Culture: 426 posts

The hazy light lends a serene quality to the view that is unfolding before me as I walk towards the Seine leaving Les Invalides with its large gilded dome behind me. The outlines of the Pont Alexandre III begin to emerge fuller, its beaten copper water spirits catching an occasional ray of sun breaking through pearly gray clouds. For me, Paris is at its most enchanting on an overcast day and preferably before trees are covered with thick foliage that obscures the distinct architectural style of the city.

Perfume and Paris are linked in a strong bond that is difficult to severe. It is a place where one is guaranteed to make a fragrant discovery, be it a bottle of perfume or a scent of éclair au chocolat. Whatever sensory pleasures one wants to experience, from sight to taste, Paris offers them generously.

By the time I reach Sephora at the Caroussel du Louvre, where I am supposed to meet Neela, I already can hardly contain my excitement. Calling her up before I arrive, I ask whether she would be willing to take me on one of her signature perfume discovery tours. When I first met Neela, a fellow perfume lover, she was thinking of capitalizing on her thorough knowledge of Paris and her love of perfume. Eventually, the ideas she had took shape of Perfume Paths, customized tours of perfume treasures hiding in all corners of Paris. Naturally, I am curious, and I want to explore the perfume haunts of Paris, especially since I have only a couple of days on this visit and need to optimize my time.

Neela walks into the store, and one cannot help but notice her warm and friendly presence. She already has a plan of our adventure in mind, having previously learned about my latest perfume loves and disappointments. Moreover, I am touched that she remembers that Palais Royal is my favorite place in Paris. Not to mention, my deep affection for Serge Lutens boutique located under its arcades. The geometrically arranged rows of trees stretching their dark branches against an overcast sky on site of what used to be the residence of Cardinal Richelieu create a melancholy atmosphere. Les Salons du Palais Royal Shiseido with their dark purple interior and a spiral staircase in the middle have a seductively mysterious atmosphere. However, the most enticing sight is of the rows of bottles precisely arranged on the tables. I smell Iris Silver Mist, the first Serge Lutens’ fragrance that captured my heart. Created by Maurice Roucel, it is a vision of a winter garden, with scent of flowers forgotten in the snow cutting through the crisp evening air. Next, I sample Chêne, and its layers of smooth bitter wood with a rich mossy ornamentation develop into a beautiful dark veil on my skin. Neela suggests that I should wait longer for the final dryout note, but I decide that I am already too smitten. A bottle of Chêne and a replacement bottle of my other favorite Bois de Violette are being rung up for me, while Neela and I exchange a few words on the new releases with the Serge Lutens sales associates, who clearly know and like my lovely tour guide.

The sky turns darker as we walk through Jardins du Palais Royal on our way to Colette, a store on rue St. Honoré selling avant-garde clothing, home furnishings and beauty lines. Named after the famous French writer, Colette always has an atmosphere of excitement and fun. It is the place to see the latest creations by Lucien Pellat-Finet and Tom Ford as well as perfume lines like Norma Kamali that cannot be found anywhere else in Paris.

Walking via Marche du St. Honoré, we make our way to Montale boutique, which is another discovery of the day for me. A line by Pierre Montale, who used to work for Comptoir Sud Pacifique, is a journey into the Arabian Nights, with its fragrances based on rose attar, sandalwood and Middle Eastern spices. The line also includes a range based on oud, the fragrant wood of Aquilaria species. In contrast to somewhat formal Serge Lutens boutique, Montale is very laidback. A beautiful sales associate with long dark blond hair asks whether I would be interested in some samples, which is a very appealing offer, since seeing dozens of exotically named scents is both intriguing and overwhelming. Based on Neela’s suggestions and my own tentative conclusions, I ask for Crystal Flowers, Chypré Fruité and Patchouli Leaves to test later at leisure. Neela’s attention to detail amazes me once again, because as soon as we step out of the boutique, she handles me a wipe, which she gives her clients to remove the fragrances off their hands before they step into another boutique.

