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Fahrenheit: a visual guide (1988-2015)

April 1, 2015, 1:11 am
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FAHRENHEIT by Christian Dior is one of the top-selling perfumes in history, and you can find thousands of pages and articles about it.
In this short essay, the main goal is to summarize the different boxes and bottles produced "year-by-year" since its launch in 1988.
No opinion about "reformulations" will be provided: here you will find a sort of "Exposition".


(Please note: "change in packaging" doesn't always mean "change in formula". You will decide -by smelling- what's best for you. But be careful: Christian Dior's scents are among the most counterfeited ever. Finding authenti bottles is often an hard task. Buy such perfumes only from trusted sellers.
To understand the year of production using the batchcode, see HERE.
To read a personal opinion about Fahrenheit "reformulations" through years using a blind-test, see HERE)



Fahrenheit: 
l'Homme infiniment.
Fahrenheit:
what never ends, begins here.
(taglines)


--------------------------------------
The First

Production: 1988-2002
Address: "30, Avenue Hoche" (1988-1991); then "33, Avenue Hoche" (since 1991)
Barcode: no EAN barcode  (1988-1990). EAN barcode printed on the box, since 1990.
Greendot: No Greendot until 1992. Classic Greendot since 1992, printed on cellophane wrap (1992-1996), then printed directly on box since 1997
Batch-codes: 5/6-digits batchcode printed on the cellophane wrap (1988-1996); then 5/6-digits batchcode printed on the box (1997-1998); finally 4-digits-only batchcode printed on the box (since 1998)
Ingredients: no ingredients printed on the box (1988-1996). Short ingredients list (i.e "Alcohol-Perfume-Water") since 1997. 
Alcohol % vol.: (88% EdT or 70% Aftershave) reported on the label applied on bottom of the bottle (1988-1996), then missing. 




The Second
Production: 2002-2005
(Key Notes:  completely new box without the "Red Planet"
+ word "Dior" written in red on the upper part of the box ; 
+ short "ingredients list".
On the bottle: batch code written using a black ink, instead of a silver one).



The Third

Production : 2005-2006
(Keynotes: on the box, word "Dior" written in silver, set in the lower part of the box + "Eau de Toilette" line set immediately under the word "Fahrenheit" + long "ingredient" list.
On the bottle: "Eau de Toilette" line is as large as "Fahrenheit" one.


--------------------------------
WARNING
Second and Third type could have been mixed 
(box and bottle) during years 2005 and 2006
----------------------------------




The Fourth
Production: 2007-2014
(Keynotes: on the bottle, different cap + word "Dior" instead of "Christian Dior Paris" + removing of "Eau de Toilette" line.
On the box: line "Eau de Toilette" written in red, set in the middle)



The Fifth
Production: end of 2014 - ongoing
(Keynotes: change of box + change of Christian Dior's "CD" logo)


-----------------------------------------------------------------------------------------------
FAHRENHEIT at a glance
----------------------------------------------------------------------------------------------
The "Red/Burning Planet" on the box: from 1988 until 2002
The "rounded", curvy cap: from 1988 until end of 2006
The logo on the bottle: "Christian Dior" from 1988 until 2005 (then simply "Dior")
The logo on the box: "Christian Dior" from 1988 until 2002 (then simply "Dior")
The "Eau de Toilette" label on the bottle: narrow (1988-2005); large (2005-2006); missing at all (since 2007)



------------------------------------------------------------------
FAHRENHEIT 
Year-by-year
-------------------------------------------------------------------

1988
from Sims1974, Basenotes
Fahrenheit, batch 8R260 printed on the cellophane wrap = year 1988
(old address "30 Avenue Hoche").
There aren't any Barcode / Greendot / Ingredients

From Zezzy, Basenotes
batch 8Y532 = year 1988
(note the old address "30, Avenue Hoche")

-------------------------------------------------------------------------------

1989
Batch 9843N = year 1989

Batch 9808M = year 1989
note the old address "30, Avenue Hoche"
--------------------------------------------------------------------------
Mysterious bottle with unusual batch-code
(pic sent from Olga L. from Russia)

------------------------------------------------------------------------------

1991
(pic from Mariusz, Poland)
Batch 1H213 = year 1991
-----------------------------------------------------------------------------

1993
Batch 3608N = year 1993 (EdT 200ml )
(note the new address "33, avenue Hoche")




30 ml bottle EdT
batch 3546M = year 1993

-----------------------------------------------------

1994
from Jason Newton, www.uneasynostalgia.com
batch 4417U = year 1994
both numbers and greendot printed on the cellophane wrap

------------------------------------------------------------------------------------
1995
batch 5N117 (50 ml aftershave)
 and 5N105 (100ml Edt) = year 1995

From Jason Newton, www.uneasynostalgia.com 
batch 5K716 = year 1995

Batch 5N103 = year 1995
Batchcode and Greendot printed on the cellophane wrap.

From Jason Newton , www.uneasynostalgia.com
Year 1995 box, without cellophane wrap;
 Apparently there are no clues: batchcode
and greendot were printed on the cellophane.

------------------------------------------------------------------------------

1996
Batch 6W183 = year 1996
Batchcode and Greendot printed on the cellophane

From Aphexacid, Basenotes.net
batch 6S826 = year 1996
(last year you can see the Alc.88% vol. reported on the label)


batch 6V285 = year 1996


Until year 1996, there were no ingredients 
or "description" written on the box

-----------------------------------------------------------------------------------
Since year 1997: 
Batchcode and Greendot printed directly on the box. 
+ ingredients listed on the box. Removing of the alc.% vol.
(70% or 88%) label on bottles 50, 100, 200 ml.  
-------------------------------------------------------------------------------------

1997
 batch 7473J = year 1997 
(Batchcode and Greendot printed directly on the box)




During year 1997, ingredients finally
appear on the box

-------------------------------------------------------------------------------------
Since 1998: 4-digits batchcodes
(1998-2007: letters within the first half of alphabet, "A-to-M")
(since 2008: letters within the second-half of the alphabet, "N-to-Z")

---------------------------------------------------------------------------------

1998
from RipJean, Basenotes.net
batch 8Gxx = year 1998

From LornaMay, Basenotes.net
batch 8D02 = year 1998

from RipJean, Basenotes.net
Year 1998 box, with ingredients on the side.


8H01 = year 1998


-----------------------------------------------------------------------------------------------------------

1999
(From Ro.Ro, Basenotes)
9M01 = year 1999

Batch 9G01 = year 1999


AfterShave Box, year 1999
-----------------------------------------------------------------------------

2000
batch 0L01 = Year 2000

from 61824, Basenotes.
batch 0F02= year 2000


AfterShave boxes labelled 1M01 and 0M02, both sides.
= Years 2001 and 2000, respectively
(thanks to Catia)


From Jason Newton , www.uneasynostalgia.com
batch 0G02 = year 2000.
----------------------------------------------------------------------

2001
from Nfn1983, Basenotes
1J01 = year 2001
(from PaulP, Basenotes)
1K01 = year 2001


------------------------------------------------------------------------------------------------------------------------
During year 2002 a whole new packaging appear:
it's the "Second type".
The red word "Dior" in the upper part of the box.
 Bottle is similar to the previous one.
Batchcode on bottle written with black ink 


Second-type box and bottle

 
check the red word "Dior" in the upper part of the box.

