world Ideal, but was also known for sun cosmetics. It was another victim of the aryanization process.
I.G.Mousson & co, Frankfurt Founded in 1798, this was one of the largest companies with more than 600 items at 1898, from soaps to perfumes. The soaps with exotic perfumes (from classic violet and lilac to Japanese styles like Mikado and Kananga) were extremely famous. In the 30's two major hits were created, Morocco and Gamic. A popular product was also their lavender water and the perfume Tai Tai. In 1944 70% of the factory was destroyed by airstrikes.
Parfumerie Scherk, Berlin; Ludwig Scherk founded his company in 1906 in Berlin. The most famous perfume of the house was Mystikum introduced in the 1910's. It was a heavy and fougère and like Coty, Ludwig started with the powder. The design of the label was rather unusual because it featured the star of David. Early in 1924 the New York factory of Parfumerie Scherk was opened. Another famous product was the TARR after shave introduced cca 1931. It survived in Romania (name and design the same case with Nivea) until the 90's. Ludwig Scherck was a special person and a patron of avangarde architecture and art (the expressionists he commissioned them for his home, shop and business and it was very avanguarde in the 20's). But because he was a Jew, his business had a tragic end in 1938 under the Nazi new rules. Ludwig Scherk fled to London the same year and died in 1946. Some other perfumes: Briza, Arabian Nights, Renaissance, Mimikri
Nivea, Hamburg - the best known German cosmetic originated in 1911, invented by the pharmacist Dr. Oskar Troplowitz, owner of the laboratories Beiersdorf in Hamburg. It was perfumed with light rosy - violet scent that became a reference for cosmetic products.
Other well known German companies for cosmetics / perfumes in Berlin were JF Schwarzlose Söhne, L. Leichner (founded in 1873, theatrical makeup and cosmetics), and Gustav Lohse (founded in 1831).


