The Perfume Lover Page 2

It’s not just a matter of price or convenience. Glamorous, exotic and irreplaceable as natural essences may be, it is to synthetics that we owe modern perfumery, and many of the greatest breakthroughs came about as perfumers learned to use them. Synthetics allowed perfumers to structure their compositions by strengthening the relevant facets of natural materials; to conjure the desired effect with a few notes rather than having to draft the entire orchestra of the natural essence; to produce entirely new perfumes. In fact, without synthetics, perfumery would exist neither as an industry, nor as an art.

  * * *

  When Gabrielle Chanel asked Ernest Beaux to come up with a fragrance for her couture house, she told him two things, or so the legend goes (Chanel was not above retro-engineering her life story when it suited her purposes). First: ‘A woman must smell like a woman, not like a rose,’ a dig at her arch-rival of the time, the couturier Paul Poiret, whose logo was a rose and whose perfume line, the first ever to be launched by a couturier, was named Les Parfums de Rosine after one of his daughters. Chanel, a keen follower of the avant-garde, thought the figurative school of perfumery – ‘a rose is a rose is a rose’ – was as hopelessly outdated as the plumed and flowered hats she’d replaced with straw boaters. She didn’t care much either for the vampy scents her contemporaries doused themselves in. Her perfume, she decreed, should smell as clean as the soap-scrubbed skin of her friend, the famous courtesan Émilienne d’Alençon. But on the eve of the 20s, luxury perfumes still relied extensively on natural essences, many of which ended up leaving a rather rancid odour on the skin because flower extracts were often obtained by spreading the blossoms on mesh frames smeared with fat, a method called enfleurage. Fortunately, Ernest Beaux had a trick up his sleeve, a synthetic material he’d already been playing around with …

  Since the late 19th century, organic chemistry had made giant steps, providing perfumers with synthetic materials that were stronger, cheaper, more stable and more readily available than natural materials (availability would particularly become an issue during World War I and its aftermath). These new synthetics allowed perfumers to forego references to nature. Just as the invention of the paint tube had allowed the Impressionists to set up their easels wherever they pleased to catch variations in light, or as the advent of photography had freed painters from naturalistic representation, technical progress fuelled new paradigms in perfumery. But synthetics were often harsh-smelling and only the best perfumers had the skill, the inspiration or the audacity to blend them into a high-quality product. Ernest Beaux was such a man.

  On their own, aliphatic aldehydes give off a not particularly pleasant smell of citrus oil mixed with snuffed candles and hot iron on clean linen. They were mainly used in the synthetic versions of natural essences like rose because they had the property of boosting smells, which meant they were mostly found in cheaper products, or in small amounts in finer fragrances to produce fresh, clean, soapy notes – for instance, in Floramye by L.T. Piver, which happened to be a favourite of Mademoiselle Chanel’s … Beaux’s genius was to use aldehydes both for their booster effect and for their specific smell; to blend them with the noblest, most expensive raw materials; to figure out that they could produce just the required freshness by lifting the heavy scent of the oils and counteracting their rancidness. In the formula of what was to become N°5, he injected an unprecedented one per cent. Later on, he would write that he had been inspired by the icy smell of lakes and rivers above the Arctic Circle.

  Did he produce the formula to Gabrielle Chanel’s specifications? Or had he already composed it for the company he was working for when Chanel sought him out? Beaux worked for Rallet, a supplier to the Tsar’s court, which had been forced by the Bolshevik revolution to move its operations to the South of France. Some industry old-timers claim that as Rallet didn’t have the means to exploit its products on a large enough scale (most of its assets had been abandoned in Russia), it decided to offer the formula of its Rallet N°1 to Chanel …

  Whatever the truth of the story, the official legend is as much a part of the perfume as its actual substance: a masterpiece in its own right. But it was that very legend that clouded my perception of N°5 until I stumbled on a pristine, sealed 30s bottle that ripped the veil. Then, at last, I understood its radiant, abstract beauty because the raw materials in it were much closer to the ones Ernest Beaux had used to compose it; their subtle differences were sufficient to jar me out of the cliché that N°5 had become. If I love N°5 now, it is because of the sheer artistry of it, and I discovered that artistry not because it awoke fond memories, since I had none, but for the opposite reason: because of its strangeness. That strangeness is the very reason that led me to the once-forbidden realm of perfumery.

