Raiders of the Lost Scent

"White Linen"
vs.

"Out Of Africa"

A great movie, put together with a great scent.
A story narrated by Gabriela Guidetti.

Farewell, farewell! but this I tell
To thee, thou Wedding-Guest!
He prayeth well, who loveth well
Both man and bird and beast.
(from::The Rime of the Ancient Mariner
by Samuel Taylor Coleridge, 1834)

The story of White Linen is bizarre. The fragrance was launched by Estee Lauder in 1978 in a trilogy of perfumes including Celadon, Pavilion and White Linen ("The New Romantics" trio). The innovative concept considered the possibility of wearing the three scents combined together, but the first two do not had great success.
(all pictures taken from Ebay and Etsy)

On the contrary, White Linen became immediately an extraordinary success, until our days, after almost forty years since its launch.

The fragrance was created by Sophia Grojsman, a refined and experienced nose in creating floral fragrances, like Paris by YSL, Trésor by Lancôme and Eternity by Calvin Klein, to name a few.

If there is a scent revealing its fragrance just from the name, that's White Linen: light floral fragrance, enhanced by aldehydes and warmed by sweet and aromatic woods.

Smelling it, initially a bright and clean world in sunshine appears, a white linen hanging in the sun, an alabaster skin caressed by wind gusts, an hot summer to indulge. A feminine sweet, full with languid feminity.

It's hard to find all the real notes of White Linen: wonderful aldehydes blend every nuance to create a unique emotional fragrance, with a well-defined and uncompromising character, the first of its kind, very modern for the times. Maybe for this reason, the fragrance created by Sophia Grojsman doesn't appear dated.

Similarly, there are movies not affected by time, and charme remains unspoiled over decades. It is not easy to understand why, maybe due to a perfect mix of subject, script, direction, cinematography, music, editing, all these factors enhanced by a major performance, a mix turning a good movie into a great classic, as well as the aldehydes in parfumes: a mix turning a good fragrance into a great classic.

In these movie masterpieces you can find a particular sequence: you see it once, and you don't forget it anymore. Similarly it happens, for example, during the sequence of the shampoo by the river, in "Out of Africa", directed by Sidney Pollack in 1985, and starring Meryl Streep in the role of the Danish author Karen Blixen. The movie is inspired by her autobiographical novel with the same title, and narrates a period during the early twentieth century in which she lived in Kenya, in her husband's plantations. At that time, Karen Blixen had the opportunity to know the land of Africa, its landscapes and people and, after the end of her marriage, to live an intense love story with a hunter, Denys Finch Hatton (played by Robert Redford).

The sequence of the shampoo is short, but exciting. On the banks of a river near the savannah, in the shade of lush woods, Robert Redford lathers Meryl Streep's hair, declaiming a few verses from the poem The Rime of the Ancient Mariner by Samuel Taylor Coleridge. She listens with her eyes closed, languidly wrapped in a white bathrobe. The hands of Redford pass through her hair, covered with white foam. Then, still declaiming the poem, Redford takes a pitcher full of cold water and rinse her hair. Her face in the foreground is clear, and brights like alabaster. Enchanted by the freshness and by his words, Streep has a hint of a smile and opens her eyes. Purity shines inside and outside her, seems to smell the scent of the sun. The dust is taken away by the foam and water. All that remain, are brightness and shine.

And a scent, White Linen, is permeating every frame.
The complex, pure and candid bouquet of the fragrance created by Sophia Gojsman has the same innocent sensuality of Meryl Streep's look, and the same vibrant intensity of Robert Redford's voice.
The sequence is perfect and unforgettable, gives off a perfect balance between seduction and romance. As perfect is the jus of White Linen, expression of pure and mellow femininity.
The light in Meryl Streep's eyes seduces audience still today; similarly Estee Lauder's fragrance continues to seduce perfume addicts even in our days.
Because classics are forever.

OUT of AFRICA

Shampoo by the River Scene.

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

White Linen – Estee Lauder (1978)

Eau de Parfume

Naso: Sophia Grojsman

Famiglia: Floral Aldehyde

Aldehydes, peach, citrus oil, rose, lilac, jasmin, lily-of-the-valley, iris, muguet, ylang-ylang, orris root, cedarwood, sandalwood, amber, honey, tonka, civet.

Out of Africa – 1985

Directed by: Sydney Pollack

Cast: Meryl Streep, Robert Redford, Klaus Maria Brandauer

based upon Karen Blixen's "Out of Africa”

Prizes: 7 Academy Awards, 3 Golden Globes, 3 Bafta Awards

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

ADS:

Year 1978

Year 1980

Year 1983

Years 1985-1990

Year 1991

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

Solid Perfumes

This is a little-known fact: White Linen was produced and launched as "solid perfume" in about 100 (!!!) different versions, produced in few pieces and usually sold at premium prices.

Here is a few "vintage" White Linen solid perfumes, according to www.solidperfume.com

YEARS 1978-1987

Years 1988-1995

Years 1995-1997

Year 1998-2000

Years 2000-2004

Years 2005-2007

After 2007

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

Previous chapters:

"Cinescent": June 2015

Murasaki (Shiseido) VS "Dressed to Kill" (Brian de Palma)

(ITALIAN)------------------------------------

White Linen incontra La mia Africa

Farewell, farewell! but this I tell
To thee, thou Wedding-Guest!
He prayeth well, who loveth well
Both man and bird and beast.
From The Rime of the Ancient Mariner
(1834, by Samuel Taylor Coleridge)

E' curiosa la storia di White Linen, lanciato da Estée Lauder nel 1978 nella trilogia New Romantics che comprendeva Celadon, Pavilion e, appunto, White Linen. Il concept innovativo per quei tempi prevedeva la possibilità di indossare i tre profumi combinati insieme, ma se dei primi due non ne è rimasta molta memoria, invece il terzo, White Linen divenne fin da subito un successo straordinario, successo che continua anche oggi, dopo quasi quarant'anni dal suo esordio. Il profumo porta la firma di Sophia Grojsman, naso raffinato ed esperto nel creare fragranze floreali come sanno bene coloro che hanno indossato Paris di YSL, Trésor di Lancôme e Eternity di Calvin Klein, solo per citarne alcune. Se c'è un profumo che già dal nome svela la sua fragranza, quello è White Linen, luminosa fragranza floreale, esaltata dalle aldeidi e scaldata da legni dolci e aromatici. Annusarlo fa materializzare un mondo impregnato di sole e pulito, di bianchi lini stesi al sole, di pelle d'alabastro accarezzata da refoli di vento, di calda estate a cui abbandonarsi, di femminilità dolce e languida. E' difficile riuscire a ritrovare tutte le note che fanno parte della piramide di Whilte Linen perché le meravigliose aldeidi fondono ogni sfumatura olfattiva per dare vita a una unica emozionante fragranza dal carattere ben delineato e senza compromessi, primo nel suo genere e molto moderno. Forse è anche per questo che la fragranza creata Sophia Grojsman non risente del tempo.
Anche nel cinema ci sono film che non risentono del tempo e che dopo decenni mantengono inalterato il loro fascino. Non sempre è facile capire perché, forse per un mix perfetto di soggetto, sceneggiatura, regia, fotografia, musica, montaggio, il tutto esaltato da una grande interpretazione che potremmo paragonare alle aldeidi, il quid che trasforma un bel film in un grande classico. E in questi capolavori ci sono spesso delle sequenze speciali, quelle che vedi una volta e non ti scordi più. Come, per esempio, la sequenza dello shampoo in La mia Africa, film diretto da Sidney Pollack nel 1985 e interpretato da Robert Redford e Meryl Streep che nella pellicola veste i panni di Karen Blixen autrice dal romanzo autobiografico omonimo a cui il film si ispira. La storia narra del periodo del primo novecento in cui l'autrice danese visse in Kenya nella piantagione del marito. In quel tempo la Blixen ebbe la possibilità di conoscere a fondo la terra Africa, i suoi paesaggi e la sua gente e, dopo la fine del suo matrimonio, di vivere un'intensa storia d'amore con un cacciatore, Denys Finch Hatton, interpretato appunto da Robert Redford.
La sequenza dello shampoo è breve, ma emozionante. Sulle rive di un fiume a ridosso della savana, all'ombra di piante rigogliose Robert Redford in piedi insapona i capelli della Streep, declamando alcuni versi tratti dal poema La ballata del vecchio marinaio di Samuel Taylor Coleridge. Meryl Streep lo ascolta a occhi chiusi, avvolta in un accappatoio bianco. Le mani di Redford passano tra i suoi capelli coperti di candida schiuma. Poi, sempre declamando i versetti di Coleridge, Redford prende una brocca di acqua fresca e le risciacqua il capo. Il viso di lei in primo piano è trasparente e luminoso come l'alabastro. Rapita da quella freschezza e dalle parole di lui, la Streep accenna a un sorriso e apre gli occhi. Tutto in lei riluce di candore, sembra di annusare il profumo del sole. La polvere è stata portata via dalla schiuma e dall'acqua. Rimane solo il nitore della purezza. E di un profumo, White Linen che impregna ogni fotogramma. Il bouquet complesso, puro e candido della fragranza creata da Sophia Grojsman ha la stessa sensualità innocente dello sguardo di Meryl Streep e la stessa vibrante intensità della voce di Robert Redford. La sequenza è perfetta e indimenticabile, sprigiona un perfetto equilibrio tra seduzione e romanticismo. Così è perfetto il jus di White Linen, espressione di femminilità pura e soave. Se quella luce nello sguardo di Meryl Streep sa sedurre ancora tanti spettatori così la fragranza di Estee Lauder sa sedurre anche oggi gli amanti dei profumi. Perchè un classico non tramonta mai

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

Antaeus, Chanel, year 1988

Coco, Chanel, year 1984

Derby, Guerlain, year 1987

Champs Elysèes, Guerlain, 1996

Dune, Christian Dior, 1991

J'adore, Christian Dior, 2003

Higher, Christian Dior, 2002

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

previous ads:

Year 1969

Fleur de Feu, year 1950

Year 1978

Mitsouko, year 1975

Petit Guerlain, year 1994

Un Air de Samsara, yerar 1996

Mahora, year 2001

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

previous ads:

Year 1972

Year 1973

Year 1988

Year 1989

Year 1993

Year 2003

Year 2004

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

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

previous vintage
advertisements:

July 2015 /w29
July 2015 /w28

I love Fracas. It's one of the strongest, heaviest, most intense female scents, and it brings me back to my childhood.
"Fracas de Robert Piguet" is, since 1948, the epitome of tuberose.

Actually, Fracas is the benchmark for all tuberose-based scents, yesterday and today.

You could read volumes about this perfume, searching on the net, so I'll not waste many words about it, because a lot of perfume experts have written very interesting reviews examining Fracas. You will find a list of interesting reviews at the end of this article.

One of the most intriguing aspects about Fracas is its recent story: it was produced by historical "Robert Piguet Parfums" until the end of Seventies. Then, during 1985, a few Piguet scents (Fracas, Bandit...) were reformulated, produced and distributed under "Alfin Fragrances Inc.", a well-known american luxury firm, under its Swiss division "Orinter".
Two different bottles were produced by "Alfin/Orinter" : a transparent bottle (1985-1990) and an opaque black one (1990-1995).

"Alfin/Orinter" stopped Fracas production in 1995, and sold Robert Piguet Parfums to "Fashion Fragrances &Cosmetics Ltd". It took a certain amount of time to completely re-orchestrate the scent, and finally to relaunch it, in 1998, with the prestigious label of the "original Fracas formula, certified by Givaudan". Apparently, this new, certified scent underwent at least a couple of reformulations after year 2007, due to IFRA restrictions.

Searching all over the net, you will find a general consensus about the "rogue", "poor quality", "watered down", "deprecable" version produced by "Alfin/Orinter" (1985-1995), opposed to the new, back-to-original, magnificent, and "certified by Givaudan" version produced since 1998 (and -even more- to the legendary 1950s-1960s historical version).

Is it true? Did 1980s Fracas perform really so bad, compared to the new one? It's almost impossible to say, since "Alfin/Orinter" bottles from the 1980s are very, very rare, and almost impossible to find, so it's very difficult to perform a side-by-side comparison.

Until now....
Well, I was incredibly lucky, because our beloved Gianni from Milan remembered to have an old Fracas tester, in the transparent bottle (the first one, produced during 1985-1990), stored in one of his basements. He generously borrowed it to me, to perform a side-by side comparison with a modern version produced by "Fashion Fragrances&Cosmetics Ltd" (actually, this "new" bottle is a year 2009 one).

In my opinion, this is the first time that someone put two different Fracas bottles side-by-side for testing. Let's go and see the results!

HERE ARE THE PLAYERS:

OLD BOX AND BOTTLE, first serie (1985-1990) (TESTED)

FRACAS first serie, Eau de Toilette, in a transparent bottle (years 1985-1990),
produced and distributed by Alfin Fragrances Inc./Orinter
(note the word "FRACAS" in capital letters) (from E bay)

OLD BOX AND BOTTLE, second serie (1990-1995) (NOT TESTED)

(from E bay) Fracas, second serie, black bottle (years 1990-1995),
always produced by "Alfin Fragrances Inc" in a different box
and bottle (note the word Fracas in lowercase letters,
and the production for "Orinter, Geneva, Switzerland" )

MODERN BOX AND BOTTLE (since 1998) (TESTED)

This is the modern "Fracas" Eau de Parfum black bottle, since 1998, produced by
"Fashion Fragrances&Cosmetics Ltd" and "certified by Givaudan".

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

BOTTLES SIDE-BY-SIDE FOR TEST

old "Alfin Fragrances Inc."/"Orinter"Eau de Toilette bottle (1985-1990) on left.
modern "Fashion Fragrances&Cosmetics Ltd"Eau de Parfum bottle (year 2009) on right

Bottom of the bottles

Bottom of modern bottle (year 2009) used during the test

Modern Fracas Eau de Parfum
(since 1998, bottle in picture actually dated year 2009)

Older Fracas (1985-1990) Eau de Toilette

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

The Olfactive Pyramid

The Pyramid, according Robert Piguet Parfums.

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

MATERIALS AND METHODS

As usual, if you want to perform a serious test (single test or side-by-side), you should use at least three different surfaces, in order to have different conditions to compare. 1) Test on paper; 2) Test on skin; 3) Test on fabric.

Side-by-side with paper strips

Test on skin (I personally prefer the back of the hand)

side-by-side, both hands.

Test on fabric (side-by-side, two piece of same fabric)
Heavy fabric traps a lot of scent and performs very well.

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

TESTS and RESULTS

Unusually, I compared an "Eau de Toilette" (old transparent bottle) with an "Eau de Parfum" (new black bottle) and the first big surprise is that there are not so many differences in longevity and sillage. Both performs almost identically. But let's say it honestly: if you know Fracas, you should know it's a real Top Performer, in both longevity and sillage. On paper strips and on fabric, both old and new versions "stand" for more than a week (!!!).
Really, Fracas, old or new, is an intoxicating scent. If you love heavy, persistent floral scents, search no more. You have find it. Only old Balenciagas can perform in similar way. If you spray Fracas on any surface, stay sure it will remain for days. If you spray Fracas on your skin, a shower will not enough to remove it. The marvellous tuberose blast will remain stick on you, like an aromatic glue.

But what about the two versions?
Let's check the tuberose first: actually, when you consider Fracas, you want the tuberose at its highest level.
And I am pleased to say that no one will be disappointed. In both versions, old and new, tuberose performs exceptionally good and with the same strenght (no difference between EdT and EdP). In both cases, you smell unmistakably Fracas. You will recognize it immediately. Tuberose is a real smash in your face (or, in your nose).
But is there any difference between old and new? Definitely yes! There are differences, but are subtle ones. Subtle differences between old and new are in the supporting notes (Jasmine, Violet, Bergamot, Musk....)

In the old transparent bottle produced by "Alfin/Orinter" the tuberose is literally surrounded by a "buttery" aura. Actually, you are smelling a tuberose submerged in a deep sea of butter. It's really pleasant, indeed, especially if you love "buttery" perfumes.

In the new formulation, on the contrary, the "buttery" notes, although present, quietly stand aside.

The other difference (maybe derivating from the buttery note) is the sharpness.

The old bottle has softer notes -tuberose apart- and Violet, Bergamot and Jasmin appear almost smudged, "blurred", "overlapped", almost non recognizable each other.
The new formulation has different sharp notes, accurately separated each other; intense, clean, well defined.
I'd say: notes sharp like razors.

If pictures say a thousand words, here are the examples:

old FRACAS, the transparent bottle from the Eighties:
all notes in the background don't appear sharp, but almost "blurred"

old FRACAS, the transparent bottle from the Eighties:
all notes in the background don't appear sharp, but almost blurred

And here is the new version: all notes are really sharp, not confused, not blurred.

