May 2005: 17 posts

Watching an interview with the late New York City Ballet artistic director and choreographer, George Balanchine, on a DVD titled simply Balanchine (2004) led me to an interesting Guerlain reference. In an interview, Balanchine mentions that he liked buying perfumes for his dancers and especially Guerlain.

Although he did not name any specific perfumes, in another article I read that Mitsouko was among his favorites. The interviewer must have made a comment about the beauty of dancers as they trail perfume on the stage like lithe fragrant flowers, to which Balanchine replied, waving away the remark, “No, no, I just like to know once I get to the theater whether everybody is present and who is missing.” This was a quintessential Balanchine moment. Having such a grounded perspective in the ephemeral world of ballet is a true rarity.

Photo: George Balanchine and Suzanne Farrell in rehearsal.

Guerlain Nahéma was inspired by the French actress Catherine Deneuve. Perfumer Jean-Paul Guerlain explained to Elle Magazine that when he saw her in the film Benjamin ou Les mémoires d’un puceau, Deneuve enthralled him. “She appeared in a gilded cage scattered with roses… She was wearing a dress of white silk, and her hair was loose and ruffled like a golden halo — absolutely breathtaking.”

Nahéma, introduced in 1979, is likewise stunning–a voluptuous blend of rose, plum and ylang ylang, with dark accents of sandalwood and musk. It is a bold and dramatic fragrance foreshadowing the generation of big perfumes that would embody the glam & glitz of the 1980s–Dior Poison, Yves Saint Laurent Paris, Giorgio. Unfortunately, Nahéma arrived on the scene too early to appeal to the general public, and it flopped so badly that Guerlain had to sell a part of its real estate to keep the company afloat. Yet, even today Jean-Paul Guerlain names it as his most distinctive and original creation.

While Nahéma was toned down somewhat after its initial launch, it was not discontinued. Even today it can be found at the Guerlain counter, and it should not be missed. This sensual oriental perfume explores a brilliant combination of cool, watery hyacinth and rich-as-chocolate roses, with a haunting undercurrent of vanilla, dark woods and amber.

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Guerlain Mitsouko is the scent of golden autumn days, ripe peaches and burnished wood. Created by Jacques Guerlain in 1919, Mitsouko was a variation on the avant-garde fragrance of the period–Coty Chypre.

Chypre was based on the startling contrast among the bergamot top notes, the jasmine heart and the richness of oakmoss. Though undoubtedly beautiful, Chypre was brutal in its impact. Guerlain took the idea behind its famous forerunner and made it elegant and refined. A soft accent of peach skin gives Mitsouko a tender quality and a teasing gourmand impression. A classical Guerlinade accord of tonka bean, vanilla, iris and rose further refines and rounds out the composition. Mitsouko is a kiss to Coty Chypre’s slap in the face, and for this reason, its popularity endures to this day.

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Guerlain L’Heure Bleue is the embodiment of refinement. When I read that Catherine Deneuve wore it for many years as her signature fragrance, I was not at all surprised. Its luminous orange blossom is beautifully contrasted with the rich plushness of vanilla, iris and incense.  L’Heure Bleue’s sillage is among the most beautiful of great classics—bright, radiant, enveloping.

It was also the first Guerlain perfume to use aldehydes (distinctive starchy-metallic notes) to give a lift to the rich floral accord.  The carnation, ylang-ylang and anise introduce L’Heure Bleue, but then you become aware of its velvety layers–iris, vanilla, incense, musk, tonka bean. The leitmotif of anise persists through the layers of L’Heure Bleue.   The eau de parfum concentration is plusher and warmer than the musk inflected eau de toilette. The extrait de parfum is even more memorable, a mouthwatering confection of orange blossom, iris, and vanilla with a touch of licorice.

L’Heure Bleue has set many trends in its day and it continues to do so. It is one of legendary perfumer Sophia Grojsman’s favorite fragrances, and her Kenzo Kashaya, Lagerfeld Sun, Moon, Stars and Laura Biagotti Sotto Voce were inspired by its structure of plush richness and opulent floral notes. Recent launches like Costume National Scent, Iris Ganache, Insolence and Kenzo Flower pay tribute to L’Heure Bleue.

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Guerlain Après l’Ondée was created by Jacques Guerlain in 1906.  I loved this scent right away for its wonderfully delicate combination of orange blossom and violet, tinged with a spicy anise note.

The first accord is reminiscent of a spring garden after a tempestuous May shower as the damp earth, drenched leaves and flowers begin to warm up under the sun. The aura of this fragrance is effervescent, innocent and joyous. But there is a dark timbre to Après l’Ondée as well. It is similar to the moment after the rain is over; the sun is shining, yet the clouds still cast somber shadows upon the landscape. The heart blossoms with iris and violet, which much to my delight, is a departure from the traditionally sweet candy-like violet notes. The carnation is subdued and merely adds a spicy ornament. The dry down is smooth and tender, with the sugared almond, vanilla and musk lending it an abstract gourmand sensation. Après l’Ondée is a garden in the first flush of bloom, yet to reveal all of its secrets.

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