--------------------------------------------------------------------------------------------

2002
Batch 2G01 unusually print on the side of the bottle
= year 2002 (thanks to Kenneth Edward)

Bottle without the batchcode on the bottom;
check the border of the bottle for it.
(from Kenneth Edward)

Batch 2G01 (year 2002) bottle
You can see the batch printed immediately 
under the word "Christian"

-------------------------------------------------------------------------------

2004
Second Type box, Batch 4L01 = Year 2004
(note the short ingredients list "alcohol-fragrance-water", 
it was used until 2005 )


Second Type box and bottle, 
Batch 4L01 = year 2004, november

-------------------------------------------------
SINCE 2005
Long list of ingredients ("...limonene, linalool, coumarin....")
printed on the box. 
------------------------------------------------

2005

during early 2005....
(from szafa.pl) Batch 5E02, 
(still the "Second Type" bottle , with the narrow line "eau de toilette")


since approx. half of 2005
New box and bottle ("Third type"), used for just a couple of years. The best way to recognize it is to check the line "Eau de Toilette" on the bottle, as large as the word "Fahrenheit".

Christian-Dior-Fahrenheit-1-7oz-Mens-Eau-de-Toilette-NIB


new box and bottle (Third type, 2005-2006)
with the larger line "Eau de Toilette"on the bottle


Batch 5F06, Third Type, (thanks to Roberto Greco)
(note the line "Eau de Toilette" as large as "Fahrenheit")
batch 5F06 = year 2005

(from "Kwachu", Poland)
batch 5K02 = year 2005

Batch 5G02 = year 2005
(note, for the first time, the long list of  "ingredients" on the box)
--------------------------------------------------------------------------------------

2006
"Third type" bottle,
batch 6F02 = year 2006

------------------------------------------------------------------
Year 2007: another new packaging.
New box and new bottle ("Fourth type", 2007-to-2014).
Bottles sport the word "DIOR" 
instead of  "Christian Dior Paris" 
+ a different cap 
+ the line "Eau de Toilette" removed from the bottle.

New box ("Fourth type", 2007-2014)


New Bottle ("Fourth type", 2007-2014)

-------------------------------------------------------------------------

2007
Batch 7H02 = year 2007 (30ml EdT)



batch 7A01 = year 2007 
(200 ml edT, still debated if this bottle is real or fake)

batch 7A01=year 2007





"Fourth type" bottle and box during end of 2007
----------------------------------------------------------------

-WARNING-
during these years, we can see a sort of
mixing boxes with different bottles, 
 and different labels and caps....
Be careful with unusual combinations.

Unusual combination  "box-bottle-cap-labels"
--------------------------------------------------------------------------------

2008
(since 2008: batchcode using letters N-to-Z)



Lateral Sides of a 2008 box, without any indication
Rear of the box, year 2008 
(it will be without any "description", until 2011)

 Bottom of the box
batch 8N03 = year 2008, January

------------------------------------------------------------------------------------------------------------------------------

2009
Batch 9X02 = year 2009 (200ml EdT)

batch 9X02 = year 2009
--------------------------------------
WARNING
during 2009-2014, if you read "Eau de Toilette Intense", 
it's "Fahrenhetit Absolute", not the classic fragrance.
(see "Fahrenheit Flankers" below)



----------------------------------------------------------------

2010
Batch 0Q01 = year 2010

batch 0Z02 = year 2010, december


----------------------------------------------------------------------------------------
since 2011: "description" on the back of the box.
----------------------------------------------------------------------------------------
2011
Batch 1Z01 = year 2011, december (100ml EdT)
( from Gid, Basenotes )
batch 1X01 = year 2011

---------------------------------------------------------------------------------
WARNING
if you read on the label "125ml, 4.2fl.Oz" 
instead of "100ml, 3.4fl.Oz", 
it's "Aqua Fahrenheit", a flanker launched in 2011
Aqua Fahrenheit, launched in 2011

----------------------------------------------------------------------------------

2012
Batch 2R01 = year 2012 (100ml EdT)


Batch 2U03 = year 2012

-----------------------------------------------------------------------

2013
Batch 3T02 = year 2013 (100ml EdT)

----------------------------------------------------------------------------
2014


------------------------------------------------------------------
End of year 2014: 
new packaging.

-----------------------------------
---------------------------------------------------------------------------------
FAHRENHEIT FLANKERS

----------------------------------------------------------------------------------
-------------------------------------

year 2002: Fahrenheit Summer
(limited edition, discontinued)


------------------------------------------------------------
year 2003:  Fahrenheit 0 Degree
(discontinued in 2014)
Fahrenheit 0 Degree Christian Dior for men


-------------------------------------------------------------
Year 2006: Fahrenheit Summer 
(limited edition, discontinued)


--------------------------------------------------
Year 2007: Fahrenheit 32
(currently in production)
Fahrenheit 32 Christian Dior for men
and: Fahrenheit Summer 2007
(limited edition, discontinued)
Fahrenheit Summer 2007 Christian Dior for men
------------------------------------------------------------

Year 2009: Fahrenheit Absolute
(discontinued in 2014)


---------------------------------------------------------------------------------------------
Year 2011 : Aqua Fahrenheit
(currently in production)

-----------------------------------------------------------------------------

Year 2014: Fahrenheit le Parfum
(currently in production)
---------------------------------------------------------------------------
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Il Tempio del Profumo.

April 23, 2015, 11:05 pm
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(note: this is the italian version, english translation will follow soon)
Se pensate che le profumerie siano “i negozi dove si vendono profumi”, avete ragione.
Ma se pensate che siano luoghi dove si vendono solamente profumi e cosmetici, bè, vi state sbagliando.  
Esistono ancor oggi profumerie che, oltre ad essere tradizionali punti vendita, sono anche “Musei del Profumo”. Nel senso che, varcata la soglia, sembra di tornare a 30, 40, 50 anni fa. Un vero, piacevolissimo tuffo nel passato.
Ecco, nel cuore di Torino, nella ottocentesca Galleria Umberto I°, vi è un negozio che è un vero Museo Storico: la "Profumeria Elide".
Basta entrare nella "Profumeria Elide", guardarsi intorno, per capire di essere entrati in un’altra epoca.
Il proprietario attuale, il signor Gianni Bertetti, non è solamente la persona che serve il cliente, ma anche la memoria storica nel negozio. E, con nostro immenso piacere, è una persona che ama chiacchierare, raccontare storie e aneddoti della profumeria del passato.
E, soprattutto è una persona straordinariamente competente, con decenni di esperienza, e con molto spirito critico. 
( Tutte le fotografie in questo articolo sono state scattate all'interno della Profumeria Elide di Torino)


Torino, Galleria Umberto I°

AndreMoreau (AM): Buongiorno signor Gianni, ci spiega brevemente come nasce il suo negozio di profumi?    
GianniBertetti (GB): L’incontro della mia famiglia con il mondo dei profumi inizia durante la guerra, nel 1944, allorché mia mamma Elide venne qui, nella Galleria Umberto I°, a lavorare come commessa. Circa quindici anni più tardi acquistò la profumeria dai titolari e ne divenne proprietaria, dandole il suo nome conservato a tutt’oggi, per l’appunto “Profumeria Elide”. Non poteva esserci un momento migliore per iniziare una attività del genere, dal momento che proprio sul finire degli anni Cinquanta in Italia cominciò il boom economico. Il negozio subì varie ristrutturazioni negli anni Sessanta e Settanta, e nel 1992 con la scomparsa della mia mamma, il negozio passò a me, e al momento odierno ne sono ancora proprietario, e la gestisco insieme a mia moglie Carmen. 
Insomma, per certi aspetti, la mia famiglia è legata alla Profumeria Elide, qui a Torino, ininterrottamente da settanta anni. Settanta anni durante i quali praticamente abbiamo assistito a tutte le epoche e a tutte le tendenze della profumeria, in prima persona.