  * * *

  Some people have a signature fragrance that expresses their identity and signals their presence; its wake is an invisible country of which their body is the capital. I’m not one of those people.

  I am a scent slut.

  ‘To seduce’ means ‘to lead astray’, off familiar paths and into thrillingly uncharted lands. To me, perfume is not a weapon of seduction but rather a shape-shifting seducer. I have been exploring the world of fragrance in the same way, and for the same reasons, that I’ve travelled erotic territories, spurred on by intellectual curiosity, sensuous appetites and the need to experiment with the full range of identities I could take on. And just as my experimental bent has driven me to different men, situations and scenarios to find out what I would learn through them, it has led me to different scents.

  Perfume is to smells what eroticism is to sex: an aesthetic, cultural, emotional elaboration of the raw materials provided by nature. And thus perfumery, like love, requires technical skills and some knowledge of black magic. Both can be arts, though neither is recognized as such. And I’ve been studying both in the capital of love and luxury, Paris, where I settled half a lifetime ago. It is in Paris that I learned about l’amour; in Paris that I stepped through the looking glass into the realm of scent. I’ve had good teachers: discussing the delights of the flesh as passionately and learnedly as you would speak about art or literature is one of the favourite pastimes in my adopted country. Here, pleasure is intensified by delving into its nuances. By putting words to it. La volupté is taken very seriously indeed, a worthy subject for philosophizing in the boudoir. And so I’ve come to think of perfumes as my French lovers – a way for gifted artists to seduce me, parlez-moi-d’amour-me and reflect the many facets of my soul in eerily perceptive ways …

  Blame Yves Saint Laurent and the Frenchwoman who revealed his existence to me via the first drop of perfume ever to touch my skin.

  3

  I was eleven when I decided I’d be French one day. Not only French, but Parisian. And not only Parisian, but Left Bank Parisian: glamorous, intellectual and bohemian.

  When she moved into the house next door with a German engineer husband, Geneviève didn’t quite replace The Avengers’ Mrs Emma Peel as my feminine ideal. Despite her closetful of clothes with Paris labels and her collection of French glossy magazines, Geneviève was still a housewife stuck in the suburbs of Montreal and even at eleven I knew I’d never be that. But when she opened that closet and those magazines, she drew me into a world where she herself had probably never lived. The world I live in now.

  The scientific community is nothing if not international, but though my parents’ cocktail parties could have been local branch meetings of UNESCO, I’d never met a French person before. Next to Geneviève’s, my Quebec accent sounded distressingly rustic and I soon applied myself to mimicking her patterns of speech, which got me nicknamed ‘La française’ in the schoolyard. As soon as my homework was done I’d wiggle through a hole in the honeysuckle hedge and scratch at her back door.

  Geneviève was in her late twenties, childless and homesick; she’d followed her husband as he was transferred from country to country, lugging a battery of Le Creuset pots and pans and a closetful of pastel dresses in swirly psychedelic or
whimsical floral patterns which she’d happily model for me, and sometimes let me try on. I’d clack around in her pumps and twirl in front of the mirror. Sometimes we’d both dress up and stage make-believe photo shoots inspired by Vogue. Those were grand occasions since Geneviève would also let me pick from the array of cosmetics on her dressing table and carefully do my face. We’d model the looks in our very favourite makeup ads, the ones for Dior: pale, moody, smoky-eyed beauties with thin scarlet lips.

  But there was one particular item on the dressing table I steered well clear of: a blue, black and silver-striped canister that said ‘Yves Saint Laurent Rive Gauche’. What if my lungs seized up? I hadn’t suffered an asthma attack since the age of six, but I’d witnessed my dad’s discomfort if we walked within ten feet of the perfume counters in the local shopping mall, so I wasn’t taking any chances. Geneviève gave a Gallic shrug when I finally, cringingly, explained about the allergies.

