Showing posts with label chanel No.19. Show all posts
Showing posts with label chanel No.19. Show all posts

Wednesday, August 19, 2015

A Special Homage: Coco Chanel

Today would have been Coco Chanel's birthday, had she been around and withstanding the scrutiny for her infamous past. No matter what anyone has to say about the lady herself and her tumultous personal life, her enduring style has really changed the way we see fashion and how women dress themselves. That's you see the advantage of avant-garde; making history.

via

Chanel's characteristic use of jersey fabric, pants for women, that do not resemble the harem, the trademark quilted handbags, two-toned pumps, pearls and costume jewelry, the freedom of fluidity & movement in her jackets, the stark usefulness of neutral colors such as beige, white, black and navy and her philosophy of function vs. decoration have made Chanel an icon of the 20th century and a true liberator of women from the constrictive garments of La Belle Epoque. We owe her that much.

Her fragrances of course couldn't but follow her unerring sense of style. The famous Chanel no.5 was followed by many others, notably No.19 commemorating her birthday on August 19th. This is what I am wearing myself today, reveling in both its sharp galbanum and vetiver cutting through the humidity (thick like it could be cut with a knife) and luxurious enough with its orris background.

So in her own honor, please find some related articles of mine on her style, beauty advice, iconography and of course perfumes.
And please share your own experiences with Chanel beauty & perfumes in the comments!

Coco by Chanel: fragrance review

Chanel No.19 & Heure Exquise: Twin Peaks

On Classifying Chanel No.19 & perfume review 

What's the True Story of Chanel No.5?

Cultural history: Exposition Chanel

Chanel No.5 Through the Years

Chanel No.46: fragrance review & history

I Don't Want to Set the World on Fire: Imaginative Fantasies

Chanel Les Exclusifs Misia: fragrance review [And a collective Chanel Les Exclusifs link.]

Thursday, April 3, 2014

Springtime awakenings: Green Fragrances & Green Shades in Perfumery

Among fragrance families, only "green" scents are classified through a visual connotation, specifically a color coding. You could argue that color plays an important role in the perception of fragrance anyway: "noir" or black connotes a sense of nocturnal danger, of priceless and unusual objects or of mighty seduction; spicy orientals are routinely being encased in reddish or brown boxes to evoke the materials associated with their make-up and the exotic East artifacts and textiles they are inspired of; marine scents come in blue bottles to recall the "big blue" of the sea they try to reference etc. And you would be right.

via pinterest

But green is a category all its own because the smell so categorically corresponds to the color for once that there is just no other way to "view" them: snapped leaves, mown grass, young stems retaining the dew, young buds striving to grow, pine needles all fresh and tingling in the forest air ... there's something about green scents that makes even the most die-hard urbanite of us yearn for the call of nature, of open spaces and of the freedom of an existence lived in a timeless way, in unison with earth. Today when the Green Movement is rampant, they seem particularly "now."

Green scents can be said to be unisex, though many women consider them more masculine or casual. But shed a thought for supermodel "The Body" Elle McPherson, a legend in the late 1980s and early 1990s and still a force to be reckoned with: her signature scent has always, famously been Guerlain's masculine Vetiver. Think of Sycomore by Chanel too: the concept was to offer a classically masculine targeted scent (a vetiver) to women who were busy buying off Les Exclusifs range. Or consider that super-sexy Christina Hendricks (of Mad Men fame) is a fan of the smooth green of Premier Figuier by L'Artisan Parfumeur!  Vetiver is technically a woody scent, coming from an exotic grass, yet because green packaging was first used for the first "stand alone" Vetiver (that of Carven in 1957) and all the others copied the color scheme, the association of vetiver with "green" has stuck!

via perfumeprojects.com

Green fragrances are not necessarily always "earth mother" types, "Om" chanters, dressed in hand-knitted woolies. They can be refreshing, upbeat, cheeky even! Etiquette Bleue by Parfums d'Orsay is a lively, citrusy scent which is underscored by greenery to render a playful and classic herbaceous ambience. O de Lancome is as fresh as tomorrow, its geometric packaging (in the words of Susan Irvine "reminiscent of 1960s wallpaper") denoting a modern sensibility; the basil, petitgrain, rosemary, witch hazel and vetiver notes give a decidedly green character to the hesperidic and floral notes that would speak of a simple cologne. Green fragrances can lean a bit more sophisticated too, borrowing facets from the fougere and chypre classification: Koto by Shiseido, Eau Parfumee au The Vert by Bvlgari, Diorella, Givenchy III, Safari by Ralph Lauren, Jacomo SilencesNiki de Saint Phalle and Eau Sauvage by Dior are all class acts in their own way and they all have perceptible "green" elements.
via pinterest

So beloved were these green scents once upon a time that the inclusion of a "herbal green" aroma in a functional product (namely the original "Herbal Essences" shampoo) has nostalgizers scouring Ebay for remaining bottles fetching stratospheric prices, even if only for opening the cap and getting a good sniff!

