Arranging Fine Perfume Compositions - Floral Aldehydic PDF

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Arranging Fine Perfume Compositions
Floral Aldehydic
Glen O. Brechbill
Fragrance Books Inc.
www.perfumerbook.com
New Jersey - USA
2011
Fragrance Books Inc. @www.perfumerbook.com
Glen O. Brechbill
To my late much loved father Ray and beloved mother
Helen Roberta without them non of this work
would have been possible
II
ARRANTING FINE PERFUME COMPOSITIONS - FLORAL ALDEHYDIC
This book is a work of non-fiction. No part of the book may be used or reproduced in
any manner whatsoever without written permission from the author except in the case
of brief quotations embodied in critical articles and reviews. Please note the enclosed
book is based on Fragrance Ingredients by House .
Designed by Glen O. Brechbill
Library of Congress
Brechbill, Glen O.
Arranging Fine Perfume Compositions - Floral Aldehydic / Glen O. Brechbill
P. cm. 596 pgs.
1. Fragrance Ingredients Non Fiction. 2. Written odor descriptions to facillitate the
understanding of the olfactory language. 1. Essential Oils. 2. Aromas. 3. Chemicals.
4. Classification. 5. Source. 6. Art. 7. Twenty one thousand fragrances. 8. Science.
9. Creativity. I. Title.
Certificate Registry # TXu1 - 364 - 187
Copyright 2006 by Glen O. Brechbill
All Rights Reserved
PRINTED IN THE UNITED STATES OF AMERICA
10 9 8 7 6 5 4 3 2 1
First Edition
Arranging Fine Perfume Compositions - FLORAL ALDEHYDIC
About the Book
3
Another favorite fragrance of mine is the floral aldehydic family. Ernest Beaux back in 1921 created the
first. Powerful aldehydic floral materials were new then, and a large percentage was used in Chanel # 5. It was
not normal then or now to use a one part Aldehyde C - 11 Lenic material in a floral arrangement due to its harsh
odor. Many of these new materials were designed to mimic natural floral notes at a usage level of .01 or less
in an arrangement of 1,000 parts. It is supposed that Coco Chanel selected the fifth sample due in part to its
intensity possibly based on a technician's compounding mistake. Further number 5 was her lucky number.
Again, Coco's fragrance was to be released on the fifth of May in 1921.
The Wertheimer family has made billions in profits on this single fragrance. The original formula includ-
ed a large percentage of essential oils. Due to the folks at ( IFRA ), today incorporating a large percentage of
essential oils has been greatly curtailed due to sensitivity issues. This formula like many other classic fra-
grances has been reworked to correspond to these new rules and regulations. A fine fragrance that is produced
today contains close to zero essential oils predominately made up of synthetic materials, extracts, and artificial
bases. No fine fragrance of today can come close to the quality of what was produced by perfumers less then
twenty years ago. Then less then fifty new ones were released in any given year. Today over 2,000 new fra-
grances were issued in 2011.
Enclosed to the rear of this book are several hundred pages of articles written about Coco Chanel and of
course her famous fragrance. Very little can be found in any of the articles regarding the perfumer Ernest Beaux
who actually created the famous scent. The person who selected the fragrance and named it after herself is bet-
ter known then the artist who actually created it. If this manuscript ever becomes available for sale non-of the
articles can be sold. My data sheets by note within this book will soon be reworked into a new book tentative-
ly titled, The Language of Fragrance due out late Spring, early summer of 2012. That is why all of my work
has been set at 50 % view, and the printing privileges disabled.
Do any of my fragrances actually work one asks? All of them are unique arrangements. I have updated it,
and showcase the aroma materials that are unique to each of the major notes utilized in Chanel # 5. This is
something no artist in the fragrance industry will ever display. As each fragrance is updated to come in line
with the various ( IFRA ) amendments the uniqueness of each fragrance masterpiece is slowly being destroyed
and the original creativity that went into it. I would have to ask why would anyone create a watchdog agency
such as this that creates legislation that is slowly destroying a wonderful creative art. A fragrance without
essential oils lacks the intensity of the original masterpiece. Take a brush out of an artist hand what does one
have? Paint, and of course a blank canvas.
The fragrance industry for whatever reason and the artistic creative craft are slowly being ruined by five fra-
grance houses who control nearly 80 % of the market because of greed. Again, if you are a perfumer employed
by this industry speaking out will get you fired and blacklisted for life. This is what happened to me many years
ago. An unscrupulous former employer needed my first book titled A Reference Book on Fragrance Ingredients
to save a lazy family member work. I was promoted to a Jr. Perfumer's position in a copy attempt to gain a
copy of my earlier then unfinished notes. Not knowing then how this industry worked I soon found my self
blacklisted.
Each fragrance is based on assembling a theme with certain type of aromatic materials. Perfumer's spe-
cialize creating fragrances for a single fragrance family or brand. They learn the art by watching their mentor.
This is called an apprenticeship. One is unable to work in this industry without serving in an offical appren-
ticeship. There are self-taught artists like myself, but not many. I set all of my books at 50 % view to make
them useless beyond my web site including removing the printing function.
Each of my compositional books is a unique presentation into the creative art of an individual fragrance
family. Why hasn't someone else done this before one asks? When an individual is selected into this coveted
profession you have to swear an oath to keep the fragrance art and creative thought process a secret. This is
part of the reason why there are so few books on the subject of fragrances available particularly the formula.
Today no perfumer would be permitted to display their creative craft in any correct proportions. Even though
fragrance houses have hundred's of thousands of formulas in their possession if not millions they are paranoid
of any one outside the hands of a few actually learning the art. In order to understand the art one must know
the materials intimately, and how they blend together in various fragrance blends in correct percentages.
Considering those under thirty today in age on the average read a single book for pleasure in a year I doubt
in the near future whether any of today's artists will actually create one. It takes a great deal of work to come
up with an idea, and then turn it into a book. Learning the high skill of desktop publishing took a lot of cre-
ative effort and energy. My former employer who cheated me out of a lucrative and well paid career knows
today that they made a major blunder letting me go many years ago. My compensation for a career that didn't
happen are my books. Each book will have my picture in it. Although it is from long ago, it is my hope that
my work will live on, and help future artists in his and her pursuit of knowledge. It is my firm belief that I
saved a lot of information that is slowly disappearing from the world wide web.
Obviously material that I displayed in this book could never be published. The purpose was to show case
how each fragrance family came to be. In many cases a single fragrance started a family that can have tens of
thousands of off spring. Each fragrance is unique in its construction. Again, at the same time many are simi-
lar, and in reality many smell alike because they are often very similar in construction. Lacking essential oils
the synthetics lack diffusion. This is the reason why many last only several hours after applied.
Fine fragrances are getting cheaper and cheaper. A household type product of twenty years ago contained
more essential oils then do today's synthetic fine fragrances. One well-known perfumer employs less then thir-
ty-fragrance materials in his compositional work. I classify this type of fragrance of a house hold nature.
Everyone is seeking to make more money with fewer materials. This in turn produces cheaper fragrances and
is part of the problem why the fine art is slowly dying.
4
Do my fragrances that are in this collection work you next want to know? My answer to that of course is
who knows. I do realize formulation books that you see today are for the most part misleading. Any one of
my creations can be endlessly changed, and adapted with experimenting. Taking into the account the cost for
many of the materials I doubt whether any listed in this book could be made. However, that in a nutshell is the
fine art of fragrance. It is my opinion that the composition itself should be an integral part of advertising, and
marketing of a fine fragrance. However, due to the paranoia in the fragrance industry governing a trade secret
that is the formula, which in turn creates a fragrance I doubt whether this will ever happen. In order to under-
stand this art one must know at the very least several thousand aromatic materials.
Iin the not too distant future of thirty to fifty years of time the fine art of fragrance will have completely dis-
appeared. High-speed artificial intelligence super computers plus automatic compounding machines will be the
new noses of the future. Each fragrance house has millions of compositions in their libraries. A single suc-
cessful fragrance can have many thousands of variations. The major players in the industry Givaudan, IFF and
Symrise have opened fine art creative centers in China, Brazil and India. Sooner or later due to cutting costs
no one will know for sure the true source of any given fragrance. A perfumer in China can create a fine fra-
grance for a Wall Mart or Chanel brand.
This is the main reason why there is nothing new today. An individual scent belongs to a fragrance fami-
ly. To be in that family one has to be related to a fragrance in that family. If a perfumer comes up with some-
thing different which I believe is not possible, a competitor will duplicate it with a gas-chromatography com-
puter inside a week. In today's fragrance world there is nothing new except the endless hype show casing some-
thing unique. In reality there is nothing new except cheaper fragrances that contain little or no essential oils
plus fewer aromatic materials.
I was blacklisted by the fragrance industry through an unscrupulous former employer many years ago. Due
to the computer and the world wide web I have been able to display my creative talent to its fullest. No one
has come knocking on my door seeking my services. If I can do this type of original creative work, and am
under employed what does that tell you about this industry? Non of my books will ever be printed. Due to the
nature of the pdf file I can not sell at this time a single copy without fear of unauthorized distribution to other
channels.
This book titled Arranging Fine Perfume Compositions - Floral Aldehydic took over four months of work
to create. Careful study will display how similar many fragrances actually are, and why perfumers are able to
come up with new fine fragrances with several hours of experimentation. Each fragrance can be easily changed
anywhere in a formula with careful adjustment of the parts per thousand arrangement, and by the addition and
deletion of other aromatic materials. I could have taken a single fragrance and made hundreds. I chose not to
because painting the same picture over and over again gets very boring.
Enjoy.
5
Glen O. Brechbill
A World of Fragrances - FLORAL ALDEHYDIC
6
Fiveash Data Management
Fleurchem, Inc.
Fleurin, Inc.
Flexitral, Inc.
Florachem Corporation
Florida Chemical Company, Inc.
Florida Worldwide Citrus
Frencharoma Imports Co., Inc.
Good Scents Company
Gorlin & Company
Graham Chemical Corporation
I.P. Callison & Sons
Innospec Inc.
International Flavors & Fragrances
J & E Sozio, Inc.
Joint American Ventures in China
MelChem Distribution
Millennium Chemicals
Natural Resourcing
Norwest Ingredients
Oliganic
Pental Manufacturing
Phoenix Aromas & Essential Oils
Polarome International
International Directory by Country & House
Manuscript # 1 ( A - H )
Manuscript # 2 ( I - Z )
Canada
The Spice Trader
United States
Alfa Chem
American Society of Perfumers
Aromatic International LLC
Artiste Flavor / Essence
Astral Extracts
Bedoukian Research, Inc.
Bell Flavors & Fragrances
Berje Inc.
Carrubba Inc.
Central States Chemical Marketing
Champon Vanilla
Citrus & Allied
Cookson & Hunt International Co.
Creative Fragrances Ltd.
DMH Ingredients
Continent/Country/Fragrance House Continent/Country/Fragrance House
North America
7
Prima Fleur
Rosetta Enterprises LLC
Sarcom Inc.
Science Lab
Sensient Technologies Corporation
Sigma Aldrich
Spectrum Chemicals
Sundial Fragrances & Flavors
Sunrose Aromatics
Texarome
Treatt USA Inc.
Trisenx, Inc.
Uhe Company, Inc.
Ungerer & Company
Vigon International, Inc.
Walsh, John D., Company, Inc.
Mexico
Esencias y Materiales Lozmat
Tecnaal Group
Argentina
Esarco
Euma
Fritzsche SAICA
San Miguel Agici y F
Brazil
Citral Oleos Essenciais Ltda.
J. Piltz & Cia. Ltda.
Petit Marie
Rai Ingredients
Belgium
Synaco Group
Bulgaria
Vesselino Trading Company
Denmark
Wambesco Gmbh
France
A.N.E.C.
Adrian Industries SAS
Albert Vielle SA
Aromatic Collection
Aromax
Axxence SARL
BFA Laboratories
Barosyl S.A.
Biolandes Parfumerie
Charabot & Company Inc.
Clos DAguzon
Diffusions Aromatiques
Dulcos Trading
Exaflor
Glen O. Brechbill
Central America
South America
Europe
8
H.Reynaud & Fils
IPRA Fragrances
Interchim
Laboratoire Monique Remy
Mane SA
Moraflor Produits Aromatiques
Muller & Koster
PCAS
Payan Bertrand SA
Prodarom
Prodasynth
Rhodia Organics
Robertet SA
SIPA A. Ch. Berthier
Sovimpex
Symarome
Germany
Basf
Dullberg Konzentra Gmbh
Eramex Aromatics Gmbh
Frey & Lau Gmbh
Lothar-Streck
Paul Kaders GmbH
Sensient Essential Oils Gmbh
Symrise GmbH & Co. KG
Th. Gyer Gmbh & Co. KG
Hungary
Silvestris & Szilas Ltd.
Italy
Baller s.r.l.
Capua s.r.l.
Citroflor di G.
Espira S.p.A
Farotti Essences srl
Moelhausen S.P.A.
Portugal
Kruetz Helmut
Spain
Bordas Destilaciones Chinchurreta
Cami de Fontainilles
Destilerias Munoz Galvez, s.a.
Lluche Essence
Ventos, Ernesto S.A.
Switzerland
Essencia, Aetherische Oele AG
Firmenich
Givaudan Fragrance Corporation
Puressence Wuresten Inc.
9
The Netherlands
Brighten Colorchem, B.V.
Flavodor
PFW Aroma Chemicals
United Kingdom
A & E Connock Ltd.
Augustus OIls. Ld.
British Society of Perfumers
Buckton Home Page Ltd.
De Monchy Aromatics, Inc.
Earth Oil Plantations Ltd.
FD Copeland & Sons Ltd.
Fine Chemical Trading
Furest Day Lawson
Global Essence Ltd.
Handa Fine Chemicals Ltd.
JC Buck Ltd.
Lionel Hitchen Ltd.
Quality Analysis
SRS Aromatics Ltd.
Venus Enterprises
Israel
Agan Aroma & Fine Chemicals
Aromor Flavors & Fragrances Ltd.
Fruitarom Industries
Nardev
China
China Aroma Chemical Co., Ltd.
China Perfumer
Chinessence Ltd.
HC Biochem
Hangzhou Aroma Chemical Co.
Shanghai M & U International
Tianjin Jiete Fine Chemical Co.
Hong Kong
Naradev
OLaughlin Industries
India
Amen Organics
Anthea Aromatics Pvt. Ltd.
Anupam Industries
B.S. Industries
Bansal Aroma
FFC Aroma
Flowersynth
GMPCT
Gyran Flavours
Hermani Ex-Imp Corporation
Hindustan Mint & Agro Products
Indian Spices
Glen O. Brechbill
Asia
Mediterranean
10
Kanta House
Katyani Exorts
Krupa Scientific
Kuber Impex Ltd.
Narain Terpene & Allied Chemical
Organica Aromatics Pvt. Ltd.
P.P. Sheth & Co.
Petitgara Chemicals
Premier Chemical Corporation
Privi Organics Ld.
Raj Aromatics Aroma Corporation
SAT Group
Seema International
Shambhala Herbal & Aromatics Pvt.
Shreeji Aroma
Som Santi House
Some Extracts
Tadimetry Aromatics Pvt Ltd.
Thakker Group
Ultra International Limited
U.K. Aromatic & Chemicals
Korea
Castrading
M.X.D. Enterprise System
Nepal
Shambhala Herbal & Aromatics Pvt. Ltd.
Singapore
Taytonn Pte Ltd.
Turkey
Oregano
Australian Botanical Products
Cosmark
Perfume & Flavor Manufacturers
Peter Jarvis Cosmetic Develop.
W & W Australia Pty Ltd.
Indonesia
Djasula Wangi
Haldin
Indesso
Singapore
Taytonn Ptd Ltd.
Sri Lanka
EOAS International
Japan
Basf Japan Ltd.
Kao Corporation
Takasago International Corporation
Zeon Corporation
Australia
Pacific Rim
11
Thailand
Thailand Institute of Science
Viet Nam
Enter Oil
Africa Trade
Egypt
A.Fakhry & Company
Fayyum Gharbya Aromatic
Kato Aromatic S.A.E.
Glen O. Brechbill
Africa
12
The love for ladies perfumes is
translated to their strong influence
in the fragrance industry. Thanks to
the fragrance classification created
by Michael Edwards, women can
now easily relate and explore more
scents. In defining each class of
perfume based on the natural ori-
gins of the fragrances, choosing
from among the ever growing num-
ber of excellent designer fragrances
have become easier.
Michael Edwards is one of the
world's leading authorities in fra-
grances. Famously known as a "fra-
grant gypsy", he has been associat-
ed with a number of elite fragrance
houses, perfumers and suppliers,
which enabled him to devise a sys-
tem that practically served every-
one's map towards finding the best
among the ladies perfumes to fit
personal preferences. His compre-
hensive references in the perfume
industry is summarized in his per-
fume classification scheme, which
groups a total of 2,300 gentlemen's
and ladies perfumes in four olfac-
tive families; fresh, floral, oriental
and woody.
more delicate floral scent selec-
tions.
For more sensual selections, the
oriental fragrance family gives you
the floral oriental, soft oriental and
oriental scent selections. The floral
oriental group gives you a feisty
combination of scents that range
from sweet spices to spicy orange
floral notes. Its fruit interpretations
gave birth to more recent designer
ladies perfumes. Soft orientals give
more sensual overtones compared
to other fragrances. For oriental
selections, a mlange of exotic per-
fumery with heavy and sensual ori-
ental scents like sweet vanilla and
musks.
Lastly, the woody selection gives
you the scents of woody oriental,
mossy woods and dry woods col-
lections, which is popular among
designer fragrances. Woody orien-
tals give you a fine balance of deep
wood notes using the potent scents
of floral orientals, spices with san-
dalwood and patchouli notes.
Mossy woods give you mossy
woody fragrances which mostly are
celebrated in the fragrances created
Each olfactive group has their sub-
categories. The fresh perfume fam-
ily is grouped into citrus, green and
water. Citrus scents (hesperide), the
oldest fragrance family, are sourced
from the natural essences of fra-
grant citruses such as mandarins,
lemon, bergamot, grapefruit and
oranges. The green fragrance gives
you the interesting sharp blend of
fresh-cut grass and violet leaves,
giving you a refreshing imagery of
the outdoors. The water fragrances
are reminiscent of the soft sea
breeze, the aroma of the wet air
combined with livening floral,
woody and oriental fragrances are
classic choices for this group.
The floral fragrances give you the
most popular among the fragrance
family. Capturing the potently sen-
sual essences of floral notes, this
group gives you a symphony of
heavenly scents. Perfumers take
pleasure in the avalanche of excit-
ing new floral notes, which created
more options for this sinful treat. In
successfully cloning the scent of
fresh blooms, soft florals (fleuri
aldehyde) established another
group of fragrance that featured
13
by Francois Coty in 1917 (Chypre
de Coty). The dry woods family,
which is reminiscent of the after
dry smoky scent of Russian leather,
celebrates the deep and almost ani-
malistic fragrance notes of florals,
orientals and wood.
The task of selecting the best ladies
perfumes is meant to be a pleasure,
not an ordeal. With the growing
number of fragrances and designer
perfumes created each year, one
can easily get overwhelmed in visu-
alizing an olfactory universe.
Thanks to Michael Edwards' rare
passion for scents, a perfume clas-
sification scheme has been created
to allow each scent to communicate
well with everyone's personal
tastes.
14
Aldehydes
Animal, powdery or slightly woody
notes often enhance the floral bou-
quet. The top note is a marriage of
aldehydes and hesperidia. This sub-
family came into existence with the
creation of Chanel n5, the first flo-
ral-aldehydic perfume with an
unusually high amount of aldehy-
des.
Aldehyde
Olfactory chain of the long-chain
fatty aldehydes. This is a typical,
fatty-sweaty, somewhat pungent
and soapy olfactory note. The
spectrum ranges from almondy
fruity green nuances to ironed laun-
dry fragrances and metallic nuances
right through to ozone, ocean-like
and waxy scents. Some of the alde-
hyde fragrances are related to the
smell of human skin and perspira-
tion. Aldehyde C - 10 offers a cit-
rus aspect, while Aldehyde C - 11
undecylene produces an animal
effect and Aldehyde C - 12 Lauric a
cool, almost ozone-like note.
reveals a jasmine-inflected bouquet
softened with rose.
Burberry Sport Ice - 2011
Burberry Sport Ice for Women is
like an icy floral bouquet. The per-
fume opens with dazzling notes of
ginger and frosty mandarin orange.
The flowery heart develops around
waves of magnolia, honeys..
Essence Musc Collection - 2010
At once sultry and pure, this
Intense version has a sparkling
opening that is more dramatic than
the original fragrances. The per-
fume reveals sweet clean aldehyde
notes twined with a more citrus
blend.
Eva - 2010
The fragrance opens with a fresh
and sparkling combination of cit-
rus, bergamot tea and aldehydes.
The floral heart blends fresh and
green notes of violet, freesia and
lily of the valley.
N5 - 1921
Leader of the aldehyde floral fami-
ly, N5's top note soars with hes-
peridia followed by a floral bouquet
of jasmine from Grasse and may
rose. Sandalwood and vetiver give
the end note a woody touch.
No 22 - Chanel - 1922
Like N5, N22 is an aldehyde flo-
ral. The fragrance reveals a flight of
aldehydes that softens the headier
bouquet of white flowers: jasmine,
tuberose, ylang-ylang and rose.
Arpge - 1927
The superb floral bouquet is com-
posed of jasmine, rose, ylang ylang,
tuberose, and lily-of-the-valley
warmed by spices such as clove and
coriander. The end note delivers a
woody vanilla finish.
Un Air de First - 2011
The composition opens with a
blend of aldehydes, galbanum and
fruity notes (peach and more), for a
pear-like effect. The floral heart
15
Valentino - 2009
The floral notes of orange flower,
mimosa and magnolia are twisted
with pomelo and pear blossom. The
fragrance lies on a base of
heliotrope, vanilla orchid and rice
vapor.
John Galliano - 2008
A vibrant opening thanks to the
aldehydes. Then floral notes of rose
and violet grab our attention, fol-
lowed by powdery tonalities and an
intense trail with slightly oriental,
woodsy accents.
N5 Eau Premiere - 2008
The ingredients of N5 are still
there, but the proportions are differ-
ent. The ylang-ylang has been soft-
ened. The aldehydes and neroli
bestow greater freshness. Vanilla
and woods have a stronger
Miroir des Secrets - 2008
Described as a bittersweet alde-
hyde, the perfume blends a natural
aldehyde-like note with a woodsy
trail of patchouli and musk.
L'Interdit - 2007
An aldehyde opening revealing a
powdery heart of rose, jasmine and
violet. The fragrance evolves
towards a trail of iris and sandal-
wood.
First Eau d'Et 2007
made with sumptuous flowers like
roses, jasmine, ylang ylang and
tear of Venus, a Brazilian flower
with a sweet alsmot fruity like fra-
grance.
Rive Gauche - 1971
This bold and lively fragrance was
designed like a floral bouquet. Its
top note soars with notes of berg-
amot, lemon and aldehydes.Then it
revealss a very floral middle note
evolving around garden.
First Eau dEt 2005
The First fragrance has been trans-
posed into a transparent and flow-
ery version, garbed in peony, tan-
gerine and white cedar. It can even
be worn in the sun.
1905 - 2005
A classic with a fresh green open-
ing of black currant buds and vio-
let. A floral heart, spiked with alde-
hydes, in which rose, ylang-ylang
and jasmine predominate. The car-
nal close is a warm melody.
N5 Elixir Sensuel - 2004
You'll recognize the legendary
scent of N5 with notes of aldehy-
des, ylang-ylang from the Comores
Islands, May rose and Grasse jas-
mine.
First Edition Jasmin de Chine - 04
The rich, scintillating floral fra-
A woodsy-aldehyde melody with
sparkling accents of cassis leaf over
a floral heart of lily and peony. The
warm, woodsy trail blends amber
and white cedar.
New Women - 2007
A gentle floral-aldehyde fragrance
built along 2 lines: the vibration
bubble (iridescent white tea, cock-
tail of aldehydes, frosted passion
fruit) and the cocoon bubble
Tahitian tiar flower veil.
Matresse - 2007
The fragrances olfactory construc-
tion is based on aldehydes, which
are disseminated throughout the
formula. The opening combines
white flowers ylang-ylang and
lotus blossom with violet leave.
Baghari - 2006
Fragrance designer Aurelien
Guichard redesigned Baghari, ini-
tially created by Francis Fabron in
1950. Turkish Damascus Rose,
Egyptian jasmine, iris and vetiver
compose the floral-powdery scent.
First Eau dEt - 2006
A celestial composition with peony
blending with aldehydes,
Casablanca lily, black currant and a
hint of amber.
Vertigo - 2006
The scent is a floral aldehydic
16
grance of the classic version of
First (jasmine, aldehydes, narcis-
sus) is made more intense here
thanks to Chinese jasmine absolute.
A new sensuality.
Calche
Is a chypre woody floral composi-
tion. The top note is crisp and
cheerful, opening onto a middle
note of rose of Damascus and May
rose emboldened by a synthetic
aldehydic note, the famous.
White Linen
Citrus and aldehydes give an imme-
diate impression of freshness to this
lovely floral blend of rose, jasmine,
lily of the valley and lilac. The
overall impression remains cool
despite a woody end.
Estee - 1968
Is composed of multiple floral
accords containing Moroccan rose
absolute, Russian coriander, and
yugoslav moss combined with flo-
ral notes of tuberose, lily and jas-
mine. Carnation adds a spicy touch
and sandalwood a woody facet. The
whole creates a sumptuous bou-
quet.
Nocturnes - 1981
The sparkling top note is composed
of orange and aldehydes that reveal
the sweetness of orange
blossom.The middle note is a mar-
riage between jasmine and rose and
is followed up by an intoxicating.
First - 1976
First's top note is fruity with touch-
es of black currant, bergamot and
mandarin.The middle note has a
floral and aldehyde character and is
composed of jasmine, rose, and
ylang ylang.The end note is com-
posed of amber and vanilla charac-
ter.
Madame Roches - 1960
The perfume opens on a note of
neroli and classic flowers such as
rose, jasmine, tuberose, lily of the
valley and orange blossom.The
powdery nuance of iris is enhanced
by sandalwood and vetiver, while
amber and musk give the perfume a
delicate lingering trail.
Femme - 2000
Femme by Lagerfeld starts off on a
sparkling note of green tangerine
and lemon. A tangy touch of
rhubarb opens onto middle note of
narcissus, lily and pink peppercorn.
Its woody end note of cedar and
wild cherry are softened by a touch
of musk.
Champs Elyses-Too Much - 2000
Too Much is a sparklingly fresh
perfume, with a full top note of
bergamot and lily, a mimosa-scent-
ed middle note and a balmy narcis-
sus end note.
17
Chanel No. 5 is the first perfume
launched by Parisian couturier
Gabrielle "Coco" Chanel. The
French government reports that a
bottle of Chanel No. 5 is sold every
thirty seconds and generates sales
of $100 million a year. It was
developed by Russian-French
chemist and perfumer Ernest
Beaux. It is often considered the
world's most famous perfume.
January - 2011
Aesthetic inspiration for a new fra-
grance
Traditionally fragrance worn by
women had adhered to two basic
categories. Respectable women
favored the pure essence of a single
garden flower. Sexually provoca-
tive perfumes heavy with animal
musk or jasmine were associated
with women of the demi-monde,
prostitutes or courtesans. Chanel
felt the time was right for the debut
of a scent that would epitomize the
boyish, modern flapper that would
speak to the liberated spirit of the
1920s.
Beaux, whom she had commis-
sioned to develop a fragrance with
modern innovations:
"I present my dress collections
on the fifth of May, the fifth month
of the year and so we will let this
sample number five keep the name
it has already, it will bring good
luck."
Design of the bottle
Chanel envisioned a design that
would be an antidote for the over-
elaborate, precious fussiness of the
crystal fragrance bottles then in
fashion popularized by Lalique and
Baccarat. Her bottle would be "pure
transparencyan invisible bottle."
It is generally considered that the
bottle design was inspired by the
Charvet toiletry bottles carried by
her lover, Arthur "Boy" Capel in
his leather traveling case. Some say
it was the whiskey decanter he used
that she admired and wished to
reproduce it in exquisite, expen-
sive, delicate glass.
The first bottle produced in
1919, is not the Chanel No.5 bottle
Iconography of the No. 5 name
From her earliest days at
Aubazine, the number five had
potent associations for Chanel.
Aubazine had been founded by
Cistercians, a Catholic order who
placed great emphasis on numerol-
ogy. The number five was especial-
ly esteemed as signifying the pure
embodiment of a thing, its spirit, its
mystic meaning. The paths, which
led Chanel to the cathedral for daily
prayer, were laid out in circular pat-
terns repeating the number five.
Her affinity for the number five
co-mingled with the abbey gardens,
and by extension the lush surround-
ing hillsides abounding with cistus,
a five-petal rose. It is noteworthy
that the Cistercians, an ancient
branch of Catholicism, derived the
name of their order from this very
flower.
In 1920, when presented with
small glass vials of scent numbered
1-5 and 20-24, for her assessment,
she chose the sample composition
contained in the fifth vial. Chanel
told her master perfumer, Ernest
PUBLICATION DATE NOT KNOWN
Chanel N5
Glen O. Brechbill
18
known today. The original contain-
er had small, delicate, rounded
shoulders and was sold only in
Chanel boutiques to select clients.
In 1924, when "Parfums Chanel"
incorporated, the glass proved too
thin to sustain shipping and distri-
bution. This is the point in time
when the only significant design
change took place. The bottle was
modified with square, faceted cor-
ners.
In a marketing brochure issued
in 1924, "Parfums Chanel"
described the vessel, which con-
tained the fragrance:
"The perfection of the product
forbids dressing it in the customary
artifices. Why rely on the art of the
glassmakerMademoiselle is
proud to present simple bottles
adorned only byprecious
teardrops of perfume of incompara-
ble quality, unique in composition,
revealing the artistic personality of
their creator."
Unlike the bottle, which has
remained the same since redesigned
in 1924, the stopper has gone
through numerous modifications.
The original stopper was a small
glass plug. The octagonal stopper,
which became a brand signature,
was instituted in 1924 when the
bottle shape was changed. The
1950s gave the stopper a bevel cut
and a larger, thicker silhouette. In
the 1970s the stopper became even
more prominent, but in 1986 it was
re-proportioned so it size was more
In particular during World War
II, the Nazi seizure of all Jewish
owned property and business enter-
prises provided Chanel with the
opportunity to gain the full mone-
tary fortune generated by "Parfums
Chanel" and its most profitable
product, Chanel No. 5. The direc-
tors of "Parfums Chanel," the
Wertheimers, were Jewish, and
Chanel used her position as an
Aryan to petition German offi-
cials to legalize her right to sole
ownership (during this time Chanel
was having an affair with a German
military intelligence officer Hans
Gnther von Dincklage[12]). On 5
May 1941, she wrote to the govern-
ment administrator charged with
ruling on the disposition of Jewish
financial assets. Her grounds for
proprietary ownership were based
on the claim that Parfums Chanel
is still the property of Jewsand
had been legally abandoned by
the owners. I have, she wrote,
an indisputable right of priori-
tythe profits that I have received
from my creations since the foun-
dation of this businessare dispro-
portionateand you can help to
repair in part the prejudices I have
suffered in the course of these sev-
enteen years. Chanel was not
aware that the Wertheimers, antici-
pating the forthcoming Nazi man-
dates against Jews had, in May
1940, legally turned control of
Parfums Chanel over to a
Christian, French businessman and
industrialist, Felix Amiot.
Ultimately, the Wertheimers
harmonious with the scale of the
bottle.
The "pocket flacon" devised to
be carried in the purse was intro-
duced in 1934. The price point and
container size were developed to
appeal to a broader customer base.
It represented an aspirational pur-
chase, to appease the desire for a
taste of exclusivity in those who
found the cost of the larger bottle
prohibitive.
The bottle, over decades, has
itself become an identifiable cultur-
al artifact, so much so that Andy
Warhol chose to commemorate its
iconic status in the mid-1980s with
his pop-art, silk-screen titled Ads:
Chanel.
Creation and Fight for Control
In 1924, Chanel made an agree-
ment with the Wertheimer brothers,
Pierre and Paul, directors of the
eminent perfume house Bourgeois
since 1917, creating a corporate
entity, "Parfums Chanel." The
Wertheimers agreed to provide full
financing for production, marketing
and distribution of Chanel No. 5.
For ten percent of the stock, Chanel
licensed her name to "Parfums
Chanel" and removed herself from
involvement in all business opera-
tions. Displeased with the arrange-
ment, Chanel worked for more than
twenty years to gain full control of
"Parfums Chanel.". She proclaimed
that Pierre Wertheimer was the
bandit who screwed me.
19
and Chanel came to a mutual
accommodation, re-negotiating the
original 1924 contract. On 17 May
1947, Chanel received wartime
profits of Chanel No. 5 in the
amount of some nine million dol-
lars in todays money, and in the
future her share would be two per-
cent of all Chanel No. 5 sales
worldwide. The financial benefit to
her would be enormous. Her earn-
ings would be in the vicinity of
twenty-five million dollars a year,
making her at the time one of the
richest women in the world.
Advertising and marketing
1920s and 1930s
Parfums Chanel, was the cor-
porate entity established in 1924 to
run all aspects of the fragrance
business, the production, marketing
and distribution. Chanel felt it was
time to liberate the sale of Chanel
No. 5 from the restricted confines
of her boutiques and release it to
the world. The first target area was
the United States, concentrating on
New York City, the cultural and
commercial center of America with
the clientele for luxury goods. The
inaugural marketing was discreet
and deliberately restricted. The first
ad appeared in The New York
Times on December 16, 1924. It
was a small print ad for Parfums
Chanel announcing the Chanel
line of fragrances now available at
Bonwit Teller, an upscale depart-
ment store. The ad was unremark-
able, all the bottles appearing indis-
Perfume sales in the United States
from 1940-45 had increased ten-
fold, Chanel No. 5 flourished. [17]
It was during the war years that
the directors of Parfums Chanel
came up with an innovative market-
ing idea. The intent to expand the
sale to a middle-class customer had
been instituted in 1934 with the
introduction of the pocket flacon.
The plan was now to extend the
market by selling the perfume at
military post exchanges, the PX. It
was a risky move that may have
hurt the exclusive status of the
brand, but they went ahead and this
marketing plan proved viable. It did
not destroy the cachet of the brand,
instead it came to epitomize a
world of luxury and romance, a
souvenir the soldier coveted for his
sweetheart back home. [18]
1970s and 1980s
During the 1960s the ads had
diminished the allure of Chanel No.
5, identifying it with a scent for
sweet, proper co-eds whose style
bibles were teen-age fashion maga-
zines. In the 1970s the brand name
needed re-vitalization. For the first
time in its long history it ran the
risk of being labeled as mass mar-
ket and pass. The fragrance was
removed from drug stores and sim-
ilar outlets. Outside advertising
agencies were dropped. The remak-
ing was re-imagined by Jacques
Helleu, the artistic director for
Parfums Chanel. Helleu chose
French actress Catherine Deneuve
tinguishable from one and other,
displaying all the Chanel perfumes
available, #9, #11, #22, and the cen-
terpiece of the line, #5. This pres-
entation of the product line was the
extent of the advertising campaign
in the 1920s and appeared only
intermittently. In America, the sale
of Chanel No. 5 was a word-of-
mouth phenomenon, promoted
from perfume counters at high-end
department stores by enthusiastic
sales staff. The strategy in Europe
was no less restrained. The
Galleries Lafayette, a notable
department store, was the first
retailer of the fragrance in Paris. In
France itself, Chanel No. 5 was not
advertised at all until the 1940s.
The first real marketing blitz
was planned for 1934-35. The first
truly solo advertisement of Chanel
No. 5, as the most important Chanel
perfume, comparable to her legend
as a couturiere, ran in The New
York Times on June 10, 1934.
1940s
In the early 1940s, when the
industry trend was to increase
brand exposure, Parfums Chanel
took a contrary track and actually
decreased advertising. In 1939 and
1940, ads had been significant. By
1941, they had been cut back dra-
matically so that there was almost
no print advertising. The directors
of Parfums Chanel may have felt
the expenditure was not needed.
Sales of fragrance had flourished
during the years of World War II.
Glen O. Brechbill
20
for the new face of Chanel. The
print ads showcased the iconic
sculpture of the bottle. Television
commercials were inventive mini-
films with production values of sur-
real fantasy and seduction. Directed
by Ridley Scott in the 1970s and
1980s, they played on the same
visual imagery, with the same sil-
houette of the bottle, Under
Helleus control the vision to return
Chanel to the days of movie glam-
our and sophistication was realized.
The scent
Provenance of the "recipe"
The idea for the development of
a distinctly modern fragrance had
been on Chanels mind for some
time when her lover, Grand Duke
Dmitri Pavlovich, introduced her to
Ernest Beaux on the French Riviera
in early 1920. Beaux was the mas-
ter perfumer at A. Rallet and
Company, where he had been
employed since 1898. The compa-
ny was the official perfumer to the
Russian royal family, and the
imperial palace at St. Petersburg
was a famously perfumed court.
The favorite scent of the Czarina
Alexandra, composed specifically
for her by Rallet in Moscow, had
been an eau de cologne opulent
with rose and jasmine named Rallet
O-DE-KOLON No.1 Vesovoi.
In 1912, Beaux created a mens
eau de cologne, Le Bouquet de
Napoleon, to commemorate the
100th anniversary of the Battle of
the snowy terrain sparked his desire
to capture the crisp fragrance of this
landscape into a new perfume com-
pound.
Beaux perfected what was to
become Chanel No. 5 over several
months in the late summer and
autumn of 1920. He worked from
the rose and jasmine base of Rallet
No. 1. altering it to make it cleaner,
more daring, reminiscent of the
pristine polar freshness he had
inhabited during his war years. He
experimented with modern synthet-
ics, adding his own invention
Rose E. B and notes derived from
a new jasmine source, a commer-
cial ingredient called Jasophore.
The revamped, complex formula
also ramped up the quantities of
orris-iris-root and natural musks.
The revolutionary key was
Beauxs use of aldehydes.
Aldehydes are organic substances,
carbon, oxygen and hydrogen.
They are manipulated in the labora-
tory at crucial stages of chemical
reaction whereby the process
arrests and isolates the scent. When
used creatively, aldehydes act as
seasonings, an aroma booster.
Beauxs student, Constantin
Weriguine, said the aldehyde
Beaux used had the clean note of
the arctic, a melting winter note.
Legend has it that this wondrous
concoction was the inadvertent
result of a laboratory mishap. A
laboratory assistant, mistaking a
full strength mixture for a ten per-
cent dilution, had jolted the com-
Borodino, a decisive battle in the
Napoleonic Wars. The success of
this mens fragrance inspired
Beaux to create a feminine counter-
part, whose jumping off point was
the chemical composition of alde-
hydic multiflores in Hougibants
immensely popular Quelque Fleurs
(1912).
He experimented and manipu-
lated the aldehydes in Quelque
Fleurs, resulting in a fragrance he
christened Le Bouquet de
Catherine. The scent was intended
to inaugurate another celebration in
1913, the 300th anniversary of the
Romanoff dynasty. The debut of
this new perfume proved ill-timed.
World War I was approaching, and
the czarina and the perfumes
namesake, the Empress Catherine,
had both been German-born. A
marketing misfortune that invoked
unpopular associations, combined
with the fact that Le Bouquet de
Catherine was enormously expen-
sive, made it a commercial failure.
An attempt to re-brand the per-
fume, as Rallet No. 1 was unsuc-
cessful, and the outbreak of World
War I in 1914 effectively prevented
public acceptance of the brand.
Beaux, who had affiliated him-
self with the Allies and the White
Russian army, had spent 1917-19 as
a lieutenant stationed far north, in
the last arctic outpost of the conti-
nent, Arkangelsk, at Mudyug
Island Prison where he interrogated
Bolshevik prisoners. The polar ice,
frigid seascape, and whiteness of
21
pound with a dose of aldehyde in
quantity never before used. Beaux
prepared ten glass vials for
Chanels inspection. Numbered 1-5
then 20-24, the gap presented the
core May rose, jasmine and aldehy-
des in two complimentary series,
each group a variation of the com-
pound. Number five. Yes, Chanel
said later, that is what I was wait-
ing for. A perfume like nothing
else. A womans perfume, with the
scent of a woman.
This was the defining moment
in the creation of Chanel No. 5, a
new perfume redolent of past
places, a fragrance concordance of
Chanels childhood years at
Aubazine, Grand Duke Dmitris
royal court in czarist Russia and
Beauxs snowy, icy arctic.
Glen O. Brechbill
22
Chanel No. 5 was the first fra-
grance from Parisianmarker coutu-
rier Gabrielle "Coco" Chanel, and
has been on sale continuously since
its introduction in 1921. It has been
described as "the world's most leg-
endary fragrance", and remains the
company's most famous perfume.
The company estimates that a bottle
is sold worldwide every 30 sec-
onds.
History
The creation of Chanel No. 5
resulted from commission to the
renowned perfumer Ernest Beaux
by Coco Chanel. According to
Constantin Weriguine, a student of
Ernest Beaux the composition was
created in exactly the year 1920
(launched a year later) and was
inspired by Ernest's station in
above the Arctic Circle during
World War I. The perfume tries to
capture the scent of extreme fresh-
ness of the northern lakes under the
midnight sun. No. 5 was one of the
formulas chosen out of a series of
10 perfumes presented by Ernest
Beaux, from the range of 1-5 and
20-24. The name was kept since
Coco owned 10%, and her friend
Bader owned 20%. Chanel agreed
to owning such a small amount in
exchange for having complete con-
trol over the product. Today, the
Wertheimer family still runs the
perfume business.
Style
"I want to give women an artifi-
cial perfume," said Chanel. "Yes, I
really do mean artificial, like a
dress, something that has been
made. I don't want any rose or lily
of the valley, I want a perfume that
is a composition."Although not the
first fragrance to use them, No. 5 is
famous for being the first perfume
to heavily rely on synthetic floral
aldehydes as a top note. Before
synthetics, perfume either had to be
applied very heavily or frequently
so that the fragrance would last.
Chanel applied the French aes-
thetic theory that "ugly" placed
next to "beautiful," by contrast,
makes the beautiful object appear
more so. In this era almost all per-
fumes were floral and "pretty" -
designed to enhance a woman's
Coco Chanel was presenting one of
her dress collections on May 5 that
year.
At the time of its inception, the
most expensive perfume oil was
jasmine due to the expensive distill-
ing process. Chanel wanted to cre-
ate the most costly perfume in the
world, and as such No. 5 relies
heavily on jasmine. Despite want-
ing to do this herself, when Jean
Patou introduced Joy, which actual-
ly was the costliest perfume in the
world, Chanel was actually very
scornful, saying "Joy was for
women who wanted to put their
petty morals on display by wearing
the world's costliest perfume".
Chanel introduced it first to
some of her friends on May 5,
1921. Initially, it was given to pre-
ferred clients for free at her bou-
tique. The fitting rooms in her bou-
tique were also scented with No. 5.
This strategy is imitated today by
retailers.
In 1924, Pierre Wertheimer
partnered Coco Chanel in her per-
fume business. He owned 70%,
23
beauty with more beauty. Instead of
the scent of flowers, Coco wanted a
perfume that "reflects my personal-
ity, something abstract and unique".
She thought that a perfume should
serve to spotlight a woman's natural
beauty using contrast - i.e. the arti-
ficial perfume would make the
woman's natural beauty more evi-
dent.
Notes
Chanel No. 5 is classified as a
floral-aldehyde. Its top note include
ylang ylang, neroli and synthetic
long chain aldehydes such as 2-
methylundecanal; its mid notes
may rose and jasmine; and its base
notes sandalwood, vetiver and
vanilla.
In the UK, Chanel No. 5 was
originally available in three
strengths: Pure Perfume, Eau de
Toilette and Eau de Cologne. The
Eau de Cologne was discontinued
in the 1990s, and an Eau de Parfum
introduced.
Laboratory tests have shown
that Chanel No. 5 contains secre-
tions from the perineal glands of
civet cats. Civet is a powerful fixa-
tive, making the scent last a long
time. Animal rights groups such as
the World Society for the
Protection of Animals express con-
cern that civet is harvested in a
method cruel to animals. The
Chanel company claims that, start-
ing in 1998, natural civet has been
replaced with a synthetic substitute.
directed by French director Jean-
Pierre Jeunet and was released in
conjunction with Tautou's film
Coco avant Chanel, in which
Tautou portrays Coco Chanel.
The first advertisement shown
on British TV's Channel 5 was for
Chanel No. 5.
Film director Ridley Scott
directed three TV commercials for
the 'Share Your Fantasy' ad for
Chanel No. 5; the most notable is
the version with a woman lying
beside a swimming pool which has
been aired for decades since its
1979 introduction. Two other ver-
sions make use of the songs 'Sea of
Love' and "I Don't Want to Set the
World on Fire" from The Ink Spots.
As part of his act, exhibition
wrestler Gorgeous George would
have the ring sprayed with disinfec-
tant before a bout, a special mixture
allegedly containing Chanel No. 5
although George claimed it was
"Chanel No. 10," saying "why be
half safe?"
The scent is also used in the
American idiomatic expression of
suspicion, "Something smells here
and it ain't Chanel No. 5!"
The scent is mentioned in the
1963 Paul Newman film Hud when
Alma Brown (Patricia Neal) says to
Hud Bannon (Newman)
"Somebody in this car smells like
Chanel No. 5. It's not me, I cant
afford it."
Cultural influence
Sales increased in the 1950s,
especially after the perfume was
introduced in the United States.
Movie star Marilyn Monroe's
endorsement of the brand is said to
have contributed to its popularity.
In 1953, when asked what she wore
in bed, Monroe famously replied,
"Why, Chanel No. 5, of course."
Chanel herself is quoted as saying,
"A woman should wear fragrance
wherever she expects to be kissed."
Andy Warhol sealed Chanel
No. 5's status as cultural icon when
he made nine silk screens of the
perfume, elevating it to Campbell
Soup status. And in 1959 the pack-
aging itself made it into the collec-
tions of the Museum of Modern
Artmarker, New York.
Famous spokesmodels for the
fragrance have included Marilyn
Monroe, Catherine Deneuve,
Carole Bouquet, Estella Warren,
Nicole Kidman, who in 2004
appeared opposite Rodrigo Santoro
in a Baz Luhrmann-
directed/Mandy Walker-filmed
multi-million dollar commercial
entitled No. 5 The Film. Actress
Audrey Tautou became a
spokesmodel for the perfume in
2009 when she appeared in the sec-
ond short film for the fragrance.
The short film was veiled on the 5th
of May (5th of the 5th - in honour
of No.5) on the Chanel website, 88
years to the day the fragrance was
introduced. The short film was
24
The name, cover art and art-
work of the album Mina n 0, by
Mina, are designed after the famous
perfume.
In The Golden Girls episode of
"The Housekeeper", Marguerite
(played by Paula Kelly) states that
it was not just a "love potion" she
gave Blanche, it was Chanel No. 5!
In a Spike Jones recording
about a rompin' raunchy Cowgirl,
the lyrics refer to her, um, horses-
table odeur "... it's more vivid, it's
more alive!" "What do ya call it?"
"Corral No. 5!".
In The Clique, Massie Block is
always smelling her wrists for sup-
port; the fragrance is sometimes
Chanel No. 5.
25
Perfume Review
Name: N 5 Eau Premire
Perfume type/Volume: Eau de
Parfum/standard: 2.5 fl. oz. (75 ml),
5.0 fl. oz. (150 ml)
Designer: Chanel
Perfumer: Jacques Polge
Launched: 2008
Perfume ad: Et si c'tait la premire
fois. (As if it were the first time.)
Olfactory group: Woman - Floral
(by osmoz.com)
Notes (by osmoz.com):
Top: Ylang-Ylang, Aldehydes,
Neroli
Middle: Jasmine, Rose
Base: Vetiver from Reunion,
Vanilla
Intro and the 2009 Chanel No. 5
movie by Jean-Pierre Jeunet
through Andy Warhol's famous
silkscreen prints. The bottle of Eau
Premire is still square, but taller
and somehow softer, more femi-
nine... It keeps the historic refer-
ence, but has a youthful, fresh and
updated design.
Chanel No. 5 Eau Premire
On May 5th 2009 ( to honor
Coco Chanel's luckiest number 5 )
Chanel launched a new advertising
campaign for the No. 5 fragrance
family, with the new stunning
spokesmodel, French actress
Audrey Tautou. The new No. 5 per-
fume movie was directed by French
director Jean-Pierre Jeunet, who
also directed very popular eccentric
romantic comedy "The Fabulous
Destiny of Amlie Poulain" (Le
fabuleux destin d'Amlie Poulain;
2001).
The new perfume movie for
Chanel No. 5 "Train de nuit"
("Night train") is not just another
perfume ad. It is a short cinematic
masterpiece (two versions: 140 or
60 seconds), homage to the time-
less Chanel No. 5 perfume, the
Chanel N 5 Eau Premire by haute
couture superbrand Chanel was
introduced in 2008. The perfume
nose behind is the third Chanel's
perfumer, Jacques Polge, who cre-
ated many other Chanel fragrances
for women, like Allure, Coco,
Chance, Coco Mademoiselle.