New Fracas, in the modern black bottle:
all notes in the background appear sharp, clean and refined

New Fracas, the modern black bottle: all notes in the background
appear sharp, clean and refined

As a conclusion, I'd say both version are really, really good. When you talk about Fracas, you want essentially a tuberose at highest level.
And both version perform in an excellent way.
Tuberose is magnificent both in old and new version.
In a nutshell, there are two mayor differences between old and new Fracas. A) the creamy aspect, much more relevant in the old version; B) the sharpness of single notes, more relevant in the new version.
It is possible that the high "creaminess" in the old version blurs all other notes; if it's true, the lower creaminess in the new version allow to appreciate better the jasmine, the violet, the bergamot still present in the scent.
What's the best of two? In this case, there is no better and no worse.
I feel very comfortable with both and don't have a particular preference.
If you prefer "a buttery tuberose", try to find an old bottle.
If you prefer "a sharp tuberose", with all notes perfectly recognizable, go for the new.
In any formulation, Fracas is still a benchmark in perfumery.

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

BONUS SECTION

HOW TO RECOGNIZE "Fracas" BOTTLES

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

by % VOLUME

the old "Alfin/Orinter" black bottles (produced in 1990-1995) are very similar to the modern ones, BUT have the volume percentage on the front of the box, bottom right.
(in this case "90% Vol.")

On the contrary, new, modern boxes (since 1998)
have NO indication about percentage on the front of the box.

-----------------------------------------------------
by STICKERS

All modern bottles (since 1998) have a sticker on the bottom reporting:
"Fashion Fragrances&Cosmetics Ltd", and:
1998-2004: "New York" address only.
2004-2009: "NY" plus "Amstelveen, Netherlands."
2010- to date: "NY" plus "Thorigny sur Marne, France"

First type sticker: "New York" address only, 1998-2004

Second-type sticker, adding address: "Amstelveen, Netherlands"
= years 2004-2009

Third type sticker:
Address: "Thorigny sur Marne, France"
(since years 2009- 2010)

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

by CERTIFICATIONS

ALL modern boxes (since 1998) have a
"certification by Givaudan" signed by President.
1998-1999: Geoffrey W. Webster
2000-2003: Errol G.W. Stafford
2004-2014: Michael Carlos

The FIRST box = years 1998-1999
Signed byGeoffrey R. Webster

The SECOND box = years 2000-2003
Signed by E.G.W. Stafford

The THIRD box = years 2004-2014

signed by Michael Carlos

(from Ebay) another bottle signed
by "Michael Carlos" (= after 2004)

---------------------------------------
GENERIC CLUES

Remember: until 2004-2005 only the short list of ingredients was reported on the box ("Alcohol, Perfume, Water, colorants....")

After 2005, the long list of ingredients/allergens became mandatory.

note the SHORT list of ingredients, used before 2005

note the LONG list of ingredients/allergens,
adopted after 2004-2005

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

Interested in Fracas?

read here.....

Robert Piguet perfumes blog
Yesterday's Perfumes
Into the Gloss
NowSmellThis
New York Times (by Chandler Burr)
Boisdejasmin
Kafkaesque Blog
The Candy Perfume Boy
Olfactoria's Travels
The Non Blonde
Sweet Diva

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

A FINAL WORD...

Usually, when I perform a test, I try to contact the perfume house to get first-hand, genuine, authentic infos.

In most cases, I get no answer at all. In a few cases, I receive some elusive, vague answers. Very rarely I obtain really useful infos.

Well, I'm glad to say -in this case- I contacted "Robert Piguet Parfums", and I found an immensely kind person, very friendly, open-hearted and enthusiast, who gave me all infos I needed.

Thank you very much.

Asja, Fendi, year 1992

Mila Schon Uomo, year 1992

Ferrè for Men, Year 1994

K de Krizia, year 1991

Blonde, Versace, Year 1996

Ghibli, Atkinsons, year 1984

Armani, year 1986

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

previous vintage
advertisements:

July 2015 /w29
July 2015 /w28

July 2015 /w27

June 2015 /w26

June2015 /w25

June2015 /w24

June2015 /w23

May2015 /w22

May2015 /w21

May 2015 /w20

May 2015/ w19

April 2015/ w18

April 2015/ w17

April 2015/ w16

April 2015/ w15

March 2015/ w14

March 2015/ w13

March 2015/ w12

March 2015/ w11

Angel (by Thierry Mugler, 1992)

VS.

Chocolat (by Lasse Hallström, 2000)

"Happiness. Simple as a glass of chocolate or tortuous as the heart. Bitter. Sweet. Alive."
(From the book "Chocolat", by Joanne Harris)

In 1992 Olivier Cresp and Yves de Chiris created, for the Maison Thierry Mugler, one of the most discussed, loved and hated fragrance in the history of perfumery: Angel.

Whatever you think, Angel is one of the most iconic perfumes ever made, a scent that influenced many other fragrances, and created thousands of perfume-addicts since the 90s. Smelling a drop of Angel does not leave emotionless: at first the sweetness of the fragrance is so intense to be excessive for a few people.

Volumes have been written about this olfactory masterpiece. We are talking about the gourmand fragrance par excellence, where yellow fruits, marzipan and cotton candy notes explode at first smell, wrapped in a patchouli, woody and intense, to inebriate noses. Patchouli walks together with the fragrance to the base notes, where it is blended with greedy and creamy notes such as honey, vanilla, chocolate and caramel. Base notes are the masterpiece of "Angel": a drydown that bewitched thousands of admirers.

Wearing Angel is similar to sending us back in childhood; it brings back memory of candy stores, without ever being cloying, because patchouli gives an almost masculine cotè, balancing and making the fragrance so sensual. Tasty sweetness and carnal charme, it's like a chocolate melting in the mouth, and releasing all its flavor to satisfy the heart and soul.

Just as "Chocolat", the 2000 movie directed by Lasse Hallström.
The movie narrates the story of Vianne (Juliette Binoche), a fascinating and mysterious woman who open a chocolate shop with her daughter in a small town in Northern France, Lansquenet-sous-Tannes. Thanks to her chocolate, Vianne manages to bring sunrays in the colorless and repressed lives of the the people in the small town.

One day some gypsies drop anchor in the river next to Lansquenet. Among these gypsies, Vianne makes friend with Roux (Johnny Depp) who will leave a mark in her heart. Among the many sequences remained in our hearts, there's one that seems to smell like Angel: the dance between Vianne and Roux on the notes of Caravan.

VIDEO

It's evening. The party organized by Vianne is over and the chocolate dessert was served on the Roux's boat. The last guests, now satiated, are relaxing on the chords of gypsy music. She is collecting the used dishes when Roux invites her for one last dance. Vianne is uncertain, but agrees. The sound of guitars languidly drives the dance steps, first uncertain, then smoother.

Vianne slowly indulges in his arms. Faces are approaching, bodies are very close. Viannes's alabaster skin is illuminated by the light of torches. Her hands smell chocolate. His golden skin vibrates sensually. Anouk, Vianne's daughter, is watching them dance and smiles.

The tenderness of childhood that Mugler wanted to evoke with Angel, shines on Anouk's lips.
Angel drives each dance step and every glance between the two dancers. The seductive sweet touch of gourmand notes drives Vianne's moves and the aromatic intensity of the patchouli spreads from Roux's body. The music notes intersect with olfactory ones, and the result is a perfect balance of vibrations descending into the hearts to turn on a flame, and binding the two lovers.

You can't forget a woman like Vianne: strong, free, charming and unconventional. As well as Angel, a heavenly scent that brings to the extreme the gourmand concept, an innovative fragrance that had been able to survive times, fashions, and detractors, as any great olfactive creation. Maybe a few drops of Angel felt in the dough of magic sweets served at La Chocolaterie Maya.

Inside Vianne's chocolates you can find her sparkling soul that has been able to give to others happiness and joy. The same happens with Angel. And if it's true that chocolate is gratifying and so addictive, it's the same for the perfume created by Olivier Cresp and Yves de Chiris more than twenty years ago, a scent that enlightened generations of fans, totally dependent and bewitched by its unique and original jus.

Angel – Thierry Mugler, 1992.
Eau de Parfum
Noses: Olivier Cresp e Yves de Chiris
Family: Oriental Vanilla
The eau de parfum includes notes of Bergamot, Mandarine, Passion Fruit, Peach, Apricot, Marzipan, Cotton Candy, Honey, Patchouli, Vanilla, Chocolate and Caramel

Chocolat (Chocolat), 2000.
Director: Lasse Hallström
Cast: Juliette Binoche, Judi Dench, Alfred Molina, Lena Olin, Johnny Depp, Carrie-Anne Moss, Hugh O'Conor, John Wood, Peter Stormare, Leslie Caron.
Based on the novel Chocolat by Joanne Harris
Music by Rachel Portman
Cinematography by Roger Pratt

Previous chapters:
- Murasaki (Shiseido) VS Dressed to Kill (Brian de Palma)
- White Linen (Estèe Lauder) VS Out of Africa (Sidney Pollack)

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

"Angel" by Thierry Mugler

through the years

Year 1992-1993

Year 1996-1997

Year 1997

Year 2000-2001

Year 2002: 10th Anniversary

Year 2004

Year 2006

Year 2008

Year 2012: 20th Anniversary

Year 2013

Year 2014

-----------------------------(ITALIAN)-------------------------------------------

Angel di Thierry Mugler (1992) vs Chocolat di Lasse Hallström (2000)

"Happiness. Simple as a glass of chocolate or tortuous as the heart. Bitter. Sweet. Alive."
(From the book "Chocolat" by Joanne Harris)

Nel 1992 Olivier Cresp e Yves de Chiris crearono per la Maison Thierry Mugler una delle fragranze più discusse, amate e odiate della storia dell'arte profumiera: Angel. Comunque la pensiate Angel rimane uno dei profumi più iconici mai realizzati, un profumo che ha influenzato moltissime altre fragranze successive e che ha creato centinaia di migliaia di perfumer addicts dagli anni '90 fino a oggi. Annusare una goccia di Angel non lascia mai indifferenti: la prima volta la dolcezza della fragranza è talmente intensa che per alcuni risulta essere eccessiva. Fiumi di parole sono stati scritti su questo capolavoro olfattivo. Stiamo parlando del profumo gourmand par excellence, dove note di frutta gialla, marzapane, e cotton candy esplodono al primo assaggio, avvolte da un patchouli tanto legnoso e intenso da inebriare il naso. Il patchouli accompagna tutta la fragranza fino al fondo dove si mischia a note golosissime e cremose di miele, vaniglia, cioccolata e caramello. Le note di fondo sono il capolavoro di Angel, quel drydown che ha stregato migliaia di estimatori.
Indossare Angel fa tornare bambini, fa ricordare i negozi di dolciumi della nostra infanzia, senza mai essere stucchevole perché il patchouli regala quel cotè quasi maschile che equilibra e rende sensuale la fragranza. Golosa dolcezza e fascino carnale, come un cioccolatino che si scioglie in bocca liberando tutto il suo sapore che appaga il cuore e l'anima. Come Chocolat, film del 2000 diretto da Lasse Hallström. Il film narra la storia di Vianne (Juliette Binoche), donna misteriosa e affascinante che con la figlia apre una cioccolateria in un paesino della Francia del Nord, Lansquenet-sous-Tannes. Grazie al suo cioccolato Vianne riuscirà a portare un raggio di luce nella vita incolore e repressa degli abitanti della piccola cittadina. Un giorno alcuni zingari gettano l'ancora nel fiume vicino a Lansquenet. E tra questi zingari Vianne farà amicizia con uno in particolare, Roux (Johnny Depp) che lascerà un segno nel suo cuore. Tra le tante sequenze rimaste anche nel nostro cuore ce ne è una che sembra profumare di Angel: il ballo tra Vianne e Roux sulle note di Caravan.
E' sera. La festa organizzata da Vianne è finita e il dessert al cioccolato è stato consumato sulla barca di Roux. Gli ultimi invitati ormai sazi si stanno rilassando sugli accordi di musiche gitane. Lei sta raccogliendo i piatti quando Roux la invita per un ultimo ballo. Vianne è incerta, ma accetta. Il suono delle chitarre accompagnano languidamente i passi di danza, dapprima incerti poi sempre più sciolti. Vianne piano piano si abbandona tra le braccia di Roux. I visi si avvicinano, i corpi si sfiorano. La pelle di alabastro di Vianne è illuminata dalla luce delle torce accese. Lei ha le mani che sanno di cioccolata. La pelle dorata di lui vibra di sensualità. Anouk, la bimba di Vianne, li guarda ballare e sorride. La tenerezza dell'infanzia che Mugler aveva desiderato evocare con Angel risplende sulle labbra di Anouk. Angel accompagna ogni passo di danza e ogni sguardo tra i due ballerini. La golosità seduttiva delle note gourmand guida le movenze di Vianne e l'intensità aromatica del patchouli emana dal corpo di Roux. Le note musicali si intrecciano alle note olfattive e il risultato è un perfetto equilibrio di vibrazioni che scendono nei cuori per accendere la fiamma e suggellare l'unione tra i due innamorati.
Vianne è una donna che non si dimentica facilmente: forte, libera, affascinante e anticonformista. Così come Angel, un profumo celestiale che ha portato all'estremo il concetto di gourmand, un profumo innovativo che come le ogni grande creazione olfattiva ha saputo sopravvivere al tempo, alle mode e ai detrattori. Forse qualche goccia di Angel è caduta nell'impasto dei magici dolci serviti a La Chocolaterie Maya. Nei cioccolatini di Vianne si può trovare l'anima scintillante della sua creatrice che ha saputo donare agli altri felicità e gioia. Così è per Angel e se è vero che il cioccolato gratifica e dà dipendenza anche il profumo creato da Olivier Cresp e Yves de Chiris oltre vent'anni fa ha illuminato intere generazioni di appassionati totalmente dipendenti e stregati dal suo jus unico e originale.

Angel – Thierry Mugler 1992
Eau de Parfume
Naso: Olivier Cresp e Yves de Chiris
Famiglia: Vaniglia Orientale
Il profumo racchiude note di bergamotto, mandarino, pesca, albicocca, frutto della passione, marzapane, cotton candy, miele, patchouli, vaniglia, cioccolato, caramello

Chocolat (Chocolat) – 2000
Regia: Lasse Hallström
Cast: Juliette Binoche, Judi Dench, Alfred Molina, Lena Olin, Johnny Depp, Carrie-Anne Moss, Hugh O'Conor, John Wood, Peter Stormare, Leslie Caron.
Ispirato al romanzo Chocolat di Joanne Harris
Musica di Rachel Portman
Fotografia di Roger Pratt

Since the launch, happened in 2011, the "Yves Saint Laurent La Collection" (eight historic male and female perfumes) arose an huge amount of debate among perfume lovers. The bigger complaint were about the "reformulation" of all eight scents made by L'Oreal (owner of YSL brand); then there was a minor complaint about the new "double cube" bottle (an identical one, for all eight scents), and -at last- the biggest cry: the stop of production of previous versions.
Aesthetical considerations apart, what about these "new" scents?
Was "reformulation" so drastic?
Are these "new" perfumes so "awful" (as reported by many during past years), or "acceptable", or even "good ones"?
I was able to obtain all perfumes both in vintage and modern versions, and perfectly stored (especially the vintage ones).
So, finally I could perform a side-by-side test with the four "new" male scents produced under "La Collection" line: Rive Gauche - JAZZ - YSL pour Homme - M7 Oud Absolu, and I compared with different "vintage" versions, under strict conditions.
How did they perform?
Let's go and discover it!

(Foreword: in this review I tried to compare accurately 4 different scents, using a great number of old and modern bottles. I tried firmly to be impartial, and without bias. I have no interest in describing ingredients and top and base notes, since you can read tons of reviews all over the Net.
I'm more interested in describing "differences and similarities").
For understanding of various YSL eras and batch codes, see HERE)

"La Collection" line: the front side of the four male scents

"La Collection" line: the back side.
from left: Rive Gauche - JAZZ - YSL pour Homme - M7 OudAbsolu

"La Collection" line: the bottom of each scent.
It's clearly visible the batch code 62Hxxx. Letter "H" means "year 2011"

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

MATERIALS
and METHODS
---------------------

For convenience only, here you can read and see pictures of "M7" and "M7 Oud Absolu". An identical procedure was followed for other three scents.

All comparisons were made separately, to not to mix various scents and smellings.
All comparisons were made inside a clean, no-windows, odorless room.
All comparisons were made at the same temperature: 20°C / 70 F.

As First step, the "paper strip test" was performed. Each scent was closely sprayed over the paper, and two strips were compared at different times.

Step 1: Paper strip Test

The Second step was the "skin test". It consists in closely spraying scents separately on my own skin (I prefer back of my hands), and smelling over the hours.

