Tagged With ‘Azzaro Pour Homme’
4 February, 2015
Are you man enough to wear Chanel No. 5? Or woman enough to splash on Azzaro Pour Homme? I have to admit that I’ve never been a great fan of cross-dressing, but it makes about as much sense to talk about ‘masculine’ and ‘feminine’ fragrances as it does to talk about ‘male’ or ‘female’ art, music or food. The fact that we divide perfumes into men’s or women’s fragrances has less to do with logic than it has to do with marketing, packaging and conventional thinking – and if you look back it’s not even that old a distinction.
Once upon a time, perfumes were perfumes, and there appears to have been little in terms of a gender divide until the early twentieth century. Men wore fragrances which today we’d regard as outrageously effete: both Napoleon and Wagner were famous for drenching themselves in scent, and Victorian gentlemen favoured sweetly scented floral perfumes alongside the ubiquitous eau de cologne. Even the words themselves – fragrance, perfume, scent – are genderless: the daft male-only term ‘after-shave’ appears only to have been dreamed up in the 1920s as a marketing wheeze. Though the expression may have made perfume sound a bit more butch and manly, all too often (in the days before male moisturiser became acceptable) it also left the more literal-minded chap with a burning face and peeling skin.
I’m not suggesting that male readers should rush out and purchase the olfactory equivalent of a pair of pink frilly knickers. Some scents (naming no names) are so insanely sweet and girly that it would be hard for even the most rugged male to get away with wearing them, but then they also tend to be the kind of perfume that smell as terrible on a grown woman as they would on any self-respecting man.
Beyond those parodies of perfume, there are remarkably few fragrances that, if you trust your nose and can brace yourself to ignore everything you’ve been told by breathless adverts and terrifyingly made-up sales assistants, are so incontrovertibly feminine or masculine as to be completely unwearable by either sex. Take one famous example. Christian Dior’s Eau Sauvage was launched in 1966 and quickly established itself as a hugely popular men’s fragrance. It’s stayed on the best-seller lists ever since, and I think most men would agree that there are few more bracing, fresh and (above all) masculine fragrances around.
I couldn’t agree more, but if you’re a fan of Eau Sauvage, next time you’re in a well-stocked perfume store, wander over to the women’s-perfume counter and have a smell of Diorella, launched just six years later and designed by the same perfumer, the legendary Edmond Roudnitska. The first time I smelled it I thought, ‘But this is Eau Sauvage!’ And it is, give or take some extra fruitiness which, you could say, gives it a slightly more girly character – though perfume guru Luca Turin regards it as ‘a perfected Eau Sauvage and one of the best masculines money can buy’.
In many ways it’s even easier the other way around, and women seem always to have been less inhibited about adopting fragrances that were originally intended to be for the opposite sex. Eau Sauvage is a classic example: whether they smelled it on their boyfriends or discovered it for themselves, women quickly recognised it as the masterpiece it is, and those in the know have been wearing it ever since. Guerlain’s superb Vetiver is, to my mind, one of the most archetypically masculine perfumes in existence, yet it, too, has long been a female favourite – the olfactory equivalent of an Yves Saint Laurent tuxedo.
More striking still are those fragrances that have crossed the gender divide more or less entirely. When Aimé Guerlain launched Jicky in 1889, it was initially bought by men; at the time its sharp, slightly catty smell was considered too overtly sexual in character for respectable women to risk wearing it. By the 1920s, though, liberated by the rise of female emancipation, women started using Jicky too, and gradually it became a ‘female’ fragrance – though a few self-confident men (Sean Connery being the most often-cited example) continue to wear it today. Chanel’s super-plush Cuir de Russie followed a similar trajectory, though it would be hard, even now, to define it as either masculine or feminine in character.
Visit the standard-issue perfume store and you’d be forgiven for thinking that we were still stuck in a world where men were men and women were women and never the twain should meet, as if history – in the world of perfume at least – had got stuck around 1955 and all the social and sexual revolutions since then had never actually happened. But society, of course, has changed, and there are encouraging signs that at least parts of the perfume industry have begun to realise that dividing fragrance along crude gender lines is a weirdly outdated thing to do. A handful of future-looking perfume brands, such as Byredo, Comme des Garçons and Escentric Molecule, already offer ‘genderless’ fragrances, and there is a growing trend for imaginative retailers to follow their lead, stocking perfumes by brand instead of dividing them into men’s and women’s scents.
Perfume customers are changing too. The majority of people may continue (for the moment at least) to accept the status quo, but for the small but growing band of perfume-lovers who are happy to think for themselves, choosing perfume on the basis of its supposed masculinity or femininity has come to seem increasingly outmoded. The trick is simply to follow your nose: to choose the perfumes you love, like the people you love, regardless of what other people might say.