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Tuesday, April 20

Ernest Beaux - the secret of a genius

When Chanel launched Allure, the creation of Jacques Polge was presented like an innovative structure where facets replaced the traditional pyramid. Many years this idea seemed to be a clever approach to creation or a clever idea that fit perfectly the concept of Allure. Last week I started to look closer to the handwritten papers of Ernest Beaux I have (more since the last time) trying to understand what was in the mind of this genius and what was the scent of the perfumes with some impossible to find bases. The Allure idea originated elsewhere and long before the 90's.
Today most of perfumers work in front of a computer, the formula can be arranged in many ways and in many cases it is very long. Some perfumers, trained first in GC labs, have a very specific writing or arrangement. One very famous perfume on the market has at least 3 pages and even a trained nose feels lost between names and numbers. In some cases it's like Matrix but the scented version.
At first view, my old handwritten papers with notes and formulas doesn't reveal very much and the ingredients doesn't seem do be in a specific order (from top to bottom or to facilitate compounding). But everything changed when I stopped looking at the names and I focused on numbers and their relation. Like an architect or a sculptor, Ernest Beaux modulated some of his perfumes. If you find the "key" everything shows up.  It is only about proportion but it was not obvious for me until I put the numbers in Excel. This "modulated writting" allowed him to rewrite the formula for any manufacturing requirements (the amount of perfume to be produced). The key number from the Chanel No5 formula is based on 5, other perfume have a different "key". But this is related more to how labs used to work and less to symbolism (it is explained by the number of ingredients and how you can modulate them). Today we weight with an electronic balance but back in 1921 it was much simpler and for the same reason the mind was more organized.  
Another surprise comes if the formula of Chanel No 5 is rearranged, first according to the proportions and second, according to the main 10 facets of the perfume (including the lily of the valley that is an accord here). Every facet has almost the same weight in the formula (with 2 exceptions that can be easily explained once you learned how the perfume works and this explains also the structure of Mademoiselle No1). Each facet is made with a small number of ingredients and has almost the same power (there is no delicate versus strong impact facet). They also works from top to bottom creating links between what is volatile and what is tenacious inside the same facet. Like Coco Chanel in fashion, what Ernest Beaux wrote is about "the essential" - you cannot take out things and this is not obvious until you look at the papers. Unlike the concept expressed by Jean Carles, there are no accessories notes here, there is no ornament. The same concept applies to Sycomore (the original), Beige, Rouge, Ivoire, Bois des Iles. Also, the arrangement can be less complicated and the dynamic proportion is changed. This way of composing allowed Ernest Beaux to think his perfumes in terms of accords and "volumes" (masses like a sculptor). This type of dynamic relation reminds me Frank Lloyd Wright and the use of Froebel games. Once you know how the perfume works and how its artistic shape is constructed you can reproduce it with other materials, you can rewrite it by heart. If the legends says that aldehydes were first an accident, their presence in the formula of No5 is well orchestrated and their exact relative proportion shows how the genius worked. 
When aldehydes became a trend, many perfumers started to use them but in a very different way. They placed an aldehydic bouquet over a perfume like a crown and in some cases they even used the aldehydic bases of the market. Ernest Beaux seized the importance of each ingredient, organized facets according to their importance in the composition (primary and secondary) and according to their role on a time scale.
It is not a surprise for me that the formula of several first soviet perfumes produced before the 50's were following a similar concept (first register, harmonizing notes, second register, exalting notes, etc) but with less expensive ingredients - we know little of them because we do not have access to original products or many papers.
When animalic tinctures were eliminated from Chanel No5 extract its heart stopped to beat because in the dynamic of the olfactory space they represented a lot (big proportion).
Chanel No5 was the ideal perfume of a new generation. If Art Nouveau gave birth to the beautiful Ideal (Houbigant), a perfume cherished by Ernest Beaux, Chanel No5 took this idea to a new level in the 20's. Art was more abstract, the architecture was following the lessons of Adolf Loos and his "ornament and crime" text. The masterpiece of Ernest Beaux was in fact the ideal perfume when the major facets of the perfumery were in harmony, each playing a major role in the creation. All 10 in a perfume and set to proportion as Le Corbusier would do later. The main lessons from this perfume are:
- the choice of ingredients according to their tonality, impact and tenacity
- the major chord of the perfume
- the use of a specific set of proportions and numbers
- a specific choice of facets and a clear distribution inside the perfume
- everything is essential and no ingredient repeats what others say
- the theme is present at each stage, amplified and harmonized
Unfortunately I do not know all the creations of this genius and some have vanished without a trace. How was his Chypre, how did he write the other forgotten notes from Chanel, when did he start to think perfumes and begin a new writing form in fragrance, how would he use the modern ingredients? Many puzzles to solve in this life.

Photo - Rallet, Impératrice - ad cca 1912, Moscow, an early Chanel No5 bottle
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Monday, April 19

Aimée, toujours Guerlain, but Hughes


Until the 50's, two other houses were using the name Guerlain - Marcel Guerlain and Hughes Guerlain. Some  of their creations were spectacular, but they are not well documented today. Before the end of the legal battle for the trademark, Guerlain, the old house, was using in the advertising a phrase saying "Nous n'avons pas de prénom". The client might have been quite confused. One bottle with a hidden story is Aimée produced by Hughes Guerlain in the 30's. It was a clear reference to the perfumer who created the divine Jicky but in those day the public was less aware about that. Aimée by Hughes Guerlain is also a reference to the great success - L'Aimant (Coty). It means magnet in french but also... magnetic love as it sounds like "aimant" ("loving" from the verb "aimer") and smells like Chanel No5 but more vanilla. François Coty, a well known lover with many mistresses, had been recently divorced and this was well known because he was a public figure.
Aimée by Hughes Guerlain with its rectangular bottle (so No5) has been recently on sale on Internet and represents one of those rare bottles with hidden stories and special scent - the french style.
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Le blog c'est quoi maintenant sur la Toile?