Green shades can technically veer into two main directions: fresh or resinous; leaves, floral notes with green elements such as lily of the valley/muguet and herbs are classified in the former (and accounting for green florals), with some citrus peel materials (bergamot notably) and grasses (such as galbanum) classified in the later, accounting for green chypre perfumes and green citrus fragrances.

Certain raw materials naturally tilt the scales into greenery indeed: galbanum, the driving force behind the classic green Vent Vert by Balmain (1945, its very name meaning "green breeze"), but also an indispensable addition to Chanel No.19, a green floral; pine needles (is there any other way to think of classic Italian Pino Silvestre but as intensely green?); cut grass, lemon leaves, petitgrain and eau de brouts (a by-product of the distillation of the Citrus aurantium tree), violet leaves (as opposed to violet flowers), mint leaves, spearmint, angelica, wormwood, lily of the valley (a green floral note indispensable to perfumers), even absinthe notes, all lend that touch of emerald that makes a composition at once majestically glow and refresh. Bring on the springtime greens!

Thursday, February 7, 2013

Perfume Primers: On Classifying Chanel No.19 & fragrance review

Chanel in-house perfumer Jacques Polge recounts a story surrounding the creation of No.19 and its appeal. In 1970, the 87-year-old Coco Chanel (who would die the next year) was wearing Chanel No.19 when she was stopped in the street by a young man.
“Coming out of the Ritz, I suddenly felt a hand on my shoulder and I turned around to see an unknown face. I was just about to tell him off in no uncertain terms, when he said to me, with an American accent: ‘Excuse me, I am with two friends who want to know the name of your perfume.’ To be stopped in the street by a man at my age, that’s not bad, is it?”
via ebay.com

I'm lucky my significant other loves Chanel No.19 on me too!

Although the feeling exuded by Chanel No.19 aesthetically approximates the one given off chypres (i.e. inedible, perfume-y, aloof, sophisticated, the antithesis of the "blonde bombshell airhead" cliche), the famous Chanel fragrance stands as exhibit A why perfumery appreciation can't be merely a subjective, aesthetic viewpoint but in many ways forms a technical matter demanding a deeper knowledge of the nuts & bolts of its craft. No.19's building blocks are not tabula rasa; in fact they belong to pillars already covered on these pages, but they merge in such a novel way that the result is something altogether unprecedented. This composition by perfumer Henri Robert, with its hint of fresh green stems cut with scissors to fit a vase, its powdery radiance and its cypress impression with lots of woody vetiver, embodies sophistication at its best.

via australianperfumejunkies.com
At the time of creation (1970, the perfume was launched in 1971), the formula contained a superior grade of Iranian galbanum with natural bergamot, lemon and ylang ylang. The heart of No.19 is built on lots of rose (15% of the formula in the vintage edition, a significant amount of which is comprised of natural rose absolute of Rose de Mai, i.e. Rosa centifolia), even more lily of the valley (20%) together with a jasmine "footnote". Up to this point nothing unheard of. The lily of the valley segment with the rest of the florals harkens back to the structure of Madame Rochas, the green feeling is analogous to Vent Vert a "green" floral perfume with its fingerprint dose of galbanum. The small inclusion of a carnation and sweet spice (pimento) "chord" recalls the great spicy florals of which L'Air du Temps is a prototype.

Three factors however make Chanel No.19 unique and unparalleled:
1) the predominance of orris however (the essence rendered from the dried rhizome of iris flower), here elevated from the supporting player status it enjoys in most perfumes
2) the overdosage of Hedione (around 25%) which diffuses the rest of the notes and gives that odd freshness and
3) the backing up with around 12% of a woody vetiver accord.
The floral elements (really, the rose) are supported and balanced by the woody notes, guiacwood, sandalwood, cedar (in the form of cedryl acetate) and the above mentioned vetiver. The bridge between the woody materials and the orris is methyl ionone, at a significant percentage. Methyl ionone itself is a molecule used to render violet-orris notes in hundreds of perfumes.