Step 2: Skin Test

Third and final step was the "clothes" test. Both scents were closely sprayed on two pieces of heavy fabric, and evolution was observed. Heavy fabric "traps" an enormous quantity of molecules (much more than paper) and it is really effective if you want to observe even minimal differences.

Step 3 : Heavy fabric test

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

RESULTS

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

JAZZ

First perfumes considered was JAZZ, the famous one from the Eighties. YSL's Jazz was a perfume to write volumes about, but this is out of our intentions here.

What about Jazz side-by-side comparison "yesterday and today"? Well, answer is not so simple. If you compare the new "La Collection" version with the most recent one (the bottle with clear, transparent glass, especially the ones produced after year 2000), you will hardly find any difference. Actually, both versions smell exactly the same.

But if you compare the new "La Collection" version with most ancient bottles, i.e. the magnificent postmodern "Memphis-style" plastic ones, well, you will definitely notice a few differences. Old juice is "darker", heavier, thicker, more intense, deeper. The new one (i.e. "La Collection"), on the contrary, is almost "gentle", refined, lighter, "brighter". The only exceptions are clear bottles produced before or immediately after year 2000, still apparently retaining "vintage" juice.

Please don't misunderstand my words: this is still JAZZ in every version tested, and you will immediately recognize it. So, if you liked vintage JAZZ, you will appreciate the new one, too.

But there are definitely differences between two scents.

What's the best? Personally I'm fond of old, classic black&white JAZZ from the Eighties, and I prefer the vintage "thicker&denser" version. But other people could prefer the new "brighter" version.

In a nutshell, it's hard to give an opinion about the new JAZZ "La Collection" scent: it's different from vintage, but it's not that bad.

I can't honestly say it is a bad reformulation since it's identical to previous one produced in the 2000s.

So, I have no particular advice about JAZZ: my suggestion is not to waste time and money for a transparent glass bottle, since the new "La Collection" perfume smell the same.

But if you find old "postmodern" plastic bottles (produced during 1988-1998, a true collector item), buy it (splash or/and spray, they are different), at least for collection purpose.

And juice is even better, in my opinion.

(please note: "Jazz" has nothing in common with "LiveJazz", launched in 1998: they are different perfumes)

Comparing the new "La Collection" version with the clear bottle in picture (1998-2010)
especially the ones produced after year 2000, you will hardly find a difference.

Comparing the new "La Collection" with the old scent contained in the "Memphis-style", postmodern bottles (1988-1998, here in the Spray version), you will notice the differences. Older juice is more intense, thicker, deeper..
Newer juice is brighter.

Comparing boxes.
On left: vintage "postmodern" plastic version (1988-1998)
on right : "transparent" one (1998-2010)

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

YSL pour HOMME

"YSL pour Homme" was the second scent to be tested. Also known as "the missing link between Eau Sauvage and Monsieur de Givenchy"(this is probably the best definition), it was launched in 1971, nearly 45 years ago (as for 2015) and it was necessarily reformulated at least a few times. And this is exactly what I found during the test: smelling different samples, I immediately noticed different reformulations.
I tested three bottles: a "Parfums Corp." labelled bottle (year 1988), a "PPR-Gucci" one (year 2005), and the new "La Collection" version (year 2011).
The new "La Collection" (year 2011) is similar, but not identical, to the YSLpH (year 2005) by PPR-Gucci.
But it's completely different from the Parfum Corp. version (year 1988).
The old Parfum Corp. version was incredibly rich, creamy, pleasant, intense, almost "dirty", with a legendary warm and cozy drydown.
The PPR Gucci bottle from 2005 appears to be "sanitized" with much of the "creaminess" removed.
Finally, the "La Collection" version (year 2011) appeared to be slightly watered down, even compared with the year 2005 bottle.
In all three version the only things in common are the topnotes. Citrusy topnotes are very similar each other.
But from this point onwards, things messed up.
The oldest version develops in a marvelous symphony, while the other two ones steer towards an unusual, strange "plastic" drydown.
That's the strange story: if we consider only the two most recent previous ("PPR-Gucci" and "La Collection"), these appear similar and we could say it was a decent reformulation.
So, perfume reviewers were accurate and trustful when saying there was not so much difference ...because these two bottles smell "almost" the same from top to base.
But when we compared it to the older one (Parfum Corp. year 1988), the show changes dramatically: vintage YSLpH is, really, out of this world. It's impossible to compare to modern ones.
Anyway, I don't dare to say the new scent is a bad one. All of all, it is very similar to its previous edition.
But if I have to buy YSLpH, I'd prefer to find an old bottle. Honestly, I wouldn't pay big $$$ for a YSLpH bottle produced after 1990.

YSL pour Homme, batch 8255 = year 1988
(Parfums Corp. Era)

YSL pour Homme, Batch 5GAA = year 2005
(PPR-Gucci era)

Just as curiosity: an empirical "colorimetric" test of YSLpH versions.
Inside test tubes you can see (from left):
year 1988 -year 2005- year 2011

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

RIVE GAUCHE

The third test was "Rive Gauche pour Homme". Launched in 2003, it was the smart, the last, and the (finally) successful move by Tom Ford after the commercial disaster of both NU (2001) and M7 (2002). Not very original as a scent, since the "star anise" theme was already exploited earlier, but it was a very well blended and pleasantly crafted scent...and one of the most original bottles ever produced, a tin can, much appreciated by perfume lovers, who elected it as a collector item. It was produced since 2003 until 2010 without -apparently- any reformulation.
I tested Rive Gauche thoroughly and carefully in two version only: the "tin can" and the new "La Collection" cubic bottle.
Are there identical? Well, surprisingly, the answer is no. They are very similar, but no identical.
The "La Collection" version is slightly (I told slightly) sweeter, but you can appreciate the difference only on side-by-side comparison. If you have nothing to compare with, you could hardly tell a difference. That's all.
Both version have a monster sillage and longevity, and there is no trace of watering-down. Both are strong, deep, and intense.
I am really pleased with new "La Collection"Rive Gauche and wholeheartedly recommend it as a scent.
Are the old tin can bottles worth buying? Yes, but only for collection purpose. Perfume smell nearly the same.

The tin can bottle (2003-2010)

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

M7 OUD ABSOLU

The fourth and last scent tested was M7 Oud Absolu. I'll not spend many words about M7, the scent that launched the Oud-mania in western world (although not the first western Oud-y scent, since the first mainstream one was the legendary "Balenciaga pour Homme", in 1990). M7 and its "brother" M7 Fresh were two of the most incredible scents ever produced, a complete commercial failure during years, followed by a cult status during (and after) phasing out. Since the original M7 received so many appraisals, the new version rapidly became a favourite target for detractors, slanderers and backbiters.
Well, I tested two versions, a year 2002 bottle (one of the first ones produced) and the new M7 Oud Absolu.
The first thing to say is: you're right, the two perfumes are not identical , they smell different.
M7 and M7 Oud Absolu actually are not the same scent. But this should be obvious, since even their names are different ("M7" and "M7 Oud Absolu", respectively).
The main difference is in drydown. While topnotes are nearly identical, the drydown is quite different. And as you can read, classic M7 sport "Amber", while new M7 Oud Absolu sport "Myrrh".
Yes, there is definitely a difference: M7 Oud Absolu could be considered a M7 "flanker".
However, there's no reason therefore to slander the "La Collection" new scent, since it stand -from very beginning- as a different perfume.
The most interesting thing is that M7 Oud Absolu is a really pleasant scent: in my opinion it is on the same quality level of classic M7. If you like M7, you will hardly dislike M7 Oud Absolu : Myrrh instead of Amber.
Anyway, I personally prefer old, classic M7 because of its very pleasant -and a bit dated- ambery drydown.

The old, classic M7

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

FINAL WORD

Why are these comparative reviews so complicate? Because it's really easy making mistakes.
Smell the same perfume inside and outside your house, and it could appear different.
Smell the same perfume at different temperatures, and it will not be the same.
Smell the same perfume in different environments, and you will be concerned.
Unfortunately, if you want to seriously evaluate a scent, you should have a "scientific" attitude. Perfumes should be tested under controlled conditions.
Since at least 4 years passed since the launch of the new "La Collection" line, and all heated discussions are now calmed down, it's time to get conclusions.
Frankly, all scents tested are not bad. I found one of them (Rive Gauche) very, very good, worth of buying.
Other two (JAZZ and YSL pour Homme) are adequate, similar to previous versions (but not to older vintage, which I prefer instead).
The last (M7 Oud Absolu) is, practically, a new scent.
In a few words, YSL / L'Oreal did a decent job. Older vintages are probably lost forever, but when compared to some really horrendous reformulations of great classics, the effort has to be considered positive.

"Imagine to walk in an oriental spice bazaar, with a bunch of exotic flowers in your hands, and a leather factory on your left, and a tobacco manufacture on your right....and suddenly a cloud of talc powder comes down to surround you. This is Habanita."
This is a good description of one of the most legendary perfumes in history: Habanita de Molinard.
You will find spices, tobacco, leather, flowers, talc powder, blended all together. It seems Habanita has been fulfilled with almost every ingredient used in perfumery. Actually, according Molinard, Habanita contains more than 600 (!) ingredients.
Apparently, according to tradition, Habanita could stay in the group of those perfumes called "feminine but masculine": Tabac Blond de Caron, Bandit de Robert Piguet, Cabochard by Grès, Jolie Madame by Balmain. But, in my opinion, Habanita is more similar to another lost gem from the past: Tabu by Dana. However, if you know and appreciate any of these perfumes, you will feel comfortable with Habanita. In addition, sporting a strong tobacco/spice/leather core, Habanita could fit perfectly for men, too. Be careful, Habanita stands on its own feet and it's immediately recognizable. You can't be wrong: when you smell it, you immediately say: this is Habanita.
As usual, you can read tons of review about Habanita on the web, so we'll leave floor to a few of highly estimated reviewers (listed at the end of this article).
Hanbanita is in production since 1921 and was probably reformulated several times. Good ol' friend Gianni Ambrosio, the now-retired retailer from Milan, generously borrowed me a couple of vintage EdT bottles from his collection, plus the modern EdP version on sale today, for a comparative review. Laura added a small sample of her precious older vintage. So I was able to perform a really comprehensive review.
How does vintage Habanita de Molinard perform in front of the modern one? Firstly, we have to learn something about different versions, bottles and packages used during last decades.
So, let's go and see!
Since 1980 Habanita changed four boxes and bottles, and each time *apparently* underwent a reformulation (we are considering the scent produced since the 1980s, but there are other previous versions, not tested in this review).

Briefly:

1) Transparent bottle with "syllables" on the front (i.e. HA/ BA/ NI/ TA) (produced from 1980 until 1988)

2) Lalique-type "squared" bottle (produced from 1988 until 2005)

3) Lalique-type "tall" or "Anniversary" bottle (produced from 2005 until 2012)

4) Modern bottle (EdP only, in production since 2012)

Pictures:

1) Transparent bottle with "syllables" on the front
(i.e. HA/ BA/ NI/ TA) (from 1980 until 1988)

From 1980 until 1988:
transparent bottle with "syllables"
(HA-BA-NI-TA)

EdT box and bottle (1980-1988)

Year 1983 advertisement

--------------------------------------
--------------------------------------
2) Lalique-type "squared" bottle
(from 1988 until 2005)

Year 1988 advertisement

Year 1991 advertisement

year 1997 advertisement

Lalique-type "squared" black bottle.

Without barcode: before 1990

Barcode without Greendot = between 1990 and 1992

With Barcode and Greendot: after 1992.

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

3) Lalique-type "tall" or "Anniversary" bottle
(from 2005 until 2012)

From 2006 until 2012.
Lalique-type "Tall"/"Anniversary" black bottle

Year 2006 ad

(When you read the long list of ingredients
on the box it means "produced after 2005")

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

4) Modern bottle
(since 2012)

HABANITA-by-Molinard-Eau-De-Parfum-Spray-New-Version-2-5-oz

Modern (EdP only) bottle, since year 2012

Sleek and Chic - the new Habanita Eau de Parfum

Advertisement year 2012

--------------------------
Materials
and Methods

All tests were made side-by-side, inside a clean, no-windows, odorless room, at the same temperature: 20°C / 70 F.

Due to tiny amount, the "syllable"-bottle sample (the older one) was tested on paper and on skin only.

All other three versions were tested on paper, on skin, and sprayed on clothes. Three samples are EdTs, the fourth (the modern one) is an EdP.

The four different samples tested on paper
(from 1980 bottle to the 2012 one)

The two "Lalique-type" EdT bottles
during the test "on clothes"

------------------------
RESULTS

First thing to say: there is not a version that is exactly identical to others. All four versions appeared distinct and somewhat different. This could mean a reformulation actually happened with every "edition" launched during decades. But, at the same time, Habanita is immediately recognizable in all four version. It's still Habanita, no doubt. It's the same DNA.
A pleasant news is that there isn't any version watered-down or weakened. All four versions are very strong on paper and on skin. There are great sillages and great longevities: on your skin, Habanita stay for at least 12 hours; on paper, you can easily smell it after 4-5 days. Even more, if sprayed on your clothes.
This is a good news since you can suspect - as usually happens- that modern versions are weaker than older ones. In this case, this isn't true. Even the recent formulation (year 2012, labelled as "EdP") is very strong, and "on par" with vintage ones.
Differences are rather in formulas. Briefly:
1) The older bottle (the "HA/ BA/ NI/ TA" one, 1980-1988) smells almost as pure leather + tobacco + vanilla + lot of powder. Very "rich" and "decadent", it reminds ladies smoking in Jazz clubs during 1930-1940s..... A bit dated, anyway, I like such perfumes very much.
2) The Lalique-type "squared" bottle (1988-2005) appear to be more modern, with more balanced ingredients. There isn't any note prevailing over others, the blend is equilibrate. Very suitable for men, actually, it is an unisex scent. Perfect mixture between "female" and "male" aspects. This version is probably preferred by those seeking for an "ideal" blend.
3) The Lalique Type "tall"/"Anniversary" bottle (2005-2012) is similar to the previous one, but notes are more pronounced. While the previous version aims to balance and soften all notes, this one tends to "unbalance". Vanilla, leather and powder emerge fiercely from the bunch. This version is probably preferred by those wanting a stronger, more decise, and tougher scent.
4) The modern EdP bottle (since 2012) is probably the more feminine of all versions. A strong floral note appear, and accompanies other notes, during the entire evolution. The best choice if you want Habanita as a proper "female scent".

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

FINAL WORD

Put it simply: Habanita was reformulated in all its editions.
The most pleasant fact however is that Habanita has not been ruined by any reformulation. All versions are very strong with great longevity and sillage, and retain the Habanita inner core.

However, all four versions tested are not identical to each other. For example, the modern version (since 2012), thanks to its pronounced floral vibe, can be considered "a female scent" much more than previous ones.

On the contrary, the two Lalique-type bottle are pretty "unisex" and fits for men, too.

And the first version tested ("HA/ BA/ NI/ TA") pleasantly smells even as an "old auntie" perfume.

You can't ask "what's the best?", since they all appear as "variations on a theme".
So, the last choice is up to you.

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

Miscellaneous

"Lalique-type" (1987-2000s)
25ml spray bottle

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

The two old "Lalique-type"

bottles in details

The olfactive pyramid according to Molinard (2012)

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

An OLDER BOTTLE

We considered the 1980s "syllable" bottle as the first.

Actually, during the Seventies there was another

older bottle, not tested in this review:
the "Black Sticker" one. Here it is:

Black sticker bottle (1970s)

"Diamant" bottle by Baccarat, circa 1970

Black Sticker EdC (1970s)

Year 1975 advertisement

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

....and many, many older bottles from 1921 to 1960.
(Images provided by readers)

1930s Molinard Habanita perfume bottle and stopper, clear glass, molded and paper labels, box. 4 1/2 in.:

Mint in box Molinard "Habanita" Baccarat sealed 1/2 ounce french vintage perfume | eBay:

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

Interested in Habanita?

Read here...

The candy perfume boy

From Pyrgos

Yesterday's Perfume

I smell therefore I am

Perfume smellin' things

The Non-Blonde

Cleopatra's Boudoir

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

Steve McQueen and Vétiver de Guerlain

CINESCENT by Gabriela Guidetti (September 2015)

When we think about a scent distilling the purest soul and the most sensual male universe, one name comes to mind: Vétiver, the olfactory masterpiece created in 1959 by Jean-Paul Guerlain. For the first time, a note previously used to give a woody cotè to olfactive accords became the protagonist, so as to give the name to the fragrance. Jean-Paul Guerlain blended vétiver into notes of tobacco, lemon and spices and the result was one of the most elegant and sensual perfumes "for men" ever made, a warm and enveloping jus with an earthy and aromatic drydown built by a few notes only, but cleverly blended. The allure that exudes from the skin of a man wearing Vétiver is unforgettable, and it will remain boldly in the memory of those meeting him.