Polge created Eau Premire for
all those women who loved the
most famous perfume in the world,
Chanel N 5 (No. 5), wanted to
wear it, but felt it wasn't for them.
Chanel No. 5 Eau Premire is a
fresher, lighter, more transparent
version of the original Chanel No. 5
perfume. It has original ingredients,
with the same heart and style, but
blended together in different pro-
portions in a new, modern way. As
if it were the first time: Chanel No.
5 created today anew. At Chanel
they compare Eau Premire to a
water color interpretation of the
original No. 5 oil painting.
The bottle follows the concept
of the fragrance in relation to its
predecessor. It is a more purified
version of the original iconic No. 5
bottle, which entered the art history
26
most famous perfume of all times.
Those familiar with Jeunet's work
will also be able to find references
to Jeunet's cinematic collaboration
with his muse, Audrey Tautou.
Jeunet polished the movie to
perfection, making it sensual,
romantic, but with a few ironic
edges to it. The expressive actors
Audrey Tautou and Travis
Davenport, the night train, the
close-ups of Audrey's delicate
shoulders and neck, the aged movie
colors, the landscape, Istanbul,
Billie Holiday's I'm a fool to want
you...
Jeunet said the story was
inspired by fate and chance, missed
encounters and regrets. Situations,
so familiar to everyone: "I should
have taken that chance!". I should
have said "Wait, I love you!". Years
later you regret it, the missed
chance.
Well, the final message of the
new No. 5 movie is the second
chance. Chanel No. 5's magically
seductive scent intertwines the
paths of strangers in love once
again and gives them a second
chance. And even though the per-
fume ad was not specifically creat-
ed for Eau Premire but for the
whole No. 5 fragrance family, I feel
that with Eau Premire you indeed
get the second chance to step into a
happy love relationship with
Chanel No. 5 perfume, if you
missed your first chance (read:
hated it).
Lady & Feelings
To me Chanel No. 5 Eau
Premire is a very tender feminine
perfume. In contrast to how a lot of
people find the original No. 5 per-
fume, its updated version is not as
cold or heavy. It is warm like sun-
shine in the winter and fresh
enough in the summer. Wearing it
you will feel lightness and tender-
ness. And a lot of bold elegance and
high-class flair at the same time... It
is definitely a scent of a modern
independent woman, who exactly
knows what she wants in the now,
but values the heritage of the past
as well.
Occasions & Seasons
Chanel No. 5 Eau Premire is
much easier to love and wear than
the original No. 5 perfume. It is far
enough from the original to have its
own fresh, youthful and modern
personality, but just close enough to
inherit the daring flair of the classi-
cal icon. It is light and inoffensive
enough to be suitable for every day
and office wear, as well as for dif-
ferent business occasions. Any sea-
son... Tender and feminine as it is,
it is also a great choice as a wed-
ding perfume.
Share As a Gift?
Chanel No. 5 Eau Premire is a
good choice for a perfume gift as
well. It is an expensive gift, though.
But if you are looking for a unique,
luxurious perfume gift with a lot of
Notes
And now, finally about the
notes of this fragrance. First of all it
is a floral aldehydic blend, but here
I have to mention osmoz.com's
witty categorization of this fra-
grance as Woman - Floral, which is
an allusion to the original desire of
Coco Chanel for No. 5 perfume to
reproduce the scent of a woman.
Top notes are a fresh, light com-
bination of citrus (Neroli), ylang-
ylang and aldehydes. Citrus vanish-
es fast. Floral scent of ylang-ylang
is softer and fresher than in No. 5
perfume. The aldehydes are still
present, they are a link to the origi-
nal No. 5 perfume. However, they
are muted down considerably, pre-
venting Eau Premire to become
mum-aunt-grandma type of fra-
grance. Quieter and modernized
aldehydes make the whole compo-
sition less cold, sharp and less
heavy. They somehow counterbal-
ance the clearer floral notes. The
heart notes are opulent duo rose and
jasmine, whereas the warm base
notes are slightly powdery vanilla
with woody vetiver.
Some find the drydown heavy,
woody. I don't. I find it pleasantly
warm. The biggest problem I have
with this perfume is its staying
power, it fades away really fast,
especially compared to the original
No. 5 perfume.
27
style and iconic legacy, then this is
the right one for you.
For me N 5 Eau Premire by
Chanel is worth the price.
Quick Summary
Suitable for:
Everyday wear.
Office wear.
Business occasions.
Light enough for all seasons.
Woman/Style:
Youthful, but not necessarily
young.
Modern.
Elegant. Chic.
Urban.
Compliments:
Fresh. Youthful.
Tender. Feminine.
High-class elegant.
Brilliant interpretation of the one
and only Chanel No. 5 perfume.
Good choice for perfume gift.
Critiques:
Expensive.
Fades away too fast.
Some might find aldehydes too
strong.
Can be too powdery.
Rating:
9.0/10
28
Chanel No. 5 is one of the best
known perfumes in the world. It
was the first fragrance from
Parisian couturier, Gabrielle
"Coco" Chanel.
Coco Chanel commissioned
Ernest Beaux to make six per-
fumes. They were labelled No. 1,
No. 2, etc. through No. 6. It was
bottle No.5 that was to Chanel's lik-
ing and became the chosen formu-
la. The number "5" was also her
lucky number.
At the time of its inception, the
most expensive perfume oil was
jasmine due to the expensive distill-
ing process (which still holds true
today). Chanel wanted to create the
most expensive perfume in the
world, and as such No. 5 relies
heavily on jasmine.
Chanel introduced it first to
some of her friends on May 5,
1921. Initially, it was given to good
clients for free at her boutique. The
fitting rooms in her boutique were
also scented with No. 5 to create an
ambience unmatched by her con-
temporaries. This original concept
next to "beautiful", by contrast,
makes the beautiful object appear
more so. In this era almost all per-
fumes were floral and "pretty" -
designed to enhance a woman's
beauty with more beauty. Instead of
the scent of flowers, Coco wanted a
perfume that "reflects my personal-
ity, something abstract and unique".
She believed that a perfume should
serve to spotlight a woman's natural
beauty using contrast - i.e. the arti-
ficial perfume would make the
woman's natural beauty more evi-
dent.
Chanel No. 5 is classified as a
floral-aldehyde. Its top notes
include ylang ylang, neroli and
aldehydes; its mid notes rose and
jasmine; and its base notes sandal-
wood, vetiver and vanilla.
Laboratory tests have shown
that Chanel No. 5 contains secre-
tions from the perineal glands of
civet cats. Civet is a powerful fixa-
tive, making the scent last a long
time. Animal rights groups such as
the World Society for the
Protection of Animals express con-
cern that civet is harvested in a
is still practiced today by retailer
Abercrombie & Fitch.
In 1924, Pierre Wertheimer
partnered Coco Chanel in her per-
fume business. He owned 70%,
Coco owned 10%, and her friend
Bader owned 20%. Chanel agreed
to owning such a small amount in
exchange for having complete con-
trol over the product. Today, the
Wertheimer family still runs the
perfume business.
"I want to give women an artifi-
cial perfume," said Chanel. "Yes, I
really do mean artificial, like a
dress, something that has been
made. I don't want any rose or lily
of the valley, I want a perfume that
is a composition." [1] No. 5 is
famous for being the first perfume
to heavily rely on synthetic floral
aldehydes as a top note. Before
synthetics, perfume either had to be
applied very heavily before going
out to ensure that the fragrance
would last, or frequently through-
out the night.
Chanel applied the French aes-
thetic theory that "ugly" placed
29
method cruel to animals. The
Chanel company claims that, start-
ing in 1998, natural civet has been
replaced with a synthetic substitute.
Sales increased in the 1950s,
especially after the perfume was
introduced in the United States.
Movie star Marilyn Monroe's
endorsement of the brand is said to
have contributed to its popularity.
In 1953, when asked what she wore
in bed, Monroe famously replied,
"Two drops of Chanel No. 5".
Chanel herself is quoted as saying,
"A woman should wear fragrance
wherever she expects to be kissed."
Andy Warhol sealed Chanel
No. 5's status as cultural icon when
he made nine silk screens of the
perfume, elevating it to Campbell
Soup status. And in 1959 the pack-
aging itself made it into the collec-
tions of the Museum of Modern
Art, New York.
Famous spokesmodels for the
fragrance have included Marilyn
Monroe, Catherine Deneuve,
Carole Bouquet, Estella Warren,
and Nicole Kidman (who in 2004
played along Rodrigo Santoro in a
Baz Luhrmann-directed multi-mil-
lion-dollar commercial titled No. 5
The Film).
The first advertisement shown
on British TV's Channel 5 was for
Chanel No. 5.
As part of his act, exhibition
wrestler Gorgeous George would
have the ring sprayed with disinfec-
tant before a bout, a special mixture
allegedly containing Chanel No. 5
although George claimed it was
"Chanel No. 10," saying "why be
half safe?"
The scent is also used in the
American idiomatic expression of
suspicion, "Something smells here -
and it ain't Chanel No. 5!"
30
Ask any aspiring perfumista about
aldehydes and you will hear that
they are synthetic materials first
used in Chanel No.5, that thanks to
them this is the first and the proto-
type of synthetic fragrances and
that aldehydes themselves have a
champagne-like, sparkly, fizzy
odor that makes the fragrance fly
off the skin. This is what they have
been told time and again. Ask any
seasoned perfumephile and you
will hear that aldehydes have a
waxy, citrusy or rosy aroma, like
snuffed-out candles (Luca Turin
was instrumental to that with his
references appearing in Emperor
of Scent). The truth? Its a little
more complicated than either!
Its a fact that aldehydes
became famous through their intro-
duction in copious amounts into the
formula of Chanel No.5 in 1921.
However No.5 is definitely NOT
the first fragrance to feature syn-
thetic aldehydes:
"Though Chanel No. 5 is recog-
nized as the first Aldehydic fra-
grance, created in the mid-twenties,
the truth is that the first Aldehydic
hydrogen, the compound is a
ketone. The majority of aldehydes
and ketones have strong odors.
Ketones generally have a pleasant
smell and they are frequently found
in perfumes (e.g. muscone in musk-
smelling colognes). They are also
used in food flavorings. Aldehydes
vary in smell with most of the
lower molecular weight smelling
bad (rotten fruits), yet some of the
higher molecular weight aldehydes
and aromatic aldehydes smell quite
pleasant and are thus used in per-
fumery. Formaldehyde is the sim-
plest aldehyde with a central carbon
atom bound to two hydrogen atoms
(H2C=O). Discovered in Russia by
A. M. Butlerov in 1859 it is very
reactive, used in dyes, medical
drugs, insecticides and famously as
a preservative and embalming
fluid.
Aliphatic aldehydes possess
intriguing smells outside the realm
of simplistically nice: butyralde-
hyde for example smells of rancid
butter (from ???????/butyro which
means "butter" in Greek)!
Acetaldehyde is the name of the
shortest carbon chain aldehyde and
fragrance was Rve D'Or (Golden
Dream), created in 1905 by
Armingeat."
Nor is No.5 the first modern
perfume to feature synthetic com-
ponents (that honor belongs to
Fougre Royale - Royal Fern by
Paul Parquet for Houbigant in
1882). Aldehydes themselves are
organic compounds present in vari-
ous natural materials (for instance
natural citrus essences such as the
one from orange rind, rose oil, pine
essence, citronella and cinnamon
bark ~they even appear in bovine
heart muscle!). Several essence
reconstitutions by chemists
involved using aldehydes as vari-
ous types can also be synthesized in
the laboratory.
Aldehydes (same as ketones)
are organic compounds which
incorporate a carbonyl functional
group ( that's C = O ). The carbon
atom of this group has two remain-
ing bonds that may be occupied by
hydrogen or alkyl or aryl sub-
stituents. If at least one of these
substituents is hydrogen, the com-
pound is an aldehyde. If neither is
31
is one of the oldest known aldehy-
des (first made in 1774 by Carl
Wilhelm Scheele). Its structure
however was not completely under-
stood until Justus von Liebig deter-
mined the constitution of acetalde-
hyde 60 years later, described its
preparation from ethanol, and bap-
tised this chemical group aldehy-
des.
Hardly a fragrance exists with-
out some kind of aldehyde in it,
which incidentally makes insisting
the greatness of No.5 is due to its
synthetic materials comparable to
saying that the Pyramids are monu-
mental because of their shape
alone. It is the cleverness of mar-
keting and the propagation of a
myth that No.5 was meant to evoke
an unnatural smell (because sup-
posedly Coco Chanel insisted that
she wanted a perfume smelling of a
woman and not of flowers "women
do not want to smell of a bed of
roses") which gave rise to this con-
fusion. Chanel No.5 and No.22
later owe their vivid sprakle to a
specific subgroup of aldehydes
which are called fatty: strings of
carbon atoms (between 8 and 13)
coded in accordance to that number
of atoms (ie.C8) with nomenclature
deriving from Greek numerics,
such as octanal from /octo (=eight),
in which each of the 8 carbon atoms
is connected to two hydrogen
atoms. The bouquet of aldehydes
C10, C11, and C12 in Chanel No.5
became so popular that all conse-
quent aldehydic fragrances used
that sequence of aldehydes, giving
therefore their true nature remains
arcane even to perfume lovers who
might have seen them mentioned.
For instance Triplal, a patented
molecule by IFF: its chemical name
is 2,4-dimethyl-3-cyclohexene-1-
carboxaldehyde. Its smell?
Powerfully green and herbal, like
crushing ligustra leaves between
fingers. None of the characteristic
aldehydes of Chanel No.5!
One interesting ingredient is
phenylacetaldehyde which has a
pronounced green note (top in natu-
ral narcissus and thus used to recre-
ate a narcissus note in perfumery).
The hydrocinnamic aldehydes are
another family of materials from
the manipulation of benzene and
their odor profile resembles lily of
the valley (muguet) and cyclamen.
One of them is the famous Lilial
(patented name for lily aldehyde;
also known as Lilistralis), widely
used in the replication of that elu-
sive natural essence, lily of the val-
ley. Another is Cyclamen aldehyde
( usually produced with cumene as
a starting material ).
Aromatic aldehydes have very
complex chemical structures but
are the easiest to identify by smell.
Anisaldehyde smells like licorice.
Benzaldehyde on the other hand,
has an odour profile of almonds and
has several chemical constituents:
cinnamaldehyde, amylcinnamic
aldehyde, hexylcinnamic aldehyde.
Condensation of benzaldehyde
with other aldehydes gives a series
of -substituted cinnamlaldehydes,
a fizzy perfume-y scent that is quite
characteristic with the direct result
of having the perfume lover con-
fused as to how aldehydes them-
selves smell. Fatty aldehydes have
a citrusy or floral note, and a pro-
nounced fatty/waxy/soapy tone
which is very apparent if you con-
sider a modern fragrance that uses
them in high ratio: Sicily by Dolce
& Gabbana. The soapy feel is
unmistakeable! As an exercise
compare that smell with your
Chanel No.5: you will pick up the
soapy facets in that one as well.
Another reason that they read as
soap is exactly because they have
been used in the production of soap
for years to give that fresh lemony
feel.
Most widely used aldehydes in
perfumery are C7 (heptanal, natu-
rally occuring in clary sage and
possessing a herbal green odour),
C8 (octanal, orange-like), C9
(nonanal, smelling of roses), C10
(decanal, powerfully evocative of
orange rind; Citral, a more compli-
cated 10-carbon aldehyde, has the
odor of lemons), C11 (undecanal,
clean aldehydic, naturally present
in coriander leaf oil also used is
unsaturated C11 undecen-1-al),
C12 (Lauryl aldehyde evocative of
lilacs or violets), C13 (waxy, with
grapefruit tone)and the infamous
C14 peach-skin note of Mitsouko:
technically not an aldehyde, but a
lactone gamma undecalactone.
Often the compounds are
patented under commercial names;
32
the lowest member of which is used
in the production of cinnamyl alco-
hol, very important in the produc-
tion of spicy perfumes (cinnamon
note). Higher members, on the
other hand, such as amylcinnamic
aldehydes (ACA) and hexylcin-
namic aldehyde (HCA) project a
fatty jasmine impression despite
their abscence from natural jasmine
oils! Most synthetic jasmine per-
fumes today use one or both
because they are inexpensive (Their
fibre-substantive qualities also
make them perfect candidates for
laundry detergents and fabric con-
ditionners). The hawthorn or
aubpine note, rendered syntheti-
cally in perfumes for several
decades, is produced via anisic
aldehyde (p-methoxy benzalde-
hyde) and it has been sublimely
woven into the gauzy cloth of
Aprs LOnde by Guerlain (where
it sings along with heliotropin).
Additionally, the aldehyde vanillin
is a constituent in many vanilla-
scented perfumes. So nothing is as
simplistic as one might assume!
Aldehydic fragrances include
Chanel No.5 and No.22, Lanvin
Arpge, Guerlain Liu and Vga,
Worth Je Reviens, Millot Crpe de
Chine , Balecianga Le Dix,
Revillon Detchema, Caron Fleurs
de Rocaille (not Fleur, singular),
Infini and Nocturnes, Myrurgia
Joya, Jean-Charles Brosseau
Ombre Rose , Molyneux Vivre,
Lancome Climat, Givenchy
LInterdit, Piguet Baghari, Madame
Rochas and Mystre by Rochas,
Rive Gauche by Yves Saint Laurent
, Paco Rabanne Calandre, Este
Lauder Este, White Linen, Pure
White Linen, Van Cleef & Arpels
First, Nina by Nina Ricci (the old
formula in the ribbed bottle),
E.Coudray Musc et Freesia, Bill
Blass Nude and Amazing, Herms
Amazone, D& Sicily, Divine
LAme Soeur, Serge Lutens La
Myrrhe, Frederic Malle Iris Poudre,
Ferr by Ferr, Agent Provocateur
Maitresse, Annick Goutal Folavril,
Le Labo Aldehyde 44.
Herms Calche is poised between
floral aldehydic and floral chypre in
some taxonomies.
33
"I dont want any rose or lily of the
valley perfume; I want a more elab-
orate scent". It was 1921 and with
these words Coco Chanel
addressed Ernest Beaux, the per-
fumer of the tsar who had moved to
France, paving the way for the cre-
ation of a legendary scent.
Innovation, boldness and pioneer-
ing spirit have always been the dis-
tinguishing features of Maison
Chanel since its foundation. And
its this same avant-garde approach
that led to the creation of the iconic
fragrance that this year marks its
90th anniversary continuing
nonetheless to generate astonishing
sales figures (one bottle of Chanel
No. 5 is sold every 30 seconds) and
attract a constantly increasing num-
ber of fans. It is said that the for-
mula of Chanel No. 5 comprises
about eighty ingredients. Among
the most discernible ones is the
May Rose, handpicked in the early
hours of the morning (this being the
moment when flowers bloom) for
twenty days to then be processed
within one hour from picking.
34
Mlle.'s Nazi sympathies is known
to some, but who knew that the
most beloved perfume, the every
essence of 'All that is French' was
manufactured in New Jersey?
Hoboken?
"Chanel No. 5, the perfume syn-
onymous with Francophile luxury
and celebrity decadence, was not
always oo la la! from France.
While World War II raged in
Europe, the perfume factory was
moved to, of all places, New
Jersey, according to a new book,
"The Secret of Chanel No. 5: The
Intimate History of the World's
Most Famous Perfume ."
It was a horrifying turn of events
for designer Coco Chanel. Her chic
cologne was being made in the
Garden State, although the materi-
als were smuggled in from France.
"It is monstrous," Chanel had
sniffed, according to the book's
author, Tilar Mazzeo. "They pro-
duced it in Hoboken!"
It didn't last long. After the war, the
The gardens, the incense-filled
churches and hand-made tallow
soap all inspired her.
When she had moved up the social
ladder from cabaret girl to clothing
designer, she drew on these ele-
ments to create the most revered
perfume of all time.
With the help of perfumer Ernest
Beaux, Chanel combined the
"high" aroma of roses, associated
with the well-to-do, and the "low"
smell of jasmine, linked to brothels.
Chanel said she sought to make a
"perfume like nothing else. A
woman's perfume, with the scent of
a woman."
In 1920, she achieved her goal,
making the most expensive per-
fume of its time, blending flowers
from Grasse, France, where a
pound of jasmine now goes for
$33,000.
But it's the secret ingredient that
made it truly special. Beaux added
recently discovered synthetic mole-
cules called aldehydes, now used in
Jersey-accented perfume returned
to France, where production contin-
ues to this day.
Mazzeo unravels the mystery
behind the world's most engaging
scent, tracing its inception to its
creator's humble origins and chron-
icling its rise to fame on the dcol-
letages of Marilyn Monroe, Jackie
Kennedy, Nicole Kidman and
Scarlett Johansson. Even Marlon
Brando was reportedly a wearer of
the women's fragrance.
"It's a kind of Frankenstein myth,"
Mazzeo told The Post. "It's a story
of what happens when someone
creates something that becomes so
big that it defines her life."
It's nothing to sneeze at. Chanel No.
5 at $400 an ounce is more than a
just a luxury item, it has represent-
ed a way of life for 90 years.
"Perfume, it's the most important
thing," Coco Chanel insisted.
Smells had always been important
to Chanel, who was a charity-case
orphan in a small French village.
35
detergents and room fresheners.
The "clean" air smell gave the per-
fume its je ne sais quoi.
Less than a decade later, Chanel
sold 90 percent of her stake in the
perfume, a decision that would
haunt her until death.
But the story of Chanel's success
took a dark turn. While the per-
fume's new owners moved produc-
tion to America to escape the
Nazis, she became a Nazi sympa-
thizer, shacking up with an SS offi-
cer during the French occupation.
By then, the perfume's legend over-
shadowed its creator's politics.
Chanel No. 5 had become some-
thing intangible, a scent for a real
woman." SOURCE: Susannah
Callahan, NY Post
36
Floral Aldehydic - ( CA ) 2381 - G
Fragrance Ingredient Fragrance Ingredient
40 Bergamot Synthetic Base S 1128
49 Jasmin Base S 1130
24 Ylang Synthetic S 1131
23 Wardiol 250 1217
8 Orange Blossom 175
21 Aldehyde C - 11 Lenic 10 % DPG
5 Aldehyde C - 12 Lauric @ 10 % DPG
8 Aldehyde C - 12 MNA @ 10 % DPG
8 Nutmeg Oil W.I.
49 Ethylene Brassylate
18 Civet Artificial @ 10 % DEP
8 Cassie Bengal @ 10 % DEP
9 Vetiver Oil Haitian
16 Heliotropine
27 Iso Eugenol 6502 ( Givaudan )
98 Methyl Ionone Gamma Pure
3 Mousse Absolute Essence # 2 ( Robertet )
58 Musk Ketone
24 Phenyl Ethyl Alcohol
6 Sandalore
66 Linalool
15 Rhodinol
16 Linalyl Acetate
16 Vanillin
190 Di Propylene Glycol (DPG)
114 Hydroxycitronellal
58 Coumarin
1,000
Arranging Fine Perfume Compositions - FLORAL ALDEHYDIC - Bases
37
58 Coumarin Sweet herbaceous warm somewhat spicy.
3 Mousse Absolute Essence # 2 ( Robertet ) Oakmoss
16 Vanillin Intensely sweet creamy vanilla odor.
18 Civet Artificial @ 10 % DEP A very sweet slightly cloying fecal odor.
16 Heliotropine Sweet floral warm, slightly spicy.
58 Musk Ketone Sweet and very tenacious musky odor.
6 Sandalore Sandalwood amyris woody type odor.
49 Ethylene Brassylate @ 10 % DPG Sweet musk warm and powdery.
8 Cassie Bengal @ 10 % DEP Intense cinnamon like.
9 Vetiver Oil Haitian Woody, finest grade of vetiver oil.
98 Methyl Ionone Gamma Pure Woody, floral violet, dry.
23 Phenyl Ethyl Alcohol Warm honey rose
15 Rhodinol Geranium rose.
114 Hydroxycitronellal Sweet floral mild odor of muguet.
66 Linalool Floral.
27 Iso Eugenol 6502 ( Givaudan ) Mild and sweet deep floral carnation like.
49 Jasmin Base S 1130 Sweet floral jasmin like odor.
23 Wardiol 250 1217 Synthetic bulgarian rose
8 Orange Blossom 175 A very strong diffusive neroli floral note.
8 Nutmeg Oil W.I. Fresh warm spicy.
190 Di Propylene Glycol (DPG) Cutter
16 Linalyl Acetate Fruity sweet reminiscent of bergamot, pear.
21 Aldehyde C - 11 Lenic 10 % DPG Floral in high dilution
5 Aldehyde C - 12 Lauric @ 10 % DPG Herbaceous like in high dilution
8 Aldehyde C - 12 MNA @ 10 % DPG Amber like in high dilution
24 Ylang # 2 ( Charabot ) Floral and intensely sweet odor.
24 Ylang Synthetic S 1131 Intensely sweet floral very diffusive.
40 Bergamot Synthetic Base S 1128 Synthetic bergamot base
1,000
Glen O. Brechbill
Floral Aldehydic - ( CA ) 2381 - G - ( In Solution )
38
Floral Aldehydic - ( CA ) 2381 - G - Out of Solution
58 Coumarin Sweet herbaceous warm somewhat spicy.
3 Mousse Absolute Essence # 2 ( Robertet ) Oakmoss
16 Vanillin Intensely sweet creamy vanilla odor.
1.8 Civet Artificial A very sweet slightly cloying fecal odor.
16 Heliotropine Sweet floral warm, slightly spicy.
58 Musk Ketone Sweet and very tenacious musky odor.
6 Sandalore Sandalwood amyris woody type odor.
4.9 Ethylene Brassylate Sweet musk warm and powdery.
.8 Cassie Bengal Intense cinnamon like.
9 Vetiver Oil Haitian Woody, finest grade of vetiver oil.
98 Methyl Ionone Gamma Pure Woody, floral violet, dry.
23 Phenyl Ethyl Alcohol Warm honey rose.
15 Rhodinol Geranium rose.
114 Hydroxycitronellal Sweet floral mild odor of muguet.
66 Linalool Floral.
27 Iso Eugenol 6502 ( Givaudan ) Mild and sweet deep floral carnation like.
49 Jasmin Base S 1130 Sweet floral jasmin like odor.
23 Wardiol 250 1217 Synthetic bulgarian rose
8 Orange Blossom 175 A very strong diffusive neroli floral note.
8 Nutmeg Oil W.I. Fresh warm spicy.
190 Di Propylene Glycol (DPG) Cutter
16 Linalyl Acetate Fruity sweet reminiscent of bergamot, pear.
2.1 Aldehyde C - 11 Lenic Floral in high dilution
.5 Aldehyde C - 12 Lauric Herbaceous like in high dilution
.8 Aldehyde C - 12 MNA Amber like in high dilution
24 Ylang # 2 ( Charabot ) Floral and intensely sweet odor.
24 Ylang Synthetic S 1131 Intensely sweet florla very diffusive.
40 Bergamot Synthetic Base S 1128 Synthetic bergamot base
1,000
39
.1 Aldehyde C - 8
.2 Aldehyde C - 9
46 Tangerine Oil of Florida
1 Nerol
23 Gamma Terpenes
76 Grapefruit Oil of Florida
1 Neryl Acetate
1 Geraniol Extra
4 Bisabolene
23 Mandarin Oil Italian Select
23 Grapefruit Terpenes
228 Linalool
76 Beta Pinene
2 Di Hydro Cuminyl Alcohol
342 Linalyl Acetate
8 Terpinyl Acetate
2 Terpineol Prime
1 Geranyl Acetate
83 Orange Terpenes
59 Orange Oil of Florida
2.7 Di Propylene Glycol (DPG)
1,000
Glen O. Brechbill
Bergamot Synthetic # B - 3000
40
Jasmin Base # B - 3004
260 Amyl Cinnamic Aldehyde
220 Benzyl Acetate
75 Benzyl Propionate
5 Para Cresyl Acetate
80 Linalool
50 Linalyl Acetate
90 Benzyl Alcohol
40 Benzyl Salicylate
50 Peru Balsam Oil
1,000
41
69 Benzyl Alcohol
11 Eugenol
11 Acetate Iso Eugenol
39 Amyl Salicylate
6 Estragon Oil
334 Benzyl Acetate
41 Methyl Para Cresole
11 Geraniol
208 Linalyl Acetate
46 Terpineol Prime
2 Methyl Salicylate
39 Methyl Benzoate
62 Methyl Iso Eugenol
1,000
Glen O. Brechbill
Ylang Ylang Synthetic # S - 1131
42
Wardia # S - 1219
2 Strallyl Acetate
1 Cyclamen Aldehyde
.3 Leaf Alcohol
.7 Methyl Octine Carbonate
5 Aldehyde C - 14
3 Aldehyde C - 16
16 Hydroxycitronellal Extender
92 Lilial
186 Benzyl Acetate
3 Cananga Oil Java
2 Delphone
1 Jasmone 187
1 Jasmonyl
4 Benzyl Propionate
1 Mugone 207 M
44 Methyl Ionone Gamma Supreme
1.3 Cetone Alpha
.7 Lyral
2 Allyl Ionone
21 Citronellol
34 Citronellol 850
29 Geraniol 60
2 Alcohol C - 8
9 Palmarosa Oil
5 Guaicwood Acetate
7 Cinnamic Alcohol
6 Anisyl Alcohol
7 Amyl Salicylate
3 Heliotropine
8 Benzyl Alcohol
13 Linalool
4 Methyl Benzoate
6 Sandalore
1 Iso Propyl Quinoline
9 Galaxolide 50
6 Musk Ambarette
39 Di Ethyl Phthalate
363 Di Propylene Glycol
1,000
43
Glen O. Brechbill
Orange Blossom # S - 1768
6 Clove Bud Oil
24 Iso Eugenol
14 Acette Iso Eugenol
3 Orange Flower Abs.
8 Iso Butyl Phenyl Acetate
26 Petitgrain Oil Terpeneless
60 Petitgrain Oil South America
100 Linalool
75 Geraniol
25 Nerol
18 Benzyl Acetate
17 Linalyl Acetate
7 Methyl Anthranilate
43 Orange Oil Biter
16 Methyl Benzoate
1 Aldheyde C - 10
29 Oranger Crystals
6 Yara Yara Crystals
10 Galaxolide 50
12 Sandela
5 Cedryl Acetate
61 Di Ethyl Phthalate (DEP)
1,000
44
Costing Out a Fragrance
100 Lbs. Divided by 2.2046 = 45.36 Divided by 1,000 = .0453
.0453 x Parts = Grams Per Item = 1,000 Parts
45
Pine Fragrance -
All Purpose Cleaner
Parts Aromatic Chemical Price Per Pound Raw Material Impact
291 Pine Oil Yarmor 302 1.03 .300
167 Iso Bornyl Acetate 1.35 .225
39 Alpha Pinene 2.25 .088
18 Eucalyptol 5.76 .104
3 Camphor Powder 2.00 .006
27 Galaxolide 50 8.75 .236
52 Alpha Terpineol 1.22 .063
26 Benzyl Salicylate 4.05 .105
24 Benzyl Benzoate 1.60 .038
23 Ionone Beta Pure 17.10 .393
3 Patchwood 1.60 .038
11 Vertenex 2.45 .026
34 Di Ethyl Phthalate .860 .029
19 Hexyl Cinnamic Aldehyde 3.00 .057
28 Cedarwood Oil of Virginia 6.20 .174
1 Piconia 12.80 .012
12 Fir Needle Canadian 10.75 .132
17 Coumarin 7.50 .128
20 Santalex T - Sandela 6.50 .130
152 Di Propylene Glycol .64 .097
33 Terpinyl Acetate 1.80 .033
Glen O. Brechbill
46
The Composition - Pine Fragrance
291 Pine Oil Yarmor 302
167 Iso Bornyl Acetate
39 Alpha Pinene
18 Eucalyptol
3 Camphor Powder
27 Galaxolide 50
52 Alpha Terpineol
24 Benzyl Benzoate
23 Ionone Beta Pure
3
11 Vertenex
19 Hexyl Cinnamic Aldehyde
28 Cedarwood Oil of Virginia
1 Piconia
12 Fir Needle Canadian
17 Coumarin
20 Santalex T - Sandela
36 Terpinyl Acetate
1,000
Patchwood - Pfw - Fragrance Contest
47
Glen O. Brechbill
Chanel # 5
Floral aldehydic compounds were discovered in the 19th century. Aldehydes have a powerful diffusive
effect, and are characterized by a rich opulent top note. In small parts certain aldehydes are used as a top note
effect simulating a variety of floral scents that are found in nature. Muguet or Lily of the Valley based on
Hydroxycitronellal is a popular example. Utilizing aldehydes provide modern accords with a richness and
depth. The first fine fragrance utilizing a large percentage of synthetic components was Chanel # 5 created by
Ernest Beaux for Coco Chanel. Other sub groups can include woody and powdery notes that are a combina-
tion of Anisic Aldehyde, and Cedarwood Oil of Virginia.
Top
Middle
Base
Cutters
Benzyl Salicylate %
Benzyl Benzoate %
Di Ethyl Phthalate %
Di Propylene Glycol %
Aldehydes
Bergamot, Lemon
Neroli
Jasmin, Rose
Lily of the Valley or ( Muguet )
Violet, Ylang Ylang
Vetiver
Sandal, Cedar, Vanilla
Amber, Civet, Musk
FLORAL ALDEHYDIC
48
Originator of this group is the
famous Chanel no.5 created by
Ernest Beaux for the house of
Chanel in 1921. The complicated
floral composition of this perfume
incorporates a large dose of aldehy-
des, a synthetic component used for
the first in a perfume by Ernest
Beaux.
Floral Aldehydic
Animal, powdery or slightly
woody notes often enhance the flo-
ral bouquet. The top note is a mar-
riage of aldehydes and hesperidia.
This sub-family came into exis-
tence with the creation of Chanel
n5, the first floral-aldehydic per-
fume with an unusually high
amount of aldehydes.
http://www.fragrantica.com/groups/floral+aldehyde.html
49
Floral Aldehydic
Diffusive Fragrance Chemicals
Acetoin Intense creamy fatty, buttery.
Acetophenone Pungent sweet odor, in dilution - resembles hawthorne.
Acetate C - 9 Powerful fruity green leafy odor.
Adoxal Very powerful very tenacious sweet floral waxy, citrusy.
Alcohol C - 8 Powerful fresh, orange rose like waxy and sweet odor.
Alcohol C - 9 Powerful oily floral fresh petal like, dilution - rosy.
Alcohol C - 10 Used only in traces, sweet slightly fatty oily odor.
Aldehyde C - 6 Very powerful fatty green grassy odor.
Aldehyde C - 7 Powerful oily fermenting fruity.
Aldehyde C - 9 Powerful and diffusive fatty floral waxy odor.
Aldehyde C - 10 Penetrating very powerful sweet waxy orange peel like odor.
Aldehyde C - 11 Lenic Powerful waxy rosy citrusy odor.
Aldehyde C - 12 MNA Great power, fresh orange amber.
Aldehyde C - 14 Powerful peach note.
Allyl Cyclo Hexyl Propionate Powerful and sweet fruity odor resembles pineapple.
Alpha Frenchyl Alcohol Diffusive warm camphoraceous.
Alpha Ionone Soft warm, orris violet like, sweet and extremely diffusive.
Glen O. Brechbill
50
Ambrinol Extremely powerful amber with natural somewhat musky.
Amyl Acetate Powerful fruity banana like odor.
Amyl Vinyl Carbinol Powerful sweet earthy, almost buttery fungus like.
Bacdanol Powerful sandalwood note.
Bay West Indian Oil Powerful spicy and sweet, inparts freshness to soaps.
Beachwood Cresote Powerful reminiscent of smoked wood.
Beauverate A diffusive animal odor of the castoreum beaver.
Benzaldehyde Powerful sweet odor of freshly cut bitter almonds.
Benzyl Acetate Powerful sweet fresh fruity of jasmin, gardenia, muguet, lily.
Benzyl Formate Powerful fruity green herbaceous.
Bourgenal A powerful muguet note.
Bromystrol Omega Pw pungent floral somewhat grassy odor Rem of hyacinth.
Butyl Acetate Very diffusive ethereal odor resembling fermented rum.
Cade Oil Intense tar like smoky phenolic odor.
Caraway Oil Intense and spicy.
Carvacrol Penetrating dry medicinal phenolic herbaceous odor.
Cashmeran Diffusive musk.
Cassie Abs. Powerful strong spicy floral odor.
Castorium Hyper Abs. Very powerful warm animal like scent.
Cedar Leaf Oil Intensely sharp, but quite fresh camphoraceous.
Cinnamaldehyde Powerful warm spicy balsamic suggests cassia oil.
Cinnamalva Powerful warm spicy oily slight floral.
51
Cis Jasmone Diffusive, warm spicy fruity, dilution - floral.
CIS 3 Hexenyl Butyrate Powerful fruity winey green cognac brandy like.
CIS 3 Hexyl Alcohol Powerful, and intensely green grassy odor.
Cistus Abs. French MD Powerful sweet balsamic, typical labdanum odor.
Citral Powerful lemony fragrance.
Citralva Powerful oily green lemony fresh odor.
Citronellal Powerful fresh green citrusy, slight woody odor.
Citronellyl Formate Powerful leafy green fruity rosy fresh and light of geranium rose.
Civet Abs. 394 BF An extremely powerful obnoxious animal like fecal odor.
Clove Bud Abs. An intensely warm powerful sweet clove spicy odor.
Clove De Girofle Resin Abs. An extremely strong spicy, herbaceous odor.
Cognac White Oil Powerful fruity wine like odor.
Cortex Aldehyde Powerful green woody sap like, but fresh aldehydic sweet.
Cumin Oil Extremely powerful diffusive green spicy, slightly fatty odor.
Cyclal - C Powerful green leafy floral odor.
Cyclamen Aldehyde Powerful green floral stem with pronounced cucumber, melon.
Cyclo Galbonate Strong herbaceous green.
Delphone Diffusive fruity floral odor of jasmin.
Delta Declactone Sweet cream nut like odor with a heavy fruity undertone.
Delta Dodelactone Fresh fruity oily odor of good tenacity.
Di Hydro Myrcenol Powerful citrus lime cologne like odor.
Di Phenyl Menthane Harsh geranium leaf orange blossom type odor more pleasant.
Glen O. Brechbill
52
Diacetyl Powerful butter type odor.
Di Hydro Anethol Quite powerful less candy like sweet, herbaceous.
Di Hydro Linalool Comparatively powerful fresh floral green.
D M B Carbinyl - Acetate Fresh powerful fruity floral, slightly herbaceous odor jasmin lily.
Dimetol Powerful lime cologne like odor similar to dihydromyrcenol.
Ethyl Butyrate Ethereal fruity suggests banana, pineapple, very diffusive.
Ethyl Caproate Diffusive fruity waxy odor suggests apple, banana, pineapple.
Ethyl Heptoate Powerful fruity wine like used as top note in fresh citrus.
Ethyl Iso Valerate Penetrating ethereal vinus fruity, dilution - apple like.
Ethyl 2 Methyl Butyrate Diffusive green fruity reminiscent of apple, pineapple skins.
Ethyl Phenyl Acetate Powerful sweet honey like.
Eucalyptus 80/85 Powerful pungent camphoraceous cool odor.
Eugenol Powerful warm spicy balsamic.
Exaltolide Musky somewhat animal, delicate animal musky sweet.
Farenal Powerful intense aldehydic waxy like slightly floral.
Fir Needle Balsam Resin A powerful diffusive pine forest type odor.
Fir Needle Siberian Refreshing balsamic, slight fatty oily powerful pine forest odor.
Floralzone Powerful fresh air tone reminiscent of ocean breezes.
Galaxolide 50 Poweful sweet and musk.
Gamma Hexalactone Warm powerful herbaceous, sweet tobacco like, coumarin type.
Grapefruit Body Fleurom Extremely powerful green grapefruit odor.
Guaicol Powerful smoke like medicinal odor.
53
Hexyl N Butyrate Powerful fruity heavy odor.
Hexyl Cyclo Pentanone # 405 Powerful, and diffusive dry floral green herbaceous odor.
Homo Cumminic Aldehyde 50 Powerful, diffusive green twiggy effect with cut grass hedge like.
Hyacinth Body Powerful leafy green with hyacinth note
Hydratropic Aldehyde Penetrating green earthy foilage.
Hydratropic A D M Acetal Powerful, earthy warm spicy green deep fruity odor.
Hyssop Oil Powerful camphoraceous odor.
Indolarome Diffusive, and powerful floral in extreme dilution.
Indole Powerful choking odor in extreme dilution - more floral.
Ionone Alpha Regular A very diffusive orris violet.
Iris Aldehyde Extremely powerful and diffusive orisy odor.
Iso Amyl N Butyrate Powerful diffusive fruity sweet apricot pineapple like odor.
Iso Butyl Acetate Diffusive ethereal odor resembling rum.
Iso Butyl Phenyl Acetate Diffusive leafy rosy musky.
Iso Cyclo Citral Powerful and diffusive floral green.
Iso Butyl Quinolene Earthy, mossy.
Iso Menthone Powerful refreshing minty odor.
Iso Nonyl Alcohol Powerful oily herbaceous, dilution - sweet odor.
Iso Propyl Alcohol Alcoholic ethereal, acetone like odor.
Iso Propyl Quinoline Powerful, yet tenacious earthy woody root like odor.
Iso Valeraldehyde Very powerful penetrating acrid pungent odor.
Jasmonyl Intensely sweet floral jasmin.
Glen O. Brechbill
54
Labdanum Cists Sis Abs. Powerful rich sweet balsamic herbaceous.
Lavandin Abs. In Color Powerful camphoraceous herbaceous floral type odor.
Leaf Acetal Extra Powerful oily green odor with a sweet vegetable undertone.
Leaf Acetate Intensely green diffusive odor.
Leaf Alcohol Intensely green grassy odor.
Leather 3768 - LWS A powerful diffusive leather fragrance.
Lemonrone Lemonrone Powerful lemon fragrance very chemical like.
Linalool Oxide Sweet woody penetrating odor, floral waxy earthy undertones.
Maltol Powerful warm fruity caramel sweet odor, fruity in dilution.
Mandarinal A powerful fresh citrus aldehydic mandarin orange.
Maritima Powerful clean fresh air tone reminiscent of ocean breezes.
Methyl Cinnimate Powerful fruity balsamic like, on dilution - strawberry.
Methyl Cinnamic Aldehyde Powerful sweet herbaceous, cinnamon, spicy, very powerful.
Methyl Jasmonate Powerful herbaceous floral.
Methyl Octyl Ketone Powerful citrusy orange.
Methyl Phenyl Acetate Powerful and diffusive honey musk odor.
Mimosa Abs. Morocco Powerful floral green.
Mint Fresh Abs. Extremely strong intensely fresh mint odor.
Mousse De Chene Abs. Powerful clean oakmoss odor.
Muguet Aldehyde 50 Diffusive green rosy sweet, muguet lily like.
2,6, Nonadienal # 332 Intense powerful vegetable green, reminiscent of violet leaves.
Octyl Formate Powerful and relatively diffusive fruity green orris.
55
Orange Aldehyde Powerful, dilution - sweet orange like, fatty odor.
Orange Flower Oil Powerful light and refreshing floral.
Ortho Methyl Cinnamic Ald. Powerful sweet herbaceous woody camphoraceous.
Oxaspirane Powerful herbal minty camphoraceous.
Para Menthone Minty, refreshing diffusive odor.
Para Methyl Quinoline Powerful and penetrating, dilution - sweet floral and tobacco like.
Parmavert Powerful floral green sweet and violet leaf like.
Phenyl Acetaldehyde Powerful green woody sap like.
Phenyl Di Methyl Acetal Powerful green earthy flower stem like odor.
Phenyl Ethyl Formate Powerful green herbaceous rosy odor.
Phenyl Ethyl Methyl Ether Powerful diffusive, dilution - jasmin tobacco like.
Phenyl Propyl Acetate Fresh floral powerful fruity green.
Pipertone Powerful fresh minty camphoraceous odor.
Polarose Powerful fatty oily waxy rosy odor.
Reseda Body Delicate, but powerful hyacinth, narcisus, reseda note.
Rhodinyl Formate Fresh leafy green delicate.
Rosalva Powerful fatty oily waxy rosy odor.
Sage Clary Dalmation Warm, camphoraceous, thujone.
Scentenal Powerful green refreshing watery floral odor.
Skatole Powerful sweet warm, animal.
Strallyl Acetate Powerful green floral.
Styrene Monomer Extremely diffusive, sweet grassy in dilution.
Glen O. Brechbill
56
Syringa Aldehyde Powerful, and refreshing green fruity forest like sweet odor.
Thyme Oil Red Rich sweet powerful, sweet warm herbaceous spicy.
Thyme Oil White Sweeter then the red oil.
Thymol Crystals Powerful sweet medicinal herbaceous warm.
Tobacco Abs. A diffusive material reminiscent of fresh tobacco leaves.
Trans 2 Hexenyl Acetate Powerful, and fresh green sweet fruity very natural odor.
Tree Moss Abs. C ' Less M.D. A powerful mossy type odor which lasts days on the blotter.
2,3,5 Tri Methyl Pyrazine Powerful fresh crushed nut like odor of chocolate.
Triplal Powerful citrus green.
Undecavertol Strong, however not over powering slightly green floral odor.
Valer N Aldehyde Powerful penetrating diffusive acid pungent odor.
Vanilla Sur Abs. C ' Less Powerful sweet vanilla extremely nice material.
Veltol Plus Intensely sweet fruity bread like odor.
Verdox Powerful fresh fruity woody apple like odor.
Verdyl Acetate Powerful herbaceous, green fresh woody.
Walnut Leaf Oil Powerful warm spicy sweet and rich tea like odor.
X I Aldehyde Powerful hay melon ozone note, floral aspect.
Ylang Ylang Oil Extra Floral and intensely sweet odor.