The wonderful richness of the vintage versions (in either parfum or eau de toilette) suggest that trace materials could have been used, as well as (probably) tinctures of musk, civet and ambergris, all but eradicated in the onslaught of perfumer regulations answering to animal rights concerns and allergens restrictions. Today's eau de toilette is boosting its vetiver and cedar notes over a fresher floral core, making a woody floral echoed in the denser version of the extrait de parfum, while the eau de parfum remains the rosiest of the three concentrations available. The predominance of orris means that it is an expensive formula to maintain, as natural orris price skyrocketed in the decades following No.19's creation. The main constituent of orris, the molecule irone, exists in isolation, and recent production of iris in China cut down the maturation process that orris demanded from 3-6 years to only 3 months (resulting in the Year of the Iris, a few seasons ago, when every perfume house, niche and mainstream, was issuing their own "iris perfume"). Nevertheless, the performance of the traditional natural orris is hard to emulate.

Up till this point, a clear case of a "woody floral". It is the inclusion of oakmoss and a leathery impression (rendered via isobutyl quinoline, with its sharp green fangly aspect) which complicate things and give a mossy character, recalling chypre perfumes to many perfume fans. However Chanel No.19 does NOT contain that third pillar of the true chypre, labdanum! (And certainly that would be applicable for a perfume that came out decades before the recent "nouveau chypres" which changed the territory due to technical exigencies). In fact No.19 is notable for what it does not contain as much as what it does, thanks to analytical gas chromatography work performed on it: little to no aldehydes, no synthetic musks (in the vintage version), no patchouli, no vanillin and no salicylates (more on which you can read on the link).

via ecrater.com
Its advertising image has always relied on its green character: witty, confident, a bit "sporty" even, in tweeds. "The unexpected Chanel". "The outspoken Chanel". Fronted by Christie Brinkley, Princess Mara Ruspoli, Rene Russo and other models of the time.

The comparatively small commercial appeal of Chanel No.19 -and other similarly bracing "green" fragrances- does not mean it has lost its importance in perfume lineage. A dedicated cult following has maintained its status and kept it in production. In Greece for instance, surely a very small market, Chanel No.19 has never known any shortage of availability and it enjoys pride of place on the counter at all times, contrary to many other classics, exiled on the bottom shelves of department stores. Its continuous presence (also in the sillage off women on the street) has aided a recalibration of what we consider "classy" regardless of fashions and it has influenced directly at least two perfumes: the intensely green Silences (1979) by Jacomo (which is Chanel No.19's offspring to be sure) and Beautiful by Lauder (1986). In the former the same powdery green, liquid emeralds presence is felt, with perhaps a fruity accent via cassis, while in the latter the abscence of mossy and green notes kicks it more surely into the woody floral mold.

Related reading on Perfume Shrine: Chanel No.19 and Heure Exquise by Goutal: A Tale of Two Sisters, Perfume Primers, Silences by Jacomo review, Iris: perfumery raw material


Wednesday, June 8, 2011

Chanel No.19 Poudre: A Perfumer's Pride Matter as per Christopher Sheldrake

"The original No.19 was created in the 70s," Sheldrake says in a full-bodied British accent. "This was an era of the emancipation of women and for me this is the epitome of the spirit of Gabrielle Chanel. She was the ultimate rebel who refused to be categorised as the girly, pink flower type of girl. Chanel No.19 is a little bit like wearing trousers for a woman. It enhances the femininity."
Somehow the fragrance's associations with a free feminine spirit faded, along with Charlie girls and the liberated models in advertisements for Virginia Slims cigarettes exclaiming "You've come a long way baby", but other perfumers continue to be inspired by its formula of iris and galbunum [sic]. So Chanel's knights in Savile Row armour went into the laboratory to update No.19 for 2011. "It's a matter of perfumers' pride," Sheldrake says. "We see the inspiration of No.19 everywhere in the market today and we felt that No.19 should be there. No one talks about No.19. This is not a marketing idea. It's a perfumer's idea. No.19 is an icon and we shall defend it." [...]The new fragrance went into test groups along with the original. "It had the same result," Sheldrake says. "A minority of people loved it and the majority could leave it. This is a sign of character. Enough of a minority liked it for us to know it was right. The freshness struck a chord. With No.19 Poudre the notes are cleaner and much sexier."