The column commemorating Napoléon’s 1805 military campaign that terminated in the battle of Austerlitz is the focal point of Place Vendôme, a square that is now a home to bankers and jewelers. In contrast to the opaque heaviness of the patina covered bronze column, made out of 1200 cannons seized from the Austrians and Russians, the windows of the jewelery shops scintillate with the intense glow of diamonds and sapphires. Neela and I cross Place Vendôme to reach Guerlain boutique. Its glory rose with the Second Empire of Napoléon III, whose bee motif still decorates the bottles of its classic fragrances. The boutique has a modern interior of curved walls, which is a bit of a surprise given its Art Noveau styled front. I revisit elegant Chamade extrait de parfum and opt for a beautiful heart-shaped bottle of this ravishing fragrance laced with blackcurrant and hyacinth.

Audrey Hepburn’s love for Angélina made this salon de thé quite famous, however its hot chocolat, chocolat chaud l’Africain, renders a visit there not just a consideration, but a requirement. It is starting to drizzle, and the belle époque salon with its frescoes and gilded mirrors décor feels welcoming. I decide that smoked breast of duck on a bed of fresh salad greens is what appeals to me on this slightly chilly day. Neela selects omelette aux fines herbes and salad of mâche tossed with salt, pepper and olive oil. The food is wonderful, and I am thoroughly enjoying my salad with the dark earthy flavor of duck, perfectly accented with orange scented dressing.

Please continue to Part II.

It has become a conventional wisdom in the world of perfume lovers that the large houses are often constrained by iron logic of the stock market. The logic dictates the production of fragrances that should appeal to as large number of people as possible in order to boost sales. Yet, to paraphrase John Stuart Mill, the common mean between creative excellence and wide appeal is often a “collective mediocrity.” Needless to say, as in almost every case, there are exceptions. However, it does not stop a fragrance consultant with an appreciation of beautiful things from thinking up a clever scheme—give nine of the most famous French noses as much creative space as they need to compose a fragrance of their dreams. There are few limitations in terms of price of the materials and the theme of the perfumes.

Frédéric Malle, grandson of the creator of Parfums Christian Dior Serge Heftler and nephew of the film maker Louis Malle, was born in 1962 in Paris. A self-proclaimed hedonist with a love for lilac, Joël Robuchon’s cuisine and Bach suites, he recalls that his love for beauty was fostered by his parents, especially by his father. “I am a sensual person,” says Malle in an interview. “You have to know how to look, smell and feel things.” Malle started working for Roure Bertrand Dupont in 1988, after finishing his degree at the New York University. Before starting Editions de Parfums in 2000, Malle was working as a fragrance consultant for Christian Lacroix, Chaumet and Hermès.

Unlike the common practice in the world of fragrance, Frédéric Malle places the perfumers in the spotlight. Every bottle is prominently labeled with the name of the artist responsible for the scent within. What is the result of the “auteur perfumery?” If Frédéric Malle Editions de Parfums were paintings, they would be more suited for Center Pompidou than for Louvre, because they are truly modern compositions, even though many are classically composed, respecting the tri-tiered construction model. Such is Pierre Bourdon’s Iris Poudre, a composition capturing the scent of irises held close to the beautiful chest covered with a thin layer of powder. Other fragrances are conceived in a more linear style, minimalist and elegant as the lines of Giacometti’s sculptures. Cologne Bigarade created by Jean-Claude Ellena is a reflecting his predilection for clear and strong lines bathed in soft light. One thing is for certain—these fragrances must be sampled.

Editions de Parfums

Angéliques Sous la Pluie by Jean-Claude Ellena
Bigarade Concentrée by Jean-Claude Ellena
Cologne Bigarade by Jean-Claude Ellena
En Passant by Olivia Giacobetti
Iris Poudré by Pierre Bourdon
L’Eau d’Hiver by Jean-Claude Ellena
Le Parfum de Thérèse by Edmond Roudnitska
Lipstick Rose by Ralf Schwieger
Lys Méditerranée by Edouard Fléchier
Musc Ravageur by Maurice Roucel
Noir Epices by Michel Roudnitska
Une Fleur de Cassie by Dominique Ropion
Une Rose by Edouard Fléchier
Vétiver Extraordinaire by Dominique Ropion
Carnal Flower by Dominique Ropion

Carnal Flower will be released in September of 2005 and will feature notes of tuberose, orange blossom, coconut and camphor. According to Frédéric Malle himself, it is the ultimate seduction perfume.