57
1 Florantone T
36 Geraniol
.1 The
4 Orange Flower Base
6 Nutmeg Oil - India
9 Laurine
3 Nerol
.6 Aldehyde C - 11 Lenic
3 Jasmonyl Acetate
.8 Aldehyde Iso C - 11
2 cis - 3 - Hexenyl Salicylate
1 Rose Oil - Lebanon
.1 Tea Essence
4 Fleur DOrange Vert De 115 SA
2 Eugenyl Acetate
3 Parmanyl
6 C - 14 Peach
3 Iso Eugenol
1 Petilyn
4 Fleuramone
.2 Geranyl Acetate
1 Vanillyl Alcohol
1,000
Floral Aldehydic # 1a
Glen O. Brechbill
3 Rionyl
46 Coumarine Chine
9 Vanilline
38 Di Ethyl Phthalate (DEP
.1 Civet Artificial # 1A
27 Musk R - 1
2 Amberfleur
9 Benzyle Benzoate
3 Rose Crystals
6 Methyl Benzoate
8 Sandalwood Oliffac
1 Iso - Rosal 38 C
124 Hydroxycitronellal Substitute
19 Benzyl Salicylate 98 %
6 Methyl Jasmonate Pure
14 alpha - Amyl Cinnamic Aldehyde
4 Irotyl
7 Ethyl, Vanillin
3 Aquanol
24 Eugenol / Clove
5 Hidroxcitronelal
71 Ionone Intermediate Base
18 Lilial
310 Di Propylene Glicol
3 Methyl Dianthanol
21 Rose Substitute
3 Bnezophenone
4 Lioral
2 Iris Beurre Oil
24 Musk T Ethylene Brassylate
57 Benzyl Acetate Pure
8 Vert de Cassis Givco
.1 Alcohol C - 9
12 Ylang Ylang Synthetic
7 Ionone Alpha White Coeur
5 Citronellol Prime
3 Undecatriene
58
Floral Aldehydic # 1b
1 Orange Flower Augustus 17
36 Geraniol Prime
.1 The
10 Laurine
3 Nerol
5 Jasmonyl Acetate
.1 Tea Essence
2 Eugenyl Acetate
3 Muguet Aldehyde
6 C - 14 Peach
3 Iso Eugenol
1 Stemone
1 Fleuramone
.2 Geranyl Acetate
1 Vanilla Resinoid
1,000
3 Y samber K
46 Coumane
9 Vanilys - Pfw
.1 Civet Ethiopia
25 Tonalid II - Pfw
2 Amberfleur
6 Benzyle Benzoate
3 Rose Crystals
6 Methyl Benzoate
10 Sandalore
1 Iso - Rosal 38 C
4 Irotyl
7 Vanillinethyl
8 Aquanol
24 Eugenol / Clove
5 Meijiff
18 Liral
4 Phenyl Ethyl Alcohol ( DPG)
3 Methyl Dianthanol
21 Rose Substitute
3 Bnezophenone
4 Lioral
2 alpha - Ionone Extra
57 Benzyl Acetate Nat.
.1 Alcohol C - 9
7 Irisone
5 Citronellol Prime
3 Citronica
59
Glen O. Brechbill
Floral Aldehydic # 1c
1 Florantone T
36 Geraniol 970
.1 Para Cresyl Acetate
9 Laurine
3 Nerol Petals
3 Jasmonyl Acetate
.1 Tea Essence
2 Eugenyl Acetate
3 Parmanyl
6 C - 14 Peach
3 Eugenyl Acetate
1 Petilyn
4 Fleuramone
.2 Geranyl Acetate
1 Vanilla Beans - Madagascar
1,000
3 Amberfleur
46 Coumarine Chine
9 Vanilline
27 Musk R - 1
2 Anthea Sandal Coeur
9 Benzyle Benzoate
3 Roseone
6 Methyl Benzoate
1 Iso - Rosal 38 C
4 Irotyl
7 Ethyl, Vanillin
3 Aquanol
26 Eugenol / Clove
5 Hidroxcitronelal
18 Lilial
3 Methyl Dianthanol
20 Tuberose Substitute
3 Bnezophenone
4 Lioral
2 Ionone Alpha 60
24 Galaxolide 50
57 Benzyl Acetate FCC
.1 Alcohol C - 9
5 Citronellol 850
3 Undecatriene
60
Floral Aldehydic # 1d
1 Florantone T
36 Geraniol Coeur
.1 The
6 Nutmeg Oil - West Indies
9 Laurine
3 Nerol
3 Jasmonyl Acetate
.8 Roseardia Augustus 17
1 Rose Oil - Morocco
.1 Tea Essence
2 Eugenyl Acetate
3 Ionone
6 C - 14 Peach
3 Carnaline
1 Petilyn
3 Fleuramone
.2 Geranyl Acetate
1 Vanillyl Alcohol
1,000
3 Rionyl
42 Coumarine Chine
9 Vanillin
27 Musk R - 1
2 Amber Sports
9 Benzyle Benzoate
3 Rose Givco 217
6 Methyl Benzoate
1 Iso - Rose
4 Irisone Bis
7 Ethyl, Vanillin
3 Aquanol
24 Eugenol / Clove
5 Hydroxy Citronellal Dma
18 Lilial
3 Methyl Dianthanol
21 Rose Substitute
3 Bnezophenone
4 Lioral
2 Methyl Ionone Alpha Extra
24 Musc 50 in DPG
59 Benzylacetate
.1 Alcohol C - 9
5 Citronellol Prime
3 Undecatriene
61
Glen O. Brechbill
Floral Aldehydic # 1e
1 Florantone T
36 Geraniol
.1 The
9 Laurine
3 Nerol
3 Jasmonyl Acetate
.1 Tea Essence
2 Eugenyl Acetate
3 Parmanyl
6 C - 14 Peach
3 Iso Eugenol
1 Petilyn
4 Fleuramone
.2 Geranyl Acetate
1 Vamba
1,000
3 Amber Substitute
44 Rhodiascent
9 Vanilla Tincture 20 %
.1 Civet Powder
29 Musk R - 1
2 Amberfleur
9 Benzyl Benzoate
3 Rose Crystals
6 Methyl Benzoate
1 Iso - Rosal 38 C
5 Myraldyl Acetate
4 Irotyl
7 Ethyl, Vanillin
3 Aquanol
24 Eugenol / Clove
8 Hidroxcitronelal
16 Lilial
4 Phenylethylalcohol
4 Dianthanol
21 Rose Substitute
3 Bnezophenone
4 Lioral
1 y - Irone
25 Musk T Ethylene Brassylate
.1 Alcohol C - 9
5 Citronellol Prime
2 Undecatriene
62
38 Linalyl Acetate Pur
3 Citronellol Natural
9 Orange Blossom Base
.3 Aldheyde C - 11 Lenic
1 Rose Acetate
3 Ionone Alpha
9 Wardia Substitute
6 Cassis Bourgenons
.2 Aldehyde C - 12 Lauric
8 Methyl Ionone Gamma Coeur
4 Bourgenal
1 Orange Flower Augaflor 15
.3 Aldehyde C - 12 MNA
2 Cananga Odorata
5 Hydroxyciol
.1 Undecavertol
3 Wardia
25 Linalol S 97
4 Neroli - Comores Island
6 Myraldyl Acetate
3 Jasilyn
2 Phyllos
6 Orange Oil Florida ( Cold Pressed )
1,000
63
14 Iso E Super
5 Ambrox DL
3 Rose Crystals
12 Sandela
7 Vanilys - Pfw
49 Musk 50 DPG
3 Amborate
8 Galaxolide 50
4 Ethyl Vanillin
2 Beta Damascone
51 Benzyl Acetate
3 Sandiff
26 Eugenol / Clove
1 Iso Jasmone
5 Cyclogalbaniff
6 Lilial
3 Myraldyl Acetate
9 Rose Substitute
5 Hedione
6 Hyacinth Body No. 3
2 Hedione
310 Di Propileno Glico
1 Damascenia 185 SA
38 Geraniol 100 %
8 Laurine Extra
1 Iso Rose
.1 Alcohol C - 9
7 Boise de Rose, Brazil
Glen O. Brechbill
1 Rose Acetate
3 Ionone Alpha
9 Wardia Substitute
6 Cassis Bourgenons
4 Bourgenal
1 Neroli Artessence
2 Cananga Odorata
9 Hydroxyciol
.1 Undecavertol
3 Wardia
25 Linalol S 97
6 Myraldyl Acetate
3 Jasilyn
2 Phyllos
1,000
14 Kephalis
5 Ambrox DL
3 Rose Crystals
12 Sandela
7 Vanila Tincture 20 %
49 Musk 50 DPG
3 Amborate
8 Galaxolide 50
4 Ethyl Vanillin
1 Alpha Damascone
51 Benzyl Acetate
3 Rhodiantal
26 Eugenol / Clove
1 Iso Jasmone
5 Galbanum Resinoid
6 Lioral
3 Myraldyl Acetate
10 Rose Substitute
5 Hedione
2 Di Hydro Iso Eugenol
1 Damascenia 185 SA
38 Geraniol Extra Ex - Citronelle
18 Laurine Extra
1 Iso Rose
.1 Alcohol C - 9
64
38 Linalyl Acetate
1 Rose Acetate
3 Ionone Alpha
9 Wardia Substitute
6 Cassis Bourgenons
4 Cassis Fragrance
2 Cananga Odorata
5 Nectaryl
.1 Aldehyde C 13 - 13
3 Wardia
25 Linalol 99 %
6 Myraldyl Acetate
3 Irisone Bis
2 Phyllos
1,000
14 Iso E Super
5 Ambrox DL
3 Rose Crystals
12 Sandalwood Givaudan 53
7 Vanilys - Pfw
49 Musk 50 DPG
3 Amborate
8 Galaxolide 50
4 Ethyl Vanillin
2 Beta Damascone
51 Benzyl Acetate
3 Rose Crystals
26 Eugenol / Clove
1 Iso Jasmone
5 Cyclogalbaniff
6 Lyral
3 Methyl Nonyl Ketone
9 Rose Substitute
5 Hedione
6 Jacinthaflor
2 Benzylacetate
1 Damascenia 185 SA
38 Geraniol 100 %
8 Laurine
1 Honey Rose Givco 219
.1 Alcohol C - 9
65
Glen O. Brechbill
1 Rose Acetate
3 Ionone Alpha
9 Wardia Substitute
6 Cassis Bourgenons
4 Bourgenal
2 Cananga Odorata
5 Hydroxyciol
.1 Undecavertol
3 Wardia
25 Linalol S 97
6 Myraldyl Acetate
3 Jasilyn
2 Phyllos
5 Orange Oil Orpur - Givaudan
1,000
14 Koavonne
5 Ambrox DL
3 Rose Crystals
12 Sandela
7 Vanilys - Pfw
49 Musk 50 DPG
3 Amber Core
8 Galaxolide 50
4 Ethyl Vanillin
2 Beta Damascone
11 Jasmin Province Base
3 Rose Crystals
26 Eugenol / Clove
1 Iso Jasmone
5 Cyclogalbaniff
40 Acetato Benzila
6 Lilial
3 Myraldyl Acetate
9 Rose Substitute
5 Hedione
2 Hedione
1 Damascenia 185 SA
38 Geraniol 100 %
1 Iso - Eugenol
8 Laurine Extra
1 Iso Rose
.1 Alcohol C - 9
66
1 Rose Acetate
7 Wardia Substitute
6 Cassis Bourgenons
4 Bourgenal
2 Cananga Odorata
5 Lioral - Flexitrail
.1 Violiff
3 Wardia
25 Linalol S 97
6 Myraldyl Acetate
3 Jasilyn
2 Iso Rose
6 Orange Oil of California
1,000
16 Iso & Super
5 Amber Core - KAO Corp. - Japan
3 Rose Crystals
12 Santalex T Neat
7 Vanilys - Pfw
49 Musk 50 DPG
3 Amborate
8 Galaxolide 50
4 Ethyl Vanillin
2 Beta Damascone
51 Benzylacetate
3 Roseone
26 Eugenol / Clove
1 Iso Jasmone
5 Di Methyl Phenyl Ethyl Carbinol
6 Lilial
3 Myraldyl Acetate
9 Rose Substitute
5 Hedione
2 Hedione
1 Damascenia 185 SA
38 Geraniol 100 %
8 Laurine Extra
1 Iso Rose
.1 Alcohol C - 9
7 Geranyl Acetate
67
Glen O. Brechbill
24 Linalol
5 Citronellol 850
9 Orange Blossom Substitute
3 Nepalva
.1 Flor De Laranjeira Abs.
4 Iso Raldeine 70
.1 Orange Flower Water
5 Amyl Cyclo Pentenone
20 Geraniol Pure
1 Ylang Givco 225
4 Iso Eugenol Tech
.2 Aldeido C - 11 Lenic
3 Nerol
1 Floranton T
4 Wardia
1 Pomarose
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 Ionone
1 Methyl Tuberate pure
4 Geranyl Acetate nat.
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
35 Linalyl Acetate
.3 Cassis Oliffac
1,000
.1 Civet Ethiopia
10 Benzyl Alcohol
48 Rhodiascent Extra Pure
19 Traseolide 100 Base
8 Woodynol II
27 Benzyl Salicylate - IFF
6 Vanilla Beans
5 Cashmeran
3 Fleuramone
14 Hidroxicitronelal
5 Methyl Benzoate
2 Benzophenone
1 Ivyal
6 Cinnamic Alcohol
28 Eugenol
.1 Alcohol C - 9
5 Nutmeg Oil East Indian
62 Iso Raldeine Substitute
1 Beta Damascone
2 Vanilla Resinoid
8 Ionone Pure
16 Lioral
2 Geranyl Acetate
.1 Rosalva
28 Musk 50 DPG
68
24 Linalol 98 %
5 Citronellol 850 FCC
3 Musk Emeressence
4 Iso Raldeine 70
20 Geraniol
1 Ylang Givco 225
4 Iso Eugenol Tech
5 Nerol
1 Floranton T
4 Wardia
1 Florymoss
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 Ionone
1 Tuberose Oliffac
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
35 Linalyl Acetate
.3 Vert de Cassis Givco
1,000
.1 Civet Tincture
7 Benzyl Benzoate
48 Coumane
19 Galaxolide Artessence
8 Woodynol I
6 Vanilla Beans
5 Cashmeran
3 Fleuramone
14 Lyral
5 Methyl Benzoate
6 Vanilys
2 Benzophenone
1 Irisone - Mixed Isomers
5 Cinnamic Alcohol
28 Eugenol
.1 Alcohol C - 10
5 Caraway Oil - Holland
1 Beta Damascone
2 Vanillyl Alcohol
9 Ionone Pure
17 Lioral
2 Nerolin Crystals
.1 Rosalva
28 Musk 50 DPG
69
Glen O. Brechbill
24 Linalol
5 Citronellol 850
3 Nepalva
4 Iso Raldeine 70
20 Geraniol Pure
1 Ylang Givco 225
4 Iso Eugenol Tech
3 Nerol
1 Floranton T
4 Wardia
1 Pomarose
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 Ionone
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
35 Linalyl Acetate
1,000
.1 Civet Ethiopia
10 Benzyl Alcohol
48 Coumarin Substitute
19 Macrolide - Symrise
6 Vanilla Beans
5 Cashmeran
3 Fleuramone
15 Hydroxy Citronellal
5 Methyl Benzoate
1 Benzophenone
1 Ivyal
6 Cinnamic Alcohol
28 Eugenol
.1 Alcohol C - 9
1 Beta Damascone
2 Vanilla Resinoid
8 Iridales
16 Lioral
2 Nerol
.1 Polarose
70
24 Linalol
5 Citronellol 850
3 Nepalva
4 Iso Raldeine 70
20 Geraniol Pure
1 Ylang Givco 225
2 Iso Eugenol
3 Nerol
1 Floranton T
4 Wardia
1 Pomarose
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 y - Irone
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
35 Linalyl Acetate
1,000
.1 Civet Ethiopia
10 Benzyl Alcohol
19 Musk Gazalle
8 Brahmanol - H & R ( Symrise )
27 Benzylsalicylate
6 Vanillin
4 Cashmeran
3 Fleuramone
5 Methyl Benzoate
1 Benzophenone
2 Ivyal
6 Cinnamic Alcohol
28 Eugenol
.1 Alcohol C - 9
4 Acetyl Iso Eugenol
1 Alpha Damascone
2 Vanilla Resinoid
8 Irisone
16 Cyclosia Base - Firmenich
2 Nerol
.1 Polarose
71
Glen O. Brechbill
24 Linalol
5 Citronellol 850
3 Nepalva
4 y - Irone
20 Geraniol Pure
1 Ylang Givco 225
4 Methyl Iso Eugenol ( Carnation )
3 Nerol
1 Floranton T
4 Wardia
1 Balinol
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 Ionone
2 Bourgenal
1 Iso Rose
35 Linalyl Acetate
.3 Bois Amberene Forte
1,000
.1 Civet Powder # 3 B
10 Benzyl Alcohol
45 Coumarin Crystals Pure
6 Vanilla Beans
5 Muskylein
3 Floramat
5 Methyl Benzoate
1 Benteine
1 Ivyal
6 Cinnamic Alcohol
28 Eugenol
.1 Alcohol C - 9
1 Beta Damascone
2 Vanilla Resinoid
8 Iridales
13 Lioral
2 Iso Rose
.1 Polarose
72
2 Phenyl Ethyl Acetate
1 Synabran
15 Wardia
3 Apple Blossom
2 Iris Beurre Oil
1 Muguet Aldehyde 50 BB
1 Tuberose Oliffac
1 Meranol
4 Cassis Fragrance B
2 Petilyn
11 Bergamot Oil Substitute
4 Nutmeg Indonesia
.1 Leaf Alcohol
1 Iso - Eugenol
1 Bourgenal
18 Linalyl Acetate
1,000
5 Kephalis
1 Civet Tincture
32 Phthalate DEthyl
37 Galaxolide 50 DEP
6 Kephalis
7 Vanisal - Flexitrail
74 Hydroxycitronellal Sub.
1 Thymol Crystals
8 Lilial
17 Tonlaid II - Pfw
5 Jasmoneige
7 Vanillinethyl
2 Methyl Benzoate
1 Folrosa Q
3 Citronellol
28 Eugenol
7 Mallow
.1 Alcohol C - 9
22 Di Hydro Iso Jasmonate
89 Ionone Intremediate Base
20 Geraniol 970
3 Jasmylone 99
12 Ionone Alpha 60
4 Boisnal
5 Hydroxycitronellal 55
28 Linalol Synthetique
.7 Poirinate
4 Anisic Aldehyde Di Methyl Acetal
.1 Methyl Octyne Carbonate
73
Glen O. Brechbill
1 Syringa
15 Wardia
3 Apple Blossom
2 Iris Beurre Oil
1 Tuberose Oliffac
1 Meranol
4 Bourgeons De Cassis
2 Petilyn
4 Nutmeg Indonesia
.1 Leaf Alcohol
1 Bourgenal
18 Linalyl Acetate
1,000
7 Kephalis
1 Civet Tincture
32 Phthalate DEthyl
4 Amberfleur
7 Vanillin
2 Heliotropine
1 Thymol Crystals
6 Lilial
17 Musk Ambrette Substitute
5 Jasmoneige
7 Vanillinethyl
2 Methyl Benzoate
1 Folrosa Q
3 Citronellol
24 Carnation Base
7 Mallow
.1 Alcohol C - 9
20 Geraniol 970
3 Jasmylone 99
4 Boisnal
.7 cis - 3 - Hexyl Acetate
74
1 Synabran
11 Wardia
3 Apple Juice Givco 114
2 Iris Beurre Oil
1 Tuberose Oliffac
1 Meranol
2 Petilyn
4 Nutmeg Indonesia
.1 Leaf Alcohol
1 Iso - Eugenol
1 Bourgenal
17 Linalyl Acetate
1,000
5 Kephalis
49 Rhodiascent - Rhodia
1 Civet Tincture
37 Galbanolide ( Musk )
6 Kephalis
1 Heliotropine
8 Lilial
17 Musk 50 in DPG
5 Jasmoneige
7 Vanillinethyl
2 Methyl Benzoate
1 Folrosa Q
3 Citronellol
28 Eugenol / Clove
7 Mallow
.1 Alcohol C - 9
20 Geraniol 60
3 Jasmylone 99
12 Ionone Alpha 60
4 Boisnal
28 Linalol S 97
.7 Poirinate
4 Aubepine
75
Glen O. Brechbill
1 cis - 3 - Hexyl Acetate
15 Wardia
3 Apple Blossom
2 Iris Beurre Oil
1 Tuberose Oliffac
1 Meranol
2 Parmanyl
4 Nutmeg Indonesia
.1 Leaf Alcohol
1 Bourgenal
17 Linalyl Acetate
1,000
5 Sandalore
1 Civet Tincture
32 Phthalate DEthyl
6 Kephalis
7 Vanisal
1 Thymol Crystals
8 Lilial
17 Tonlaid I - Pfw
5 Iso Jasmone
7 Vanillinethyl
2 Methyl Benzoate
1 Meijiff - IFF
28 Eugenol
7 Troenan
.1 Alcohol C - 9
20 Geraniol 970
3 Jasmylone 99
12 Ionone Alpha 60
4 Boisnal
5 Hydroxycitronellol A
.7 Poirinate
.1 Folione
76
1 Petilyn
15 Wardia
3 Apple Blossom
2 Iris Beurre Oil
1 Tuberose Oliffac
1 Meranol
2 Hysimal
3 Iso Amyl Gerenate
4 Isoeugenol
.1 Leaf Alcohol
1 Iso - Eugenol
1 Bois Amberene Forte
18 Linalyl Acetate
1,000
5 Kephalis
48 Helional
1 Civet Tincture
32 ( DEP )
37 Galaxolide 50 DPG
6 Kephalis
1 Thymol Crystals
8 Lilial
15 Tonlaid II - Pfw
5 Jasmoneige
7 Vanillinethyl
4 Methyl Benzoate
1 Folrosa Q
3 Citronellol Pure
28 Eugenol
7 Mallow
.1 Alcohol C - 10
20 Geraniol 970
5 Jasmylone 99
12 alpha - Ionone
4 Boisnal
.7 Poirinate
4 Hawthorn
.1 Methyl Octyne Carbonate Substitute
77
Glen O. Brechbill
7 Orange Flor Deco
.2 Alcohol C - 9
6 Cassis Fragrance F
.1 Geraniol 600
2 Eugenyl Acetate
3 Kir Base # 9741
3 Iridales
4 Wardia
3 Noix Muscade Indonesie
1 Jacinthe ( Base 4512/2 )
.4 Vanillyl Alcohol
4 Nerol
5 Iritone V
4 Di Methyl Benzyl Carbinol
.1 Florymoss
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Benzylbenzoate
.1 Civette Givco 77
4 Heliotropine
5 Woodynol I
9 Vanisal
.1 Polarose
21 Salicylate de Benzyle
11 Benteine
3 Petilyn
107 Muguet Base
25 Geraniol 60
8 Hydroxycitronellol
1 Rosone
4 Hidroxicitronelal
21 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Oxide De Rosa
.1 Vanilla Sur Abs. CLess
314 Di Propylene Glycol ( DPG )
4 Irisone Bis
13 Citronellol
1 Iso Jasmone
33 Linalol S 97
5 Muguet Alcohol
3 Floral
78
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Geraniol 600
2 Eugenyl Acetate
3 Kir Base # 9741
1 Iris Beure Oil
3 Iridales
4 Wardia
.4 Alcohol C - 10
2 Nerol
3 Iritone V
.1 Florymoss
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Benzyl Alcohol
8 Osyrol
.1 Civet Abs.
4 Heliotropine
5 Woodynol II
9 Vanillin
.1 Polarose
3 Ivyal
107 Muguet Base
25 Geraniol 60
1 Rosone
4 Hidroxicitronelal
21 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelol
1 Oxide De Rosa
4 y - Irone
13 Citronellol 850
1 Iso Jasmone
33 Linalol S 97
5 Muguet Alcohol
3 Mallow
79
Glen O. Brechbill
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Geraniol 600
2 Eugenyl Acetate
3 Iridales
4 Wardia
.4 Vanillyl Alcohol
4 Nerol
5 Iritone V
.1 Florymoss
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Benzyl Benzoate
8 Sandec Givco
.1 Civette Givco 77
5 Heliotropine
6 Sandalore
9 Vanilline
.1 Polarose
10 Hedione
3 Petilyn
107 Muguet Base
25 Geraniol 60
8 Meijiff
1 Rosone
4 Hidroxicitronelal
21 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelol
1 Iso Rose
4 Irisone Bis
13 Citronellol Pure
1 Jasmonyl Acetate
33 Linalol S 97
5 Mugone S 207 M
3 Lily Aldehyde
80
7 Orange Flor Deco
.2 Alcohol C - 9
6 Bourgenal
.1 Geraniol 600
2 Eugenyl Acetate
3 Kir Base # 9741
3 Iso Raldeine 70
4 Wardia
.4 Vanillyl Alcohol
4 Nerol
5 Irisone Bis
.1 Meranol
26 Linalyl Acetate
1 Pomarose
1,000
11 Benzyl Alcohol
6 Amyris Oil - West Indian Sandal
.1 Civette Givco 73
5 Sandalwood - New Caledonia
9 Vanisal
.1 Polarose
11 Di Hydro Iso Jasmonate - Pfw
3 Petilyn
62 Benzyl Acetate Coeur
23 Geraniol 60
1 Rosone
4 Hidroxicitronelal
21 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Oxide De Rosa
5 Irisone Bis
13 Citronellol 850 - ( BBA ) or IFF
1 Iso Jasmone
33 Linalool
5 Muguet Alcohol
3 Fleuramone
81
Glen O. Brechbill
7 Orange Flor Deco
.2 Alcohol C - 10
6 Cassis Fragrance
.1 Geraniol 600
2 Eugenyl Acetate
3 Kir Base # 9741
3 Iridales
4 Wardia
.4 Vanillyl Alcohol
4 Nerol
5 Iris Beurre Oil
3 Terpineol Prime
.1 Florymoss
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Benzylbenzoate
.1 Civette Givco 77
4 Heliotropine
5 Woodynol I
9 Vanisal
.1 Polarose
11 Benteine
3 Mallow
62 Benzylacetate
112 Muguet Base
25 Geraniol 99 %
1 Rosone
4 Lioral - Flextrail
21 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Oxide De Rosa
.1 Vanilla Resinoid
13 Citronellol - L
1 Iso Jasmone
33 Linalol S 97
5 Muguet Alcohol
3 Petilyn
82
3 Orange Bigarade Ivory Coast
26 Geraniol Extra Ex - Citriodora
1 Ribes Mercaptan
34 Linalool Nat.
1 Nutmeg E.I.
4 Geranium Oil pure
2 Cassifix
1 Damascenonel
5 Aldeido Muguet
.3 Wardia
1 Rhododendrum Oil - China
3 Iso E Super
1 Scennal
27 Linalyl Acetate
5 Nerol
7 Myraldyl Acetate
1 Ylang Ylang II Petals
3 Hydrofix R
1,000
.1 Exaltolide
7 Vanillin
48 Coumane
39 Musk Xylene Substitute
8 Benzyl Salicylate
1 Y samber K
23 Hydroxycitronellal A
2 Nerolin Crystals
3 Muskylein
4 Sandela
108 Hydroxycitronellol Substitute
6 Alicate
2 Heliotropine
21 Galaxolide Gx 50 in DEP
5 Vanillinethyl
14 Hedione
1 Iso Mohaganol
3 y - Irone
6 Methyl Benzoate
5 Gardenia 1110
1 Jasmone
3 Geranyl Acetate 60 FCC
.1 Violet Leaf Abs. - France
3 Jasmonyl Acetate
.1 Alcohol C - 9
83
Glen O. Brechbill
3 Orange Oil Sweet
1 Ribes Mercaptan
34 Linalool Nat.
1 Nutmeg E.I.
4 Geranium Oil pure
2 Cassifix
1 Damascenonel
5 Aldeido Muguet
.3 Rose Bulgarian Distilled Extra
2 Carnaline
3 Iso E Super
1 Scennal
27 Linalyl Acetate
5 Nerol
7 Myraldyl Acetate
4 Methyl Iso Eugneol
3 Hydrofix R
1,000
.1 Nepalva
6 Vanilline
48 Coumane
8 Benzyl Salicylate
2 Nerolin Crystals
3 Muskylein
4 Sandela
6 Coumarin Crystals
5 Vanillinethyl
1 Iso Mohaganol
3 y - Irone
6 Methyl Benzoate
5 Gardenia 1110
1 Iso Jasmon
3 Geranyl Acetate
.1 Rose Turkey Abs.
3 Jasmonyl Acetate
.1 Alcohol C - 9
84
26 Geraniol 98 %
1 Ribes Mercaptan
34 Ethyl Linalool - Givaudan
1 Nutmeg E.I.
4 Geranium Oil pure
2 Cassifix
1 Damascenonel
5 Aldeido Muguet
.3 Wardia
1 Caraway Oil Bourbon
3 Iso E Super
1 Scennal
27 Linalyl Acetate
5 Nerol
7 Myraldyl Acetate
3 Hydrofix L
1,000
.1 Exaltolide
49 Coumane
1 Chandanone
2 Nerolin Crystals
3 Muskylein
54 Benzyl Acetate
4 Amyris Oil ( Sandalwood ) Fine
4 Alicate
2 Heliotropine
5 Vanillinethyl
14 Hedione
1 Iso Mohaganol
3 y - Irone
4 Methyl Benzoate
5 Gardenia 1110
1 Myraldyl Acetate
3 Jasmonyl Acetate
.1 Alcohol C - 9
85
Glen O. Brechbill
1 Ribes Mercaptan
34 Linalool
1 Nutmeg E.I.
4 Geranium Oil pure
2 cis - 3 - Hexenyl Salicylate - Zeon
1 Damascenonel
5 Aldeido Muguet
.3 Acetate De Geranyle
3 Iso E Super
1 Rose Turquie
27 Linalyl Acetate
5 Nerol
7 Myraldyl Acetate
3 Hydrofix R
1,000
.1 Exaltolide
7 Vanillin
46 Coumane
1 Ambrox DL Coeur
23 Lilial
2 Rose Crystals
3 Musk R - 1
52 Acetato Benzila
4 Sandela
6 Alicate
3 Heliotropine
5 Vanillinethyl
13 Hedione
1 Santalyl Acetate
3 Iso Raldeine 70
6 Methyl Benzoate
5 Gardenia 1110
1 Scennal
3 Myraldyl Acetate
.1 Top Rose ABQ 5644
86
28 Geraniol 60
1 Ribes Mercaptan
34 Linalool Nat.
1 Nutmeg E.I.
4 Geranium Oil pure
2 Cassifix
1 Alpha Damascone
7 Lioral
.2 Rose Essence Abs.
1 Scennal
29 Linalyl Acetate
5 Nerol
7 Myraldyl Acetate
3 Hydrofix R
1,000
.1 Exaltolide
7 Vanillin
41 Coumane
8 Benzyl Salicylate
1 Amber Core - Kao Corp. Japan
23 Hydroxycial
2 Nerolin Crystals
3 Muskylein
4 Amyris
6 Alicate
2 Heliotropine
18 Muskylein
5 Vanillinethyl
14 Hedione
1 Sandiff
3 y - Irone
6 Methyl Benzoate
5 Gardenia 1110
2 Citronellol from Citronela
1 Jasmal
3 Kephalis
.1 Alcohol C - 9
87
Glen O. Brechbill
.1 Rose Bulgaria Abs.
5 Florantone T
30 Geraniol, Perfumery Grade
29 Linalool
1 Iso Jasmone
2 Nerol
.1 Leaf Alcohol
3 Thesaron
6 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Kir Base # 9741
36 Linalyl Acetate
1,000
7 Vanilys
4 Musk 50 ( DEP )
9 Benzyl Benzoate
.1 Civet Augustus 19
19 Benzyle Salicylate
17 Osyrol
5 Musk Clear
1 Rose Crystals
4 Heliotropine
69 Benzylacetate
.1 Anisyl Alcohol
7 MDJ Super
4 Vanillinethyl
.1 Alcohol C - 09
12 Santalox T Neat
5 Cashmeran
1 Rosone
23 Eugenol / Clove
2 Magnol
319 ( DPG )
3 Benzyl Phenyl Acetate
7 Citronellol
6 Pomarose
6 Lyral
11 Wardia
8 MelonOrg
1 Di Methyl Octanol
3 Neroli Egypt
88
5 Florantone T
29 Linalol
.1 Methyl Octine Carbonate Substitute
1 Jasmonyl Acetate
4 Geranyl Linalool
2 Nerol
.1 Leaf Alcohol
6 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Kir Base # 9741
36 Linalyl Acetate
1,000
7 Vanilys
4 Musk Emeressence
9 Benzyl Benzoate
5 Musk Clear
1 Rose Crystals
4 Heliotropine
69 Benzylacetate
.1 Anisyl Alcohol
7 Claigeon
4 Vanillinethyl
.1 Alcohol C - 09
12 Santalox T Neat
5 Cashmeran
1 Rose Crystals
23 Eugenol / Clove
2 Magnol
319 ( DPG )
7 Citronellol Ex Citriodora
6 Pomarose
4 Lyrame
11 Wardia
8 MelonOrg
1 Di Methyl Octanol
3 Neroli Egypt
89
Glen O. Brechbill
5 Florantone T
29 Linalol
1 Jasmonyl Acetate
4 Geranyl Linalool
2 Nerol
.1 Leaf Alcohol
6 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Kir Base # 9741
36 Linalyl Acetate
1,000
7 Vanilys
9 Benzyl Benzoate
5 Musk Clear
1 Rose Crystals
4 Heliotropine
69 Benzylacetate
.1 Anisyl Alcohol
7 Claigeon
4 Vanillinethyl
.2 Alcohol C - 09
12 Santalox T Neat
5 Cashmeran
1 Rose Crystals
23 Eugenol / Clove
2 Magnol
315 ( DPG )
6 Pomarose
4 Lyrame
11 Wardia
8 MelonOrg
1 Di Methyl Octanol
3 Neroli Oliffac
90
5 Florantone T
31 Linalool
1 Iso Jasmone
2 Nerol
.1 Leaf Acetal
3 Thesaron
6 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Kir Base # 9741
36 Linalyl Acetate
1,000
7 Vanilys
8 Cashmeran
9 Benzyl Benzoate
.1 Civet Ethiopia
17 Osyrol
5 Musk Clear
1 Rose Crystals
5 Heliotropine
67 Benzylacetate
.1 Anisyl Alcohol
7 Benteine
4 Vanillinethyl
.1 Alcohol C - 09
8 Brahmanol F
5 Serenolide
1 Rosone
25 Eugenol
2 Magnol
319 ( DPG )
3 Tonalid II - Pfw
7 Citronellol Nat.
6 Pomarose
3 Lyral
11 Wardia
4 Melonyl 86471 VMF
1 Di Methyl Octanol
3 Neroli Artessence - Biolandes - Fr.
91
Glen O. Brechbill
.1 Rose Turca Assoluta
4 Florantone T
29 Linalool
1 Iso Jasmone
2 Nerol
.1 Leaf Alcohol
3 Thesaron
8 Orangeflor
1 Geranium over Roses - Naradev
3 Eugenyl Acetate
2 Kir Base # 9741
38 Linalyl Acetate
1,000
8 Vanilys
4 Musk 50 ( DEP )
9 Benzyl Benzoate
17 Osyrol
5 Musk Clear
1 Rose Crystals
2 Nerolin ( Yara Yara Crystals )
69 Benzylacetate
.1 Anisyl Alcohol
7 MDJ
4 Ethyl Vanillin
.1 Alcohol C - 09
12 Santalox T Neat
5 Cashmeran
1 Rosone
23 Eugenol / Clove
2 Magnol
319 ( DPG )
7 Citronellol
6 Iso Rose
4 Lyral
11 Wardia
8 MelonOrg
1 Di Methyl Octanol
1 Nerolidol
92
2 Methyxycitronellal Q
3 Troenan
.1 Ylang Core
1 Orange Blossom Augaflor
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tubereuse 181
4 Geranyl Acetate
6 Lyral
1 Wardia
.1 Geraniol 600
2 Pearalate
3 Acetate de Neryle
1,000
47 Coumane
1 Benzophenone
.1 Civet Tincture
32 DEP
4 Iso Eugenol Acetate
1 Damascenone Alpha
5 Iris Beurre Oil
9 Vanilys
2 Cashmeran
3 Jasmon Oil M/F
9 MDJ
9 alpha Amyl Cinnamic Aldehyde
2 Methyl Benzoate
6 Citronellol 70 %
3 Di Hydro Coumarex
36 Geraniol Savon
27 Eugenol / Clove
4 Phenafleur
2 Nerol
.1 Musk Emeressence
1 Carnaline
4 Iso Raldeine 85
.1 Jasmin Abs. - India
.2 Alcohol C - 9
7 Bourgenal
33 Linalol Pur
93
Glen O. Brechbill
2 Lilivert
3 Troenan
.1 Petilyn
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tubereuse 181
4 Geranyl Acetate
5 Lyral
1 Wardia
.1 Rose Abs.
1 Perryfix ( Symrise ) Creaions, PB
3 Neryl Acetate
1,000
47 Coumane
1 Benzophenone
1 Amberfleur
.2 Civet Tincture
32 DEP
1 Damascenone Alpha
5 Ionone Alpha Refined
9 Vanillin
2 Muskylein
3 Jasmon Oil P.G. - India
9 MDJ
2 Methyl Benzoate
6 Citronellol 70 %
3 Di Hydro Coumarex
36 Geraniol Extra
27 Iso Eugenol Replacement
4 Phenafleur
2 Nerol
.1 Musk Emeressence
1 Eugenyl Acetate
4 Iso Raldeine 85
.2 Alcohol C - 9
7 Bourgenal
33 Linalol Pur
94
3 Troenan
.1 Ylang Core
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tubereuse 181
4 Geranyl Acetate
5 Lyral
1 Wardia
.1 Geraniol 600
3 Acetate de Neryle
1,000
47 Coumane
3 Benzophenone
.1 Civet Givco 81
32 DEP
1 Damascenone Alpha
31 Benzyl Acetate
5 Iris Beurre Oil
9 Vanilys
2 Cashmeran
3 Jasmon Oil M/F
9 MDJ
2 Methyl Benzoate
6 Citronellol 70 %
3 Helional
9 Hydroxy Citronellol
36 Geraniol Pure
27 Carnation Base
4 Phenafleur
2 Nerol
.1 Musk Emeressence
1 Carnaline
4 Iso Raldeine 85
.2 Alcohol C - 9
7 Bourgenal
33 Linalol Pur
95
Glen O. Brechbill
3 Troenan
.1 Ylang Core
2 Meranol
1 Iso - Eugenol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tubereuse 181
4 Geranyl Acetate
6 Lyral
1 Wardia
.1 Geraniol 600
2 Pearalate
2 Neryl Acetae
1,000
47 Coumane
1 Benzophenone
.2 Civet Tincture
32 DEP
1 Damascenone Alpha
5 Iris Beurre Oil
9 Vanilys
3 Jasmon Oil M/F
9 MDJ
2 Methyl Benzoate
6 Citronellol 70 %
3 Di Hydro Coumarex
9 Hysimal
36 Geraniol 970
27 Eugenol / Clove
4 Phenafleur
2 Nerol
.1 Musk Emeressence
1 Cassia Oliffac
4 Iso Raldeine 70
.1 Alcohol C - 9
7 Bourgenal
32 Linalol Pur
96
.1 Ylang Core
1 Meranol
5 Cassis Fragrance
27 Linalyl Acetate
.3 Tubereuse 181
4 Geranyl Acetate
6 Lyrame
1 Rose Givco 119
.1 Geraniol 600
1 Pearalate
1 Geranyl Acetate
1,000
47 Coumane
1 Benzophenone
.1 Civet Tincture
4 Heliotropine
1 Damascenone Alpha
5 Iris Beurre Oil
9 Vanilys
2 Cashmeran
9 MDJ
2 Methyl Benzoate
6 Citronellol 70 %
3 Di Hydro Coumarex
9 Hydroxycitronellaldimethylacetal
36 Geraniol Savon
25 Eugenol / Clove
4 Phenoxy Ethyl Iso Butyrate
2 Nerol
.1 Musk Emeressence
4 Iso Raldeine 85
.2 Alcohol C - 9
7 Bourgenal
33 Linalol 99 %
97
Glen O. Brechbill
5 Wardia
27 Trinalool
3 Citronet
1 Tangerine Oil Sichuan
3 Geranyl Acetate 95 %
4 Top Muguet
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
3 Palmarosa, Guatemala
2 Sensient
9 Linalyl Acetate Extra
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
2 Bourgenal
1,000
.1 Civet Artificial 1A
10 Benzyl Benzoate
5 Vanisal
11 Sandec Givco
23 Benzyl Salicylate - Ventos
51 Coumane
6 Iso & Super
4 Hydrofix R
1 Acetate Iso Eugenyle
61 Benzylacetate
4 Florosia
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 10
6 Lilivert
3 Citronellol 850 - Bush Boake Allen
1 Sandalore
9 Lyral
76 Ionone Intrmediate Base
7 Bonorax
3 Irisone Bis
24 Geraniol 60 % ( Nerol 39 % )
2 Myraldyl Acetate
3 Muguet Aldehyde
5 Nutmeg, Ceylon
1 Geraniol Extra
4 Jasmonyl Acetate
.1 Rosealva
3 Orangeflor
98
5 Wardia
27 Trinalool
3 Meranol
1 Tangerinol
3 Geranyl Acetate FCC
4 Top Muguet
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
1,000
.1 Civet Ethiopia
10 Benzyl Benzoate
5 Vanillin
11 Amyris Oil West Indies ( Sandal )
51 Coumane
6 Iso & Super
4 Hydrofix R
51 Benzylacetate
4 Florosia
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 10
6 Lilivert
3 Citronellol Extra
1 Kephalis
9 Lyral
7 Bonorax
3 Irisone Bis
24 Geraniol 970
2 Myraldyl Acetate
3 Muguet Aldehyde
5 Nutmeg, Ceylon
1 Geraniol Pure
4 Jasmonyl Acetate
.1 Undecavertol
3 Orangeflor
99
Glen O. Brechbill
5 Wardia
27 Ethyl Linalool
3 Citronet
4 Muguet Aldehyde
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
3 Bourgenal
1,000
10 Benzyl Benzoate
46 Muskylein
5 Vanisal
11 Sandec Givco
51 Coumane
9 Iso & Super
4 Hydrofix L
51 MDJ Super
4 Florosia
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 10
6 Lilivert
1 Sandalore
9 Lyral
7 Bonorax
3 Irisone Bis
2 Myraldyl Acetate
3 Muguet Aldehyde
5 Nutmeg, Ceylon
1 Geraniol Extra
4 Jasmonyl Acetate
.1 Rosealva
3 Orangeflor
100
5 Wardia
27 Trinalool
3 Citronet
5 Top Muguet
3 Kir Base # 9741
.2 Tuberose Oliffac
1 Orange Flor
3 Sensient
1 Florantone T
.1 Galbanum Absolue
.1 Neryl Acetate
2 Fleuramone
2 Bourgenal
1,000
.1 Civet Givco 83
8 Benzyl Benzoate
47 Galaxolide Gx 50 in DPG
38 ( DEP )
5 Vanillin
11 Sandec Givco
51 Coumane
6 Iso & Super
4 Hydrofix R
61 Benzylacetate
4 Florosia
7 Osyrol
5 Methyl Benzoate
.3 Alcohol C - 10
6 Lilivert
3 Citronellol Pure
1 Sandalore
9 Lyral
7 Bonorax
3 Irisone Bis
24 Geraniol 60
2 Myraldyl Acetate
3 Muguet Aldehyde
5 Nutmeg - Sri. Lanka
1 Geraniol Extra
4 Jasmonyl Acetate
.1 Rosealva
3 Orangeflor
101
Glen O. Brechbill
5 Wardia
27 Trinalool
3 Citronet
4 Meijiff
.4 Methyl Tuberate
1 Orange Flor
3 Palmarosa, India
5 Iso Eugenol
2 Sensient
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
3 Bourgenal
1,000
10 Benzyl Benzoate
5 Vanisal
11 Sandec Givco
41 Coumane
6 Iso E Super
4 Hydrofix R
61 Benzyl Acetate nat.
4 Fleuramone
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 10
6 Lilivert
1 Sandalore
9 Laurine Extra
7 Bonorax
3 Irisone Bis
24 Geraniol BRI FCC
2 Thesaron
3 Muguet Aldehyde
5 Bisabolene
1 Geraniol Extra
4 Jasmonyl Acetate
.1 Polarose - Polarome
3 Orangeflor
102
.4 Aldehyde C - 11 lenic
1 Nerol Petals
3 Massoia Ecorce - India
3 Laurine Extra
22 Linalool
.5 Rose Otto Augaflor
3 Neroli Oliffac
17 Geraniol Pure
4 Geranyl Acetate
6 Cassis Fragrance
3 Neo - Geranium Oil
5 Vetiver Oil Indonesia ( Haiti )
2 Iris odor
17 Wardia
1 Pamplemousse E. Blanc
38 Linalyl Acetate
1 Tangerine Oil - Florida / Brazil
1 Rosilial
.1 Leaf Alcohol
1 Mugetanol
3 Isobergamote
1,000
8 Musk T - Takasago
9 Benzyl Salicylate 98 % China
50 Galaxolide 50
8 Vanillin
7 Hidroxicitronelal
9 Santalex T Neat
48 Benzyl Acetate Coeur - Quest Intl.
1 Beta Damascone
4 Anisaldehyde Di Methyl Acetal
103 Muguet Base
4 Ethyl, Vanillin
7 Methyl Benzoate
9 Hedione
4 Citronellol 850
13 Lioral
1 Cashmeran
8 Benzylacetate
3 Sandasweet
25 Rose for Soap Base
10 Methyl Ionone
3 Jasmone
3 Muguet Aldeido
103
Glen O. Brechbill
1 Nerol Petals
3 Laurine Extra
22 Linalol
.5 Rhodinol - Natural Isolate
3 Neroli Oliffac
17 Geraniol Pure
4 Geranyl Acetate
6 Cassis Fragrance
2 Irisone Bis
17 Wardia
1 Grapefruit Oil of Florida C.P.
38 Linalyl Acetate
1 Rosilial
.1 Leaf Alcohol
1 Muguet Alcohol - Symrise
3 Verger de Bergamot - Italy
1,000
8 Musk T - Takasago
47 Galaxolide 50
8 Vanillin
7 Hydroxyciol
9 Sandranol
45 Benzyl Acetate
1 Beta Damascone
4 Ethyl, Vanillin
7 Methyl Benzoate
9 Hedione
4 Citronellol 850
13 Lilivert
1 Cashmeran
8 Benzylacetate
3 Sandasweet
1 Geranium Rose Givco 115
3 Muguet Aldehyde
104
1 Nerol
3 Laurine Extra
22 Linalool
3 Neroli Oliffac
17 Geraniol 60
4 Geranyl Acetate
6 Cassis Fragrance
3 Geranium Rose Egyptian
2 Iritone V
16 Wardia
1 Nootkatone 80/85 %
38 Linalyl Acetate
1 Tangerine Oil - Brazil
1 Rosilial
.1 Leaf Alcohol
1 Mugetanol
3 Bergamot Oil Orpur - Givaudan
1,000
8 Etilen Brassilato
45 Galaxolide 50
8 Vanillin
7 Hidroxicitronelal
9 Santalex T Neat
48 Benzyl Acetate
1 Beta Damascone
108 Muguet Base
4 Ethyl, Vanillin
7 Methyl Benzoate
12 Hedione
4 Citronellol 850
13 Lioral
1 Cashmeran
3 Endanol
10 Methyl Ionone
3 Jasmal
3 Muguet Alcohol
105
Glen O. Brechbill
1 Nerol Petals
3 Laurine Extra
22 Linalol
.5 Rose Otto Augaflor 7
3 Neroli Oliffac
17 Geraniol Pure
5 Geranyl Acetate
6 Cassis Fragrance
5 Vetiver Oil Indonesia ( Java )
2 Irisone Bis
19 Wardia
38 Linalyl Acetate
1 Rosilial
.1 Leaf Alcohol
1 Mugetanol
2 Bergamot Oil FCC
1,000
47 Coumarin
8 Cashmeran
4 Heliotropine
50 Galaxolide 50
8 Vanillin
7 Laurine
9 Santalex T Neat
48 Benzyl Acetate Coeur - Quest Intl.
1 Beta Damascone
4 Ethyl, Vanillin
7 Methyl Benzoate
9 Hedione
4 Citronellol 850
13 Mallow
1 Nepalva
8 Acetate Benzyle
3 Sandasweet
25 Geraniol Prime
10 Methyl Ionone
24 Eugenol
3 Jasmone
3 Muguet Aldehyde
106
1 Nerol Petals
3 Laurine Extra
22 Linalool
3 Neroli Oliffac
19 Geraniol Pure
4 Geranyl Acetate
6 Cassis Fragrance
2 Iris odor
17 Wardia
1 Grapefruit Oil Pink ( C.P. ) - Fla.
38 Linalyl Acetate
1 Rosilial
.1 Leaf Alcohol
1 Mugetanol
3 Isobergamote
1,000
47 Rhodiascent
8 Musk Ambrette
50 Galaxolide 50
8 Vanillin
7 Hidroxicitronelal
9 Santalex T Neat
48 Benzyl Acetate
1 Beta Damascone
4 Hawthorn ( Anisic Aldehyde )
109 Muguet Base
4 Ethyl Vanillin
7 Methyl Benzoate
4 Citronellol 80 % ( Geraniol 15 % 0
13 Lioral
1 Cashmeran
8 Benzylacetate
3 Iso E Super
3 Iso Jasmone
107
Jasmin
Glen O. Brechbill
Jasminum grandiflorum (Oleaceae)
Spanish jasmine
Spanish jasmine originates in the
valleys of the lower Himalayas. It
was brought to Spain by the Moors
and was spread through the
Mediterranean area during the 17'th
century. By extraction of the flow-
ers, the so-called jasmine absolute
is obtained, one of perfumery's
most precious materials. Jasmine
absolute is a brownish paste with an
intensely floral, warm, rich and
highly diffusive odor. Minimal
amounts create wonders in per-
fumes of exotic-floral character. It
takes about 8000 freshly picked
flowers to make 1 g of absolute.
Egypt is the main producer, but
demand is lowering. In recent years
reconstructed oils have been avail-
able, almost identical with the natu-
ral product, but at a much lower
prize.
The fragrance of jasmine is charac-
terized by 'jasmonoid' compounds,
whose biosynthesis from unsaturat-
ed fatty acids probably follows the
same routes as the biosynthesis of
prostaglandins in us. They are also
found in other flowers, e.g. garde-
nia. The main component of jas-
mine absolute is benzyl acetate (ca.
34 %), having a fruity-floral odour.
p-Cresol and indole contribute to
the animal aspects of the jasmine
fragrance.
About 200 species of jasmines are
known from tropical and subtropi-
cal areas around the world. Most of
them are heavily scented, their fra-
grance varying around the common
jasmine theme. Arabian jasmine, J.
sambac, also called 'Maid of
Orleans', Pikake (on Hawaii) or Tea
jasmine, is characterized by a diffu-
sive, green-herbaceous nuance
from derivatives of 3-hexen-1-ol .
Jasmine (Jasminum /; via Arabic
from the Persian Yasameen, i.e.
"gift from God") is a genus of
shrubs and vines in the olive family
(Oleaceae), with about 200 species,
native to tropical and warm temper-
ate regions of the Old World. The
leaves can be either evergreen
(green all year round) or deciduous
(falling in autumn).
Cultivation and uses
Widely cultivated for its flowers,
jasmine is enjoyed in the garden, as
a house plant, and as cut flowers.
The flowers are worn by women in
their hair in southern and southeast
Asia. The delicate jasmine flower
opens only at night and may be
plucked in the morning when the
tiny petals are tightly closed, then
stored in a cool place until night.
The petals begin to open between
six and eight in the evening, as the
temperature lowers.
Jasmine tea
Jasmine tea is consumed in China,
where it is called jasmine-flower
tea ( pinyin: m l hua- ch).