Thus discusses an article in The Australian the launch of Chanel No.19 Poudré which we had announced a while ago on Perfume Shrine (alongside the new Chanel Les Exclusifs Jersey). It therefore seems that the introduction of a flanker (aka, a new fragrance coat-tailing on the success of an established one, borrowing some variation of its name), the first time ever for Chanel No.19, is not devoid of noble causes. It is also admitted by Sheldrake that the new fragrance is having an eye firmly set on China and its evolving market, thus being a wise move from a marketing point of view as well.

The rest of the article talks about how Chanel bought fields of irises alongside the ones containing roses which they owned at the south of France, due to the shortages of those in Florence, Italy, and about the impending rise of prices on raw materials by Givaudan by 100% ,which make it a particularly wise move on the house's part. It also typically goes over how iris is a rhizome in perfumery and not the flower, which is probably par for the course of every article in the mainstream press read by non aficionados. Additionally, there is info on the boosting of the galbanum note ibn Chanel No.19 Poudré, a grass essence imported from Iran, which has been fractionalised to remove the more turpenic and sulphurous (i.e.garlic-like) components.

The new flanker will hit counters in July/August in Europe.

Wednesday, December 1, 2010

Chanel No.19 Eau de Parfum Lands Stateside

The elusive concentration of the venerable Chanel No.19 perfume, the Eau de Parfum, had been widely available in Europe for years now, but for some unfathomable reason escaped regular Chanel perfume counters in the US. The Eau de Parfum is a different animal than the Eau de Toilette and parfum versions, displaying a distinct rosiness which pairs with the vetiver in a novel way and has a smoother leather note. Now our American friends can stock up, as the Eau de Parfum of No.19 and some body products in the range (bath gel and deodorant) arrive at the online venue of Chanel, their official site on this link. Alongside some masculine Antaeus ancillary products, a No.5 Eau Premiere coffret and some makeup products.

Careful though: the No.19 Eau de Parfum is marked as a limited edition! (Which probably means you won't get a second chance anytime soon)
Complimentary standard shipping through midnight December 16th EST applies on the official site.

Read our review of Chanel No.19 and of Chanel Antaeus on these links. And watch some retro commercials of Chanel No.19 below.



Monday, April 14, 2008

Twin Peaks: Chanel No.19 and Heure Exquise reviews & comparison

Two sisters cut from the same cloth, but parting ways in their pursuit of self-fulfilment is not an uncommon scenario in real life, but when it happens to fragrances the comparison warrants exploration. A beautiful icy queen in contrapuncto to a bohemian lady of pedigree is how these two seem.

In Chanel No.19 I find every bit of that confident self-assurance that few women project without appearing displeasingly haughty. Composed by Henri Robert in 1971 for Coco Chanel herself, who supposedly overlook its creation from start to finish and first commissioned it for herself while in her 80s, it's one of the compelling masterpieces of perfumery and I personally love it dearly.
A very cool and powdery iris sings in soprano voice above the greenest vetiver and crunchiest galbanum this side of pre-reformulation Vent Vert; green jasmine vine dew and a little wood and leather give it aloof sophistication. It wears equally well on a hot day or a cool rainy one and this is an admirable trait, making it a perfect spring choice. Poised between green floral and green chypre, to me it definitely leans to the latter, a very elegant and confident one at that, that does not demand dressy clothes but could be just as fetching with something more casual. I picture it with a crisp white shirt on and silver bangles on a warm day, hair down; carefree and free-spirited and a little audacious to contrast with its primness of character. It would be a grave mistake to pair it with twin sets and pearls, all the paraphernalia of prim and proper, subtracting from its strict-boss sexiness.

The three concentrations are quite different from one another and thus worth comparing.
The Eau de Toilette comes in a refillable spray bottle, same as the classic No.5 but in silvery brushed aluminum instead of black; or a flat oblong spray bottle with a rectangular black or silver cap. The Eau de Parfum comes in the classic flat Chanel bottle with curved edges, with a spraying mechanism, just like No.5 in Eau de Parfum. Parfum is of course encased in the loveliest flacon of the three, with the excellent craftmanship reserved for the top products of the line.
Each of them hides a different aromatic secret: Eau de Toilette is the sharpest, dewiest and startingly greenest of the three, an affair of iris and vetiver in a naughty tryst after the executive power breakfast.
On the other hand Eau de Parfum, a creation of the 80s, highlights the crystalline Rose de Mai, along with jasmine, appearing more amply floral and curvaceously richer, justifying the green floral categorisation. Parfum is closer to Eau de Toilette, with a subtler projection however, the green whisper of violet leaves and vetiver embracing the coolness and powderiness of iris. The hint of undergrowth via oakmoss is also a bit more pronounced, which might signal the toll of death for the precious formula in light of IFRA and EU restrictions in the near future (let's hope not!)