It's hard to find a movie -or a sequence- that visually evokes the deep power of seduction of an historical perfume as "Vétiver de Guerlain". But an actor... yes, there's a man who represents one of the most popular and desired style icons throughout the history of cinema: Steve McQueen.

Unconventional, rebel, speed-merchant, and involved in any extreme situation, Steve McQueen has always embodied the role, in his life as in his movies, of the hero of an adventure lived at the boundary, between racing cars and motorcycles, and the seductive womanizer with very busy relationships.

And despite this stormy and borderline existence, Steve McQueen has always maintained a very cool aplomb, natural and detached elegance that emerged not only on screen, but in any picture, too. His complex personality, a mixture of "heat and cold", maudit with a brazen face and a tombeur de femme with an innocent look, is evident in all his characters brought on the screen and become a cult, as the actor himself.

How could not smell the tobacco and the powder of the green carpet mixed up with the smell of tension in endless games of cards in The Cincinnati Kid. The scent of the dirt raised by the motorbike in the attempt to escape in The Great Escape. The rugged metal of the car warming up, and the tires smoking during the chase in Bullitt and on the circuit of Le Mans.

In The Thomas Crown Affair, the sensual and spicy fragrance of Steve's skin wraps the body of Faye Dunaway. The desire for a cool dip in fresh water clashes with the smell of money and gunpowder in The Getaway. You breath scorched earth and saddle horses in The Magnificent Seven and Nevada Smith.

Loneliness and rebellion have the pungent smell of the jungle of The Sand Pebbles and cold stone of the prison on the Island of the Devil in Papillon.

If you had to give an olfactory note to every sequence of Steve McQueen movies, we should choose it in a range of no-feminine shades: earthy and woody perfumes, tobacco and spices, accords that stick to the skin and to the memory, and you never forget.

These fragrances are not part of any movies, but belong to Steve McQueen, as if his body emanated these fragrant scents like a spiral of velvet twisted together with the picture show. And so it's nice to imagine these scented waves of vétiver, tobacco, lemon and spices caress the skin of Steve McQueen, collect his elegance and sensuality, distill his all-male seductive power and then land softly inside a glass bottle with a label that says "Vétiver".

Steve McQueen is a timeless icon as well as the creation of Jean-Paul Guerlain. In an age where it is common to find unisex fragrances, in which a woman can easily wear a fragrance for men, and vice versa, Vétiver is almost a challenge, a scent that was uniquely created for the skin of a man. A man unforgettable as Steve McQueen.

Previous chapters:
- Murasaki (Shiseido) VS Dressed to Kill (Brian de Palma)
- White Linen (Estèe Lauder) VS Out of Africa (Sidney Pollack)

- Angel (Thierry Mugler) VS Chocolat (Lasse Hallstrom)

(all pictures taken from the web)
Vétiver de Guerlain - 1959
Woody fragrance for men.
Top notes: Lemon
Middle notes: Tobacco, Vétiver
Base notes: Nutmeg, Tobacco, Pepper.

Steve McQueen 1930-1980
Main Movies:
The Magnificent Seven 1960
The Great Escape 1963
The Cincinnati Kid 1965
Nevada Smith 1966
The Sand Pebbles 1966
The Thomas Crown Affair 1968
Bullitt 1968
Le Mans 1971
The Getaway1972
Papillon 1973
Nomination for 1967 Academy Award : The Sand Pebbles

(italian) -----------------------------------------------------------

Vétiver de Guerlain e Steve McQueen

- Icone di Stile -

Quando pensiamo a un profumo che distilla l'anima più pura e sensuale dell'universo maschile, un nome viene subito alla mente: Vétiver, il capolavoro olfattivo creata nel 1959 da Jean-Paul Guerlain. Per la prima volta una nota fino ad allora utilizzata per dare un cotè legnoso agli accordi olfattivi diventava protagonista assoluta, tanto da dare il nome alla fragranza. Jean-Paul Guerlain accostò il vétiver a note di tabacco, limone e spezie e il risultato fu uno dei profumi maschili più eleganti e sensuali mai realizzati, un jus caldo e avvolgente dal drydown terroso e aromatico composto da poche note, ma sapientemente connesse. L'allure che si sprigiona dalla pelle di un uomo che indossa Vétiver è indimenticabile e rimarrà indelebile nel ricordo di chi lo ha incontrato.
Difficile trovare un film o una sequenza che raffiguri visivamente il profondo potere di seduzione di un profumo epocale come Vétiver. Ma un attore sì, colui che rappresenta una delle più amate e desiderate icone di stile di tutta la storia del cinema: Steve McQueen. Anticonvenzionale, ribelle, amante degli eccessi e della velocità, McQueen ha sempre incarnato il ruolo nella vita e nei film del protagonista di un'avventura vissuta al limite tra corse di auto e moto e del seduttore sciupafemmine dalla vita sentimentale molto movimentata. E nonostante questa esistenza burrascosa e borderline, Steve ha sempre mantenuto un aplomb molto cool, un'eleganza naturale e distaccata che emergeva non solo sullo schermo cinematografico, ma anche in qualunque immagine apparisse. Questa sua personalità complessa, un mix di calore e gelo, di maudit dalla faccia da schiaffi e di tombeur de femmes dallo sguardo innocente, è evidente in tutti i personaggi portati sullo schermo diventati oggetti di culto come l'attore che li interpreta.
Come non sentire il profumo del tabacco e della polvere del tappeto verde misto all'afrore della tensione nelle interminabili partite a carte in Cincinnati Kid. O l'odore della terra sollevata dalla moto nel tentativo di fuga in La Grande Fuga. Mentre il metallo aspro della carrozzeria si scalda e gli pneumatici fumano durante gli inseguimenti in Bullit e le gare sul circuito di Le Mans. In Il Caso Thomas Crown la fragranza sensuale e speziata della pelle di Steve avvolge il corpo di Faye Dunaway. Il desiderio di un tuffo nell'acqua fresca si scontra con l'odore dei soldi e della polvere da sparo in Getaway! Terra bruciata e odori di animali da cavalcare si respirano in I magnifici sette, Nevada Smith e l'Ultimo Buscadero. La solitudine e la ribellione hanno l'odore pungente della giungla di Quelli della San Pablo e delle pietra fredda del penitenziario dell'Isola del Diavolo in Papillon.
Se dovessimo dare una nota olfattiva a ogni sequenza dei film che hanno come protagonista Steve McQueen dovremmo sceglierla in un ventaglio di cotè che non hanno nulla di femminile: profumi terrosi, legnosi, di tabacco e spezie, accordi che si attaccano alla pelle e al ricordo e non si dimenticano più. Fragranze che alla fine non fanno parte di alcun film, ma che sono di Steve McQueen, come se il suo corpo emanasse questi effluvi profumati simili a volute di velluto intrecciate alla pellicola. E quindi è bello immaginare queste onde profumate di vétiver, tabacco, limone e spezie accarezzare la pelle di Steve McQueen, raccoglierne l'eleganza e la sensualità, distillarne la carica seduttiva tutta maschile e poi approdare dolcemente tra le pareti di un flacone di vetro con un'etichetta con su scritto Vétiver. L'icona di Steve McQueen non ha tempo, così come la creazione di Jean-Paul Guerlain. In un'epoca in cui è frequente trovare profumi unisex, in cui un donna può tranquillamente indossare un profumo maschile, e viceversa, Vétiver rappresenta quasi una sfida, un profumo che è stato inequivocabilmente creato per la pelle di un uomo. Un uomo indimenticabile, come Steve McQueen.

Vétiver de Guerlain – 1959
Fragranza maschile legnosa.
Note di testa: limone
Note di cuore: tabacco, vétiver
Note di fondo: noce moscata, tabacco, pepe.

Steve McQueen 1930-1980
Alcuni titoli:
I magnifici sette 1960
La grande fuga 1963
Cincinnati Kid 1965
Nevada Smith 1966
Quelli della San Pablo 1966
Il caso Thomas Crown 1968
Bullitt 1968
Le 24 ore di Le Mans 1971
Getaway! 1972
Papillon 1973
Nel 1967 nomination all'Oscar per "Quelli della San Pablo"

SERGE LUTENS is one of the most acclaimed "niche" perfume houses, with a cult status, and an huge amount of enthusiastic followers.
During the Nineties (approx. until 1999) all scents "by Serge Lutens" were launched under the Shiseido label ("Les Salons du Palais Royal- Shiseido, Paris"), in the classic "Bell Jar" transparent bottles, with a white-purple label, stored inside a white-purple box. These early bottles are very rare nowadays.

"Les Salons du Palais Royal Shiseido"
(Rose de Nuit, middle of the 1990s)

During years 1999/2000, Serge Lutens officially launched a new line signing his perfumes with his own name, and adopting a "new" traditional, rectangular bottle, alongside the old, traditional "Bell Jar" ones.
Between 2000 and 2010 all scents sported the "Palais (Palace) Royal" as a logo in front of both box and bottle.
Then, after 2010, Lutens adopted the so-called "SL" logo instead of the "Palace".
Here is an example of these three different labels on the classic "Bell Jar" bottle ("Encens et Lavande"):

(from the web) "Encens et Lavande" (year 1996)
labelled "Les Salons du Palais Royale - Shiseido",
(used until 1999-2000)

"Encens et Lavande" with "Serge Lutens" name,
and the "Palace" logo (between 2000 and 2010)

"Encense et Lavande" with "Serge Lutens"
and the "SL" logo (since year 2010)

And here you can see two "new" rectangular bottles (produced since year 1999) with the old and new logo:

"Ambre Sultan", with the old "Palace" logo
years 1999-2010

"Ambre Sultan" with the new "SL" logo
(since 2010)

Another example: one of the most famous SL fragrance, "Feminitè du Bois", was re-launched in 2009. You can see the "Palace" logo (year 2009), and the new "SL" one (since 2010). Here:

Feminitè du bois, old logo

Feminitè du bois, new logo

Not considering the early "Shiseido" era (until 1999), there is at least another method to recognize "Serge Lutens" perfumes after year 2000, other than the logo: the INGREDIENTS.

This method is adopted by those fragrance-enthusiasts who want to avoid any suspect of "reformulations". This means to check for the "list of allergens" (i.e. coumarin, linalool, limonene, geraniol, etc.), mandatorily reported on all boxes since year 2005. Since a few people claim all SL fragrances were "reformulated" after years 2006-2007 (a questionable matter, anyway....), it is enough to read the "ingredients" to verify a "vintage" production. You should read the ingredients written inside the "frame", on the back of the box. If the "allergens" don't appear, the bottle dates to "before year 2005". Example:

"Douce Amere", without the list of allergens in the "ingredients"
= before year 2005

"Santal Blanc", ingredients WITHOUT allergens
= before year 2005

Ambre Sultan, with the allergens in the ingredients
( "limonene, coumarin, farnesol, eugenol", etc...)
= produced after year 2005

"Muscs Koublai Khan", with the allergens
= after year 2005

...in a nutshell....
-if you find the "Palace" logo without the "allergens" : it's between 1999 and 2005;

-if you find the "Palace" logo with the "allergens":
it's between 2005 and 2010;

-if you find the "SL" logo: it's after 2010.

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

Do you want an extra clue?
That's the old address. During early years Serge Lutens used the unusual line "Symbole Luxe International" printed on the box and on the bottom of bottles (see picture below). If you read this line, it's a very early bottle.

"Symbole Luxe International" written on box and on the sticker.
These are early bottles.

Another clue: FDP or EDP? During early years you could read "Fond de Parfum" on certain bottles, instead of "Eau de Parfum". It's not a mistake, it was the alcohol-free version of fragrance. Soon discontinued, and now very rare (see picture)

A typical "Fond de Parfum" box.

But if you want to date all fragrances you have to use...

The "Serge Lutens" batch code:

It is composed by a five-digits code. You have to consider the FIRST and the SECOND letter only.

(see picture)

(in this case: you have to consider "R" and "N")

First letter is the year:
("Shiseido" years, not fully verified)
A = 1994
B = 1995
C = 1996
D = 1997
E = 1998
F = 1999 (since 1999/2000: "Serge Lutens" years)
G = 2000
H = 2001
J = 2002
K = 2003
L = 2004
M = 2005
N = 2006
P = 2007
Q = 2008
R = 2009
S = 2010
T = 2011
U = 2012
V = 2013
W = 2014
X = 2015
Y = (prob. 2016)
Z = (prob. 2017)

....and the Second letter is the month:
A = january (B not used)
C = february (D not used)
E = march (F not used)
G = april (H not used )
J = may (K not used, etc...)
L = june
N = july
Q = august
S = september
U = october
W = november
Y = december

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

TUTORIAL PICS

"Rose de Nuit" labelled "Les salons du Palais Royal Shiseido"
(until 1999)

"Ambre Sultan" by "Les Salons du Palais Royal- Shiseido"
(until 1999) (from ricardo. ch)

"Ambre Sultan" during "Shiseido" years
batch CWxxx = probably year 1996 (from: ricardo. ch)

One of the first bottles ever produced: "Arabie".
batch FJxxx = 1999, May

The back of the very early Serge Lutens boxes
notice the ingredients without allergens, and the line
"Symbole Luxe International"

"A la Nuit"
batch JLxxx = 2002, June
(printed on glass, unfortunately it's easy to erase)

"Un Bois Vanille" (launched in 2003)
batch KJxxx = 2003, May

Batch NSxxx = 2006, September

"Chypre Rouge", (launched in 2006), batch NJxxx = 2006. May

Four different batches:
MYxxx = 2005, December --- QYxxx = 2008, December
MCxxx = 2005, February --- MYxxx = 2005, December

"Fumerie Turque"
batch NYxxx = 2006, December

Ingredients with allergens (= after year 2005)
and batch RNxxx = 2009, July

"Muscs Koublai Khan", batch RNxxx = 2009, July

"Bois de Violette", ingredients with allergens ( = after year 2005)
and batch QAxxx = 2008, January

"Clair de Musc"
batch RCxxx = 2009, february

"Un Bois Vanille"
batch RNxxx = 2009, July

batch RYxxx = 2009, December

Batch TUxxx = 2011, October

Batch TNxxx = 2011, July

"Nuit de Cellophane"
batch UQxxx = 2012, August

"Jeux de Peau"
batch VQxxx = 2013, August

A modern "Bell Jar" bottle,
batch UGxxx = 2012, April.

Another modern "Bell Jar" bottle,
batch WSxxx = 2014, September

"Feminitè du Bois"
batch WUxxx = 2014, October

(A very big thanks to Enzo and Claudia for helping in preparation of this article and for providing pictures.
For a few images it was not possible to know the author or original provenience.
We are ready to add authors, or to remove pictures.)
-----------------------------------------------------------

Previous Chapters

HOW TO RECOGNIZE:
-GUERLAIN perfumes ( here ) -
YVES SAINT LAURENT perfumes ( here )
- CHRISTIAN DIOR perfumes (here )
- GIORGIO ARMANI Perfumes ( here )
-VAN CLEEF et ARPELS perfumes ( here )
- CHANEL perfumes ( here )
- BVLGARI perfumes ( here )
- HERMES perfumes ( here )
- VERSACE perfumes ( here )
- GIVENCHY perfumes ( here )
- GUY LAROCHE perfumes (here)
- CACHAREL perfumes ( here )
- LANCOME perfumes ( here )

SPECIAL EDITIONS

And THE LAST WORD...

"Serge Lutens" playing cards: enjoy!

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

Azzaro pour Homme is an institution: it's one of the most famous perfumes ever created. In the middle of the 1980s "Azzaro pour Homme" and "Drakkar Noir" by Guy Laroche accounted together for almost 40% of all male perfume sales. During those years, if you wanted to buy a perfume "for men", you had to choose between "Azzaro" and "Drakkar Noir"....

There are several different noses apparently claiming to have contributed in its creation (namely: Gérard Anthony, Martin Heiddenreich, Richard Wirtz, and probably others) plus several urban legends surrounding the creation of "Azzaro pour Homme". Probably we will not know the true story behind this perfume, but the legends are quite fascinating. The whole project was almost discarded for several reasons: Loris Azzaro, a well-known couturier "pour femmes" was dubious in being involved in a perfume "pour homme"; apart this, perfumers wanted the new scent to be better than "Paco Rabanne pour Homme" (the real benchmark for male perfumery in those years), but the formula was too complex (nearly 320 ingredients).
At last Azzaro pour Homme arrived on shelves and it was an instant success. If you search all over the web, you will find a lot of articles narrating these fascinating stories.
Thanks to our loyal friends, we succeed in finding tester and bottles from various ages, and performing another nice "comparison test".
Let's go and examine all bottles.

