Guerlain – Mitsouko

Guerlain – Mitsouko

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Despite being named after the heroine in Claude Farrère’s novel “La Bataille”, if each perfume symbolizes a woman, Mitsouko would have to be the mythological Eve, the first woman and mother of all. For it is in her composition that we can find the DNA for many beloved and wildly successful perfumes including Rochas Femme, Diorama, Youth Dew, Opium and Coco Chanel. Mitsouko was the astounding creation of Jacques Guerlain. Reflecting the world’s fascination with Chypre by Coty, a ground-breaking creation which combined the somewhat odd bedfellows of bergamot, jasmine, labdanum and oakmoss into what would ultimately become a new fragrance category, Guerlain took this novel concept one step further with the introduction of a warm, creamy, ripe peach note. The original Chypre is often described as being a bit rough around the edges, a quandary solved by Guerlain with the introduction of the newly-discovered Gamma-Undecalactone, also known as Aldehyde C-14. Without getting overly technical, there is some debate over the use of the aldehyde reference to C-14, which is technically a lactone, a term which refers both to the molecule’s structure as well as to its fragrance which often has a creamy (milky) scent. Aldehydes are often used to give a fragrance that special opening “sparkle” (imagine the first moments of Chanel No 5), whereas C 14 has a very specific golden peach tone. Nomenclature aside, the introduction of this molecule beautifully rounded out the more angular structure of Chypre into an unforgettable masterpiece.

Mitsouko is at once bold and soft, womanly and earthy. It is the smell of the fall, the warmth and spice of cinnamon and the odd sweetness of decomposing leaves. Its beauty is, quite simply, astounding. While Mitsouko is perhaps one of the most beloved and written about fragrances, it can often be a difficult one to approach if one is just developing their appreciation of vintage or more complex scents. Thanks in part to the inclusion of oakmoss, a popular perfume fixative before restrictions limited its use, Mitsouko has a certain musty smell reminiscent of library books which some find challenging upon first sniff. Ironically, it is the diminution of this same note in the modern, reformulated version, that many perfume enthusiasts bemoan the loss of.

Approaching perfume is not unlike learning about wine: at first, one’s palate can more readily appreciate simpler, sweeter wines, but with time, one is able to appreciate the dry and more complex varieties. So it is with Mitsouko, so be sure to give it some time if you are unable to love it right away – this is one of the perfumes most worth knowing. While many have followed in her steps, Mitsouko is perhaps the finest example of the Chypre genre, if not one of the greatest perfumes of all time.

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While I have various examples of Mitsouko in my collection, each with a slightly different scent due in large part to varying ages, the new reformulated version is in some respects a distinct departure from the original vintage. While the lasting power matches that of the original (my scent strip still held scent 48 hours later) the unfolding of the fragrance was decidedly different. While it is definitely still recognizable as Mitsouko, there were aspects throughout the drydown that seemed quite foreign to my nose, and at one point I thought I had mixed up my samples. Overall the fragrance seemed thinner and while I was comparing a modern EdP to a vintage parfum, I attribute the lack of depth more to the absence of oakmoss than to the concentration, as vintage versions of the EdT or even EdC seemed to have more weight than the modern EdP.

Indeed, an overall note on the vintage EdT and EdC Guerlains (and Chanels as well) – these are often excellent and substantial renditions of the parfum (with the exception perhaps of Chant D’Aromes). While they are often a touch more powdery than the parfum (especially true for L’Heure Bleue) they are a wonderful option if one is looking for a more affordable alternative to a vintage parfum.

Fruity Chypre

Notes: Bergamot, Lemon, Mandarin, Neroli, Peach, Rose, Clove, Ylang-Ylang, Cinnamon, Oakmoss, Labdanum, Patchouli, Benzoin, Vetiver.

Chanel – Nº 19 Poudré

Chanel – Nº 19 Poudré

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There are some fragrances which take me ages to review, simply because I find them uninspiring. Then there are those fragrances which are so sublimely iconic that they are nearly impossible to reduce to mere words. Finally, there are those fragrances which I have difficulty getting my head around and need time to reflect upon before formulating an opinion, let alone a review.

No 19 Poudré falls into this last category, emphatically so. My expectation upon its release in 2011 was that it would be something along the lines of how the Chanel website describes it – a “luminous re-imagining of Coco Chanel’s signature scent”.  Given how bold the original Nº19 is, I envisioned its Poudré sister would be equally so, with a dose of modern perfumery’s requisite sweetness and of course, powder. I could not have been more mistaken.

Admittedly, it took me some time to get over my preconceptions, so much so, that I made a (short-lived) vow never to read a perfume press release again.  But once I got past the lack of crisp galbanum, the boldness of leather and the rich, earthiness of oakmoss, I started focusing on what the fragrance did possess.

To truly appreciate this fragrance, my recommendation is this: forget the name. Put it completely out of your mind that this bears any relation whatsoever with Nº19, since the only impression of the original is as though smelled from a great distance, through a smoky veil.

Nº19 Poudré possesses subtle, delicate green notes which feel as soothing as toner on sunburnt skin. Rather than focus on the sharp, angular aspects of the original, the fragrance highlights its subtleties. Stripped of its edgy aspects, Poudré feels like a powdery floral, rounded out with super-clean musks and sweetened with tonka. The overall effect of is of an iris powder-puff surrounded by a fuzzy incense cloud. While I cannot help but wish for more dimensionality and lasting power in the scent, Jacques Polge did create a lovely-enough iris fragrance.