Jasminum sambac flowers are also
used to make so-called jasmine tea,
which often has a base of green tea,
but sometimes an Oolong base is
used. Flowers and tea are "mated"
in machines that control tempera-
ture and humidity. It takes four
hours or so for the tea to absorb the
fragrance and flavour of the jas-
mine blossoms, and for the highest
grades, this process may be repeat-
108
ed as many as seven times. Because
the tea has absorbed moisture from
the flowers, it must be refired to
prevent spoilage. The spent flowers
may or may not be removed from
the final product, as the flowers are
completely dry and contain no
aroma. Giant fans are used to blow
away and remove the petals from
the denser tea leaves. If present,
they simply add visual appeal and
are no indication of the quality of
the tea.
Jasmine essential oil
Jasmine essential oil is in common
use. Its flowers are either extracted
by the labour-intensive method of
enfleurage or through chemical
extraction. It is expensive due to
the large number of flowers needed
to produce a small amount of oil.
The flowers have to be gathered at
night because the odour of jasmine
is more powerful after dark. The
flowers are laid out on cotton cloths
soaked in olive oil for several days
and then extracted leaving the true
jasmine essence. Some of the coun-
tries producing jasmine essential
oil are India, Egypt, China and
Morocco.
Jasmine as the national flower
* In Indonesia, where the variety
Jasminum sambac is the "puspa
bangsa" (national flower) adopted
in 1990. It goes by the name
"Melati Putih" and is the most
important flower in wedding cere-
monies for ethnic Indonesians,
especially in the island of Java.
In Pakistan, where Jasminum offic-
inale is known as the "Chambeli" or
"Yasmin" is the national flower.
In the Philippines, Jasminum sam-
bac is the national flower. Adopted
in 1935, it is known as
"Sampaguita" in the islands, and is
usually strung in garlands which
are then used to adorn religious
images.
In Hawaii, Jasminum sambac is
called "Pikake" and is perhaps the
most popular of flowers. It is often
strung in leis and is the subject of
many songs.
In Tunisia, it's the national flower
As a weed
Jasminum fluminense, which is
sometimes known by the inaccurate
name "Brazilian Jasmine", is an
invasive species in Hawaii and
Florida. J. dichotomum, also called
Gold Coast Jasmine, is also an
invasive weed in Florida.
Arranging Fine Perfume Compositions - FLORAL ALDEHYDIC - Jasmin
109
Aromatic International LLC - USA
Jasmin
Aromatics Adl - France
Acetate Benzyle 99 %
Artiste Flavor / Essence - USA
Jasmine Oil
Astral Extracts - USA
Jasmin Absolute ( Grandiflorum )
Jasmin Absolute ( Sambak )
Augustus Oils Ltd. - U.K.
Jasmin Abs.
Axxence SARL - France
Jasmin Sambac Concrete
Bansal Aroma - India
Jasmine Oil
Bedoukian Research, Inc. - USA
Di Hydro Iso Jasmone
Alfa Chem - USA
Jasmin Abs. - Various sources
Jasmin Concrete - Various sources
AROMATIC CHEMICALS
Benzyl Acetate
Amen Organics - India
Jasmine Oil
Jasmine Oil Pg
Jasmine Sambac
Jasmin Abs.
AROMATIC MATERIALS
Benzyl Acetate
Anupan Industries - India
Benzyl Acetate FCC
Aromatic Collection - France
Jasmin Egyptian
Jasmin Fragrance Chemicals
BOOK # 1 ( A - H )
A & E Connock Ltd. - U.K.
Aromatic Waters
Jasmine
A. Fakhry & Company - Egypt
Jasminum Grandiflorum
Jasmine Organic
c,a,w Jasmine
Jasmine Special
Jasmine ( Benzol )
A.N.E.C. - France
Jasmin
Adrian Industries - France
Benzyl Acetate
Albert Vieille SA - France
Jasmine Abs. - Egypt, India
Jasmine Abs. Sambac - India
Glen O. Brechbill
110
Berje Inc. - USA
Jasmine Absolute
AROMA CHEMICALS
Benzyl Acetate
Biolandes Parfumerie - France
Jasmine Absolute
Jasmine India Absolute
Jasmine Concrete
Bordas Destilaciones SA - Spain
Benzyl Acetate
Brighten Colorchem - The Neth.
Benzyl Acetate F.C.C.
Buckton Page Ltd. - U.K.
Jasmin Concrete
Guinea Hexane
Carrubba Inc. - USA
Jasmine Extract
Central States Chemical - USA
Jasmine Abs. - Egypt
Champon Vanilla, Inc. - USA
Benzyl Acetate
China Aroma Chemical Co. - China
Jasmine Abs.
Jasmine Concrete
Creative Fragrances Ltd. - USA
Jasmin Absolute Maroc - Morocco
Destilerias Munoz Galvez - Spain
Dist - FD Copeland & Sons
Jasmin Egyptian Abs.
Jasmin Moroccan Abs.
Diffusions Aromatiques - France
Produit De Synthese
Acetate De Benzyle
Super Cepionate
Eramex Aromatics - Germany
Jasmin Absolute / Concrete
Egyptian
Jasmin Sambac Absolute /
Concrete
AROMA CHEMICAL NATURAL
cis - Jasmone
dihydro - Jasmone
iso - Jasmone
Esencias y Materiales - Mexico
Acetato Bencilo
Hedione
China Perfumer - China
Jasmine Abs. Egypt
Jasmine Abs. India
Jasminum Sambac Abs.
Firmenich SA
Jasmolactone
Jasmophore
Givaudan SA
Jasmin Etoile Givco 144
Jasmone CIS
Quest Intl.
Benzyl Acetate
MDJ
Zeon Corp.
Jsminlactone
Jasmoneige
Chinessence Ltd. - China
Benzyl Acetate
Citral Oleos Essenciais - Brazil
Acetato Benzila
Acetato Di Methyl Benzil Carbinol
Hedione
Clos DAguzon - France
Jasmin Abs. / Concrete
Cosmark - Australia
Benzyl Acetate
111
Essencia, Aetherische Oele - Switz.
Jasmin Absolue Egypte
MATIERES PREMIERES AROMATIQUES
Acetate De Benzyle
Euma - Argentina
Jazmin Absoluto
FD Copland & Sons Ltd. - UK
Jasmin Moroccan Abs.
Fayyum Gharbya Aromatic - Egypt
Jasmine Abs.
Jasmine Concrete
Fine Chmical Trading Ltd. - U.K.
Jamrosa
Jasmine Grandiflorum Abs.
Jasmine Grandiflorum Concrete
Jasmine - Juuhi
Jasmine Sambac
Firmenich SA - Switzerland
Hedione
Hedione FAM
Hedione HC
Jasmolactone
Jasmophore
Jasmin AB13
Jasmin AB410
Jasmopyrane
Jasmopyrane Forte
Global Essence Ltd - U.K.
Jasamansi Oil
Jasmine Absolute / Concrete
AROMATIC CHEMICALS
Benzyl Acetate
Good Scents Company - USA
Jasmin Oil Italy
Jasmin Absolute Chassis
Jasmin Concrete Absolute
Jasmin Pommade Absolute
Jasmin Italy Concrete
Jasmin Morocco Concrete
AROMATIC CHEMICALS
Benzyl Acetate
Di Hydro Jasmone
Di Hydro Jasmone Ketone
FLORAL
Benzyl Acetate
Di Hydro Iso Jasmonate
Di Hydro Jasmone
Di Hydro Jasmone Lactone
Jasimia
Jasmin
Jasmin Absolute Chassis
Jasmin Absolute Concrete Egypt
Flavodor - The Netherlands
Jasmin Absolute
Fleurchem, Inc. - USA
Benzyl Acetate
Flexitral, Inc. - USA
Jasphene
Frencharoma Imports Co., - USA
Benzyl Acetate
Frey - Lau GmbH - Germany
Jasmine Absolute
Givaudan Fragrance Corp. - Switz.
AROMATIC CHEMICALS
Isojasmone B - 11
Jasmone Cis
Jasmonyl LG
Myraldyl Acetate
Quest International - Givaudan
Benzyl Acetate Coeur
Benzyl Propionate
Di Hydro Jasmone
Iso Jasmone
Jasmacylene
Jasmatone
112
Glen O. Brechbill
Jasmin Absolute Pommade
Jasmin Acetate
Jasmin Concrete Italy
Jasmin Concrete Morocco
Jasmin Cyclopentanol
Jamsin Cyclopentanone
Jasmin Lactone
Jasmin Oil Italy
Jasmin Pyranol
Jasmin Pyranone
Jasmone - ( Z )
Jasmone Iso
Jasmone Para
Graham Chemical Corp. - USA
Jasmin Oil
Benzyl Acetate, natural
Benzyl Propionate
Benzyl Salicylate
Iso Jasmone natural
HC Biochem - China
Jasmine Abs.
Jasmine Concrete
H. Reynaud & Fils - France
Jasmin Absolute - Egypte
Handa Fine Chemicals Ltd. - UK
Jasmine Oil
Jasmine Concrete
Jasmin Extract
AROMATIC CHEMICALS
Benzyl Acetate
Benzyl Propionate
Kato Aromatic S.A.E. - Egypt
Jasmin Benzol Abs.
Jsmine Hexane
Jasmin Benzol Concrete
Jasmine Hexane Concrete
Katyani Exports - India
Jsmine Abs.
Jasmine Abs.
Jasminum Sambac
Attar Jasmine
Laboratoire Monique Remy - France
( IFF )
Jasmine Abs. Egypt
Jasmine Abs. India
Jasmin Concrete Ref. A
Lluche Essence - Spain
Jasmine Abs.
SYNTHETIC AROMA CHEMICALS
Benzyl Acetate
Benzyl Propionate 98 %
Benzyl Propionate 99 %
Benzyl Salicylate
Di Hydro Jasmone
Di Methyl Benzyl Carbinyl
Acetate
Iso Jasmone Pure
Benzyl Salicylate
Hemani Ex - Imp Corp. - India
Benzyl Acetate
Benzyl Propionate
Benzyl Salicylate
BOOK # 2 ( I - Z )
IPRA Fragrances - France
Jasmin Egypte Abs.
Jasmin Indes Abs.
Jasmin Egypte Concrete
Jasmin Indes Concrete
Jasmin Indes Sambac Concrete
International Flavors & Frag. - USA
Benzyl Propionate
Benzyl Salicylate
Fleuramone
Jasmal
Jasmelia
Jessemal
JC Buck Ltd. - U.K.
Jasmin Indian Abs.
Joint American Ventures - USA
Benzyl Acetate
Kao Corporation - Japan
MDJ
113
Jasmaone
Jsmine Lactone
Jasmone - CIS
Jasmopyrane
Jasmopyrane Forte
Jeseate
Methyl Jasmonate
Lorthar Streek - Germany
Jamsone Cis
Jasmonyl LT
Myraldyl Acetate
M.X.D. Enterprise System - Korea
Jasmine Egyptian Abs. Extra
Mane SA - France
Jasmin Abs. MD
MelChem Distribution - USA
Benzyl Acetate Nat.
Moraflor Aromatiques - France
Jasmine Oil MF
PFW Aroma Chemicals - The Neth.
Iso Jasmone
Paul Kaders Gmbh - Germany
Jasmin Concrete / Absolute
AROMA CHEMICALS
Benzylacetate
Jasmonato Metila
Jasmonil ( Jessemal )
Jasmophore
Jessemal
Polarome International - USA
Jasmin Abs. ( Various Sources )
AROMATIC CHEMICALS
Benzyl Acetate
Benzyl Acetate Pure
Premier Chemical Corp. - India
Jasmine Granfiflorum Abs.
Jasmine Sambac Abs.
AROAMTIC OILS
Benzyl Acetate
Di Hydro Iso Jasmone
Prima Fleur - USA
Jasmine Abs.
Egypt
Jasmine Smabac Abs.
Jasminum Sambac
India
Prodasynth - France
Benzyle Acetate
Di Hydro Jasmone
Quality Analysis Ltd. - U.K.
Jasmin Abs. - Egypt, Ukraine
Payan Bertrand SA - France
Jasmine Egypt Abs.
Jasmine India Abs.
Penta Manufacturing - USA
Benzyl Acetate
Perfume & Flavor Manuf. - Aust.
Jasmin Oil - Grandiflorum
Jasminum Oil - Grandiflorum
Peter Jaris Cosmetic - U.K.
Jasmin EG
Jasmin EO
Petigara Chemicals - India
Jasmine
( Grandi Florum ) Abs.
Jasmine
( Grandi Florum ) Concrete
Jsmin Sambac Abs.
Jasmine Sambac Concrete
Petit Marie - Brazil
Jasmine Abs.
Jasmin Egipto Abs.
AROMATIC CHEMICALS
Acetato Benzila
Acetato Di Metil Benzil Carbinol
Hedione
Iso Jsmone
Jasmal
Jasmolactona
114
Glen O. Brechbill
Rai Ingredients - Brazil
Jasmone CIS
Myraldyl Acetate
Raj Aromatics Aroma Corp. - India
Henkel
DMBC - A
Robertet SA - France
Jasmin Chassis Abs.
Jasmin Eyptian
Osmanthus CC Abs.
Rosetta Enterprises, LLC - USA
Benzyl Propionate
SAT Group - India
Jasmine Oil
SRS Aromatics Ltd. - U.K.
Jasmine Abs. Egypt A
Jasmine Abs. Egypt 2455
Jasmine Abs. India A
Jasmine Abs. India 1057
Jasmine Extract
AROMA CHEMICALS
Benzyl Acetate
Benzyl Propionate
Benzyl Salicylate
Sundial Fragrances & Flavors - USA
Benzyl Propionate
Sunrose Aromatics - USA
Jasmine Grandiflorum -
20 % in Jojoba
Jasmine Sambac
Jasmine Abs., Egypt
SINGLE NOTES 10 % DILUTION
Jasmine Grandiflorum - 10 %
in Jojoba
Symrise Gmbh - Germany
Benzyl Acetate
Benzyl Propionate
Benzyl Salicylate
Jasmaprunat
Lactojasmone
Synaco Group - Belgium
Jasmin Absolute
Jasmin Concrete
Synarome - France
Jasmarome Absolute
Jasmin 8188 - 1
Jasmin 8842 - 1
Jasmin Concretarome
China
Jasmin Abs.
Jasmin Concrete
Sarcom Inc. - USA
Benzyl Acetate 99 % China
Science Lab - USA
Jasmine Oil
Seema International - India
Jasmine Oil
Sensient Essential Oils - Germany
Jasmin Abs. - India
Shanghai M & U Intl. - China
Benzyl Acetate
Di Methyl Benzyl Carbinyl - A.
NATURAL AROMA CHEMICALS
Benzyl Acetate
Shreeji Aroma - India
Jasmin Abs.
AROMATIC CHEMICALS
Benzyl Acetate
Hedione
Som Santi House - India
Jasmine Abs. - Nat.
Sovimpex - France
Acetate Benzyle
115
Egypt
Jasmin Abs.
Jasmin Concrete
France
Jasmin Abs.
Jasmin Concrete
India
Jasmin Abs.
Jasmin Concrete
Italy
Jasmin Abs.
Jasmin Concrete
Morocco
Jasmin Abs.
Jasmin Concrete
South Africa
Jasmin Abs.
Jasmin Concrete
Th. Gyer Gmbh - Germany
Benzylacetate
Jasmaprunat
Tianjin Jiete Fine Chemical - China
Benzyl Acetate
Benzyl Propionate
Firmenich, S.A. - Switz.
Jasmolactone
IFF - USA
Jasmal
Jessemal
Nippon Zeon Co., Ltd.
Claigeon ( MDJ )
Methyl Jasmonate
Supercepionate
Synarome
Jasmylone 99
AROMATIC CHEMICALS
Benzyl Acetate
Di Hydro Iso Jasmonate - Pfw
Jasmal - IFF
Jasmin Lactone - Zeon
Jasmolactone - Firmenich
Jasmorange
Jasmylone 99 - Synarome
Jesemal - IFF
Methyl Jasmonate - Zion
W & W Australia Pty Ltd. - Aust.
Benzyl Acetate
Di Methyl Benzyl Carbinyl
Acetate
Treatt Inc. - USA
France
Jasmin
Egypt
Jasmin
China
Jasmin
India
Jasmin
Trisenx, Inc. - USA
Jasmin Floraline ( P - 99 )
LIBRARY OF FINE CHEMICALS
Benzyl Acetate
Hedione
U.K. Aromatic & Chemicals - India
Benzyl Propionate
Uhe Company, Inc. - USA
Benzyl Acetate
Ventos, Ernesto S.A. - Spain
Jasmine Abs.
SPECIALTY PRODUCTS
116
Glen O. Brechbill
Walsh, Johm D., Co. - USA
Jasmin Abs.
AROMATIC CHEMICALS & NATURALS
Benzyl Acetate
Benzyl Propionate
Benzyl Salicylate
Hedione
Jasmacylene
Jasmal
Jasmatone
Jasmin Absolute Oliffac
Jasmopyrane
Jasmopyrane Forte
Jessemal
Wambesco Gmbh - Denmark
Jasmin Egyptian Absolute
AROMATIC CHEMICALS
Benzyl Propionate
Iso Jasmone
Zeon Corporation - Japan
Cepionate
Cis - Jasmon
Claigeon
Jasmin Lactone
Super Cepionate
Zeppin
OTHERS
cis-2-Pentenol
2-n-Heptyl Cyclopentanone
2-n-Hexyl Cyclopentanone
117
Jasmin Notes
Benzyl Acetate Strong sweet fresh fruity floral odor of many types of flowers.
Benzyl Acetate Coeur A richer, softer jasmin.
Benzyl Acetate FFC Floral, jasmine
Benzyl Propionate Fruity sweet, floral undertone type jasmin.
Claigeon Jasmin-like.
Cepionate Powdery long lasting, jasmin.
Cis-Jasmon Diffusive, fruity jasmin.
Cis-2-Pentenol Powerful, jasmin, like.
CIS Jasmone Diffusive, warm spicy fruity, dilution - floral.
Delphone Powerful, diffusive and complex floral aromatic and fruity, jasmin.
Di Hydro Iso Jasmone Lactonic, floral, jasmine.
Di Hydro Iso Jasmonate Fruity odor floral jasmin.
Di Hydro Jasmone Fruity sweet floral woody with a powdery nuance.
Di Jasmone A full, deep jasmin type odor, intensely floral.
D M B C - Acetate Fresh powerful fruity floral odor of jasmin, lily.
2-Heptyl Cyclopentanone Floral, herbal, jasmin-like.
2-n-Hexyl Cyclopentanone Green floral, jasmin-like.
118
Glen O. Brechbill
Iso Jasmone Isomeric floral jasmin mixture.
Iso Jasmone Pure Powerful, latonic, celery - jasmin.
Jasmacylene Low cost, fresh diffusive green, woody anise, herby, - jasmin.
Jasmal Powerful oily herbaceous warm jasmin odor.
Jasmaprunate Fruity like apple jasmin dry slightly green like wild grapes.
Jasmatone Diffusive, warm spicy celery, with a hint of frutiness, - jasmin.
Jasmelia A pungent jasmin, jasmone odor with a hint of parsley.
Jasmin # 187 A sweet floral fruity jasmin floral complex.
Jasmin AB13 Economical but tenacious base with a fruity top note.
Jasmin AB 410 Long lasting, absolute note of floral jasmin.
Jasmin Abs. Floral jasmin not overly sweet like cananga oil.
Jasmin Abs. Concrete Syn A pleasant fruity sweet floral jasmin odor.
Jasmin Abs. Italian Max. The purest heart of the floral jasmin.
Jasmin Abs. Oliffac An economical approach of the precious jasmin flower.
Jasmin Chassis Abs. Resembles orange flower absolute, warm sweet and heavy.
Jasmin Concrete With a varying source odor is waxy, fatty sweet jasmin like.
Jasmin Egyptian An extremely fine floral jasmin fragrance.
Jasmin Egyptian C2612 Has fine jasmin top note quite diffusive.
Jasmin Etoile Givco 144 Spicy warm floral.
Jasmin Lactone Powerful cream, jasmine, peach coconut note.
Jasmin Petals Abs. Egypt A sweet strong jasmin green floral petal like odor.
Jasmin 74D A reconstitution of jasmin absolute.
119
Jasmine The sweetest and most celebrated flower of North Africa.
Jasmolactone Sweet fruity floral jasmin.
Jasmolactone CNC Oily, fruity floral petal like suggestive of many floral absolutes.
Jasmo Lactone XC Jasmin absolute odor with a buttery note.
Jasmoneige Natural jasmin.
Jasmonol Floral waxy odor works well in tuberose, honeysuckle and jasmin.
Jasmonyl Intensely sweet floral jasmin.
Jasmonyl Acetate Jasmin somewhat pear like odor.
Jasmophyll Sweet floral fruity like jasmin slight green herbal woody nuance.
Jasmorange Fruity balsamic, green floral, aldehydic.
Jasmopyrane Rich, waxy, sweet floral jasmin complex.
Jasmopyrane Forte More tenacious floral jasmin, and has a slight mushroomy note.
Jessemal Herbaceous floral jasmin.
Lactone CIS Jasmone # 114 Soft floral odor of jasmin.
Lactone of CIS Jasmone # 411 A floral waxy, jasmine absolute odor. Used in jasmine fragrances.
Methyl Jasmonate The floral heart of jasmin, petal soft and tenacious, elegant.
Methyl Jasmonate Extra More powerful and floral than standard material extremely diffusive.
Zeppin Diffusive, sweet, noble jasmin.
120
Glen O. Brechbill
3 Kephalis
46 Coumane
9 Vanillin
.1 Civet Augaflor 9
25 Galaxolide 50 in DPG
2 Amberfleur
6 Benzyle Benzoate
3 Rose Crystals
6 Methyl Benzoate
10 Sandec Givco 75
1 Iso - Rose
4 Irotyl
7 Ethyl Vanillin
8 Aquanol
14 Eugenol
5 Laurinal
18 Liral
3 Methyl Dianthanol
31 Rose Substitute
3 Bnezophenone
4 Ivyal
5 Ionone Alpha Extra
67 Benzyl Acetate
8 Kir Base # 9741
.1 Alcohol C - 9
7 Irisone Bis
5 Citronellol 850
3 Citronica
1 Verdantiol - Givaudan
36 Geraniol 970
.1 Tea Essence
10 Lyral
3 Nerol Petals
5 Jasmonyl Acetate
2 Pearalate
.1 Tea Essence
2 Eugenyl Acetate
3 Muguet Aldehyde
6 C - 14 Peach
3 Iso Eugenol
1 Stemone
1 Florosia
.2 Geranyl Acetate
1 Vanilla Resinoid
1,000
Floral Aldehydic - Jasmin # 1a
121
Glen O. Brechbill
Floral Aldehydic - Jasmin # 1b
.1 Alcohol C - 9
7 Irisone Bis
5 Citronellol 850
3 Jasmonyl Acetate
38 Geraniol 970
.1 Mirabelle 2000 D
10 Lyral
3 Nerol Petals
5 Jasmonyl Acetate
2 Pearalate
.1 Tea Essence
2 Eugenyl Acetate
3 Muguet Aldehyde
6 C - 14 Peach
1 Para Cresyl Redistilled
1 Stemone
1 Florosia
.2 Geranyl Acetate
1 Vanilla Resinoid
1,000
3 Iso E Super
46 Coumane
9 Vanillin
2 Amberfleur
6 Benzyl Alcool
3 Rose Crystals
7 Methyl Benzoate
10 Sandec Givco 75
1 Iso - Rose
6 Iso Jasmone
4 Irotyl
7 Ethyl Vanillin
8 Aquanol
14 Eugenol
18 Liral
3 Iso - Eugenol
32 Rose For Soap Base
3 Bnezophenone
4 Jasmin P.G.
5 Ionone Pure 100 %
24 Muskylein
67 Benzyl Acetate
8 Kir Base # 9741
122
Floral Aldehydic - Jasmin # 1c
.1 Alcohol C - 9
7 Irisone Bis
5 Citronellol Prime
3 Citronica
36 Geraniol 970
.1 Tea Essence
10 Lyral
3 Nerol Petals
5 Jasmone
2 Pearalate
.1 Tea Essence
2 Eugenyl Acetate
3 Muguet Aldehyde
6 Aldehyde C - 14
3 Carnaline
1 Stemone
1 Florosia
.2 Geranyl Acetate
1 Vanilla Resinoid
1,000
3 Osyrol
45 Coumane
.1 Civet Augaflor 9
2 Amberfleur
6 Benzyl Benzoate
3 Rose Crystals
4 Methyl Benzoate
10 Sandec Givco 75
1 Damascenia 185 SA
4 Irotyl
7 Ethyl Vanillin
8 MelonOrg
14 Eugenol
5 Laurinal
18 Liral
3 Methyl Dianthanol
35 Rose Substitute
3 Bnezophenone
4 Ivyal
5 Ionone Alpha 60
24 Muscomer 810 P
67 Benzyl Acetate
8 Kir Base # 9741
123
Glen O. Brechbill
Floral Aldehydic - Jasmin # 1d
.1 Geraniol 600
7 Irisone Bis
5 Citronellol 850
3 Citronica
36 Geraniol 60
.1 Jasmin Petals Abs. Egypt
10 Lyral
3 Nerol Petals
5 Jasmonyl Acetate
2 Jasmin Oil M/F
1 Rose Oil - Turkey
.1 Tea Essence
2 Eugenyl Acetate
3 Muguet Aldehyde
6 C - 14
3 Iso Eugenol
1 Petilyn
1 Florosia
.2 Acetate de Geranyle
1 Vanilla Resinoid
1,000
3 Sandalore
46 Coumane
10 Vanillin
.1 Civet Augaflor 9
22 Musk T - Takasago
2 Iso E Super
6 Benzyle Benzoate
3 Rose Crystals
6 Methyl Benzoate
10 Sandec Givco 75
3 Iso - Rose
4 Jasmin Oil Italy
7 Ethyl Vanillin
8 Aquanol
14 Eugenol
5 Iso Jasmone
2 Dianthanol
31 Rose Substitute # 60
3 Bnezophenone
4 Iridales
24 Musk TMII
67 MDJ Super
8 Kir Base # 9741
124
Floral Aldehydic - Jasmin # 1e
.1 Alcohol C - 9
5 Citronellol 850
3 Citronica
1 Aurantiol
36 Geraniol 970
.1 Jasmin Absolute - Egypt
6 Cinnamalva
10 Mallow
3 Nerol Petals
5 Jasmonyl Acetate
2 Pearalate
.1 Tea Essence
2 Eugenyl Acetate
3 Muguet Aldehyde
6 Aldehyde C - 14
3 Iso Eugenol
1 Liveche
1 Neryl Acetate
.2 Fleuramone
1 Vanilline
1,000
3 Woodynol II - FFC Aroma
46 Di Hydro Coumarex
9 Vanisal
.1 Civet Powder # 1B
2 Amber Core - Kao Corp. - Japan
6 Benzyl Benzoate
3 Rose Crystals
6 Methyl Benzoate
10 Sandec Givco 75
1 Iso - Rose
4 Jasmin Oil
7 Ethyl Vanillin
8 Ozonfleur
14 Eugenol
5 Laurinal
310 ( DPG )
3 Methyl Dianthanol
31 Rose Substitute
3 Bnezophenone
4 Ivyal
24 Musk Xylene ( IFRA )
67 Super Ceptionate
8 Kir Base # 9741
125
14 Koavonne
5 Ambrox DL
3 Rose Crystals
12 Sandela
7 Vanillin
39 Musk 50 DPG
3 Amberfleur
8 Galaxolide 50
4 Ethyl Vanillin
1 Alpha Damascone
51 Benzylacetate
3 Jasmophore
29 Eugenol
1 Iso Jasmone
5 Galbanum Resinoid
6 Lioral
3 alpha - Ionone
10 Rose Substitute
5 Acetate Benzyle 99 %
1 Damascenia 185 SA
18 Laurine Extra
1 Iso Rose
.1 Alcohol C - 9
Glen O. Brechbill
3 Citronellol 750
1 Rose Acetate
3 Cetonal V
9 Wardia Substitute
6 Bourgeon De Cassis
4 Bourgenal
1 Neroli Oliffac
2 Cananga Odorata
9 Hydroxyciol
.1 Undecavertol
3 Wardia
25 Linalol S 97
6 Myraldyl Acetate
3 Jasilyn
2 Phyllos
1,000
126
3 Citronellol 750
1 Rose Givco 188
3 Cetonal V
9 Wardia Substitute
4 Bourgenal
1 Neroli Oliffac
2 Cananga Odorata
9 Hydroxyciol
.1 Undecavertol
3 Wardia
25 Linalol S 97
6 Myraldyl Acetate
3 Jasilyn
2 Phyllos
7 Orange Oil of California ( Sweet )
1,000
14 Iso E Super
5 Ambrox DL
3 Rose Crystals
10 Sandela
7 Vanillin
39 Musk 50 DPG
3 Amberfleur
4 Ethyl Vanillin
2 Alpha Damascone
51 Benzy Acetate FCC
3 Jasmophore
28 Eugenol
5 Galbanum Resinoid
6 Lioral
4 Irisone Bis
10 Rose Substitute
1 Damascenia 185 SA
32 Geraniol 60
18 Lyral
1 Adoxal
.1 Jasminum Sambac Abs.
127
Glen O. Brechbill
3 Citronellol 98 %
1 Rose Acetate
3 Cetonal V
12 Wardia Substitute
4 Scennal
1 Neroli Oliffac
1 Cananga Odorata
9 Hydroxy Citronellal Di Methyl A.
.1 Undecavertol
4 Wardia - Firmenich
25 Linalol S 97
3 Myraldyl Acetate
3 Jasilyn
2 Jasmine Oil Pg
1,000
5 Ambrox DL
3 Rose Crystals
12 Sandela
7 Vanillin
35 Musk 50 DPG
8 Muskylein
4 Ethyl Vanisal
1 Alpha Damascone
51 Benzylacetate
3 Jasmophore
1 Iso Jasmone
5 Galbanum Resinoid
6 Lioral
3 Iridales
11 Rose Substitute
1 Damascenia 185 SA
70 alpha Ionone Pure
18 Laurine Extra
1 Rosa Crystals
.1 Jasmine Abs. - Egypt, India
128
3 Citronellol 800
1 Rose Acetate
3 Cetonal V
4 Bourgenal
1 Neroli Oliffac
2 Cananga Odorata
6 Lilivert
.1 Undecavertol
3 Wardia
26 Linalol 98 %
6 Myraldyl Acetate
3 Jasilyn
2 Phyllos
1,000
14 Koavonne
5 Ambrox DL
3 Rose Crystals
12 Sandec Givco 83
7 Vanillin
39 Galbanolide
3 Patchouli Amber
8 Galaxolide 50
4 Ethyl Vanillin
1 Damascenone
51 Benzylacetate
3 Jasmophore
29 Eugenol
1 Iso Jasmone
5 Galbanum Resinoid
6 Jasmin Etiole Givco 144
3 Myraldyl Acetate
10 Rose For Soap Base 73
1 Damascenia 185 SA
34 Geraniol 970
18 Laurine Extra
3 Iso Rose
.1 Alcohol C - 9
7 Geraniol from Citral
129
Glen O. Brechbill
3 Citronellol 750
1 Rose Acetate
3 Cetonal V
9 Wardia Substitute
8 Ionone Alpha Coeur
4 Bourgenal
1 Nerolin Crystals
2 Cananga Odorata
9 Hydroxyciol
.1 Folione
3 Wardia
25 Linalol S 97
6 Benzyl Propionate - Hemani Ex -
3 Jasilyn
2 Methyl Benzoate
7 Orange Orpur Italy - Givaudan
1,000
14 Koavonne
5 Ambrox DL
3 Rose Crystals
12 Sandela
7 Vanillin
39 Musk 50 DPG
3 Amberfleur
8 Galaxolide 50
4 Ethyl Vanillin
1 Alpha Damascone
3 Jasmophore
29 Eugenol
1 Iso Jasmone
5 Galbanum Resinoid
6 Lioral
3 Myraldyl Acetate
10 Rose Substitute
5 Acetato Benzila
1 Damascenia 185 SA
18 Laurine Extra
1 Damascenia 185
.1 Jasmin Abs. Italian Max.
5 Carnaline
38 Linalylacetate
130
24 Linalol 99 %
3 Musk Emeressence
4 Iso Raldeine 95
20 Geraniol Prime
1 Ylang Givco 225
5 Nerol
1 Floranton T
4 Wardia
1 Florymoss
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 Ionone 100 %
1 Tuberose Oliffac
2 Stemone
1 Iso Rose
1 Farnesyl Acetate
35 Linalyl Acetate
1,000
.1 Musk Abs. C Less
7 Benzyl Benzoate
45 Coumane
8 Woodynol I
6 Vanilla Beans
2 Anisyl Alcohol
16 Propionate Benzila
5 Methyl Benzoate
6 Vanillin
2 Benzophenone
5 Cinnamic Alcohol
28 Eugenol
.1 Jasmin Indes Abs.
64 Methyl Ionone Alpha Coeur
1 Beta Damascone
2 Vanillyl Alcohol
9 Ionone Pure
17 Lioral
2 Nerolin Crystals
.1 Rosalva
131
Glen O. Brechbill
24 Linalol Pur
3 Musk Emeressence
4 Iso Raldeine 95
20 Geraniol Prime
1 Ylang Givco 225
5 Nerol
1 Floranton T
4 Wardia
1 Pomarose
3 Top Galbanum
2 Ylang Odorata Oil
1 Ionone 100 %
1 Tuberose Oliffac
2 Stemone
1 Iso Rose
1 Farnesyl Acetate
35 Linalyl Acetate
1,000
.1 Musk Abs. C Less
7 Benzyl Benzoate
39 Coumrin Substitute
8 Woodynol II
6 Vanilla Beans
5 Cashmeran
2 Anisyl Alcohol
5 Methyl Benzoate
6 Vanillin
2 Geranodyle
1 Irisone Bis
5 Cinnamic Alcohol
28 Eugenol
5 Heliotropine
1 Jasmone - ( Z )
2 Vanillyl Alcohol
17 Lioral
2 Nerolin Crystals
.1 Rosalva
132
24 Linalol 99 %
3 Musk Gazalle
4 Iso Raldeine 70
20 Geraniol Prime
1 Ylang Givco 225
1 Neryl Acetate
1 Floranton T
3 Wardia
1 Florymoss
5 Ylang Odorata Oil
1 Ionone 100 %
1 Tuberose Oliffac
1 Iso Jasmone
1 Farnesyl Acetate
34 Acetate De Linalyle
1,000
.1 Exaltolide
7 Benzyl Alcohol
45 Coumane
19 Musk Pierre
8 Woodynol I
6 Vanilla Beans
2 Anisyl Alcohol
5 Methyl Benzoate
6 Vanillin
2 Benzophenone
1 Green Ivy Givco 117
5 Cinnamic Alcohol
28 Eugenol
.1 Jasmine Abs.
1 Beta Damascone
2 Vanillyl Alcohol
9 Ionone Pure
17 Lyral
2 Nerolin Crystals
.1 Rosalva
28 Etilen Brassilato
133
Glen O. Brechbill
24 Linalol 99 %
3 Musk Emeressence
4 Iso Raldeine 95
20 Geraniol Prime
1 Ylang Givco 225
4 Isoeugenol ( Dianthanol )
5 Nerol
1 Floranton T
4 Wardia
1 Acetate Geranyle
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 Ionone 100 %
1 Tuberose Oliffac
2 Stemone
1 Benzyl Propionate
1 Farnesyl Acetate
35 Linalylacetate
1,000
.1 Musk Abs. C Less
7 Benzyl Benzoate
45 Coumane
8 Chandanone
6 Vanilys - Pfw
2 Anisyl Alcohol
5 Methyl Benzoate
6 Vanillin
2 Benzophenone
5 Cinnamic Alcohol
28 Eugenol
5 Coriander Oil - Russian
1 Beta Damascone
17 Lyrame Super
1 Neroli Artessence
.1 Rosalva
28 Musk Clear
134
5 Citronellol Pur
3 Methyl Phenyl Acetate
.1 Jasmine Abs. Sambac - India
4 Iso Raldeine 95
20 Geraniol 60
1 Petilyn
5 Nerol
1 Floranton T
4 Wardia
1 Florymoss
3 Scennal
2 Ylang Odorata Oil
1 y - Irone
1 Tuberose Oliffac
2 Stemone
1 Farnesyl Acetate
35 Linalyl Acetate
1,000
.1 Musk Abs. C Less
8 Benzyl Benzoate
45 Coumane
19 Macrolide
8 Woodynol I
6 Vanilla Beans
2 Anisyl Alcohol
5 Methyl Benzoate
6 Vanillin
2 Benzophenone
1 Givescone
4 Cinnamic Alcohol
28 Eugenol
1 Geranium 2222
2 Vanillyl Alcohol
9 Ionone Pure
17 Meijiff
2 Nerolin Crystals
.1 Rosalva
24 Linalol 99 %
135
Glen O. Brechbill
4 Hawthorn
1 Iso Rose
15 Wardia
3 Apple Blossom
2 Acetate De Benzyle
1 Tuberose Oliffac
1 Meranol
2 Petilyn
1 Rhodiaflor SnH
4 Nutmeg Indonesia
.1 Leaf Alcohol
1 Eugenyl Acetate
1 Benzylacetate
18 Linalyl Acetate
1,000
7 Kephalis
45 Coumarin Crystals
1 Civet Tincture
32 Phthalate DEthyl
4 Amberfleur
8 Vanillin
2 Heliotropine
1 Thymol Crystals
6 Lilial
5 Jasmoneige
6 Vanillinethyl
2 Methyl Benzoate
1 Jasmine
3 Citronellol
22 Carnation Base
7 Mallow
.1 Alcohol C - 9
20 Geraniol 970
2 Jasmylone 99
4 Boisnal
28 Ethyl Linalool
136
4 Aubepine
1 Iso Jasmone
15 Wardia
3 Apple Blossom
1 Tuberose Oliffac
1 Meranol
2 Petilyn
1 Bugaflor - Synarome
4 Nutmeg Indonesia
.1 Jasmine Sambac
1 Eugenyl Acetate
1 Benzylacetate
18 Linalyl Acetate
1,000
7 Kephalis
1 Civet Tincture
32 Phthalate DEthyl
4 Amber
8 Vanillin
2 Heliotropine
1 Thyme Oil White ( O ) - Canada
6 Liral
17 Musk TM II
5 Jasmoneige
6 Ethyl, Vanillin
2 Methyl Benzoate
1 Jasmine
3 Citronellol
24 Carnation Base
7 Mallow
.1 Alcohol C - 9
23 Jasmine Oil P.g.
20 Geraniol 970
2 Jasmylone 99
2 Liveche
24 Linalool
.7 Perryfix - Creations Aromatiques
137
Glen O. Brechbill
4 Anis Aldehyde
.1 Folione
1 Iso Rose
15 Wardia
1 Tuberose Oliffac
1 Meranol
2 Scennal
1 Rhodiaflor SnH
4 Nutmeg W.I.
.1 Leaf Alcohol
1 Eugenyl Acetate
1 Benzylacetate
18 Linalyl Acetate
1,000
9 Kephalis
45 Coumane - Flexitrail
1 Civet Tincture
4 Candanone
8 Vanillin
2 Heliotropine
1 Thymol Crystals
6 Hedione
4 Jasmoneige
6 Vanillinethyl
2 Methyl Benzoate
1 Iso Jasmone
22 Carnation Base
7 Mallow
.1 Alcohol C - 9
20 Geraniol 60
2 Jasmin Oil - Grandiflorum
2 Muguet Aldehyde
28 Linalool
.7 Anapear - Givaudan
138
4 Hawthorn
.1 Tuberose Abs. India A
1 Iso Rose
15 Wardia
3 Verdox
1 Muguet Aldehyde
1 Tuberose Oliffac
1 Meranol
2 Petilyn
1 Rhodiaflor SnH
4 Nutmeg Indonesia
.1 Leaf Alcohol
1 Eugenyl Acetate
1 Jasmopyrane
18 Linalyl Acetate
1,000
7 Kephalis
1 Civet Tincture
32 Phthalate DEthyl
4 Amberonne
8 Vanillin
2 Heliotropine
1 Thymol Crystals
6 Lilial
5 Jasmoneige
6 Vanillinethyl
2 Methyl Benzoate
1 Methyl Jasmonate
3 Citronellol - L
7 Mallow
.1 Alcohol C - 9
20 Geraniol 970
2 Super Cepionate
4 Boisnal
25 Linalool
.7 Pearalate
139
Glen O. Brechbill
1 Anisic Aldeido
1 Iso Rose
15 Wardia
3 Apple Oliffac
1 Meranol
2 Petilyn
1 Iso - Eugenol
4 Nutmeg Indonesia
.1 Leaf Acetal
1 Eugenyl Acetate
1 Benzylacetate
18 Linalyl Acetate
1,000
7 Kephalis
1 Civet Tincture
32 Phthalate DEthyl
8 Vanillin
2 Heliotropine
1 Thyme Oil Red
3 Laurine Extra
2 Jasmoneige
6 Vanillinethyl
2 Methyl Benzoate
1 Jasmine
3 Citronellol
25 Carnation Base
7 Mallow
.1 Alcohol C - 9
20 Geraniol 970
2 Jasmacylene
4 Boisnal
28 Ethyl Linalool
.7 C - 14 ( Peach ) Pure
140
5 Muguet Alcohol
3 Mallow
7 Orange Flor Deco
.2 Jasmine Abs.
.1 Geraniol 600
2 Eugenyl Acetate
3 Kir Base # 9741
1 Iris Beure Oil
3 Benzyl Propionate
4 Wardia
.4 Alcohol C - 10
2 Nerol
3 Iridales
.1 Florymoss
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Benzyl Alcohol double distilled
8 Amyris Oil ( West Indies ) Sandal
.1 Civet Tincture
4 Heliotropine
5 Woodynol I
9 Vanillin
.1 Polarose
3 Iritone
103 Muguet Base
25 Geraniol 60
1 Rosone
4 Laurine Extra
22 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Alpha Damascone
4 Iridales
15 Citronellol Nat.
1 Iso Jasmone
33 Linalol S 97
141
Glen O. Brechbill
5 Muguet Alcohol
3 Mallow
7 Orange Flor Deco
.2 Jasmine Grandiflorum
.1 Geraniol 600
2 Eugenyl Acetate
3 Kir Base # 9741
1 Folrosia
3 Benzyl Propionate
4 Wardia
.4 Alcohol C - 10
2 Nerol
3 Iris Beure Oil
.1 Florymoss
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Benzyl Alcohol FR
.1 Civette Givco 85
4 Heliotropine
5 Woodynol II
9 Vanillin
.1 Polarose
3 Iritone
45 Geraniol 60
1 Rosone
4 Laurine Extra
22 Eugenol
6 Di Methyl Octanol
4 Lyral
1 Alpha Damascone
4 Irisone Bis
15 Citronellol - High Purity
1 Iso Jasmone
33 Linalol S 97
142
5 Muguet Alcohol
3 Mallow
8 Orange Flor Deco
.2 Jasmine Abs.
.1 Meranol
2 Eugenyl Acetate
3 Kir Base # 9741
1 Iris Beure Oil
2 Jasmolactona
4 Wardia
.4 Alcohol C - 10
2 Rhodinol Ex Citronellal
3 Iridales
.1 Florymoss
24 Linalyl Acetate
1 Neryl Acetate
1,000
8 Sandalore
.1 Civet Tincture
4 Heliotropine
5 Woodynol I
9 Vanillin
.1 Polarose
3 Iritone
62 Zeppin
103 Muguet Base
25 Geraniol 60
1 Rosone
4 Laurine Extra
22 Eugenol / Clove
6 Di Methyl Octanol
4 Troenan
1 Alpha Damascone
4 Ionone 100 %
15 Citronellol Nat.
33 Linalol S 97
143
Glen O. Brechbill
5 Muguet Alcohol
3 Petilyn
7 Orange Flor Deco
.2 Jasmine Abs.
.1 Geraniol 600
2 Eugenyl Acetate
3 Kir Base # 9741
3 Damascenia 185 SA
4 Wardia
.4 Alcohol C - 10
2 Nerol
3 Benzyle Acetate
.1 Jasmin Etoile Givco 144
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
8 Amyris Oil ( West Indies ) Sandal
.1 Civet Tincture
4 Heliotropine
5 Sandel SR
9 Vanillin
.1 Polarose
3 Iritone
62 Benzylacetate
103 Muguet Base
25 Geraniol 60
1 Rosone
4 Laurine Extra
22 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Alpha Damascone
4 Iridales
15 Citronellol
1 Iso Jasmone
33 Linalol S 97
144
5 Muguet Alcohol
3 Mallow
5 Orange Flor Deco
.2 Jasmine Abs.
.1 Geraniol 600
2 Eugenyl Acetate
3 Bourgenal
1 Iris Beure Oil
3 Benzyl Propionate
.4 Alcohol C - 10
1 Iridales
.1 Florymoss
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Alcool Benzila
9 Sandalwood - Australia
.1 Civet Artificial 1a
4 Heliotropine
5 Osyrol
9 Vanillin
.1 Polarose
3 Iritone
109 Muguet Base
25 Geraniol 60
1 Rosa Crystals
4 Laurine Extra
23 Eugenol
6 Di Methyl Octanol
4 Hydroxyciol
2 Damascone
4 Iridales
15 Citronellol
1 Iso Rose
33 Linalol S 97
145
Glen O. Brechbill
3 Orange Oil Sweet
25 Geraniol Prime
1 Ribes Mercaptan - Cassis
34 Linalool Nat.
1 Nutmeg E.I.
4 Geranium Oil pure
2 Cassifix
1 Damascenonel
5 Aldeido Muguet
.3 Jasmine Abs. - Egypt
2 Carnaline
3 Iso E Super
1 Scennal
27 Linalyl Acetate
5 Meranol
3 Jasmin Egyptian C2612
1,000
.1 Musk Abs. CLess
6 Vanilline
8 Benzyl Salicylate
1 Sandol-SA
2 Nerolin Crystals
3 Cashmeran
52 Benzyl Acetate
4 Sandela
6 Diola
5 Ethyl Vanillin
1 Sandalore
3 y - Irone
6 Methyl Benzoate
5 Gardenia 1110
1 Jasmin Oil Pg
3 Geranyl Acetate
.1 Rose Turkey Abs.
3 Jasmin 74 D
.1 Alcohol C - 9
146
3 Orange Oil of Florida ( C.P. )
25 Geraniol Prime
34 Linalool
1 Cinnamon Leaf Oil - India
2 Cassifix
1 Rose ( 752 P59 )
5 Aldeido Muguet
2 Carnaline
1 Scennal
27 Linalyl Acetate
5 Meranol
1,000
.1 Musk Abs. CLess
6 Vanilline
8 Benzyl Salicylate
1 Amberfleur
2 Nerolin Crystals
6 Musk Xylene ( IFRA )
52 Benzyl Acetate
4 Sandela
3 Diola
2 Isoeugenol
5 Ethyl Vanillin
1 Sandalore
6 Methyl Benzoate
5 Gardenia 1110
1 Jasmin Oil Pg
3 Geranyl Acetate
.1 Rose Turkey Abs.
3 Jasmin 74 D
.1 Perryfix - Creations Aromatiques, S
147
Glen O. Brechbill
3 Orange Oil Sweet
25 Geraniol Prime
34 Linalool Nat.
1 Nutmeg E.I.
4 Geranium Oil pure
1 Damascenonel
5 Aldeido Muguet
2 Carnaline
3 Iso E Super
1 Meijiff
27 Linalyl Acetate
5 Meranol
1,000
.1 Musk Abs. CLess
6 Vanilline
8 Benzyl Salicylate
1 Sandol-SA
2 Nerolin Crystals
3 Cashmeran
58 Benzyl Acetate
4 Sandela
6 Diola
5 Ethyl Vanillin
1 Sandalore
3 y - Irone
6 Methyl Benzoate
5 Gardenia Fleuriff
2 Citronellol S 97
1 Jasmophore
3 Geranyl Acetate
.1 Rose Turkey Abs.
3 Jasmin 74 D
.1 Geranium over Roses
148
3 Orange Oil Sweet
25 Geraniol Prime
34 Linalool Nat.
1 Nutmeg E.I.
4 Geranium Rose Givco 83
2 Cassifix
1 Damascenonel
5 Muguet Aldehyde
2 Carnaline
3 Bacdanol
1 Scennal
27 Linalyl Acetate
5 Meranol
3 Jasmine Oil
1,000
.1 Musk Abs. CLess
6 Vanillin
38 Coumarin
39 Galaxolide 50
8 Benzyl Salicylate
1 Sandol-SA
23 Hydroxyciol
2 Nerolin Crystals
3 Muskylein
52 Benzyl Acetate
4 Osyrol
6 Diola
5 Ethyl Vanillin
1 Sandela
3 y - Irone
6 Methyl Benzoate
5 Gardenia Acetal
3 Geranyl Acetate SP
3 Jasmin Etiole Givco 55
.1 Ionone
149
Glen O. Brechbill
3 Orange Oil Sweet
25 Geraniol 970
34 Linalool Nat.
1 Nutmeg E.I.
4 Geranium Oil pure
2 Cassifix
1 Damascenonel
5 Aldeido Muguet
2 Carnaline
3 Iso E Super
1 Scennal
27 Linalyl Acetate
5 Meranol
1,000
.1 Musk Abs. CLess
6 Vanillys - Pfw
39 Macrolide
8 Benzyl Salicylate
1 Sandol-SA
1 Oranger Crystals
3 Cashmeran
52 Benzyl Acetate
4 Sandela
6 Diola
5 Ethyl Vanillin
84 alpha - Ionone
1 Sandalore
7 Methyl Benzoate
5 Gardenia 1110
3 Geranyl Acetate
.1 Rose Turkey Abs.
