Review: Chanel 1932 — 3.5 points

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In 1932, Gabrielle Chanel debuted her fine jewellery with Bijoux de Diamants collection. The pieces contained motifs of her inspiration — constellations, comets, and her star sign, Leo — and were designed such that they seemingly embodied the sense of liberty inherent in her couture. They were free of clasps and fastenings, and could be worn in different styles, for example, like a necklace or a fringe tiara. In exhibiting the collection, moreover, she opted for life-like wax mannequins with ravishing eyes and real hair instead of the traditional trays. And, all this happened at a time when the economy was still recovering from the Great Depression. How could she be so audacious and tread so lightly with such hefty carats?

Eighty years later, 1932 was created by perfumer Jacques Polge and is intended to capture the sparkles of diamond constellations that made history for Chanel. It is a great concept, and indeed the aldehydic shimmer of 1932 (Chanel, 2012) is nothing if not sparkling. It is starchy, and has the metallic tang of a grapefruit rind. The opening of Chanel N°5 Eau Première (2008) comes to mind. Some ten minutes into development, the chills of iris emerge and soon dominate.

The aldehydic notes and iris together may conjure the sharp brilliance of cut gemstones, but beneath that austere chills is a transparent white floral-jasmine layer that softens it. Over time, the aloof character of 1932 warms up to a creamy, inviting musky note in the dry down. The sweetness of its floral is also nicely offset by a subtle vetiver note.

The magic of the Bijoux de Diamants collection is that it remains timeless. I doubt that I can say the same of 1932. Its combination of aldehydic, floral, and woody notes is a familiar tune, and one could find far more striking orchestrations of iris, such as those of verdant Chanel N°19 (1970) or chypre-esque 31 Rue Cambon (Chanel, 2007).

Nevertheless, the elegance and quality of 1932 can hardly be considered disappointing. I revel in its refinement, from the rich aldehydic iris wrapped in diaphanous layers of jasmine to the plush creamy dry down. In terms of character and performance, it may pale in comparison to its more distinctive brethren, but the quality of its materials is beyond reproach. In fact, its demure nature may yet delight those who like their perfumes soft-spoken. So, never mind the history, a perfume must above all smell good, and 1932 does exactly just that for me.

Source: chanel.fr

Review: Chanel N°5 Eau Première – 4.0

Few brands do justice to the re-working of their classic creations as does Chanel. This is why I enjoy re-tracing the incarnations of Chanel N°5 (1921) to see what each interpretation has to offer. Previously, I examined the verves and radiance of a young mademoiselle in Chanel N°5 L’Eau (2016). This time, I say we look back at the modern legacy of the grand dame in Chanel N°5 Eau Première (2007).

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Its cascade of notes makes for a luscious sensation, whilst its clarity lends itself to ease of wearing. One is first greeted with heady and sunny ylang ylang, and there is a dalliance with the aldehydic note, both of which are customary to Chanel N°5. This leads over to the iconic bouquet of rose and jasmine blended into a floral mélange, but with each note still lending their nuances to the mix.

As Eau Première develops, I notice the progression from a bright, crystalline layer to a warm, round and sensual one. Its powdery iris note, in particular, gives the luminous sheen and softness of silk. And in the dry down, the warmth of its vanillic, musky base is still accompanied by a lingering hint of floral bouquet. Eau Première lasts easily a whole day and continues to persist on fabric. Its radiant, indistinctly floral sillage is also recognisable.

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From top to base, the framework of Chanel N°5 is preserved: only the emphasis has been shifted. By trimming the top and base, the composition acquires greater clarity and the focus now falls to the beloved bouquet of Chanel N°5. Here, perfumer Jacques Polge seems to have struck the perfect middle ground between classical pomp and modern clarity. In other words, Eau Première is an excellent update to the original.

Sources: chanel.com

Review: By Kilian Moonlight in Heaven — 4.0 points

Now is the hottest time of year in Thailand, but I am still forgiving of its scorching 38°C because this is the time when mangoes become ripe and I can enjoy the fine treat of mango sticky rice or Khao Niao Mamuang. The comforting dessert pairs juicy mango with creamy glutinous rice and coconut milk, and Moonlight in Heaven (By Kilian, 2016) evidently takes up this vibrant contrast.

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‘Khao Niao Mamuang’ — mango sticky rice

The tropical air of mango is suggested by a tart note of blackcurrant. Peppery and lemony notes lend their bright clarity to it, whilst a creamy nuance of fig softens its tang. A vivid green contrast recalling the green ivy of J’adore (Dior, 1999) tames the fruity sweetness. Perfumer Calice Becker is the creator behind both J’adore and Moonlight in Heaven, and her finesse is reflected in their fruity accords, which seem to possess the supernatural perfection of a Dutch still life.

