Whilst making a study of the classic chypres, I realised that they borrowed from one another in more ways than I could have perceived from sniffing alone. However, the results were anything but copies. By determination and strokes of ingenuity, their creators produced very original and creative compositions. In order to see the big picture of how each composition was inspired or influenced by the others, I drew the diagram of these timeless compositions whose traditional chypre structure dotted the landscape of perfumery.
Chypre de Coty ( Coty, 1917) consolidated the structure of chypre family. Two years later, Jacques Guerlain appropriated the structure for the ripe peach skin and Guerlinade of Mitsouko (Guerlain, 1919). This ripe peach was later put at the fore by Edmond Roudnitska in Femme (Rochas, 1942).
Inspired by Chypre de Coty, Jean Carles used the classical structural materials in Ma Griffe (Carven, 1946) and built the composition with bases, which are bold accords based on synthetic and natural ingredients. This gave Ma Griffe a strong structure and an exceedingly complex quality. He would later apply this technique to Miss Dior (1947) with a nod to the galbanum of Vent Vert (Pierre Balmain, 1945) by Germaine Cellier. Even though I do not see Vent Vert as a chypre, I put it there because Miss Dior was indubitably influenced by it.
And, although its inspiration involves the leather accord based on isobutyl quinoline, Bandit (Robert Piguet, 1944), also by Germaine Cellier, still clearly screams of chypre. This brutal combination of leather and chypre was reworked by Bernard Chant in Cabochard (Grès, 1959) to make it more accessible with a floral emphasis and softer character. He would go on to establish this leather chypre accord in masculine perfumes with Aramis (1965) that retains some of the softness of Cabochard, but darkens its leather. I almost forgot to include another noteworthy creation, but thanks to Robert who mentioned Azurée (Estée Lauder, 1969). Possibly by Bernard Chant as well, it bears striking similarity to Aramis and Cabochard. And, of course, Bernard Chant was creative with Aromatics Elixir (Clinique, 1971), dosing the patchouli and floral notes whilst reducing the animalic touch to simply the castoreum puffs. Aromatics Elixir, thus, sets itself uniquely between a chypre and an oriental.
Charles Hard Townes, in his Nobel prize speech, commented, ‘Scientists do, as we have heard, stand on the shoulders of giants from the past’ — I could not agree more.