...queste cose potevano ancora accadere negli anni Settanta:
Estèe Lauder insieme al marito (in piedi a sinistra) in vacanza in Italia,
a tavola insieme a Gianni Bertetti e la sua famiglia.

AM: Non ho difficoltà a credere che, nell’arco di 70 anni, abbiate vissuto le varie epoche e tendenze della profumeria, ma vedo anche che lei e la sua famiglia questi periodi li avete vissuti ad altissimo livello. Vedo qui la sua foto famosa, a cena insieme ad Estèe Lauder -proprio lei in persona- negli anni Settanta: mi domando quante persone, oggi, possano dire di aver cenato insieme ad Estèe Lauder!
GB:  Guardi, molte persone rimangono ammirate e meravigliate per quella foto, e per altri incontri avuti con personaggi straordinari, ma per me che ho vissuto quei tempi, bè, erano cose abbastanza ordinarie! Una cosa che bisogna tener conto è che la profumeria di un tempo era un fenomeno meno “di massa” rispetto ai tempi odierni. Da una parte c’era più esclusività, nel senso che il profumo era davvero un prodotto “elegante” e non un mero accessorio come troppo spesso è considerato oggi,  dall’altra parte c’era anche molto più contatto umano. Ecco, quando Estèe Lauder e il marito venivano in Italia, non era impossibile averli a cena, almeno per noi dell’ambiente. E la stessa cosa potrei dire per altri personaggi dell’epoca, come i direttori commerciali di Revlon, della stessa Estèe Lauder, oppure di Helena Rubinstein… tutte persone con le quali vi era familiarità. 

Profumeria Elide, Torino.

AM: Parliamo proprio di un’altra epoca…
GB: Cose oggi impensabili. Parliamoci chiaro, l’aspetto commerciale era sempre importantissimo, però, e questo lo posso garantire di persona, all’epoca si coltivava molto anche il rapporto umano. Per dirlo in altri termini, non si pensava “solo ai soldi”, come avviene oggi. E poi, c’era competenza. Chi si occupava di profumi, anche relativamente all’aspetto della distribuzione, era davvero competente di profumi. Conosceva l’argomento, sapeva di cosa stava trattando. Nella distribuzione odierna, molte persone non sanno neanche un profumo che cosa sia. Contano solo le cifre. Se poi vogliamo dirla tutti, durante l’epoca d’oro della profumeria, negli anni Sessanta e Settanta, ancora fino agli anni Ottanta, c’era molto rispetto reciproco. Un rispetto oggi quasi scomparso


Profumeria Elide, Torino.

AM: Ecco parliamo un attimo di epoca d’oro della profumeria, senza parlare di soldi, quanto erano differenti le cifre di vendita rispetto alle attuali? Può fare un esempio?
GB: Innanzitutto bisogna considerare che dalla fine degli Anni Cinquanta in poi vi furono gli anni del boom economico, che proseguirono con alti e bassi almeno fino agli anni novanta…diciamolo, l’Italia per molto tempo è stato un paese ricco e benestante. E ciò portava a un maggior acquisto di beni di lusso come ad esempio i profumi. Insomma per farla breve, la gente spendeva di più, e anche volentieri. Giusto per dirne una, ricordo che Atkinsons veniva qui a consegnare furgoni interi di profumi, creme, saponi, schiume da barba, prodotti di bellezza….. Un altro che mi viene in mente adesso è Revlon: quando usci “Charlie”, non eravamo nemmeno in grado di far fronte a tutte le richieste. In quegli anni esistevano le “prenotazioni”, ovvero il cliente veniva in negozio e prenotava la merce che doveva ancora arrivare. E molte prenotazioni erano al buio: la gente aveva fame di novità e qualsiasi novità era ben accetta.  
Un aspetto interessante è che la gente spendeva di più, per un numero di prodotti che era tuttavia inferiore a quello disponibile oggi.

Profumeria Elide, Torino.

AM: Come sarebbe a dire?
GB: Sarebbe a dire che il numero di profumi disponibili all’epoca era molto inferiore a quello odierno: i lanci di nuovi prodotti, sebbene molto attesi dal pubblico, erano scaglionati nel tempo, valutati, soppesati. Oggi vengono lanciati un numero spropositato di nuovi profumi ogni anno, da centinaia di produttori diversi, con una distribuzione polverizzata in mille canali differenti.


Profumeria Elide, Torino.

AM: Mi domando se stia parlando della cosiddetta “profumeria di nicchia”…
GB: Guardi, per noi vecchi venditori, il termine “profumeria di nicchia” è un qualcosa che fa sorridere. Penso sia essenzialmente un “fenomeno alla moda”, dettato da ragioni di profitto. Frequento ancor oggi i saloni, le fiere, osservo l’evolversi dell’ambiente. Dozzine di nuovi produttori, centinaia di nuovi profumi, i profumieri, i "nasi" che si moltiplicano a vista d’occhio….ma non stiamo esagerando? Quanti di questi nuovi marchi o profumi esisteranno ancora fra 10 anni? E della distribuzione, ne vogliamo parlare? La gente comune pensa solo al “profumo in negozio”, ma alla “distribuzione”-ovvero al come il profumo riesca ad arrivare nei negozi- non ci pensa mai. Eppure la distribuzione è importantissima: quando si ha a che fare con centinaia, migliaia di nuovi profumi, come fa ad esistere una “distribuzione”?  E poi, quanti di questi “nasi” sono davvero competenti in fatto di profumi? Ho parlato con alcuni di loro, e non nascondo le mie perplessità. Ma tutti questi nuovi “nasi”, ovvero “creatori di profumi”, sono davvero competenti nel loro mestiere?

Profumeria Elide, Torino.

AM: A suo parere, fino a quando la profumeria ha vissuto la sua epoca d’oro, e quando invece ha cominciato a declinare?
GB: Se vogliamo parlare di periodi storici, le prime avvisaglie che qualcosa non andava le abbiamo avute, incredibile a dirsi, già nel 1990. Nel 1995 noi del settore già “sentivamo” che l’epoca d’oro era terminata, vi erano molti segni di stanchezza e il declino era cominciato. 
A cosa era dovuto il declino?  A quella che noi chiamiamo “cannibalizzazione” delle multinazionali. Le marche di profumi tradizionali venivano acquisite dai grandi gruppi e perdevano la loro indipendenza, dovevano tener d’occhio più il fatturato che la qualità dei prodotti, e ben presto tutto questo arrivò a ripercuotersi sul prodotto in vendita. Aggiungiamo poi i regolamenti IFRA a partire dalla fine degli anni 90, che limitavano l’uso delle sostanze usualmente utilizzate in profumeria, e il quadro è completo.

