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Notes07/16/2021
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17
Deuxième Rouge
In 2001, Comme des Garçons moved its Parisian boutique from Rue Étienne Marcel to Rue du Faubourg Saint-Honoré; from the area that had been a concentration of high-fashion in the 80s and 90s, or what was on its way to becoming so - to the lion's den, the Faubourg Saint-Honoré, which until then had seemed even more sedate and dusty. The boutique was outfitted with a sprawling red interior design by then-fledgling designer Ab Rogers and his company Kitchen Rogers Design. This redshift coincided with the second perfume series, "Series 2: Red," which included Harissa, Rose, Carnation, Sequoia, and Rosewood.
For a long time, Comme des Garçons perfumes were only available in stores that also carried fashion by the Japanese. An exact date I don't know, but it should have been around 2004 that a distribution and production deal was struck with Puig, which included above all the popular
Comme des Garçons 2 (1999) and Comme des Garçons 2 Man (2004) should bring into circulation. As with fashion, which has evolved over the years into a complex mycelium of different main and secondary lines, Comme des Garçons also indicated different paths for fragrances: a 'main line' initiated in 1994, another titled 'parfums parfums', under which, among others. the second line was called 'parfums parfums', under which the series Experimentelles ran, further to perfumes that were realized via Comme des Garçons for third parties (Hussein Chalayan, Vogue, etc.) - and just a series with broader distribution, produced by Puig in Spain, packaged in a version of the 'pebble' flacon designed by Marc Atlan. In terms of content, there are comparable connections. The Puig releases like to pick up themes that were initially tested in the 'parfums parfums', be it through Marc Buxton's great early works or with the immensely popular Series 3 from 2002: incense became more and more the trademark of Comme des Garçons Parfums. As much as I find the first releases, indeed almost all of the 'parfums parfums' series successful - I had no luck with the Puig-produced Pebbles, with one exception, when in 2013 with Blue Invasion they tried to continue the serial character here as well. Looking again at the core clothing business is helpful: here, too, key ideas from the main lines are pragmatically normalized and discreetly used in the other lines, or outright ignored and trivialized (see Play). These remarks may offer a starting point for reading Rouge.
2020 - Rouge instead of Red: Rouge represents for me the most successful new entry from the series so far. The in-house references remain clear, even en masse: incense, sure, and I detect connections into sweetly spicy woody terrains like those charted with harissa, sequoia, and rosewood in Series 2: Red. Beetroot here is more of a dessert, an ice cream, a jelly or a beetroot macaron by Pierre Hermé, than savoury a la borscht, salad or curry. Ginger and Schinusfrucht (pink berries, pink pepper) and something reduced geosminische, which also plays a role in beetroot, make the whole a thoroughly garden-gourmand experience, which bubbles aldehydic on top of it.
Thereby the title Rouge hits the whole well, no Giallo like Argento's Profondo rosso, but despite transparent glass bottle, more interwoven and somewhat deeper in earth than the focused-reduced releases from Series 2: Red.
For a long time, Comme des Garçons perfumes were only available in stores that also carried fashion by the Japanese. An exact date I don't know, but it should have been around 2004 that a distribution and production deal was struck with Puig, which included above all the popular
Comme des Garçons 2 (1999) and Comme des Garçons 2 Man (2004) should bring into circulation. As with fashion, which has evolved over the years into a complex mycelium of different main and secondary lines, Comme des Garçons also indicated different paths for fragrances: a 'main line' initiated in 1994, another titled 'parfums parfums', under which, among others. the second line was called 'parfums parfums', under which the series Experimentelles ran, further to perfumes that were realized via Comme des Garçons for third parties (Hussein Chalayan, Vogue, etc.) - and just a series with broader distribution, produced by Puig in Spain, packaged in a version of the 'pebble' flacon designed by Marc Atlan. In terms of content, there are comparable connections. The Puig releases like to pick up themes that were initially tested in the 'parfums parfums', be it through Marc Buxton's great early works or with the immensely popular Series 3 from 2002: incense became more and more the trademark of Comme des Garçons Parfums. As much as I find the first releases, indeed almost all of the 'parfums parfums' series successful - I had no luck with the Puig-produced Pebbles, with one exception, when in 2013 with Blue Invasion they tried to continue the serial character here as well. Looking again at the core clothing business is helpful: here, too, key ideas from the main lines are pragmatically normalized and discreetly used in the other lines, or outright ignored and trivialized (see Play). These remarks may offer a starting point for reading Rouge.
2020 - Rouge instead of Red: Rouge represents for me the most successful new entry from the series so far. The in-house references remain clear, even en masse: incense, sure, and I detect connections into sweetly spicy woody terrains like those charted with harissa, sequoia, and rosewood in Series 2: Red. Beetroot here is more of a dessert, an ice cream, a jelly or a beetroot macaron by Pierre Hermé, than savoury a la borscht, salad or curry. Ginger and Schinusfrucht (pink berries, pink pepper) and something reduced geosminische, which also plays a role in beetroot, make the whole a thoroughly garden-gourmand experience, which bubbles aldehydic on top of it.
Thereby the title Rouge hits the whole well, no Giallo like Argento's Profondo rosso, but despite transparent glass bottle, more interwoven and somewhat deeper in earth than the focused-reduced releases from Series 2: Red.
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