  ‘You North Americans really indulge your little bobos, don’t you? Here, look at this…’

  She set her smouldering Camel in an ashtray, pulled out the scrapbook where she kept magazine cuttings and pointed to the picture of a slender young man with huge square glasses flanked by a lanky blonde in a safari jacket and a cat-eyed waif with a gypsy scarf on her head. The trio exuded a loose-limbed pop-star glamour. This was, Geneviève explained, Yves Saint Laurent, the greatest couturier in France, with his muses Betty Catroux and Loulou de la Falaise. And Rive Gauche was the perfume he’d named after his new boutique in Saint-Germain-des-Prés, the first place she’d head for when she went back to Paris.

  From the ads I’d spotted in my mother’s Good Homemaker magazine, I knew perfumes ought to have fancy glass bottles and evocative names like Je Reviens or Chantilly. There was nothing poetic about that metal canister. And Rive Gauche, what kind of a name was that? So Geneviève showed me the ad for Rive Gauche: a redhead in a black vinyl trench coat strolling by a café terrace with a knowing smile. Rive Gauche, plus qu’un comportement, it said; Rive Gauche, un parfum insolite, insolent. ‘More than an attitude. An unusual, insolent perfume.’

  My friend explained about the Paris Left Bank, the jazz clubs and bohemian cafés on the boulevard Saint-Germain she used to walk by as a teenager to catch a glimpse of les philosophes, Jean-Paul Sartre and Simone de Beauvoir. I’d read about Socrates in my children’s encyclopaedia but hadn’t fathomed that there were living philosophers or that they could even remotely be thought of as cool. At my age, cool was still a difficult concept to grasp.

  ‘Like pop stars, you mean?’

  Geneviève nodded. Yves Saint Laurent, she went on, expressed the spirit of the Left Bank: youthful, rebellious and free. I couldn’t quite figure out how the soapy, rosy-green scent that clung to Geneviève’s clothes could reflect notions like youth, rebellion, freedom or insolence, and I had no idea of what constituted an ‘unusual’ fragrance. But I did half-guess from her wistful gaze that Geneviève, trapped in a Montreal suburb where there were no cafés haunted by chic bohemian philosophers or couturiers – there weren’t even any sidewalks! – longed for that lost world. A world captured in that blue, black and silver canister …

  One afternoon, our orange school bus dropped us off early so that we could prepare for the year-end recital: I sang in the choir, humiliatingly tucked away in the last row with the boys because I’d suddenly grown taller than all the girls. Geneviève had promised that, for the occasion, she would do my hair up in her own signature style, a complex hive of curls fastened with bobby pins. I scrunched my eyes and held my breath as Geneviève stiffened her capillary edifice with spurts of Elnett hairspray.

  ‘There you go … Have a look!’ she said, waving a Vogue around to clear the fumes.

  I opened my eyes to a chubby-cheeked version of Geneviève. The chignon was practically as high as my head: I’d tower over the boys too.

  ‘And now…’ Geneviève reached for her Rive Gauche. ‘As a special treat, I’ll let you wear my perfume … In France, an elegant young lady never goes out without fragrance.’

  That spritz of Rive Gauche didn’t kill me; in fact, it made me feel better than I’d ever felt, so grown-up, so important – an eleven-year-old girl with the newest perfume from Paris! That’s when I resolved that when I grew up, I’d be like Geneviève, and never leave the house without a drop of perfume. And it would be French perfume, even if I had to swim across the Atlantic to get it.

  4

  What is it about the French and perfume? Draw up a list of the greatest perfumes in history. Shalimar, Mitsouko, N°5, Arpège, Femme, L’Air du Temps, Diorissimo? French. Study the top ten sellers in any given country. The labels may be American, Italian or Japanese, but the perfumers who composed them? At least half are French and most of the others are French-trained.

  When Bourjois, the cosmetics company that owned Chanel perfumes, decided to put out a fragrance called Evening in Paris in 1928, they knew full well that they were launching the ultimate aspirational product. For millions of women, that midnight-blue bottle would hold the prestige and romance of the French capital within its flanks – it was the closest most would ever come to the Eiffel Tower. Judging from the number of Evening in Paris bottles that keep popping up on auction websites, they were right. For generations, ‘French perfume’ was the most desirable gift, short of mink and diamonds, and a lot more affordable.

