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In Doubt for Doubt
What do Roja Dove, Sylvaine Delacourte, and Gilles Thévenin have in common? Who knows the answer? Correct, Guerlain. The traditional house employs the most talented perfumers and merchants, some of whom later venture into independence. Roja Dove and Sylvaine Delacourte now market perfume under their own names, but not Gilles Thévenin. More on him shortly, but first, let’s take a little journey through time.
We find ourselves in 18th century France. Pierre-François Lubin is just 10 years old and lives with his parents not far from the Parisian workshop of Jean-Louis Fargeon, where he is beginning an apprenticeship. The famous perfumer awakens Pierre-François's love for fragrance essences from a young age. Young Lubin is 18 when he leaves his patron and the revolution-torn capital. He continues his education in Grasse, where he learns the "Italian method" from Tombarelli. As the political tides slowly settle, he returns to Paris and completes his knowledge with his old patron. Lubin becomes not only an excellent perfumer but also a highly skilled businessman. He opens his first maison called "Au Bouquet de Roses" in Paris. Lubin expands and exports his creations - as the first fragrance house ever - to America. His clientele includes Empress Joséphine, - the wife of Napoleon - English King George IV, and Tsar Alexander I. Fame, honor, and wealth pave his life's path. Only one thing is denied to him; there is no male heir, no one from the family to take over his manufactory.
Felix Prot, his former apprentice and loyal employee, continues the business. Lubin becomes a successful company, professionally managed by several generations of the Plot family. What follows in the mid-twentieth century initially sounds extremely promising. Large corporations buy the fragrance manufactory, but neither Henkel, nor the 4711 manufacturer Muehlens, nor Wella make Lubin a hit. The brand leads a shadowy existence, tragically overshadowed by the many beauty products.
Salvation comes in 2004 when Gilles Thévenin, who until then was the creative director at Guerlain and marketing chief at Rochas, makes a fateful decision. He literally goes to the very edge of his comfort zone and even beyond. He sells all his possessions. Soon, new owners enjoy his representative house, his cars, and his antiques. In his own words, he describes this time as follows: “My grandmother cried. At 45, I was alone in a room, a former servant's quarters. But I was happy. It was almost like getting married. I knew I would dedicate myself to this company. I want to keep quality perfumery alive.”
At the beginning, he mainly collaborates with two well-known "noses," Delphine Thierry and Thomas Fontaine. Thomas is the architect and also the Indiana Jones of fragrances. He systematically builds his creations, scent block by scent block, constructing "cathedrals." He is also the master of reformulations. Delphine Thierry takes a completely different approach; she is the poet among perfumers, conveying feelings, moods, and telling stories. She is also the creator of Akkad.
Many comments and on the Lubin website state that Akkad was inspired by the Mesopotamian ruler of Akkad - Sargon. “The essence of Akkad is the gift of the beautiful Ishtar, who loved and protected me. It contains the most precious balms from Pound and the islands of the great sea and those that lie even further away. This amber is like the light that illuminates my kingdom, the most valuable treasure of my realm.” (Quote www.lubin.eu). But that is only half the truth. The first inspiration for Akkad comes from Provence, where Delphine Thierry has lived with her family for a few years. From her house in a small village, a stone path leads to the river. One summer day, as she walked along this very path, she thought about how stones indeed have a subtle scent. She enjoyed the fragrance of spices like thyme, oregano, and also that of cistus. This “radiant area,” the sweaty skin, a bath in the river at the end of a hot August day, the carefree and happy feeling, sensuality, and the setting sun were the true emotional sources for Akkad. The fantasy worlds surrounding the later fragrance were created by Gilles Thévenin. He accompanies every fragrance development, which can easily take a year, until the creation is balanced and harmonizes with the name, bottle, and story.
Please forgive me the long introduction. I am often just as fascinated by the people behind the scenes as I am by their compositions, and I find their inspirations stimulating.
Thévenin was already very fond of Delphine Thierry's first fragrance creation. The connection between sun, nature, stone, and sensuality appealed to him. And indeed, the fleeting beauty of the top note carries the sun in its heart. This light-footed, approachable nature, the minimal citrus, the fresh herbs, and the warm, sensual, slightly human labdanum also conquer me in a storm.
The mineral aspect is immediately sensed. Gilles Thévenin associates this direction with a temple. At his suggestion, the incense component in the fragrance was increased to emphasize the sacred aspect as well. Through balsamic notes like resins, styrax, and benzoin, as well as amber, Akkad later becomes “physically palpable.”