3 Jasmin 74 D
.1 Fleuramone
150
1 Di Methyl Octanol
3 Neroli Egypt
5 Florantone T
30 Geraniol Pure
.1 Tuberose Augaflor 17
29 Trinalool
.1 Undecavertol
1 Jasmonyl Acetate
2 Nerol
.1 Leaf Alcohol
3 Thesaron
6 Orangeflor
1 Verotyl
3 Eugenyl Acetate
36 Linalyl Acetate
1,000
7 Vanillin
4 Cashmeran
9 Benzyl Benzoate
.1 Civet Powder # 1A
17 Osyrol
5 Musk Emeressence
1 Rose Crystals
4 Heliotropine
.1 Anisyl Alcohol
7 Hedione
4 Vanillinethyl
.1 Iso Rose
12 Kephalis
5 Cashmeran
1 Rosone
23 Eugenol
14 Laurine Extra
2 Magnol
7 Citronellol
6 Geraniol Ex Citronella
5 Mallow
11 Wardia
8 MelonOrg
151
Glen O. Brechbill
1 Di Methyl Octanol
3 Neroli Morocco
5 Florantone T
31 Geraniol Pure
29 Ethyl Linalool
.1 Undecavertol
1 Jasmonyl Acetate
1 Meranol
.1 Leaf Alcohol
3 Benzyl Propionate
6 Orangeflor
1 Verotyl
1 Scennal
3 Eugenyl Acetate
36 Linalyl Acetate
1,000
7 Vanillin
4 Traseolide
9 Benzyl Benzoate
35 ( DEP ) - Di Ethyl Phthalate
5 Musk Emeressence
1 Rose Crystals
4 Heliotropine
.1 Anisyl Alcohol
7 Hedione
4 Vanillinethyl
.1 Iso Rose
12 Kephalis
5 Cashmeran
1 Rosone
23 Eugenol
14 Laurine Extra
2 Magnol
3 Benzyl Acetate Coeu
8 Citronellol 850
5 Geraniol Ex Palmarosa
6 Mallow
11 Wardia
8 Melon Oliffac
152
1 Di Methyl Octanol
3 Neroli Egypt
3 Florantone T
34 Geraniol Extra
29 Trinalool
.1 Undecavertol
1 Jasmonyl Acetate
2 Nerol
.1 Leaf Alcohol
6 Orangeflor
1 Verotyl
37 Linalylacetate
1,000
7 Vanillin
4 Cashmeran
9 Benzyl Benzoate
17 Osyrol
5 Musk Emeressence
1 Rose Crystals
4 Heliotropine
.1 Anisyl Alcohol
7 Hedione
4 Vanillinethyl
.1 Iso Rose
12 Brahmanol
1 Rose Crystals Ex Benzaldehyde
14 Laurine Extra
2 Magnol
7 Citronellol - L
6 Geraniol Ex Citronella
2 Mallow
11 Wardia
8 Aquamor
153
Glen O. Brechbill
2 Mallow
11 Wardia
8 MelonOrg
1 Jasmone
3 Neroli Egypt
.1 Rose Bourbon Abs. - France
5 Florantone T
34 Geraniol Pure
29 Linalol Extra
.1 Undecavertol
1 Jasmonyl Acetate
2 Neryl Acetate
.1 Leaf Alcohol
3 Thesaron
6 Orangeflor
1 Lyrame Super
3 Eugenyl Acetate
36 Linalyl Acetate
1,000
7 Vanillin
4 Nepalva
9 Benzyl Benzoate
.1 Civet Powder # 3b
17 Osyrol
5 Musk Emeressence
1 Rose Crystals
4 Heliotropine
.1 Anisyl Alcohol
7 Iso Jasmone Pure
4 Ethyl Vanillin
.1 Iso Rose
136 Lilial
12 Kephalis
5 Cashmeran
1 Rose Crystals
23 Eugenol
14 Laurine Extra
2 Methyl Benzoate
7 Citronellol
6 Geraniol
154
1 Di Methyl Octanol
3 Neroli Egypt
5 Florantone T
30 Geraniol Pure
29 Trinalool
.1 Undecavertol
1 Jasmonyl Acetate
6 Methyl Octyl Ketone
2 Nerol
.1 Leaf Acetal
3 Thesaron
6 Orangeflor
3 Eugenyl Acetate
37 Linalyl Acetate
1,000
7 Vanillin
4 Musk Emeressence
9 Benzyl Benzoate
.1 Civet Ethiopia
5 Musk Emeressence
1 Rose Crystals
4 Heliotropine
.1 Anisyl Alcohol
4 Vanillinethyl
.1 Rose
12 Kephalis
5 Cashmeran
75 Ionone For Soap Base
1 Rosone
23 Eugenol
14 Laurine Extra
2 Magnol
7 Citronellol
6 Geraniol 80 %
3 Mallow
11 Wardia
8 Fruitaleur
155
Glen O. Brechbill
33 Linalol Pur
3 Di Hydro Coumarex
3 Troenan
.1 Ylang Ylang III
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tubereuse 181
4 Geranyl Acetate
6 Lyral
1 Wardia
.1 Geraniol 600
2 Pearalate
4 Acetate de Neryle
1,000
47 Coumane
1 Rose Crystals
.1 Anisyl Alcohol
35 DEP
1 Damascenone Alpha
5 Iris Beurre Oil
9 Vanilys
2 Cashmeran
3 Jasmon Oil M/F
11 Super Cepionate
2 Methyl Benzoate
1 Iso Eugenol ( Carnation )
6 Citronellol 70 %
36 Geraniol Savon
27 Eugenol / Clove
6 Phenafleur
2 Nerol
.1 Vanilla Sur Abs. CLess MD
1 Carnaline
.2 Alcohol C - 9
7 Bourgenal
156
33 Linalol Pur
3 Helional
3 Troenan
.1 Ylang Ylang III
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tubereuse 181
3 Geranyl Acetate
5 Laurinal
1 Wardia
.1 Geraniol 600
2 Pearalate
4 Neryle Acetato
1,000
47 Coumane
1 Rose Crystals
.1 Vanilla Resinoid
.1 Cinnamic Alcohol
35 DEP
1 Damascenone Alpha
5 Iris Beurre Oil
9 Vanillin
2 Musk TM II
3 Jasmon Oil M/F
11 MDJ Super
2 Methyl Benzoate
1 Carnaline
6 Citronellol 70 %
36 Geraniol 970
27 Eugenol / Clove
6 Jasmin EG
2 Nerol
1 Eugenyl Acetate
.2 Alcohol C - 10
157
Glen O. Brechbill
29 Linalol Pur
3 Di Hydro Coumarex
2 Lyral
3 Troenan
.1 Ylang Ylang III
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tubereuse 181
2 Isoeugenol
4 Geranyl Acetate
6 Lyral
.1 Iso Rose
2 Anapear
4 Acetate de Neryle
1,000
47 Coumane
1 Rose Crystals
.1 Anisylalcohol
25 DEP
4 Acetato DIso Eugenyl
1 Damascenone Alpha
9 Vanilys
2 Cashmeran
3 Carnation Oil M/F
11 Super Cepionate
4 Methyl Benzoate
6 Citronellol 70 %
36 Geraniol Ex Palmarosa Oil
4 Phenafleur
2 Nerol
1 Carnaline
.2 Alcohol C - 9
7 Stemone
158
33 Linalol 98 %
3 Methyl Lavender Ketone
3 Hyacinth PP
.1 Ylang Ylang III
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tubereuse 181
2 Methyl Dianthanol
4 Geranyl Acetate
6 Lyral
1 Wardia
.1 Geraniol 600
2 Pearalate
4 Geranyl Acetate
1,000
1 Benzophenone
.1 Anisyl Alcohol
35 DEP
2 Damascenone ( Firm )
5 Iris Beurre Oil
8 Vanilys
4 Cashmeran
3 Jasmin 8188 - 1
11 MDJ ( Mehyl Di Hydro Jasmonate )
2 Methyl Benzoate
6 Citronellol 70 %
36 Geraniol ( 970 ) Pure
27 Carnation Base
6 Phenafleur
2 Nerol
1 Carnaline
4 Ionone Alpha
.2 Alcohol C - 9
159
Glen O. Brechbill
33 Linalol Pur
3 Di Hydro Coumarex
2 Melonyl 85471 VMF
3 Troenan
.1 Ylang Ylang III
1 Iridales
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tubereuse 181
4 Geranyl Acetate
7 Lyral
1 Wardia
.1 Geraniol 600
2 Pearalate
4 Acetate de Neryle
1,000
47 Coumane
3 Rose Crystals
.1 Anisyl Alcohol
1 Damascenone Alpha
9 Benzyl Propionate
5 y - Irone
9 Vanilys
2 Cashmeran
3 Iso Jasmon
11 Super Cepionate
2 Methyl Benzoate
1 ( Carnation )
6 Citronellol 70 %
36 Geraniol Savon
27 Eugenol
6 Phenafleur
2 Nerol
1 Carnaline
3 Ionone Alpha
.2 Alcohol C - 9
7 Petilyn
160
27 Ethyl Linalool
3 Iso Rose
1 Tangerinol
3 Geranyl Acetate Pure - IFF
4 Top Muguet
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
.1 Fleuramone
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Hedione
1,000
.1 Civet Ethiopia
10 Benzyl Benzoate
5 Vanillin
11 Amyris Oil Extra - Payan Bertrand
51 Coumane
6 Iso & Super
4 Hydrofix R
1 Heliotropine
51 Benzyl Acetate
4 Fleuramone
5 Methyl Benzoate
.1 Alcohol C - 10
6 Lilivert
3 Citronellol Prime
7 Lyral
7 Benzylacetate
3 y - Irone
2 Myraldyl Acetate
3 Muguet Aldehyde
5 Iso Jasmon
1 Geraniol Pure
4 Jasmonyl Acetate
.1 Methy Octyne Carbonate Substitute
3 Orangeflor
5 Wardia
161
Glen O. Brechbill
27 Ethyl Linalool
3 Iso Rose
1 Tangerine Oil Florida
3 Geranyl Acetate
5 Mugone S 207 M
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
.1 2, 6 Nonadienal 1 al
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Hedione
1,000
.1 Civet Ethiopia
10 Benzyl Benzoate
5 Vanillin
11 Sandolen
51 Coumane
6 Iso & Super
4 Hydrofix R
1 Heliotropine
51 Benzyl Acetate
4 Fleuramone
5 Methyl Benzoate
.1 Alcohol C - 10
6 Lilivert
3 Citronellol Prime
1 Woodynol II
8 Lyral
7 Benzyl Acetate
3 y - Irone
24 Geraniol ( 970 ) Pure
2 Myraldyl Acetate
3 Muguet Aldehyde
7 Jasmony Acetate
1 Geraniol 60
4 Jasmonyl Acetate
3 Orangeflor
5 Wardia
162
27 Ethyl Linalool
3 Palmarosa India
1 Tangerinol
3 Geranyl Acetate
4 Lioral
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Wardia
1,000
.1 Civet Ethiopia
10 Benzyl Benzoate
5 Vanillin
11 Sandalore
51 Coumane
6 Iso & Super
4 Hydrofix R
1 Heliotropine
51 Benzyl Acetate
4 Fleuramone
7 Florasantal
5 Methyl Benzoate
.1 Alcohol C - 10
6 Lilivert
3 Citronellol Prime
1 Osyrol
7 Lyral
7 Benzylacetate
3 y - Irone
24 Geraniol 98 %
2 Myraldyl Acetate
3 Muguet Aldehyde
5 Iso Jasmon
4 Jasmonyl Acetate
.1 Violiff
3 Orangeflor
5 Apple Blossom
163
Glen O. Brechbill
27 Ethyl Linalool
3 Rose Acetate ( Rose Crysals )
1 Tangerinol
2 Mugone S 207 M
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
3 Palmarosa, India
2 Petilyn
.1 Anisyl Alcohol
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Hedione
1,000
.1 Civet Ethiopia
10 Hercolyn - D
5 Vanillin
11 Amyris Oil Extra - Payan Bertrand
48 Coumane
7 Hydrofix L
1 Heliotropine
50 MDJ Super ( Methyl D Hydro Jas. )
4 Fleuramone
7 Amyris Oil West Indies
5 Methyl Benzoate
.1 Alcohol C - 09
6 Lilivert
3 Citronellol Prime
7 Lyral
7 Benzylacetate
9 alpha Ionone
3 y - Irone
24 Geraniol Coeur
2 Myraldyl Acetate
3 Muguet Aldehyde
5 Jasmonil
1 Geraniol Pure
3 Orangeflor
5 Rhodinol
164
27 Ethyl Linalool
3 Iso Rose
3 Geranyl Acetate Pure - IFF
4 Lyrame Super
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Stemone
.1 Ionone Alpha White Coeur
1 Florantone T
.1 Galbanum Absolue
.1 Phyllos - Bell Flavors & Fragrances
2 Bourgenal
1,000
.1 Civet Ethiopia
10 Benzyl Benzoate
5 Vanillin
11 Sandal Wood Oil
51 Coumane
6 MCKhac
4 Hydrofix R
1 Heliotropine
51 Benzyl Acetate
4 Folrosia
5 Methyl Benzoate
.1 Alcohol C - 10
6 Lilivert
3 Citronellol Prime
7 Lyral
7 Benzylacetate
3 Irisone Bis
2 Myraldyl Acetate
3 Muguet Aldehyde
4 Jasmonil
1 Geraniol Pure
4 Jasmonyl Acetate
.1 Folione
3 Orangeflor
5 Alpha Damascone
165
44 Coumarin Substitute 5091 P
8 Ethylene Brassylate - Musk T
9 Benzyl Salicylate
47 Galaxolide 50
8 Vanillin
7 Hydroxyciol
6 Sandranol
45 Benzyl Acetate
1 Beta Damascone
4 Anisaldehyde
4 Ethyl, Vanillin
7 Methyl Benzoate
4 Citronellol 850
15 Lilivert
1 Cashmeran
8 Methyl Di Hydro Jasmonate
3 Sandasweet
24 Eugenol
3 Myraldyl Acetate
3 Muguet Aldehyde
1 Lacton Jasmon
Glen O. Brechbill
3 Laurine Extra
22 Linalol
3 Neroli Artessence
17 Geraniol Pure
4 Geranyl Acetate
6 Cassis Fragrance
3 Jasmin Oil P.G.
5 Vetiver Oil Indonesia
2 Irisone Bis
1 Grapefruit Oil of Texas ( White )
38 Linalyl Acetate
1 Rosilial
.1 Leaf Alcohol
3 Bergamal
1,000
166
3 Laurine Extra
22 Linalol 98 %
3 Neroli Artessence
17 Geraniol Pure
4 Geranylacetate
3 Jasmin Etiola Givco 271
2 Irisone Bis
35 Linalyl Acetate
1 Tangerinol
1 Amyl Salicylate
.1 Leaf Alcohol
2 Bergamal
1,000
44 Coumane
7 Musk T - Takasago
9 Benzyl Salicylate
4 Heliotropine
45 Galaxolide 50
8 Vanillin
7 Hydroxyciol
6 Sandalwood Oil West Indies
45 Benzyl Acetate
1 Beta Damascone
4 Anisaldehyde
4 Ethyl, Vanillin
7 Methyl Benzoate
4 Citronellol 850
15 Liral
1 Cashmeran
3 Sandasweet
24 Eugenol
1 Geranium Rose India
3 Myraldyl Acetate
3 Muguet Aldehyde
1 Jasmonil
167
Glen O. Brechbill
3 Laurine Extra
22 Linalol
.5 Meranol
3 Neroli Artessence
19 Geraniol Pure
4 Geranyl Acetate
6 Cassis Fragrance
3 Jasmin Oil P.G.
5 Vetiver Oil Java
2 Irisone Bis
38 Linalyl Acetate
1 Meijiff
.1 Leaf Alcohol
3 Bergamot Oil FCC
1,000
44 Helional - IFF
8 Musk T
9 Benzyl Salicylate
47 Galaxolide 50
8 Vanillin
7 Hydroxyciol
6 Sandalwood Oil W.I.
45 Benzyl Acetate
1 Damascone
4 Anisaldehydedimethylacetal
4 Ethyl, Vanillin
7 Methyl Benzoate
4 Citronellol 850
15 Lilivert
1 Musk Emeressence
3 Sandasweet
24 Eugenol
3 Myraldyl Acetate
3 Muguet Aldehyde
1 Jasmon
168
3 Lyral
22 Linalol
3 Methyl Jasmonate
17 Geraniol Pure
4 Geranyl Acetate
6 Cassifix
3 Jasmin Oil P.G.
2 Irisone Bis
36 Linalyl Acetate
1 Neroli Artessence
.1 Leaf Alcohol
3 Bergamal
1,000
8 Ethylene Brassylate - Musk T
9 Benzyl Salicylate
47 Galaxolide 50
8 Vanillin
7 Hydroxyciol
1 Beta Damascone
4 Anisaldehyde
4 Ethyl, Vanillin
7 Methyl Benzoate
4 Citronellol 850
13 Lilivert
1 Cashmeran
3 Sandasweet
25 Eugenol
1 Geranium Rose Bourbon
3 Myraldyl Acetate
3 Muguet Aldehyde
169
Glen O. Brechbill
3 Iso Jasmone Pure
22 Linalool
.5 Iso Rose
2 Neroli Oliffac
17 Geraniol Pure
5 Geranyl Acetate
6 Cassis Fragrance
3 Jasmin Oil P.G.
2 Irisone Bis
1 Grapefruit Oil of Fla. Cold Pressed
38 Linalyl Acetate
1 Tangerine Dancy Type
1 Rosilial
.1 Leaf Alcohol
1 DMBC - Acetato
3 Jasmonyl LG
1,000
44 Coumarin
9 Benzyl Salicylate
4 Heliotropine
8 Vanillin
7 Lioral
6 Sandiff - IFF
45 Benzyl Acetate
11 alpha - Amil Cinnamic Aldeido
1 Anisyl Alcohol
4 Anisaldehyde
4 Ethyl, Vanillin
7 Methyl Benzoate
4 Citronellol 850
17 Lilivert
1 Musk Emeressence
3 Sandalwood Oil New Caledonia
24 Eugenol
3 Myraldyl Acetate
75 Ionone Alpha 60
3 Muguet Aldehyde
1 Jasilyn
170
Convallaria majalis, commonly
known as the lily-of-the-valley, is a
poisonous woodland flowering
plant native throughout the cool
temperate Northern Hemisphere in
Asia and Europe.
It is possibly the only species in the
genus Convallaria (or one of two or
three, if C. keiskei and C. transcau-
casica are recognised as separate
species). In the APG III system, the
genus is placed in the family
Asparagaceae, sub family
Nolinoideae (formerly the family
Ruscaceae). It was formerly placed
in its own family Convallariaceae,
or earlier, like many lilioid mono-
cots, in the lily family Liliaceae.
A limited native population occurs
in Eastern USA (Convallaria
majalis var. montana). There is,
however, some debate as to the
native status of the American vari-
ety.
Description
C. majalis is a herbaceous perenni-
al plant that forms extensive
colonies by spreading underground
some botanists.
Convallaria majalis var. keiskei -
from China and Japan, with red
fruit and bowl-shaped flowers (now
widely cited as Convallaria keiskei)
C. majalis var. majalis - from
Eurasia, with white midribs on the
flowers
C. majalis var. montana - from the
USA, with green-tinted midribs on
the flowers
Convallaria transcaucasica is
recognised as a distinct species by
some authorities, while the species
formerly called Convallaria japoni-
ca is now classified as Ophiopogon
japonicus.
Garden Use
Convallaria majalis is a popular
garden plant, grown for its scented
flowers and for its ground-covering
abilities in shady locations. Some
consider it a weed, as it can spread
over a wide area in gardens and can
be difficult to contain or remove.
Muguet ( Lily of the Valley )
stems called rhizomes. New upright
shoots are formed at the ends of
stolons in summer, these upright
dormant stems are often called
pips. These grow in the spring into
new leafy shoots that still remain
connected to the other shoots under
ground, often forming extensive
colonies. The stems grow to 1530
cm tall, with one or two leaves
1025 cm long, flowering stems
have two leaves and a raceme of
515 flowers on the stem apex. The
flowers are white tepals (rarely
pink), bell-shaped, 510 mm diam-
eter, and sweetly scented; flowering
is in late spring, in mild winters in
the Northern Hemisphere it is in
early March. The fruit is a small
orange-red berry 57 mm diameter
that contains a few large whitish to
brownish colored seeds that dry to a
clear translucent round bead 13
mm wide. Plants are self-sterile,
and colonies consisting of a single
clone do not set seed.
Taxonomy
There are three varieties that have
sometimes been separated out as
distinct species or subspecies by
171
Arranging Fine Perfume Compositions - FLORAL ALDEHYDIC - Muguet
Various kinds and cultivars are
grown, including those with double
flowers, rose-colored flowers, var-
iegated foliage and ones that grow
larger than the typical species.
C. majalis 'Albostriata' has white-
striped leaves
C. majalis 'Green Tapestry',
'Haldon Grange', 'Hardwick Hall',
'Hofheim', 'Marcel', 'Variegata' and
'Vic Pawlowski's Gold' are other
variegated cultivars
C. majalis 'Berlin Giant' and C.
majalis 'Gant de Fortin' (syn.
'Fortin's Giant') are larger-growing
cultivars
C. majalis 'Flore Pleno' has double
flowers.
C. majalis 'Rosea' sometimes found
under the name C. majalis var.
rosea, has pink flowers.
Traditionally Convallaria majalis
has been grown in pots and winter
forced to provide flowers during
the winter months, both for as pot-
ted plants and as cut flowers.
All parts of the plant are poisonous
and the red berries may be attrac-
tive to children; if eaten even in
small amounts, the plant can cause
abdominal pain, vomiting, and a
reduced heart rate.
Christian Legend
The flower is also known as Our
symbolize the humility and purity
of its patron goddess
Other names and legends
Other names include May lily, May
bells, lily constancy, ladder-to-
heaven, male lily, and muguet
( French ).
Its scientific name, majalis or
maialis, means "of or belonging to
May", and old astrological books
place the plant under the dominion
of Mercury, since Maia, the daugh-
ter of Atlas, was the mother of
Mercury or Hermes.
In the "language of flowers", the
lily of the valley signifies the return
of happiness. Legend tells of the
affection of a lily of the valley for a
nightingale that did not come back
to the woods until the flower
bloomed in May.[citation needed]
[edit] Symbolic uses
Traditionally, lily of the valley is
sold in the streets of France on May
1.
Lily of the valley was the floral
emblem of Yugoslavia and it also
became the national flower of
Finland in 1967.
The Norwegian municipality
Lunner has a lily of the valley in its
coat-of-arms. It is the official
flower of Alpha Delta Phi fraterni-
ty, Pi Kappa Alpha fraternity,
Kappa Sigma fraternity, Delta
Omicron fraternity, Alpha Epsilon
Lady's tears, since, according to
Christian legend, the lily of the val-
ley came into being from Eve's
tears after she was driven with
Adam from the Garden of Eden,
although this seems unlikely, since
in Catholic parlance, "Our Lady"
refers to the Virgin Mary. Another
Christian legend states that Mary's
tears turned to lily of the valley
when she cried at the crucifixion of
Jesus, and because of this it is also
known as Mary's tears. According
to another legend, lilies of the val-
ley also sprang from the blood of
Saint Leonard of Noblac during his
battles with a dragon.
The name "lily of the valley" is also
used in some English translations
of the Bible in Song of Songs 2:1,
although whether or not the
Hebrew word "shoshana" (usually
denoting a rose) originally used
there refers to this species is uncer-
tain.
It is a symbol of humility in reli-
gious painting. Lily of the valley is
considered the sign of Christ's sec-
ond coming. The power of men to
envision a better world was also
attributed to the lily of the valley.
Norse mythology
In Norse mythology lilies are asso-
ciated with the virgin goddess of
spring Ostara. The lily symbolizes
life to Pagans and the blooming of
lily of the valley flower heralds the
feast of Ostara. The sweet fra-
grance and whiteness of the flowers
Glen O. Brechbill
172
Phi sorority, and Alpha Phi sorority.
It is also the official flower of Job's
Daughters International.
Lily-of-the-valley
Convallaria majalis (Liliaceae)
Lily-of-the-valley is a flower of the
forest-floor on poor and calcareous
soil. In Scania in southern Sweden,
for example, it is found in dense
stands close to the bed-rock. Lily-
of-the-valley is widely distributed
in the northern hemisphere. The
whole plant is poisonous.
The intense and elegant fragrance
of the flowers may be described as
"delicately floral, with a distinct
touch of greenness, surrounded by
fresh, rosy-lemony nuances"
In a study on the headspace of lily-
of-the-valley flowers using GC-MS
and GC-sniffing/GC-olfactometry
techniques, Brumke, Ritter and
Schmaus from the company
Dragoco (today Symrise, Germany)
identified some 23 compounds con-
tributing to the lily-of-the-valley
fragrance, among these several
newly detected trace constituents
[210]. The odorants could be divid-
ed into floral-rosy-citrusy notes:
citronellol (9.6 %), geraniol
(8.4%), nerol (1.3 %), citronellyl
acetate (1.1 %), geranyl acetate (3.3
%), geranial + benzyl acetate (0.96
%), neral (0.02 %), benzyl acohol
(35 %), phenethyl alcohol (0.78 %),
phenylacetonitrile (3.0 %), farnesol
(1.9 %) and 2,3-dihydrofarnesol
(0.88 %), green-grassy notes: (Z)-
3-hexen-1-ol (11 %), (Z)-3-hexenyl
acetate (7.8 %), (Z)-3-hexenal
(trace) and (E)-2-hexenal
(0.18 %), green pea and galbanum-
like notes: 2-isopropyl-3-
methoxypyrazine (trace) and 2-
i sobut yl - 3- met hoxypyr azi ne
(trace), fatty, waxy, aldehydic
notes: octanal (0.15 %), nonanal
(0.1 %), decanal (0.07 %) and
fruity, raspberry notes: beta-ionone
(trace). In another study of lily-of-
the-valley, phenylacetaldehyde
oxime was identified.
Etymologi: Lat. convallis, valley;
Lat. majalis, belonging to May or
blooming in May. In France lily-of-
the-valley is called muguet.
about new, artificial lily-of-the-val-
ley odorants
Already in 1908 it was discovered
that the compound 3,7-dimethyl-7-
hydroxyoctanal or hydroxycitronel-
lal has a beautiful lily-of-the-val-
ley-like odour. This famous odorant
is used in countless perfumes for
this nuance. Unfortunately it is
rather unstable and has shown up to
be slightly allergenic, so its use
level is restricted. Alcohols are
more stable, and a number of suc-
cessful alternatives have been
developed, Mayol and Florol
being examples.
173
Muguet Fragrance Chemicals
Glen O. Brechbill
BOOK # 1 ( A - G )
Alfa Chem - USA
Hydroxycitronellal
Lily Aldehyde
Anupam Industries - India
Green Acetate
Hydroxycitronellol
Hydroxy Extra
Leaf Acetal
Liffarome
Lilial
Lolitol
Lyral
Lyrame
Neo Folione
Stemone
Hydroxycitronellal A
Hydroxycitronellal Pur
Bell Flavors & Fragrances - USA
Lilie
Hydroxycitronellal
Methyl Anthranilate
Berje Inc. - USA
Hydroxycitronellal
Hydroxy Citronellal Dma
Hydroxycitronellal For Soap
Hydroxycitronellal Fractions
Brighten Colorchem - The Neth.
Hydroxy Citronellal
Lilial
Lyral
Carrubba Inc. - USA
Lily of the Valley
Hydroxycironellal
Lyral
Green Base Augaflor 10
Muguet Augaflor 16
Basf - Germany
Hydroxyciol
Hydroxycitronellal
Lysmeral
Nerolidol
Basf - Japan Ltd. - Japan
Hydroxyciol
Hydroxycitronellal
Jasmorange
Jasmorange F
Lysmeral
Hydroxy Citronellal
Di Methyl Acetal
174
Givaudan Fragrance - Switz.
Florhydral
Lilial
Quest International - Givaudan
Hydroxycitronellal Substitute
Hidroxicitronelal
Lilial
Lyral
Hidroxicitronelal
Lilial
Lyral
Essencia, Aetherische - Switz.
Folrosia
Hydroxycitronellal
Hydroxycitronellal
Di Methyl Acetal
Lilial
Lyral
Firmenich SA - Switz.
Doremox
Dorina SA E
Feuillage Vert Base 47661
The Good Scent Co. - USA
Lilyall
FLORAL - BY NOTE
Hydroxycitronelall
Hydroxycitronellal Di Ethyl Acetal
Hydroxycitronellal Di Methyl A.
Hydroxycitronellal / Methyl Anth.
Hydroxycitronellol
Lily
Lily Absolute
Lily of the Valley
Lily of the Valley Absolute
Lily Propanol
Lilyall
Lilyall / Methyl Anthranilate
Muguet Butanal
Muguet Butanol
Muguet Carbaldehyde
Muguet Carboxaldehyde
Muguet Ethanol
Muguet Nitrile
Muguet Oxtadienol
Muguet Propanol
Muguet Shiseol
Lily Aldehyde
Handa Fine Chemicals Ltd., - UK
Hydroxycitronellol
Trifernal
Hydroxycitronellal
Flexitral, Inc. - USA
Lioral
Dossinia Givco 167 PFM
Florhydral
Glycolierral
Silvial
Stemone
Quest Int. ( Givaudan ) - Switz.
Anther
Dorina SA
Dupical
Efetaal
Elintaal
Elintaal Forte
Hydroxycitronellal Sub AB 2040
Petilyn
Global Essence Ltd. - U.K.
Hydroxy Citronellal - Usa
Muguet Aldehyde
( Empetaal, Myraldene,
Myrac Aldehyde ) - Usa
175
BOOK # II ( I - Z )
Hydroxycitronellal
Ex - Citriodora
Hydroxycitronellal
Ex - Citronnelle
Innospc Inc. - USA
Hydroxycitronellal A
Hydroxycitronellal Pure 55
Lilestralis
Lilestralis 22
Lilivert
Melfloral
Methoxycitronellal PQ
IFF - USA
Lyral
Lyrame
Lyrame Super
Meijiff
Melafleur
Hydroxycitronellal
Hydroxycitronellal
Hydroxycitronellal DMA
Hydroxycitronellol
Liral
Raj Aromatics Corp. - India
IFF
Lyral
SRS Aromatics Ltd. - UK
SPECIALTY BASES
Lyronalia 3917 P
Mugone S 207 M
AROMA CHEMICALS
Hydroxycitronellal BM
Hydroxycitronellal Pure
Hydroxy Dimethyl Acetal
Lilanate 3275 P
Lilial / Methyl Anthranilate
Sundial Fragrances - USA
Hydroxycitronellal BM/CJ 99 %
Hydroxycitronellal Pure 99 %
FCC
Symrise GmbH & Co. - Germany
Farnesol Special
Farnesyl Acetate
Mugetanol
Muguet Aldehyde
Synarome - France
Hydroxycitroenllal
Di Ethyl Acetal
Muguet Des Bois 11793
Lothar Streek - Germany
Lilial
Stemone
Millennium Chemicals - USA
Hydroxycitronellal Pure FCC
Floralyn
Hidroxi Citronelal
Hidroxi Citronelal Di Metil Actal
Lilial
Liral
Stemone
Lily Aldehyde
Prodasynth - France
Hydroxycitronellal
Hydroxycitronellol
Hydroxy Diethyl Acetal
RAI Ingredients - Brazil
Florhydral
Lilial
Myraldyl Acetate
Glen O. Brechbill
176
Takasago International Corp. - Japan
Heliobouquet
Kovanol
1-Laurinal
Laurinal
Taytonn Pte Ltd. - Singapore
IFF
Lyral
Hydroxycitronellal
Lilestrallis Ordinary
Lilestrallis 22
Lilivert
Trisenx, Inc. - USA
Hydroxycitronellal
Lilial
Lyral
IFF
Hydroxycitronellol ( Hydroxiol )
AROMATIC CHEMICALS
Hydroxycitronellal - BASF
Hydroxycitronellol - IFF
( Hydroxiol )
Lily Alcohol ( Muguet Alcohol )
Meijiff
Muguesia
Muguet Aldehyde 50 DEP - IFF
Muguet Aldehyde 50 IPM - IFF
Stemone - Givaudan
Walsh, John D., Co. - USA
Hydroxycitronellal
Hydroxycitronellol
Hydroxyol
Lilestralis
Lilivert
Lyral
Hydroxycitronellal E
Hydroxycitronellal Ex Citronellal
Hydroxycitronellal Di Methyl
Acetal
Hydroxycitronellol synthetic
177
Acetate C - 9 Powerful fruity green leafy.
Aldehyde C - 6 Powerful fatty green grassy odor.
Aldehyde C - 8 Soft woody green mildly floral odor.
Alfania Base 38228 If a compound based on alfalfa most likely green or herbal.
Ambrose Abs. A very strong green floral type fragrance.
A C A Di Methyl Acetal Peculiar animal green odor.
Amyl Salicylate Sweet herbaceous green slightly floral.
Anisyl Formate Sweet herbaceous green somewhat dry odor.
Armoise Oil Herbaceous green.
Balinol A green floral compound.
Benzyl Formate Powerful fruity green herbaceous.
Bois Amberene Forte Green floral odor.
Bourgeon De Cassis Green.
Cassis Base 345 B A green fruity floral character.
Cassis Fragrance Strong green fruity floral fragrance.
CIS 3 Hexenyl Acetate Intensely green sharp fruity, very diffusive, dilution - banana.
CIS 3 Hexenyl Benzoate Mild, but tenacious green herbaceous woody odor.
Green Notes
Glen O. Brechbill
178
CIS 3 Hexyl Alcohol Powerful, and intensely green grassy odor.
CIS 3 Hexyl Salicylate. Sweet, slightly green balsamic odor.
Citralva Powerful oily green lemony fresh odor.
Citronellal Powerful fresh green citrusy, slight woody odor.
Citronellyl Formate Pw leafy green fruity rosy fresh and light Rem of geranium rose.
Cortex Aldehyde Powerful green woody sap like, but fresh aldehydic sweet.
Cumin Aldehyde Extremely powerful diffusive green spicy, slightly fatty odor.
Cuminic Aldehyde Pungent green herbaceous odor.
Cyclal - C Powerful green leafy floral odor.
Cyclamen Aldehyde Diffusive powerful floral green stem like odor.
Cyclo Galbonate Strong herbaceous green.
Decatone A strong green odor.
Di Ethyl Malonate Sweet pleasant fruity green reminiscent of apples.
Di M Phenyl Ethyl Carbinol Soft floral green.
Di Phenyl Oxide Harsh floral green.
Ethyl Levlulinate Ethereal fruity, somewhat green and sweet odor.
Ethyl 2 Methyl Butyrate Powerful diffusive green fruity pungent odor Rem of apple peels.
Farnesol Mildly floral delicately sweet oily fresh green odor.
Feuillage Vert Base 47.062 Green floral base possessing a cool natural freshness.
Fleuroxene A strong green floral woody nondescript odor.
Floral N A soft slightly green floral odor.
Floromat A floral green type odor.
179
Floropal Herbal fresh floral green.
Florosa A light sweet delicately floral green fragrance.
Florosia A light sweet green floral.
Galbanum Oil Spring green leafy like.
Galbex 183 Woody green herbaceous odor.
Geranium Bourbon Green leafy rosy strong.
Geranyl Acetone Fresh floral light, but rather penetrating sweet rosy light green.
Geranyl Formate Fresh somewhat dry green leafy rosy odor.
Grapefruit Body Fleurom Extremely powerful green grapefruit odor.
Gyrane A diffusive herbal green type odor.
Heptavert A green woody odor.
Herbaflorat Green sweet fruity.
Hexadrenyl Iso Butyrate Oily sweet fruity green apple, and galbanum like odor.
Hexyl Benzoate Woody green piney balsamic odor.
Homo Cumminic Aldehyde 50 Pw, diffusive green twiggy effect with cut grass hedge like odor.
Hyacinth Body Powerful leafy green with hyacinth note.
Hydratropic Aldehyde Very powerful penetrating green earth foilage.
Hydratropic A D M Acetal Powerful, earthy warm spicy green deep fruity odor.
Hydrofix L Sweet floral lily with a fresh green dry out.
Hydroxycitronellal X Citronellol Muguet sweet floral green, citrusy fresh.
Iso Cyclo Citral Powerful and diffusive floral green.
Jacintheme 135 SA Reminiscent of the green floral heart of hyacinth.
Glen O. Brechbill
180
Leaf Acetal Extra Powerful oily green odor with a sweet vegetable undertone.
Leaf Acetate Intensely green diffusive odor.
Leaf Alcohol Powerful fruity green slightly fruity.
Leaf Salicylate Sweet, slightly green balsamic odor.
Liffarome Violet green.
Ligustral Fresh green.
Lilial Sweet yet refreshing floral green.
Lile Strallis 22 Fresh light green floral, reminiscent of lilial.
Linalyl Formate Fresh citrusy green bergamot like.
Lyral Delicately sweet, light and floral.
Mallow A slightly green sweet floral fragrance.
Mayol A sweet green floral material.
Melon Enhancer A diffusive green melon type odor.
Melonyl 86471 VMF A very nice light sweet green melon odor very diffusive.
Methyl Heptenone Extra Fruity green slightly waxy.
Methyl Hexyl Ketone Pleasant floral bitter green, slightly musty.
Methyl Octine Carbonate Green violet leaf like.
Methyl Phenyl Carbinol Earth green reminiscent of gardenia and hyacinth.
Mimosa Abs. Essence A green floral delicately mimosa like.
Muguet Aldehyde 50 Diffusive green muguet lily type odor.
Nerolidol Mild and delicately floral slight green reminiscent of apple lily.
Nerolidyl Acetate Sweet woody and mildly refreshing green.
181
Olibanum Oil Strongly diffusive fresh terpeney green.
Orris Resinoid A very herbaceous slightly green floral like odor.
Phenyl Acetaldehyde Powerful green wood sap like.
Phenyl A Glycerine Acetal Peculiar oily green earthy ranty, but mild and sweet.
Phenyl Di Methyl Acetal Powerful green earthy flower stem like odor.
Phenyl Ethyl Acetal Warm, green leafy also rosy balsamic odor.
Phenyl Propyl Acetate Fresh floral powerful fruity green.
Phenyl Propyl Aldehyde Floral hyacinth, lilac, balsamic green.
Rhodinyl Formate Fresh leafy green delicate rosy.
Rhodinyl Valerate Heavy fruity, slight earthy green, but also sweet odor.
Rose Crystals Mild, at first very weak green rosy balsamic odor.
Scentenal Powerful green refreshing watery floral.
Stemone Green slightly herbaceous odor.
Strallyl Acetate Powerful and penetrating green floral in dilution.
Strallyl Propionate Balsamic green floral type odor.
Syringa Aldehyde Powerful and refreshing green fruity forest like sweet odor.
Taget Abs. Intensely herbaceous green with a sweet fruity undertone.
Tolyl Acetate Sweet floral fruity and mildly green.
Trans 2 Hexenyl Acetate Powerful and fresh green sweet fruity very natural odor.
Tri Cyclo Decenyl Acetate Powerful herbaceous green and fresh woody odor.
Undecavertol Strong, however not over powering slightly green floral odor.
Glen O. Brechbill
182
Vern Aldehyde Fresh green.
Vetchouli Green herbaceous odor.
183
Glen O. Brechbill
7 Ionone Alpha 60
5 Citronellol 850
3 Undecatriene
1 Florantone T
36 Geraniol 970
9 Laurine
3 Nerol Petals
3 Iso Jasmon
.1 Tea Essence
3 Parmanyl
5 C - 14 Peach
3 Eugenyl Acetate
1 Petilyn
3 Fleuramone
.2 Geranyl Acetate
1,000
Floral Aldehydic - Muguet # 1a
3 Amber Substitute
36 Coumarine Chine
9 Vanillin
.1 Civet Tincture
27 Musk R - 1
9 Benzyl Benzoate
3 Rose Crystals
6 Methyl Benzoate
1 Rhodinol - X
4 Irotyl
26 Carnation Base
7 Ethyl, Vanillin
3 Melon Org
5 Hidroxcitronelal
18 Lily of the Valley
3 Methyl Dianthanol
3 Geranodyle
4 Lioral
2 Ionone Alpha 60
.1 Alcohol C - 9
184
Floral Aldehydic - Muguet # 1b
7 Ionone Alpha 60
5 Citronellol 850
3 Folione
1 Florantone T
35 Geraniol 970
9 Laurine
3 Nerol Petals
4 Iso Jasmon
3 Scennal
.1 Tea Essence
3 Parmanyl
5 Aldehyde C - 14
3 Eugenyl Acetate
1 Petilyn
3 Fleuramone
.2 Geranyl Acetate
2 Vanillyl Alcohol
1,000
3 Amber Substitute
36 Coumarin
9 Vanillin
.1 Civet Tincture
3 Osyrol
9 Benzyl Benzoate
3 Rose Crystals
6 Methyl Benzoate
8 Sandela
1 Rhodinol - X
4 Irisone Bis
26 Carnation Base
7 Ethyl, Vanillin
3 Fruitaleur
5 Hidroxcitronelal
3 Eugenol
3 Geranodyle
4 Lioral
.1 Alcohol C - 10
185
Glen O. Brechbill
Floral Aldehydic - Muguet # 1c
7 Ionone Alpha 60
5 Citronellol 850
3 Undecatriene
1 Florantone T
36 Geraniol 970
9 Laurine
3 Nerol Petals
3 Palmarosa Oil - India
.1 Tea Essence
3 Parmanyl
5 C - 14 Peach
3 Eugenyl Acetate
1 Petilyn
3 Fleuramone
.2 Geranyl Acetate
1,000
36 Coumane
9 Vanilys - Pfw
.1 Oud Orpur - Givaudan
27 Musk Clear
2 Sandiff
9 Benzyl Benzoate
3 Roseone
6 Methyl Benzoate
1 Rhodinol - X
17 Amyl Cinnamic Aldehyde - Alpha
4 Irotyl
26 Carnation Base
7 Ethyl, Vanillin
3 Melon Org
5 Hidroxyciol
18 Mallow
3 Methyl Dianthanol
4 Lyral
1 Ionone Alpha
24 Musk 50 DEP
.1 Alpha Damascone
186
Floral Aldehydic - Muguet # 1d
7 Irisone Bis
5 Citronellol Prime
3 Undecatriene
1 Florantone T
36 Geraniol 970
9 Muguet Aldheyde
3 Nerol Petals
3 Iso Jasmon
.1 Tea Essence
3 Iris Beurre Oil
5 C - 14, Aldehyde
3 Eugenyl Acetate
1 Petilyn
2 Fleuramone
.2 Geranyl Acetate Prime
1 Vanilla Resinoid
1,000
3 Patchouli Old Oil
36 Coumarine Chine
7 Vanillin
.1 Civet Tincture
27 Musk R - 1
9 Benzyl Benzoate
3 Rose Crystals
9 Methyl Benzoate
8 Iso E Super
4 Irotyl
23 Carnation Base
7 Ethyl, Vanillin
3 Apple Oliffac
5 Hidroxcitronelal
3 Methyl Dianthanol
3 Geranodyle
4 Lysmeral
2 alpha - Ionone
.1 y - Irone
187
Glen O. Brechbill
Floral Aldehydic - Muguet # 1e
7 alpha - Ionone
5 Citronellol 850
3 Undecatriene
1 Florantone T
40 Geraniol 60
9 Kovanol
3 Nerol Petals
3 Jasmonyl Acetate
.1 Tea Essence
3 Neryl Acetate
5 Aldiedo C - 14
3 Eugenyl Acetate
1 Petilyn
3 Fleuramone
.2 Geranyl Acetate
1,000
3 Amberlyn
9 Vanillin
.1 Civet Tincture
24 Galaxolide 50 in DEP
9 Benzyl Benzoate
3 Rose Crystals
6 Methyl Benzoate
1 Rhodinol - X
4 Irotyl
29 Carnation Base
8 Ethyl, Vanillin
3 Melon Org
5 Hidroxcitronelal
3 Eugenol 100
3 Geranodyle
1 Tonka Beans Orpur - Givaudan
2 Ionone Alpha 60
55 Benzylacetate
.1 Iso Jasmone
188
1 Muguet Aldehyde
3 Ylang Core - IFF
9 Wardia Substitute
6 Cassis Bourgenons
4 Cassis Fragrance
2 Cananga Odorata
5 Nectaryl
3 Wardia
25 Linalol 99 %
4 Neroli - Comoros Island
6 Myraldyl Acetate
3 Irisone Bis
1 Phyllos
6 Orange Oil Sweet
1,000
14 Osyrol
5 Ambrox DL
3 Rose Crystals
7 Vanilys - Pfw
3 Hydroxycitronellal For Soap
8 Galaxolide 50
4 Ethyl Vanillin
2 Beta Damascone
51 Benzyl Acetate
3 Rose Crystals
26 Eugenol / Clove
1 Iso Jasmone
5 Cyclogalbaniff
6 Lyral
9 Rose Substitute
5 Hedione
6 Jacinthaflor
1 Damascenia 185 SA
38 Geraniol 100 %
8 Meijiff
.1 Alcohol C - 9
20 Ylang Ylang Substitute
38 Linalyl Acetate
189
Glen O. Brechbill
1 Muguet Aldehyde
3 Ylang Core - IFF
6 Cassis Bourgenons
4 Vert de Cassis Givco 119
2 Cananga Odorata
5 C - 14, Peach ( Aldehyde )
3 Wardia
25 Linalol 99 %
6 Myraldyl Acetate
3 Irisone Bis
1 Hydroxycitronellal - BASF
6 Orange Oil Orpur - France ( G. )
1,000
14 Osyrol
5 Amborol 50
3 Rose Crystals
7 Vanilys - Pfw
49 Musk 50 in DEP
8 Galaxolide 50
4 Ethyl Vanillin
2 Beta Damascone
51 Benzyl Acetate
3 Rosone
26 Eugenol / Clove
1 Iso Jasmone
5 Cyclogalbaniff
2 Stemone
9 Rose Substitute
5 Hedione
6 Jacinthaflor
1 Damascenia 185 SA
38 Geraniol 100 %
6 Petilyn
.1 Alcohol C - 9
38 Linalyl Acetate
190
1 Muguet Aldehyde
3 Ylang Core - IFF
9 Wardia Substitute
5 Cassis Bourgenons
4 Cassis Fragrance
2 Cananga Odorata
5 Nectaryl
2 Wardia
26 Linalol Pure
4 Neroli Oliffac
6 Myraldyl Acetate
3 Irisone Bis
1 Phyllos
5 Sweet Orange
1,000
14 Brahmanol F
5 Ambrox DL
3 Rose Crystals
7 Vanilys - Pfw
8 Galaxolide 50
4 Vanilys - Pfw
2 Beta Damascone
51 Benzyl Acetate
3 Rose Crystals
26 Eugenol / Clove
1 Iso Jasmone
5 Amyl Salicylate
6 Lyral
9 Rose Substitute
5 Super Cepionate - Zeon Corp. Japan
6 Jacinthaflor
1 Damascenia 185 SA
38 Geraniol 60
8 Lyrame Super
.1 Jasmin Abs. ( Various Sources )
7 Rhodinol X
38 Linalyl Acetate
191
Glen O. Brechbill
1 Muguet Aldehyde
3 Ylang Core - IFF
9 Wardia Substitute
4 Cassis Fragrance
1 Italian Mandarin Orpur - Givaudan
2 Iso Jasmone
5 Nectaryl
3 Wardia
25 Linalol 99 %
6 Myraldyl Acetate
3 y - Irone
1 Phyllos
1,000
14 Osyrol
5 Ambrox DL
3 Rose Crystals
7 Vanilys - Pfw
8 Galaxolide 50
4 Ethyl Vanillin
2 Beta Damascone
51 Benzyl Acetate
3 Rose Crystals
123 Hydroxycitronellal ( Muguet )
26 Eugenol / Clove
1 Jasmonyl Acetate
5 Cyclogalbaniff
6 Jasmin Province Base - LMR
9 Rose Substitute
5 MDJ - Methyl Di Hydro Jasmonate
6 Jacinthaflor
1 Meranol
38 Geraniol 100 %
8 Liral
.1 Jasmonil ( Jessemal )