Beaucoup de parfums, beaucoup de blogs, beaucoup d'articles… comment se retrouver aujourd'hui dans un milieu tellement riche et parfois controversé où la niche est devenue mainstream et les motivations sont tellement diverses?
A l'occasion de la soirée du Grand Prix de Parfum où je n'ai pas été invité, je me suis posé quelques questions personnelles et fondamentales sur l'avenir des blogs en 2010, la relation marque-écrivain-lecteur et l'avenir de ce domaine, hélas, concurrentiel.
J'ai été très surpris de découvrir que je n'étais pas le seul à réfléchir et sur Stratégies j'ai découvert un documentaire très riche sur le même sujet - la gestion d'une relation blog en France, les attentes et les faux pas, le bloggueur prescripteur de la marque (relation privilégiée). Il y a beaucoup de blogguers français qui parlent et leur propos sont très intéressants. A mon tour, j'ai eu des expériences bonnes mais surtout mauvaises. Mais pourrais-je plaindre pour les échantillons quand même la commission technique des parfumeurs de la SFP en manque?
Je vous propose ce reportage car, même s'il n'est pas parfum, il montre l'évolution et la perception sur la Toile de ce type d'écriture.
La question fondamentale reste "quelle est la mission et la valeur d'un blog en 2010 ?" et l'expérience personnelle de la Fragrance Foundation France m'a fait voir les choses d'une manière très claire, moins naïve ou utopique par rapport à 2005 quand j'ai fait commencé mon blog.
D'ailleurs, la communauté beauté-parfums est déjà bien étudiée et surtout mesurée en France. En fin 2009 une étude LinkInfluence & Osmoz mappait les marques, leur taux de pénétration, les commentaires (forums, blogs, etc) pour trouver un moyen efficace à mieux cibler le marché d'une marque.
Le discours des intervenants du documentaire vous surprendra peut être - je me plains ne pas trouver un échantillon (d'ailleurs gratuit) tandis que dans les autres domaines de la Toile on parle voyage, restaurant de luxe et d'autres motivations matérielles un peu inédites pour s'associer à une campagne, faire du buzz ou devenir la voix d'une marque tout en gardant la crédibilité.
On parle aussi des blogguers black listés, et je connais bien le sens de ce mot en 2010.
L'idée la plus intéressante - "un blogguer peut devenir une égérie et certains sont des créateurs en puissance."

influence-moi si tu peux !
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Saturday, April 17

Eau de la Reine de Hongrie and The Countess


Is blood, the vital essence and sacrifice the ultimate anti age treatment? This is a terrible secret and we should not reveal it. Legends says that there was once a beautiful woman who started to fade like a rose surrounded by its thorn. This is not the Queen mother from White Snow but a real countess - Elizabeth Bathory (1560-1614). This new movie is a fantasy with beautiful costumes and shows a part of the story that is eternal - the quest for beauty and youth. That did not change so much. The dark history of Elizabeth Bathory is surrounded in legend and it is difficult to separate facts from fiction in the life of this Hungarian countess. That part of the Europe where I was born has many legends about blood and sacrifices (some were used even in the anti-Semite propaganda at the turn of the XXth century). But the same can be said about Eau de la Reine de Hongrie - the first alcoholic perfume with rejuvenating properties. A fragrance, a cosmetic, a tonic elixir - this product from the XIVth century had several stories and several possible candidates for the role of the "Queen". The culture of beauty was strong in the eastern and central Europe and no surprise that in the past century this area gave the best in skin research and cosmetic studies and later some well known names - Helena Rubinstein, Estée Lauder and Erno Laszlo.
In my April conference I spoke about the relation between blood, scent, architecture and contemporary society with some remarks on the odor of death and resurrection.
"God, is it wrong to want to stay beautiful and young?"