The First Bottle (1978-1997)

Full-size "L"and "A" logo (Loris Azzaro) on the box.

Silver sticker on the bottle. "Round" cap.

Between 1978 and half of the 80s:"Parfums Loris Azzaro SA Paris" in a SINGLE line.
Between half of the Eighties and 1997: "Loris Azzaro - Paris" in TWO lines on the bottle.

Bar-Code on the box after 1990, Greendot after 1992.

Typical mid-1980s box and bottle

Early bottle: "Parfums Loris Azzaro SA Paris" in a single row
on the bottom of the bottle: between 1978 and mid-1980s

Typical mid 1980s bottle, with "Loris Azzaro- Paris" in two lines on the bottle

"First bottle" after year 1992, with barcode and GreenDot on the box.
Notice the "90%" and "fl.oz. ml" removed from the front of the bottle

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

The Second bottle (1997-2007)

Medium size "L"and"A" logo on the box

Silver sticker on the bottle.

Hexagonal cap.

Short list of ingredients ("Alcohol-Parfum-Water") until 2004

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

The Third bottle (since 2007)

Small-size "L" and "A" logo on the box

Glass logo on the bottle (instead of the silver sticker)

Hexagonal cap.
(In these bottles, check the six-digits batch code: the first number = the year.)

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

Comparating boxes and bottles

Boxes: Second (left) and First (right)

First (left) and Second (right) bottles

First, Second, and Third boxes (front side)

First, Second, Third boxes (back sides)

First, Second, Third (left-to-right)

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

According to....Gianni Bertetti

(Gianni Bertetti from Turin, Italy, is a sort of living memory of vintage perfumery: his story is narrated HERE)

"Those were great years! Couturiers and stylists entered in the perfume field for the first time, and almost all fragrances were top-quality ones. Even today, although continue reformulations, these perfumes still retain a cult status and plenty of loyal followers. I perfectly remember Azzaro pour Homme, it was released in 1978, this fragrance was bold and elegant at the same time, and immediately got many admirers. Distributors made real fortunes with it. Azzaro pour Homme was very hard -almost impossible- to keep up with requests, it was immediately sold-out by arriving on the shelves....I still find it a very enjoyable fougère, certainly better than many other common fragrances available in our days."

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

Side-by-side Test

Azzaro pour Homme is one of the few perfumes to be allegedly reformulated by the House. It happened during 1997, due to IFRA restrictions, and likely another reformulation happened around 2010.

So, let's go and compare three different bottles, the first produced during mid-Eighties, the second around year 2000 (reformulated), and the third bought after 2010 (probably another reformulation underwent).

Obviously, all tests were performed side-by-side in the same moment, in the same room, in the same "overall conditions".

Can we spot any difference with a side-by-side test? The answer is : yes.

The good news is that reformulations didn't destroy the scent. It's always Azzaro pour Homme, without any doubt. But differences actually exist.

The older one is a bit different from others. The main difference is the the sense of "perfect blend". The vintage perfume appears without any edge, smooth, more aromatic, and almost delicate in its bitterness. You could say it a "smooth fougère" with the typical bitter notes softened, levigated, without asperities.

The newer versions, on the contrary, appear a bit more "sharp", less aromatic, less "blended". Single notes appear bold and heavy, without too much smoothness. The newest version (since 2010) is even more "rude" and heavy than previous ones. Bitter notes are really bitter ones. There is no attempt to "smooth" and "sweeten" the blend.

On the other side, all versions has same longevity and sillage. Newer versions are both strong and intense, both in longevity and sillage. There is no real winner in these aspects.

In conclusion, if you prefer a perfect "fougère"-type scent, you should seek for a vintage bottle (1978-1997). If you prefer an heavy, in-your-face version of Azzaro pour Homme, the modern version (2010-ongoing) is perfect. The "middle" version (1997-2007) is probably a sort of compromise between vintage and new.

Personally, I prefer the smoother, perfect-blended vintage version.

--------------------------
What a surprise!
The first, very rare, tester....

...and a modern (year 2014) tester: spot the differences...

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

THE FINAL WORD
by Luca Turin

"The monotheist among us believe there is only one proper gender of masculine fragrance: the Fougère. And that its apex was reached with the aromatic fougères in the late 1970s. Some, and I among them, believe that the finest aromatic ever was Azzaro pour Homme (1978). You can tell it was a perfume aimed to smart guys. The slogan "Un parfum pour les hommes qui aimant le femmes qui aimant les hommes" is not for the slow-witted. I wore it today for the first time in twenty years, ant it felt just as it always did: affable, slightly vulgar, completely unpretentious, and overall just delicious. This fragrance is so good and historically so important, that I have met to date six perfumers to claim to have composed it (Gerard Anthony was officially credited) which put it in the same league as Giorgio and a few others for multiple attribution. Azzaro's other fragrances have mostly been disappointments, but all is forgiven. Just keep making this one."

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

ADVERTISING
Year-by-Year

YEAR 1978

YEARS 1978 to 1989

YEARS 1978 to 1988

Christmas 1986

YEAR 1990

1991

(From Ebay) 1991

YEARS 1991 and 1992

YEARS 1992 to 1997

AZZARO INTENSE (year 1993).
(bottle without sticker in year 1993? yes, but this is the AZZARO INTENSE version)

YEAR 1998

YEARS 1999 to 2001

YEAR 1998

YEAR 2000

Year 2005

YEAR 2007

Years 2009 to 2013

Year 2015

---------------------------------------------------------------------------
Miscellaneous...

First bottles produced (splash&spray)
thanks to Monsieur Montana

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

A collection of vintage splash and spray bottles

The first 100ml Spray bottle (year 1978)

Vintage 30ml spray bottle

Vintage 250 ml (8.2 fl.oz)

AZZARO-POUR-HOMME-by-Azzaro-13-6-oz-edt-Cologne-Splash-for-Men-NEW-In-Box

400 ml bottle (13.5 fl oz)

-------------------------
FLANKERS and Limited Editions

AZZARO INTENSE POUR HOMME 3.4oz Eau de Toilette Spray

Azzaro Intense (first version, year 1992)

Azzaro Cuir Edition, 2008

Azzaro pour Homme Elixir (year 2009)

Azzaro pour Homme Bois Precieux
(year 2010, limited edition)

Azzaro Homme Elixir Bois Precieux
(year 2010, limited edition)

Azzaro pour Homme L'Eau (year 2011)

Azzaro pour Homme Night Time (year 2011)

Limited edition, year 2013

Limited edition, year 2014

Limited edition, 2015

Azzaro pour Homme Intense (Second version, year 2015)

---------------------------------------------
BIBLIOGRAPHY

Interested in AZZARO pour Homme?
read here (reviews):
Scents of Smell
Mimi Frou Frou
Pour Monsieur
The Scentualist
From Pyrgos
Cologneisseur
O Perfumistico
Princess of Jozi

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

A very, very big Thanks to Gianni Ambrosio, Gianni Bertetti, and Luca Turin.

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

"Barry Lyndon"

Maria Candida Gentile (2010)
VS.
"Barry Lyndon"
Stanley Kubrick (1975)

“No lad who has liberty for the first time, and twenty guineas in his pocket, is very sad, and Barry rode towards Dublin thinking not so much of the kind mother left alone, and of the home behind him, but of tomorrow, and all the wonders it would bring” from Barry Lyndon (1975)

When a nose creates a perfume, many suggestions inspire it. This may be a memory, an image, a landscape, a person, real or unreal. And in some cases all of these impressions come together in a great character olfactory idea. As with "Barry Lyndon", fragrance created by Maria Candida Gentile.

The character of "Barry Lyndon" dreamed up in 1844 by William Makepeace Thackeray who -in the picaresque novel "The Memoirs of Barry Lyndon"- narrates the rise and the fall of a young scion of Irish gentry. Using his own caustic irony, the writer creates a braggart and fascinating character, troubled finding a prestigious role in the elegant and decadent tableau of the society of his time. This cultural background just fascinated -many years later- one of the greatest directors of our time, Stanley Kubrick, who called Ryan O'Neal to play Redmond Barry Lyndon in the free movie adaptation of this English classic, in 1975. The sequence of events in the life of this young social climber are narrated against the backdrop of an astounding visual concept, in which every detail is push to perfection, with natural lights, giving each sequence a velvety, realistic and precious visual concreteness. Landscapes of pristine green moors, horses and horsemen, candles and candlesticks, smell of black damp earth, grass fields, gunpowder, saddles, velvets. Images and scents that inspired the Lady of Italian Perfumes, Maria Candida Gentile, who dedicated to the protagonist played by Ryan O'Neal one of her creations, in 2010.

In "Barry Lyndon", Maria Candida Gentile was carefully able to summarize -as in other fragrances- the suggestions evoked by the historical and natural environment surrounding the characters of the story. Let's try to compare some pictures of Stanley Kubrick's movie with the evolution of Maria Candida Gentile's fragrance.

First frame. It's the beginning of the journey towards a new life for Redmond. He's young and determined, and the future looks bright. The green of fields illuminated by a golden light full of hope goes along him. The wind plays with the leaves and the grass and raises scents that tickle the nostrils. The top notes of the fragrance spread in a wide range of green and sparkling shades smelling of mint, thyme, coriander and other herbs blended into an inebriating accord. It's the energy that awakens the senses and prepares the nose to the drydown evolution, as a hopeful young who will blossom in the maturity of the man.

Second frame. This is the period in which our hero is involved in the Army with alternate fortunes. Here we find Redmond trying to desert, but he meets Prussian troops. The moorland is around him. The balmy perfume of the bushes mixes with the pungent scent of stone and earth, and caresses uniform fabrics. The green head notes melt into aromatic and penetrating richness of the artemisia, arnica and heather. The tapestry painted on the screen by Kubrick turns in the heart of the fragrant and sweet scent, softening in an intense floral accord.

Third frame. Redmond becomes Barry Lyndon marrying Lady Lyndon. Interior, day. Velvets, lace, beauty, sensuality. Knowing gazes suggest a passion sealing the encounter. So the scent matures in warm and seductive base notes. As the fragrance develops, hints of creamy vanilla emerge, warmed by leather. A coté of elegant vetiver gives the jus dusty shades dissolving in a gently smooth trail. The silver light which illuminates the sequence with Redmond and Lady Lyndon melts into a refined and soft aromatic olfactory concert, that after enveloping the entire sequence will voluptuously unwind to land on our skin.

Barry Lyndon was created by Maria Candida Gentile and is part of the "Classic Line". It's an Eau de Parfum with a prominent sillage and a great persistence. For both men and women.

Maria Candida Gentile founded in 2009 her brand including personal and home fragrance. The 2015 novelty is the Eau de Parfum Elephant & Roses.
http://www.mariacandidagentile.com/

Barry Lyndon – Maria Candida Gentile 2010

Eau de Parfum

Nose: Maria Candida Gentile

Family: Aromatic, Flowery, Leathery

Olfactory Pyramid

Top notes: Aromatic Herbs

Heart notes: Artemisia, Arnica, Heather

Base notes: Leather notes, Vetiver, Vanilla

Barry Lyndon – Stanley Kubrick 1975

Cast: Ryan O'Neal: Redmond Barry Lyndon,
Marisa Berenson: Lady Lyndon,
Patrick Magee: Chevalier de Balibari,
Hardy Krüger: Capt.Potzdorf.

From the novel The Memoirs of Barry Lyndon by William Makepeace Thackeray

Cinematography: John Alcott

Winner of 4 Academy Awards

-----------------(ITALIAN)-------------------

"Barry Lyndon" di Maria Candida Gentile (2010)

vs.

"Barry Lyndon" di Stanley Kubrick (1975)

Quando un naso crea un profumo sono tante le suggestioni da cui trae ispirazione. Può trattarsi di un ricordo, un'immagine, un paesaggio, una persona reale o immaginaria. E in certi casi tutte queste impressioni si fondono in un'unica idea olfattiva di grande personalità. Come accade per Barry Lyndon, il profumo creato da Maria Candida Gentile. Il personaggio di Barry Lyndon nacque nel 1844 dalla penna di William Makepeace Thackeray, che scrisse "Le memorie di Barry Lyndon" ("The Memoirs of Barry Lyndon") romanzo picaresco che racconta l'ascesa e la rovina di un giovane rampollo della piccola aristocrazia di campagna irlandese. Con la caustica ironia distintiva del suo stile, lo scrittore crea un personaggio millantatore e affascinante, che si affanna a trovare un ruolo di prestigio nell'affresco elegante e decadente della società del suo tempo. Proprio questo background culturale affascinò molti anni più tardi uno dei più grandi registi del nostro tempo, Stanley Kubrick, che nel 1975 chiamò Ryan O'Neal a interpretare Redmond Barry Lyndon nella libera trasposizione cinematografica del classico inglese. Le vicende del giovane arrampicatore sociale vengono narrate sullo sfondo di un concept visivo strabiliante, in cui ogni particolare viene stato curato alla perfezione e le luci sono naturali, donando a ogni sequenza una concretezza visiva vellutata, realistica e preziosa. Paesaggi di verdi brughiere incontaminate, cavalli e cavalieri, candele e candelieri, odore di nera terra umida, di erba di campo, di polvere da sparo, di selle, di velluti. Immagini e fragranze che hanno ispirato anche la signora italiana dei profumi, Maria Candida Gentile che nel 2010 ha dedicato al personaggio interpretato da Ryan O'Neal una sua creazione.

Nel profumo Barry Lyndon, come in ogni altra sua fragranza, Maria Candida ha saputo sapientemente sintetizzare le suggestioni evocate dall'ambiente storico e naturale che circonda i personaggi della vicenda. Proviamo ora ad accostare alcune immagini del film di Stanley Kubrick all'evoluzione della fragranza di Maria Candida Gentile.

Primo fotogramma. E' l'inizio del viaggio di Redmond verso una nuova vita. E' giovane e determinato e il futuro sembra brillante. Lo accompagna il colore verde dei campi illuminati da una luce dorata e ricca di speranza. Il vento gioca con le fronde e l'erba e solleva sentori che solleticano le narici. Le note di testa del profumo si aprono in un ventaglio di sfumature smeraldine e scintillanti che sanno di menta, di timo, di coriandolo e di altre erbe aromatiche che si fondono in un accordo inebriante. E' energia che risveglia i sensi e che prepara il naso all'evolversi del drydown, come un giovane di belle speranze che sboccerà nella maturità dell'uomo.

Secondo fotogramma. E' il periodo che vede il nostro protagonista coinvolto nell'esercito con alterne fortune. Qui troviamo Redmond che mentre sta cercando di disertare incontra un contingente prussiano. La brughiera lo circonda. Il profumo balsamico degli arbusti si mescola alle tracce olfattive pungenti della pietra e della terra e accarezza i tessuti delle divise. Le note verdi di testa si disciolgono nella ricchezza aromatica e penetrante dell'artemisia, dell'arnica e dell'erica. L'affresco dipinto sullo schermo da Kubrick si trasforma nel cuore fragrante e soave del profumo che si ammorbidisce in un intenso accordo floreale.

Terzo fotogramma. Redmond diventa Barry Lyndon sposando Lady Lyndon. Interno giorno. Velluti, trine, bellezza, sensualità. Gli sguardi complici suggeriscono la passione che suggella l'incontro. Così il profumo matura in un fondo di note calde e seduttive. Mano a mano che la fragranza si sviluppa, emergono sentori di cremosa vaniglia scaldata dal cuoio. Un cotè di elegante vetiver regala al jus sfumature polverose che si stemperano in una coda dolcemente vellutata. L'argento della luce che illumina la scena con Redmond e Lady Lyndon si scioglie in un accordo aromatico raffinatissimo e morbido che dopo aver avvolto l'intera sequenza si srotolerà per approdare voluttuosamente sulla nostra pelle.

Barry Lyndon è stato creato da Maria Candida Gentile e fa parte della Linea Classic. E' un Eau de Parfum dal sillage importante e di grande persistenza che può essere indossato sia dagli uomini che dalle donne.

Maria Candida Gentile ha dato vita nel 2009 al suo brand che conta fragranze per la persona e per la casa, fino alla novità del 2015 Elephant & Roses.
http://www.mariacandidagentile.com/

Barry Lyndon – Maria Candida Gentile 2010

Eau de Parfum

Naso: Maria Candida Gentile

Famiglia: Aromatica, Fiorita, Cuioata

Piramide Olfattiva:

Note di testa

Accordo di erbe aromatiche

Note di cuore

Artemisia, Arnica, Erica

Note di fondo

Accordo Cuoio, Vetiver di Haiti, Vaniglia del Madagascar

Barry Lyndon – Stanley Kubrick 1975

Cast: Ryan O'Neal: Redmond Barry Lyndon, Marisa Berenson: Lady Lyndon, Patrick Magee: Chevalier de Balibari, Hardy Krüger: capitano Potzdorf

Basato sul romanzo Le Memorie di Barry Lyndon (The Memoirs of Barry Lyndon) di William Makepeace Thackeray

Fotografia: John Alcott

Vincitore di 4 Oscar.

