L’Or De Vie: The Spectacular Serum And Cure From Dior

Dior “a magical name that carries both Dieu (God) and or (gold)” Jean Cocteau would say. The beauty regimen l’Or de Vie carries all of this. 

L’Or de Vie is unequivocally the chef d’oeuvre of Dior skincare; edited every year in a very limited edition. First there is the Cure l’Or de Vie, miraculous skincare that is twice more concentrated than previous editions. It reactivated the skin’s youth to leave only glow and brightness. Then, there is there Sérum l’Or de Vie –  a unique formula, entirely composed of Yquem extracts. 

Yes, the legendary vineyard, burgeon of luxury à la Francaise; the Chateau d’Yquem now serves feminine beauty. Dior science has been studying its cosmetic potential for already 30 years. In 2019, the natural treasure niched in the Dior gardens revealed its incredible antioxidant capacities. Enriched in extra nourishing care de vigne, l’Or de Vie delivers exceptional power. The skin is nourished and revived just as every season life rebirths at the heart of the Yquem vineyard. L’Or de Vie, in cream or in serum, borrows this prodigy from the most iconic vintage of the world. 

Irrigating the skin in order to diffuse the quintessence of the Yquem vine sap: it magnifies the effects of time in order to counteract its plans! Wrinkles are intensely smoothed, the face is restructured in depth.. The skin finds full and tonic volume! Skin radiates with a divine glow in a perfect velvet finish. It must be said that the Yquem vintage, often dating many centuries, proved by their inimitable aroma an incredible longevity. 

The Chanel Lion of Kristen Stewart


Make up CHANEL : HYDRA BEAUTY Micro Liquid Essence, HYDRA BEAUTY Micro Crème, teint LES BEIGES  Medium Light, on the eyes LES 4 OMBRES Eclat Enigmatique, OMBRE PREMIÈRE Noir Pétrole, STYLO YEUX WATERPROOF Ébène, mascara LE VOLUME DE CHANEL Noir, SIGNATURE DE CHANEL Noir, LE GEL SOURCILS Brun, on the lips ROUGE COCO SHINE Intime.

The Chanel Lion of Kristen Stewart

Kristen Stewart, Chanel ambassador, face of the Gabrielle Fragrance and memeber of the jury, wore a black silk dress, look 74, from the Fall-Winter 2018/2019 ready-to-wear collection for the opening ceremony of the 71st Cannes festival. Chanel Jewelry. Chanel make-up

Poison Girl by Dior


The history of the Poison collection begins in 1985, year when the house at 30 avenue Montaigne released a perfume with a slightly provocative allure. First of all there’s the name: Poison, already a foreboding omen. Then there’s the flask: a concoction captured in an apple-shaped bottle, the very archetype of the forbidden fruit. It wouldn’t take long for Poison to set tongues wagging. This scent is indeed the ultimate tool of seduction – just a few drops would be able to bring an entire crowd to its feet with the carnal facet that’s intimately multiplied within its wake.

That’s how Poison Girl begins, with the invigorating scent of orange. This hesperedic note confers it a profound dynamism and instantly awakens the senses of all those who dare travel in its wake. Then, the scent constructs itself and takes a particularly feminine turn. An enormous bouquet of flowers composed of May roses, cultivated in the Grasse region of France, as all as Damascus roses. The latter, symbol of an elegance that Monsieur Dior himself long worked with, brings a glamorous touch to the perfume. Finally the endnotes of Poison Girl arrive, more enveloping than the first upon contact with Venezuelan tonka bean that here gives off a velvety aspect. Incarnated by Camille Rowe, this scent is finding success with the nouveau elegant!

Bleu de Chanel


There is one color that is incontestably profitable to the imagination; blue is inscrutable, blue is infinite, blue is profound – fresh like the newly fallen night, as impudent as an expanse of water, variating from a winter sky to cobalt overhead, blue is ever so close to the shadows, the last grade before sheer black. Gabrielle Chanel had a particular soft spot for this intense navy blue, just as much as she did for white, beige, and black. In 2010, Chanel’s laboratories released a cologne for a free man: Bleu de Chanel, a scent that’s like an ode to the freedom to improvise, composed for a masculine soul who writes the screenplay for his own life with each step.

In 2014, Jacques Polge proposed a new interpretation for the fragrance. An intense variation that fits in with its lineage all while treading a new amber and sensual territory – as if blue was now nourished by the light of night. This new olfactory and visual ballad, an Eau de Parfum, isn’t content with simply concentrating the key ingredients of the original formula into a new one. Now more enveloping and rounder, Blue de Chanel Eau de Parfum is there to comfort an extremely free man, a strong and determined man, overflowing with self-confidence, who’s fragility remains a secret… Isn’t this the power behind Gabrielle’s character ?