Profumeria Elide, Torino.

AM: Un esempio concreto?
GB: Parliamo di un caposaldo della profumeria come Guerlain. L’ultimo grande profumo di Guerlain è stato “Samsara”, nel 1989. Dopo “Samsara”, poche cose, pochissimi profumi che fossero al tradizionale livello di Guerlain, inteso come grande marchio della profumeria.


Profumeria Elide, Torino.

AM: Parlando di profumeria del periodo d’oro, quali sono i profumi che lei ricorda più volentieri?
GB:  Tra i femminili metto "Shalimar" di Guerlain, “1000” di Jean Patou (che era il profumo di mia madre) e “Fracas” di Robert Piguet. Tra i maschili, da tradizionalista quale sono, scelgo "Vetiver" e "Habit Rouge" di Guerlain. Ma anche vecchi Hermès, come ad esempio "Equipage" e "BelAmi", e la linea tradizionale di Floris, oggi non più in produzione. Ebbene sì, sono un nostalgico!


Profumeria Elide, Torino.

AM: Indipendentemente dal successo commerciale e dalle sue preferenze, quali sono a suo avviso profumi “ben realizzati”?
GB: Ve ne sono moltissimi e a dirne solo alcuni si farebbe torto ad altri. Comunque i primi che mi vengono in mente sono i profumi di Hermès e quelli di Caron, capaci di trasmettere emozioni anche oggi. Altri profumi ben fatti erano i primissimi Armani,  i vecchi Dolce&Gabbana. Poi anche Van Cleef &Arpels, mi riferisco a “First” e al classico “VC&A pour Homme” ….e tanti altri.

Profumeria Elide, Torino.

AM: Ci sono a suo avviso profumi che hanno avuto successo pur non meritandolo affatto, e viceversa?
GB:  Purtroppo si, tanti profumi non hanno avuto il successo sperato, oppure sono stati rivalutati dopo essere stati ritirati dal commercio. Una cosa che non viene sufficientemente sottolineata è che il successo oggi è dato non dalla qualità del prodotto, ma dalla “distribuzione” e dalla “pubblicità” che ne viene fatta. Sono questi i due elementi che fanno il successo di un profumo. Se un profumo viene venduto solo in una-due profumerie, oppure non ne viene fatta alcuna pubblicità (costosissima peraltro) per renderlo noto, come fa il pubblico ad accorgersi della sua esistenza, e quindi a conoscere il valore e bontà?
Non voglio far nomi perché non è carino, ma molti profumi hanno avuto un grandissimo successo solo grazie a una distribuzione capillare e a una pubblicità sistematica, pur essendo – e nessuno meglio di noi lo sa- delle schifezze assolute.


Profumeria Elide, Torino.

AM: C’è qualche nome nella profumeria moderna sul quale si sentirebbe di scommettere?
GB:  Purtroppo non vedo molti astri nascenti, a meno di non voler guardare le piccole realtà, che spero vengano notate dai grandi marchi, in maniera di poter dare una ventata di nuovo, scalfendo le linee consolidate che vengono ormai seguita da tutti –avete fatto caso a come oggi i profumi si assomiglino l’un l’altro? Consideriamo  però che da “inventare” resta ben poco. A volte penso che forse sarebbe meglio rivalutare tanti capolavori scomparsi, e capire quanto fossero già avanti i creatori di profumi degli anni '30. Di questi profumi non sa più niente nessuno, eppure erano già modernissimi, anche secondo il senso attuale del termine. Ecco: “riscoprire”, più che “creare”.


Profumeria Elide, Torino.

AM: Tra i tanti aneddoti che potrebbe raccontare ve ne è uno  in particolare che le è rimasto impresso?
GB: Poco fa mi chiedeva la differenza tra ieri e oggi. Ecco, voglio raccontarle questo: un giorno arriva in negozio una signora raffinatissima ed elegantissima, preoccupata perché il suo profumo sembrava fosse finito fuori produzione: “Ombre Rose” di Jean Charles Brosseau. La tranquillizzo dicendole che è ancora in catalogo, e lei, tutta contenta -e forse anche per paura di non trovarlo più- compra tutti i flaconi che in quel momento ho in negozio: dodici flaconi di "Ombre Rose"! Lei ha idea di quanto costasse “Ombre Rose” all’epoca? Un cliente che compra dodici flaconi per volta? Una cosa oggi impensabile.


Profumeria Elide, Torino.

AM: Un’ultima domanda. Come vede il futuro della profumeria?
GB: Bella domanda! Non avendo la sfera di cristallo non posso prevedere nulla, ma ritengo che l'onesta', professionalità, e voglia di imparare siano le fondamenta sui cui si può costruire qualcosa, in questo campo. E per quello che mi riguarda, dopo decenni di attività, noi ci siamo ancora.

Gianni Bertetti oggi, Milano, 2015


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A trip at the Perfume Chest.

April 27, 2015, 4:05 am
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Do you think perfumes stores are "shops where people sell perfumes"? You're right.
Do you think perfumes stores are shops where people sell perfumes  only? Well, this time you're wrong.
There are a few stores which are "Perfume Museums", too. 
Try to imagine it: when you enter in such a store, you enter in a Time Capsule: surrounded by perfumes from 30, 40, 50 years ago... 
A real (and pleasant) blast from the past.
Here, in the heart of Turin, in the northern Italy, not far from the French border, in the beautiful 19th-century "Galleria Umberto", there is a very unusual store: actually, it's a sort of  Historical Museum of Perfumery. Its name? "Elide's Perfumes".
Just enter at "Elide's", have a look around, and guess if you travelled back in time.
The owner, Mr. Gianni Bertetti, is not just the person serving the customer: he is a person who loves to chat, narrating stories and anecdotes about perfumes from the past.
And, above all, is an extraordinarily competent person, with decades of experience in the perfumes field.
(All photos in this article were shot at "Elide's Perfumes" in Turin, Italy)

The 19th century "Gsalleria Umberto", in Turin, Italy.

AndreMoreau (AM): Good morning Mr. Bertetti, can you tell us something about your perfume store?
GianniBertetti (GB): My family entered the world of perfumes during the II World War, in 1944, when Elide (it's my mum's name), arrived here in the "Galleria Umberto", to work as a saleswoman. Fifteen years later she bought the store, adding it her name ("Elide's perfumes"), a name preserved until our days. 
There could not be a better time to start such a business, because at the end of the Fifties Italy started to become a wealthy country. 
The store underwent several renovations during the Sixties and Seventies, and since 1992 -following my mum's death- this store arrived in my hands. 
Today I am still the owner, and I manage "Elide's Perfumes" together with Carmen, my wife.
Briefly, my family has been involved in perfumes, here in Turin, for nearly seventy years, continuously. 
Seventy years during which we have witnessed virtually all ages and all trends in perfumery.


...such things could happen during the Seventies....
Estèe Lauder and her husband (on left), on holidays in Italy, 
during a dinner with Gianni Bertetti (sit at the table) and his family.