Soon, the powdery sweet accord of glutinous rice dominates, rounded by floral hints of jasmine and orange blossom. A creamy note suggests the rich flavour of coconut milk, much like the sensuality of a moon-lit woman in the photograph by Patrick Demarchelier that also inspired the composition. The floral and milky rice powder juxtaposed with a tart mango is the lively tropical idea of the composition until the dry down, in which the sweet tonka bean of coumarin and the woody nuts of vetiver complement the idea.

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The contrast between sour fruit and powdery sweetness gives it a vibrant character. The mastery with which its radiant fruity accord is woven alone is worth exploring, and its toasty sweetness is just as refined. I especially like the way its tart cassis courses through to the dry down of sweet powder. And unlike most sweet fruity bombs, Moonlight in Heaven is composed. Yet, it is tenacious enough for the hottest days of Bangkok, during which I have been wearing it. Moonlight in Heaven proves that a dessert-inspired, fruity perfume does not have to be another boring tutti-frutti: it can be just as evocative.

Sources: bykilian.com, wikimedia commons by Terence Ong

Review: Chanel N°5 L’Eau — 4.0 points

A flanker of Chanel N°5 (1921) aiming at the modern crowd must not only possess the glamour and history of its forbear, but also appeal to modern taste. Perfumer Jacques Polge bore that in mind: the structure must be kept, but some old-fashioned notes reduced or replaced. The result was Chanel N°5 Eau Première (2008) — made more transparent to highlight certain notes, but still faithful to the original. Effortless sophistication.

That responsibility has fallen to his son and successor Olivier Polge who took the rein early in 2015 as in-house perfumer. And, in creating the latest flanker for an even younger crowd, namely women in their twenties, he accorded the same respect. Chanel N°5 L’Eau (2016) thus exudes the vivacity of a young mademoiselle, but at the same time, possesses the bearing of its predecessor.leau

The aldehydic shards, for which the opening of Chanel N°5 is infamous, are reduced to just a dash in L’Eau. The exuberance of citrus and neroli sets the bright tone. It is transparent, fresh, sparkling as I imagine the perfect eau de cologne version of Chanel N°5 should be.

Its iconic floral bouquet is sheer and well-blended, but all the flowers are still vying for attention. I can make out the components now and then. Sunny heady ylang ylang dominates; jasmine petals are scattered here and there; and the spicy and green nuance of rose imbues the composition with a strong rosy accent.

L’Eau is also heavy on musks and sweet vanilla, but it feels tender. If the rich, balsamic, animalic dry down of Chanel N°5 were velvet, then the cottony radiant musk of L’Eau would be layers of shimmering organza. But those anosmic to certain musks may find L’Eau even more reticent than is the case.

L’Eau is an example of how a good flanker should be. The spirit of the great grand dame – the hesperedic top, the floral bouquet, and the musky woods — is kept alive in a different light. The vivacity of citrus is emphasised and the musky dry down is radiant. The aldehydic and powdery aspects are also reduced. This lighter take on the original icon resembles Chanel N°5 Eau Première (2008), but is even more light-hearted and jovial even. Its ingredients smell of quality. And, I am sure those other than its target audience will be pleased.

source: chanel.fr

Review: Chanel Gardénia — 3.0 points

Gardénia (Chanel, 1925) was first conceived by perfumer Ernest Beaux as he revisited his earlier idea in Le Gardénia (Rallet, 1920). However, it has been re-orchestrated by perfumer Jacques Polge and re-launched as an eau de toilette that suits modern tastes.

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Despite the name, Gardénia in the current formulation is not so much a rendition of the gardenia. It is, perhaps, a conceptual theme of the ideal garden of white flowers for the Mademoiselle. It brings in groves of camellias, orange blossoms, tuberoses, and jasmines — pretty flowers in nondescript gardens. It is above all a pretty, modern, floral perfume.

The opening has, like many modern perfumes, the brightness of pink pepper oil at 0.8%. There is also a kind of green sharpness to suggest the foliage. Soon, the composition warms up with sweet floral notes and the lactonic creaminess. There are orange blossoms, jasmines, and tuberoses. The green nuance and creaminess of sweet tuberose set the tone for Gardénia. Its fluffy musk marries well with the white florals and forms the most of the dry down. It is sweet and likeable. It does not offend or inspire.

Perfumer Jean-Claude Ellena likes the composition because it evokes happiness. I like Gardénia for being easy on the nose. I am treated to a pleasant floral perfume without an attitude. From the beginning, it does not try to make an impression with a hard strike at my nose. Nor does it plunge my olfactory bulb into deep thoughts, as the composition develops. It is simple, pretty, and balanced. It will not offend anyone, and is only guilty of not being interesting. It is nice enough, but never memorable.

