osmotheque: 15 posts

My fascination with vintage perfumes owes a lot to Coty L’Aimant and Jacques Fath Iris Gris, fragrances created by Vincent Roubert. I stumbled across L’Aimant at a second-hand clothing store, where its red box sat among the bins of faux pearls from the ’60s and “genuine nylon” shirts from the ’70s. I had no idea that this perfume was launched in 1927 or that it was Coty’s answer to the smashing success of Chanel No. 5. I simply enjoyed its powdery, sweet scent that was completely unlike any of the fragrances I smelled at department stores. It gave me an escape from my routine on par with favorite books and The Classic Movie Channel.

Iris Gris, on the other hand, was a special quest. By then, I already knew that Roubert was a talented but not a prolific perfumer and that he crafted a legend by blending the cool, earthy iris essence with the luscious sweetness of peach skin. I searched high and low, and when I finally found a bottle of Iris Gris, the remaining perfume smelled of tobacco and sour wine. It was too old. My encounter with Iris Gris–pristine, stunning–took place years later, and I still have a blotter perfumed with iris and peaches.

So who was Roubert? What inspired him? In partnership with the Osmothèque, I offer you an excerpt from The Perfume of Memories, a 1947 magazine article by Vincent Roubert. The Osmothèque has all of the perfumes he mentions in his piece: Caron Fleurs de Rocaille, Chanel No. 5, Coty À Suma, Coty L’Aimant, Coty Muse, Guerlain Jicky, Guerlain L’Heure Bleue, Houbigant Cœur de Jeannette, Houbigant Demi-Jour, Houbigant Quelques Fleurs, and Lanvin Arpège. Iris Gris is still awaiting its hour.

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Today we know Ernest Beaux first and foremost as the creator of Chanel No. 5, but he was also responsible for Bois des Îles, Cuir de Russie, No. 22, and many other early Chanel perfumes. His style is elegant and graceful, but with a strong character. Soir de Paris, a fragrance he created for Bourjois, doesn’t just skip from one note to another; it shimmers, revealing in one moment a peppery citrus and green leaves, and in another a velvety rose and wood shavings. As it turns out, Beaux was not only a great perfumer; he was also a good writer, and his candid observations remain relevant today. In partnership with the Osmothèque, I offer you an excerpt from Memories of a perfumer (Souvenirs d’un parfumeur), a 1946 magazine article by Ernest Beaux published in Industrie de la Parfumerie.   

The article gives a glimpse into what Beaux considered to be the greatest perfumes of his time and his thoughts on the art of perfumery in general. “If our thoughts are but fantasies, such fantasy finds, thanks to the talent of the perfumer, a possibility of fulfillment,” he writes, and I cannot agree more.

The article comes from the archives of the Osmothèque, a French non-profit institution whose mission is to preserve fragrances in their original formulations. The current regulations make it impossible for Chanel to offer No.5 as Beaux intended it to be, but the Osmothèque features it in its collection, which is open to the public. You can also discover there the fragrance masterpieces Beaux mentions in the article:  Houbigant Cœur de Jeannette, Houbigant Fougère Royale, Houbigant Le Parfum Idéal, Houbigant Quelques Fleurs, Piver Le Trèfle Incarnat, Roger & Gallet Vera Violetta, Guerlain Jicky, Guerlain Après l’Ondée, Guerlain L’Heure Bleue, Coty La Rose Jacqueminot, Coty L’Origan, Caron Le Narcisse Noir, Lanvin Scandal, and Lanvin Arpège.

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The modern simplicity of the Osmothèque building in Versailles belies the rich treasures that this unique perfume museum and conservatory holds.  The Osmothèque is an independent, non-profit organization. Its mission is to preserve fragrances in their original formulations and to allow anyone to experience the iconic perfumes in their original glory. The Osmothèque also curates some of the rarest publications on perfumery, and until now you had to travel to Versailles to access them. I’m very happy to let you know that the organization has offered to open its archives to the readers of Bois de Jasmin and to share some of its most interesting publications.

The articles from the Osmothèque archives that I enjoy the most are the ones written by the perfumers. Robert Bienaimé, Jean Carles, Henri Robert, Edmond Roudnitska, and many other illustrious creators have left not only beautiful perfumes but also a body of writing to inspire a new generation of perfumers.  The articles will be translated into English, and will be published on Bois de Jasmin on a monthly basis as part of the Perfumers on Perfume series.

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Victoria’s Note: Today we have a special report from the Osmothèque perfume conservatory and museum in Versailles. It’s written by Jola, whom you might recognize as behemot from the comment section here (Behemot is a character from one of her favorite novels, Bulgakov’s Master and Margarita). Jola is a graduate of the film studies department at Jagiellonian University in Krakow, and she works as a film script editor. She recently visited the Osmothèque in Versailles, France, and her experience was  so memorable that she wanted to share it with other Bois de Jasmin readers.

When I first became interested in perfume about two years ago, I noticed many perfume writers were critical of the modern versions of such classics as Guerlain L’Heure Bleue or Miss Dior. Everyone praised the older versions of these perfumes, noting the use of high quality ingredients in the past and degradation of quality in modern formulas due to environmental, medical, and cost-related reasons. While reading that Jicky and Diorissimo are “thin” nowadays or that Caron Poivre doesn’t have its spicy bite, I longed to experience these perfumes in their full splendor. If only I had a time machine!

It turns out that I need not travel back in time to smell vanished gems like Jacques Fath Iris Gris or Coty Chypre. I only have to visit France. Since 1988, the Osmothèque perfume museum and conservatory located in Versailles has specialized in preserving and restoring old fragrance formulas, allowing anyone–professional perfumers and passionate perfume lovers–to study an impressive collection of fragrances. Only at the Osmothèque can you smell the exhilarating verdancy of the original Balmain Vent Vert or sigh over the gourmand decadence of Parfums de Rosine Le Fruit Défendu, a perfume created by Coco Chanel’s rival, fashion designer Paul Poiret.

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As the Flavors and Fragrances 2007 Conference brochure states, “The Osmotheque, the International Conservatory of Perfumes, was launched in 1990. Its vocation is to put together an amazing collection of 1700 perfumes (400 of them almost forgotten fragrances: jewels of perfumery). Most of them are reformulated as closely as possible to the originals by «Osmothecaires», famous perfumers such as Jean Kerléo… As one of the most relevant «Osmothecaires», Patricia de Nicolaï, herself also manager of Parfums de Nicolai, will be happy to show you the most famous perfumes which have been keyed by novel synthetic materials at their time. These important creations include: ‘Fougère Royale’ of Houbigant, ‘Rose Jacqueminot’ of Coty, ‘Trèfle Incarnat’ of Piver… and many many more.”

“The Influence of Synthetic Materials on the History of Perfumery –A Smelling Trip into the Past” is one of the presentations during the conference which will take place on 24-26 September, 2007 at Imperial College in London.

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