Myself I have a preference for the translucent, icy clarity of the Eau de Toilette. In fact I am perfectly satisfied with it to the point I don't feel the need for parfum in this one, unless one is concerned with sharpness and projection.
The Eau de Parfum has a tendency towards turning sour on me, adding to my frustration with rosy accents that I am forever trying to come to terms with. But for rose lovers, this is the concentration to go after.
There are also two distinct formulae on this one, as attested by two differently hued bottles in the same store, which were of slightly different batches: one more emerald green, another more yellowish. Light or time deterioration could not be the culprit for the difference, as the first pigments to deteriorate are blue-toned ones, then red, then yellow, much like it happens with wines (a purple or green hue in red and white wine respectively -both shades containing a bit of blue in them- is a sure sign of a fresh batch and not an aged vintage).
There is discussion of reformulation, which is especially poignant regarding parfum, if so. The Parfum flacons I have come across do not present shade differences (yet) and are uniformely an ambery colour juice, but this is not to indicate that it will not follow the other concentrations in the future.

Notes for Chanel No.19:
Top: lemon, galbanum, bergamot
Heart: violet Leaf, rose de Mai, jasmine Grandiflorum from Grasse, ylang ylang, orris Root, lily of the valley
Base: vetiver, leather, sandalwood, oakmoss


Heure Exquise by Annick Goutal means "exquisite hour" and refers of course to what Guerlain poetically called l'heure bleue: the moment when the sun has set, but the night sky has not yet found its stars.
There is a wonderful poem by Paul Verlaine titled "La lune blanche"/"White Moon" which uses the very phrase in the end and it would be magnificent to think that it might have served as an inspiration:

"The white moon shines in the woods.
From each branch springs a voice
beneath the arbor.
Oh my beloved...

Like a deep mirror, the pond reflects
the silhouette of the black willow
where the wind weeps.
Let us dream! It is the hour...

A vast and tender calm seems to descend
from a sky made iridescent by the moon.
It is the exquisite hour!"

~Translation from the French by Grant A. Lewis (indiana.edu), referenced through this link with a comparison with the French text.

According to Michael Edwards, if you like Hermès Hiris or Chanel No.19 (both boasting a hefty amount of iris and in fact sharing a similar skeleton of perfume structure with Heure) you will like Heure Exquise. And in this case the correlation is eminently apparent!
Composed by Annick Goutal and Henri Sorsana (her perfumery mentor) in 1984, at a time when such cool and shady compositions were not the norm, it departs with its soapy iris note.
Goutal pegs it as:
"A sophisticated trail of Turkish rose, a gentle powdery base of iris from Florence and Mysore sandalwood. This fragrance recreates the atmosphere of a rose garden that blossoms with the passing of each exquisite hour."
Heure Exquise is a gentler, less astrigent sister of Chanel No.19, drier even and more powdery, with a more romantic, presque bohème streak due to its animalic submantle. Despite it being a newer creation than the Chanel it posseses an Art Deco vibe that is more old-fashioned than No.19.
Ravishing green pepperiness of galbanum provides the arresting first impression while the mysterious mists of iris with its powdery note enforces the similarity. Rose blossoms emitting their aroma in a dusky garden peak through in true feminine form.
However on closer inspection there is an almost incense-like feel of woody resiny aroma which contributes to the sui generis character of the whole. A subtle vanillic hint plays hide and seek in the woody base, never sweet. The progression does not change much on a blotter or on the skin and the tenacity and sillage are a bit more subdued than No.19. It is less cooly composed, less correct in its demeanour, with hair slightly out of place perhaps and clothes that might defy the rules of ineffable chic, but more spontaneous and passionate as a result.

The comparison between the two fragrances reminds me of the two sisters in the film The Heart of Me, based on the novel by Rosamond Lehmann. Set in 1930s London, it features two sisters - Madeleine and Dinah, played by Olivia Williams and Helena Bonham Carter respectively - and their contrasting characters: one marries Rickie (Paul Bettany), a debonair City businessman; the other falls in love with him. He begins an affair which is to have repercussions throughout their lives.
To feel the differences between the two sisters, you can watch the trailer, clicking here.