38 Linalyl Acetate
3 Citronellol 80
192
1 Muguet Aldehyde
3 Fleuramone
6 Bourgenal
1 Cassis Fragrance
2 Cananga Odorata
5 Nectaryl
3 Wardia
25 Linalol 97 %
6 Myraldyl Acetate
3 Irisone Bis
1 Phyllos
6 Mandarin Israel Orpur - Givaudan
1,000
14 Amyris Oil W.I. ( Sandalwood )
5 Iso E Super
3 Rose Crystals
7 Vanilys - Pfw
3 Mugetanol
8 Galaxolide 50
4 Ethyl Vanillin
1 Geranium Oil - Chine
46 Benzyl Acetate
3 Rose Crystals
24 Eugenol
1 Iso Jasmone
5 Cyclogalbaniff
7 Mugone S 207 M
11 Rose Substitute
5 Hedione
6 Jacinthaflor
1 Rhodinol X
38 Geraniol 60
8 Melafleur
.1 Alcohol C - 9
7 Rose Acetate
38 Linalyl Acetate
3 Citronellol FCC
193
Glen O. Brechbill
24 Linalol
5 Citronellol 850
3 Musk Emeressence
6 Iso Raldeine 70
20 Geraniol 60
1 Ylang Givco 225
4 Iso Eugenol Tech
3 Geranyl Acetate
1 Floranton T
4 Wardia
1 Pomarose
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 Irisone Bis
3 Nerol Petals
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
35 Linalyl Acetate
1,000
.1 Civet Base # 9
8 Osyrol
27 Benzyl Salicylate 98 % - China
6 Vanilys
5 Cashmeran
3 Fleuramone
5 Methyl Benzoate
1 Benzophenone
1 Anisyl Alcohol
6 Cinnamic Alcohol
28 Eugenol
.1 Alcohol C - 9
1 Beta Damascone
2 Vanilla Resinoid
8 Iridales
16 Lyral
2 Nerol
.1 Rosalva
28 Galaxolide 50 ( DPG )
194
24 Linalol
5 Citronellol 850
3 Musk Emeressence
6 Irisone Bis
20 Geraniol 60
1 Ylang Givco 225
4 Iso Eugenol
3 Geranyl Acetate Coeur
1 Floranton T
4 Wardia
1 Pomarose
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 Ionone 100 %
3 Nerol Petals
2 Bourgenal
1 Fleur de Rose - Synarome, France
1 Farnesyl Acetate
35 Linalyl Acetate
1,000
.1 Civet Powder # 2 A
12 Benzyl Alcohol
8 Osyrol
8 Vanilys
5 Cashmeran
3 Fleuramone
5 Methyl Benzoate
6 Vanilla Resinoid
1 Benzophenone
1 Anisyl Alcohol
4 Cinnamic Alcohol
28 Eugenol
55 MDJ Super - Methyl Di Hydro Jas.
.1 Alcohol C - 9
3 Coriander Oil
1 Beta Damascone
2 Vanilla Resinoid
8 Iridales
16 Lyral
2 Nerol
.1 Rosalva
28 Galaxolide 50 ( DEP )
195
Glen O. Brechbill
22 Linalol
5 Citronellol 850
3 Musk Emeressence
6 Iso Raldeine 70
20 Geraniol 970
1 Ylang Givco 225
4 Iso Eugenol
3 Neryl Acetate
1 Floranton T
5 Wardia
1 Pomarose
3 Cyclogalbaniff
2 Jasmonyl Acetate
1 Irisone Bis
3 Nerol Petals
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
36 Linalyl Acetate
1,000
.1 Civet Artificial # 3D
8 Osyrol
6 Vanilys
3 Fleuramone
7 Methyl Benzoate
1 Anisyl Alcohol
2 Styrax Coeur
139 Hydroxycitronellal Pure 99 % BCC
28 Eugenol
.1 Alcohol C - 9
1 Delta Damascone
2 Vanilla Resinoid
16 Lyonalia 3917 P
2 Nerol
.1 Rosalva
196
24 Linalol 98 %
5 Citronellol 850
3 Musk Emeressence
6 Iso Raldeine 70
20 Geraniol 60
1 Ylang Givco 225
4 Iso Eugenol Tech
3 Geranyl Acetate Pure
1 Floranton T
4 Wardia
1 Irisone Bis
3 Top Galbanum
2 Ylang Odorata Oil
1 Irisone Bis
1 Methyl Tuberate
3 Orange Blossom Orpur - Givaudan
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
35 Linalyl Acetate
.3 Cassis Fragrance
1,000
.1 Civet Artificial
10 Benzylalcohol
8 Sandalore
6 Vanilys
5 Cashmeran
3 Fleuramone
5 Methyl Benzoate
1 Benzophenone
1 Anisyl Alcohol
5 Cinnamic Alcohol
28 Eugenol
.1 Alcohol C - 9
5 Cinnamon Leaf Oil
1 Damascenia 185 SA
2 Vanilla Resinoid
8 Iridales
16 Lyrame
2 Nerol
.1 Rosalva
28 Musk Xylene ( IFRA ) - Givaudan
197
Glen O. Brechbill
24 Linalool Special
5 Citronellol 850
3 Musk T
6 Irisone Bis
20 Geraniol 970
1 Ylang Givco 225
4 Jasmine Oil
3 Geranyl Acetate
1 Floranton T
4 Wardia
1 Iso Rose
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 Lilial
3 Nerol Petals
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
34 Linalyl Acetate
1,000
.1 Civet Base # 9
9 Benzyl Alcohol
41 Coumane
19 Macrolide
8 Osyrol
6 Vanilys
5 Musk
3 Fleuramone
5 Methyl Benzoate
1 Benzophenone
1 Anisyl Alcohol
6 Cinnamic Alcohol
28 Eugenol
.1 Alcohol C - 9
1 Beta Damascone
2 Vanilla Resinoid
8 Iridales
16 Lyrame Super
2 Lily of the Valley ( Muguet )
.1 Polarose
28 Cashmeran
198
3 Aubepine
.1 Undecavertol
1 Synabran
11 Wardia
3 Iris Beurre Oil
1 Hidroxicitronelal
1 Tuberose Oliffac
1 Meranol
1 Stemone
5 Nutmeg Indonesia
.1 Leaf Alcohol
1 Iso - Eugenol
1 Bourgenal
17 Linalyl Acetate
1,000
5 Kephalis
1 Civet Tincture
6 Kephalis
1 Heliotropine
8 Lyral
17 Musk Emeressence
5 Jasmoneige
7 Vanillinethyl
2 Methyl Benzoate
1 Folrosa Q
3 Citronellol 850
28 Eugenol / Clove
7 Lioral
.1 Alcohol C - 9
22 MDJ
20 Geraniol 60
12 Ionone Alpha 60
28 Linalol S 97
.7 Lily Alcohol
199
Glen O. Brechbill
3 Aubepine
.1 Undecavertol
1 Synabran
11 Wardia
3 Apple Oliffac
3 Iris Beurre Oil
1 Hidroxicitronelal
1 Tuberose Oliffac
1 Meranol
1 Stemone
14 Bergamot Oils
4 Nutmeg Indonesia
.1 Leaf Alcohol
1 Iso - Eugenol
1 Bourgenal
17 Linalyl Acetate
1,000
5 Sandiff
43 Coumarin
1 Civet Tincture
6 Kephalis
1 Heliotropine
8 Lyral
17 Musk Emeressence
5 Jasmoneige
7 Ethyl Vanillin
2 Methyl Benzoate
1 Irone V
3 Citronellol 850
28 Eugenol / Clove
.1 Alcohol C - 10
22 MDJ
20 Geraniol 98 %
3 Jasmonyl Acetate
4 Amyl Salicylate
25 Linalol S 97
.7 Muguet Alcohol
200
3 Aubepine
.1 Undecavertol
1 Synabran
14 Wardia
3 Iris Beurre Oil
1 Hidroxicitronelal
1 Tubereuse 181
1 Meranol
1 Scennal
4 Cinnamalva
.1 Leaf Alcohol
1 Iso - Eugenol
1 Bourgenal
17 Linalylacetate
1,000
5 Kephalis
1 Civet Tincture
6 Kephalis
1 Heliotropine
8 Lyral
17 Musk Emeressence
5 Jasmoneige
7 Vanillinethyl
2 Methyl Benzoate
1 Folrosa Q
3 Citronellol 850
28 Eugenol / Clove
7 Lioral
.1 Alcohol C - 9
22 MDJ
20 Geraniol 60
12 Ionone Alpha 60
25 Linalol S 97
.7 Mugone S 207 M
201
Glen O. Brechbill
1 Synabran
11 Wardia
3 Iris Beurre Oil
1 Petilyn
1 Tuberose Oliffac
1 Meranol
1 Stemone
1 Hydroxy Citronellal Di Methyl A.
5 Nutmeg Indonesia
.1 Leaf Alcohol
1 Iso - Eugenol
1 Bourgenal
17 Linalyl Acetate
1,000
5 Iso E Super
1 Civet Powder # 1 A
6 Kephalis
2 Amber Fleur
73 Laurine Extra
8 Lyral
5 Jasmoneige
7 Vanillinethyl
2 Methyl Benzoate
1 Folrosa Q
3 Citronellol Prime
28 Carnation Base
7 Lioral
.1 Alcohol C - 9
22 Acetato de Benzila
20 Geraniol 60
12 Ionone Alpha 60
28 Linalol S 97
.7 Hyacinth PP
202
3 Lilie
.1 Undecavertol
1 Thesaron
3 Apple Oliffac
3 Iris Beurre Oil
1 Hidroxicitronelal
1 Tuberose Oliffac
1 Meranol
1 Stemone
2 Fleuramone
5 Nutmeg Indonesia
.1 Leaf Alcohol
1 Iso - Eugenol
1 Bourgenal
17 Linalyl Acetate
1,000
5 Brahmanol
43 Coumane
1 Civet Paste
37 Musk Tibetine
6 Iso & Super - Citral, Brazil
7 Vanillin Crystals
1 Heliotropine
8 Troenan
5 Jasmonyl Acetate
7 Ethyl, Vanillin
2 Methyl Benzoate
1 Folrosa Q
3 Citronellol 850
28 Eugenol / Clove
7 Lioral
.1 Alcohol C - 9
20 Geraniol 60
12 Ionone Alpha 60
28 Linalol 98 %
.7 Lily Alcohol
203
Glen O. Brechbill
2 Muguet Alcohol
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Geraniol 600
3 CIS - Jasmone
2 Eugenyl Acetate
3 Bourgenal
1 alpha - Ionone
3 Iritone V
8 Wardia Base
.4 Vanillyl Alcohol
3 Nerol Petals
5 Hydrofix R
.1 Pomarose
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Benzyl Alcohol
.1 Civette Givco 77
5 Heliotropine
53 Musk NC
6 Sandalore
9 Vanillin
.1 Rosalva
10 Hedione
3 Petilyn
127 Muguet Base
25 Geraniol 60
8 Melafleur
1 Rosone
4 Hidroxicitronelal
21 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelol
1 Iso Rose
4 Irisone Bis
13 Citronellol Select
1 Jasmonyl Acetate
33 Linalol S 97
5 Hysimal
204
2 Muguet Alcohol
7 Orange Flor Deco
.2 Alcohol C - 10
.1 Geraniol 600
3 CIS - Jasmone
2 Eugenyl Acetate
3 Bourgenal
1 Ionone
3 Iritone V
8 Wardia Base
.4 Vanillyl Alcohol
3 Nerol Petals
5 Hydrofix R
.1 Jasmin Sambac Abs. - India
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
12 Benzyl Alcohol
.1 Civet - Ethiopia
5 Heliotropine
53 Serenolide
6 Amyris Oil W.I.
8 Vanillin
.1 Rosalva
8 Iso Jasmone
3 Petilyn
62 Benzyl Acetate
25 Geraniol 60
8 Meijiff
1 Rosone
4 Hidroxicitronelal
21 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelol
1 Rhodinol
4 Irisone Bis
13 Citronellol 850
1 Jasmonyl Acetate
33 Linalol 98 %
5 Troenan
205
Glen O. Brechbill
2 Top Galbanum
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Geraniol 600
3 CIS - Jasmone
3 Bourgenal
1 alpha - Ionone
3 Iritone V
8 Wardia Base
.4 Vanillyl Alcohol
3 Nerol Petals
2 Hydrofix L
.1 Pomarose
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Benzylalcohol
8 Sandalwood - South Australia
.1 Civet Augaflor 9
5 Heliotropine
4 Sandalore
7 Vanillin
.1 Galbanodor
6 Hedione
3 Petilyn
129 Muguet Base
25 Geraniol ( 980 Pure )
8 Melafleur
1 Rosone
21 Eugenol 100 %
6 Di Methyl Octanol
4 Laurine Extra - Givaudan
1 Iso Rose
.1 Vanilla Resinoid
4 Irisone Bis
13 Citronellol 850 ( BBA ) - IFF
1 Jasmonyl Acetate
33 Linalol S 97
5 Ionone 100 %
206
2 Muguet Alcohol
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Geraniol 600
3 CIS - Jasmone
2 Eugenyl Acetate
3 Bourgenal
1 alpha - Ionone
3 Iritone V
8 Wardia Base
1 Hyacinth PP
.4 Vanillyl Alcohol
3 Nerol Petals
1 Hydrofix R
.1 Pomarose
24 Linalyl Acetate
1 Tea Essence
1,000
11 Benzyl Alcohol
.1 Amberonne
5 Heliotropine
6 Sandalore
7 Vanilys - Pfw
.1 Rosalva
10 Hedione
3 Petilyn
129 Muguet Base
25 Geraniol 60
8 Melafleur
1 Rosone
1 Hydroxyciol
21 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelol
1 Iso Rose
4 Irisone Bis
16 Citronellol Prime
1 Jasmonyl Acetate
33 Linalol S 97
5 Petilyn
207
Glen O. Brechbill
2 Muguet Alcohol
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Geraniol 600
3 Cis - Jasmone
2 Eugenyl Acetate
3 Bourgenal
3 Iritone V
8 Wardia Base
3 Traseolide
.4 Vanillyl Alcohol
3 Nerol Petals
5 Hydrofix R
1 Orange Flower Orpur - Givaudan
1 Lyral
.1 Jasmine Abs. India A
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
9 Benzyl Alcohol
.1 Civette Givco 77
5 Heliotropine
53 Ethylene Brassylate ( Musk T )
6 Sandalore
9 Vanillin
.1 Rosalva
10 Jasmone
4 Petilyn
127 Muguet Base
25 Geraniol 60
8 Melafleur
1 Rosone
4 Hidroxicitronelal
20 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelol
1 Iso Rose
4 Irisone Bis
1 Myraldyl Acetate
33 Linalol S 97
208
26 Geraniol Special 98 % AT
1 Ribes Mercaptan
1 Nutmeg E.I.
4 Geranium Oil pure
1 Lilial
5 Aldeido Muguet
.3 Wardia
1 Cinnamon Leaf Oil
3 Iso E Super
27 Linalyl Acetate
5 Nerol natural
7 Myraldyl Acetate
3 Stemone - Givaudan
1,000
.1 Musk Abs. CLess
1 Sandiff
2 Nerolin Crystals
54 MDJ Super
4 Alicate
2 Heliotropine
5 Vanillinethyl
14 Hedione
3 y - Irone
4 Methyl Benzoate
5 Gardenia 1110
1 Lioral
3 Jasmonyl Acetate
.1 Alcohol C - 9
209
Glen O. Brechbill
1 Ribes Mercaptan
1 Nutmeg E.I.
4 Geranium Oil pure
1 Hydroxycitronellal 55 Pure
4 Lysmeral
.3 Wardia
1 Cinnamon Leaf Oil
3 Iso E Super
27 Linalyl Acetate
5 Nerol natural
7 Myraldyl Acetate
3 Scennal - ( Quest Intl. ) - Givaudan
1,000
.1 Musk Abs. CLess
7 Vanilys
1 Sandal Forte - Forte
2 Nerolin Crystals
54 MDJ Super
4 Helional
2 Heliotropine
5 Ethyl Vanillin
14 Benzylacetate
3 Ionone Alpha
4 Methyl Benzoate
5 Gardenia 1110
1 Lioral
.1 Folione
3 Jasmonyl Acetate
.1 Alcohol C - 10
210
1 Ribes Mercaptan
1 Nutmeg West Indies
4 Geranium Oil pure
1 Lilial
5 Aldeido Muguet
.3 Wardia
1 Cinnamon Leaf Oil
3 Vanillyl Alcohol
1 Jasmorange F
27 Linalyl Acetate
5 Nerol
7 Myraldyl Acetate
3 Petilyn
1,000
.1 Musk Abs. CLess
1 Woodynol II
2 Nerolin Crystals
54 MDJ
3 Sandalore
4 Amyl Salicylate
2 Heliotropine
5 Vanillin ethyl
14 Hedione
6 Methyl Benzoate
5 Gardenia Fleuriff
1 Anisyl Alcohol
.1 Undecavertol
3 Timber Forte
211
Glen O. Brechbill
3 Orange Oil Sweet ( Cold Pressed )
1 Ribes Mercaptan
1 Nutmeg E.I.
4 Geranium Oil Egypte
2 Bourgenal
1 Lilial
5 Aldeido Muguet
.3 Wardia
1 Cinnamon Leaf Oil
27 Linalylacetate
5 Nerol natural
7 Myraldyl Acetate
1,000
.1 Musk Abs. CLess
1 Tonka Beans Orpur - Givaudan
1 Nerolin Crystals
54 MDJ Super
4 Santalol
5 Alicate
5 Vanillinethyl
14 Hedione
1 Sandalore
3 Iritone V
4 Methyl Benzoate
5 Gardenia 1110
1 Lioral
3 Geranyl Acetate Prime
.1 Folione
3 Jasmonyl Acetate
.1 Rose Givco 221
212
26 Geraniol Prime
1 Ribes Mercaptan
1 Shiso
4 Geranium over Roses
1 Lilial
5 Muguet Aldehyde
.3 Wardia
1 Cinnamon Beaf Oil
3 Iso E Super
1 Elintaal
27 Linalyl Acetate
5 Nerol natural
7 Myraldyl Acetate
2 Stemone
1,000
7 Vanillin
1 Santalol
2 Nerolin Crystals
54 MDJ Super
1 Sandal Mysore Core
4 Coumarin Crystals
2 Heliotropine
5 Vanillinethyl
4 Methyl Benzoate
5 Green Base Augaflor 3
2 Citronellol Coeur FCC
1 Sage - Yugoslovia
.1 Violiff
3 Jasmonyl Acetate
.1 Damascenia 185 SA
213
GLen O. Brechbill
6 Pomarose
4 Lyrame
11 Wardia
8 Lemon Oil California Orpur - Giv.
1 Rhodiascent
3 Neroli Oliffac
.1 Rose Abs. - Egypt
5 Florantone T
30 Geraniol Coeur
29 Linalol
.1 Folione
1 Jasmonyl Acetate
2 Nerol
.1 Leaf Alcohol
3 Alpha - Ionone
5 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Kir Base # 9741
36 Linalyl Acetate
1,000
7 Vanilys
9 Coumane
.1 Civet Powder # 3C
5 Traseolide
1 Vanillin
4 Heliotropine
69 Hedione
.1 Cinnamic Alcohol
7 Parmanyl
4 Vanillinethyl
.2 Alcohol C - 9
12 Sandela
1 Iso - Eugenol
5 Cashmeran
1 Rose Crystals
23 Eugenol / Clove
2 Magnol
315 ( DPG )
7 Citronellol 850
214
6 Pomarose
4 Lyrame
11 Wardia
7 Fruitaleur
1 Rhodiascent
3 Neroli Oliffac
5 Florantone T
30 Geraniol Pur
29 Linalol 98 %
.1 Folione
1 Jasmonyl Acetate
3 Nerol
.1 Leaf Alcohol
3 Alpha - Ionone
5 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Kir Base # 9741
36 Linalyl Acetate
1,000
7 Vanilys
9 Coumane
32 ( DEP )
19 Salicylate de Benzila
5 Traseolide
1 Vanillin
4 Heliotropine
.1 Cinnamic Alcohol
7 Liral
4 Vanillinethyl
.2 Alcohol C - 9
12 Santalox T Neat
1 Iso - Eugenol
1 Rose Crystals
23 Eugenol / Clove
2 Ivyal
315 Propylene Glycol
7 Citronellol 900
215
Glen O. Brechbill
6 Pomarose
4 Lyrame
11 Wardia
8 Melonyl 86471 VMF
1 Rhodiascent
3 Neroli Oliffac
.1 Rose Damascenia Abs. - France
5 Florantone T
30 Geraniol Coeur
29 Linalol
.1 Folione
1 Jasmonyl Acetate
2 Nerol
.1 Leaf Alcohol
3 Alpha - Ionone
5 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Kir Base # 9741
36 Linalyl Acetate
1,000
7 Vanillin
9 Coumane
.1 Civet Artificial
5 Serenolide
1 Vanillin
69 Hedione
.1 Anisalcohol
7 Parmanyl
4 Vanillinethyl
.2 Iso Rose
12 Sandalwood Oil - India
1 Iso - Eugenol
5 Cashmeran
1 Rose Crystals
20 Carnation Base
14 Lyral - IFF
1 Methyl Benzoate
323 ( DPG )
7 Citronellol 850
216
6 Pomarose
4 Lyrame
11 Wardia
8 Melon Oliffac
1 Lily Aldehyde
3 Neroli Oliffac
5 Florantone T
30 Geraniol ex Palmarosa Oil
29 Linalool
.1 Nonadien 1 al
1 Jasmonyl Acetate
2 Nerol
1 Cassifix
.1 Leaf Acetal
3 Alpha - Ionone
5 Orange Augaflor 9
1 Verotyl
1 Kir Base # 9741
36 Acetato de Linalyl ex Bois de Rose
1,000
7 Vanillin
9 Coumane
17 Santalol
5 Traseolide - Quest Intl. ( Givaudan )
1 Vanillin
4 Heliotropine
67 Super Cepionate
.1 Cinnamic Alcohol
7 Geraniol Pure
4 Vanillinethyl
.2 Alcohol C - 9
12 Sanjinol - IFF
1 Iso - Eugenol
5 Nepalva
1 Rose Crystals
23 Eugenol / Clove
2 Magnol
315 ( DPG )
7 Citronellol 850
217
Glen O. Brechbill
6 Pomarose
4 Lilivert
11 Wardia
4 Lyrame Suepr
1 Rhodiascent
3 Neroli Artessence
5 Florantone T
30 Geraniol Coeur
29 Linalol
.1 Iris Beurre Essence
1 Jasmonyl Acetate
4 Geranylacetate
2 Nerol
.1 Leaf Alcohol
3 Ionone Alpha 60
5 Orangeflor
1 Mallow
3 Eugenyl Acetate
2 Kir Base # 9741
36 Linalyl Acetate
1,000
7 Vanilys
9 Coumane
.1 Rionyl
38 Di Ethyl Phthalate ( DEP )
17 Amyris Oil W.I. ( Sandal )
5 Musk Zylene ( IFRA ) - Givaudan
1 Vanillin
4 Heliotropine
69 Acetate de Benzila
.1 Cinnamic Alcohol
7 Parmanyl
4 Vanillinethyl
.2 Alcohol C - 9
12 Sandela
1 Iso - Eugenol
5 Cashmeran
1 Rose Crystals
2 Magnol
315 ( DPG )
7 Citronellol 850
218
1 Eugenyl Acetate
.1 Jasmin Absolute
.2 Alcohol C - 9
7 Bourgenal
33 Linalol Pur
3 Troenan
.1 Ylang Ylang III Petals
1 Jasmin Oil M/F
25 Linalyl Acetate
.3 Tubereuse 181
4 Geranyl Acetate
5 Lyral
1 Wardia
.1 Tuberose Oliffac
1 Pearalate
3 Neryl Acetate
1,000
47 Coumane
3 Benzophenone
.1 Anisyl Alcohol
.1 Civet Givco 81
32 DEP
4 Heliotropine
1 Alpha Damascone
31 Benzyl Acetate
9 Vanilys
2 Cashmeran
3 Jasmon Oil P.g.
2 Methyl Benzoate
6 Citronellol AJ FCC
3 Helional
9 Lyral
36 Geraniol Pure
27 Carnation Base
4 Phenafleur
2 Nerol
.1 Musk Abs. CLess - Quest Intl.
219
Glen O. Brechbill
1 Isoeugenol
.1 Jasmin Abs.
.2 Alcohol C - 10
7 Bourgenal
33 Linalol Ex Bois De Rose Oil
2 Meijiff
3 Troenan
1 Jasilyn
25 Linalyl Acetate
.3 Tubereuse 181
4 Geranyl Acetate
5 Lyral
1 Wardia
.1 Tuberose Oliffac
1 Pearalate
3 Neryl Acetate
1,000
3 Benzophenone
.1 Anisyl Alcohol
.1 Civet Givco 81
32 DEP
4 Heliotropine
1 Alpha Damascone
29 Benzyl Acetate
3 Cashmeran
9 Vanilys
2 Musk Clear - India
3 Jasmon Oil P.g.
2 Methyl Benzoate
3 Helional
9 Lyral
36 Geraniol Pure
27 Carnation Base
4 Phenafleur
2 Nerol
.1 Musk Emeressence
220
1 Eugenyl Acetate
.1 Jasmin Absolute
.2 Alcohol C - 9
7 Bourgenal
33 Linalol Pur
3 Lyral
1 Iso Jasmone
25 Linalyl Acetate
.3 Methyl Tuberate Pure
4 Geranyl Acetate
3 Irisone Bis
1 Wardia
.1 Tuberose Oliffac
1 Anapear - Givaudan ( Pear )
3 Neryl Acetate
1,000
47 Coumane
3 Rose Crystals
55 Musk 50 in DPG
.1 Anisyl Alcohol
.1 Civet Powder # 4g
32 Phthalate Di Ethyl ( DEP )
4 Heliotropine
1 Alpha Damascone
31 Benzyl Acetate
9 Vanillin
2 Cashmeran
3 Jasmon Oil P.g.
9 Benzylacetate Coeur
2 Methyl Benzoate
3 Helional
7 Lyral
36 Geraniol Pure
4 Phenafleur
2 Nerol
.1 Musk Emeressence
221
Glen O. Brechbill
1 Eugenyl Acetate
.1 Jasmin Absolute
.2 Alcohol C - 9
7 Bourgenal
33 Linalol Pur
2 Cetone V
3 Troenan
1 Orange Blossom Augaflor 17
1 Jasmin Oil M/F
25 Linalyl Acetate
.3 Tubereuse 181
5 Lyral
1 Wardia
.1 Tuberose Oliffac
1 Pearalate
3 Neryl Acetate
1,000
47 Coumane
3 Benzophenone
.1 Anisyl Alcohol
.1 Civet Givco 81
32 DEP
4 Heliotropine
1 Beta Damascone
31 Benzyl Acetate
9 Vanilys
2 Cashmeran
3 Iso Jasmone
2 Methyl Benzoate
3 Helional
7 Lyral
38 Geraniol Prime
27 Carnation Base
4 Phenafleur
2 Nerol
.1 Serenolide - Givaudan
222
1 Iso - Eugenol
.2 Alcohol C - 9
7 Bourgenal
31 Linalol Pur
2 Melon Org
3 Phyllos
1 Jasmin Oil M/F
25 Linalyl Acetate
.3 Tuberose Abs. - Morocco
4 Geranyl Acetate Pur
4 Lyrame
2 Wardia
.1 Tuberose Oliffac
1 Pearalate
3 Neryl Acetate
1,000
47 Coumane
3 Benzophenone
55 Etilen Brassilato ( Musk T ) - Tak.
.1 Anisyl Alcohol
.1 Civet Givco 87
32 DEP
4 Heliotropine
1 Alpha Damascone
31 Benzyl Acetate
9 Vanilys
2 Muskylein
3 Jasmon Oil P.g.
19 Jasmatone
2 Methyl Benzoate
3 Helional
9 Lyral
36 Geraniol Pure
37 Eugenol
4 Phenafleur
2 Nerol
.1 Musk Abs. CLess - Quest Intl.
223
Glen O. Brechbill
.1 Polarose
3 Orangeflor
5 Wardia
27 Linalool
3 Citronet
4 Muguet Aldehyde
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
.1 Folione
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
3 Bourgenal
1,000
.1 Civet Paste - Somaliland ( Italy )
11 Benzyl Benzoate
5 Vanisal
51 Coumane
9 Koavonne
4 Hydrofix L
48 Benzyl Acetate
4 Florosia
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 10
6 Lilivert
1 Amyris Oil ( East Indies ) Sandal
7 Petilyn
3 y - Irone
1 Iso Jasmone
3 Muguet Aldehyde
5 Nutmeg, Ceylon
1 Geraniol Extra
4 Jasmonyl Acetate
224
.1 Polarose
3 Orangeflor
5 Wardia
27 Linalool
3 Citronet
1 Tangerinol - Givaudan
4 Muguet Aldehyde
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
8 Linalyl Acetate Special
.1 Folione
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
3 Bourgenal
1,000
12 Benzyl Benzoate
5 Vanisal
51 Coumane
9 Koavonne
4 Hydrofix L
47 Benzyl Acetate Pure - Polarome
4 Florosia
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 10
6 Lilivert
3 Citronellol 900
1 Sandol - SA
3 y - Irone
24 Geraniol Prime
1 Iso Jasmone
3 Muguet Aldehyde
1 Geraniol Extra
4 Jasmone
225
Glen O. Brechbill
.1 Polarose
3 Orangeflor
5 Wardia
27 Linalool
3 Citronet
4 Muguet Aldehyde
2 Kir Base # 9741
.4 Methyl Tuberate
1 Neroli Artessence - Biolandes
2 Sensient
.1 cis - 3 - Hexenyl Salicylate
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
3 Bourgenal
1,000
.1 Exaltolide
11 Benzyl Benzoate
36 Galaxolide Gx 50 in IPM
5 Vanisal
51 Coumane
9 Koavonne
4 Hydrofix L
48 Benzyl Acetate
4 Fleuramone
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 10
6 Lilivert
1 Amyris Oil - Haiti
7 Petilyn
3 y - Irone
1 Iso Jasmone
3 Muguet Aldehyde
5 Nutmeg, Ceylon
1 Geraniol Pur
226
.1 Polarose
3 Orangeflor
5 Wardia
27 Linalool
3 Galbaniff
4 Muguet Aldehyde
1 Perryfix ( Symrise ) - Creations A.
.4 Methyl Tuberate
1 Orange Flor
1 Eugenyl Acetate
2 Sensient
.1 Folione
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
3 Bourgenal
1,000
.1 Civet Tincture
11 Benzyl Benzoate
5 Vanisal
51 Coumane
9 Koavonne
4 Hydrofix L
48 Benzyl Acetate
4 Florosia
7 Osyrol
5 Methyl Benzoate
53 Benzylacetate
.1 Alcohol C - 10
6 Lilivert
1 Sandal Amiris
7 Petilyn
3 Irisone Bis
1 Iso Jasmone
3 Muguet Aldehyde
2 Nutmeg, Ceylon
1 Geraniol Extra
227
Glen O. Brechbill
.1 Polarose
3 Orangeflor
5 Wardia
27 Linalol
3 Citronet
4 Muguet Aldehyde
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
.1 Folione
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
1,000
11 Benzyl Benzoate
5 Vanillin
51 Coumane
9 Koavonne
4 Hydrofix L
48 Benzyl Acetate
4 Florosia
7 Sandalore
5 Metil Benzoato
53 Acetate Benzyle
.1 Alcohol C - 10
6 Lilivert
3 Citronellol FCC
1 Sandalwood Oil E.I.
7 Petilyn
3 y - Irone
24 Geraniol Synthetic 95 FCC
1 Iso Jasmone
3 Muguet Aldehyde
2 Cis - Jasmone
1 Geraniol Extra
4 Gardenia Acetal
228
1 Nerol
3 Petilyn
22 Linalool
3 Neroli Oliffac
17 Geraniol 60
4 Geranyl Acetate
6 Cassis Fragrance
2 Mugone S 207 M
16 Wardia
1 Methyl Pamplemousse
38 Linalyl Acetate
1 Rhodiaflor
1 Tangerine Oil Florida / Brazil
1 Rosilial
.1 Leaf Alcohol
1 Mugetanol
1,000
8 Etilen Brassilato
45 Galaxolide 50
8 Vanillin
6 Hidroxicitronelal
9 Sandalore
1 Beta Damascone
4 Hawthorn
128 Muguet ( Lily of the Valley ) Base
4 Ethyl, Vanillin
7 Methyl Benzoate
17 Hedione
4 Citronellol 850
1 Cashmeran
3 Endanol
24 Carnation Base
3 Lioral
229
Glen O. Brechbill
1 Nerol Pure
3 Petilyn
20 Linalool
1 Caraway Oil -
3 Neroli Oliffac
17 Geraniol Prime FCC
4 Geranyl Acetate
6 Cassis Fragrance
5 Geranium Rose Orpur - Egypt
2 Mugone S 207 M
16 Wardia
1 Grapefruit Oil of Florida ( C.P. )
38 Linalyl Acetate
1 Rhodiaflor
1 Rosilial
.1 Leaf Alcohol
1 Mugetanol
1,000
44 Coumarin
8 Muskylein
9 Benzylsalicylate
45 Galaxolide 50
7 Vanillin
5 Lioral
9 Sandalore
1 Beta Damascone
4 Hawthorn
130 Muguet ( Lily of the Valley ) Base
4 Ethyl, Vanillin
7 Methyl Benzoate
17 Hedione
4 Citronellol 850
1 Musk Clear
9 Benzyl Acetate Pur
3 Endanol
22 Carnation Base
3 Myraldyl Acetate
3 Hydroxy Ciol
230
1 Nerol
3 Petilyn
22 Linalool
1 Iso - Eugenol ( Dianthanol ) Carnat.
3 Neroli Oliffac
17 Geraniol 60
4 Geranyl Acetate
2 Mugone S 207 M
16 Wardia
1 Pamplemousse
38 Linalyl Acetate
1 Rhodiaflor
1 Rosilial
.1 Leaf Alcohol
1 Muguet Alcohol
1,000
44 Coumane
8 Etilen Brassilato
42 Galaxolide 50
8 Vanillin
6 Hidroxicitronelal
9 Sandalore
44 MDJ - Kao Corp. Japan
1 Damascenia 185 SA
4 Ethyl, Vanillin
7 Methyl Benzoate
4 Citronellol 850
13 Lilial
1 Cashmeran
3 Endanol
25 Rose Base # 60
24 Carnation Base
3 Lyral
3 Irisome Bis
231
Glen O. Brechbill
1 Geranyl Acetate
3 Stemone
22 Linalool
3 Neroli Oliffac
17 Geraniol 60
4 Iso Rose
6 Cassis Fragrance
2 Mugone S 207 M
16 Wardia
38 Linalylacetate
1 Petilyn
1 Rosilial
.1 Leaf Acetal
1 Mugetanol
3 Bergamot Oil Pure - C.C.C. ( Italy )
1,000
8 Musk T ( Ethylene Brassylate )
45 Galaxolide 50
8 Vanillin
6 Hidroxicitronelal
9 Sandalore
1 Beta Damascone
4 Hawthorn
128 Lily of the Valley Base
4 Ethyl, Vanillin
7 Methyl Benzoate
17 Hedione
4 Citronellol 850
1 Musk GX
24 Eugenol 100 %
3 Jsmone
3 Liral
232
1 Meranol
3 Jasilyn
22 Linalool
3 Neroli Oliffac
17 Geraniol 60
4 Geranyl Acetate
6 Cassis Fragrance
2 Mugone S 207 M
16 Wardia
1 Grapefruit Oil White or Pink C.P.
38 Linalyl Acetate
1 Petilyn
1 Rosilial
.1 Leaf Alcohol
1 Mugetanol
1,000
8 Serenolide
45 Galaxolide 50
8 Vanillys
6 Hidroxicitronelal
42 Methyl Di Hydro Jasmonate ( MDJ )
1 Beta Damascone
4 Anisic Aldehyde
133 Hydroxycitornellal
4 Ethyl, Vanillin
7 Methyl Benzoate
17 Hedione
4 Citronellol 850
1 Musk G 50 in BB
3 Endanol
10 Ionone
24 Eugenol
233
Glen O. Brechbill
Musk is a class of aromatic sub-
stances commonly used as base
notes in perfumery. They include
glandular secretions from animals
such as the musk deer, numerous
plants emitting similar fragrances,
and artificial substances with simi-
lar odors. Musk was a name origi-
nally given to a substance with a
penetrating odor obtained from a
gland of the male musk deer. The
substance has been used as a popu-
lar perfume fixative since ancient
times and is one of the most expen-
sive animal products in the world.
The name, originated from Sanskrit
mus.k meaning "testicle," has
come to encompass a wide variety
of substances with somewhat simi-
lar odors although many of them
are quite different in their chemical
structures.
Until the late 19th century, natural
musk was used extensively in per-
fumery until economic and ethical
motives led to the adoption of syn-
thetic musk, which is now used
almost exclusively. The organic
compound primarily responsible
for the characteristic odor of musk
is muscone.
ues.
In Ayurveda, Musk has been con-
sidered as a life saving drug and
used in various cardiac, mental and
neurological disorders. It has also
been included in various compound
formulations like Kasturi Bhairav
Ras, Kasturi Modak, Mrignabhyadi
Vati and Mrigamadsar etc., which
have wide therapeutic applications.
Other animals
Ondatra zibethicus, the muskrat
Muskrat (Ondatra zibethicus), a
rodent native to North America, has
been known since the 17th century
to secrete a glandular substance
with a musky odor. A chemical
means of extracting it was discov-
ered in the 1940s, but it did not
prove commercially worthwhile.
Glandular substances with musk-
like odor are also obtained from the
musk duck (Biziura lobata) of
southern Australia, the muskox, the
musk shrew, the musk beetle
(Aromia moschata), African civet
(Civettictis civetta), the musk tur-
Modern use of natural musk pods
occurs in traditional Chinese medi-
cine.
The musk deer belongs to the fami-
ly Moschidae and lives in India,
Pakistan, Tibet, China, Siberia and
Mongolia. To obtain the musk, the
deer is killed and its gland, also
called "musk pod", is removed.
Upon drying, the reddish-brown
paste inside the musk pod turns into
a black granular material called
"musk grain", which is then tinc-
tured with alcohol. The aroma of
the tincture gives a pleasant odor
only after it is considerably diluted.
No other natural substance has such
a complex aroma associated with so
many contradictory descriptions;
however, it is usually described
abstractly as animalic, earthy and
woody or something akin to the
odor of baby's skin.
Musk has been a key constituent in
many perfumes since its discovery,
being held to give a perfume long-
lasting power as a fixative. Today
the trade quantity of the natural
musk is controlled by CITES but
illegal poaching and trading contin-
Musk
234
tle, the alligator of Central
America, and from several other
animals.
In crocodiles, there are two pairs of
musk glands, one pair situated at
the corner of the jaw and the other
pair in the cloaca. Musk glands are
also found in snakes.
Plants
Some plants such as Angelica
archangelica or Abelmoschus
moschatus produce musky smelling
macrocyclic lactone compounds.
These compounds are widely used
in perfumery as substitutes for ani-
mal musk or to alter the smell of a
mixture of other musks.
The plant sources include musk
flower (Mimulus moschatus), the
muskwood ( Olearia argophylla ) of
the Guianas and West Indies, and
the seeds of Abelmoschus moscha-
tus ( musk seeds ).
Artificial compounds
Synthetic musk
Galaxolide, a polycyclic musk
commonly found in laundry deter-
gents to mask the smell of the
detergent chemicals. It is also the
aroma compound in laundry deter-
gents responsible for giving
washed laundry the "clean scent"
that consumers have learned to
expect and in many cases, demand.
Since obtaining the deer musk
requires killing the endangered ani-
mal, nearly all musk fragrance used
in perfumery today is synthetic,
sometimes called "white musk".
They can be divided into three
major classes: aromatic nitro
musks, polycyclic musk com-
pounds, and macrocyclic musk
compounds. The first two groups
have broad uses in industry ranging
from cosmetics to detergents.
However, the detection of the first
two chemical groups in human and
environmental samples as well as
their carcinogenic properties initi-
ated a public debate on the use of
these compounds and a ban or
reduction of their use in many
regions of the world. Macrocyclic
musk compounds are expected to
replace them since these com-
pounds appear to be safer.
Musk Deer
Musk deer are artiodactyls of the
genus Moschus, the only genus of
family Moschidae. They are more
primitive than the cervids, or true
deer, in not having antlers or facial
glands, in having only a single pair
of teats, and in possessing a gall
bladder, a caudal gland, a pair of
tusk-like teeth and of particular
economic importance to humans a
musk gland. Moschids live mainly
in forested and alpine scrub habitats
in the mountains of southern Asia,
notably Himalayas. Moschids are
entirely Asian in their present dis-
tribution, being extinct in Europe
where the earliest musk deer are
known from Oligocene deposits.
Characteristics
Musk deer resemble small deer
with a stocky build, and hind legs
longer than their front legs. They
are approximately 80 to 100 cen-
timetres (31 to 39 in) in length, 50
to 70 centimetres (20 to 28 in) tall
at the shoulder, and weigh between
7 and 17 kilograms (15 and 37 lb).
The feet of musk deer are adapted
for climbing in rough terrain. Like
the Chinese water deer, a cervid,
they have no antlers, but the males
do have enlarged upper canines,
forming sabre-like tusks. The den-
tal formula is similar to that of true
deer:
The musk gland is found only in
adult males. It lies in a sac located
between the genitals and the
umbilicus, and its secretions are
most likely used to attract mates.
Musk deer are herbivores, living in
hilly, forested environments, gener-
ally far from human habitation.
Like true deer, they eat mainly
leaves, flowers, and grasses, with
some mosses and lichens. They are
solitary animals, and maintain well-
defined territories, which they scent
mark with their caudal glands.
Musk deer are generally shy, and
either nocturnal, or crepuscular.
Males leave their territories during
the rutting season, and compete for
mates, using their tusks as
weapons. Female musk deer give
birth to a single fawn after about
150180 days. The newborn young
are very small, and essentially
Arranging Fine Perfume Compositions - FLORAL ALDEHYDIC - Musk
235
motionless for the first month of
their life, a feature that helps them
remain hidden from predators.
Musk deers have been hunted for
their scent glands which can fetch
up to $45,000/kg on the black mar-
ket. It is rumored that ancient royal-
ty wore the scent of the musk deer
and that it is an aphrodisiac.
Evolution
Musk deer may be a surviving rep-
resentative of the Palaeomerycidae,
a family of ruminants that is proba-
bly ancestral to deer. They first
appeared in the early Oligocene
epoch and disappeared in the
Pliocene. Most species lacked
antlers, though some were found in
later species. The musk deer are
however still placed in a separate
family.
Musk
Musk impart sensuality to perfume
it bring volume and diffusitvity and
impart warmth and liveliness. I
think it's safe to say that there's no
perfume without musk. Musk tinc-
ture smells animalic, sweet and
ammoniacal. But the more one
studies its character, the more con-
trasting, vibrant and oscillating it
becomes: repulsive-attractive,
chemical-warm, sweaty-balmy,
acrid-waxy, earthy-powdery, fatty-
chocolate like, pungent-leathery,
resinous-spicy, fig-like, dry, nutty,
and woody.
Originally the musk was obtained
thing to do without changing the
smell of these perfumes.
The first nitro free aromatic musk
chemical Phantolide was intro-
duced in 1951 by Kurt Fuchs. This
was the start of other Polycyclic
musks like Celestolide, Fixolide,
Tonalide, Galaxolide and many
more. Galaxolide was first synthe-
sized in 1965, and already in the
late 1960s used in dosages up to
40% in fabric softeners such as
Comfort and Soflan and in deter-
gents like Coral at 27%. But high
doses were also incorporated in fine
fragrances, for instance Tresor by
Sophia Grosjsman with its 21,4%
of Galaxolide. Galaxolide possess-
es a clean sweet musky flowery
woody odour.
There is another group of chemicals
with a musk odour: Macrocyclic
musks. Examples of macrocyclic
musks are Exaltolide, Habanolide,
Velvione and others. Habanolide
has a metallic character which is
used in Emporio Armani white for
her by Alberto Morillas as a com-
ponent of a white musk accord
together with Helvetolide. In Glow
by J Lo it's used in an intense white
flower accord.
Nirvanolide a chemical produced
by Givaudan has a clean and sweet,
powdery and persistent, and slight-
ly animalic odour and is quite close
to the restricted Musk Ketone. It's
used at 6,7% in the perfume
Forever Elizabeth created by David
Apel. Another chemical with an
odour close to Musk Ketone is
from the male musk deer. The inter-
nal pouches found between the hind
legs had an intesely smelling secre-
tion. To harvest the secretion the
animal was hunted. To obtain 1 kilo
of musk grains between 30 and 50
animals had to be sacrificed. Musk
tinctures were still used in per-
fumery till about 1979, when musk
deers were protected form extinc-
tion by the Conention on
International Trade in Endagnered
species of wild fauna and flora.
Musky smell refers especially from
the smell of the dry-down of the
natural musk tincture after the more
volatile parts are evaporated and
when the more warm, sensual,
sweet-powdery tonality comes for-
ward. In 1888 Albert Bauer discov-
ered the nitro musk Musk Bauer.
Soon replaced by three other nitro
musks that he also discovered:
Musk Xylene, Musk Ketone and
Musk Ambrette. These musks
became really important for the fra-
grances for the next 50 years.
In 1981 the nitro musks were
restricted mainly because of a cer-
tain toxicity ( neurotoxicity ) and
their phototoxicity, but besides they
also caused ecological concerns
due to their poor biodegradability.
Ernest Beaux the perfumer that cre-
ated Chanel no5 used over 10%
nitro musks in his formulation
mainly Musk Ketone. Musk
Ambrette was used by the perfumer
Francis Fabron for L'air du Temps.
These nitro musks had to be
replaced by other musk smelling
chemicals and that's not an easy
236
Glen O. Brechbill
Muscenone it possesses a very ele-
gant and diffusive musk odour.
Musk odours could also be
obtained in the plant kingdom like
Angelica root oil that possesses the
musk odour Exaltolide(macro-
cyclic) but also 12-methyl-13-tride-
canolide. The discovery of 12-
methyl-13-tridecanolide in Angel-
ica root oil was really important
because it showed the importance
of the effect of methyl substituents
on the character of macrocyclic
musks. Ambrette seed oil possesses
Ambretollide. When thinking about
musky smells you don't think about
Galbanum because it has a green
note with balsamic nuances and
isn't musky at all, but the isolated
methyl macrolides: 14-pentade-
canolide and the 15-hexadecano-
lide do have a musky odour.
237
Musk Fragrance Chemicals
Glen O. Brechbill
BOOK # I ( A - G )
Adrian Industries SAS - France
Musk Ambrette
Musk Ketone
Musk Xylol
Agan Aroma Chemicals - Israel
Musk 50 BB
Musk 50 DEP
Musk 50 DPG
Civet Paste - Ethiopia
Alfa Chem - USA
Cistus Abs.
Civet Ethiopian
Musk 50 BB
Musk 50 DEP
Musk 50 IPM
Musk Ambrette
Musk Ketone
Musk TM II
Musk Xylol
Skatol
Tetrahydro
Anthea Aromatics Pvt. Ltd. - India
Ambrettolide
Ambrettolide
Cashmeran
Castoreum Abs. 50 BB
Cervolide
Civet Oliffac
Galaxolide
Musk 15
Musk 781
Musk NC
Skatole
Tetra Hydro Para Methyl
Quinoline
Velvione
Civet Oil
ANIMAL NOTE
Ambergris
Ambretteseed
Angelica Root
Angelica Seed
Castoreum
Cistus - Labdanum
Civet
Clary Sage
Costus
Musk
AROMATIC CHEMICALS ANIMAL
NOTE
Ambrox
Grisalva
Indole
Iso Butyl Quinoline
Iso Propyl Quinoline
p-Methyl Quinoline
238
Cistus Abs. / Concrete
Animale Augaflor 2
Civet Augaflor 6
Cistus Oil
Civet Abs. / Concrete
B.S. Industries - India
Musk Plain
Musk BSI
Musk SF
Barosyl SA - France
Cistus
Berje Inc. - USA
Musk Ketone
Musk Xylol
Cistus Oil
Cistus Inco 30
Cistus Absolute
Cistus Absolute SIS
Cistus Bioabsolute
Cistus Bioconcrete
PARFUMERIE RECONSTITUTIONS
Castoreum Artessence CF E 0954
Musk Ketone
Musk Xylol
Civet Abs.
Civet Concrete
Castoreum Reco
Firmenich SA
Muscenone
Muscone
Myroxyde
Givaudan SA
Civette Givco 208
Quest Intl. ( Givaudan )
Musk R - 1
Traseolide
Musk Ambrette
Musk Ketone
Musk T
Ethylene Brassylate
Musc 50 % BB
Musc 50 % DEP
Musk 50 % IPM
Pentaline
Bordas Destilaciones - Spain
Cistus Oil
AROMA CHEMICALS
Benzyl Phenyl Acetate
Cimalide 50
Methyl Phenyl Acetate
Musk Ketone
Musk Xylol
Brighten Colorchem B.V. - Neth.
Musk 105
Musk Ambrette
Musk Ketone
Musk M
Musk Xylol
British Society of Perfumers - U.K.
Silvanone Super
Cistus Concrete
Civet Abs.
Castrading - Korea
Cistus
Civet
Civet Tincture
Civet
AROMATIC CHEMICALS
Musk Ambrette
239
Civet Abs.
Ethylene Brassylate ( Musk T )
Tonalide
Essencia Aetherische - Switz.
Civete Absolute
Viverra Civetta
Matieres Premieres Aromtiques
Crysolide
Musc Cetone crist.