I received an incredible amount of requests, asking to sampling different batches of Bleu de Chanel in order to find differences and "reformulations" in these five years. Honestly, I'm not a big fan of Bleu. Let me explain the reason: I'm used to Pour Monsieur, Pour Monsieur Concentrèe, Antaeus, Egoiste...and when I sampled Bleu for the first time I remained a bit concerned: I had the impression to have already smelled a few of similar perfumes with fruity/woody notes.
Bleu de Chanel is the perfect "clean", "inoffensive", "crowd-pleaser" scent. But it lacks very important factors: personality and originality.
Antaeus was the Animalic Beast, Egoiste was the Sandalwood King, Pour Monsieur was the Old Gentleman, and Bleu is ...the Harmless One.

I remember an anecdote: when Bleu hit the shelves in 2010, a lot of people sampled it against its direct competitor ( i.e."Dior Homme/ Intense") and had a very few doubts about the winner: Dior Homme/Intense had bigger complexity and personality than Bleu, which smelled too much as a "generic" scent. Surprisingly (or not surprisingly?), Bleu obtained an huge success everywhere, defeating Dior Homme/Intense in sellings. In a comeback attempt, Dior launched Sauvage in 2015, the perfect competitor for Bleu....but this is another story.
Bleu is the mirror of our times: a "fits-for-all" scent, in order to please everyone and everywhere in a now-global market.
I must admit being a bit embarrassed when I was asked to check "reformulations" in Bleu, or to detect "Vintage & Modern" versions, since it could appear somewhat exaggerated. But, having all samples (big thanks to Gianni Ambrosio who keep several old unused testers), I was able to perform a quick test.

EdT samples:

-year 2010 (the first one)

-year 2013

-year 2014

-year 2015 (two samples)

-EdP, year 2014

( to "decode" Chanel batches, read HERE)

Batch 3402 = October, 2010

Batch 6202 = February, 2013

Batch 8005 = August, 2014

Batch 8501 = January, 2015

Batch 9001 = June, 2015

....and the EdP sample:

EdP, batch 8301 = November, 2014

TESTS and RESULTS

Comparison on skin:
sample year 2010 (left) VS. year 2015 (right)

Simply said, there is no real difference between EdT samples. All samples -at least until June, 2015- appear identical, in formulas, sillage and longevity. No apparent reformulation occurred in the EdT range, obviously considering all tests performed in the same moment, place and temperature.
The only real difference is in the EdP sample. Sillage and longevity appear to be very similar between EdT and EdP; differences are in formulas.
Unusually, EdT is sharper and heavier than EdP.
Although similar, EdP is gentle, more levigate, less harsh, with a delicate incense drydown.
A final consideration. Bleu is the perfect safe scent, because it can't harm anyone. If you want simply to smell fine, you will not go wrong. But if this is the winning point, the losing one is its lack of originality. After such masterpieces as Antaeus, Egoiste, Pour Monsieur, we hoped for another Great One.
Maybe next time.

other "Yesterday&Today"" articles:

- FRACAS by Robert Piguet: side-by-side comparison

- Fahrenheit: 10 batch review

- Dior Homme: Yesterday and Today

- Dior Homme Intense: yesterday and today

- Terre d'Hermes: yesterday and today.

- L'Instant de Guerlain Extreme: yesterday and today

- Habanita de Molinard : yesterday and today

- Azzaro pour Homme: yesterday and today

Opium (1977)
vs
Gilda (1946)

Mundson: "Gilda, are you decent?"
Gilda: "Me? Sure ... I'm decent."
(from "Gilda", 1946)

When Pierre Dinand, creator of the first bottle of Opium, asked Yves Saint-Laurent his thought about "Orient", he answered: "Flowers of fire". Whether it's a reference to fireworks, born in the Far East, or to the visual effect you get when you close your eyes and press the eyeballs with your fingers, it does not matter, because in those few words Saint-Laurent synthesized the olfactive essence of the masterpiece created in 1977 by Jean-Louis Sieuzac for the Parisian maison.

As the flower represents the elegance and beauty of femininity blossoming in a myriad of colors, similarly the fire enhances the passionate and seductive side of every woman. Hot sensuality intoxicating without compromise, enclosed in an extremely complex and rich olfactory pyramid (unfortunately having little in common with the current version on the market) a "reformulated" fragrance that's much less intense than the original concept. But remember, great Classics are ageless, and always fascinate us. Such as certain movies that we can define "vintage", only because they are part of long-past times. Such as certain flowers of fire, having the feature of a perturbing and dangerous femme fatale. Like Rita Hayworth in "Gilda".

watch the movie

"Gilda" is a noir directed by Charles Vidor in 1946. Smoky nightclubs, dangerous business, gambling houses, underworld, sparkling luxury and betrayals flow with the troubled love story of Gilda (Rita Hayworth) and Johnny (Glenn Ford), until the so much longed happy end. Rita passes through the movie with the flaming determination of a dark lady that leaves no prisoners on her way, but only victims, due to her narcotic charm. She slowly slides off a long black silk glove from pale arms, or rolls her head back in a whirlwind of red hair, to damn the man who is watching her, forever.
It's just the first sequence in which Rita appears to seem soffused with the sensual fragrance of Opium.

Ballin Mundson, Gilda's husband, wants to surprise his friend and assistant Johnny and takes him to meet a guy. They enter a room with a song played by the radio in the background. Gilda, are you decent? Ballin asks. Me? She replies. The woman appears, like a dazzling vision.

Red hair, uncombed in soft waves, frame her face. Amazed and bright gaze. Scent of juicy mandarin and aromatic myrrh envelops her body. Pungent shades of cloves and cinnamon flame the sweet lily of the valley. Fruity and spicy notes warm the sequence that vibrates with magnificent femininity. It only takes a few looks between Gilda and Johnny to understand that in the past they had a romantic liaison. Shock and astonishment in his eyes. A thrill in her eyes. Now she is Ballin's wife.

Time stands still, hearts beat fast. The fragrance melts within petals of opulent and luxurious flowers, jasmine and carnation. Gilda's glaze has got the languid intensity of never appeased love. Golden and hypnotic resins penetrate the magnificence of flowers. The die is cast. "Johnny"....Gilda repeats with closed eyes and half-open mouth as a sign of scorn and defiance. The game is changing into a sensual jeu à deux where every move appears risky, complex and fascinating. And at this point the basenotes of Opium finally emerge, deep and passionate. Incense, amber, musk, sandalwood, vanilla come together in an intense and warm blend that hugs Gilda's skin, brushes her, and -as a spiral of smoke from her cigarette- expands in heady and elusive fragrant waves.

The powerful scent of Opium is a seductive net that traps nose and heart, as well as Gilda catches Johnny in the meshes of a sensuality without limits. The "Flowers of fire" burn in a multitude of velvety, carnal and spicy notes, velvety as Gilda's skin, carnal as her gaze, and spicy as her rebel red hair. And despite your tries, you will not be able to easily get rid of this perfume that will take your soul.
As Gilda's hypnotic smile.

Previous chapters:
-Vetiver de Guerlain VS Steve McQueen

- Murasaki (Shiseido) VS Dressed to Kill (Brian de Palma)

- White Linen (Estèe Lauder) VS Out of Africa (Sidney Pollack)

- Angel (Thierry Mugler) VS Chocolat (Lasse Hallstrom)

Opium - Yves Saint-Laurent (1977)
Eau de toilette
Nose: Jean-Louis Sieuzac
Bottle designed by Pierre Dinand
Family: Oriental spicy
Olfactory Pyramid: Opium has got a very complex olfactory pyramid including
notes of incense, cloves, cinnamon, lily of the valley, carnation, jasmine, myrrh, amber, mandarin, bergamot, vanilla, sandalwood, musk, oppoponax.

Gilda - Charles Vidor (1946)
Cast: Rita Hayworth Gilda; Glenn Ford: Johnny Farrell: George Macready: Ballin Mundson
Photography: Rudolph Mate
In 1946 the movie was entered into Cannes Film Festival
In 2013 it was included in the National Film Registry of the Library of the United States Congress.

---(italian)------------------------------------------------------------------

Opium (1977) Vs Gilda (1946)

Mundson: Gilda, are you decent?
Gilda: Me? Sure...I'm decent
(from Gilda, 1946)

Quando Pierre Dinand, il creatore del primo flacone di Opium, chiese a Yves Saint-Laurent quale fosse la sua idea di Oriente, lo stilista rispose: fiori di fuoco. Che fosse un riferimento ai fuochi pirotecnici nati nelle lontane terre d'oriente o all'effetto visivo che si ottiene quando si chiudono gli occhi e si premono i globi oculari con le dita, non importa; perché in quelle pochissime parole Saint-Laurent aveva sintetizzato l'essenza stessa del capolavoro olfattivo creato nel 1977 da Jean-Louis Sieuzac per la maison parigina.
Se il fiore rappresenta l'eleganza e la bellezza della femminilità che sboccia in una miriade di colori, così il fuoco esalta il lato più passionale e seducente di ogni donna. Sensualità rovente che inebria senza compromessi, racchiusa in una piramide olfattiva estremamente complessa e ricca, che ha poco a che vedere con la versione attualmente in commercio, profumo riformulato e molto meno intenso del concept originale. Ma si sa che i classici non hanno età e che affascinano sempre. Come certe pellicole che possiamo definire vintage solo perché fanno parte di un periodo lontano dal nostro. Come certi “fiori di fuoco” che assumono i tratti conturbanti e pericolosi di una femme fatale. Come Rita Hayworth in Gilda. Gilda è un film noir diretto da Charles Vidor nel 1946. Fumosi locali notturni, affari pericolosi, bische, malavita, lusso scintillante e tradimenti accompagnano la tormentata storia d'amore di Gilda (Rita Hayworth) e Johnny (Glenn Ford), fino al sospirato epilogo. Rita attraversa il film con la fiammeggiante determinazione di una dark lady che non lascia prigionieri al suo passaggio, ma solo vittime del suo fascino narcotico. Basta che faccia scivolare lentamente un lungo guanto di seta nera dalla candide braccia o rovesci la testa all'indietro in una turbinio di capelli fulvi per portare alla dannazione per sempre l'uomo che la sta guardando.
Ed è proprio la prima sequenza del film in cui appare che sembra intrisa della sensuale fragranza di Opium.
Ballin Mundson, il marito di Gilda, vuole fare una sorpresa all'amico e collaboratore Johnny e lo porta a conoscere una persona. Entrano in una stanza da cui escono le note di una canzone suonata in radio. Sei vestita, cara? chiede Ballin. Io? Risponde lei. E appare, smagliante come una visione. I capelli sciolti in morbide onde le incorniciano il viso. Lo sguardo stupito e luminoso. Effluvi di succoso mandarino e di mirra aromatica la avvolgono. Il soave mughetto si accende dei toni pungenti dei chiodi di garofano e della cannella. Note fruttate e speziate scaldano la sequenza che vibra di magnifica femminilità. Bastano pochi sguardi tra Gilda e Johnny per capire che tra i due in passato era nata una liaison. Turbamento e sorpresa negli occhi di lui. Un fremito negli occhi di lei. Ora è la moglie di Ballin. Il tempo si ferma, i cuori battono forte. La fragranza si scioglie tra i petali di fiori opulenti e lussuosi, gelsomino e garofano. L'espressione di Gilda ha la languida intensità di un amore mai sopito. Resine dorate e ipnotiche si insinuano tra la magnificenza dei fiori. Il dado è tratto. Johnny.... ripete Gilda con gli occhi chiusi e la bocca semiaperta, in segno di scherno e sfida. Il gioco si sta trasformando in un sensuale jeu à deux dove ogni mossa appare rischiosa, complessa e affascinante. Ed ecco che compaiono le note di fondo di Opium, profonde e passionali. Incenso, ambra, muschio, legno di sandalo, vaniglia si fondono in un blend intenso e caldo che abbraccia la pelle di Gilda, la accarezza e come le volute del fumo della sua sigaretta, si espande in onde profumate impetuose e inafferrabili. La potente traccia olfattiva di Opium è come una rete seduttiva che imprigiona naso e cuore, così come Gilda intrappola Johnny nelle maglie di una sensualità senza limiti. I fiori di fiamma bruciano in una miriade di note vellutate, carnali e speziate, vellutate come la pelle di Gilda, carnali come il suo sguardo e speziate come i suoi ribelli capelli fulvi. E per quanto ci proviate, non riuscirete facilmente a sbarazzarvi di questo profumo che vi prenderà l'anima. Come il sorriso ipnotico di Gilda.

Opium – Yves Saint-Laurent 1977
Eau de Toilette
Naso: Jean-Louis Sieuzac
Bottiglia disegnata da Pierre Dinand
Famiglia: Orientale speziata
Piramide Olfattiva: Opium ha una piramide olfattiva molto complessa in cui emergono
note di incenso, chiodi di garofano, cannella, mughetto, garofano, gelsomino, mirra, ambra, mandarino, bergamotto, vaniglia, legno di sandalo, muschio, oppoponax.

Gilda – Charles Vidor 1942
Cast: Rita Hayworth: Gilda; Glenn Ford: Johnny Farrell: George Macready: Ballin Mundson
Fotografia : Rudolph Mate
Il film fu presentato in concorso al Festival di Cannes del 1946.
Nel 2013 è stato incluso nel National Film Registry della Biblioteca del Congresso degli Stati Uniti d'America.

If you love "leathery" scents, you should know Bandit.

Alongside with Cabochard (Grès), Aramis, Knize Ten, Jolie Madame (Balmain), Cuir de Russie (Chanel), and a few others, Bandit is one of the most famous "leathery" scents ever made.

It's one of the greatest perfumes (together with Fracas) produced by Robert Piguet, created during the Forties by Germaine Cellier.

There are a lot of articles about Bandit (and about Robert Piguet's perfumes) so if you want read reviews, you will find as usual a lot of references at the end of the article.

A bit of recent History: after many glorious decades, the "Robert Piguet Parfums" brand was sold in 1985 to Alfin Fragrances, then sold again in 1995 to Fashion Fragrances & Cosmetics Ltd, which currently own the brand. It took a certain amount of time to completely reformulate and relaunch the scents, in 1998, with the label of the "original formula, certified by Givaudan".

Recently, at the end of 2012, Bandit underwent a reformulation due to IFRA restriction laws.

These are the notes according to Robert Piguet website:

Top: galbanum, ylang

Middle: leather , jasmine

Base: Patchouli, oakmoss, vetyver

And here are the bottles used for this comparison "Then&Now", spanning nearly 35 years, from the end of 70s to 2015.

(if you are interested in Fracas comparison, see HERE )

1-1970s EdT (original RP Parfums)

2- 1980s EdT(Alfin Fragrances version)

3- 2012 EdP (modern, before reformulation)

4- 2015 EdP (modern after reformulation)

1- Late '70s bottle

2- 1980s

3- Year 2012 (modern version, pre-reformulation, batch 2E1)

4- Year 2015 (modern version, identical bottle)

TESTS

All tests were performed in the same room, at the same temperature and time, on paper, skin, and heavy fabric.

The results are somewhat surprising: all samples smell different each other, although on different levels. You have four different samples, and you got four different smellings. Please, don't mismatch my words: it's always Bandit, but with different nuances..

Instead of speaking about single notes ("a peppery opening, followed by jasmine, etc...."), I'd prefer to putting evidence on diversities (and similarites) between samples. So:

1- The older one from the Seventies appears as a rich, creamy leather scent, with a lot of depth. Top notes are not so prominent, but the "leathery" drydown is heavy and magnificent.

2- Similarly it happens with the sample from the Eighties, the only real difference being a sort of apparent "dilution", but very similar to the previous one. Less brutal, less intense, more "diluted", but with no so many differences.

3- The third sample from 2012 (modern, pre-reformulated) is pretty different, with a stronger floral/peppery opening and a quiet, although solid, leather core.

4- The fourth sample (reformulated, year 2015) is slightly different from the previous one. Curiously, I smell differences only in the topnotes, but not in the drydown, that's quite the same. In this fourth sample, topnotes are sharper and heavier than ever.
If you are interested mainly in "leather", you could prefer the first one; if you are interested in a more complex, variegate scent, your choice should be the last one.

Finally, there is no difference between EdT and EdP: longevity and sillage are the same. The leather drydown stands for at least 6-7 hours. Curiously, Bandit is one of those perfumes performing very well on any surface: paper, skin, and fabric.

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

According to... Gianni Bertetti.

(Gianni Bertetti, the living legend of vintage perfumes, narrates his story here )

"I could say many things about this scent by Robert Piguet, since I have been selling it for 50 years: since a picture is worth a thousand words, here's to you a very rare 400ml EdT ancient bottle."