Heure Exquise like Dinah "might not be the most elegant creature, but it has passion". If No.19 becomes seriously compromised it is an excellent alternative and a wonderful stand alone perfume in any case.

Notes for Heure Exquise:
Top: Turkish rose
Middle: Orris
Base: Mysore sandalwood

Pic of Chanel No.19 ad courtesy of Parfum de Pub, pic of Goutal bottles courtesy of Annick Goutal official site.

Monday, March 5, 2007

28 La Pausa from Chanel Les exclusifs: fragrance review




As promised I start the week by reviewing in full the new Chanels, Les exclusifs.
You might have been a little bored by reading about them on the blogs by now, but I want to offer a tempered view that is completely no strings attached for the interest of balance.


Let’s start by 28 La Pausa.
According to the advertorial it is "a powdery scent based on the oil from iris pallida (known as sweet iris), one of the most expensive products available to perfumers..." and "named for a house Mlle.Chanel owned in the South of France” namely the villa on Roquebrune-Cap-Martin on the French Riviera.
Iris seems to be the one constant in niche perfumers’ obsession with coming up with rare and costly ingredients, and as iris/orris is currently the costliest ingredient to harvest this makes sense. After all someone had said before that everyone in the business wants to make a perfect leather, a perfect incense and a perfect iris scent. Seems to be de rigueur for some reason.
And judging by the issued offerings by Armani Privé, Lutens for Palais Royal Shiseido, The Different Company, Fréderic Malle or even more “commercial” products such as Dior Homme or Hiris by Hermès, iris features prominently on the stakes.
Iris is not just a flower. She is a goddess in the greek mythology pantheon, daughter of the Titan Thaumas and the Ocean nymph Electra, messenger of the Gods and goddess of the rainbow whose colour spectrum is not coincidentally called iris in greek, hence the English term iridescence and the same as the part of your eye that mesmerises with its coloured nuances.


The real question is does 28 La Pausa offer the excitement necessary and the sheer beauty expected from the definitive iris scent? Because this is how the collection has been presented and lauded and we need to check if those claims are met.
The answer is two fold.

If Iris Silver Mist by Maurice Roucel is a crepuscular -if a bit difficult- creation of sheer chill and carroty bulb undergrowth and Bois d’iris is a slightly spicy green heavier silk, 28 La Pausa is a gauzy white cloth that barely covers but lets sweet pale flesh peek from underneath.
The earthiness of bulb undergrowth is there along with a sweeter development as the very light composition progresses through its stages exiting rather soon.
A very light touch of violet is lending a green and very soft quality along with a sweetish fruity tone while some version of synthetic white musk (similar to the feel of the drydown of Pleasures) is lurking underneath assisting the view of exposed skin as described above. It is in fact mostly reminiscent of the lovely Hiris by nose Olivia Giacometti, a hybrid between flesh and flower. Which really begs the question why get both…

On the other hand if what you’re seeking is simply a wearable iris in a killer stylish bottle with exclusivity cachet, this is it; which unfortunately breaks the bubble of the innovative and groundbreaking. Simply put the soul does not soar upon smelling this if you have smelled other similar renditions, even though admittedly it’s one of the nicest ones in the new line and completely agreeable and approachable. Polge is a perfumer not best known for his highly controversial work anyway, taking into account he is responsible for some of the more mainstream Chanel fragrances created such as Coco Mademoiselle,Chance and Allure Sensuelle (although one has to credit him for the creation of the wonderful Egoiste!)and here he smoothed iris beautifully, however rendering the whole a bit derivative and déjà vu, which is the major fault of the whole Exclusives line in my humble opinion.

28 La Pausa includes elements already found in the much more distinctive Chanel #19, a work of art by Henri Robert in 1970 that is assuredly more opinionated and bracing. Perhaps its fate is sealed if they keep releasing things that temper its audacious aspect and its truly insolent character of crisp white linen shirt and lots of silver bangles on a carefree day with your hair down. This would personally pain me a lot, especially since the news about oakmoss featuring as a dangerous substance almost compared to illegal drugs one might think is any ground to go upon. Hopefully they will not substitute it with 28 La Pausa and another Chanel Exclusif, Bel Respiro, both of which draw inspiration from their predecessor's elegant green bouquet.

So, if you want to have a beautiful Degas ballerina in your collection, look no further. If on the other hand you’re moved by more challenging Goya images, this will not fulfil your expectations sadly.


Artwork by Mary Beth Schwark courtesy of allposters.com

This Month's Popular Posts on Perfume Shrine