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Friday, April 16

Angel (Thierry Mugler) - the conference with Véra Strubi


Last night the stars were shining closer to us in Neuilly when Véra Strubi presented the wonderful story of Angel, the creation of the brand and its future to an audience with perfumers and cosmetologists. She took us with her time machine in the Mugler galaxy when all has started - the Big Bang, the genius of Mugler and his extraordinary fashion shows that exist today only in the soul and memory of those who lived that era (few of them are available online and a small video cannot reveal the magic of a stage greater than life). The perfume had its Creator and its Guardian Angel. In his fantastic universe with magic creatures Thierry Mugler was not just a super hero creator, but a God. The perfume was made in God's image and it could not have existed without its angel - Véra Strubi. Listening to her, her passion, her love, her power, was something unique, magic and inspirational and in this story she was both the Fairy Queen that made a wish come true (Mugler as a child and a stranger to perfumes) and the Guardian Angel that secured the life and the evolution of the perfume. Do not take my words as a metaphor because I truly believe this is how this perfume happened to be. You love it or hate it - this is secondary. Véra Strubi invited also Yves de Chiris and Olivier Cresp and in the end she presented the future of the perfume and of Thierry Mugler, the new elements of the makeup and their constant desire to give spectacular products (with a glimpse of their new innovative cosmetics). She also explained some unusual elements from the history of Angel, that were not revealed previously to the press. There were many questions from the audience because this creation continues to fascinate and inspire (too many) other perfumes. Véra Strubi believes that a phenomenon like Angel is still possible today, despite the many launches, and only the passion and the true desire to innovate are the key (the only great problem today is the distribution system). Listening to Véra Strubi gives you wings and makes you dream. Maybe that's the great lesson from this perfume - finding the right angel!


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Le Paradis de Nina Ricci - new fragrance review - parfum tutu framboise

I'd rather go to Hell than in the Paradise of Nina Ricci.
The perfume is a light, sparkling lemony and raspberry variation of the very gourmand Nina and seems to be a pricey version of all the celebrity scents in pink imagined for the young tutti fruity girls. It is not at all a new story, a new interpretation or a twist. Worse, it seems to be the copycat of a lovely Yves Rocher perfume from the Ode series, adulterated with a fresh version of Elle (YSL) or the lemon tarty note of a recent Gaultier. It seems that today it is a sin to have taste and the "artificial taste" of the supermarket flavors represents the inspirational universe proposed to the consumer. The capital sin of "Le Paradis de Nina Ricci" is not fruity idea, now the brand core of the house who once launched the beautiful L'Air du Temps. It is being fruity like other did since the raspberry overdose of Haute Couture (Givenchy).

Combien devrais-je pécher pour être sûr d'arriver en Enfer et non au Paradis de Nina Ricci? Le nouveau parfum princesse bonbon est une variation, lumineuse, pétillante citronnée et framboise du très gourmand Nina. Il a l'air d'être une version plus chère (mais aussi cheap) de tous les parfums "celebrity" des stars en rose tutu pour des filles tutti fruity. Ce n'est point une nouvelle histoire, ni une nouvelle interprétation. Pire, le parfum ressemble un peu trop à un délicieux parfum rose framboise d'Yves Rocher de la série Ode en adultère avec la fraîcheur fruitée d'Elle (YSL) et la note tarte au citron d'un récent Gaultier. J'ai l'impression qu'aujourd'hui avoir du goût c'est un péché et la gourmandise une vertu - les arômes artificielles des super marchés sont les paradis imaginaires prêchés au consommateur friand. Le péché capital du Paradis de Nina Ricci ce n'est pas l'idée fruitée, maintenant le cœur de la marque qui parfumait jadis en douceur l'air du temps, mais c'est le fait d'être fruité d'une manière si banale depuis l'overdose framboise de Haute Couture (Givenchy).