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

THE FINAL WORD

by Luca Turin

"I'll start with a note of caution: I've owned several bottles of the original Bandit over the years, and this is not it. But read on. Reproducing modern versions of Germaine Cellier's masterpiece is both easy and hard; easy, because her perfumes had such bold, distinctive structures that even a pixelated version of Bandit, such as the last, dreadfully cheapened and traduced "original" version, was still recognizably the old scoundrel; hard, because Cellier was fond of using bases in her composition, to the horror of other perfumers. Bases are mini-perfumes, pre-packaged compositions that dispense you from reinventing the wheel every time you need a complex but recognizable note in your fragrance: peach, leather, amber, etc. Some, like Ambre83, Persicol, and Animalis, are so rich and so good that you wonder why nobody bottled them and sold them. The problem with Cellier's use of bases is that half of them have disappeared, so that even if the whole formula were to fall into your hands and you trekked to the address of the maker of Dianthiline12 in Grasse, you'd likely find a time-share development instead of a little fragrance factory. Modern reconstructions of Cellier's perfumes are above all a work of translation of the original formula into things you can actually identify and buy today. In my opinion, this can be positive: these perfumes always carried a sort of excess baggage to compensate for the starkness of the basic accord. If it can be done elegantly, a cleanup is in itself no bad thing. One just has to get used to the idea that, as vintage aircraft, what you see is a machine in which perhaps only th eserial number plate subsists from the original, and every spar and rivet has been made from scratch. This version of the 1947 original is a bit like a reconstructed Bell X-1 supersonic aircraft: sleek, beautifully done, and a mite too clean, as if ready for a movie shoot. But the magic is all there: bitter, dark yet fresh, beguiling without any softness, and still several unlit streets ahead of every other leather chypre around."

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

-Azzaro pour Homme :then and now.

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

HOW TO RECOGNIZE

ROBERT PIGUET PARFUMS?

(since 1998)

by STICKERS

All modern bottles, produced since 1998, have a sticker on the bottom reporting: "Fashion Fragrances&Cosmetics Ltd", and:

1998-2004: "New York" address only.

2004-2009: "NY" plus "Amstelveen, Netherlands."

2010- current: "NY" plus "Thorigny sur Marne, France". Example:

NEW YORK address: years 1998-2004

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

by BATCHCODE

All modern bottles (since 2008) sport a 3-digit batchcode on the box and on the bottom of the bottle: the first number is the YEAR.

Early bottles sport a longer batchcode. Example:

Batch 2E1 = year 2012

another example:

"Netherlands" sticker (2004-2009),
+ "9A1" batchcode painted on the bottom
= year 2009

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

by CERTIFICATIONS

ALL modern boxes (since 1998) have a "certification by Givaudan" signed by President. Simply check his name:

1998-1999: Geoffrey W. Webster

2000-2003: Errol G.W. Stafford

2004-2014: Michael Carlos

Example:

President : Michael Carlos
= years 2004-2014

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

...and previous bottles?

Remember: old 1980s and 1990s box and bottles ("produced by Alfin") sport the word "BANDIT" in CAPITAL LETTERS.

Modern bottles since 1998 ("Fashion Fragrances & Cosmetics Ltd") sport the word "bandit" in lower-case letters instead. See the picture below:

BANDIT-DE-ROBERT-PIGUET-FOR-WOMEN-3-3-OZ-100-ML-EDT-SPRAY-IN-BOX-RARE

BANDIT in CAPITAL LETTERS,
End of 80s- Early 90s

"bandit" in lower-case letters,
since 1998

-------------------------------
and even before...

1960s

1970s

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

Year 1970

Year 1972

Interested in Bandit?
read here....

Perfume Shrine
Bois de Jasmin
Kafkaesque
Now Smell This
Yesterday's Perfume
The Scented Hound
Olfactoria's Travels
PerfumeSmellingThings
WhatMenShouldSmellLike

Smell Festival 2016 – illustration by Casajordi

Gabriela Guidetti meets Francesca Faruolo

Today I meet a special friend, Francesca Faruolo. Francesca lives in Bologna, where in 2010 created one of the most artistic event in Italian perfumery universe, the Smell Festival, an international festival dedicated to the culture of smell and to the art of perfume. This olfactive journey has its highlight moment in May and covers the whole year with courses, workshops and events to offer the public a melting pot training of fragrant and sensory experiences.

Smell Festival's bag

- Hi Francesca, when did you fall in love with perfumes?
“Since I was a child.... No, I am joking. I discovered my passion for fragrances about nine years ago. In that specific moment of my life perfumes began fascinating me as never. Well, I did use perfumes before but the the fact that most fragrances were connected to fashion brands discouraged me: I wasn't attracted by that sparkly mainstream world. Even though Laura Biagiotti, Chanel, Hermès weren't exactly my thing, I really loved the romanticism of Roma, the subtle decadence of Calèche, the rough green notes of n° 19. Then two “prince charming” perfumes woke up my interest: Jean Claude Ellena's creations and, even more, Serge Lutens' ones, that perfectly suited my taste and my aesthetic sense."

Smell Festival 2015 – Mellifero #1, artistic project by Dacia Manto

at MAMbo – Museum of Modern Art in Bologna

- What has been your experience in the perfumery?
"When I realized that I was extremely attracted by the olfactive sphere and the world of perfume, I took my working life in that direction. I created Smell Festival and Smell Atelier in order to enrich myself with new experiences and gain specific knowledge in the perfume sector. This put me in touch with fragrance creators, companies in the perfume industry and niche perfumery shops. I had the opportunity to write about fragrances and olfactory culture for my blog and for some Italian magazines. In addition to this, I provided consultancy to small companies. But, most of all, I promoted hundreds of meetings, workshops, exhibitions focused on smells, essences and perfumes creating something really new".

Francesca Faruolo

- Can you give us a memory in particular linked to Smell Festival?
"One of my dearest memories of the Festival is linked to the very first event we organized. On an evening of May 2010, in a bookstore in the centre of Bologna, we invited Rosalia Cavalieri, to talk about her book about the sense of smell and Vero Kern to talk about her experience as a fragrance creator. We had no idea what to expect from that evening. Bologna doesn’t play a key role in the Italian perfume industry and we had no relations with other fragrance lovers in our territory. We were starting from zero and that was a true blind date with our public. Seeing about one hundred people gathering in the bookstore and no seats left was really exciting! Until then the Festival was just an intuition, a vision in my mind and in the mind of few pioneers who supported the idea. Now It was becoming real".

Souvenirs of the first edition of Smell Festival in 2010

-Can you reveal in advance anything concerning the next edition of Smell Festival?
"The seventh edition of Smell Festival will take place in Bologna from May 18th to 22nd. This year's theme, “Magiae Naturalis”, is inspired by a book by Giovanni Battista Della Porta, the famous Neapolitan humanist, alchemist and scientist who gave an outstanding contribution to the spreading of distillation and perfumery techniques during the late Renaissance. His contemporaneous Giovanni Demisiani wrote about his work: “Apelles was able to reproduce the color of flowers, but in his paintings the green bush doesn't scent. Giovanni Battista paints with scents, shaping with his noble work all that art can't seize".

Smell Festival's public at the Music Museum in Bologna

Smell Festival 2014 - Electronic Eather, art installation by Marcos Lutyens at MAMbo

– Museum of Modern Art in Bologna

-Future projects?
"Lately I have held a series of workshop entitled “Fleurs! The Alchemic Life of Flowers”. Now I would like to put order to my notes and write a book. Will I ever find the time? Writing is an important part of my work.
Moreover, this year I will reveal a secret project I have been working on for a long time. It will give a definitive answer to the question: “Why a Festival dedicated to the sense of smell and the art of perfume in the city of Bologna?”. I don't want to say more about this to avoid bad luck. Take a look at the program of the Festival at the beginning of May... you might find a nice surprise!"

Smell Atelier: “The Alchemic Life of Flowers” by Francesca Faruolo

- And finally, which perfume is Francesca Faruolo?
"I will tell you what perfume I would like to be. Days ago, playing with the flower cards created by Mirra Alfassa, the French mystic known as Mère, I picked card number 42. It represents the Basil plant and its message is: “Abundantly scented, it fills the heart with joy".

Francesca Faruolo

For info:
www.smellfestival.it
www.facebook.com/smellfestival

A very big, big thanks to Gabriela for this interview, and Laura, Enzo, Alba for paging, maintenance and valuable advice..

-------------ITALIAN------------

Smell Festival 2016 – illustrazione di Casajordi

Gabriela Guidetti incontra Francesca Faruolo.

Oggi incontro un'amica speciale, Francesca Faruolo. Francesca abita a Bologna dove nel 2010 ha dato vita a uno degli appuntamenti più creativi dell'universo profumiero italiano, lo Smell Festival, rassegna internazionale dedicata alla cultura dell’olfatto e all’arte del profumo. Questo percorso olfattivo ha il suo clou nell'evento del mese di maggio e si dipana durante l'anno in corsi, workshop ed eventi per offrire al pubblico un melting pop formativo e fragrante di esperienze sensoriali.

Smell Festival's bag

Ciao Francesca, quando ti sei innamorata dei profumi?
“Fin da quando ero piccola...”. No, scherzo, la vera passione per i profumi è scattata nove anni fa. Solo allora in un momento particolare della mia vita le fragranze mi sono entrate dentro e hanno iniziato a parlarmi come non avevano mai fatto. Non che prima non usassi profumi. Ma il fatto che la maggior parte delle fragranze fossero associata ai grandi marchi della moda era per me un deterrente: non ero attratta dal quel mondo sfavillante e mainstream. Eppure, anche se Laura Biagiotti, Hermès, Chanel non erano esattamente i miei idoli, ho molto amato il romanticismo di Roma, la sottile decadenza di Calèche, le ruvide note verdi di n° 19. Poi due principi azzurri del profumo sono riusciti a svegliare definitivamente il mio interesse: Jean Claude Ellena e soprattutto Serge Lutens nelle cui creazioni ho trovato una forte corrispondenza con i miei gusti e il mio senso estetico.

Smell Festival 2015 – Mellifero #1, progetto artistico di Dacia Manto

al MAMbo – Museo di Arte Moderna di Bologna

Qual è stata la tua esperienza nel settore della profumeria?
Quando ho capito che la sfera dell'olfatto e il mondo del profumo mi appassionavano oltremodo ho dirottato le mie attività lavorative in questa direzione.
Ho creato Smell Festival e Smell Atelier per poter lavorare nel settore del profumo arricchendomi di esperienze e costruendomi una formazione specifica. Ho così potuto entrare a contatto con creatori di fragranze, aziende essenziere, profumerie di nicchia. Ho scritto di profumi e di cultura olfattiva per il mio blog e per alcune riviste. Ho anche fornito consulenze alle case di profumo. Ma, soprattutto, ho promosso centinaia di incontri, workshop, installazioni che hanno avuto per protagonisti odori, essenze e profumi inventandomi qualcosa che prima non c'era.

Francesca Faruolo

Puoi regalarci un tuo ricordo particolarmente caro legato a Smell Festival?
Uno dei miei ricordi più cari del Festival è legato al primo evento in assoluto che abbiamo organizzato. Era una sera di maggio del 2010 e in una libreria del centro di Bologna avevamo invitato Rosalia Cavalieri, autrice di un libro sul senso dell'olfatto, e Vero Kern che avrebbe raccontato la sua esperienza come creatrice di fragranze. Non sapevamo cosa aspettarci da tutto ciò. Bologna non è una città rinomata per le fragranze e non eravamo in contatto con altri appassionati della nostra zona. Visto che iniziavamo da zero, quella sera avevamo un vero e proprio appuntamento al buio con il pubblico. Quando vedemmo arrivare un centinaio di persone, tanto da esaurire i posti a sedere, fu un momento davvero esaltante! Fino ad allora il Festival era stato un'intuizione, una visione che esisteva nella mia testa e in quella dei pionieri che diedero fiducia all'idea. Adesso stava diventando realtà.

Pubblico di Smell Festival al Museo Internazionale

e Biblioteca della Musica di Bologna

Smell Festival 2014 - Electronic Eather, installazione artistica di Marcos Lutyens

presso il MAMbo – Museo di Arte Moderna di Bologna

Puoi darci qualche anticipazione sulla prossima edizione?
La settima edizione di Smell Festival si svolgerà a Bologna dal 18 al 22 Maggio e avrà come tema “Magiae Naturalis”. Il titolo riprende l'omonimo trattato di Giovanni Battista Della Porta, un illustre umanista, alchimista e scienziato napoletano che diede un rilevante contributo alla conoscenza delle tecniche di distillazione e profumeria nel tardo Rinascimento. Il suo contemporaneo Giovanni Demisiani scrisse della sua opera: “Apelle imitò il colore dei fiori, ma il cespuglio verde da lui dipinto non emana odore. Giovanni Battista dipinge invece con i profumi: plasmando con la sua nobile opera ciò che sfugge all'arte.”

Ricordi della prima edizione di Smell Festival , 2010

Progetti futuri?
Da tempo tengo un ciclo di workshop intitolato “Fleurs! La Vita alchemica dei fiori” e ora vorrei finalmente riuscire a sistemare gli appunti per ricavarne un libro. Troverò mai il tempo? La scrittura è una parte importante del mio lavoro.
Inoltre quest'anno rivelerò un progetto su cui sto lavorando occultamente da tempo e che darebbe una risposta definitiva alla domanda “perché un festival dedicato al senso dell'olfatto e all'arte del profumo proprio a Bologna”? Non dirò di più per scaramanzia, ma i primi di maggio date un'occhiata al programma del Festival... potreste trovare una bella sorpresa!

Smell Atelier: “Vita Alchemica dei Fiori” di Francesca Faruolo

E per finire, che profumo è Francesca Faruolo?
Ti dirò che profumo vorrei essere. Giorni fa, giocando con le carte dei fiori di Mirra Alfassa, la mistica francese nota con il nome di Mère, ho pescato la numero 42 che rappresenta la pianta di Basilico e porta questo messaggio: “Abbondantemente profumato, riempie il cuore di gioia”.
Info:
www.smellfestival.it
www.facebook.com/smellfestival

Francesca Faruolo

A very big, big thanks to Gabriela for this interview, and Laura, Enzo, Alba for paging, maintenance and valuable advice.

Aromatics Elixir (Clinique, 1971)

Lost in Translation (Sofia Coppola, 2003)

Bob: I don't want to leave.
Charlotte: Then don't. Stay here with me. We'll start a jazz band.
(Lost In Translation)

In the early 70s, Clinique decided to rely the creation of its first fragrance on Bernard Chant's expert hands: he was an exquisite connoisseur of aldehydes, since he wisely balanced them in classics scents like Cabochard by Grès plus Estée and Aramis by Estée Lauder....

From this collaboration Aromatics Elixir blossomed out: it's one of the most loved/hated fragrance in the history of perfumery. Classified as a chypre-floral, the scent got absolutely innovative features for those years.

The overflowing top notes, enhanced by aldehydes, fall down inside an heart of opulent flowers squeezed into so deep woody base smoothing all sweetness. Fragrance of light and shadow, black and white. Fragrance unveiling a sparkling femininity wrapped on a core of dark velvet, dappled of aromatic, almost medicinal, and addictive venations.

It's similar to Charlotte in "Lost in Translation", directed by Sophia Coppola in 2003, a story of two lonely souls lost in the mazes of the streets and the skyscrapers of Tokyo. Bob (Bill Murray), an American actor in decline, went to Japan to shoot a commercial, and accidentally run into a fellow countrywoman, Charlotte (Scarlett Johansson), neglected wife of a rampant photographer.

After days spent trying to orient themselves, engulfed in a language and a culture difficult to understand, and after evenings spent at karaoke, and drinking at the hotel, Bob and Charlotte begin to know each other and maybe to hope for something more. The sequence full with Aromatix Elixir is the one at the end of the movie. Bob has to come home but before wants to see for the last time Charlotte. His taxi moves through the crowded streets of Tokyo. Bob then asks it stop and rolls down the car window.

The colorful and noisy crowd invest him and in that jumble of words and unintelligible sounds, Charlotte appears. She is walking with her back to the taxi. Her blond hair's gently swaying, illuminated by the sun and stand out against the black coat. And here Aromatics Elixir top notes blossom out and seem to wrap the Charlotte's body in a bright caress. Aldehydes play with her hair and make it shine by golden chamomile, handle it with pungent notes of sage and coriander and light up it with the intense sweetness of geranium.

Bob gets out of the cab and moves towards her through the shouting crowd, following her fresh scented trail. He call her and finally he joins her. She stops and turns, surprised by that unexpected encounter. Charlotte's face is an innocent and sensual flower at the same time. The white skin and the blue eyes, clear as the sky, frame the sensual mouth, with a shy smile. The opulence of the rose and the creamy sweetness of ylang-ylang soften the sharp notes that opened the fragrance. Bob and Charlotte embrace and while she abandons her head on his shoulder, a sad shadow cloudes her face.

