Suzanna: 65 posts

It is a few weeks before Christmas of 1978 and my grandmother and I are standing in front of an Elizabeth Arden counter in Bonwit Teller as she purchases a face powder.  My grandmother, a tiny woman in a doll-sized mink hat, likes to chat and to take her time making purchases. While she and the sales assistant debate the merits of a rosy powder over a beige one, I wander off to another counter.  I am too young to care about face powder but I am not too young to investigate the contents of the bottles of perfume that each counter has displayed in a prominent place.

There is a good chance I will get lost in this enormous space that smells of flowers, grass, leather, lipstick, vanilla, and powder. I pick up a bottle of Blue Grass, not knowing that this scent is homage to the state of Kentucky, where Elizabeth Arden (nee Florence Nightingale Graham, a Canadian) has a very successful horse-racing stable. Elizabeth Arden is one of three big American cosmetics brands that dominate the department stores. Arden, Helena Rubinstein, and Estée Lauder revolutionize and shape this industry and become American institutions, even if only Lauder was born in America.

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One of the great vagaries of a perfume habit is how you can end up besotted with a fragrance that you originally disliked. Somewhere in the mid-nineties I came across Diptyque L’Ombre dans L’Eau, a fusion of tangy blackcurrant leaf, dark rose, and white grapefruit. It was completely out of step with the perfumes I knew in those days when niche fragrances were more or less not known or available stateside.

At the time, I was wearing one of those huge glitzy florals (Dior Poison!) and L’Ombre dans L’Eau was its exact opposite. The green intensity of blackcurrant leaf in particular struck me the wrong way, as if the edges were sharp, cold, and brutal.  The fragrance smelled not of a shadow in the water (as its name would be translated from French) but of digging in a garden in the dog days of summer, hands in the dirt around a rose bush, with a heat haze dragging the bitter, earthy and resinous smell of tomato leaf through the thick air.  It was too photorealistic, this experiential French scent, and the leafiness was such that one might experience it as both a smell and as a taste, as if somewhere in one’s memory was trapped a childhood remembrance of biting into a tomato.

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The beginning of my interest in fragrance coincided more or less with a momentous year in perfumery:  1981.  It was in that first year of what would later be called the Big Eighties that a Beverly Hills boutique released an eponymous scent housed in a box with yellow stripes that evoked the store’s awning. Giorgio was an immediate and a ubiquitous smash, a powerhouse floral so outsized that restaurants were said to refuse seating to Giorgio-wearing patrons.

Giorgio was only the beginning of what would prove to be the last era of “big” perfumes.  By the time super-scents Calvin Klein Obsession and Dior Poison were released in 1985, women were already wafting KL and Vanderbilt (1982), Ungaro Diva and Yves Saint Laurent Paris (1983), Chanel Coco, Paloma Picasso Mon Parfum, and Forever Krystle (1984).

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by Suzanna

Some of the most intriguing fragrances are meant to evoke environment and emotion, time and place. This is why the newest L’Artisan Parfumeur fragrance, Séville à l’aube, caught my attention. Perfumer Bertrand Duchaufour created Séville à l’aube as a celebration of journalist and perfume blogger Denyse Beaulieu’s remembrance of romance and seduction past. The idea stemmed from a story Beaulieu told the perfumer about an erotic event that transpired during a long-ago Holy Week (this turns up in the scent as an abstraction) and about the smells and associations of that time and place (more literal). Beaulieu describes her experience in the creation of this fragrance in her book The Perfume Lover. Duchaufour documents Beaulieu’s story as an “orange blossom Oriental” in which the sweet and honeyed white flower appears meaty and succulent and the dry resins of the base curl upwards in the manner of incense.

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by Suzanna

Swiss perfumer Andy Tauer burst onto the niche perfume scene in 2005 with the stunningly atmospheric L’Air du Desert Marocain, a breath-of-the-desert scent that twisted bergamot and petitgrain through a hot floral-woody core.  This was when Andy had just two perfumes (the other was Le Maroc pour Elle) and those two scents were available only on the Tauer perfume Web site and had to be posted from Switzerland.

Six years later, Andy has produced 21 scents, two of which (Ingrid, Loretta) are not yet released. He was especially prolific in 2011, a year in which he released six scents.  In this number was one of the most ebullient summer-sunshine perfumes you are likely to encounter, Zeta. 

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