I find it difficult to write about Gabrielle (2017), the latest major launch in fifteen years by Chanel Creative Team and perfumer Olivier Polge. This is because it does not evoke anything beyond the propriety of a nice, likeable launch. I have but few adjectives and words with which to work.
Perhaps, I should start by describing all the notes of Gabrielle with the few vocabularies that come to mind: lovely and bright. The vivacious debut of grapefruit and mandarin segues into a bright white floral heart. Although Chanel purports that this is a quartet of orange blossom, ylang ylang, jasmine, and tuberose from Grasse, what I smell is mostly a fresh lemony jasmine with a creamy accent, which is cushioned in the dry down by soft sandalwood and musk. Whilst a fresh white floral such as this is a dime a dozen, there is an accent reminiscent of dried fruits and prunes to it that lends Gabrielle its lasting luminosity — that is probably just about the only aspect that I find interesting. Other than that, Gabrielle seems to have borrowed its bright white floral from Jour d’Hermès (2013) and diluted the fruit syrup of Coco Mademoiselle (2001), arguably its more daring chypre-esque sister.
Still, I am quite willing to forgive Gabrielle. Its well-mannered white floral intended to appeal to the market at large is hardly distinctive, but at the same time it is not entirely without ploy. It also smells of quality, from the zest of its citrus to the creamy accent of white florals and the soft musk. This is rare by today’s standard. Hence, for its purpose and intent, Gabrielle makes the cut for a decent launch. Everything about Gabrielle is intended to hook, and it did me, but it does not arouse any feeling beyond mere satisfaction and fleeting delight.