JubilationJubilation's Perfume Reviews

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Jubilation 9 months ago 1
10
Scent
10
Longevity
9
Sillage
8
Bottle

THE KING OF THE CHYPREE
Surely here one of the highest peaks of perfection in perfumery has been reached.
How could it be otherwise if behind this masterpiece there was the chypree master like Guy Robert.
In 1983 the Sultan of Oman made him arrive specially in Oman to build the first magnificent amouage perfume.
An olfactory gem without equal.
He put the maximum of the finest delicacy in front of Guy Robert, the noblest Omani raw materials, and the great genius created this magnificent chypre that has more than 120 elements cleverly orchestrated in an amazing perfume!
A soapy and slightly smoky opening with notes of dog rose, incense and myrrh. Follows a floral heart where the dryness of the lily of the valley gives a lash of green to the indolic, warm and animal jasmine supported by a very marked note of civet.
Follows a strongly woody base with cedar wood, patchouli and mysore sandalwood. But the common cadine as for any chypree is the oak moss that gives a moist and dark earthiness that thickens the entire composition making it a timeless masterpiece.
This is not a perfume but it is the quintessence of perfumery of all times and is intended only for noses that love the floral-animal chypree.
A bow to the genius Guy Robert who always lives in the memory of every vintage perfumery enthusiast because history passes from here!

Jubilation 9 months ago 1
10
Scent
8
Longevity
7
Sillage
7
Bottle

THE FRENCH ORIENTALIST
There are parentheses of social, cultural, economic, literary and therefore olfactory history that enclose in them the condensation of unchanged moments whose greatest representative very often is a perfume.
We are not referring to a simple perfume that corresponds to the mythical decade of the 80's (sumptuous, opulent and sensual) but here we are talking about an olfactory firmament that bears the name of chanel.
If we like, this firmament has been rather pioneristic because even if we maintain a basic key of interpretation deriving from many other masterpieces from which it happens, we certainly find a new introduction, tacitly revolutionary and never shouted as often happened.
The perfume was marketed in 1984, a historic moment and very important for perfumes because we already see the impressive rise of the two oriental spicy fragrances of reference that had already made history and had inevitably marked it (opium 1977 by YSL and cinnabar 1978 Estee lauder).
The myth of the oriental perfume had already invaded the west but with opium and cinnabar we see a "pure" orient made by the proclaimed desire to challenge the sense of smell with rivers of murky and smoky spices, resins and conditioners whose demarcation in the female perfume was difficult even then. While coco represented the evolved orient, a concept of the Frenchized orient, a deviation from what until then had been the path followed by the various noses
The perfume was composed by the great master perfumer Jacques Polge, worthy heir of the legendary Henry Robert (creative genius in the N 19) who is perhaps in front of the greatest project assigned to him by chanel . This was his first work on a female perfume for chanel (as he had already composed a male perfume for chanel in 1981; Antaeus).
The expectations were great because the house came out of a very critical historical moment because only a year had been taken in hand by the genius karl Lagerfeld who will be able to relaunch and reinterpret it under a modern and iconic key (concepts that the house had now lost).
The perfume fully describes this moment of great ferment because if the perfume was marketed as an interpretation of the spirit of chanel we can say that this olfactory exercise forever photographs the spirit of a brand no longer represented by the great designer gabrielle chanel but by a visionary genius who will maintain a stylistic code even if the original will upset everyone with the release on the catwalk so far from the strict, linear and elegant canons of the maison.
In fact, this olfactory masterpiece that I want to define as an amber florietal will keep the spicy aspect no longer raw and angular as was the case with cinnabar and opium, but will contain almost soft and velvety rounded spices. Surely the amber background is what makes the scent widely different from other oriental spices. The base is built with a disarming mastery and with the use of natural raw materials associated with others of a synthetic nature. What immediately stands out in the nose when analyzing the background structure is the very rare sandalwood mysore (coco will be one of the last perfumes that will actually contain it), opoponax, amber and labdanum that thickens the fragrance within a harmonious and condensed olfactory perimeter.
Despite the fact that the base is already something excellent, the real olfactory revolution is found among the top and heart notes because if on the one hand we want to give a spicy boost right from the start with coriander, cloves and clover, on the other hand we find the pivotal flower of the whole composition: the rose. An alcoholic rose, grape-like, 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 maintaining the dark and spicy connotation is imbued in its intimate essentiality of ripe and juicy peach. (Far from the mythical exercise of guerlain with Nahema)
Returning to the amber base, which is shiny, iridescent and golden, making the perfume soft and velvety, we see that there are several aspects that allow us to build such a work; if on the one hand we find an excellent quality of natural raw materials (the absolute floral triptych: pink, mimosa and orange blossom), on the other hand we see the use of an imported quantity of synthetic materials. In this case there will be several ingredients that make up the synthetic formula including: Hedio, iso and super, methyl ionone, eugenol (already contained naturally in cloves that then over the years will be severely restricted by ifra regulations), coumarin and various salicylates. For the amber and resinous base we find the use of amyl salicylate and benzyl salicylate with hydroxychronellal (which gives a green, sour and radiant smell similar to the olfactory acuity of linder flower).
The result is a baroque, opulent and ultra-feminine where the juxtaposition of the floral component (semi fruity) with the resinous amber part produces a balance of golden opulence, languid and radiant. All this fully represented the vertiginous necklines of the women of that time, including the amount of jewelry and the quantity of hair, all of which was the reflection of an era where everything was over-expressed because, unlike today, we where disinterested from olfactory and cultural flattening.
(Reviews relative coco chanel EDP first version 1984)

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