The first Editions de Parfums Frédéric Malle boutique was opened in 2000 at 37, rue de Grenelle in Paris. Its interior, conceived in a collaboration with Andrée Putman and designed by Olivier Lempereur, is marked by clean lines and unique system of testing fragrances from olfactory columns. Although it is quite an interesting way of experiencing scents, I much prefer the traditional skin test.

In addition to another store on Avenue Victor Hugo, which opened in 2004, Editions de Parfums line is available at Taizo in Cannes, Dries van Noten in Antwerp, Natan/Treize in Brussels, Barneys New York, Isetan in Tokyo, and at Flinders Way Boudoir in Melbourne. One of the most appealing additions to the line is a test kit, which contains 5ml atomizer bottles of each fragrance available. Tester kit and the fragrances along with the ancillary products are available online at Editions de Parfums site.

Photo: Frédéric Malle.

“Here, we may say, we are at home, and like the mariner after a long voyage in a tempestuous sea, we may now hail the sight of land.”

Although Hegel described the inception of the modern day in philosophy when people began to derive knowledge through reason, this phrase came to my mind whenever I reflect on my own personal journeys. Have you ever had a chance to step back into childhood? I do not mean just to see the old house where you grew up or to meet with an old schoolmate. I mean a complete somersault into your past life, your other life, your life as a child. I am experiencing this moment right now, and I cannot say unequivocally how I feel about it. It is a wave of conflicting emotions. I walk into my old room, and it still looks the same—same furniture, same walnut wardrobe with numerous tiny drawers, same lotus patterned curtains. I see the same books I used to study from—history of the USSR, geography, chemistry, physics, calculus. I find my tenth grade notebook recording all of the marks I received that year: mostly 5 and 4, A and B respectively, with an occasional 2 (D) in Ukrainian language. I find my drawings, my poems, my worn out pointe shos pedantically numbered from 1 to 158. Some of my plants left behind ten years ago are still thriving. I look at the hibiscus plant that grew into a tall verdant tree from a tiny bush—lush and oh so wrong for this temperate climate. How did it bear the cold winters? Probably, it adjusted to the life on another shore just like I did.

Yet, many things are different. I see a robe made in North Korea, and it strikes me as exotic. I take a photo of one of the pictures from the geography textbook depicting marked achievement of the socialist world in protecting the environment vis-à-vis its capitalist enemy. The curtains look somewhat tawdry with their gold lurex stripes. The balcony is denuded of its grape vines, which nearly crushed it last year. It used to be wonderful to sit in the jade shade of the vines reading a book and drinking tea. There is a layer of neglect and dust on everything—the hardwood floors, the desk, the books, the Czech glassware in the cupboard…

Outside my windows, the world is different. It is moving along the post-communist transition path, along post-Orange Revolution trajectory. Where is it going one cannot say. It is laden with the sense of disappointment and displaced hopes, regrets and envies. One world is long gone, and the maze of corrupted personalities and twisted ideals is taking over the new entity arising in its place. One doctrine is replacing another only to lose its validity after yet another economic crisis. I think of Alexander Hertzen, an influential 19th century Russian thinker in exile. Although known as a founder of Russian socialism, he never viewed this doctrine as a final solution to the problems of society. “This socialism will develop in all its phases until it reaches its own extremes and absurdities. Then once again a cry of denial will break from the titanic chest of the revolutionary minority and again a mortal struggle will begin, in which socialism will play the role of contemporary conservatism and will be overwhelmed in the subsequent revolution, as yet unknown to us” (From the Other Shore, 147). It is a message of redemption through recognition of contingency and rejection of belief in final solutions and absolute truths. I never fail to feel a jolt reading Herzen’s rejection of the memento mori of idealism, “From this one thing alone is clear; that one should make use of life, of the present; not in vain does Nature in all her utterances for ever beckon life onwards and whisper in every ear her vivere memento” (41). Indeed, this message holds a startling beauty and a profound value, neither of which have been attenuated more than a century later.

