Gourmand: 50 posts

Take Thierry Mugler Angel and dilute it with sheer, lemony jasmine till all you have left are the pastel colored outlines of the original gourmand patchouli. Shake it up, label Yves Saint Laurent, and you have Manifesto! I complained that Lancôme La Vie Est Belle is unexciting, but next to Manifesto it’s downright avant-garde.

My qualm with Manifesto is not that it’s a bad perfume, but that it doesn’t have much character. Smell it once, smell it ten times, I guarantee that you won’t remember it. Of course, not every single fragrance needs to make a statement–mild, unobtrusive blends do have their place, but Manifesto could be inside any bottle: the latest celebrity launch, Escada, Calvin Klein, Coty, Avon or even Bath and Body Works. It’s not entirely clear what makes this perfume Yves Saint Laurent. It doesn’t have the bravura of Opium nor the voluptuous beauty of Paris. It lacks the sensuality of Cinéma or the moodiness of Nu. It smells trendy, like a scent you’ve noticed  many times before at the mall or inside a crowded subway car–a cotton candy laced patchouli, with a soft blur of flowers.

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‘Please see my review of Viktor & Rolf Flowerbomb‘ — this is how I originally started my post on the newest Lancôme perfume La Vie Est Belle. This big Lancôme launch takes a lesson from its flop Magnifique and does everything by the book: a fetching package (check), something pink (check) and a safe, easy to like perfume (check). It’s even better if you tag on a well-known spokesperson (check, Julia Roberts looks gorgeous in the ads).

While my initial reaction was to dismiss La Vie Est Belle as another copycat, after wearing it for the past couple of weeks I’m not so sure what I think. The citrusy top notes laced with tangy raspberries were facile, but addictive, while the gourmand drydown tempered by earthy iris was surprisingly mellow.  I readied myself for another cheap fruit compote, but I discovered a trendy and likable perfume. I would have had an easier time making up my mind if it smelled cheap, but it doesn’t.

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Chanel Coco Mademoiselle (2001), currently the USA’s top selling women’s fragrance, has little to do with the 1984 Coco fragrance it allegedly flanks. One isn’t related to the other, except from a marketing standpoint that has Coco Mademoiselle positioned to sell to young women and Coco aimed at an older crowd. Coco Mademoiselle is a patchouli scent that belongs to the species of Thierry Mugler Angel, the groundbreaking 1992 fruit and patchouli techno-gourmand that was responsible for many spin-offs, some of them flops and some of them, like Coco Mademoiselle, bestsellers.

The notes of Coco Mademoiselle–rose, jasmine, patchouli, lychee, orange, grapefruit, vetiver, vanilla, and musk–say absolutely nothing about the scent. It’s not possible to imagine what it smells like from that roster. So many of these notes are rendered completely abstract that what really jumps out is a greenish, herbal patchouli over which have been melted vanilla and the type of fruit syrups used to flavor water.

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The curious part about sampling a lot of fragrances is that contrary to my expectations, my tastes have gotten more eclectic, rather than more constrained. When I started writing articles here at Bois de Jasmin, I had very strong opinions on what I liked—jasmine (hence, the name of my blog!), iris, sandalwood and what I avoided—vanilla, fruit, anise. Well, seven years later, I realize that I like vanilla sweetened perfumes as much as I enjoy heady jasmine and cold iris perfumes. When I first tried Rochas Alchimie a few years ago, I didn’t even give it much chance. It contained every single thing I thought I disliked—rich vanilla, sweet caramel, juicy red berries and a sprinkling of sugared anise seeds. I thought it would be best as a dessert, not as a perfume.

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“A fragrance created today is the one that’s going to disappear tomorrow,” says the director of the Osmothèque perfume conservatory Patricia de Nicolaï. Perfumes disappear for many reasons—reformulations, bad marketing strategies, poor timing. I’m not sure why Yohji Yamamoto was discontinued, but when Debbie emailed me to add Yohji Yamamoto to the long lost favorite perfume discussions, I was glad to talk about it. Debbie mentioned that she wasn’t sure if she really liked Yohji at the time, but as she noted, “when I go back and re-smell (I have about a quarter of a bottle left) I am struck by how interesting it is, especially at the time it was launched.”

When I first tried Yohji Yamamoto for Her, I also wasn’t sure if I liked it either. It was created in 1996 by the esteemed Jean Kerléo. Kerléo was an in-house Jean Patou perfumer, and he’s responsible for the gilded Jean Patou Sublime and the glamorous 1000. Yohji Yamamoto is a departure from the gold and silk elegance of Patou; it’s a gourmand composition that is unexpectedly crisp and bright.

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