AM: I have no trouble believing that, during the last 70 years, you and your family have been living all different trends in perfumery... but I understand you witnessed it at the highest levels! For example, I see here your famous photo, portraying a dinner with Estée Lauder -just her in person!-  I wonder how many people can claim to have had dinner together with Estée Lauder!
GB: Well, many people remain surprised and admired for that photo, but at least for me, such things were pretty ordinary! 
What we call "perfumery" was very different, when you compare old times to the modern ones. 
First, "perfumes" were a synonym for "elegance", and a perfume was an important element in daily life, gaining a lot of attention and consideration; apart this, it was easier to stay in touch with important people during old days.
So, when Estée Lauder and her husband went in Italy for holidays, it was not difficult for us to call them for a dinner all together. 
And the same thing could be said for other people involved in perfumery, such as many directors, for example the ones from "Revlon", "Estée Lauder", "Helena Rubinstein"... all friends of mine.

Profumeria Elide,Torino.

AM : Let's say it, it was just a different era ...
GB : Absolutely different. Let's admit it, the commercial aspect was always important, but I can assure you there were solid human relationships between us. The motto: "Money is everything", was not so imperative during old times; it is imperative in modern times. 
In addition, there was a lot of competence in those days. Any people in charge for perfumes, in any aspect, was really competent and expert in such a field. He knew the subject and what he was dealing with. 
On the contrary, today, many people do not even know what's a "perfume".
During the "Golden Age" of perfumes, in the Sixties and Seventies, and until the Eighties, there was a lot of mutual respect between people. 

Profumeria Elide, Torino.

AM: Here, let's talk about "golden age" of perfumes, yesterday and today: what about the "sale figures"? Can you give us an example?
GB: First, we must consider that we had many wealthy years -with highs and lows- at least until the Nineties ... let's say it, Italy has been a rich and wealthy country, for decades. 
And this led to a greater purchase of luxury goods, such as perfumes. People spent a lot of money. I remember Atkinsons delivering perfumes, creams, soaps, shaving foam ....using light trucks full of these products, only for our store! 
Another one that comes in my mind mind was Revlon: when "Charlie" hit the market, we were not even able to cope with all the requests. 
In those years there were the "reservations", i.e. customers came into the shop asking a "reservation" on the merchandise that was yet to come. Yes, this means "blind buys"! People were hungry for news, and everything was welcome.
An interesting aspect was that people paid more, for less products than today.


Profumeria Elide, Torino.

AM : What do you mean ?
GB : That is to say that the number of fragrances available at the time was much lower than today: the launch of new products, although highly anticipated by the public, was slow and saltuary. Today we are launching a disproportionate number of new scents by hundreds of different manufacturers, with a distribution pulverized into a thousand different channels .

Profumeria Elide, Torino.

AM: I wonder if you are talking about the so-called "niche perfumery" ?
GB: Look, for old sellers like us, the term "niche perfumery" is something that makes us smile. I think it is essentially "a trend", orchestrated by money reasons. I attend salons, fairs, seminars, I observe trends. There are dozens of new manufacturers, hundreds of new fragrances, many, many new "noses" ... but is it an exaggeration, isn't it? How many of these new brands, or perfumes, will remain in the next 10 years? 
And the "distribution".... we have to spend a few words about it. 
People think only at "perfume on the shelves", but they never think to the "distribution". Yet the distribution is very important: when you have to deal with hundreds, thousands of new perfumes and manifacturers, how a "distribution" can exist? 
At last, how many of these new "noses" are really competent about perfumes? I talked to some of them, and I do not hide my concerns. Are all these new "noses", or "fragrance inventors",  really competent in their task?

Profumeria Elide, Torino.

AM : Well, in your opinion, when did perfumery begin its decline ?

GB : If we want to talk about historical periods, the first signs that something was wrong arrived, incredibly enough, in 1990. In 1995, we understood that the "golden age" was over, since there were many signs of fatigue and decline. Why? Because of the "cannibalization" by big corporations. Traditional brands were acquired by large groups, corporations, and lost their independence; had to keep an eye on revenues more than the quality of the scent, and soon it came to affect the final product. At last, you have to consider the IFRA regulations at the end of the Nineties, which limited the use of the ingredients commonly used in perfumery, and you get the whole picture.


AM : Can you give a practical example?
GB : Let's talk about a cornerstone: Guerlain. The last great, unforgettable perfume created by Guerlain was "Samsara", in 1989. After "Samsara", there were very few perfumes at the same high level.

Profumeria Elide, Torino.

AM : Speaking about perfumery during the "golden age", what are the scents you remember with most pleasure?
GB : Among female scents, I'd put "Shalimar" by Guerlain, "1000 " by Jean Patou (which was my mother's scent) and "Fracas" by Robert Piguet on top of the list. About masculines, being a traditionalist, I choose "Vetiver" and "Habit Rouge" by Guerlain. But I like old Hermès too, such as "Equipage" and "BelAmi", and the old, traditional "Floris" scents, now discontinued. Yes, I'm a nostalgic man!


Profumeria Elide, Torino.
AM : Regardless of the commercial success and regardless personal preferences, can you give us some examples of "well crafted scents", in your opinion?
GB : There are many, it's difficult  to name just a few.... 
However, the first that come in my mind are Hermès and Caron scents, both able to convey emotions, still in our days. 
Other fragrances superbly made are the very first Armani and Dolce&Gabbana. And Van Cleef & Arpels ones too. I am speaking about "First" and the classic "VC&A pour Homme" ... and many others.

Profumeria Elide, Torino.

AM : What are -in your opinion- perfumes that got huge success, although not deserving any merit at all? And, on the contrary, what perfumes deserved a lot, but failed?
GB : Unfortunately, you are right. Many perfumes did not get the deserved success, or received appraisal only after discontinuation. 
There is a factor that is not sufficiently emphasized: the "success" is given not only by the "quality", but mainly by the "distribution" and "advertising".  
These are the two elements (distribution and advertising) that make "success or failure". 
If a perfume is sold only in one or two stores, or if it don't receive any advertising, how can buyers know its existence? And how can buyers know its value and quality?
About bad perfumes: I do not want to mention any scent because it is unpolite, but a lot of scents got huge success only thanks to a widespread distribution and consistent advertising, although - we perfectly know it - being absolute craps.


Profumeria Elide, Torino.

AM : Any name in modern perfumes, on which you would like to bet?
GB : Unfortunately I do not see many rising stars in modern perfumes, unless you want to consider really small producers... However, I hope them to be noticed by the big brands. It could be an attempt to produce something different - do you notice how scents seem to be very similar each other, in our days? 
However, keep in mind that very few things in perfumery remain to be "created". Sometimes I think that it would be better to re-evaluate old masterpieces, instead of "creating" new perfumes.
These old scents apparently appear as "antique", "dated",  yet they are very "modern", even according to the current days. 
So my proposal is to "rediscover",  rather than "create". 


Profumeria Elide, Torino.

AM : Among the many anecdotes you know, there is one in particular you'd like to tell us?
GB : Well, just moments ago you asked for the difference between yesterday and today. Here, I want to tell you this funny story: one day a refined and elegant lady enter in the shop, worried because her perfume seemed to be discontinued: "Ombre Rose" by Jean Charles Brosseau . I assure her that it was still in production, and she happily -and perhaps fearing of not finding it anymore- bought all the bottles I had in the shop. I had twelve bottles of "Ombre Rose"! Can you imagine "Ombre Rose" premium price, many years ago? And someone buying twelve bottles at a time? This is unconceivable today.


Profumeria Elide, Torino.

