serge lutens: 62 posts

Niche perfumery is synonymous with originality, boldness and surprise, and Serge Lutens deserves much of the credit for shaping it and giving it a set of codes and accords. Lutens was born in France and became successful as a photographer and artist, and his first sojourn in Morocco in the ’60s inspired him to experiment with new media and styles. When he eventually came to perfumery, he already had a concept that was revolutionary at the time–the scent of woods for women. Inspired by Moroccan cedarwood, it became Féminité du Bois, and it launched a new era in perfumery.

Féminité du Bois was created in collaboration between Serge Lutens and perfumer Christopher Sheldrake (who also creates perfumes for Chanel these days.) While it remains an iconic fragrance, Serge Lutens’s collection is full of other gems. In my new series spotlighting different brands, I talk about Serge Lutens and five of his best fragrances.

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In his marvellous essay Why Read the Classics? Italo Calvino offers 14 definitions of what makes a classic piece of literature. Reflecting on his list, I thought how easily its ideas could also be applied to perfumery. The same notions of the inexhaustible sense of discovery, timelessness, and “imprints on our imagination” also define a classic scent, be it Guerlain Shalimar or Chanel No 5. It was Calvino’s 13th point, however, that struck a chord. “A classic is a work which relegates the noise of the present to a background hum, which at the same time the classics cannot exist without,” he says. They’re rooted in the present even as they transcend it.

Inspired by Calvino, I decided to draw up a personal list of perfume classics, creations that reflect their moment and yet have timeless relevance. The first I selected was Serge Lutens’ Féminité du Bois, a fragrance conceived by the artist and photographer for Japanese brand Shiseido in 1992. Lutens wanted a perfume based on the Atlas cedarwood, and he sought to convey the softness of the ingredient that beguiled him ever since he came to Morocco in the 1960s. Initially when Lutens talked to the perfumers about his idea, he encountered a lack of comprehension. Cedarwood was traditionally treated as a sharp, masculine note and few fragrance professionals understood how to reinterpret it in a different guise.

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As a complement to my article about Autumnal Fragrances, I recorded a video about the fragrance that scented my fall this year, Serge Lutens La Myrrhe. Early into the spring lockdown, I decided to devote more attention to studying, wearing and enjoying my old favorites, rather than seeking out anything else. Partly, it was a matter of necessity–I transferred my studio to my home and I didn’t want to bring all of the fragrance samples from the office. Partly, it was influenced by my desire to pare things down to the essentials. It was a much needed antidote to the persistent commercial message of buying things.

So I would sometimes spend days analyzing a fragrance, finding its nuances and decoding the stories hidden within its accords. It reminded me of the time I was a perfumery student and would spend weeks studying a single fragrance. I can tell you that I didn’t miss anything. On the contrary, I’ve learned a great deal about fragrance over these past few months.

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Although classical leather notes in perfumery are dark and dramatic like Robert Piguet Bandit and Grès Cabochard, this theme offers many variations, including the soft and creamy ones. In my recent FT column, Leather Scents with a Soft Focus, I describe different ways in which leather can be interpreted. I also talk about my idiosyncratic behavior at the vintage shops.

Unconventional is the leather collection of Serge Lutens. The line has a number of fragrances with leather accents, whether Sarrasins, with its interplay of leather, jasmine and musk or Fumerie Turque, which weaves leather into tobacco leaves and rose petals. Cuir Mauresque, however, makes this tanned note the star player. It is buttery and rich, oscillating between the darkness of amber and the spicy bite of clove. What makes its leather tender and luminous is the clever addition of orange blossom and mandarin. Inspired by the old tradition of perfuming gloves with fragrant pomades, Cuir Mauresque conjures up vintage handbags and well-worn armchairs in old libraries. To continue reading, please click here.

Where do you fall on the leather spectrum, dark or light?

Image via FT

Once, as I was telling Maurice Roucel how much I loved his Iris Silver Mist, a perfume he created for Serge Lutens, he laughed and explained that Lutens kept asking again and again for more iris, so he ended up using all the iris aromatics in the catalogue of his company and essentially “mixing them together.” Roucel can be refreshingly self-deprecating about his work, but I knew that achieving the precise harmony of Iris Silver Mist took much more than just blending all irises in sight. For me, it evokes the cool, frozen beauty of this complex note in a way that few other iris perfumes can.

In my recent FT column, I examine three iris classics, describing what makes them compelling and memorable. Above all, iris as an ingredient deserves attention because it’s one of the most layered, rich but difficult materials available to perfumers.

The first time I smelled iris essence, I stood for a few minutes with a perfume blotter under my nose before I regained my senses. In an instant it conjured up frozen petals and snow-covered trees, and while this image of a winter garden was vivid, I couldn’t easily describe the fragrance. It was like nothing I had encountered before, and pinning down its radiant but surprisingly potent scent proved difficult. To continue, please click here.

What are your ultimate iris perfumes?