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Thursday, April 15

Penhaligon's Orange Blossom - new fragrance review


Since it became available in Paris boutiques, I was puzzled by the narcotic but also familiar take of the new release from Penhaligon's, less twisted than Amaranthine but more complex than the usual creations of the esteemed British house. Orange Blossom is the purified orange flower-tuberose from Poison (Dior) when all excesses and secondary notes are suppressed by the monastic take of the 2010's on essence and purity. Unwrap the Dior Schiff Bases from the "poisoning" damascones and dress them in a fresh (but sensual) musky dress, when the honeyed facet of the flower meets the skin facet (almost waxy) of sandalwood molecules mixed with some well known musks. The perfume lacks the natural effect of an orange flower tree (while tasting an oriental pastry from the first Orange Flower Serge Lutens). It has not the power and original accords explored by Francis Kurkdjian in his creations. This new Orange Blossom from Penhaligon's, modest but very pretty, comfortable and easy to wear, will please all the fans of the 80's. It has the bones but not the aggressive sparkle. The interpretation of the flower sits between the orange flower and the tuberose with its addictive power and spiciness (but not the top note of the flower). The drydown is sweet vanilla, milky and delicately fruity like the skin of some apricots. A contemporary idea (quite different) is Pure Poison (Dior) from 2004 where the flowers are surrounded by a different decoration for a more mainstream appeal.
Without any sense of "grandeur" like the interpretations given by Francis Kurkdjian, Penhaligon's Orange Blossom is modest, but without the sense of modesty as it happens with all white flowers. It is decent as any comfortable "bourgeois scent" but to the limits of decency when it reaches the zenith of the dry down. Amaranthine, Orange Blossom and Tubéreuse de Nuit, though produced by different brands, should be sold as a trio because they explore the 3 facets of a woman from dawn to dusk.


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Wednesday, April 14

Chance Eau Tendre (Chanel) - new fragrance review


The biggest deception of the year comes from Chanel because the famous house with its impeccable style and exclusive exceptional fragrances has now its shampoo. Chance Eau Tendre is the shampoo version with double C. It is not a luxury version but a very cheap one, similar to what you can buy in discount stores where cheap cosmetics could be mixed with counterfeit perfumes. Chance Eau Tendre has a very thin smell, a very basic structure that is not the sign of design purity, nor the anti-perfume idea of Serge Lutens. The only interesting facet of the perfume is the quince-light pear. You'll notice that in the official description (the drawing) the notes are said to create an unexpected accord - it is the shampoo, the bad 2010 surprise from Chanel. I have no doubt that 10 years ago this formula was used in a Bourjois shampoo (company owned by Chanel) and now it is recycled as happens at P&G or Unilever. Never in my life I had imagined that Chanel could go so low (and so close to other perfumes from the market). Ecologists took out the animal notes from Chanel No 5, IFRA took out the jasmine, now it is the style that is fragile inside this house. Is it the end of the world?

La plus grande déception de l'année est signée Chanel parce que la fameuse maison avec son style impeccable et ses parfums exclusifs exceptionnels a maintenant son shampoing. Chance Eau Tendre este la version shampoing avec le double C et ce n'est point une version luxe mais la plus déplorable. Chance Eau tendre avec son odeur "skinny" et sa structure rudimentaire n'est pas le signe de la pureté design, ni de l'anti parfum imaginé par Serge Lutens. Il n'y a qu'une seule facette intéressante - le coing-poire suave. Il y a 10 ans cette formule aurait été destinée à un shampoing Bourjois (l'autre société du groupe) et maintenant elle est recyclée comme il arrive chez P&G ou Unilever. De Monop elle nous arrive dans le sillage du faux luxe. Les écologistes ont laissé le parfum Chanel No5 sans ses notes animales d'origine, IFRA lui a ôté le vrai jasmin et maintenant c'est le style qui se volatilise à l'intérieur de la maison. Est-ce la fin du monde?
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Monday, April 12