Musc NN
Musc 781
Muscomer 810 P
Exaflor - France
Muscade Noix
FFC Aromas - India
Isoambrettolide
Cedroxyde
Civettone
Exaltolide
Exaltolide Total
Habanolide
Muscenone
Muscone
Musk Ambrette Substitute
Mursk R - 1
Traseolide
Traseolide 100
Musk G 50 in BB
Musk G 50 in DEP
Musk G 50 in DPG
Musk Ketone
Musk Xylol
The Good Scents Co. - USA
Cistus Oil
Cistus Abs.
Cistus Concrete
AROMATIC CHEMICALS
Musk GX
Musk Ketone
Musk Xylol
MUSK
Ambrettolide
Androst - 16 - en - 3 - ol
Angelica Root Abs.
China Musk Original
Civet Decenone
Cyclohexadecanone
Cyclohexadecenone - 8
Dihydrocivetone
Ethylene Brassylate
Ethylene Dodecanoate
Fiveash Data Management - USA
Cistus Spain
Cistus Oil
Civet Abs.
Musk Ambrette
Musk Ketone
Musk Xylol
Fleurin, Inc. - USA
Ciste Oil
Castoreum Abs. & 50 %
Civet Abs.
Florachem Corporation - USA
Galaxolide 50 ( IFF )
Galolid
Frencharoma Imports Co. - USA
Musk Ketone
Musk T
Musk Ketone
Musk Xylol
Quest Intl. ( Givaudan )
Cervolide
Glen O. Brechbill
240
Juniper Lactone
Muscenone - Delta
Muscogene
Muscone - Dextro
Muscone - Laevo
Muscone - Nor
Musk
Musk Amberol
Musk Ambrette
Musk Decanolide
Musk Decenone
Musk Di Methyl Indane
Musk Dione
Musk Gx 50 % in BB
Musk Gx 50 % in IPM
Musk Gx 50 % in DEP
Musk Indane
Musk Indanone
Musk Ketone
Musk Lactone
Musk Methyl Ketone
Musk Nonane
Musk Pentane
Musk Tetralin
Musk Tibetene
Musk Xylol
Pentadecalactone - Omega
Versalide
Gorlin & Company - USA
Cistus
Cistus Distilled
Civet
Civet Tincture
Cistus Oil
Galaxolide 50 DEP
Galaxolide 50 DPG
Galaxolide 50 IPM
Hexadecanolide
JC Buck Ltd. - U.K.
Cistus Oil
Civette French Abs.
Musk Ketone
Ambroxan
Pearlide B.B.
Kruetz Helmut - Portugal
Civet Artificial
Civet Natural
Castoreum Abs.
Cistus Green Abs.
Astrolide Pure
Cashmeran
Ganolide
Globanone 50 % DEP
Globanone 50 % DPG
AROMA CHEMICALS
Musk Ambrette
Musk Ketone
Musk Xylol
HC Biochem - China
Civet Abs.
Ciste Essence France
Cistus Oil
Handa Fine Chemicals Ltd. - U.K.
Ambrette Seed Oil
Musk Mallow Extract
AROMATIC CHEMICALS
BOOK # II ( I - Z )
Musc Cetone
Musc Xylene
Innospec Inc. - USA
Tetralide
IFF - USA
Cashmeran
Celestolide
Galaxolide 50 BB
241
Glen O. Brechbill
Globanone 50 % IPM
Musk 50 BB
Musk 50 DEP
Musk 50 IPM
Musk Al
Musk Ambrette
Musk ED
Musk Ketone
Musk KS
Musk R - 1
Musk Tops
Musk Xylol
Castoreum Abs. Colourless
Castoreum Abs. Extra
Civet Abs.
Civet Abs. Extra
Mane SA - France
Cistus Abs. - Spain
Cistus Abs. Decol - Sapin
Muller & Koster - France
Ciste Assoluta
Cistus Landaniferus
Ciste Essenza
Cistus Ladaniferus
Nardev - Israel
Cistus Oil - Morocco, Spain
Natural Sourcing, LLC - USA
Cistus, France
Tonalid
Civet Ethiopian
AROMATIC CHEMICALS
Musk Ambrette
Musk Ketone
Musk KN
Musk TM II
( 5 - Cyclo Hexa Decenone )
Musk Xylol
Prima Fleur - USA
Cistus True
Prodasynth - France
Musk Cetone
Musk Xylene
Puressence Wuersten Inc. - Switz.
Cistus Oil
Cistus Concrete
Cistus Resinoide
Civette Givco 208
Nivandide
Serenolide
Cistus Oil
PFW Aroma Chemicals - Neth.
Phantolid Crystals
Tonalid II
Ultralid II
Paul Kaders GmbH - Germany
Musk Xylol
Castoreum Abs.
Civet Abs.
Cistus Landaniferus Oil
Cistus Spp. Oil
Ambergris
Ambretolide
Cashmeran
Exaltolide
Grisalva
Grisambrol
Hexadecanolide - IFF
Musk 144 - Takasago
Musk Ambrette
Musk Cetona
Musk R 15 ( Exaltone )
Musk RI
Musk Xilol
Phantolide
242
Civette Abs.
Civette Artificial Abs.
SRS Aromatics Ld. - U.K.
Muscambrone 4300 P
Muscambrone Extra 4301 P
Muscobrette 3570 P
Muscobrette Spezial 3894 P
Muscomer 1151 P
Muscomer 810 P
Muscomer S 900 P
Muscoton 3871 P
Muscotonk 3636 P
Muskylen 206 M
Phantolid Crystals
Phloralid
Tonalid Crystals
Ultralid
AROMA CHEMICALS
Ethylene Brassylate
Ethylene Glycol Brassylate
Musc BRB
Muscomer Etra 810 P
Musk Ketone
Musk KS
Musk MX III
Musk Xylol
Totalide
Ultralid II
AROMATIC CHEMICALS NATURAL
Ambarome 2000
Ambarome Absolute
Ambretone
Ambretone 50BB
Ambrinol 20 - T
Musk 144
Musk C - 14
Musk C - 14 Supra
Musk T
Musk T Supra
Oxalide T
Oxalide T Supra
Thakker Group - India
Musk Ketone - China
Musk T - China
Musk Xylol - China
Th. Byer Gmbh - Germany
Methylphenylacetate
Musk Booster B-2-3
Ambroxan - KAO
Ambroxan, China
Ethylene Brassylate
Galaxolide 50 BB - IFF
Galaxolide 50 DEP - IFF
Galaxolide 50 IPM - IFF
Galaxolide Undiluted
Science Lab - USA
Musk Oil
Musk Melon Oil
Shanghai M & U Intl. - China
Musk Ambrette
Musk Ketone
Sclareolide
Musk Ambrette
Musk Ketone
Musk Xylol
Sigma Aldrich - USA
Musk Ketone
Sovimpex - France
Musc Ambrette
Musc Cetone
Musc Xylene
Tonalid
Symrise GmbH - Germany
Macrolide
Macrolide 70 % in DEP
Macrolide Supra
Synarome - France
Musk Ambrette Substitut
Muscarome J.10 - A.M.C.R.
Muscarome J.5 - A.M.C.R.
243
Muscenone - Firmenich
Muscone - Firmenich
Musk 15 - IFF
Musk Ketone
Musk Moskene
Musk R1
Musk Xylol
Musk Z 4 - IFF
Tonalid - Pfw
Rosamusk - IFF
Scentolide - Synarome
Sclareolide
Tonalid - Pfw
Venus Enterprises Ltd. - U.K.
Musk Ambrette
Musk G.
Musk Ketones
Musk Xylol
W & W Australia Pty - Aust.
Ethylene Brassylate
( Musk - T ) Takasago
Musk Ambrette
Musk Ketone
Musk Xylol
Cashmeran
Ethylene Brassylate
Exaltolide
Musk Ketone
Musk R - 1
Musk Xylol
Tetralide
Traseolide 70
Traseolide 100
Ultralid
Ambrettolide
Glen O. Brechbill
244
Musk Notes
Abalide Sweet musk similar to tonalid.
Ambargris A healing panacea made from large chunks of ambergris only when
they are found by fisherman floating on the Atlantic Ocean. A scent
so beautiful and popular in Morocco that it inspired John Singer
Sargent to paint his famous La Furnee d'Ambergris.
Ambergris T Oliffac A substitute for the traditional 3 % tincture of ambergris.
Ambrain Labdanum musk.
Ambrette Ess. Beurre Lave A delicate sweet musk fragrance.
Ambrette C Sweet musk.
Ambrette XNM Sweet, but heavy floral musky odor.
Ambrettex Musk.
Ambrettolide Floral musky sweet odor.
Ambrinol Extremely powerful amber with natural somewhat musky.
A C A Di Methyl Acetal Peculiar animal green odor.
Amyl Phenyl Acetate Sweet musk animal odor.
Angelic Root Oil Pleasantly aromatic a mixture of musk.
Animalic 9143 Animal.
Animalone Musk.
245
Benzyl Phenyl Acetate Mild sweet honey floral.
Castaulon Warm, intense fatty hairy animal odor.
Castorium Hyper Abs. Very powerful warm animal like scent.
Cashmeran Diffusive musk.
Celestolid Mild, and sweet musky odor.
Civet AAB394 Fine substitute of the original absolute.
Civet AB422A Excellent reconstitution long lasting.
Civet Artificial I.A. Lacks the characteristic softness which is found with powder.
Civet Artificial XBS Obnoxiously strong fecal odor.
Civet Augaflor 6 Strong, long lasting civet-like specialty, unmistakably animal with
a woody background. A good economical reproduction of the
original and possesses good fixative properties. May be used to
advantage in toiletries where the price of the natural material
precludes use.
Civet Base # 1 A very sweet slightly cloying fecal odor of the abyssinian cat.
Civet Concentrate 50 Strong acidic animal, fecal tone invaluable in fine fragrances.
Civet Concrete Musky odor extremely diffusive and tenacious.
Civet Ethiopia A glandular secretion collected from primarily male cats. In small
traces adds a velvety touch to many different fine bouquets.
Civet # 3 S - 788 A strong animal odor of the civet cat close to the natural oil.
Civet 170 BSA Typical animal sweet musky odor reminiscent of the civet cat.
Civet Powder Unquestionably animal fecal odor of the civet cat.
Glen O. Brechbill
246
Civet Resin Abs. Diffusive animal fecal like odor of the civet cat.
Civet Tincture An odor reminiscent of the civet cat, fecal like.
Civet 241 Oliffac Strong animal, fecal notes similar to natural civet, sensual.
Civettal A liquid form which lacks the softness found with natural powder.
Civette Abs. Animal sweet, free from fecal and urine notes.
Civette Artifical Abs. Animal sweet.
Civette Givco 169 This Givco is a close reconstitution of civet absolute, which it can replace in
equal amounts. It does not contain any animal extract. It adds diffusive
warmth to fragrances and provides the distinctive effect produced by natural
civet in floral-jasmin, amber, oriental, chypre, and tobacco accords.
Civette 170 BSA Typical animal sweet odor of the civet cat.
Civettone A ketone, active element in Abyssinian civet synthesized.
Copaiba Oil Musk, milder sweeter almost creamy balsamic.
Cyclo Penta De Canolide Musky somewhat animal.
Di Hydro Ambrettolide Musky sweet odor of good tenacity.
Ethyl Phenyl Acetate Powerful sweet honey like.
Ethylene Brassylate Sweet musk warm and powdery.
Exaltolide Delicately animal.
Exaltex Musk.
Fixolid Sweet wody musky.
Galaxolide 50 Powerful sweet and musky.
Geranyl Phenyl Acetate Soft floral honey rose like.
Grisalva Ambergris.
247
Horsey Dis An animal amber complex.
Indoflor Crystals Distinct civet like slightly obnoxious animal odor.
Iso Butyl Phenyl Acetate Powerful leafy rosy musky fragrance.
Labdanum Abs. A sweet herbaceous recalling ambergris, slightly animal.
Methyl Phenyl Acetate Powerful and diffusive honey musk odor.
Monofax Musk.
Moskene Musky sweet odor.
Muscambre 66.130 A musky animal odor.
Muscenone Musk.
Muscomer Extra 810P An animal musk slightly sweet odor.
Muscone Musk.
Musk Booster 8-2-3 # DB10253 Musk.
Musk C - 14 Musk, sweet.
Musk C - 14 Supra Musk, sweet.
Musk 144 Sweet musk.
Musk Abs. C ' Less An animal musky odor powerful and intense.
Musk Alpha A weak animal note, not very sweet.
Musk Ambrette Sweet, but yet heavy floral musky odor.
Musk Emeressence Sweet musk.
Musk Ketone Sweet and very tenacious musky odor.
Musk KN Musk.
Glen O. Brechbill
248
Musk T Musk, sweet.
Musk T Supra Musky, fatty.
Musk Tibetine Delicately sweet musky, mildly animal like.
Musk TMII Sweet tenacious musk like.
Muskylein Sweet musk.
Musk Xylol Sweet musk tenacious odor rather harsh.
Nepalva Sweet musky odor.
Oxahexalid Sweet tenacious musk with an ambrette note.
Oxalide T Sweet, soft extremely animal musky odor.
Oxalide T Supra An isomeric sweet musk mixture.
Phantolid Sweet, musky somewhat animal odor.
Phenyl Acetic Acid Sweet honey animalic type odor.
Phenylal A very sweet honey animal odor.
Phenyl Ethyl Acetate Very sweet, rosy fruity honey like odor.
Phenyl Ethyl Alcohol Mild and warm rose honey like odor.
Polafix Sweet, woody musky odor.
Polaride Sweet and musky odor.
Skatole Powerful sweet warm animal.
Tetralide Musky powdery floral.
Tonalid Sweet woody musky.
Tonalix 50 Strong radiant musk.
249
Tonquitone Musk.
Traseolide 100 Sweet musk.
Triflaige - A Tropical, fruity, floral, musk-like.
Glen O. Brechbill
250
Floral Aldehydic - Musk # 1a
5 Citronellol Prime
3 Undecatriene
1 Florantone T
36 Geraniol Coeur
.1 Tea Essence
9 Meijiff
3 Galaxolide
3 Jasmonyl Acetate
1 Iso Rose
.1 Tea Essence
2 Eugenyl Acetate
6 Aldehyde C - 14
3 Velvione
1 Petilyn
3 Fleuramone
.2 Geranyl Acetate
1 Anisyl Alcohol
1,000
3 Amberfleur
38 Coumarin Crystals ( hay like )
9 Vanilys
27 Musk 50 DPG
2 Sandec Givco 75 - Givaudan
12 Benzyl Benzoate
3 Rose Givco 217
6 Methyl Benzoate
1 Iso - Rose
2 Iritone V
7 Ethyl, Vanillin
3 Aquanol
25 Eugenol
11 Lilial
3 Carnation ( Dianthanol ) Iso - Eugenol
21 Rose Base # 60
3 Geranodyle
24 Musc 50 in DPG
59 Benzylacetate
.1 Alcohol C - 9
251
Glen O. Brechbill
Floral Aldehydic - Musk # 1b
5 Citronellol Prime
3 Undecatriene
1 Florantone T
36 Geraniol Coeur
.1 Tea Essence
9 Meijiff
3 Galaxolide
3 Jasmonyl Acetate
1 Iso Rose
.1 Tea Essence
2 Eugenyl Acetate
6 Aldehyde C - 14
3 Velvione
1 Petilyn
3 Fleuramone
.2 Geranyl Acetate
1 Anisyl Alcohol
1,000
3 Cashmeran
38 Coumarin
9 Vanillin
.1 Civet Artificial # 1c
27 Musk 50 DPG
2 Amyris Oil ( Sandal ) - India
12 Benzyl Benzoate
3 Rose Givco 217
6 Methyl Benzoate
1 Meranol
2 Iritone V
7 Ethyl, Vanillin
3 Ozomor
22 Eugenol
15 Lilial
21 Rose Base # 60
3 Geranodyle
24 Musc 50 in DPG
59 Benzylacetate
.1 Alcohol C - 9
252
Floral Aldehydic - Musk # 1c
5 Citronellol Prime
2 Undecatriene
1 Florantone T
36 Geraniol Coeur
.1 Tea Essence
3 Galaxolide
3 Jasmonyl Acetate
.8 Honey Rose Givco 117
1 Muscone
.1 Tea Essence
2 Eugenyl Acetate
7 Aldehyde C - 14
3 Serenolide
1 Scennal
3 Fleuramone
.2 Geranyl Acetate Prime
1 Vanillyl Alcohol
1,000
3 Amberfleur
9 Vanilys
2 Sandalore
12 Benzyl Benzoate
3 Rose Givco 217
6 Methyl Benzoate
1 Iso - Rose
2 Iritone V
7 Ethyl, Vanillin
3 Aquanol
25 Eugenol
11 Lilial
21 Rose Base # 60
3 Geranodyle
24 Musc 50 in DPG
.1 Alcohol C - 9
253
Glen O. Brechbill
Floral Aldehydic - Musk # 1d
5 Citronellol Prime
3 Undecatriene
1 Florantone T
36 Geraniol Coeur
.1 Tea Essence
9 Myraldyl Acetate
3 Galaxolide 50 - IFF
3 Iso Jasmone Pure
1 Meijiff
.1 Tea Essence
3 Eugenyl Acetate
6 Aldehyde C - 14
3 Muskylein
1 Petilyn
4 Fleuramone
.2 Geranyl Acetate
1 Anisyl Alcohol
1,000
3 Tonalid I - Pfw
9 Vanilys
34 Musk Gazalle
2 Sandec Givco 75 - Givaudan
12 Benzyl Benzoate
3 Rose Givco 217
6 Methyl Benzoate
8 Sandela
1 Iso - Rose
6 Macrolide
2 Iritone V
7 Ethyl Vanillin
3 Aquanol
24 Eugenol
11 Hydroxycitronellal Pure 55
3 Carnation Base
21 Rose Base # 60
3 Geranodyle
2 y - Irone
24 Musc 50 in DPG
.1 Alcohol C - 9
7 Irisone Bis
254
Floral Aldehydic - Musk # 1e
5 Citronellol 850
3 Undecatriene
1 Florantone T
36 Geraniol Coeur
.1 Tea Essence
9 Meijiff
3 Galaxolide
3 Jasmonyl Acetate
1 Iso Rose
.1 Tea Essence
2 Eugenyl Acetate
6 Aldehyde C - 14
3 Musk RI
1 Petilyn
3 Florosia
.2 Geranyl Acetate
1 Anisyl Alcohol
1,000
3 Chandanone
9 Vanilys
27 Musk 50 DPG
2 Sandalore
12 Benzyl Benzoate
3 Rose Oil - Bulgaria
5 Methyl Benzoate
2 Iritone V
7 Ethylvanillin
3 Aquamor
25 Eugenol
11 Lyrame Super
3 Iso Eugenol - Berje
21 Rose Base # 65
3 Geranium 2222
2 Iso Musk
24 Musc 50 in DPG
59 Hedione
.1 Alcohol C - 10
255
Glen O. Brechbill
8 Laurine Extra
1 Rose Acetate
.1 Alcohol C - 9
1 Rose Acetate
3 Lilial
1 Fleur de Rose - Synarome - France
6 Cassis Bourgenons
2 Cananga Odorata
5 Hydroxyciol
.1 Undecavertol
3 Wardia
25 Linalol S 97
6 Myraldyl Acetate
3 Jasilyn
1 Rose Oil, Turkish
5 Orange Oil Sweet
1,000
14 Iso E Super
5 Ambrox DL
3 Rose Crystals
12 Osyrol
7 Vanillin
49 Traseolide 100 Base ( Quest Intl. )
3 Amber Core
8 Galaxolide 50
4 Vanilla Alcohol
2 Damascone
3 Rose Crystals
26 Eugenol
1 Iso Jasmone
5 Gardenia Fleuriff
6 Benteine
3 Myraldyl Acetate
9 Rose Substitute
5 Hedione
1 Damascenia 185 SA
38 Geraniol 100 %
1 Caraway Oil FCC
256
1 Rose Acetate
.1 Alcohol C - 9
1 Damascenone
3 Lilial
6 Cassis Bourgenons
8 Ionone Alpha 60
2 Jasmin Oil ( Perfumery Grade )
5 Hydroxyciol
.1 Methyl Octine Carbonate Sub.
3 Wardia
25 Linalol S 97
4 Neroli Artessence
6 Myraldyl Acetate
3 Jasilyn
1 Rose Oil, Turkish
2 Orange Oil of Florida - ( C.P. ) FCC
1,000
11 Muskylein
5 Ambrox DL
3 Rose Crystals
12 Osyrol
7 Vanillin
3 Amber Core
8 Galaxolide 50
4 Vanilla Alcohol
2 Damascone
3 Rose Crystals
26 Eugenol
1 Jasmone
5 Gardenia Fleuriff
4 Benteine
9 Rose Substitute
4 Hedione
1 Damascenia 185 SA
38 Geraniol 100 %
1 Cinnamon Leaf Oil
257
Glen O. Brechbill
8 Musk MX III
1 Rose Acetate
.1 Alcohol C - 9
3 Citronellol FCC
1 Jasmonyl
3 Lyrame Super - IFF
1 Pommarose
6 Cassis Bourgenons
2 Cananga Odorata
5 Hydroxyciol
.1 Undecavertol
3 Wardia
25 Linalol S 97
6 Myraldyl Acetate
3 Exaltolide
1 Rose Oil, Turkish
4 Orange Oil ( Cold Pressed ) - Calif.
1,000
14 Iso E Super
5 Ysamber K
3 Rose Crystals
12 Osyrol
7 Vanillin
3 Amber Core
8 Galaxolide 50
4 Vanilla Alcohol
2 Damascone
3 Rose Crystals
26 Eugenol
5 Gardenia Fleuriff
6 Benteine
3 Myraldyl Acetate
9 Rose Substitute
5 Hedione
1 Musk Cetona
38 Geraniol 100 %
1 Caraway Oil FCC
258
7 Laurine
1 Rose Acetate
.1 Alcohol C - 9
1 Rose Acetate
3 Jasilyn
6 Cassis Bourgenons
2 Cananga Odorata
5 Hydroxyciol
.1 Undecavertol
3 Musk KS
25 Linalol S 97
6 Myraldyl Acetate
3 Gardenia
1 Nerol Extra LG
8 Orange Oil Sweet
1,000
11 Anthea Sandal Sweet
5 Ambrox DL
3 Rose Crystals
12 Osyrol
7 Vanillin
3 Amber Core
8 Galaxolide 50
4 Vanilla Alcohol
2 Damascone
3 Rose Crystals
26 Eugenol
1 Iso Jasmone
5 Amyl Salicylate
8 Benteine
3 Myraldyl Acetate
9 Rose Substitute
5 Acetato De Benzila
1 Damascenia 185 SA
36 Geraniol 100 %
1 Cinnamalva
259
Glen O. Brechbill
8 Laurine Extra
1 Rose Acetate
.1 Alcohol C - 9
5 Di Hydro Iso Jasmone
35 Acetato de Bencila
1 Rose Acetate
6 Cassis Bourgenons
2 Cananga Odorata
5 Cedroxyde
.1 Undecavertol
6 Wardia
25 Linalol S 97
3 Jasilyn
1 Rose Oil, Turkish
5 Orange Oil Sweet
1,000
14 Kephalis
5 Rionyl
3 Rosone
12 Santalex T Neat
7 Vanillia Resinoid
3 Amber Core
8 Galaxolide 50
4 Vanilla Alcohol
2 Damascone
11 Jasmin Artificial Base
3 Rose Crystals
26 Eugenol
1 Jasmon
5 Gardenia Fleuriff
6 Benteine
3 Liral
9 Rose Substitute
5 Hedione
2 MDJ
310 ( DPG )
1 Damascenia 185 SA
38 Geraniol 100 %
1 Eugenol - Iso
260
3 Iso Raldeine 95
20 Geraniol Pure
1 Ylang Givco 225
2 Dianthanol
3 Nerol
1 Floranton T
5 Wardia
1 Liveche
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 y - Irone
7 Musk TM II
2 Bourgenal
1 Nepalva
1 Farnesyl Acetate
35 Linalyl Acetate
1,000
.1 Civet Orpur - Givaudan ( Somalia )
6 Benzylalcohol
45 Coumane
17 Musk Gazalle
27 Benzylsalicylate
6 Vanillin
4 Cashmeran
3 Fleuramone
5 Musk NC
1 Vanilla Beans
1 Benzophenone
2 Iritone V
6 Cinnamicalcohol
28 Eugenol
53 Benzyl Acetate
.1 Alcohol C - 9
1 Alpha Damascone
2 Vanilla Resinoid
11 Liral
10 Musk 781
.1 Polarose
24 Linalol 98 %
5 Citronellol 80
3 Galaxolide
261
Glen O. Brechbill
3 Iso Raldeine 95
20 Geraniol Pure
1 Ylang Givco 225
2 Methyl Dianthanol
3 Nerol
1 Floranton T
5 Wardia
1 Liveche
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 y - Irone
7 Jasmin P.g.
2 Bourgenal
4 Nepalva
1 Farnesyl Acetate
35 Linalyl Acetate
.3 Bourgenal
1,000
.1 Civet Artificial
6 Benzylalcohol
45 Coumane
12 Musk Gazalle
25 Benzylsalicylate
6 Vanillin
4 Muskylein
3 Fleuramone
5 Musk Emeressence
1 Vanillyl Alcohol
1 Benzophenone
2 Iritone V
6 Cinnamicalcohol
28 Eugenol
.1 Alcohol C - 9
1 Alpha Damascone
2 Vanilla Resinoid
11 Liral
10 Musk Clear
.1 Polarose
28 Musc G 50 in BB
24 Linalol 99 %
5 Citronellol 80
3 Galaxolide
262
3 Iso Raldeine 95
20 Geraniol Pure
1 Ylang Givco 225
2 Carnaline - Rhodia, France
3 Nerol
1 Floranton T
5 Wardia
1 Liveche
3 Galbanum Oil Resinoid
2 Ylang Odorata Oil
1 Exaltex
2 Bourgenal
1 Nepalva
1 Farnesyl Acetate
35 Linalyl Acetate
1,000
.1 Musk Abs. CLess MD
6 Benzylalcohol
45 Coumane
17 Musk Gazalle
29 Benzylsalicylate
6 Vanillin
4 Cashmeran
3 Fleuramone
3 Musk NC
1 Vanilla Beans
1 Benzophenone
2 Iritone V
6 Cinnamicalcohol
28 Eugenol
53 Benzyl Acetate
.1 Alcohol C - 9
61 Ionone Alpha 60
1 Alpha Damascone
1 Vanilla Resinoid
11 Liral
10 Musk 144
.1 Polarose
24 Linalol 98 %
5 Citronellol 80
3 Galaxolide
263
Glen O. Brechbill
30 Geraniol Pure
1 Ylang Givco 225
2 Isoeugenol ( Carnation ) - Red
3 Nerol
1 Floranton T
5 Wardia
1 Stemone
3 Hidroxicitronelal
2 Ylang Odorata Oil
1 y - Irone
7 Bois de Rose Oil
2 Bourgenal
1 Nepalva
1 Farnesyl Acetate
35 Linalyl Acetate
1,000
6 Benzylalcohol
45 Coumane
17 Musk Gazalle
8 Brahmanol F
27 Benzylsalicylate
6 Vanillin
3 Fleuramone
5 Fixolid
1 Anisyl Alcohol
1 Benzophenone
2 Iritone V
6 Troenan
28 Eugenol
53 Benzyl Acetate
.1 Alcohol C - 9
1 Beta Damascone
2 Vanilla Resinoid
11 Lyral
10 Celestolid
.1 Polarose
28 Galaxolide 50
24 Linalol 98 %
5 Citronellol - L
3 Galaxolide
264
3 Iris Beurre Oil
20 Geraniol Pure
1 Ylang Petals I
4 Dianthanol
3 Nerol
2 Styralyl Acetate
1 Floranton T
9 Wardia Substitute
1 Liveche
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 Iridales
7 Palmarosa Oil
2 Bourgenal
1 Nepalva
1 Farnesyl Acetate
1,000
6 Benzyl Alcohol
45 Coumane
7 Musk Emeressence
27 Benzylsalicylate
6 Vanillin
4 Cashmeran
3 Fleuramone
5 Musk Ketone
1 Vanilla Beans
1 Benzophenone
2 Iritone V
6 Cinnamicalcohol
28 Eugenol
53 Benzyl Acetate
.1 Alcohol C - 9
1 Alpha Damascone
2 Vanilla Resinoid
11 Laurine
10 Musk 781
2 Acetato de Geranyle FFC
.1 Polarose
24 Linalol 98 %
5 Citronellol 80
3 Muskylein
.1 Violiff
265
Glen O. Brechbill
28 Linalol Pur
.7 Poirinate
4 Anis Aldehyde
.1 Folione
3 Apple Blossom
2 Iris Beurre Oil
1 Tuberose Oliffac
1 Fleuramone
2 Meranol
4 Nutmeg Oil - W.I.
.1 Leaf Alcohol
1 Bourgenal
18 Linalyl Acetate
1,000
5 Amyris Oil W.I.
1 Civet Tincture
32 Phthalate DEthyl
37 Muskylein
6 Kephalis
7 Vanillin
1 Thymol Crystals
8 Lilial
17 Traseolide
5 Iso Jasmone
7 Vanillinethyl
2 Methyl Benzoate
1 Ivyal
28 Eugenol
7 Troenan
.1 Alcohol C - 9
20 Geraniol 970
3 Jasmylone 99
4 Boisnal
266
28 Linalol
.7 Perryfix - Creations Aromatiques, S
4 Anis Aldehyde
.1 Ionone 100 %
3 Apple Blossom
2 Iris Beurre Oil
1 Tuberose Oliffac
1 Fleuramone
2 Rose Petals - Bulgaria
4 Nutmeg Oil - W.I.
.1 Leaf Alcohol
1 Bourgenal
18 Linalyl Acetate
1,000
5 Brahmanol
1 Civet Tincture
32 Phthalate DEthyl
6 Kephalis
7 Vanillin
1 Thymol Crystals
8 Lilial
17 Musk BSI
5 Iso Rose
7 Vanillinethyl
2 Methyl Benzoate
1 Ivyal
3 Citronellol 850
28 Eugenol
7 Troenan
.1 Alcohol C - 9
20 Geraniol 970
3 Benzyl Acetate F.C.C.
4 Boisnal
5 Mallow
267
Glen O. Brechbill
25 Linalol Pur
4 Anis Aldehyde
.1 Folione
1 Tetralide
3 Apple Blossom
2 Iris Beurre Oil
1 Tuberose Oliffac
1 Fleuramone
2 Meranol
4 Nutmeg Oil - W.I.
.1 Leaf Alcohol
1 Lilie
18 Linalyl Acetate
1,000
5 Sandiff
1 Civet Tincture
32 ( DEP ) - Di Ethyl Phthalate
27 Triflaige - A
6 Kephalis
7 Vanillin
1 Thymol Crystals
8 Lilial
27 Tonalid II
5 Iso Jasmone
7 Vanillinethyl
2 Methyl Benzoate
1 Ivyal
7 Troenan
.1 Alcohol C - 9
20 Geraniol 970
3 Jasmylone 99
3 Petilyn
268
28 Linalol Pur
.7 Poirinate
4 Anis Aldehyde
.1 Folione
3 Verdox
1 Tuberose Oliffac
1 Fleuramone
2 Musk T
4 Nutmeg Oil - W.I.
.1 Leaf Alcohol
1 Bourgenal
18 Linalyl Acetate
1,000
5 Timber Forte
1 Civet Paste - Ethiopia
37 Muskylein
6 Kephalis
7 Vanillin
1 Iso Bornyl Crystals
8 Lilial
17 Traseolide
5 Iso Jasmone
7 Ethylvanillin
2 Methyl Benzoate
1 Ivyal
3 Citronellol 850
28 Eugenol
7 Troenan
.1 Alcohol C - 9
20 Geraniol 970
3 Di Hydro Jasmone
4 Jasilyn
5 Hydroxyciol
269
Glen O. Brechbill
28 Linalool
.7 Iso Rose
4 Aubepine
.1 Orange Flower Artessence Abs.
3 Apple Blossom
2 Meranol
1 Methyl Octyl Ketone - Bedoukian
1 Phyllos
3 Cassifix
2 Nerol petals
2 Cinnamon Leaf Oil
.1 Leaf Alcohol
1 Bourgenal
18 Linalylacetate
1,000
5 Amyris Oil W.I.
49 Coumarin
1 Mousse De Chenne
32 Phthalate DEthyl
6 Iso E Super
7 Vanillin
2 Heliotropine
1 Thymol Crystals
8 Lilial
17 Serenolide
5 Iso Jasmone
7 Vanillinethyl
2 Methyl Benzoate
1 Irisone Bis
28 Eugenol
7 Troenan
.1 Alcohol C - 9
20 Geraniol Prime
3 Jasmelia
4 Mugone S 207 M
270
7 Orange Flor Deco
.2 Alcohol C - 9
6 Bourgenal
1 Thesaron - Givaudan
.1 Geraniol 600
1 Eugenyl Acetate
3 Kir Base # 9741
3 Iso Raldeine 70
4 Wardia
.4 Vanillyl Alcohol
6 Irisone Bis
.1 Meranol
26 Linalyl Acetate
1 Jasilyn
1,000
11 Benzyl Alcohol
.1 Civette Givco 73
5 Javanol
9 Vanillin
.1 Polarose
11 Musk GX
3 Petilyn
23 Geraniol Coeur
1 Rosone
4 Hidroxicitronelal
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Oxide De Rosa
21 Carnation Base
5 Irisone Bis
1 Ionone
33 Linalol
2 Hydratropic Aldehyde
3 Fleuramone
271
Glen O. Brechbill
7 Orange Flor Deco
.2 Alcohol C - 9
6 Bourgenal
.1 Rose Essence Abs. - Morocco
1 Eugenyl Acetate
3 Kir Base # 9741
3 Ionone For Soap - Berje
4 Wardia
.4 Vanillyl Alcohol
6 Irisone Bis
.1 Meranol
26 Linalyl Acetate
1 Jasilyn
1,000
11 Benzylalcohol
6 Sandalwood, India
.1 Civet Orpur - Givaudan ( Ethiopia )
53 Serenolide
5 Javanol
9 Vanillin
.1 Polarose
11 Musk GX
3 Petilyn
23 Geraniol Coeur
1 Exaltolide
4 Hidroxicitronelal
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Musk R - 1
13 Citronellol 80
1 Para Cresyl redistilled
28 Linalol 99%
3 Nerol Petals
272
7 Orange Flor Deco
.2 Alcohol C - 9
6 Bourgenal
.1 Rose Crystals
1 Eugenyl Acetate
3 Ionone Alpha 70
4 Wardia
.4 Vanillyl Alcohol
6 Irisone Bis
.1 Meranol
26 Linalyl Acetate
1 Jasilyn
1,000
11 Benzyl Alcohol
.1 Civette Givco 73
5 Javanol
9 Vanillin
.1 Polarose
11 Musk GX
3 Petilyn
23 Geraniol Coeur
1 Rosone
4 Hidroxicitronelal
3 Di Methyl Octanol
4 Hidroxicitronelal
1 Oxide De Rosa
21 Carnation Base
.1 Iso Mohaganol
5 Irisone Bis
1 Styralyl Acetate
33 Linalool Extra Pure
3 Iso Rose
273
Glen O. Brechbill
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Geraniol 600
1 Eugenyl Acetate
3 Kir Base # 9741
3 Iso Raldeine 70
4 Wardia
3 Benzila Phenil Acetato
.4 Vanillyl Alcohol
.1 Geranium Oil - Chinese
28 Linalyl Acetate
1 Stemone
1,000
11 Benzyl Alcohol
.1 Civette Givco 73
5 Javanol
9 Vanillin
.1 Polarose
11 Musk GX
3 Petilyn
23 Geraniol Coeur
1 Rosone
4 Lilial
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Oxide De Rosa
21 Carnation Base
5 Irisone Bis
13 Citronellol Extra
1 Meranol
33 Etil Linalol - Givaudan - Switz.
3 Folrosia
274
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Geraniol 600
1 Eugenyl Acetate
3 Kir Base # 9741
4 Wardia
.4 Vanillyl Alcohol
6 Irisone Bis
.1 Meranol
26 Linalyl Acetate
1 Iso Musk
1,000
11 Hercolyn - D
6 Amyris - Haiti
.1 Exaltolide
5 Javanol
9 Vanillin
.1 Polarose
11 Musk GX
3 Petilyn
23 Geraniol Coeur
1 Rosone
4 Hidroxicitronelal
6 Rhodinol Ex Palmarosa Oil
2 Hidroxicitronelal
1 Oxide De Rosa
21 Carnation Base
4 Irisone Bis
1 Phyllos
33 Linalol
4 Efintaal
275
Glen O. Brechbill
26 Geraniol Extra Ex Citronella
1 Ribes Mercaptan
34 Linalool
1 Nutmeg E.I.
1 Damascenia 185 SA
5 Muguet Aldehyde
3 Sandalore
1 Rose Chine
27 Linalyl Acetate
5 Nerol
4 Myraldyl Acetate
3 Musk Clear
1,000
.1 Exaltolide
7 Vanillin
46 Coumane
10 Benzylsalicylate
1 Ambrox DL Coeur
2 Roseone
3 Musk 144 - Takasago
52 Acetato Benzila
4 Sandela
6 Hydrofix R
3 Heliotropine
5 Vanillinethyl
13 Hedione
1 Santalyl Acetate
6 Methyl Benzoate
5 Gardenia 1110
1 Neo Geranium Oil
3 Iso Jasmone
276
5 Cassifix
2 Orange Oil Bitter
1 Ribes Mercaptan
34 Linalool
1 Dianthanol
1 Damascenia 185 SA
3 Muguet Aldehyde
3 Sandalore
1 Rose Chine
28 Linalyl Acetate
5 Nerol
4 Myraldyl Acetate
1 Ylang Ylang I
5 Musk Emeressence
1,000
7 Vanillin
44 Coumane
10 Benzylsalicylate
1 Ambrox DL Coeur
1 Roseone
52 Hedione
4 Sandela
6 Hydrofix L
3 Heliotropine
5 Vanillinethyl
13 Hedione
1 Santalyl Acetate
3 Iris Beurre Oil
6 Methyl Benzoate
5 Gardenia Acetal
1 Geraniu Rose China
3 Jasmonyl Acetate
277
Glen O. Brechbill
26 Geraniol Extra
1 Heliobouquet
34 Linalool
1 Nutmeg E.I.
1 Damascenia 185 SA
6 Muguet Aldehyde
3 Sandalore
1 Damascenia 185 SA
27 Linalyl Acetate
5 Meranol
4 Myraldyl Acetate
5 Musk Clear
1,000
.1 Exaltolide
9 Vanillin
46 Coumane
11 Benzylsalicylate
1 Amberwood
2 Roseone
4 Sandela
6 Hydrofix R
5 Vanillinethyl
1 Sandela
6 Methyl Benzoate
5 Gardenia 1110
3 Citronellol Coeur
1 Neo Geranium Oil
3 Geranyl Acetate 60
3 Lyrame
278
26 Geraniol Prime
1 Ribes Mercaptan
32 Linalool
1 Nutmeg E.I.
2 Damascenia 185 SA
5 Muguet Aldehyde
.3 Geranyl Acetate
1 Iso Jasmone
3 Sandela
1 Rose Chine
27 Linalyl Acetate
5 Nerol
4 Myraldyl Acetate
5 1000 Phenyl Ethyl Acetate
1,000
7 Vanilys
10 Benzylsalicylate
1 Ambrox DL Coeur
2 Roseone
3 Triflaige - A
52 Benzyle Acetate
4 Sandela
6 Hydrofix R
3 Heliotropine
5 Vanillinethyl
16 Hedione
1 Santalyl Acetate
6 Methyl Benzoate
4 Lyral
1 Geranium Oil Bourbon
3 Geranyl Acetate A - IFF ( BBA )
.1 Rose Otto Oil - Bulgaria
3 Iso Jasmone
279
Glen O. Brechbill
1 Ribes Mercaptan
34 Linalool
1 Nutmeg E.I.
1 Damascenia 185 SA
5 Muguet Aldehyde
.3 Geranyl Acetate Nat.
3 Amyris Oil W.I.
1 Rose Chine
29 Linalyl Acetate
5 Nerol
4 Myraldyl Acetate
3 Ganolide
1,000
.1 Anisyl Alcohol
7 Vanillin
46 Coumane
39 Musk Xilol
1 Ambrox DL Coeur
2 Roseone
52 Acetatobenzila
4 Osyrol
8 Hydrofix R
3 Heliotropine
13 Hedione
1 Santalyl Acetate
3 alpha - Ionone
6 Methyl Benzoate
5 Gardenia 1110
1 Benzophenone
3 Geranyl Acetate Ex Palmarosa
3 MDJ Super
280
4 Melon Oliffac
5 Muguet Aldehyde
1 Di Methyl Octanol
3 Nerolin Crystals
5 Florantone T
35 Geraniol 7030 - IFF
31 Linalool
.1 Folione
1 Iso Jasmone
2 Nerol
1 Phantolide
1 Scennal
.1 Leaf Acetal
2 Iso Eugenol
7 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Cassis Fragrance
34 Linalyl Acetate
1,000
7 Vanillin
8 Galaxolide 50 DPG
9 Benzyl Alcohol
.1 Civet Ethiopia
17 Osyrol
2 Musk Emeressence
1 Rose Crystals
5 Heliotropine
67 Benzylacetate
.1 Anisyl Alcohol
7 Benteine
4 Vanillinethyl
.1 Alcohol C - 09
8 Iso E Super
5 Musk Cetone
19 Meijiff
1 Rose Crystals
25 Eugenol
2 Magnol
3 Tonalid II - Pfw
7 Citronellol Nat.
3 Lioral
11 Wardia
281
Glen O. Brechbill
4 Melon Oliffac
5 Muguet Aldehyde
1 Di Methyl Octanol
3 Neroli Artessence
5 Florantone T
31 Linalool Special 99.5 %
.1 Folione
1 Iso Jasmone
2 Nerol
1 Musk KS
1 Scennal
.1 Leaf Acetal
2 Iso Eugenol
7 Orangeflor
1 Thesaron
3 Eugenyl Acetate
2 Cassis Fragrance
34 Linalyl Acetate
1,000
7 Vanillin
9 Benzyl Alcohol
17 Osyrol
2 Musk Emeressence
1 Rose Crystals
5 Heliotropine
67 Benzylacetate
.1 Anisyl Alcohol
7 Benteine
4 Ethyl Vanillin
.1 Alcohol C - 09
8 Iso E Super
5 Musk Cetone
19 Meijiff
1 Rose Crystals
25 Catnation Base
2 Magnol
3 Tonalid II - Pfw
7 Citronellol A.J.
3 Lioral
11 Rhodinol Coeur
282
4 Melon Oliffac
5 Muguet Aldehyde
1 Di Methyl Octanol
3 Nerolin Crystals
5 Florantone T
31 Linalool
.1 Undecavertol
1 Iso Jasmone
2 Geranylacetate
1 Nepalva
1 Scennal
.1 Leaf Acetal
2 Iso Eugenol
7 Orangeflor
1 Verotyl
3 Eugenyl Acetate
33 Linalyl Acetate
1,000
7 Vanillin
8 Galaxolide 50 DPG
13 Benzyl Alcohol
.1 Civet Ethiopia
17 Osyrol
2 Musk Emeressence
1 Rose Crystals
5 Heliotropine
.1 Anisyl Alcohol
7 Benteine
4 Vanillinethyl
.1 Alcohol C - 09
8 Bacdanol
5 Musk Emeressence
19 Meijiff
1 Rose Crystals
25 Eugenol
2 Methyl Benzoate
3 Tonalid II - Pfw
7 Citronellol 700 98 - TA - IFF
6 Phyllos
3 Iridales
12 Geraniol Ex Palmarosa Oil - India
283
Glen O. Brechbill
4 Melon Oliffac
5 Muguet Aldehyde
1 Di Methyl Octanol
3 Nerolin Crystals
.1 Rose De Mai Abs. - France
5 Florantone T
31 Linalool
.1 Folione
1 Iso Jasmone
2 Nerol
1 Phantolide
1 Scennal
.1 Leaf Acetal
7 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Cassis Fragrance
34 Linalyl Acetate
1,000
8 Galaxolide 50 DPG
9 Benzyl Alcohol
.1 Civet Ethiopia
17 Osyrol
1 Rose Crystals
5 Heliotropine
65 Benzylacetate
.1 Anisyl Alcohol
4 Ethyl Vanillin
.1 Alcohol C - 09
8 Iso E Super
5 Macrolide Supra - Symrise
19 Lilial
1 Rose Crystals
25 Eugenol
10 Troenan
2 Magnol
3 Tonalid II - Pfw
7 Citronellol Nat.
3 Hidroxicitronelal
11 Wardia
284
4 Melon Oliffac
5 Muguet Aldehyde
1 Chandanone
3 Nerolin Crystals
5 Florantone T
35 Geraniol 970
31 Linalool
.1 Folione
1 Iso Jasmone
2 Nerol
1 Phantolide
1 Scennal
.1 Leaf Acetal
2 Carnation Flower ( Dianthanol )
7 Orangeflor
1 Veraflor
3 Eugenyl Acetate
34 Linalyl Acetate
1,000
8 Galaxolide 50 DPG
9 Benzyl Alcohol
.1 Civet Ethiopia
17 Osyrol
2 Musk Emeressence
1 Rose Crystals
67 Benzylacetate
7 Benteine
4 Vanillinethyl
.1 Alcohol C - 09
8 Iso E Super
5 Musk Cetone
19 Meijiff
1 Rose Crystals
25 Eugenol
2 cis - Jasmone
14 Magnol
3 Tonalid II - Pfw
7 Citronellol Nat.
11 Geranium Oil Extra
285
Glen O. Brechbill
1 Cassia Oliffac
32 Linalol Pur
3 Troenan
.1 Ylang Ylang I
2 Meranol
1 Iso - Eugenol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tuberose Oliffac
4 Geranyl Acetate
1 Wardia
.1 Geraniol 600
2 Perryfix ( Symrise ) Creations A.
2 Neryl Acetate
1,000
Composition # 8d - Pg # 96
Interview - Ruth Mastenbroek - Per # 116
Creative Notebook Scent 2/11/11
47 Helional
1 Benzophenone
32 DEP
1 Damascenone Alpha
33 MDJ
5 Iris Beurre Oil
11 Vanillin
2 Musk Emeressence
3 Jasmon Oil P.G.
2 Iso Jasmone
2 Methyl Benzoate
6 Citronellol 70 %
3 Galaxolide 50 BB
9 Hysimal
36 Geraniol 970
4 Phenafleur
2 Nerol
.1 Celestolid
4 Iris Beurre Oil
.1 Alcohol C - 9
7 Bourgenal
286
1 Cinnamon Leaf Oil - Madagascar
32 Linalol 98 %
3 Troenan
.1 Ylang Ylang II
2 Meranol
1 Iso - Eugenol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tuberose Oliffac
4 Geranyl Acetate
1 Wardia
.1 Geraniol 600
2 Perryfix ( Symrise ) Creations A.
2 Neryl Acetate
1,000
47 Alicate
1 Benzophenone
.1 Vanilla Absolute.