The pyramid suggests a dark fragrance and honestly does not appeal to me at all. I was completely surprised that although Akkad comes from “Noire,” the fragrance shines surprisingly bright. This ambivalence comes close to the squaring of the circle and hints at the extraordinary talent Delphine Thierry possesses.
At this point, I would normally write in other comments that lovers of incense fragrances must absolutely test this. That everyone who loves NU by Yves Saint Laurent and Coco or Coco Noire should head straight to the souk and quickly acquire a decant. But I won’t do that. Because Akkad is niche perfume in the best sense of the word, a craft of great emotions. Everyone should eventually experience it, as few fragrances possess as much personality and such a natural aura as this perfume. That Akkad is not for everyone is not decisive.
My conclusion: Occasionally explore the boundaries of your comfort zone, for that is where the adventure begins. And also test against your preferences. In doubt for doubt.
Sources: "The fragrance office for exciting gentlemen" - Die Zeit // "Fragrances like cathedrals" - Handelszeitung // "The fragrance renaissance" - Manager Magazin // "The eccentric of fragrances" - GEO // www.lubin.eu // Wikipedia
We find ourselves in 18th century France. Pierre-François Lubin is just 10 years old and lives with his parents not far from the Parisian workshop of Jean-Louis Fargeon, where he is beginning an apprenticeship. The famous perfumer awakens Pierre-François's love for fragrance essences from a young age. Young Lubin is 18 when he leaves his patron and the revolution-torn capital. He continues his education in Grasse, where he learns the "Italian method" from Tombarelli. As the political tides slowly settle, he returns to Paris and completes his knowledge with his old patron. Lubin becomes not only an excellent perfumer but also a highly skilled businessman. He opens his first maison called "Au Bouquet de Roses" in Paris. Lubin expands and exports his creations - as the first fragrance house ever - to America. His clientele includes Empress Joséphine, - the wife of Napoleon - English King George IV, and Tsar Alexander I. Fame, honor, and wealth pave his life's path. Only one thing is denied to him; there is no male heir, no one from the family to take over his manufactory.
Felix Prot, his former apprentice and loyal employee, continues the business. Lubin becomes a successful company, professionally managed by several generations of the Plot family. What follows in the mid-twentieth century initially sounds extremely promising. Large corporations buy the fragrance manufactory, but neither Henkel, nor the 4711 manufacturer Muehlens, nor Wella make Lubin a hit. The brand leads a shadowy existence, tragically overshadowed by the many beauty products.
Salvation comes in 2004 when Gilles Thévenin, who until then was the creative director at Guerlain and marketing chief at Rochas, makes a fateful decision. He literally goes to the very edge of his comfort zone and even beyond. He sells all his possessions. Soon, new owners enjoy his representative house, his cars, and his antiques. In his own words, he describes this time as follows: “My grandmother cried. At 45, I was alone in a room, a former servant's quarters. But I was happy. It was almost like getting married. I knew I would dedicate myself to this company. I want to keep quality perfumery alive.”
At the beginning, he mainly collaborates with two well-known "noses," Delphine Thierry and Thomas Fontaine. Thomas is the architect and also the Indiana Jones of fragrances. He systematically builds his creations, scent block by scent block, constructing "cathedrals." He is also the master of reformulations. Delphine Thierry takes a completely different approach; she is the poet among perfumers, conveying feelings, moods, and telling stories. She is also the creator of Akkad.
Many comments and on the Lubin website state that Akkad was inspired by the Mesopotamian ruler of Akkad - Sargon. “The essence of Akkad is the gift of the beautiful Ishtar, who loved and protected me. It contains the most precious balms from Pound and the islands of the great sea and those that lie even further away. This amber is like the light that illuminates my kingdom, the most valuable treasure of my realm.” (Quote www.lubin.eu). But that is only half the truth. The first inspiration for Akkad comes from Provence, where Delphine Thierry has lived with her family for a few years. From her house in a small village, a stone path leads to the river. One summer day, as she walked along this very path, she thought about how stones indeed have a subtle scent. She enjoyed the fragrance of spices like thyme, oregano, and also that of cistus. This “radiant area,” the sweaty skin, a bath in the river at the end of a hot August day, the carefree and happy feeling, sensuality, and the setting sun were the true emotional sources for Akkad. The fantasy worlds surrounding the later fragrance were created by Gilles Thévenin. He accompanies every fragrance development, which can easily take a year, until the creation is balanced and harmonizes with the name, bottle, and story.
Please forgive me the long introduction. I am often just as fascinated by the people behind the scenes as I am by their compositions, and I find their inspirations stimulating.