Certainly, not Billie Holiday with gardenias tucked in her hair.

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Sources: chanel.fr, hipquotient.com, Scent and Chemistry The Molecular World of Odors

Review: Guerlain Mouchoir de Monsieur — 4.0 points

Named for the bygone fashion of men sporting their scented batiste handkerchiefs, the composition goes by the name of Mouchoir de Monsieur (Guerlain, 1904) — handkerchief of the gentleman. It was created by perfumer Jacques Guerlain well over a decade after Jicky (Guerlain, 1889). Yet, both fragrances share an uncanny resemblance, and one can see the interesting development and twist that Jacques Guerlain did to Jicky, its iconic fougère predecessor by his uncle Aimé Guerlain.

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The lavender at the centre of its fougére accord reminds me of Jicky, and it is similarly dressed up with plenty of citrus, a bit of herbs, some fresh flowers, and a warm sweet base. The juxtaposition between cool and warm notes is also there. But this time, it is the floral accent and fulsome civet that set the tone for the fougére accord in Mouchoir de Monsieur.

The fresh aromatic facet of lavender is enhanced by the brilliance of its top notes: bergamot, neroli, and lemon verbena. These form the cool refreshing eau de cologne accord, and I can imagine gentlemen of those days dousing their batiste handkerchiefs with the concoction.

Contrary to Jicky in which the floral note of its lavender is left as such, Mouchoir de Monsieur embellishes the dainty purple florets with a bit of jasmine. Dollops of civet impart a mellow depth, much like a creamy dark chocolate ganache. It feels very dandy and polished.

The composition segues into a warm sweet powder combining orris, vanilla, tonka bean, and musks with the floral embellishments. Compared to the rudimentary accord in Jicky, the famed Guerlinade is more recognisable here with its floral, powdery, praline sweetness. Its warm vanillic base is fully enveloped by the sensual civet cream, much like the warmth of ermine robes. Mouchoir de Monsieur ends as a faintly floral powder with sweet animalic puffs of civet that stay close to skin for five hours; it does slightly better on fabric.

Mouchoir de Monsieur might be a derivative of Jicky, but that does not necessarily mean that it is any less interesting. In fact, I see it as an experiment of Jacques Guerlain to develop a unique character in the house style. Just like Jicky, the cool hesperidic and agrestic notes contrast sharply with the redolent vanillic fond. It is a beautiful duel. However, the floral inflection and redolent civet are where Mouchoir de Monsieur diverges from its forebear and flaunts its dandy appeal. And, I should think of its memorable character as a glimpse of the La Belle Époque opulence.

Source: guerlain.fr, Sotheby’s

Review: Hermès Muguet Porcelaine — 5.0 points

Lily of the valley or muguet is a classic example of flowers that refuse to yield a feasible quality or quantity of essence. Perfumers make it their eternal quest to capture its delicate scent. They initially constructed muguet based on combinations of essential oils, but later painted their ideas of the flower with the help of new aroma chemicals such as hydroxycitronellal, Lyral, and Lilial. But these were later found to be able to induce allergic reactions and are therefore restricted or even banned. Given such limitations, it is a creative challenge for perfumers to compose and interpret the scent of these white bells.

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Enter Muguet Porcelaine (Hermès, 2016), a testament to the mastery of perfumer Jean-Claude Ellena. The lily of the valley is vividly captured here with notes of fresh rose, spicy clove, jasmine, and green sap. A surprising melon accent makes the accord full-bodied with its fruity voluptuous touch. Its vivid beginning is as bright as the start of a fine spring day.

But as the clove-like freshness of its floral evaporates, the dewy greenery becomes more apparent. The interplay between peppery floral and watery green note keeps the muguet accord fresh. The sum is spot-lit, radiant lilies of the valley amidst their lush foliage. It also leaves a crisp green dry down that lingers for as long as six hours on me, and it has a green trail.

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I adore it with just as much enthusiasm as I do Diorissimo (Dior, 1956). Whereas the latter is an impressionistic take that paints a mélange of muguets and damp woodlands, Muguet Porcelaine is a close study of muguet. Here, the white porcelain bells are clearly delineated with floral, spicy, and green nuances, and then nestled amidst their dewy leafy stalks. Perfumer Edmond Roudnitska gave a fantasy of vernal woodlands for Diorissimo, but Jean-Claude Ellena draws our attention also to its evergreen foliage — it provides just as beautiful a lush ground cover in summer and through to autumn. With Muguet Porcelaine, he met the creative challenge successfully and in his own way.

Source: uk.hermes.com