  But why is it that those two words, ‘French’ and ‘perfume’, have been said in the same breath for centuries? In other words: why is perfume French? If you ask most people in the industry, they’ll answer, ‘Well, because of Grasse, I guess,’ Grasse being the town in the South of France where perfumery developed as an offshoot of the leather-tanning industry. Tanning products were rank, so fine leathers were steeped in aromatic essences to counteract the stench, and Grasse enjoyed a particularly favourable microclimate for growing them. Though most of the land has now been sold to real-estate developers, it is still very much a perfumery centre, with several labs and a few prominent perfumers based in the area. But ‘Grasse’ doesn’t answer the question. There were other places in the world, like Italy and Spain, where a cornucopia of aromatic plants could be grown; where botanists, alchemists and apothecaries studied them, refined extraction processes, experimented with blends. There must be another reason why it was in France that perfume went from a smell-good recipe to liquid poetry; why it was here and nowhere else that modern perfumery was born, thrived and gained international prestige.

  * * *

  So why indeed? If anyone can answer the question I’ve been asking myself since I was eleven, it is the historian Elisabeth de Feydeau. We’ve just been enjoying an al fresco lunch in a garden gone wild with roses, lush with vegetal smells rising in the afternoon heat. A tall, chic blonde with a sweet, sexy-raspy voice, Elisabeth was formerly the head of cultural affairs at Chanel; she teaches at ISIPCA, the French school of perfumery, as well as acting as a consultant for several major houses; she wrote a book about Marie-Antoinette’s perfumer and a history of fragrance. So as we nibble on petal-coloured cupcakes, Elisabeth graciously shifts into teaching gear. I have indeed come to the right place for an answer, she tells me; the sacred union between France and fragrance was sealed right here where we’re sitting, in Versailles.

  If Catherine de’ Medici hadn’t come to France in 1553 to marry the future King Henri II, perfume might well have been Italian. Not only did Italy enjoy a climate allowing the cultivation of the plants used in perfumery, but with Venice lording it over the sea routes, all the precious aromatic materials of the Orient flowed into the peninsula. And in the dazzlingly refined Italian courts of the Renaissance where the young Duchess Catherine was raised, perfume-making, intimately linked to alchemy, was a princely pastime practised by the likes of Cosimo di Medici, Catarina Sforza and Gabriella d’Este. Italian alchemists had started to divulge their methods of distillation and many of their perfumery treatises had already been translated. When Catherine de’ Medici arriv
ed with her perfumer Renato Bianco in tow, she brought along the Italian tradition in all its refinement.

  The French perfume industry was centred in Montpellier, where research on aromatic substances and distillation was carried out at the faculty of medicine (one of the oldest in the world, founded in 1220), and in Grasse, where skins imported from Spain, Italy and the Levant were treated. Up to then, perfumery had remained a subsidiary activity for apothecaries and tanners. Spurred on by the Italian fashion for scented clothes, leather items, pomanders and sachets, it developed into a luxury trade.

  But the true turning point came from the scent-crazed king who had determined to transform his court into the crucible of elegance: it was under the reign of Louis XIV (1638–1715) that the French luxury industries acquired the excellence and prestige they still boast today. And that spectacularly successful marketing operation was a very deliberate political endeavour … During his mother Anne of Austria’s regency the young king had lived through the War of the Fronde, an uprising of the nobility that had threatened the very existence of the monarchy. To keep his noblemen under control, Louis XIV decided to move his court away from Paris to the newly built Versailles. There, he transformed his most trivial activities – getting out of bed, being groomed and dressed and even using the ‘pierced chair’ (the 17th century version of the toilet, known in England as ‘The French Courtesy’) – into a series of ritual displays which courtiers had to attend to curry favour with the monarch. By compelling them to follow the fashions he launched and to participate in the court’s lavish spectacles, the Sun King made sure they had no time or money to plot against the Crown. To imitate him, courtiers turned their toilette (named after the toile, the piece of cloth onto which cosmetics were spread out) into a social occasion. Celebrity endorsement was invented in Versailles. If, say, the king’s current favourite used some new pomade or scented powder in front of her coterie, she might create a stampede for it. This bit of information would be carried by a brand-new medium, the fashion gazette.