Poison Girl by Dior

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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

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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

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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.

Gabrielle’s Exceptionalism Captured in Baccarat Crystal

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“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

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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.

Ambre Sultan by Serge Lutens

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His Ambre sultan, “Arab and not Oriental”, to quote its creator, marked the grand opening. Iconoclastic and dreamy, it is outside of the norms. Lutens positions himself through his perfume: “You would smell a perfume, it was a soup. You either smelled the sexy woman or the woman who keeps records. For men, it was Zorro’s arsenal. With Ambre sultan, I wanted to take Adams and Eves out of the marketing.” A new genesis of humanity, incarnated by its own bewitching wake, where antiquity and sensuality come together and enhance one another.

 Classic amber enriches itself with powdered vanilla notes of benzoin from tiny trees of Siam. Rockrose brings a sensual warmth to the table. Coriander, oregano, and myrtle wrap themselves around a note of patchouli and sandalwood. So many ingredients fit together so perfectly, ringing out like a masterful, odoriferous symphony. But sophistication is second nature, a simple immanence, for Serge Lutens. If he sought to do any one thing, it would certainly be express himself. According to him, Ambre sultan unites “thick tarmac, austere, mysterious rockrose that makes the fingers stick together, and welcoming tarmac, the comforting vanilla, also adhesive, that my memory retained.” The perfume reflects a certain dichotomy, a sensible human and personal ambivalence, rightly perceived by this man with an extreme finesse. A striking emotion hits us, issued from the strength of a tale and a personal myth. Travel is romanticized, spontaneity perfected, and emotion testified by this princely fragrance.

 This is how, luxurious and intimate at the same time, Ambre sultan is reigning over Paris’ Palais-Royal. The boutique is singular and preserves everything; a beautiful wrought-iron staircase rises from the center of the mysterious room. With its sumptuous 19th-century decor, it is dressed up with marble and marquetry. Fleeting and ephemeral jewels, perfumes of the moment, are soberly, uncapriciously displayed. They are contained in flasks composed of clear and crystalline lines. The magic of Serge Lutens’ senses is at work, this Baudelaire-esque alchemist that transforms sentiments and memories into olfactory sensations, and vice versa.

“Bois d’Argent”, a Perfume by Christian Dior

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“It’s hard to imagine how much savoir-faire and precision a perfume requires. The creative process is so sweeping, so demanding, that I feel like I’m just as much a Perfumer as a Couturier.” In 1947, Christian Dior turned the rules of silhouettes upside down with his first couture collection. In that same year, the clothing artist also spritzed his salons with his very first perfume, the eternal “Miss Dior”. A true couturier-cum-perfumer, Monsieur Dior saw perfume as a supplement to a look, a finishing touch for an outfit, a certain je ne sais quoi that makes all the difference. In 2015, as an homage to the brand’s visionary vocation, nose François Demachy imagined a collection of unique scents where the “New Look” is bottled up, where you can embark on a journey to the childhood homes that were so dear to Christian Dior, from Granville to Milly-la-Forêt. You might even bump into his muse, Mitzah Bricard…

Just as constant in the history of Dior Perfumes is the use of floral notes that is the thread that ties this collection together. From “Oriental” to “Cologne”, feminine to masculine, each of these eleven fragrances is composed with the most noble and precious primary materials in perfume-making. These perfumes, hand-fabricated and conditioned, were manufactured like artifacts, scrupulously following all the savoir-faire and expertise of the brand’s workshops. “Rare materials, daring olfactory choices, a creation without limits… This collection is the reflection of a freedom that only true luxury can give you,” François Demachy sums up. Among his scents, “Bois d’Argent” is the most markedly intimate. This perfume leaves enveloping and singular notes floating in its wake. At the heart of these woods, absolute iris of Florence, a perfumer’s fantasy, spreads its powdery, lightly wooded scents with a sensorial spiced amber chord that revolves around incense of Yemen and Somalian myrrh. In the words of its composer, “Bois d’Argent is drawn like a line… Pure, extremely contemporary. It’s a perfume that hides a highly precise composition beneath its tenderness.”