VIDEO

It's a farewell that has got the languid and velvety sweetness of carnation. Around them the noise of the the people does not stop at all. But for the two lovers time stopped in a silent bubble of whispered words. This is not forever, it's just for right now, and the sadness dissolves into soft spirals of oak moss. The fragrant sandalwood lights the elegance of vetiver in a liberating kiss, full of promises. One last goodbye and it's time for Bob to go.

Their smiles look for each others in the crowd. But Bob and Charlotte are not longer lost souls in an alien world, but two loving spirits that sensually fly over incense wings enlightened by intensity of patchouli. Both will carry for a long time in their hearts this perfumed balm that will alleviate the nostalgia due to the distance. Until a new encounter, love becomes nourishing tonic that cures the soul from loneliness and sadness. A magical medicinal elixir that envelops the skin in swirls of narcotic and fresh elegance. As Aromatic Elixir.

Aromatic Elixir - Clinique 1971
Eau de Parfum
Nose: Bernard Chant
Family: Chypre flower
Olfactory Pyramid: Aromatics Elixir contains notes of coriander, chamomile, aldehydes, clary sage, palmarosa, carnation, jasmine, rose, ylang-ylang, patchouli, oak moss, vetiver, incense, sandalwood

Lost in Translation - Sofia Coppola 2003
Cast: Bill Murray (Bob Harris); Scarlett Johansson (Charlotte); Giovanni Ribisi (John); Anna Faris (Kelly)
Direction, Story and Screenplay: Sofia Coppola

Lost in Translation won many awards including an Oscar, three Golden Globes, three BAFTAs, one César, four Independent Spirit Award

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

(italian)

Nei primi anni 70 Clinique decise di lanciare la sua prima fragranza affidandosi alle esperte mani di Bernard Chant, conoscitore squisito dell'uso delle aldeidi che aveva sapientemente dosato in classici come Cabochard di Grès, Estée e Aramis di Estée Lauder. Da questa collaborazione nacque Aromatics Elixir, una delle fragranze più amate/odiate della storia della profumeria. Definito un chypre fiorito, Aromatics Elixir possiede caratteristiche assolutamente innovative per quegli anni. Le prorompenti note di testa esaltate dalle aldeidi scendono in un cuore di fiori opulenti che vengono compressi nel fondo legnoso talmente profondo da raffreddarne ogni dolcezza. Fragranza di luci e ombre, nero e bianco. Fragranza che svela una femminilità scintillante avvolta su di un'anima di velluto scuro e screziata di venature aromatiche, quasi medicinali, che danno dipendenza.
Come Charlotte di Lost in Translation, film diretto da Sophia Coppola nel 2003 e che vede protagoniste due anime solitarie perse tra i meandri e i grattacieli di cristallo di Tokyo. Bob (Bill Murray) attore americano in declino recatosi in Giappone per girare uno spot pubblicitario incontra casualmente una connazionale, Charlotte (Scarlett Johansson), moglie trascurata di un fotografo rampante. Tra giornate trascorse a cercare di orientarsi inghiottiti in una lingua e in una cultura che faticano a comprendere e tra serate trascorse al karaoke o a bere al bar dell'hotel dove alloggiano, Bob e Charlotte iniziano a conoscersi sempre meglio e a sperare in qualcosa di più. La sequenza che profuma di Aromatix Elixir è quella alla fine del film. Bob deve tornare a casa, ma vuole prima incontrare per un'ultima volta Charlotte. Il taxi si muove tra le strade affollate di Tokyo. Poi Bob lo fa fermare e tira giù il finestrino dell'auto. I mille colori e rumori della folla lo investono e in quella congerie di parole e suoni incomprensibili, appare Charlotte. Sta camminando dando le spalle al taxi. I suoi capelli biondi ondeggiano dolcemente, illuminati dal sole e risaltano sul nero del cappotto. Ed ecco sbocciare le note di testa di Aromatics Elixir che sembrano avvolgere il corpo di Charlotte in una squillante carezza. Le aldeidi giocano con i suoi capelli e li fanno brillare di dorata camomilla, li stuzzicano con note pungenti di salvia e coriandolo e li accendono con la soavità intensa del geranio. Bob scende dal taxi e va verso di lei tra la folla vociante come se stesse inseguendo la sua fresca scia profumata. La chiama e finalmente la raggiunge. Lei si ferma e si volta, stupita dell'incontro inatteso. Il viso di Charlotte è un fiore innocente e allo stesso tempo carnale. La pelle candida e gli occhi di un azzurro trasparente come il cielo incorniciano la bocca sensuale, appena socchiusa in un timido sorriso. L'opulenza della rosa e la dolcezza cremosa dell'ylang-ylang ammorbidiscono le note pungenti che avevano aperto la fragranza. Bob e Charlotte si abbracciano e mentre lei abbandona il capo sulla spalla di lui, un ombra di tristezza le vela lo sguardo. E' un addio e ha la dolcezza languida e vellutata del garofano. Intorno a loro il vocio della gente è incessante. Ma per i due innamorati il tempo si è fermato all'interno di una bolla silenziosa di parole sussurrate. No, non è un addio, è solo un arrivederci che scioglie la tristezza in volute morbide di muschio di quercia. Il fragrante legno di sandalo accende l'eleganza del vetiver in un bacio liberatorio e ricco di promesse. Un ultimo saluto e per Bob è ora di andare. I loro sorrisi si cercano fra la folla rumorosa. Ma Bob e Charlotte non sono più anime perse in un mondo alieno, ma due spiriti amanti che si librano sensuali su ali di incenso illuminato dall'intensità del patchouli. Entrambi porteranno nel cuore per lungo tempo questo balsamo profumato che allevierà la nostalgia per la lontananza. Nell'attesa di un nuovo incontro l'amore diventa la cura corroborante che guarisce l'anima dalla solitudine e dalla tristezza. Un magico elisir medicamentoso che per lungo tempo avvolge la pelle in volute di narcotica e fresca eleganza. Come Aromatic Elixir.

Aromatic Elixir– Clinique 1971

Eau de Parfum

Naso: Bernard Chant

Famiglia: Chypre fiorito

Piramide Olfattiva: Aromatics Elixir racchiude note di coriandolo, camomilla, aldeidi, salvia sclarea, palmarosa, garofano, gelsomino, rosa, ylang-ylang, patchouli, muschio di quercia, vetiver, incenso, legno di sandalo

Lost in Translation– L'amore tradotto (Lost in Translation)– Sofia Coppola 2003

Cast: Bill Murray(Bob Harris); Scarlett Johansson (Charlotte); Giovanni Ribisi (John); Anna Faris (Kelly)

Regia, soggetto e sceneggiatura: Sofia Coppola

Lost in Traslation ha vinto numerosi premi tra cui un Oscar, tre Golden Globe, tre BAFTA, un César, quattro Independent Spirit Award

“What a nice interview! Thank you very much!

I highly appreciated the original,

non-stereotyped questions about perfumery -

it was a real pleasure for me to answer.”

Vero Kern, March 2016

Today I meet a dear friend, a perfume Lady who, in a few years, has given us some of the most fascinating fragrances of contemporary olfactory landscape: she's Vero Kern. From her native Switzerland, Vero has been able to spread over the air not only the unique aroma of her creations, but also the love for a research that turned her passion into art……

GABRIELA: Hello Vero!, it's a great pleasure for me to have the opportunity to ask you some questions about your fragrant world. You've shaped your first creation in the new millennium and you already put an indelible mark in the hearts of perfume lovers.
VERO: Carissima Gabriela! (in italian), it’s a great honour and pleasure for me to answer your questions. Thank you for your kind comment on my fragrances, it pleases me very much…

GABRIELA: Well, here my first question: what is your inspiration, your starting idea of a new fragrance?
VERO: The high desire to create and to implement a certain idea: this is for me the biggest boost for a new creation. In my head there is a whole arsenal of ideas, but not all are useful from a “scent” point of view. I have very clear ideas and very high claims on my creations, and I need some time to check out what could possibly be done. But above all, there is a special raw material that initially fascinates and inspires me …and that I want to process in some way. Apart this, fragrances have a sort of dramatic effect for me, even a dynamic-emotional one, so desires and fantasies mainly turn around characters of everyday life, or around strong emotions. I'm not that guy who decides to create a rose or an oud in just minutes, not at all: I work more abstractly. I’m very stubborn and unconventional in realizing my creations.

GABRIELA: Once there were “scents”, period. Since a few years, we are used to classify fragrances into “mainstream” and “niche” ones. What are your thoughts about it, and where do you feel to belong?
VERO: I’d say niche fragrances were the answer -or the consequence- of a predominantly uninspired and very commercial perfumery. Once "niche" meant, above all, products that do not care of commercial criteria and were done by independent perfumers and houses. This reflected values such as passion and inspiration in the creation as well as using very specific raw materials. After a few creative years, “niche” has arrived now in the place where it never wanted to stay -i.e. in total “mainstream”. The reasons for it are very complex and for a better understanding, it would need a separate interview or article, only for this topic. I see myself in competition with brands of complete different standards and qualities. That makes it complicated and means that I have to think about how I want to survive in the coming years with my products and how my brand has to be positioned and organized accordingly.

GABRIELA: Each year a lot of new features and products are flooding the market, but you stand against the tide. For this reason all of your creations represents a highly anticipated event. Could you tell us what do you think about the market?
VERO: I feel the “market” as a very confusing one, and probably it is even more confusing for the consumer. What it was referred to so-called “niche”, today has no correlation with it. The term "niche" is no longer relevant, since it is now called “Artistic Perfumery”, which can fit everything! It could be a simple fragrance or a candle, bought in an airport shop, as well as a creation with elaborate packaging sold at 1000 euros, and even more! The scent itself plays a marginal role, the most important thing is to stay THERE, in the market!
Almost every day I can see new products or entire brands appearing with the same old scents, bottles and stories. Everything is so predictable, uninspired, banal... no surprises, sometimes even barefaced copied, it's just a never-ending sea of products! With a sheer mass of constantly new products, a sort of trivialization and vulgarization took place.
For me, it's important not to get too strongly influenced by these developments. I know exactly where -and why- I walk along a direction. There are great and loyal clientele behind me that not only love and appreciate my fragrances deeply, but also is growing slowly - for that, I am so eternally grateful!

GABRIELA: In your creations do you feel a liaison with classic perfumery, or do you prefer to explore new horizons and to test innovative raw materials instead?
VERO: Each new creation means reaching new horizons. In fact, I have a strong affinity to classical creations. Not only have I learned to create in the old classical style during my studies in Paris, I also have been wearing for a long time so-called "classical" scents. Especially Guerlain fragrances, as Vol de Nuit, Jicky, L'Heure Bleue, Mitsouko, but also Shocking by Schiaparelli, or Féminité du Bois and Ambre Sultan, both by Serge Lutens. So, wearing these scents surely had effects, but beside the fact that it’s virtually impossible for me to buy “new molecules”, it doesn’t matter if this raw material is an older or newer one. The critical aspect is whether it fits (or not) into the concept, into the idea of my creation.
It often happens that I try new products, but I turn back to the old ones. The choice of a specific raw material is for me a matter of personal aesthetics and style. Thus, the creation will receive a certain personal touch, a personal style, which is recognizable again by the consumer. And above all, the inspirational idea behind the creation is very important, it determines in my case the selection of raw materials, and not vice versa. The fragrance has always to be seen in its entirety, and for me the idea or originality it’s most important than the raw materials used (such as precious absolutes being awesomely mentioned or enumerated, but used in the dilution of 0.001, i.e. practically not perceptible anymore….). So at the end I’d say my style is neither classical nor modern - it is simply my style, the “Vero style” – it’s hundred percent authentic!

GABRIELA: Let's talk about historical perfumes: do you have your own favourite fragrance? And if so, which one… and why?
VERO: My all-time favourite perfume has been Vol de Nuit by Guerlain …the simple name makes me to dream. All of the Guerlain’s have been very complex and Vol de Nuit was no exception. This fragrance has been following me for a long time; it was a kind of signature scent. I see wearing scents as a part of my identity and personality, part of my story. Vol de Nuit has something mysterious; the scent is cool and warm, sweet and bitter, very elegant but not aloof. It has a frivolous side, something light-footed that feels like being newly in love…simply irresistible. I really fell daily in love with this scent.

GABRIELA: Remaining on historical perfumes discussion, and since you are an expert in aromatherapy and essential oils, could you name just a few particularly "well-crafted scents", considering the composition, raw materials, accords, ...briefly, what are the high-quality historical scents according to you ?
VERO: For a long time I studied fragrance quality, by visiting repeatedly the Osmothèque in Versailles. Here I studied a variety of scents and even whole lines such as Coty, Houbigant, Balmain, Guerlain, Patou, Caron and many more. I was interested in how and from what these fragrances have been made of. Jeannine Mongin and Jean Kerléo from the Osmothèque founding team got me into this lost world. But finally fragrances are perceived very individually and therefore it is relatively difficult to give any quality recommendations…. I believe that quality can only be determined through the comparison of different products and by pros working by agreed criteria. My personal goal is to produce good smelling scents that satisfy my high expectations and those of my clients. I work daily with scents and in my professional life I wear mainly those that are currently being processed! I use whenever possible, cosmetics, cleaning products, detergents etc., perfume free. This kind of perfuming bothers me not only in my work; I find it often simply awful and boring. I sometimes love to wear natural fragrance in form of concretes or pure absolutes beside orange blossom and rose water, and occasionally I layer these with my own creations – totally ingenious...
However, back to your question: the only modern line with unique quality is for me Hermessence by Hermes. I love the work of Jean-Claude Ellena. It combines art, technique, originality, spirit, all-together, and this is ultimately the quality of a good fragrance. For me, Jean Claude Ellena is by far the only master perfumer - all those calling so, actually walk a bit in too large shoes.

GABRIELA: Your scents in some cases are inspired to well defined artistic suggestions, as Mito that refers to Villa d'Este in Tivoli or Rozy, which is a tribute to the great Anna Magnani. Will we then think that a perfume can be able to go beyond the olfactory memory and the emotion of the moment and become a true artwork for the contemporary and for posterity?
VERO: In my scents I put in evidence real experiences like in Mito with the Villa d'Este in Tivoli, an experience that impressed me and that I wanted to capture olfactorily, like a liquid diary. But there are also characters I chose, such as Anna Magnani, a woman with a strong charisma, simultaneously powerful and vulnerable. I grew up with Anna, she has been a very important role model. Rozy reflects Anna Magnani's unique attributes, they are universal, timeless and gender free – by no coincidence Anna was an actress.
By creating, I feel very much as a movie director. I determine the scene being played, the different raw materials are the actors, and going together we create an olfactory drama or dream. The point is to bring NATURE and CULTURE in a unique combination, philosophically and timeless that enjoys the audience, stays for a while and then fades away again… silently and invisibly, like a ghost lost in infinite universe.

GABRIELA: And finally, do you have any future project that you can anticipate?
VERO: I have many plans, but most are not ready yet. The next adventure will be a new creation planned to appear during this year. I hope many of you will enjoy it…..be surprised!

Vero Kern is the nose of .vero.profumo founded in 2007

Vero Kern's creations are: kiki – onda - rubj - mito – rozy.

Each fragrance is presented in three formats: Extrait de parfum, Eau de parfum,

Voile d'extrait

website .vero.profumo : http://www.veroprofumo.com/

Seven Ads for Seven Days (July2015 /w27)

"CineScent", by Gabriela Guidetti (July 2015)

Seven Ads for Seven Days (July2015 /w28)

Seven Ads for Seven Days (July2015 /w29)

Tribute to Yves Saint Laurent (week 30)

"FRACAS" vs. "Fracas": side-by-side.

Rare Italian vintage Advertisements (week 31)

CINESCENT, by Gabriela Guidetti (August 2015)

YVES SAINT LAURENT "La Collection": a side-by-side comparison.

HABANITA de Molinard: yesterday and today. A "side-by-side" review.

CINESCENT by Gabriela Guidetti (September 2015)

How to recognize SERGE LUTENS perfumes.

AZZARO: Yesterday and Today. ("Azzaro pour homme", 1978)

CINESCENT, by Gabriela Guidetti: "Barry Lyndon".

BLEU de Chanel: yesterday and today (2010-2015).

CINESCENT, by Gabriela Guidetti: "Opium" VS. "Gilda".

"Then and Now": Bandit, de Robert Piguet.

Scented Interviews: Francesca Faruolo and Smell Festival 2016.

CINESCENT by Gabriela Guidetti (February 2016)

A cup of coffee with...VERO KERN (March, 2016)