Bleu de Chanel takes its freshness from the Mediterranean, in the citrus fields of Calabria, in the foliage of aromatic herbs, at the heart of vetiver roots, in fusions of cedar wood and the unctuosity of sandalwood. But this time, these amber, almost velvety woods, take over where aqueous and aromatic freshness left off. The Eau de Parfum is a sharp and sudden emotion. From the initial shivers resonates the echo of woods at the heart while a base of arid cedar oxygenates and offloads the formula. In its wake, sandalwood from New Caledonia begins like distant music, and the freshness fuses. Bleu de Chanel Eau de Parfum claims a virile sensuality. Irresistible, it gives the desire to get closer to the skin, to feel even nearer to this carnal song. Its freshness is insubordinate, sharp, and residual… The olfactory banner of male nonconformism.

Dolce & Gabbana: The One


The One is a special perfume in that it explores multiple facets of the same woman – this extremely sensual woman expresses herself here in the highly perfumed aura of a Florentine scent. With the immediate resonance and sustenance of a certain delicateness like that of lingerie on the skin, this Dolce & Gabbana perfume deploys itself like a saving grace accompanying a magnificent woman. “The light is always on her [the one]. It’s as if she were the only woman in the room,” explains Domenico Dolce.

The One opens with a headnote of bergamot that sparkles upon contact with mandarin orange. This instant luminosity remains light when softened upon contact with peach and lychee syrup. The heart is stronger, truer, perhaps purer: a floral bouquet composed with timeless white flowers like madonna lily, lily of the valley, and jasmine. This bouquet evokes passion, femininity, elegance, and grace. Within its wake is a profound sensuality marked by ripe plums melting in the seductive humidity of refined Mediterranean vetiver water.

Chanel’s Collection Libre “Numéros Rouges”


Newly at the head of creation for Chanel’s makeup division, Lucia Pica is unveiling a collection that’s an homage to the Mademoiselle’s original look. “Everything is but a story of icons,” declares Lucia Pica. Coco, who never went out without her lipstick, is the inspiration for a composition made of paradoxes, classicism, and harmony. Imagined with soft contradictions, the Numéros Rouges collection by Lucia Pica plays with intensity and lightness, audacity and simplicity, glamour and absolute elegance. Numéros Rouges is makeup for the eyes, the cheeks, and a nail polish that brings the legendary Chanel red a renewed character and tonicity.

“Red on the lips is such a classic and timeless look… I like to give it modernity by pairing it with young and surprising makeup, like the Celebrity nail polish, an intense black, or Fiction, a dark emerald,” specifies Lucia Pica. It’s true that with the inclusion of these shades that are so seldom paired with red, Chanel’s makeup becomes even more relevant. With an expert eye for shades and a mastery of impeccable bursts of color, Lucia Pica forged a number of practical contradictions here. The Celebrity nail polish for example dresses the nails up in an intense black, while Fiction adorns them in a dark emerald. Scenario adds a touch of bright coral. These compositions look like they’re straight out of a Wes Anderson film.

Chanel’s lipstick is reinvented with four new editions – two classic Rouge Allures, and two Rouge Allure Velvets with a matte texture. Numbered 1, 2, 3, and 4 respectively, these lipsticks are a return to Chanel’s classic origins: an ultra-glamorous red that respects the desire for a sober elegance. Lucia Pica seems to have created the ideal lipstick for every woman: “The contrast between the four colors isn’t spectacular. It’s the undertone that makes all the difference.” This is indeed a mini revolution. By offering unique undertones in the latest Collection Libre, the iconic lipstick dresses each woman up exactly how she desires. This is an essential, or rather, a “lipstick for life”. But get it while you can: the Collection Libre “Numéro Rouges” is available for a limited time only, exclusively in Chanel stores and on the brand’s website.

Gabrielle’s Exceptionalism Captured in Baccarat Crystal


“Chanel is turning a new page in their story. A new name. A new flask. A new perfume. A new territory of expression and inspiration.” This is how Chanel introduced their brand new perfume weeks earlier. Gabrielle, the new scent from the house on rue Cambon, is a sunny perfume imagined by Olivier Polge. A bouquet radiates through the heart of the perfume – it’s composed of four white flowers to deliver an olfactory vibration and a bright power. Jasmine, ylang-ylang, orange blossom, and Grasse tuberose create the scent of Coco Chanel’s liberty, ardor, and strength.

