There are brackets of social, cultural, economic, literary and thus olfactory history that contain the condensation of unaltered moments, the main representative of which very often is a perfume.
We do not refer to a simple perfume that corresponds to the mythical decade of the 80s (opulent, opulent and sensual), but speak here of an olfactory firmament with the name Chanel.
If we want, this firmament was quite a pioneer, because while we maintain a fundamental interpretation derived from many other masterpieces from which it emerges, we certainly find a new introduction that is tacitly revolutionary and has never screamed as it often has The perfume was marketed in 1984, a historic and very important moment for perfumes, because we can already see the impressive rise of the two oriental-spicy reference fragrances that had already written history and inevitably shaped it (Opium 1977 by YSL and Zinnober 1978) Estee lauder) The myth of oriental perfume had already emerged in the West, but with opium and cinnabar we see a "pure" Orient created by the obvious desire to challenge the sense of smell with rivers of cloudy and smoky spices, resins and balms, the demarcation of which also led to feminine perfume then difficult. While Coco represented the developed East, a concept of the Frenchized East, a deviation from the road that the various noses had followed until then
The perfume was composed by the great master perfumer Jacques Polge, who is worthy of the heirs of the mythical Henry Robert (genius creator in the N19), who perhaps faces the greatest project assigned to him by Chanel. It was his first work on a female perfume by Chanel (since he had already composed a masculine for Chanel in 1981; Antaeus).
The expectations were high, because the fashion house emerged from a very critical historical moment, as it was only a year ago taken up by the genius Karl Lagerfeld, who can restart and interpret it under a modern and iconic key (concepts that the Maison had already lost). .
The perfume fully describes this moment of great enthusiasm, because if the perfume was marketed as an interpretation of the spirit of Chanel, we can also say that this olfactory exercise forever photographs the spirit of a brand that is no longer represented by the great designer Gabriel Chanel, but by a genius A visionary who, while maintaining his original style code, annoys everyone with exits on the catwalk that are so far removed from the rigid, linear and noble cannons of the Maison.
In fact, this olfactory masterpiece, which I would like to call an amber-coloured florietal, will no longer keep the spicy aspect raw and angular as with cinnabar and opium, but will contain almost soft and velvety rounded spices. Certainly, the amber background is what distinguishes the perfume from other oriental spices. A fund built with a disarming mastery and the use of natural resources associated with other synthetic natures. What is immediately noticeable in the sense of smell when analyzing the underlying structure is the extremely rare sandal Mysore (Coco I will be one of the last scents they actually contain), Opoponax, Amber and Labdanum, which thicken the scent in a harmonious and condensed scent.
Despite the fact that the ground is already one of the highest, the true olfactory revolution is found between the head and heart notes, because if we want to immediately give a spicy eyelash with coriander, cloves and clover on the one hand, we find the central flower of the entire composition on the other: La Rosa. An alcoholic rose, vinous, amber-coloured and fruity at the same time. The peach and the rose will make this a true masterpiece, it is a rose that, while retaining its dark and spicy connotation, is permeated by its intimate essence of a ripe and juicy peach. (Far from the mythical Guerlain exercise with Nahema)
When we return to the amber base, which is shiny, dazzling and gilded and makes the fragrance soft and velvety, we see that there are various aspects that make it possible to build such a work. If on the one hand we find an excellent quality of natural raw materials (the absolute floral triptych: rose, mimosa and orange blossoms), on the other hand we see the use of an imported quantity of synthetic materials. In this case, the ingredients of the synthetic formula differ, among them: Edione, iso and super, methylionone, eugenol (already contained in cloves, which are then severely restricted over the years by the ifra regulations), coumarin and various salicylates. Amylsalicylate and benzylsalicylate with hydroxycitronellal (which gives a green, acidic and radiant smell similar to the olfactory sharpness of lime blossoms) are used for the amber and resin base The result is a baroque, opulent and ultra perfume where the juxtaposition of the floral component (semi-fruity) with the resinous amber part creates a balance of golden opulence, mattness and radiance. All this fully corresponded to the dizzying excerpts of the women of that time, including the amount of jewels and the amount of hair. All this was the expression of an era in which everything was too strongly expressed because, unlike today, we were separated from olfactory and cultural flattening.