AM : One last question . What about the future of perfumes?
GB : Good question! Not being able to see the future, I can not predict anything , but I think the honesty and willingness to learn are foundations on which you can build something, in this field. And, after decades of work, we are still here.

Gianni Bertetti in Milan, 2015

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MISCELLANEOUS
PICTURES from "Elide's Perfumes".

Giant 1-liter, 31.4oz. Pierre Cardin 
Giant 0.9 liter,  30 oz. Aramis









"Femme", by Rochas

Shalimar Extrait, by Guerlain








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Seven Ads for Seven Days (April 2015 /w18)

April 30, 2015, 11:32 pm
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Seven Ads for Seven Days (May2015 /w19)

May 6, 2015, 5:01 am
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The Vintage Ads Treasure Chest

May 13, 2015, 4:20 am
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Seven Ads for Seven Days (May2015 /w20)

May 13, 2015, 4:23 am
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Yves Saint Laurent pour Homme, year 1983




Poison, year 1985




"Cabochard" de Grès, year 1971




Kingdom, year 2002



Jil Sander N°4, year 1993




"Arpege" de Lanvin, year 1963



Agua Brava de Puig, year 1971



More vintage ads? 
(click on the Treasure Chest to view previously published ads)






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GUEST REVIEW: "Knize Ten", by Alfarom.

May 19, 2015, 5:46 am
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Alfarom (AKA Francesco Alfa Romero) is a fragrance aficionado known for his reviews and articles on both Basenotes and Fragrantica and for running his fragrance-related blog Neroprofumo (http://neroprofumo.blogspot.it). He doesn't believe in objectivity applied to fragrance and strongly thinks fragrance criticism is all about personal tastes and penchants. Usually drawn towards dark and avant-garde compositions, he's also a big fan of classic French / Italian perfumery and pre-80s vintage from all over the world.
Here at "Raiders of the Lost Scent", we are very pleased to have such an authority as a "Guest Reviewer". 
So, give him the floor immediately....



I don't believe in *signature* fragrances but if I would, Knize Ten would be the closest thing to it for me.
A love or hate, totally iconic scent and possibly one of the best masculine fragrances ever produced. Knize Ten makes a great example of the concept "expensive doesn't always mean good" as it is very reasonably priced and at the same time better than almost any other more expensive leather-themed composition available on the market.




An archetypal perfume and one of the very few pre-WWII leather compositions who carefully avoided disastrous reformulation*. Made by François Coty and Vincent Roubert, Knize Ten is a pillar of the early 900 perfumery and something we all should preserve from oblivion. Something that deservedly gained its place in the olympus of leathers together with other icons such as Tabac Blond, Chanel's Cuir De Russie and Bandit.




The opening is literally shocking (to me in a good way, but can be challenging to someone) with a severe and breathtaking explosion of leather. It's something so powerful to burn you nose hair. If you like it, fine, if you don't, just hang in there for a while as Knize Ten will surely reward you by slowly turning into an incredibly comfortable and wearable scent.




A magnifically rounded amber smooths the ever dominant animalic leather adjusting the initial severity and harshness with some warmness. Floral patterns (ylang-ylang and jasmine) together with some spices and woods reinforce the general classic vein while the infamous gasoline-like leather note merges with the rest to give birth to a rich blend that feels assertive and relaxed at the same time. Absolutely distinctive.



Knize Ten became the benchmark of masculine leather fragrances and after eighty years it's still one of the most successful and most copied compositions ever. An all time favorite and a great example that perfection is ageless.
Like it or not, there's only one like it.

                                                           Alfarom
                                                   (http://neroprofumo.blogspot.it)

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* Unfortunately, Knize Ten has been recently reformulated…and not for the best. It's still head and shoulders above the average quality available amongst standard niche offerings but it feels overall sharper and thinner. I don't know when this exactly happened but it was sometime between 2013 and 2014.



Year 2014 "Knize Ten"


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Pictures
(please note: I don't know authors of these pictures: 
so I'll be pleased to add your name or remove the pic).
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Seven Ads for Seven Days (May2015 /w21)

May 23, 2015, 3:04 pm
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Chanel "N°5", year 1987


Guerlain , year 1979 




Anais Anais "Concentrèe", year 1982



Jean Patou, year 1951




Sortilège de Le Galion, year 1984



Pullman by Dana, year 1967



Signor Vivara, year 1972


previous vintage ads: 
click on the the chest.


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Seven Ads for Seven Days (May2015 /w22)

May 31, 2015, 2:14 pm
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Nr.5, Chanel, year 2002


Jardins de Bagatelle, Guerlain, year 1991



Dolce Vita, Dior, year 1998


Vetiver de Guerlain, year 1981


Giò by Giorgio Armani, year 1993


Marmara de Dana, year 1975


L'Homme de Roger&Gallet, year 1982


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previous vintage ads: 
click on the chest.


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Seven Ads for Seven Days (June2015 /w23)

June 4, 2015, 9:17 am
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"CineScent", by Gabriela Guidetti.

June 8, 2015, 5:12 am
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Let's open a new section: Movie and Perfumes, or "CineScents". 
It's a real pleasure to welcome Gabriela Guidetti, critic, writer, and perfume lover.

On Air:
“Murasaki” (Shiseido, 1980) 
and 
“Dressed to Kill” (Brian de Palma, 1980)



In my life there are two things I've always loved: Cinema and Scents.
When I was eighteen I became a member of a Cine-club and in the same year I bought my first fragrance. It was during the Seventies. Since, I have seen many movies and have worn many, many perfumes.
So, some years ago I wondered if I could find a liaison between these two passions. In my opinion Cinema is an Art that stimulates not only Sight, but other senses too, especially sense of Smell. Why not to find the scent of a characteristic movie sequence?


(pictures from the web, unknown author)

Now I am asking you to play a game together and find a connection between two artistic worlds, Cinema and Perfumery, not so different each other.
It was year 1980 when Shiseido introduced “Murasaki”.
It was year 1980 when Brian de Palma directed one of his most famous movies: “Dressed to Kill”.
For those people- and I hope very few- who don't know it, Brian de Palma's movie is a thriller, a tribute to the Master Alfred Hitchcock. The plot tells about a murderer in female outfit, and the following investigation to unmask the killer, with a dramatic twist at the end. But we have to consider a particular sequence, that entered the history of cinema: the encounter between Kate Miller, performed by Angie Dickinson, and a stranger, in the galleries of Metropolitan Museum of NYC. Kate is sitting in the middle of a room and she's watching paintings on the wall, she's taking notes, and looks around her. A man sits next to her. He also seems interested in paintings. They look at each other. Then he gets up and walks away. Immediately, a chase starts inside the Museum, on the enveloping soundtrack by Pino Donaggio. The camera sinuously moves replacing or following their sights. Who is the prey, who is the hunter? Actually, both. They swap roles, playing the “now you can see me, now you can't” game, that sparkles desire.


(video) "Dressed to Kill": the Museum scene




In a similar way, “Murasaki” velvety fragrance sweeps into the frames of this sequence. Top notes reflect the whiteness of Kate's dress. Bergamot and galbanun soften the richness of gardenia, made even sweeter by hyacinth and peach. The white tailleur enfolds Kate's golden and fragrant skin, a promise of femininity ready to be unveiled. The encounter with an unknown and charming man lights up the woman's sensuality that shine into the opulence of the heart notes sunk in a noble flowers bouquet, tied by a dusty shade of orris. The fragrance shines vividly, more and more, like Kate's captivated and shaken gaze.






