Men should wear roses. This is a fact – a non-negotiable reality and I will not be considering any other viewpoint at this time. In truth, men do wear roses, especially in the Middle East, where such things are the norm however, over here I think there’s a touch of reluctance for many men to consider wearing something that leans feminine. Toxic masculinity’s a bitch, right? Anyway, Maison Francis Kurkdjian want to make rose-wearing acceptable for the menfolk – to give them the power to wear a rose – and their latest launch, L’Homme À la Rose is a great start on this noble quest for rosiness.
Created as a masculine counterpart to Kurkdjian’s popular À la Rose, L’Homme is described by the brand as a “free interpretation of rose“. It is not the brand’s first masculine rose (the first being Lumière Noire Pour Homme) but it’s perhaps their most intriguing, presenting the masculine rose in a fresh guise that does not shy away from being pretty. That’s right, gents can (and should) feel pretty too and I have a good feeling that L’Homme À la Rose may be just the scent to help with that.
It’s IGTV time again! This week I’m taking a quick look back at the fragrances I wore during summer 2020. Full IGTV video below the jump.
The success of Coco Mademoiselle took CHANEL by surprise when it launched in 2001. Created to rejuvenate the ageing Coco, which had launched 17 years prior but aged double in that time, Coco Mademoiselle’s purpose was to keep the Coco name on the shelves, which it more than did. In reality, Coco Mademoiselle’s popularity isn’t that surprising, after all, it plays a familiar tune (fruity patchouli a la ANGEL) and does it well, all whilst bearing the name “CHANEL” on its bottle. That’s pretty much a recipe for success, if you ask me.
Coco Mademoiselle presented a chic, yet bombastic, blend of sticky citrus (orange, bergamot, mandarin), sweet rose and contrasting patchouli. It riffed on ANGEL, of course, but pushed everything in a more luxurious, less challenging direction becoming a fruitchouli for the masses. I cannot deny that it’s a great fragrance, it’s just one that I’ve never personally gelled with, but then again, as a 33 year old, bespectacled and slightly stocky gay man (OK really stocky), I’m hardly the target market (“Mademoiselle” I am not).
So since 2001 we’ve had Coco Mademoiselle Eau de Toilette (2002) and the Eau de Parfum Intense (2018) (which I liked more than the original). Now we have Coco Mademoiselle L’Eau Privée, a lighter, more sheer fragrance that is meant to be worn at night time. The mood is very much satin sheets and silk lingerie in a blush shade of pink. Perfect for spritzing on when you’re wearing your flannel PJs and bunny slippers from Primark, I say. Let’s sniff.
JOY (Francois Demachy; 2018) was a curious launch…
Click here to read my review.
There has been a revival at the house of Gucci. For the first time in a long time (since Tom Ford was at the helm, in fact) the olfactory style of the house is in tune its visual aesthetic. Of course, the fashion has evolved tremendously since then and the bohemian, vintage chic that Creative Director Alesandro Michele has brought to the house has made Gucci THE fashion brand everybody wants. Michele clearly gets perfume, having worked with Master Perfumer Alberto Morillas to create intriguing, on-brand creations such as Gucci Bloom, Gucci Guilty Absolute and now, Memoire d’une Odeur, completely overhauling the way Gucci presents perfume. I for one, am here for it.
Memoire d’une Odeur explores the intrinsic link between memory and scent. For Michele, the scent memory he wished to recreate was that of Roman Chamomile, which takes centre stage in what Gucci are positioning as a “mineral aromatic”. This fragrance, they say, is universal – it’s for everyone regardless of gender or age – and that, my friends, is exactly how every fragrance should be. Memoire d’une Odeur is an unusual, unfamiliar fragrance that conjurs a specific memory for Michele and creates a new one for those who experience it.
Click here to read my review of the new Libre by YSL.
A few months ago or so, I sat down with iconic perfumer Francis Kurkdjian to chat perfume. This was my second time meeting Francis but my first interviewing him and he was as ever, candid, fun, cheeky and fascinating. You see, I’m a bit of a Kurkdjian fan boy and interviewing the man himself was a bit of a pinch myself moment, after all, I had spent much of misspent youth dancing in gay clubs surrounded by an atomic cloud of Le Mâle, and there I was meeting the very man that made that perfume. As you can tell from the ensuing conversation, he did not disappoint.
It was an interesting time to meet Francis Kurkdjian too – just after the launch of Gentle Fluidity, a duo of fragrances that are inspired by gender fluidity and share the same materials in different proportions. It was also the tenth year of Maison Francis Kurkdjian, his eponymous brand which was acquired by luxury conglomerate LVMH two years prior. Francis and I talked his new fragrances, not fitting in, the innovative products within his Maison and how social media is impacting the beauty industry and his favourite pair of leather trousers – it was an eyeopening discussion.
In this week’s episode of the Fume Chat podcast, we discuss the fragrance families and ask themselves whether terms like “fougère” and “chypre” are fit for purpose in this day and age. Do they mean anything to consumers? do they represent they way fragrances smell? Are terms like “oriental” offensive? Listen and you’ll find out!
Warning: I will be saying the word “vibe” an annoying amount of times in this review…
Vanilla Vibes is the lastest launch from punky French niche brand Juliette Has a Gun. I am a self-confessed Juliette fan – I think what they do is accessible, high quality and whilst they sometimes miss the mark (Not a Perfume, Anyway) they often make interesting, wearable work that offers something different (Sunny Side Up, Gentlewoman, Lady Vengeance). Vanilla Vibes is filed neatly into the interesting camp – a fresh, mineral take on vanilla that is inspired by festivals in the desert,