Today, or rather on November 3, the brand released a brand new and exceptional version of the perfume Gabrielle – this perfume is held in a flask that was specially imagined by Baccarat. Perfumers and master glassblowers teamed up to produce an ultra-luxurious limited edition, transforming the bottle into a precious crystal gem. It’s no longer a flask, but a collector’s object, engraved and blown by Baccarat’s master glassmakers.

This is an exceptional edition for an exceptional perfume. Cut like a diamond with a unique breed of savoir-faire, the flask for Gabrielle is adorned with a square tag and topped off with a hand-sealed stopper. Each piece is custom made. Even better, this majestic bottle will only be produced in 24 copies – 24 being a go-to number in the Chanel universe. This flask thus becomes the vessel for the prodigious nectar, the imaginary bouquet, that is the Gabrielle scent.

Serge Lutens about Ambre Sultan and Perfumes


Serge Lutens, what made you want to create Ambre sultan

The origin of its creation is lost in time, but let’s just say that it was during my first trip to Morocco, around March 1968, that I found a box containing an interesting, alluring wax in Marrakech’s souks. Soon, this scent became the very odor of the trip. Time has passed and still today I have that scented box somewhere that is the base of Ambre sultan… and I would even say, of everything that brands are now calling, neo-poetically, “Oriental perfumery”. For me, Ambre sultan is an Arabic perfume, and I’m proud of that!

How did you first imagine it? 

Ambre sultan belongs to the past, and that doesn’t interest me. It’s been almost 20 years since it was created, not for the finality of the product, but for the ambiance and the identity it conveys. Ambre sultan is to me just as it presents itself in the flask. I didn’t imagine it otherwise. The best is still to smell it and feel it.

What sort of beauty is characteristic of Ambre sultan

Beauty is so different according to each person that it’s difficult to bring it up in such a general way. I’ll talk about this perfume’s sensations rather, for at the time of its release, it truly provoked a shock wave in perfumery the likes of which no one was expecting! You have to remember that at that time, at the beginning of the 90s, perfume in general was a socio-cultural product: a bona fide marketing soup. Ambre sultan and Féminité du Bois proposed a return to the very essence of things, which was new. That being said, today we’ve unfortunately fallen into the opposite extreme where the originality of a creation only comes from the cost and the “nobility” of the primary materials used. We’re actually witnessing these TV competition shows with ridiculous fops and “learned women” where all that’s missing is a button you press to be the first to show off what you know in that domain.

Could Baudelaire’s poem “Perfume” explain Ambre sultan, from a point of view of the sensations sought after and conveyed by this fragrance – travel, memory, sensuality, intimacy, and temptation?

With Baudelaire, like with every writer, it’s the perfume of the work that interests me, not perfume in and of itself. Each Baudelaire poem delivers the following message: I like what you don’t like. I like what others hate… No, Baudelaire’s poems can’t be limited to perfumes, at the risk of falling – like I already said once – into perfumery’s Baudelairama. It’s too easy to use him to talk about a product. On the other hand, the spirit of the message: “I like what you hate” whether delivered by Baudelaire or Genet, is always present within me.

What does perfume mean to you? 

My identity at the time I’m making it; a bit like for the perfume La fille de Berlin where I made a declaration to anger, to its beauty. Every creation originates from a duplication within me.

Could it be said that your perfumes are at the crossroads of the arts you practice?

The expression of perfume is unique, felt in layers, unlike other crafts that I’ve practiced like cinema or photography. Perfume is something issued from intuition. It can’t be demonstrated otherwise. Each creation in that field announces a state within me; in a way, my color for the moment.

What is the best method of expression according to you?

The one that best leads you to what you want to say. This could happen through words, images, perfumes, but the best one in and of itself doesn’t exist. As proof, the writers that I like aren’t considered to be the greatest, but they are singular, and as such for me, incomparable. They invent a way of seeing for they can’t say it otherwise.

When one looks at your photographs, one can admire women that are distinguished, mysterious, lunar, and affirmed all at the same time. They’re fragile and strong, naked and adorned with a million colors. Is this play on ambivalence and female dichotomy your creative refrain?

If it was only a refrain, it would slow me down. These women, as Flaubert said of Madame Bovary, are “me”. They were the only way to placate what I had inside me. This duplication, thankfully, has not in any way allowed for my identification!


By Sebastien Girard.