References: Hegel. Lectures on the Philosophy of History, trans. E.S. Haldane and F.H. Simson. 3 vols. London, 1963, vol.3, 217; Alexander Herzen (1812-1870), From the Other Shore.

Update 9/5/2011: The IUNX line was reintroduced to the market in 2008, and the fragrances are currently available at the store next to the entrance of Hotel Costes in Paris.

Olivia Giacobetti’s boutique on Rue del’Universite, right in the heart of St. Germain, is not to be missed due to its pleasant atmosphere and unique decor combining Zen-like simplicity and futuristic touches. Called Iunx (pronounced ‘Yoonks’), this amazing perfume gallery, created in 2003, is sponsored by Shiseido, with the interior designed by Francis Giacobetti, Olivia’s photographer and film director father.

The essence of Olivia Giacobetti’s Iunx range is revealed in her own words when she says that “In ancient Greek, Iunx refers to the fascination and seduction of aromas. …. Fragrance moves towards a unique way of combining simplicity, innovation and technology.” Ten androgynous fragrances in the Iunx range (please see my reviews) are light eau de toilettes, more similar to eau de colognes. They are designed to be light splashes, linear and simple. Like most Olivia Giacobetti’s creations, they showcase her ability to render a certain essence, a radiant simplicity.

The dark interior of the boutique is dominated by a lily pond, surrounded by unusual installations that allow to sample fragrances in a highly interactive way. Tester cones through which the scents of lotions, creams and shampoos can be inhaled, candle sample sticks permeated with luscious scents are some examples of the ways Iunx discovery takes place.

Right behind the lily pond, one finds a glass installation holding large fragrance flacons, illuminated only by opalescent light. Fragrances are tested by a button being pressed under each number, releasing a just scented paper strip. When one is ready to sample fragrances on the skin, helpful sales associates dressed in slim black ensembles lightly touch cabintes with concealed doors, revealing rows of tester sprays.

It is definitely one of the most pleasant fragrance shopping experiences I have had—leisurely, quiet, a respite from the world outside the boutique’s walls. I cannot recommend a trip there highly enough.

The stars of the range, in my opinion, are the room and body products which are of high quality and come in a wide range of tantalizing and unusual fragrances from exotic flowers, luscious fruit to smoky woods. Shower gels have scents such as courgette (zucchini) flower, melonseed, linseed and wild rice. Moreover, Longan and Rum and Date Honey shampoos are luscious and leave hair subtly scented and soft. The candle collection is definitely worth exploring, with scents like White Lily (Lys Blanc), White Yucca (Yucca Blanc), Galangal, Papyrus, Saffron (Saffran), Red Sandalwood (Stanl Rouge), and Sugar Cane (Canne A Sucre), to name my favorites. Every candle I have had was enchanting, releasing potent and long lasting fragrance lavishly into the air. Furthermore, Iunx Ozmotek system designed to scent a room is likewise great. I especially liked Vapeur Rose and Vapeur de Sucre, a scent of delicate red roses heated by the sun and a mouthwatering flowery caramel, respectively.

Finally, the sensory experience is complemented by Iunx macaroons, with flavors like Ambre Blanc, white amber (vanilla, white sandalwood, rose petals and mandarin), Havana (white tobacco, rum, honey, spices, saffron, and vanilla), and my favorite Madras (rose, saffron, mango pulp, green almond, cardamom, sandalwood and black cumin).

