Henri Sorsana: 4 posts

Annick Goutal Eau de Charlotte : Fragrance Review

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by Suzanna

In the early 1980s, the late Annick Goutal created two fragrances for her young daughters, Camille and Charlotte.  Ivy and honeysuckle inspired Camille’s scent (Eau de Camille, 1983) while Charlotte’s scent (Eau de Charlotte, 1982) described a young girl smitten by blackcurrant jam and cocoa. Despite the foodie nomenclature of the notes, Eau de Charlotte is not a gourmand scent. The blackcurrant and cocoa notes belie Charlotte’s true nature as a lily of the valley scent.

I discovered Charlotte, or she me, on a scent strip in a magazine. It smelled so different—this was the mid-nineties—to anything else I’d smelled until that time.  I was a Jean Patou Joy wearer, and Eau de Charlotte seemed less mainstream and more creative. I wore it through a couple of bottles before finding Gardenia Passion from the same Goutal line (by way of the incredible soap, but that’s another story!)

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Annick Goutal Rose Absolue and Rose Splendide : Perfume Reviews

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As I browse through new cookbook releases, I notice that rose is the flavor of the moment, appearing in everything from drinks to desserts. Pastries that would traditionally be perfumed with vanilla, chocolate or coffee are now presented in rose and violet incarnations. While reading a recipe for a rose scented cream puff in the delectable new book Ladurée Sucré, I realized that more so than sweets, I wanted another rose perfume. I craved something pink and unapologetically girly. My search led me to Annick Goutal Rose Absolue and Rose Splendide, two rose fragrances that do not shy away from being pretty and romantic.

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Chanel No 5 : Perfume, EDT, EDP Review and Fragrance Poll

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No5ad1920s

Star rating: 5 stars–outstanding/potential classic, 4 stars–very good, 3 stars–adequate, 2 stars–disappointing, 1 star–poor.

According to an oft repeated story, the iconic Chanel No 5 fails miserably in fragrance market tests, with the derived conclusion that the success of this great fragrance is based on the clever marketing strategy and carefully maintained brand image. Considering that today’s market tests have produced some of the worst excuses for perfumes, I do not find this to be the logical inference. Although an elegant brand image is an important part of the story, it is not enough to explain the mystery, the draw and the timeless beauty of Chanel No 5. I realize that trying to write a post of reasonable length on this topic is an ambitious task; after all, Tilar Mazzeo wrote a whole book on No 5 and yet many felt that she missed some important elements. Instead, I would like to describe Chanel No 5 in its different forms as it exists today and to hear your thoughts. I am convinced that the reason for its iconic status, is above all, the impeccable quality and allure of the fragrance itself.

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Annick Goutal Eau d’Hadrien : Perfume Review

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Kandinsky_old_town

Among quintessential summer perfumes, Eau d’Hadrien rules supreme. Created by perfumer Henri Sorsana and Annick Goutal in 1981, it is a crisp and effervescent fragrance that relies on the combination of lemon and grapefruit underscored by basil and cypress to capitalize on the burst that citrus can give to fragrances. The icy pearls of citrus notes scatter on the skin and provide a sensation of cold breeze. While the sparkling quality of citrus is wont to be shortlived, as it begins to vanish, dry piney notes of cypress embrace citrus, preventing its chilly glitter from melting away. Moreover, a touch of ylang ylang lends a subtle sweetness that combines perfectly with tart citrus notes. For me, Eau d’Hadrien is a walk down the sun lit road, where the heat of the sun competes with the cool wind swaying the trees lining the path.

Eau d’Hadrien soap is wonderful, and if one enjoys fresh citrusy scents, it will surely delight. The soaps are 4.2 oz each, beautifully packaged and decorated. Their strong scents linger pleasantly, making any of the soaps a great addition to the morning shower.

Painting: Wassily Kandinsky. Old Town II. 1902. Oil on canvas. 52 x 78.5 cm. Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France.

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