Notes: Mandarin, Neroli, Iris, Jasmine, Galbanum, Vetiver, Musk, Tonka Bean.

Robert Piguet – Bandit

Robert Piguet – Bandit

Leather scents rank highly in my top fragrance choices, but they can be difficult for some, especially as the weather turns warmer.  On days when I want the daring, provocative rebellion that only a leather can deliver, but without the heaviness, Robert Piguet’s Bandit is my fragrance of choice. Created by the fragrance mastermind Germaine Cellier, the woman responsible for Fracas and Balmain’s Vent Vert, Bandit is a fine balance between bracing leather and green florals.

Legend has it that the perfume was inspired by a symbolic post-war runway show, with models dressed up in masks and carrying toy weapons, like cross-dressed outlaws. Whether or not this legend is true, Bandit clearly has a foot squarely in each the masculine and feminine realms, giving the fragrance a subtle androgynous character and driving home its bad-boy image.bonnie-and-clyde-faye-dunaway

While the post-2012 reformulation is surely miles away from the 1944 original, the magic of Bandit lies in the interplay of leather and chypre, smokiness and green depths, masculine and feminine. From the first moments of its sharp galbanum opening until its rich smoky roots, Bandit is a beautiful marriage of opposites, like a tussle between James Dean and Marilyn Monroe. It’s elegant, bitter and beautifully unconventional.

Notes: galbanum, artemisia, neroli, orange, ylang ylang, jasmine, rose, tuberose, carnation, leather, vetiver, oakmoss, musk, patchouli.

2012 reformulation sample courtesy of Bergdorf Goodman.

Chanel – No 19

Chanel – No 19

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We are all familiar with the expression “It’s not you, it’s me”, words that have been inextricably tied to the end of a love affair. In my case, these words came to signify not the end of an affair, but a delay in the commencement of what would become one of the greatest loves of my life.

The 1980s were the era of the signature scent. In contrast to the current over-saturation of the market, fragrance companies focused on promoting brand loyalty. And while women might be lured to explore a new release, temptation typically set in only after a beloved bottle was running low. Being a young woman at this time, just starting to purchase fragrances with my own money, the concept of a signature fragrance seemed practical to me.

After a consistent affair with Chanel No 5, in the then available Eau de Cologne version, I fell in love with the sharp brightness of Chanel Cristalle. Given my utter satisfaction with Cristalle, our affair was exclusive for several years. While Cristalle still holds a very special place in my heart and on my shelf, my only regret is that I was blinded to the beauty of a more silent suitor, who stood by in the wings, waiting to be noticed.

Oh, No 19. When I fell, I fell hard. My initial impression of No 19 was so intense it bordered on off-putting, which is surprising given that Cristalle has an equally sharp introduction. The opening notes are a bold blast of green galbanum and neroli, which seem almost metallic, a quality which is psychologically reinforced by the unique brushed silver top of the traditional flask. The opening is rounded out and very lightly sweetened by bergamot and neroli. The green sensation is enhanced by hyacinth, which makes an appearance in Cristalle as well. I find that the hyacinth note in the eau de toilette version is much sharper than in the eau de parfum and versions where it takes on a sweeter quality, a sensation which occurs similarly in Cristalle, but the similarities end there.

Chanel no.19 edt

The heart of No 19 references the smooth Chanel duo of rose and jasmine, however, they are rendered more tangy and fresh by the introduction of narcissus and lily of the valley. While the addition of ylang-ylang into this already floral heart could theoretically have pushed this into the territory of cloying fragrances, the dry, powdery sensation created by iris tempers the whole bouquet and reinforces the bright green opening.

The true magic and beauty of No 19 however lies within its base of musk, oakmoss, leather, sandalwood and cedar, which ground the entire heady creation. No 19 was marketed with the tagline “Audacious and assertive. Never conventional” and is often referred to as a “power” scent for a woman. While the opening and heart notes certainly lend themselves to this interpretation, the earthiness of the dry-down reveals a warmth which is surely the soul of this strong woman. Silent and slow to reveal itself, but present nevertheless. Despite the intended direction of the marketing, this is a comfort scent for me, one I often reach for after a difficult day. She is like a close friend, one which needs no words to understand the language of your heart.

No 19 was named in celebration of Coco Chanel’s birthday on August 19th. There is some controversy regarding the release, as it is often claimed that this was her signature scent, a theory which seems confusing given that it was released one year before her death and that Henri Robert, Chanel’s second nose in residence was credited with its creation. In her book “The Secret of Chanel No 5”, Tilar Mazzeo offers a wonderful interpretation.

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During 1945, and owing to conflicts over control of Les Parfums Chanel, Coco Chanel launched a separate line of perfumes sold exclusively in her boutiques under the name Mademoiselle Chanel.  One of the Mademoiselle Chanel fragrances became her personal favorite and as a result was set aside for her private use. According to Ms. Mazzeo’s research, after some reformulation by Henri Robert during his tenure at Chanel, this fragrance was later made available to the public as No 19. While we may never know the complete truth, I will relish the thought that Mademoiselle Chanel’s favorite scent is now one of my own.

Floral Chypre

Notes: Galbanum, Neroli, Bergamot, Jasmine, Rose, Lily of the Valley, Iris, Vetiver, Sandalwood, Leather, Oakmoss and Musk.