Thévenin was already very fond of Delphine Thierry's first fragrance creation. The connection between sun, nature, stone, and sensuality appealed to him. And indeed, the fleeting beauty of the top note carries the sun in its heart. This light-footed, approachable nature, the minimal citrus, the fresh herbs, and the warm, sensual, slightly human labdanum also conquer me in a storm.
The mineral aspect is immediately sensed. Gilles Thévenin associates this direction with a temple. At his suggestion, the incense component in the fragrance was increased to emphasize the sacred aspect as well. Through balsamic notes like resins, styrax, and benzoin, as well as amber, Akkad later becomes “physically palpable.”
The pyramid suggests a dark fragrance and honestly does not appeal to me at all. I was completely surprised that although Akkad comes from “Noire,” the fragrance shines surprisingly bright. This ambivalence comes close to the squaring of the circle and hints at the extraordinary talent Delphine Thierry possesses.
At this point, I would normally write in other comments that lovers of incense fragrances must absolutely test this. That everyone who loves NU by Yves Saint Laurent and Coco or Coco Noire should head straight to the souk and quickly acquire a decant. But I won’t do that. Because Akkad is niche perfume in the best sense of the word, a craft of great emotions. Everyone should eventually experience it, as few fragrances possess as much personality and such a natural aura as this perfume. That Akkad is not for everyone is not decisive.
My conclusion: Occasionally explore the boundaries of your comfort zone, for that is where the adventure begins. And also test against your preferences. In doubt for doubt.
Sources: "The fragrance office for exciting gentlemen" - Die Zeit // "Fragrances like cathedrals" - Handelszeitung // "The fragrance renaissance" - Manager Magazin // "The eccentric of fragrances" - GEO // www.lubin.eu // Wikipedia
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"I want a perfume for women that smells like a woman!" - Coco Chanel
When Karl Lagerfeld, "the Great," turned into the driveway of the cosmetics headquarters, he already had a fixed idea in mind. The renovation of the New York boutique on 57th Street was nearing completion, and the reopening was getting closer. Moreover, he had just moved his Métiers-d’art collection to the Metropolitan Museum. These events should be celebrated alongside the current fashion collection with a new perfume. The scent could be called 1957. After all, that was the year Coco received the fashion Oscar, the “Neiman Marcus Award for Distinguished Service in the Field of Fashion” in America. It was the year of her comeback after the war, and she remained very successful overseas for a long time afterward. That would be a lovely tribute to Gabrielle Chanel and to the Americans. Oliver (Polge) would surely agree. And he would certainly come up with something great on how to connect his vision with a fragrance.
This is how the 17th perfume in the “Les Exclusives” series by Chanel was born.
And now, before I continue with the perfume description, I would like to take a short detour.
Last year, the global perfume market generated about 40 billion dollars. Brands, manufacturers, maisons, and producers as far as the eye can see. The attempt to test all new releases in a timely manner gives a glimpse of how futile Sisyphus must have felt in trying to fulfill his task.
At some point, when I picked up the news magazine "Der Spiegel," a light bulb went off in my head. Sooner or later, the same topics are discussed in all newspapers, only presented with a different focus and usually differentiated according to their own political beliefs. What applies to various magazines and trade publications also determines the fragrance landscape. Trends are gradually picked up and interpreted differently by various manufacturers across the entire market. Today, I no longer chase after every brand. Etat Libre d'Orange can long be left behind. If someone enjoys taking their olfactory roller coaster rides while simultaneously tarrying their synapses, they can do so. I will wait outside.
In contrast, I really like most creations from Guerlain and Chanel. My expectations are disproportionately often met by these two traditional houses. Under the direction of Thierry Wasser or Olivier Polge, they do not concoct "toxic" combinations but rather poems made of molecules, a scent aura that embraces the wearer. For me, the most beautiful olfactory encounters are feminine, creamy, powdery, floral, and pure. In my eyes, 1957 is a home run.
In the first line, you find a musk scent that elegantly does what it does best: smell of cleanliness, purity, and sensuality. Oliver Polge himself describes 1957 as follows: “Its essence, its base is white musk from eight variants, which only fully blossoms on the skin.”
I want to be honest; in a blind test, I could have clearly noted that this is an ethereal feminine musk scent. Besides that, I only noticed the similarity with two other established fragrances. The scent direction that Cacharel successfully established with Noa and White Suede refined with leather is varied by the perfumer with gentle tones of Jacques Polge's Beige.
Oliver Polge has created a wonderful understated scent with 1957 in the tradition of his father and according to Coco Chanel's motto: "I want a perfume for women that smells like a woman!" Hand on heart, don't we all want that?