The chase becomes nervous and frantic following movements of the camera. Kate realizes that she lost one of her leather gloves, and becomes anxious to find it, losing contact with the mysterious man. Anxiety has the aroma of musky and woody notes. Kate leaves the museum quite disappointed, but she notices a taxi with the open window, from which the hand of the unknown appears, dangling her glove.
The hunt is over, now it's time for the love match. Sandalwood, vetyver, musk and amber chase each other in basenotes, to balance the voluptuosity of flowers, wrapping them in a languid powdering veil. Sensuality of leather brings back the promise of a romantic rendez-vous.





Kate and “Murasaki” exit the scene, leaving behind them a trail of elegant and exquisite femininity that will remain for a long time in the memory of those watching the movie and smelling the scent.
Maybe a few readers could consider audacious this encounter between “Murasaki” and "Dressed to Kill". This is my impression, therefore it’s personal and arguable. Probably some of you would have matched “Murasaki” with other sequences and movies. But, again, this is a game, for movie/scent lovers and, above all, enjoyable. And perhaps the first of other events dedicated to the Scent of Celluloid.




(all "Murasaki" pictures provided by delcampe.net, parfumo.de, ebay,com, and unknown authors)



Murasaki (Shiseido,1980) - Floral green
Top Notes  Bergamot, Galbanum, Hyacinth, Gardenia, Peach
Heart Notes   Rose, Orris, Lily of the valley, Jasmin, Lily
Base notes  Vetyver, Leather, Oakmoss, Musk, Amber, Sandalwood



Dressed to Kill (1980) – Thriller
Director : Brian De Palma
Writer : Brian De Palma
Music: Pino Donaggio
Cast: Michael Caine, Angie Dickinson, Nancy Allen, Keith Gordon



Who is Gabriela Guidetti?
“If passions help you to stay young, then I'm still a little girl.”

In love with cinema, science-fiction, TV-series, and perfumes, Gabriela Guidetti is a passionate critic and writer. Grew up with Billy Wilder’s and Andrei Tarkovsky’s movies, nourished with science fiction TV series, and educated by Philip K. Dick’s and Richard Matheson’s books and novels, Gabriela finally reached adulthood with John Carpenter's classics and J-Horror movies.
After working with various Movie and Fandom Clubs, Gabriela published hundreds of movie reviews and Fantasy Tales. A few years ago she decided to mix scents with movies, and landed on the shores of fragrant webzines such as “Extrait”.
Here at “Raiders of the lost Scent” welcomes Gabriela for her landing on the Vintage Galaxies of Perfumery.



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(italian) Profumo di celluloide

“Murasaki” (Shiseido, 1980) vs. “Vestito per Uccidere” (Brian De Palma, 1980)

Nella mia vita ci sono due cose che ho sempre amato: il cinema e i profumi.
Avevo 18 anni quando mi iscrissi al primo cineforum ed avevo la stessa età quando comprai il  primo profumo. Erano gli anni Settanta e da allora ho visto tanti film e indossato tanti profumi.
Perciò qualche anno fa mi sono chiesta: e se trovassi dei punti di contatto tra queste due mie passioni? Perchè il cinema non è, secondo me, una forma di arte che stimola solo il senso della vista, ma anche altri sensi. E se l'olfatto è uno dei questi perché non cercare di trovare il profumo di una sequenza?
Quindi proviamo a fare un gioco e vediamo se è possibile trovare una liaison tra due mondi espressivi, cinema e profumo, solo apparentemente diversi.
Era il 1980 quando Shiseido presentò al mondo: “Murasaki”.
Era il 1980 quando Brian de Palma diresse uno dei suoi film più famosi: “Vestito per Uccidere” (Dressed To Kill)
Per coloro, e mi auguro pochi, che non lo conoscono, il film di Brian de Palma è un thriller, un omaggio al maestro Hitchcock. Il plot narra di un assassino con sembianze femminili e delle indagini per smascherarlo, con ovvio colpo di scena finale. Ma noi prendiamo in considerazione una sequenza in particolare in “Dressed to Kill” che è entrata nella storia del cinema: l'incontro tra Kate Miller, interpretata da Angie Dickinson, e uno sconosciuto, nelle sale del Metropolitan Museum di NYC. Kate, seduta al centro di una sala osserva le opere appese alle pareti, prende appunti, si guarda intorno. Un uomo si siede accanto a lei. Sembra interessato anche lui ai quadri esposti. Si guardano. Poi lui si alza e se ne va. Lungo le sale del museo inizia così un inseguimento accompagnato dalla musica avvolgente  della colonna sonora firmata da Pino Donaggio. La macchina da presa si muove sinuosa sostituendo o seguendo gli sguardi. Chi è la preda e chi è il cacciatore? Entrambi. I ruoli si scambiano in un gioco di sguardi, di vedo e non vedo, che eccita il desiderio.
Ed ecco che tra i fotogrammi di questa sequenza si insinua la vellutata fragranza di “Murasaki”.
Le note di testa riflettono il candore dell'abito di Kate. Il bergamotto e il galbano ammorbidiscono la ricchezza della gardenia, resa ancora più soave dal cotè di giacinto e pesca. Il tailleur bianco avvolge la pelle dorata e fragrante di Kate, promessa di una femminilità pronta ad essere svelata.
L'incontro con un uomo sconosciuto e affascinante accende la sensualità della donna che risplende nell'opulenza delle note di cuore  affondate in un bouquet di fiori nobili legati dalla sfumatura polverosa della radice di iris. Il jus si fa più vivido come lo sguardo inebriato e allo stesso tempo turbato di Kate.
L'inseguimento diventa nervoso e frenetico così come i movimenti della macchina da presa. Kate si accorge di non indossare più uno dei suoi guanti di pelle e si affanna a cercarlo perdendo così di vista l'uomo misterioso. L'ansia ha l'aroma di note muschiate e legnose.  Kate esce dal museo delusa e si accorge di un taxi fermo con il finestrino aperto da cui spunta la mano dello sconosciuto con il guanto che lei aveva perso. La caccia è finita, è venuto il tempo dell'incontro. Sandalo, vetiver, muschio e ambra si rincorrono nel fondo di “Murasaki” a bilanciare la voluttà dei fiori e ad avvolgerli in una languida nuvola talcata. La sensualità della pelle evoca la promessa di un rendez-vous romantico. Kate e “Murasaki” escono di scena lasciando dietro di loro una scia di femminilità raffinata e preziosa che resterà a lungo nel ricordo di chi guarda e di chi annusa.
Forse per alcun lettori  questo incontro tra “Murasaki” e “Dressed to kill” potrà sembrare ardito. Si tratta di mie impressioni e come tali molto soggettive e discutibili. Probabilmente alcuni di voi avrebbero accostato “Murasaki” ad altre sequenze, ad altri film. Ma, ripeto, questo è un gioco, cinefilo, olfattivo e, soprattutto, divertente. E forse il primo di altri appuntamenti dedicati al profumo di celluloide.


