Tagged With ‘Grey Flannel’
23 February, 2015
The American fashion designer Geoffrey Beene died of cancer in 2004, but Grey Flannel, the perfume he commissioned from the French fragrance company Roure in the mid-1970s, lives on, and that’s something to be grateful for, as it’s a very appealing scent – even in its current, cheaper incarnation.
Created by an otherwise little-known perfumer named André Fromentin, Grey Flannel was launched in 1975 (or 1976, depending on which perfume authority you believe; I’m often surprised how much confusion there seems to be around recent perfume history). Grey flannel was Geoffrey Beene’s signature material, but fortunately that’s not what his first men’s perfume smells of.
In fact Grey Flannel smells of violets, which seems like a weirdly feminine thing to choose for men, yet the clever thing about violets – or to be more precise, about violet leaves – is that as well as smelling sweet they also have a certain woodiness, which makes their scent far less girly than, say, lily-of-the-valley or rose.
Fromentin’s skill was to take this violet-leaf fragrance (which was successfully synthesised in the early 20th century) and mix it with fresh-smelling ingredients such as galbanum (which smells like green pea-pods) and bergamot (one of the most important citrusy components of the classic men’s eau-de-cologne), but also with typical ‘masculine’ woody smells such as oakmoss (actually a kind of lichen), cedar and vetiver.
The result is a deep, rich perfume that combines sweetness and woodiness in equal measure: it’s too sweet for some, but I love it, even though it’s been reformulated in recent years, presumably with cheaper ingredients – though for once at least some of the savings have been passed on to us, the customers, for Grey Flannel is one of the best-value perfumes you can buy.
20 October, 2014
Féminité du Bois was launched in 1992 for Shiseido, the Japanese beauty company for which Serge Lutens created many striking ad campaigns, and which backed him in the launch, the same year, of his super-chic Salons du Palais Royal. It was in its original incarnation that I first encountered Féminité du Bois, and what first caught my eye was the design of the bottle – a lovely teardrop-shaped glass container, designed by Lutens himself.
Sadly that style of bottle disappeared in 2009, when Lutens left Shiseido and set up in his own name; the perfume went with him, repackaged in his signature bottles – a tall, slim, rather flat rectangular design, stylish in its own right but not as poetic as Shiseido’s original.
Recommending a perfume called Féminité du Bois to men might sound like a rather capricious (not to say perverse) enterprise, but many great fragrances transcend the gender associations that their names, and their marketing, impose on them, and this is one of the most beautiful fragrances I know.
Floral scents may be thought of as quintessentially feminine, and it would take a very confident man to wear something that smelled predominantly, say, of jasmine or of rose. Yet some of the most popular men’s perfumes have flowers in them – violets in Grey Flannel, for example, or jasmine in Eau Sauvage.
Féminité du Bois is, if you like, a mirror image of these kinds of men’s fragrance: a nominally female fragrance made more, rather than less alluring by the addition of elements that are generally associated with the opposite sex. The master stroke, in this case, is the combination of sweet, rather girly smells – violets and plum (the fruit rather than the flower) – with the masculine, pencil-shaving smell of cedar wood.
It’s one of those combinations that works so well that you wonder why nobody had thought of it before, but I guess that’s the mark of genius – in this case the genius of British perfumer Christopher Sheldrake (who worked on many of the Serge Lutens fragrances before getting snapped up by Chanel) and the legendary Pierre Bourdon (Cool Water, Kouros and many others).
The first time I tried out Féminité du Bois my reaction was ‘This smells exactly like Bel Ami’. Which is to say, like pencil shavings, which is the main – and very appealing – impression you get from the classic Hermès scent. But moments later you realise that there’s more going on inside the woodiness, and the warmth and slight sweetness of plum, violets and spices blend with the cedar to make an effortlessly satisfying whole.
Luxury can mean different things to different people: for some, bling is the thing, but for others luxury means high quality and discretion – and that’s the kind of luxury Féminité du Bois suggests to me. It’s neither brash nor overpowering, which makes it eminently wearable, but nor is it faint or feeble. Try it for yourself and I hope you’ll see what I mean.