(Source: WELT - “Not Paris, but America celebrated Coco Chanel back then”)
This is how the 17th perfume in the “Les Exclusives” series by Chanel was born.
And now, before I continue with the perfume description, I would like to take a short detour.
Last year, the global perfume market generated about 40 billion dollars. Brands, manufacturers, maisons, and producers as far as the eye can see. The attempt to test all new releases in a timely manner gives a glimpse of how futile Sisyphus must have felt in trying to fulfill his task.
At some point, when I picked up the news magazine "Der Spiegel," a light bulb went off in my head. Sooner or later, the same topics are discussed in all newspapers, only presented with a different focus and usually differentiated according to their own political beliefs. What applies to various magazines and trade publications also determines the fragrance landscape. Trends are gradually picked up and interpreted differently by various manufacturers across the entire market. Today, I no longer chase after every brand. Etat Libre d'Orange can long be left behind. If someone enjoys taking their olfactory roller coaster rides while simultaneously tarrying their synapses, they can do so. I will wait outside.
In contrast, I really like most creations from Guerlain and Chanel. My expectations are disproportionately often met by these two traditional houses. Under the direction of Thierry Wasser or Olivier Polge, they do not concoct "toxic" combinations but rather poems made of molecules, a scent aura that embraces the wearer. For me, the most beautiful olfactory encounters are feminine, creamy, powdery, floral, and pure. In my eyes, 1957 is a home run.
In the first line, you find a musk scent that elegantly does what it does best: smell of cleanliness, purity, and sensuality. Oliver Polge himself describes 1957 as follows: “Its essence, its base is white musk from eight variants, which only fully blossoms on the skin.”
I want to be honest; in a blind test, I could have clearly noted that this is an ethereal feminine musk scent. Besides that, I only noticed the similarity with two other established fragrances. The scent direction that Cacharel successfully established with Noa and White Suede refined with leather is varied by the perfumer with gentle tones of Jacques Polge's Beige.
Oliver Polge has created a wonderful understated scent with 1957 in the tradition of his father and according to Coco Chanel's motto: "I want a perfume for women that smells like a woman!" Hand on heart, don't we all want that?
(Source: WELT - “Not Paris, but America celebrated Coco Chanel back then”)
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Legends never die
Once upon a time, there was a little girl named Heidemarie Jiline Sander, who saw the light of day on a cold November day in 1943 in Hedwigenkoog by the North Sea. No one suspected that this cute, delicate blonde creature would one day turn the fashion world upside down.
Even as a toddler, she had a strong affinity for pants, mind you, at a time when girls were "obligatorily" wearing dresses. Aesthetics played an increasingly important role in her life. After her early career at various fashion magazines, someone noticed that during photo shoots, she would explain to the manufacturers how she envisioned the clothing so that it could be better photographed for magazines. This led the fiber company Trevira to ask if she would be interested in designing a collection. This was the beginning of her career as a fashion designer. She soon became self-employed and opened her now legendary fashion boutique in Hamburg's Milchstraße in 1968. She was extremely creative, precise, changed structures, and experimented with high-tech fabrics that did not wrinkle, did not scratch, and were lighter. In 1975, the first Jil Sander show took place in Paris. The cool pieces defined a new "clean chic" line, irritated the audience, but were simultaneously celebrated by many. Innovation does not usually take hold overnight. The architectural aesthetics of Jil Sander were simply many years ahead of their time. In 1976, she achieved international breakthrough with the so-called onion look, which consisted of many combinable individual pieces made from high-quality materials.
Three years later, Jil Sander expanded her product range with Lancaster to include the fragrance and care line Jil Sander Woman Pure. Several fragrances followed that made perfume history, and many admirers found their favorites, such as Sun, No. 4, but also Bad & Beauty.
Bad & Beauty was actually a series that included, among other things, Cream Bath, Shower Balm, Beauty Soap, and Body Milk. I didn't buy or test any of that back then. I was far too young, felt neither addressed by her delicate blonde face in the advertisements, nor did I belong to her target group of affluent women, confident and in the midst of life, often traveling for business. However, I eventually got to know and love Sun, Scent 79, Sensations, Jil, and Style. The world of Jil Sander seemed interesting to me, and last year I blindly bought a vintage bottle of Bath & Beauty Eau de Toilette.