Black Tulip - La tulipe Noire - the shadow of a scent

The note found in tulips covers a wide range of odors (freesia, orange flower, narcissus, chocolate, leather etc) plus some very green types with lotus and watery elements.
Tulips from Hortus Bulborum (the botanic collection in Limmen) were investigated many years ago at Dragoco, now Symrise, and some of them were cultivated in Paris and in Holzminden for further investigation.
The scent of tulips is very green and fresh vegetal on a soft powdery base but also floral like fresh buds (it is not a "blooming" type). It has some similarities with the scent of snowdrops (early spring) and to a minor degree with freesia. Some experimental extractions were done in the past but tulips were often green reconstitutions. I remember some very old scented post cards from Holland (late 60's or 70's) where the perfume of tulips was reproduced under a plastic layer.
The bouquet of tulips on my table has a scent that is very green pungent between freesia, watery hyacinth and soft salycilates. The scent is shy but the shape is sensual like the famous Dior Tulip Line from the  late 50's. The bouquet has the following facets:
- Very green like leaves, stems and fresh sap (like Triplal, hexanal and nonanal)
- Soft powdery but also pungent like ethyl salycilate (or isobutyl with a wintergreen facet)
- Pungent green like hyacinth (type phenylacetic aldehyde & hydratropic plus some acetals like Corps Jacinthe and even reseda body)
- A green violet note plus peppery undertones
- A soft honey note almost pungent and a very light orange flower animalic note (but all these notes are in traces compared to the green facet).
The scent is cold and sharp like the morning dew.
I made a short sketch of this green floral note. It is based on a freesia-hyacinth accord, enriched with some accents to round off the pungent aspect of the tulip represented here by 3 ingredients. There is also a lactonic element because tulips might present a "lower lactone" note combined with green-milky-buttery ingredients and a very faint isovaleric shade (difficult to dose). To reproduce the illusion of a tulip scent you need half of these ingredients and not all the "ornaments" and you can also "attack" the note via a lotus or a cyclamen accord.
Triplal 10%
Galbanum ess 1%
Nonadienal, 0,01%
Phenylacetic aldehyde
Narcisse des montagnes abs, 10%
Florol
PEA
Mayol
Helional
Ethyl salycilate
(Neril acetate and Farnesol, 10%)
Methyl phenylacetate, 1%
Methyl anthranilate, 0,1%
Nonalactone g, 1%
Dihydro beta ionone
Gaiac wood
(Saffron rec., 1%)
To evoke the imaginary scent of the Black Tulip - La Tulipe Noire from the famous 1964 movie with Alain Delon there are other elements to add to this floral base. Something darker, sensual and leathery like the unusual facets found in several tulips (there are hybrids with an immortelle facet!).




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Friday, April 9

Architecture, scent and space

Last week, in a short trip in Romania, I gave an introductory lecture to students in Architecture about scents, fragrance, architectural space and urban planning. It is possible that I will continue this in a more detailed project as my academic background allows me to create bridges between those 2 disciplines, not just on the theory level. The presentation included text, images, videos and my speech (different from the screen I always have to say other things). Here you have some ideas from my presentation:

- the scent of the city and the scent of the world
- the ideal perfume and several aesthetics in the XXth century
- architectural thinking and fragrance design in the early XXth century with 5 example of common practices (5 houses, 5 visions of the world and 5 perfumes)
- from Paul Poiret, Coco Chanel, Marcel Duchamps to the new visionaries at the end of XXth century
- the scent of architecture, perception, invisible spaces and Noe's Ark
- Scent between life and death - the scent of war & peace, the catacombs & Nietzsche
- the metaphor of scent and architecture
- the modern Santa Maria Novella and the new dimension of scents in the medieval space
- decomposing the city from Cloaca Maxima to Metropolis
- a picture of Corbusier naked and a discussion around cleanliness and the white city
- missing scents from modern life and modern city
- lost smells in contemporary society
- Don't smell, you'll die! - poison from Catherine de Medicis to gas chambers and olfactophobia
- Europe in war, redefining our environment and invisible space
- the sacred scents and the scents of sacred places today across cultures (from Jerusalem and Mecca to Oceania and South East Asia)
- Egyptian pyramids, sacred architecture and types of sacred scents to define what is called a sacred space
- how the scent of a European city evolved during the centuries
- Souk el Attarine
- the scented places in a home (interior design methodology)
- the scent in social places and urban entropy
- architecture and senses, tools and methodology for scent exploration and design
- forgotten scents of famous cities, how Europe became a museum
- 8 points for a new urban design

There were also several new projects from Paris and some fresh academic papers from other universities around the world that I wished to present.
Here you have several scenes from the movie "La Reine Margot" - a key to understand the multiple layers of scent & fragrance in the French Renaissance. From the birth of an industry to the decay in the contemporary society  ("Quand la France a perdu son nez").