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Gabriela Guidetti

"Se le passioni mantengono giovani, allora sono una bambina" (G.G.)
Innamorata di cinema, fantascienza, serie televisive e profumi, da anni Gabriela scrive per passione degli argomenti che la ossessionano. Cresciuta a pellicole di Billy Wilder e Andrej Tarkovskij, educata sui libri di Philip K. Dick e Richard Matheson, ha raggiunto l'età della ragione sragionando di John Carpenter e di J-Horror. Dopo aver collaborato con cineclub e club di fandom, pubblicato online e offline recensioni cinematografiche e racconti fantastici, qualche anno fa ha deciso di mescolare insieme profumi e cinema per vedere l'effetto che fa e così è sbarcata sui lidi fragranti della webzine Extrait.it per cui ha scritto fino allo scorso anno. Ora è approdata nella galassia di Raiders of the Lost Scent per una nuova avventura olfattiva.




















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Seven Ads for Seven Days: Tribute to Carven.

June 10, 2015, 11:46 pm
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TRIBUTE TO
CARVEN
(on June 8th, 2015, Carmen de Tommaso, known as "Carven", passed away at age 105, after an entire life dedicated to fashion and perfumes)

 



Variations, Year 1972



Madame de Carven, year 1979


Monsieur Carven, 1983


Vetiver de Carven, year 1984


Ma Griffe, year 1984


Les Exclusives, year 1989


Vetiver de Carven, year 1996


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previous ads:

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GUEST REVIEW: "Diorling", by Caro Fernandez.

June 15, 2015, 4:50 am
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If you are a passionate Perfume lover, you will start surfing the web.... and sooner or later you will arrive at "Tè de Violetas" (tedevioletas.com), the bilingual (English/Spanish) site run by Caro Fernandez and Virginia Blanco.
We at "Raiders" are therefore glad to give the floor to well-known expert Caro Fernandez. 
Caro will talk about one of her greatest favourite: "Diorling", by Christian Dior.


"Diorling", Eau de Cologne

In 1963 nose Paul Vacher created Diorling, a leather chypre and a thing of beauty. The 1950s and 1960s were a golden age for chypres. Characterized by the trinity bergamot-patchouli-oakmoss- their self-assured, structured and mature sensuality fitted the fashions of the era like a glove (no pun intended). 
Diorling, year 1963 ad, with "Amphora" bottle
Due to current restrictions modern chypres are mostly composed using low-atranol oakmoss or without any oakmoss at all, but they rarely satisfy purists, much less us nostalgics.  I worship my vintage chypres in their full oakmossy glory. It must be noted that, contrary to a widely extended belief, Coty Chypre (1917) was not the first chypre perfume nor the first one known under that name. 


Year 1963 alternate ad, with the Baccarat bottle

My bottle of Diorling eau de cologne dates from the 1970s or early 1980s. Its opening is citrusy, green and a bit sharp; the fragrance soon morphs into a warm, indolic leather redolent of white flowers -most notably jasmine- which rests on a softly animalic base.  Diorling eau de cologne keeps a subtle sparkle throughout its evolution, well into the drydown. The longevity is excellent for an eau de cologne though we should bear in mind that these flacons come from a time when concentrations were higher and perfume-phobia was not as widely extended as it is today. 



Year 1965 ad
The precious extrait de parfum opens a bit too pungent, almost aggressive but slowly becomes greener and more flowery. It slowly blooms into a gorgeous white-floral buttery leather with a marked patchouli note in the drydown, which prevents one from becoming too relaxed. Although the parfum gets softer and smoother as time progresses, it never lets go of its chypre character and animalic breath. There is new Diorling version (year 2012) by Francois Demachy, which I haven’t yet tried.


Caro Fernandez

Who is Caro Fernandez?
Buenos Aires-based Caro Fernandez applies her knowledge on fragrance as editor of the bilingual blog "Té de Violetas" (tedevioletas.com) where she delves into the cultural, artistical and historical aspects of perfumery.
She also collaborates with international perfume brands as translator, consultant and copywriter. 


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Pure Parfum 30 ml / 1 oz

Pure Parfum 15 ml. / 0.5 oz.

The tiny 2 ml mini.

Eau de Toilette


Eau de Cologne


(from gognol.skyrock.com)
The rare "Amphora" bottle.

(from auctionatrium.com)
Two rare "Baccarat" bottles
Baccarat perfume bottle Diorling launched in 1963
(from thefashionglobe.com)

(from parfumdepoque.com)
Three Diorling "Pure Parfum" bottles

Diorling

Diorling
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Seven Ads for Seven Days (June2015 /w25)

June 17, 2015, 11:54 pm
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GUEST REVIEW: "Capucci pour Homme", by T.Grottola.

June 22, 2015, 4:42 am
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Tony Grottola is a well-known name in reviewing perfumes, and this time he will illustrate one of his personal favourites: 
CAPUCCI POUR HOMME (1967)  


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"Capucci pour Homme? This is the men's fragrance I've been looking for all along!
If you've read my reviews before and looked at my collection, you should probably be able to gather that I'm a fan of chypres, especially citrus chypres. I used to really like Eau Sauvage, but over time it's been reformulated and the citrus was flattened a lot. 



The original Eau Sauvage lives on in Capucci Pour Homme, but with a pleasant surprise - a Jo Malone-esque lime and basil accord in the top that lasts through the drydown. It blends flawlessly with the fruity-chypre heart and peppery neroli accord; not just that, but I can smell some hefty oakmoss in the base, and, like all good chypres, it resonates a "warmth" from my skin, a type of warmth that I can only smell in a well-made chypre. 



Capucci Pour Homme is a great everyday fragrance, especially for someone like me - it's intellectual, but caring and loving; it's intelligent but not a smart ass, and it's classy without being pretentious. It lasts for at least six hours on the back of my hand, and over seven on my wrists and arms. If you're a fan of classic men's fragrances, chypres, citrus fragrances, citrus chypres, or all of the above, then you need to try Capucci Pour Homme before there's no more left. It really is a hidden gem. 



Capucci Pour Homme also has powderiness in it, which brings it sort of close to Chanel Pour Monsieur, or, Chanel for Men in the vintage formulation. Also something peculiar is a noticeable lavender note, and when you think lavender, you probably think of a fougere. 



Yet, Capucci Pour Homme smells like, and is more structurally like a chypre. So how about that? It's sort of a chypre-fougere hybrid, a rare occurrence in perfumery. When the weather gets too warm for Patou Pour Homme, I'll break out the Capucci Pour Homme and bask in its glory."



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Who is Tony Grottola?

Tony Grottola is a young fragrance fanatic who has had a passion for, and fascination with perfumery and all things related since he was eleven years old. He has written numerous reviews on various websites on the Internet for fragrances, and has also made fragrance-related videos on YouTube.
While recent changes in life have caused Tony to fall a bit out of touch with the fragrance world, he still maintains it as his favorite passion, and currently (2015) is a fragrance salesman at Macy's, as well.


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"Capucci pour Homme" (year 1967)
Timeline


1960s and 1970s (early bottles)

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1970s and early 1980s (different box, same bottle)

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1980s (different fonts on the bottle)

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1989-1998 (different box and bottle)

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SINCE 1998 (different box)
1998-2014 (produced by "Weruska&Joel")
2015-ongoing (produced by "Extraordinary Fragrances")


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Seven Ads for Seven Days (June 2015 /w26)

June 25, 2015, 5:10 am
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