L’Eau d’Issey Pure Eau de Toilette

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In the beginning of this Issey fragrance, there was a drop of a rare and precious water. This water, in its purest form, indulgently espoused the promise of a life in the making. A life, or rather a new chapter that opened in 2016 for this drop – the second chapter of an odyssey that began in 1992. L’Eau d’Issey Pure Eau de Parfum is this contemplative olfactory concoction that ignites the senses with a moment frozen in time, plunging the mind into instant serenity. Outside of fashions, outside of time itself. Just like Issey Miyake’s style.

Today, with L’Eau d’Issey Pure Eau de Toilette, the fragrance is putting nature back in motion as something essential to life. Luminous like an aurora, the perfume evokes this moment frozen in time that is the blooming of a flower. Everything turns upside down: it’s spring, and L’Eau d’Issey is opening up to unexpected sensualities. Limpid and crystalline like a pearl, this Pure Eau de Toilette wields the power of the coming day like a bright dawn. For the very first time, the aquatic notes of L’Eau d’Issey are brightened up with notes of citrus. Mandarin orange illuminates the scent – pure, fusional, enrapturing like the first fresh mornings of spring, essence of neroli crowns the heart of this fragrance with a shining halo.

Founded on a bright accord of rose and lily of the valley, L’Eau d’Issey Pure Eau de Toilette is released in an elongated and pure flask that’s quite simply iconic. American designer Todd Bracher crafted this refined flask that reflects the olfactory simplicity contained within. “L’Eau d’Issey is everything that other perfumes aren’t. L’Eau d’Issey evokes for me a real simplicity and purity around this notion of water. For L’Eau d’Issey Pure, we captured the simplest image of water that, for me, is a drop,” explains Todd Bracher. This water is thus a drop, symbol of a scent devoted to making perfection tangible, all captured in a captivating flask. This is L’Eau d’Issey Pure Eau de Toilette

Dolce & Gabbana: The One

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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.

To incarnate this voluptuous softness, the brand borrowed the aura of Scarlett Johansson. In a film directed by the revered Jean-Baptiste Mondino and written by the late cultural journalist Glenn O’Brien, this perfume emerges within a dolce vita ambiance. The short film is a tell-all on the mystery of Dolce & Gabbana’s women – the ones who, away from the public eye, hide a certain familiarity and a refreshing sincerity. These strong signatures and impressions are captured in The One, still as iconic as ever.

Mr Burberry: The New Fragrance

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Burberry is unveiling a new version of its iconic fragrance to open a new chapter in the story of Burberry men’s fragrances. Imagined by perfumer Francis Kurkdjian in close collaboration with CEO and creative director of Burberry Christopher Bailey, Mr. Burberry is a more powerful and sensual version of the emblematic eau de toilette of the same name. Just like the brand’s iconic pieces, this fragrance pays homage to London.

In particular London by night. Plunged into the drowsiness of the night, a thousand promises are revealed. It’s this exact atmosphere that Burberry attempted to capture in its scent, with an atmosphere as fantastical as it is pragmatic, with a certain passion in tow. Woody, warm, and highly sensual, the fragrance mixes classic ingredients from British male perfumery. In the headnote, aromatic notes of tarragon and spiced cinnamon delicately rest on a heart of intense patchouli and a woody base composed of amber and smoked vetiver.

The scent’s elegant character can also be found in the flask’s lines. This flask is inspired by the black trenchcoat and its emblematic details. The heavy cap evokes its famed buttons, while its collar is adorned with a black gabardine bow that’s hand-tied as an homage to the revolutionary fabric invented by Thomas Burberry over a century ago during WWI. Bold and eminently masculine, its silhouette lacquered with an intense black reflects the warm sensuality of a fragrance that’s very special. Even better, each flask of Mr. Burberry Eau de Parfum can also be customized by engraving one’s initials.