A picture is worth a thousand words, and a scent is too. All the descriptions and fragrance notes only vaguely conveyed what I could expect. For me, this scent is a study of No. 4, which was launched years later, or rather, a significantly lighter, more playful variant. The two "sisters" are not twins, but while - although absolutely present - a Bath & Beauty brings foaming purity and bathing fun into play, No. 4 is a confident woman in a pantsuit. In the opening, Jil Sander lets the aldehydes dance, making Bath & Beauty appear androgynous at first. I can then recognize ginger (not listed), coriander, moderate honey, some bitter and pleasant flowers that are "sweetened" by ylang-ylang and tamed by iris. B&B is not a classic clean scent, yet I am enveloped in a freshly bathed feeling that lasts for hours.
I usually define quite different scents discreetly, yet Bath & Beauty has something reserved about it. I often take a few sprays when I simply want to perfume myself for me. It is strong, not in terms of sillage, but rather the scent has a certain attitude. Feminine does not always have to be sexy. Charisma, character, and appearance make much more of our femininity. A confident, independent, modern woman could, or can, perfectly showcase Bad & Beauty. And vice versa. This will also be the reason why many of Jil Sander's customers still long for this aura today.
But as Confucius aptly said 500 years before Christ in a completely different context: "Brilliant days. Do not weep that they are over. Smile that they were."
(Source references: Welt - Iconist: “Fashion does not have the same significance as before” // Wikipedia - Jil Sander // BR Fernsehen - “My Life” // Exhibition “Präsens” - Frankfurt)
Even as a toddler, she had a strong affinity for pants, mind you, at a time when girls were "obligatorily" wearing dresses. Aesthetics played an increasingly important role in her life. After her early career at various fashion magazines, someone noticed that during photo shoots, she would explain to the manufacturers how she envisioned the clothing so that it could be better photographed for magazines. This led the fiber company Trevira to ask if she would be interested in designing a collection. This was the beginning of her career as a fashion designer. She soon became self-employed and opened her now legendary fashion boutique in Hamburg's Milchstraße in 1968. She was extremely creative, precise, changed structures, and experimented with high-tech fabrics that did not wrinkle, did not scratch, and were lighter. In 1975, the first Jil Sander show took place in Paris. The cool pieces defined a new "clean chic" line, irritated the audience, but were simultaneously celebrated by many. Innovation does not usually take hold overnight. The architectural aesthetics of Jil Sander were simply many years ahead of their time. In 1976, she achieved international breakthrough with the so-called onion look, which consisted of many combinable individual pieces made from high-quality materials.
Three years later, Jil Sander expanded her product range with Lancaster to include the fragrance and care line Jil Sander Woman Pure. Several fragrances followed that made perfume history, and many admirers found their favorites, such as Sun, No. 4, but also Bad & Beauty.
Bad & Beauty was actually a series that included, among other things, Cream Bath, Shower Balm, Beauty Soap, and Body Milk. I didn't buy or test any of that back then. I was far too young, felt neither addressed by her delicate blonde face in the advertisements, nor did I belong to her target group of affluent women, confident and in the midst of life, often traveling for business. However, I eventually got to know and love Sun, Scent 79, Sensations, Jil, and Style. The world of Jil Sander seemed interesting to me, and last year I blindly bought a vintage bottle of Bath & Beauty Eau de Toilette.
A picture is worth a thousand words, and a scent is too. All the descriptions and fragrance notes only vaguely conveyed what I could expect. For me, this scent is a study of No. 4, which was launched years later, or rather, a significantly lighter, more playful variant. The two "sisters" are not twins, but while - although absolutely present - a Bath & Beauty brings foaming purity and bathing fun into play, No. 4 is a confident woman in a pantsuit. In the opening, Jil Sander lets the aldehydes dance, making Bath & Beauty appear androgynous at first. I can then recognize ginger (not listed), coriander, moderate honey, some bitter and pleasant flowers that are "sweetened" by ylang-ylang and tamed by iris. B&B is not a classic clean scent, yet I am enveloped in a freshly bathed feeling that lasts for hours.
I usually define quite different scents discreetly, yet Bath & Beauty has something reserved about it. I often take a few sprays when I simply want to perfume myself for me. It is strong, not in terms of sillage, but rather the scent has a certain attitude. Feminine does not always have to be sexy. Charisma, character, and appearance make much more of our femininity. A confident, independent, modern woman could, or can, perfectly showcase Bad & Beauty. And vice versa. This will also be the reason why many of Jil Sander's customers still long for this aura today.
But as Confucius aptly said 500 years before Christ in a completely different context: "Brilliant days. Do not weep that they are over. Smile that they were."
(Source references: Welt - Iconist: “Fashion does not have the same significance as before” // Wikipedia - Jil Sander // BR Fernsehen - “My Life” // Exhibition “Präsens” - Frankfurt)
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