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Thursday, April 8

Inside a perfume lab in Moscow

All the soviet perfumes produced at Novaya Zarya in Moscow were created in a large room, the perfumer's lab. I have a collection of pictures from the 50's to late 80's that can give us an image of that creation center. Similar to the old Roure lab but smaller, in this room there were 6 perfume organs (hemicycle type) and a smaller one in a corner. There was also a central table for the evaluation of samples. The lab bottles containing the raw materials and the bases were very beautiful (square type with a round stopper like a flame) and they were not the ordinary type used in a lab. Those were days when the computer was not used and the formulas were written by hand in notebooks with the observations about the scent, tenacity or volume. The perfumers in Moscow were working in those days under the direction of the chief perfumer Pavel Ivanov until his retirement (early 80's). This picture is from 1988 but the design elements were unchanged since the 50's.
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Wednesday, April 7

Perfume history - a documentary with Alexandre Vassiliev

Alexandre Vassiliev (Александр Васильев) is an acclaimed costume designer and fashion historian (he wrote that  exceptional book Beauty in Exile). This year he came with a even more beautiful surprise that I discovered recently, a long russian documentary  (cca 100 min) where he presents the history of perfumes. It is a very well documented and inspiring presentation with some elements that are unveiled for the first time. It is the best TV documentary on perfumes but sadly, it is not translated. The 4th part is dedicated to the russian perfumery pre and post the Revolution. You can see there some images, bottles and original film footage, all presented for the first time. For those who have the passion of fashion history and fragrances those images can bring a new light on the beauty culture in the soviet era pre WWII. There is a short movie from the late 30's showing the production of soviet cosmetics, a beauty salon (Moscow had a cosmetic institute since the 30's) and shops with soviet perfumes. Later you'll see the russian perfumers at work in the lab, blending and smelling. For a second you can see the wife of Molotov presenting the soviet production of cosmetics (old pictures from my archive here). You can hear the story of Red Moscow, Red Poppy, Manon and other soviet perfumes, but also the first cosmetic trust TEJE (I wrote about that in the past and there is a lipstick similar to a famous western model), Ernest Beaux and Auguste Michel.
I hope there will be an edition with english subtitles because it is a wonderful work and many will enjoy this fairytale of scents.






The last part with the soviet perfumes

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Monday, April 5

Magnolia avenue

Back in Romania for the Easter I had a wonderful surprise. The whole city became white and pink because the magnolia trees were in bloom and their number increased dramatically in the past 3 years. That was an incredible surprise and I believe the city will be even more beautiful and scented in 3-5 years. Once it was called the city of gardens or the city of roses because of the horticultural tradition. White and pink magnolias but also pink cherry and plum blossoms were scenting the fresh air while the grass with clover and violets were giving a special scent after the rain. Because there is little money almost everything is wild and the plants are following their own rules - some places near the cathedral are violet and not green because violets grow easily. There are 4 types of Magnolia trees white and light pink (but not the grandiflora type) and I examined all their curious scents. The Magnolia seems to be a very sensible tree. Some years they smell very strong, other years they do not smell at all, and this curious behavior can also be found during the same week. Some trees are highly scented and the air around is very fragrant. The scent has a dramatic change during the day and when the flower is picked. With patience I analyzed them over several days. One tree smelled like a huge bottle of styrax extract, open in the wind. There was one with the olfactory profile of tuberose and gardenia absolute top note without the lactonic background. There was also a very lemony verbena type mixed with a terpenic thuja note and a well known spicy molecule. Later, after I read the headspace results I understood better what I was smelling but the complexity and the strange differences between the magnolia types puzzled me. Each tree from the photos bears about 2000 flowers and their scent is different from the same tree growing in Paris that I analyzed before Easter.
There are several molecules with a soft magnolia note, also a natural extract that I love, but this note recquires the interpretation of the perfumer to bring the full emotion of the flower. The flower has a shy and "changing" scent, it has not a strong personality like jasmine, carnation or tuberose and it is rather difficult for the consumer to recognize this note / accord. There were several perfume bases built around magnolia, none available today, a curious magnolia perfume created by Ernest Beaux and other from the same period without magnolia in their name.


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