Speaking of the Post-Impressionists, Roger Fry, a well-known English critic noted that they did not merely intend “…to imitate form, but to create form…. [not] to imitate life, but to find an equivalent for life… In fact, they aim not at illusion but at reality.” The same can be said about Olivia Giacobetti’s creations, with their marvelous precision combined with dream-like expression. The fig leaf, the iris blossom and the scent of Chinese tea are not just perfect renditions of these scents as found in nature, but they attain a whole new layer of light and movement that cannot be captured merely by reproduction. Experiencing Olivia Giacobetti’s fragrances is like starring at the bright light through gauze, with the sharpness and burning sensation muted, while the glow is more underscored. Her approach is not so much minimalist, as focusing on the essential, whether she is trying to ornament a lilac note or present a milky sappiness of a green fig.

Olivia Giacobetti was born on April 9, 1966 in Boulogne, France. Her father, Francis Giacobetti, a well-known photographer and a director of film Emmanuelle 2, encouraged Olivia in her desire to become a perfumer. At 17, she started studying at Robertet, and several years later she created her own company Iskia.

Her creations

L’Eau del’Artisan for L’Artisan Parfumeur (1993)
Premier Figuier for L’Artisan Parfumeur (1994)
Thé Pour Un été for L’Artisan Parfumeur (1996)
Drôle de Rose for L’Artisan Parfumeur (1996)
Philosykos for Diptyque (1996)
Ofresia for Diptyque (1996)
L’Eau du Fleuriste for L’Artisan Parfumeur (1997)
Navegar for L’Artisan Parfumeur (1998)
Hiris for Hermès (1999)
Ofrésia for Diptyque (1999)
Dzing ! for L’Artisan Parfumeur (1999)
Passage d’Enfer for L’Artisan Parfumeur (1999)
En Passant for Editions de Parfums Frederic Malle (2000)
Fleur de Carotte for L’Artisan Parfumeur (2000)
Tea for Two for L’Artisan Parfumeur (2000)
Thé des Sables for L’Artisan Parfumeur (2001)
Un Bouquet en Mai for L’Artisan Parfumeur (2001)
Opôné for Diptyque (2001)
Andrée Putmann Préparation Parfumée (2001)
Iunx for Shiseido (2003-2004)
Jour de Fête for L’Artisan Parfumeur (2004)
Costes (with Rami Mekdachi)
Cinq Mondes Eau Egyptienne(2005)
Extrait de Songe for L’Artisan Parfumeur (2005)
Le Petit de Guerlain for Guerlain (2005)
Idole de Lubin
Candle for Bottega Veneta, Essence of John Galliano candle for Diptyque, Costes candle

As Giacobetti says about creation of perfume, perfume is a mystery, “a language, a world of symbols which touches the unconscious, a mode of communication that is both emotional and fundamental” (Interview with Olivia Giacobetti). She is inspired by everyday things in creating her fragrances, the scent of quince, fig tree. “Traveling is how I find my sources, I’ve broken the bark of a yellow wood that smelled like quince, gathered sand with a sweet scent I’ve never smelled elsewhere, and even stolen incense from a temple so as not to forget it” (Frederic Malle’s interview). Emotional response is what happens upon experiencing the scent, with the analysis taking place afterwards. When asked about her most mystical perfume, she responds that although she was baptized when she was 10 years old, she did not have religious upbringing. At the same time, she loves the scent and the peace of the church. Her most mystical perfumes are those that are not deliberate. Iunx L’Ether Eau de Parfum and L’Eau Baptiste, an orange blossom scented fragrance water, are the fragrances she names.

My first introduction to Olivia Giacobetti was through L’Eau du Fleuriste, a 1997 limited edition fragrance from L’Artisan Parfumeur. Its combination of mint, rose, cucumber, violet leaves, camomile and beeswax created a beautiful floral that conjured images of a traditional florist shop, where the scent of stem cuttings mingles in the air with the scent of newly delivered flowers. Its sheer interpretation combined with a unique radiant quality led me to discover other Giacobetti creations that surpassed even L’Eau du Fleuriste in my mind. While Giacobetti is an expert at interpreting the scent of rain on flowers and sunshine on leaves, her more daring creations such as Dzing! and Tea for Two are just as interesting. Delicate precision and misty radiance are executed perfectly, whatever theme she undertakes, and this fingerprint marks all of her perfumes.

Photo: L’Express.fr.