Gourmand: 50 posts

As a young ballet student I used to bristle whenever people said, “oh, ballet, it’s so lovely and pretty,” after I had just danced in excruciating pain. Later, it dawned on me that a dancer has to make something difficult seem weightless and graceful. If you see a swan sweat and strain, then she didn’t succeed in her craft. Perhaps, that is the reason I look indulgently upon the prettiness of Repetto. It’s about a ballet fantasy of pink slippers, tutus and Sugar Plum fairies.

Repetto is a French company that successfully made the cross over from professional dance shoes to everyday ballet flats and much more. There is now a line of clothing, handbags, and of course, fragrance. Repetto perfume launched earlier this year retaining the same ethereal aesthetic of the brand. It even involved Dorothée Gilbert, a Paris Opera Ballet prima, to star in its campaign. You can see the lithe dancer spraying on Repetto as she gets ready to leave for her rehearsals. A few shots later she adds a generous spritz on her neck just as she’s stepping onto the scene.

Continue reading →

Perfumer Jacques Polge has authored or co-authored so many of my favorite Chanel fragrances (Beige, Coromandel, Cristalle Eau de Parfum, Coco) that it always pains me to admit that he has also authored my least-favorite Chanel scent, Chance.  Chance always smells to me as if a brand of lesser and striving quality decided to make something “à la Chanel” in style and came up with Chance.

I understand where marketing was going with this scent—that extremely lucrative twenty-something market must be addressed and not with No. 5.  In its fruit, vanilla, and patchouli trope Chance has the ingredients to appeal to this younger market and from that marketing standpoint Chance was a smart idea indeed; the scent does sell and sell well. I smell it on young girls in the mall, their hair swinging and their limbs tanned, and it doesn’t smell any better to me on them than it does on me.

Continue reading →

Whenever I need some basic skincare or makeup, I usually go to the local perfumeries like Planet Parfum or Ici Paris XL. They carry the usual prestige brand suspects and are located on pretty much every corner in Brussels. As I get ready to leave with my purchases, a sales lady usually asks if I would like a spritz of perfume. I usually decline, but on one occasion I gamely decided to try her top choice. That’s how I met the new Dolce & Gabbana Pour Femme and spent the rest of my day trying to scrub it off.

First, a bit of a back story. Dolce & Gabbana Pour Femme has existed since 1992 as an aldehydic floral. Created by perfumers Jean-Pierre Mary and Martine Pallix (she also worked on Comme des Garcons Odeur 53), Pour Femme was the kind of high glamour fragrance with a whiff of the 1980s that you could still find in the early 1990s, and it made quite a statement.

Dramatic though it was, Pour Femme didn’t have much to appeal to the generation of perfume wearers who are used to sweeter, less assertive fragrances. Dolce & Gabbana rectified it by presenting a new version of Pour Femme–a fruity gourmand. Are you surprised?

Continue reading →

I was a late convert to Miss Dior Chérie (2005), the Coco Mademoiselle sibling-scent that expanded a green patchouli note with sticky carnival accords like strawberries and caramel popcorn.  Miss Dior Chérie is aimed at the young; I was converted to it by a nineteen-year-old girl who owned her own makeup store.  She considered it the height of elegance and at first I scoffed, and then I tried.  It was too much fun to pass up, with its neon fun-fair atmosphere bopping around underneath the nose in a major chord of teenage pleasure.  Why didn’t they have stuff like this around when I was fourteen?

With the mechanisms of the perfume industry being what they are, Miss Dior Chérie was recently reformulated and renamed  Miss Dior (the “real” Miss Dior is now called Miss Dior Originale).  Sometimes the reformulations means that a “bad” ingredient was removed and replaced by a “good” (and often inferior) one, and other times it means that something that is no longer available is replaced with something that is.  The truth is, perfumes are reformulated all the time for a variety of reasons, and the differences can be subtle or striking.

Continue reading →

After months of media buzz, Lady Gaga Fame has finally been launched.  You probably know by now how this celebrity perfume thing works.  Some celebrities—like Sarah Jessica Parker—get down and dirty in the design process, vetting the concept, going through the mods, arguing for dirtier musk, losing argument for dirtier musk, announcing that next time things are going to be different.  Then there are those under whose noses you presume a scent strip has passed, but who have not attended that endless cycle of developmental-phase meetings.

Lady Gaga appears to be of the assertive former type.  Early reports had it that the singer wanted her perfume to be based on blood and semen.  These notes, which might seem shockingly brave, are not new: Etat Libre d’Orange has already done both in Sécrétions Magnifiques.  But as happened with Parker’s dirtier musk, these notes didn’t make the final cut.  Instead, Fame, billed as “the first ever black eau de parfum,” contains “pulverized apricot, crushed heart of Tiger Orchidea, and tears of belladonna.”

Continue reading →