29 DEP
1 Alpha Damascone
33 MDJ
5 Ionone Alpha 60
11 Vanillin
2 Musc T - ( Etilen Brassilato ) Musk
3 Zeppin
2 Jasmonyl Acetate
5 Methyl Benzoate
6 Citronellol 70 %
3 Galaxolide 50 BB
9 Hysimal
36 Geraniol 970
4 Phenafleur
2 Nerol
.1 Muscade Noix
4 Iris Beurre Oil
.1 Alcohol C - 9
7 Stemone
287
Glen O. Brechbill
1 Cassia Oliffac
32 Linalol Pur
3 Troenan
.1 Ylang Ylang II
4 Wardia
3 Meranol
1 Dianthanol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tuberose Oliffac
4 Geranyl Acetate
1 Rhodinol
.1 Rose Oxide CO
2 Perryfix - Creations Aromatiques
2 Geranyl Acetate
1,000
47 Helional
1 Benzophenone
1 Damascenone Alpha
31 Benzyl Acetate
5 Iris Beurre Oil
11 Vanillin
2 Musk Emeressence
3 Jasmon Oil P.G.
2 Iso Jasmone
2 Methyl Benzoate
6 Citronellol 70 %
3 Cashmeran
9 Benteine
36 Geraniol 970
4 Phenafleur
2 Nerol
.1 Muskylein
4 Iris Beurre Oil
.1 Alcohol C - 9
288
1 Cinnamic Aldehyde
32 Linalol Pur
2 Irisone Bis
3 Hyacinth PP
.1 Ylang Ylang III
1 Iso - Eugenol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tuberose Oliffac
4 Geraniol Pur
1 Wardia
.1 Rose Essence Abs. - Morocco
2 Perryfix - Perry Brothers ( Symrise )
2 Neryl Acetate
1,000
47 Coumane
1 Benzophenone
32 DEP
1 Damascenone Alpha
5 Iris Beurre Oil
11 Vanillin
2 Musk Emeressence
3 Jasmon Oil P.G.
2 Iso Jasmone
2 Methyl Benzoate
6 Citronellol 70 %
3 Galaxolide 50 BB
9 Hysimal
36 Geraniol Coeur
27 Carnation Base
4 Phenafleur
2 Nerol
.1 Geraniol Extra
4 Iris Beurre Oil
.1 Jasmin Sambac Abs. - India
.1 Alcohol C - 10
289
Glen O. Brechbill
1 Cassia Oliffac
32 Linalol Pur
.1 Ylang Ylang I
2 Meranol
1 Iso - Eugenol
5 Cassis Fragrance
27 Linalyl Acetate
.3 Tuberose Oliffac
4 Geranyl Acetate
1 Iso Rose
.1 Geraniol 600
2 Anapear - Givaudan
2 Neryl Acetate
1,000
47 Helional
1 Rose Crystals
55 Galaxolide Substitute ( Musk )
.2 Civet Powder # 3c
32 DEP
1 Damascenone Alpha
33 Benzyle Acetate
5 Iris Beurre Oil
11 Vanillin
2 Musk G 50 in DEP
3 Jasmon Oil P.G.
2 Iso Jasmone
2 Methyl Benzoate
6 Citronellol 70 %
3 Musc Clear
4 Meijiff
36 Geraniol 970
2 Nerol
.1 Celestolid
.1 Alcohol C - 9
7 Scennal
290
4 Jasmonyl Acetate
.1 Polarose
3 Orangeflor
5 Wardia
27 Linalol S 97
3 Top Galbanum
5 Top Muguet
.2 Tuberose Oliffac
1 Orange Flor
3 Scennal
9 Linalyl Acetate 99.5 %
1 Florantone T
.1 Rose Essence Abs. - Bulgaria
.1 Neryl Acetate
2 Fleuramone
1,000
.1 Civet Augaflor 27
8 Benzyl Benzoate
5 Vanillin
51 Coumane
6 Kephalis
4 Hydrofix L
61 Hedione
4 Florosia
5 Methyl Benzoate
.3 Alcohol C - 10
6 Lili
3 Citronellol Prime
1 Vanilys
9 Lyrame
7 Bonorax
9 Givescone
3 Irisone Bis
24 Geraniol Prime
2 Iso Jasmone
291
Glen O. Brechbill
4 Irisone Bis
.1 Polarose
3 Orangeflor
5 Rose Acetate
27 Linalol S 97
3 Top Galbanum
1 Tangerinol - Givaudan ( Fresh )
5 Top Muguet
.2 Tuberose Oliffac
1 Orange Flor
3 Wardia
1 Musk T
.1 Neryl Acetate
2 Fleuramone
1,000
.1 Exaltolide
8 Benzyl Benzoate
5 Vanisal
11 Javanol
51 Coumane
6 Iso E Super
4 Hydrofix L
51 Hedione
4 Florosia
5 Methyl Benzoate
.3 Alcohol C - 10
6 Para Cresyl Redistilled
3 Citronellol Prime
1 Vanillin
9 Lyrame
7 Mallow
9 Givescone
3 Irisone Bis
24 Geraniol Prime
2 Iso Jasmone
292
4 Jasmonyl Acetate
.1 Patchwood - Pfw Fragrance Contest
3 Orangeflor
5 Wardia
27 Linalol S 97
3 Top Galbanum
3 Geranyl Acetate SP
5 Top Muguet
1 Orange Flor
3 Scennal
9 Linalylacetate
.1 Folione
1 Florantone T
.1 Neryl Acetate
2 Fleuramone
2 Cassis Fragrance D
1,000
8 Benzyl Benzoate
5 Vanillin
51 Coumane
6 Kephalis
2 Hydrofix L
1 Heliotropine
61 Hedione
4 Florosia
7 Woodynol I
5 Methyl Benzoate
.3 Alcohol C - 10
3 Citronellol Prime
1 Vanilys
9 Lyrame
7 Bonorax
9 Givescone
3 Irisone Bis
24 Geraniol Prime
2 Jasmone
293
Glen O. Brechbill
4 Jasmonyl Acetate
.1 Polarose
3 Orangeflor
5 Wardia
27 Linalol synthetic
3 Top Galbanum
5 Mugone S 207 M
.2 Tuberose Substitute
1 Orange Flor
3 Scennal
1 Florantone T
.1 Neryl Acetate
2 Fleuramone
2 Cassifix
1,000
8 Benzyl Benzoate
5 Vanillin
51 Coumane
6 Kephalis
4 Hydrofix R
61 Hedione
4 Lily Aldehyde
5 Methyl Benzoate
.3 Alcohol C - 10
6 Lili
3 Citronellol Prime
1 Vanilys
9 Gardenia Fleuriff
7 Bonorax
9 Givescone
3 Irisone Bis
24 Geraniol Prime
5 Terpinyl Acetate
294
2 Jasmonyl Acetate
.1 Polarose
3 Orangeflor
5 Wardia
27 Linalol S 97
3 Top Galbanum
5 Top Muguet
.2 Tubereuse 181
1 Orange Flor
3 Palmarosa, Belize
3 Stemone
9 Linalyl Acetate
1 Florantone T
.1 Nerol Petals
2 Meranol
1,000
.1 Civet Powder # 1a
8 Benzyl Alcohol
50 Nivandide
5 Vanillin
51 Coumane
6 Kephalis
4 Hydrofix L
61 Hedione
4 Florosia
5 Methyl Benzoate
54 Methyl Di Hydro Jasmonate - MDJ
.3 Alcohol C - 10
6 Lili
2 Citronellol 98 %
1 Vanilys
8 Lyrame
7 Bonorax
9 Muskylein
4 Irisone Bis
23 Geraniol Extra
2 Jasilyn
3 Lilial
5 Nutmeg - India ( Sambac ) Pure
295
Glen O. Brechbill
3 Hidroxicitornelal
22 Linalool
3 Neroli - Morocco
17 Geraniol Pure
5 Geranyl Acetate
6 Cassis Fragrance
3 Galolid
2 Irisone Bis
1 Iso Eugenol
36 Linalyl Acetate
1 Tangerine Oil - Florida
.1 Leaf Alcohol
1 Muguet Alcohol
1 Bergamot Oil Italy - C.C.C.
1,000
47 Coumarin Crystals ex Benzaldehyde
8 Etilen Brassilato
4 Heliotropine
8 Vanillin
7 Laurine
9 Brahmanol
48 Super Cepionate
1 Beta Damascone
4 Anis Aldehyde
4 Ethyl, Vanillin
7 Methyl Benzoate
9 Hedione
4 Citronellol 850
13 Mallow
1 Nepalva
8 Acetate Benzyle
3 Sandacanal
24 Eugenol
1 Geranium Orpur Italy - Givaudan
3 Jasmone
3 Muguet Aldehyde
1 Nerol
296
3 Hidroxicitornelal
22 Linalool
3 Neroli - Morocco
27 Geraniol 60
5 Geranyl Acetate
6 Cassis Fragrance
3 Galolid
2 Irisone Bis
1 Grapefruit Oil ( White/Pink )
1 Iso Eugenol
36 Linalyl Acetate
.1 Leaf Alcohol
1 Muguet Alcohol
1 Bergamot Oil Italy - C.C.C.
1,000
47 Coumarin 5091 P
7 Musk Tops
4 Heliotropine
31 Phthalate DEthyl
46 Musk 50 DEP
8 Vanillin
7 Laurine
9 Brahmanol
48 MDJ
1 Beta Damascone
4 Anis Aldehyde
4 Ethyl, Vanillin
7 Methyl Benzoate
9 Hedione
4 Citronellol 850
13 Mallow
1 Cashmeran
8 Acetate Benzyle
3 Sandacanal
24 Eugenol
1 Geranium Africa, Bourbon
3 Jasmone
3 Lyrame Super
1 Iso Rose
297
Glen O. Brechbill
3 Scennal
22 Trinalool - Flexitrail
1 Terpinyl Acetate
3 Neroli - Morocco
27 Geraniol 60
5 Geranyl Acetate
6 Cassis Fragrance
2 Irisone Bis
1 Iso Eugenol
36 Linalyl Acetate
.1 Leaf Acetal
1 Muguet Alcohol
1 Bergamot Oils
1,000
47 Coumarin 5091 P
7 Musk Tops
4 Heliotropine
30 Phthalate DEthyl
46 Musk RI
8 Vanillin
7 Laurine
9 Brahmanol
44 Benzylacetate
1 Beta Damascone
4 Anis Aldehyde
4 Ethyl, Vanillin
7 Methyl Benzoate
4 Citronellol 850
13 Mallow
1 Cashmeran
8 Acetate Benzyle
3 Sandacanal
15 Geraniol Fine
10 Iris Beurre Oil
24 Eugenol
3 Jasmone
3 Scennal
1 Geranylacetate
2 Lioral
298
3 Wardia
22 Linalool
3 Neroli - Morocco
29 Geraniol Prime
7 Geranyl Acetate
6 Cassis Fragrance
3 Galolid
2 Irisone Bis
1 Iso Eugenol
36 Linalyl Acetate
2 Tangerine Oil Dancy Type
.1 Leaf Alcohol
1 Macrolide
2 Bergamot Verger Oil - Cami ( I. )
1,000
47 Coumarin 5091 P
7 Musk Tops
4 Heliotropine
31 Phthalate DEthyl
46 Musk 50 DEP
8 Vanillin
7 Petilyn
9 Sandiff
48 MDJ
1 Beta Damascone
4 Anis Aldehyde
4 Etil Vanillin
7 Methyl Benzoate
9 Di Hydro Iso Jasmonate - Pfw
4 Citronellol Coeur FCC
13 Mallow
1 Cashmeran
8 Acetate Benzyle
3 Sandacanal
24 Eugenol
3 Jasilyn
3 Mugone S 207 M
1 Nerol Coeur
299
Glen O. Brechbill
3 Bonorax
22 Linalool
3 Neroli - Morocco
27 Geraniol 60
5 Geranyl Acetate
6 Cassis Fragrance
3 Muskylein
2 Irisone Bis
36 Linalyl Acetate
.1 Leaf Alcohol
1 Hidroxicitronelal
1 Citrilys Givco 173
1,000
47 Coumarin 5091 P
7 Musk Tops
4 Heliotropine
31 Phthalate DEthyl
46 Musk 50 DEP
7 Laurine
9 Brahmanol
1 Beta Damascone
4 Anis Aldehyde
4 Ethyl, Vanillin
7 Methyl Benzoate
9 Hedione
4 Citronellol 850
13 Mallow
1 Cashmeran
3 Sandacanal
10 Iridales
1 Rhodinol Pure
3 Jasmone
3 Efintaal
1 Geraniol 980 Pure
2 Pepper Oil Black
300
Arranging Fine Perfume Compositions - FLORAL ALDEHYDIC - Orange Flower
Orange Flower
Orange flower water, or orange
blossom water, is a clear, perfumed
distillation of fresh bitter-orange
blossoms.
This essential water has traditional-
ly been used in many French and
Mediterranean dessert dishes, such
as the gibassier and pompe l'huile,
but has more recently found its way
into Western cuisine. For example,
orange flower water is used in
France to flavor madeleines, in
Mexico to flavor little wedding
cakes and Pan de muerto, and in the
United States to make orange blos-
som scones and marshmallows.
Orange flower water is also used as
an ingredient in some cocktails,
such as the Ramos Gin Fizz.
It has been a traditional ingredient
used often in Middle Eastern cook-
ing. In the Arab world, it is fre-
quently added to hard or otherwise
bad-tasting drinking water to mask
the unpleasant flavor. Orange blos-
soms are believed to be used in this
manner because they are seen as the
traditional bridal flower and, there-
fore, symbolize purity (white, small
and delicate).
known as Seville orange, sour
orange, bigarade orange, and mar-
malade orange, refers to a citrus
tree (Citrus aurantium) and its
fruit. Many varieties of bitter
orange are used for their essential
oil, which is used in perfume and as
a flavoring. The Seville orange
variety is used in the production of
marmalade.
Bitter orange is also employed in
herbal medicine as a stimulant and
appetite suppressant.[2][3] The
active ingredient, synephrine, has
been linked to a number of deaths,
and consumer groups advocate
avoiding medicinal use of the fruit.
Varieties
Citrus aurantium subsp. amara is a
spiny evergreen tree native to
southern Vietnam, but widely culti-
vated. It is used as grafting stock
for citrus trees, in marmalade, and
in liqueur such as triple sec, Grand
Marnier and Curaao. It is also cul-
tivated for the essential oil
expressed from the fruit, and for
neroli oil and orange flower water,
which are distilled from the flow-
There are many brands available
that are made in Europe and the
Middle East. There are also several
brands made in the United States.
In Greece and Cyprus orange blos-
som water is called anthonero
while in Malta it is known as Ilma
Zahar.
In Morocco orange blossom water
is called Ilma Zhar, phrase in arabic
literally meaning "flower water," in
contrast to Llma Ward, which is
rose blossom water. Orange blos-
som water serves two purposes in
Morocco. One usage is a perfume
or freshener, usually given to guests
to wash their hands upon entering
the host house or before drinking
tea, in a special silver or metal con-
tainer; recognizable in the
Moroccan tea set. but this old cus-
tom is fading away in the present
day. The main usage of orange
blossom water however, is in
Moroccan cuisine especially as an
ingredient for traditional sweets .
Bitter Orange
The name "bitter orange", also
301
ers.
Seville orange (or bigarade) is a
widely-known, particularly tart
orange which is now grown
throughout the Mediterranean
region. It has a thick, dimpled skin,
and is prized for making mar-
malade, being higher in pectin than
the sweet orange, and therefore giv-
ing a better set and a higher yield. It
is also used in compotes and for
orange-flavored liqueurs. Once a
year, oranges of this variety are col-
lected from trees in Seville and
shipped to Britain to be used in
marmalade. However, the fruit is
rarely consumed locally in
Andalusia.
Bergamot orange, C. aurantium
subsp. bergamia is cultivated in
Italy for the production of bergamot
oil, a component of many brands of
perfume and tea, especially Earl
Grey tea.
Chinotto, from the myrtle-leaved
orange tree, C. aurantium var. myr-
tifolia, is used for the namesake
Italian soda beverage. This is some-
times considered a separate species.
Daidai, C. aurantium var. daidai, is
used in Chinese medicine and
Japanese New Year celebrations.
The aromatic flowers are added to
tea.
Wild Florida sour orange is found
near small streams in generally
secluded and wooded parts of
Florida and the Bahamas. It was
introduced to the area from Spain.
N-methyltyramine, octopamine and
synephrine, substances similar to
epinephrine, which act on the ?1
adrenergic receptor to constrict
blood vessels and increase blood
pressure and heart rate.There is no
evidence that bitter orange is effec-
tive in promoting weight loss.
Following bans on the herbal stim-
ulant ephedra in the U.S., Canada,
and elsewhere, bitter orange has
been substituted into "ephedra-
free" herbal weight-loss products
by dietary supplement manufactur-
ers. Like most dietary supplement
ingredients, bitter orange has not
undergone formal safety testing,
but it is believed to cause the same
spectrum of adverse events as
ephedra. Case reports have linked
bitter orange supplements to
strokes, angina, and ischemic coli-
tis. The U.S. National Center for
Complementary and Alternative
Medicine found that "there is cur-
rently little evidence that bitter
orange is safer to use than
ephedra." Bitter orange may have
serious drug interactions with drugs
such as statins in a similar way to
grapefruit.
Following an incident in which a
healthy young man suffered a
myocardial infarction (heart attack)
linked to bitter orange, a case study
found that dietary supplement man-
ufacturers who replaced ephedra
with its analogs from "bitter
orange" had in effect found a loop-
hole in the ephedra ban, substitut-
ing a similarly dangerous substance
while labeling the products as
In cooking
The unripe fruit, called narthangai,
is commonly used in Southern
Indian cuisine, especially in Tamil
cuisine. It is pickled by cutting it
into spirals and stuffing it with salt.
The pickle is usually consumed
with thayir sadam. The fresh fruit is
also used frequently in pachadis.
The juice from the ripe fruit is also
used as a marinade for meat in
Nicaraguan, Cuban, Dominican
and Haitian cooking. The peel can
be used in the production of bitters.
In Mexico, it is a main ingredient of
the cochinita pibil.
The Belgian Witbier (white beer) is
made from wheat spiced with the
peel of the bitter orange. The
Finnish and Swedish use bitter
orange peel in gingerbread (pep-
parkakor), some Christmas bread
and in mmmi. It is also used in the
Nordic mulled wine glgg. In
Greece and Cyprus, the nerntzi or
kitrmilon, respectively, is one of
the most prized fruits used for
spoon sweets, and the C. aurantium
tree (nerantzi or kitromili) is a
popular ornamental tree. In Iran,
the juice is used as fish marinade.
The blossoms are also used to fla-
vor tea and jam.
In medicine
The extract of bitter orange (and
bitter orange peel) has been market-
ed as dietary supplement purported
to act as a weight-loss aid and
appetite suppressant. Bitter orange
contains the tyramine metabolites
Glen O. Brechbill
302
"ephedra-free".
Other uses
This orange is used as a rootstock
in groves of sweet orange. The fruit
and leaves make lather and can be
used as soap. The hard white or
light yellow wood is used in wood-
working and made into baseball
bats in Cuba.
Neroli Oil
Neroli oil is a plant oil produced
from the blossom of the bitter
orange tree (Citrus aurantium
subsp. amara or Bigaradia). Its
scent is sweet, honeyed and some-
what metallic, whereas bergamot,
being rich in linalool (which is the
main component in lavender), has
more of an aromatic, soft, floralcy.
The blossoms are gathered, usually
by hand, in late April to early May.
The oil is produced by water distil-
lation, as the blossom is too fragile
to endure steam distillation.
History
By the end of the 17th century,
Anne Marie Orsini, duchess of
Bracciano and princess of Nerola,
Italy, introduced the essence of bit-
ter orange tree as a fashionable fra-
grance by using it to perfume her
gloves and her bath. Since then, the
term "neroli" has been used to
describe this essence. Neroli has a
refreshing and distinctive, spicy
aroma with sweet and flowery
notes.
Soft pinky-orange foxglove that's
an attention-getter in a woodland
border.
Pilosella aurantiaca
OK, so it's classed as a weed, but
the massed effect of tawny orange
flowers held aloft on spindly stems
from late spring to early autumn
makes this hawkweed a winner.
Lonicera x tellmanniana
An underrated honeysuckle with
burnt-orange blooms in early sum-
mer.
Likes Its roots in shade and its
leaves in sun; train up a tree.
Buddleja globosa
If the lilacs and purples of regular
buddleja aren't for you, try this
semi-evergreen shrub with striking
orange pompom flowers. It's still a
butterfly magnet that's in bloom in
early summer.
Achillea 'Terracotta' and A.
'Walther Funcke'
Yarrow's newly fashionable but it's
always been a banker for a border.
These two will bloom until
September leave the flower heads
standing in the winter for that
"brown but beautiful" look.
Echinacea 'Tiki Torch'
These deep orange daisy-like
blooms will be the star of a cutting
border.
Use
It is one of the most widely used
floral oils in perfumery. It is a non-
toxic, nonirritant, nonsensitizing,
nonphototoxic substance. More
than 12% of all modern quality per-
fumes use neroli as their principal
ingredient. It blends well with any
citrus oil, various floral absolutes,
and most of the synthetic compo-
nents available on the market.
Neroli oil is a classic element in
fragrance design and one of the
most commonly used in the indus-
try. It is also used in flavors where
it has a limited use. Neroli oil is
also one of the key flavoring ingre-
dients of some cola beverage
recipes.
Neroli oil is reportedly one of the
ingredients in the closely guarded
secret recipe for the Coca-Cola soft
drink.
As an essential oil used in aro-
matherapy and massage, neroli is
considered to have a soothing effect
on the nervous system.
Traditionally, neroli oil was used
not only to relieve tension and anx-
iety, but also to increase circulation.
A solution is made by adding three
or four drops of the essential oil to
one cup of either sweet almond oil
or wheat germ oil. If the solution is
to be used on children or pregnant
women, only half the quantity of
essential oil should be used.
Top 10 Orange Flowers
Digitalis purpurea 'Suttons Apricot'
303
Hemerocallis fulva 'Flore Pleno'
Long-flowering double daylily that
looks great in drifts. The blooms
are edible, too.
Crocosmia crocosmiiflora 'Lady
Hamilton'
An easy-care hot border stalwart.
Verbascum 'Clementine'
Stately spires of blooms in the per-
fect shade of orange with a fuzzy
purple centre.
Kniphofia 'Bees' Sunset'
A favourite with bees that throws
up torches of flowers from May to
July.
Look alike Orange Flowers
Native to the Americas, sunflowers
(Helianthus annuss L.) are cheerful
annuals that feature a large flower
head in shades of orange, yellow
and bronze, surrounding a rounded
center. Several types of flowers are
mistaken for the orange sunflower
because of the similarities in form,
arrangement of petals and petal col-
ors.
African Daisy
An ornamental plant belonging
to the Sunflower family, African
daisy, also called gerber or gerbera
daisy (Gerbera jamesonii), comes
in a variety of colors including
shades of white, pink, yellow,
Rough Heliopsis
Also called false sunflower
(Heliopsis helianthoides), rough
heliopsis is a perennial belonging to
the Aster family. Although most
varieties produce yellow daisy-like
blooms that measure 2 to 3 inch-
es in width, varieties such as
'Incomparabilis' produce orange
blooms that resemble true sunflow-
ers. It thrives in USDA Hardiness
Zones 3 through 9 and prefers well-
drained soil in full sun to partial
shade. Rough heliopsis blooms
from mid-summer through early
fall.
Cape Daisy
A genus belonging to the sun-
flower family, cape daisy
(Venidium fastuosum), also called
monarch of the veldt or prince
daisy, produces semi-double, 4-
inch-wide blooms in a variety of
colors including white and orange.
The attractive petals surround a
shiny, deep purple/black center.
Delicate, soft hairs cover the sil-
very-green, lobed leaves, giving the
foliage a silky appearance.
Growing 2 feet tall, the long-lasting
blooms decorate the spot from sum-
mer through fall, and do well when
placed in a container or vase. Cape
daisies thrive in USDA Hardiness
Zones 10b through 11 and prefer
full sunlight.
Neroli Oil
The bitter orange tree yields both
neroli and petitgrain essential oils.
orange and red. Hardy in USDA
zones 9 through 11; it grows as an
annual or perennial, depending on
the climate of the area. The 4-inch-
wide blooms of orange gerbera
resemble true sunflowers. Reaching
heights of between 12 to 15 inches,
gerbera prefer full sun to partial
shade and well-drained soil.
Treasure Flower
Also called gazania, treasure
flower is an annual that produces
sunflower-like blooms in shades of
cream, orange, yellow, pink and
bronze. These flowers grow
between 8 to 10 inches high and
produce greenish-blue foliage. The
variety 'Aztec Queen' and 'Golden
Margarita' resemble orange sun-
flowers and bloom from early sum-
mer till end summer or early fall.
Treasure flower thrives in USDA
Hardiness Zones 8 through 11 and
tolerates a variety of soils provided
it receives full sun.
Mexican Sunflower
Mexican sunflower (Tithonia
rotundiflora) is a warm-season
annual belonging to the
Aster/Daisy family. Growing up to
6 feet high, the 2- to 3-inch-wide
flowers appear in a variety of colors
including orange and yellow. The
heat-and drought-tolerant plant
thrives in USDA Hardiness Zones 5
through 10 and prefers full sun to
partial shade.
Glen O. Brechbill
304
In addition to these, a third essence
known as bitter orange oil is
expressed from the peel of the near-
ly ripe fruit. Bitter orange oil
resembles bergamot and lime in
aroma. It is most often used in per-
fumery and flavoring.
Neroli essential oil, which is very
expensive, is distilled from the
freshly picked flowers. The trees
bloom heavily in May. Under opti-
mum growing conditions a large
tree can produce up to 60 pounds of
fresh flowers. Timing is crucial; the
flowers quickly lose their oil when
plucked from the tree. Excessive
handling and bruising greatly
diminishes the quality and quantity
of this precious botanical oil.
A by-product of neroli distillation
is the condensed water from the
still. After the essential oil is drawn
off, this substance, known as
orange flower water, is bottled and
sold as a fragrant cosmetic sub-
stance. Orange flower water is usu-
ally available in the form of skin
toning facial mists. Often it is an
ingredient in creams and lotions,
lending astringency as well as a
fine aroma. Orange flower water
contains many unstable con-
stituents from the delicate flowers.
It is prone to oxidation and rancidi-
ty unless immediately bottled and
sealed in sterile containers. Much
orange flower water sold today
contains large amounts of alcohol
or other chemical preservatives.
Neroli ( Orange flower )
Citrus aurantium ssp. aurantium
(Rutaceae) Bitter orange, Seville
orange
The flowers of various Citrus
species are the source of the famous
neroli oils used in fine perfumery,
particularly in Colognes. One
example is the flowers of the bitter
orange, mainly cultured in North
Africa. Neroli oil is obtained by
careful steam distillation of the
freshly picked flowers in about 0.1
% yield. An even more valuable
material is the so-called orange
flower absolute, obtained by
extraction (see boronia for details
on absolutes).
In both products, linalool is the
main volatile constituent. Nerolidol
and farnesol are characteristic
ingredients. Moreover, a number of
N-containing constituents are
odour-determining, e.g. methyl
anthranilate, indole, phenylacetoni-
trile and 1-nitro-2-phenylethane.
Etymology: It. neroli, from the
French-born Anna Maria de la
Trmoille (1670-1722), princess of
Nerola, a village near Rome. She
loved the fragrance of the orange
flowers, and was the first person to
have them distilled. The tertiary
sesquiterpene alcohol 3,7,11-
trimethyl-1,6,10-dodecatriene-3-ol
was first identified in neroli oil,
whence the name nerolidol.
Somewhat later, the isomeric alco-
hol 3,7,11-trimethyl-2,6,10-dode-
catriene-1-ol was also identified. It
was correspondingly named far-
nesol, from Villa Farnese, another
village near Rome. Eau de
Colognes have been created since
the end of the 17'th century. The
classical ingredients were neroli
oil, bergamot oil, orange oil, laven-
der oil and rosemary oil. Colognes
are still going strong, a modern
example is
Baldessarini ( Hugo Boss 2002 ).
Orange Blossom/ Neroli
Citrus aurantium L.
Family: Rutaceae
Common Names: Orange Blossom
Citrus vulgaris, Citrus bigaradia~
Orange flower, Neroli bigarade~
Orange, common name for citrus
fruit of several trees. Orange trees
are evergreens, with flowers that
are white and fragrant. Three essen-
tial oils are obtained from oranges:
~oil of orange,~ obtained from the
rind of the fruit and used principal-
ly as a flavoring agent; ~oil of peti-
grain,~ obtained from the leaves
and twigs and used in perfumery;
and ~oil of neroli,~ obtained from
the blossoms and used in flavorings
and perfumes.
Neroli was discovered in the late
17th century. It is said to be named
after a princess of Neroli or Nerola,
Italy whose name was Anne-Marie.
It was named after the city Neroli,
she was princess there. She used it
as her personal perfume. Its fra-
grance relaxes and relieves anxiety,
thus traditionally, orange blossoms
305
were used in weddings bouquets
and to calm nerves before the bridal
couple retired to bed.
It has aphrodisiac properties and in
skin care, it stimulates the growth
of new cells and helps clear oily
skin. Oil of neroli is obtained from
the flowers of the ~Bitter orange~
or ~Seville orange~ Known as a
~floral' oil~ it is a pale yellow
colour that darkens as it gets older.
It has a light and sweet floral scent
to it. Tea made from the dried flow-
ers is used as a stimulant and as a
blood cleaner in Europe. Orange
flower water is a popular cosmetic
article. ~Zhishi~ a Chinese tradi-
tional name for Citrus aurantium,
has been a folk medicine for indi-
gestion. Orange brings peace and
happiness to the mind and the body.
During the romantic Victorian era,
brides used to carry fresh bouquets
of white orange blossoms on their
wedding day. These bouquets were
so much in demand that they were
transported nationwide from
Florida for this purpose. Fresh gar-
lands were made into little circlets,
and attached to bridal veils. A sim-
ple perfumed orange blossom gar-
land was often used to adorn a
bride's hair if she chose not to wear
a veil, making a tiara.
State Flower of Florida
The orange blossom was designat-
ed as Florida's official state flower
on May 5, 1909.
306
Glen O. Brechbill
Orange Flower Fragrance Chemicals
BOOK # 1 ( A - G )
Neroli
Orange ( Bitter )
Petitgrain
A.N.E.C. - France
Neroli
Petitgrain
Neroli
Orange Bitter
Petitgrain
ORGANIC ESSENTIAL OILS &
EXTRACTS
Orange Bitter Oil
Citrus Aurantium
Neroli Oil
Orange Oil Bitter
Petitgrain
BITTER ORANGE NOTE
Neroli
Orange Flower Abs.
Neroli NC
Neroli Super NC
Petitgrain Abs.
Bitter Orange Oil
Neroli Oil
FLORAL WATERS
Orange - Flower Water
Neroli Oil - Morocco, Tunisia
Petitgrain Bitter Orange Oil - Italy
ABSOLUTES
Orange Flower Abs. - Egypt
Orange Tree Abs. - Tunisia
Alfa Chem - USA
Bitter Orange Oil C.P.
Bitter Orange Oil 5 - Fold
Neroli Moroccan
Neroli Tunisian
Orange Oil Bitter C.P.
Orange Oil Bitter 5 - Fold
Orange Flower Abs.
AROMATIC CHEMICALS
Nerolin Bromelia
Nerolin Yara Yara
Yara Yara
307
Aromatic Intenational LLC - USA
Orange Flower
Neroli Egypte
Neroli Maroc
NeroliTunisie
Neroli Oil
Petitgrain Oil
Neroli Augaflor 17
Orange Flower Augaflor 53
ESSENTIAL OILS
Neroli Oils
Eau de Brut Oranger Abs.
Orange Flower Abs.
Australian Botanical Ltd. - Aust.
Neroli Bigarade
Orange Bitter
Neroli Marocco
Niroli Oil
Petitgrain Terpenless
ABSOLUTES
Orange Flower Absolute
Neroli Bigarade Oil
Neroli Blossom Water
Petitgrain Bigarade Oil
BOTANICALS
Bitter Orange Peel, Ribbons
Bitter Orange Peel, Quarters
Neroli Oil
AROMATIC CHEMICALS
Nerolin
Neroline Yara Yara
Yara Yara
Neroli Oil
Petitgrain Oil
CONCRETES
Orange Flower Guinea
Orange Flower Spain
ABSOLUTE
Orange Flower Water Abs.
Baller S.r.l. - Italy
Petitgrain Bigarade
Neroli Oil
Petitgrain Oil
HERBAL EXTRACTS
Petitgrain Oil
BAROSYL S.A. - FRANCE
Neroli Comores Island
Citrus Aurantium
Neroli Egyptian
Citrus Aurantium
Neroli Morocco
Citrus Aurantium
Neroli Tunisian
Citrus Aurantium
Fleurs dOranger Abs. artess
Berje Inc. - USA
Orange Oil Bitter W.I.
Orange Oil Bitter Brazil
FLOWERS OR FLOWERING HEADS
Orange Flower
NATURAL PRODUCTS
Neroli Oil
Glen O. Brechbill
308
Cami de Fontainilles - Spain
OTHER ORIGIN
Orange Flower Water Abs.
Capua s.r.l. - Italy
THE PETITGRAINS
Petitgrain Bigarade
Carrubba Inc. - USA
BOTANICAL EXTRACTS
Bitter Orange Oil
Orange Flower
Castrading - Korea
Neroli, France
Neroli, Morocco
Petitgrain, Bigarade
Petitgrain Oil
AROMATIC CHEMICALS
Nerolin Bromelia
Nerolin Yara Yara
China Aroma Chemical - China
Petitgrain Oil
Petitgrain - Dai Dai Oil
Neroli Abs.
Neroli Bigarade Oil - Tunisia
Petitgrain Oil - France
DMH Ingredients - USA
Neroli
Orange Bitter, W.I.
De Monchy Aromatics - U.K.
Orange Bitter Dominican
Orange Expression Bitter
Petitgrain
FD Copeland & Sons Ltd.
Orange Oil Bitter - African,
Sicilian, South American,
Spanish, West Indian
Dulcos Trading - France
Neroli Italie
Neroli Marocco
Neroli Tunisia
Petitgrian Bigaradier
Dullberg Konzentra - Germany
Neroli Oil
Orange Oil Bitter
Petit Grain Oil
Charabot SA
Neroli Oil
Neroli Oil Morocco
Neroli Oil Tunis
ABSOLUTES
Orange Flower Abs. - Morocco
Orange Flower Abs. - Spain
Orange Flower Abs. - Tunisia
Orange Flower Water Abs. - Spain
Givaudan SA
Oranger Crystals
Nerolin Bromelia
Nerolin Bromelia Crystals
Neroli Aurantium Oil
OLEOS ESSENCIAS - NATURALS
Neroli Aurantium Oil A0900
Citroflor di G. - Italy
Bitter Orange Oil
Orangeflor Deco
Orangeflor Sanguim Deco
Petitgrain Bigarade
Neroli Oil
309
Earth Oil Plantations Ltd. - U.K.
Neroli Oil
Bitter Orange Oils
Neroli Oil
Esencias y Materials - Mexico
AROMATIC CHEMICALS
Neroli
Nerolina Yara Yara
Neroli Bigarade Ph. Eur.4
Citrus Amara
Neroline Bromelia
Euma - Argentina
Nerolin Bromelia
Orange Bitter Oil
Naturales Productos
Neroli 1301/M
Nerolin Bromelia
Nerolin Yara Yara
Exaflor - France
Neroli
Orange Oil Bitter - D.R.
Petitgrain Paraguay
Neroli Oil
Orange Oils, Bitter
Petitgrain Oil Bigarade
Neroli, Morocco
Neroli, Tunisia
Orange, Bitter C.P.
Orange, Bitter Desensitized
AROMATIC CHEMICALS
Nerolin Bromelia
Nerolin Yara Yara
Fleurin, Inc. - USA
Neroli Oil
Orange Flower Abs.
Neroli Bigarad
Petitgrain Bigarade
AROMA CHEMICALS
Nerolin Yara Yara Crystals
HUILES ESSENTIALES
Italie
Neroli
Petitgrain
Marocco
Neroli
Tunisie
Eau de fleur doranger
Orange - Egypte Abs.
FD Copelad & Sons Ltd. - UK
Neroli Oil
Orange Oil Bitter - Africa,
Sicilian, South American,
Sanish, West Indian
Farotti Essences srl - Italy
Bitter Orange Sicily Essence
Neroli Egypt Essence
Fayyum Gharbya Aromat. - Egypt
Bitter Orange Flower Abs.
Citrus Aurantium L.
Fine Chemical Trading Ltd. - U.K.
Orange Bitter
Neroli Egypt, Morocco, Tunisia
Glen O. Brechbill
310
Orange Oil ( Bitter )
Oange Flower Oil
Petitgrain Oil
AROMATIC CHEMICALS
Nerolin Bromelia
Fritzsche SAICA - Argentina
Orange Bitter Oil
Furest Day Lawson - U.K.
Nerolin Bromelia
Yara Yara
Aurantiol Pure
Oranger Crystals
Verdantiol ( Lilavert )
Quest Intl. ( Givaudan ) - Switz.
Neroli AB 78
Neroli Oil
Neroli Petals Oil
Neroli Phase Oil
AROMATIC CHEMICALS
Neroline Bromelia
AROMA CHEMICALS
Nerolin Bromelia
HC Biochem - China
Neroli Oil
Neroli Veritable Maroc
Neroli Oil
Orange Amere Bresil
Bitter Orange Oil
Petitgrain Bergamotier
Handa Fine Chemicals Ltd., - U.K.
Neroli Oil
AROMATIC CHEMICALS
Nerolin Bromelia
BOOK # II ( I - Z )
Neroli Bigarade Marocco
Neroli Bigarade Tunisia
Oranger Absolue
Oranger Maroc Concrete
Oranger Tunisie Concrete
IFF - USA
Orange Flower Ether
Neroline Yara Yara
The Good Scents Co. - USA
Neroli Bigarade Oil France
Orange Peel Oil Bitter Brazil
Orange Peel Oil Bitter China
Orange Peel Oil Bitter
Terpeneless
Petitgrain Oil
ABSOLUTE LISTING
Orange Flower Morocco Absolute
Orange Flower Water Absolute
Petitgrain France Absolute
FLORAL
Neroli
Neroli # 1
Neroli Bigarade Oil France
Neroli, France
Neroli, Tunisia
Orange, Bitter, W.I.
Neroli Oil
Orange Oil Bitter Cold Pressed
Orange Oil Bitter Five-Fold
311
JC Buck Ltd. - U.K.
Orange Bitter Brazil
Orange Bigger Ivory Coast
Orange Bitter Spanish
ESSENTIAL OILS
Neroli Egypt
Neroli Morocco
Neroli Tunisia
Oranger Egyptian Abs.
J. Piltz & Cia. Ltda. - Brazil
Niaouli
Kato Aromataic S.A.E. - Egypt
Neroli Oil - Citrus Aurantium L.
Neroli Oil
Orange Oil Bitter
Petit Grain Oil
Neroli Oil - Tunisia
Orange Flower Abs.
Orange Leaf Water Abs.
Neroli Bigarade Tunisie Oil
Orange Flower Abs.
Orange Oil Bitter 5 - Fold
Orange Oil Bitter C.P.
Petitgrain Oil Terpeneless
Neroli, Spain
Oliganic - USA
Orange Bitter - Brazil
Orinox
Neroli Oil Bigarade
Orange Oil, Bitter
Petitgrain Oil Bigardier
Neroli Morocco Oil
Neroli Tunisia Oil
ABSOLUTES
Orange Flower Abs.
Oranger Flower Water Abs.
Neroli Bigarade Oil
Orange Oil, Bitter
Aurantiol
Methyl Anthranilate
Orange Flower Water Abs. Extra
Methyl Anthranilate Nat.
Moelhausen S.p.A. - Italy
Neroli Oil
Orange Bitter Africa
Orange Bitter Oil
Orange Bitter Oil South America
Moraflor Produits Aromat. - France
Neroli - Egypt
Orange Bitter - Cote Ivoire
Naradev - Hong Kong
Neroli Bigarade Extra
Neroli Bigarade Morocco
Neroli Bigarade Selecta
Neroli Bigarade Spanish
Neroli Bigarade Tunisia
Petitgrain Bigarade Selecta
Petitgrain Bigarade Tunisia
Petitgrain over Flowers
Nardev - Israel
Glen O. Brechbill
312
AROMATIC CHEMICALS
Methyl Anthranilate
Neroli Bigarade Oil
Neroli Bigarade Oil - Tunisia
Orange Peel Oil Bitter
Orange Peel Oil Bitter - Brazil
Orange Peel Oil Bitter - China
( Fleurs DOranger )
Peter Jarvis Cosmetics - U.K.
Floral Water Neroli
Floral Water Orange
HERBAL EXTRACTS
Neroli EG
Neroli EO
Orange Blossom EG
Orange Blossom EO
Orange Bitter Oil
AROMATIC CHEMICALS
Aurantiol ( Orangol )
Nerolin Bromelia
Metil Antranilato Metila
Neroli Oil
Orange Oil Bitter
Petitgrain Oil
CITRUS OILS
Orange Oil Bitter - Italy, Spain,
West Indies
Orange Flower Concrete
Neroli Oil - Tunisia
Orange Oil Bitter - West Indies
Petitgrain Paraguay OE
Givaudan - Switz.
Methyl Anthranilate Extra
Oranger Crystals
Neroli Oil
Petit Grain STD
Petitgrain Oil Paraguay
Neroli Oil
Phoenix Aromas & Oils - USA
Neroli Oil
Moroccan, Tunisian
Bitter Orange Oil Cold Pressed
Neroli Oil Moroccan
Neroli Oil Tunisian
Petitgrain Oil Terpeneless
ABSOLUTE
Orange Flower Abs.
AROMATIC CHEMICALS
Nerolin Bromelia
Nerolin Yara Yara
Neroli Oil
Orange Oil Bitter
AROMATIC CHEMICALS
Oranger Crystals
Yara Yara
Prima Fleur - USA
Neroli - Citrus Aurantium
Petitgrain Bigarade
Citrus Aurantium
313
Neroli Bigarade
Orange Bitter West Indian
Petitgrain SA FCC
Petitgrain SA FCC
SAT Group - India
Neroli Oil
Petitgrain Oil
SIPA A. Ch. Berthier - France
Liliavert ( Verdantiol ) - Givaudan
Neroli Oil Tunisian
Petitgrain Oil Paraguay Trepe
ABSOLUTES
Eau De Brout DOranger Abs.
Eau De Fleur DOranger Abs.
Oranger Abs. Tunisia A
Oranger Abs. Tunisia 2868
NATURAL EXTRACTS
Orange Flowers
AROMATIC CHEMICALS
Nerolin Bromelia
Nerolin Yara Yara
Silvestris & Szilas Ltd. - Hungary
Neroli Oil - ( Citrus Sinensis )
Some Extracts - India
Neroli Oil Perf - Italy
Sovimpex - France
Neroli - Egypt
Neroli - Maroc
Neroli - Tunisie
AROMATIQUES DE SYNTHESE
Neroline Yara - Yara
Neroline Bromelia
Spectrum Chemicals - USA
Neroli Oil
Sunrose Aromataics - USA
Neroli
Neroli - 10 % in Jojoba
Orange, Bitter Brazil
Petitgrain Oil
ABSOLUTE
Orange Blossom Abs.
RARE & EXOTIC
Neroli
Neroli - 10 % Jojoba
Orange Blossom Absolute
Sarcom Inc. - USA
Petitgrain 48 % Paraguay
Nerolin Bromelia China
Neroline Yara Yara China
Science Lab - USA
Neroli Oil
Orange Oil Bitter C.P. FCC
Petitgrain Oil
Bitter Orange Oil - Sicily
Neroli Oil - Morocco, Tunesia
Shanghai M & U Inter. - China
Neroline Bromelia
Neroline Yaa Yara
Neroli
Petitgrain
AROMATIC CHEMICALS
Nerolin Bromelia
Sigma Aldrich - USA
Nreolin Bromelia
Nerolin Yara Yara > 99 %
314
Glen O. Brechbill
Neroli Oil
Petitgrain Oil Paraguay
Takasago International - Japan
Florantone T
Taytonn te Ltd. - Singapore
Petitgrain
Thailand Institute - Thailand
ESSENTIAL OILS BY COUNTRY
Brazil
Bitter Orange Oil
Petitgrain Oil
France
Orange Flower Abs.
Italy
Orange Flower Abs.
Morocco
Neroli Oil
Orange Flower Abs.
Seychelles
Neroli Oil
Africa
Cote DIvoire
Bitter Orange
Egypt
Petitgrain
Tanzania
Petitgrain
Tunisia
Neroli
Uganda
Bitter Orange
Caribbean
Dominican Republic
Bitter Orange
Haiti
Bitter Orange
Central America
Mexico
Petitgrain
South America
Argentina
Petitgrain
Spain
Orange Flower Abs.
USSR
Petitgrian Oil
Th. Gyer GmbH - Germany
Methyl Anthranilate
Nerolin Yara Yara Kristals
Treatt USA Inc. - USA
Neroli Oil
Orange Oil Biter
Sicilian/West Indian
TREATT ESSENTIAL OIL WORLD MAP
Europe
France
Petitgrain
Italy
Bitter Orange
Petitgrain
Spain
Neroli
Petitgrain
315
Petitgrain Min. 48 %
Ungerer & Company - USA
Neroli Bigarade
Orange Bitter West Indian
Orange Oil, Bitter
AROMATIC CHEMICALS
Aurantia
Nerolin Bromelia
Nerolin Yara Yara
Venus Enterprise Ltd.
Neroli Oil
Orange Bitter Oil
Petitgrain Oil
AROMATIC CHEMICALS
Nerolin Bromelia
Nerolin Yara Yara
W & W Australia Ltd. - Australia
Methyl Anthranilate
Walsh, John D. Company - USA
Orange Flower Abs.
AROMATIC CHEMICALS
Methyl Anthranilate
Wambesco GmbH - Denmark
Neroli Bigarade Oil
Petitgrain Oil
AROMATIC CHEMICALS
Glen O. Brechbill
316
Orange Flower Notes
Auralva Neroli orange, muguet, grape odored schiff's base.
Aurantesin Sweet floral odor reminiscent of orange blossom.
Aurantiol Very sweet heavy floral orange blossom to linden flowers.
Aurantiol Pure Floral Extensively used in a large variety of floral notes as orange-blossom,
linden-blossom and tuberose. Acts an excellent fixative as well as
exalting the top notes.
Bitter Orange NPT Odor similar to the West Indies bitter orange oil free of phtototoxicity.
Bitter Orange Oil Cold Pressed A citrusy orange type odor.
Bitter Orange Oil 5 Fold Slightly bitter but yet fruity citrusy orange odor.
Bitter Orange Oliffac 301 Economical replacement for West Indies bitter orange oil dry citrus.
Brouts Abs. Eau D ' Oranger Strong and tenacious odor, musty dry faintly floral.
Brouts ( Orange Flower ) Abs. Intensely floral, heavy and rich, warm but also delicate and fresh.
Di Methyl Anthranilate Heavy orange blossom mandarin peel odor.
Di Phenyl Menthane Harsh geranium leaf, orange blossom type odor in dilution.
Feuilles D ' Oranger Abs. Reconstituted feuilles d ' oranger.
Feuilles E ' Oranger Abs. Eau Floral odor of feuilles d ' oranger.
Florantone T An orange blossom note, which does not discolor like methyl anthranilate.
317
Lyrame Super Schiff Base with a very sweet orange blossom profile.
Methyl Anthranilate Musty, fruity and dry floral odor reminiscent of concord grapes.
Methyl Anthranilate Extra Used in many types of floral blends such as neroli and orange
blossom, as well as in exotic compositions, gardenia tuberose
and jasmine. Imparts warmth, volume and sweetness and is
used in all types of perfumery.
Neroli Also known as bigarade or sour orange. Features a spicy sweetness
and is usually found as a top note in many well known perfumes.
Neroli AB78 Cost effective long lasting substitute for natural material.
Neroli Augaflor 17 A very strong diffusive floral note of Neroli with dry green fresh.
Neroli Bigarade Moroccan Sweet spicy orange blossom obtained from sour orange.
Neroli Essence Characteristic.
Neroli Moroccan A delightfully rich orange blossom delicate warm floral odor with
soothing effects. Blends well with many different fragrance
materials and in many accords.
Neroli Tunesian Taken from the bitter orange tree, Citrus Bigaradia Risso, native to Tunisia in
North Africa. The fragrance has a distinct spicy fruity bitter odor with great
originality. Adds freshness to fragrances.
Neroli Oil Sweet spicy orange blossom odor.
Neroli Oliffac An economical natural heavy floral neroli effect.
Neroli 144 SA Reconstruction of neroli bigarade very diffusive and long lasting.
Nerolin Bromelia Crystals Soft floral.
Orange Flower Absolute Has a very intensely floral, heavy and rich, warm, but also delicate
and fresh, long lasting odor, closely resembling the odor of fresh
bitter orange blossoms. Although this absolute certainly has notes in
common with jasmin absolute, it has a much more versatile application
pleasant, as a floral fond when used at a comparatively low concentration.
It shows a pleasant, but peculiar and characteristic, sweet herbaceous back
note, not unlike the one found in jasmin.
Glen O. Brechbill
318
Orange Flower Bitter Very intensely floral, heavy and rich, warm, but also delicate and fresh,
long lasting odor, closely resembling the odor of fresh bitter orange blossoms.
Orange Flower Concrete A dark, brownish or orange brown paste or soft mass. Its odor is extremely
strong, floral, deep sweet, with a peculiar woody bread crust like backnote
and great tenacity in floral notes. In high dilution, it is strikingly reminiscent
of the odor of fresh orange blossoms.
Orange Flower Abs. Moroccan Warm slightly spicy of the bitter orange type.
Orange Flower Abs. Oliffac Oriental heavy floral gardenia, yet animal influenced complex.
Orange Flower Augaflor 53 Traditionally regarded as a symbolic flower at weddings. This specialty
has a long lasting odour that adds to any composition, even in small
percentages, giving a sweet orange top note.
Orange Flower Ether Citrus grapefruit note also reminiscent of bergamot orange.
Orange Flower Oil Powerful light and refreshing floral.
Oranger Liquid Sweet floral rather harsh orange blossom.
Petitgrainol Intensely woody neroli note.
Schiff Base Aquantraal, sweet muguet herbaceous fresh orange blossom.
Schiff Base Aurantion, powerful orange blossom lasts several months.
Schiff Base Canthoxal and Methyl Anthranilate floral powdery spicy mimosa note.
Schiff Base Decanal and Methyl Anthranilate orange flower odor.
Schiff Base Hydroxycitronellal & Methyl Anthranilate, lily of the valley odor.
Schiff Base Ligantraal, green citrus, orange blossom best in 10 % solution.
Schiff Base Lilial and Methyl Anthranilate, floral, neroli, orange blossom note.
Schiff Base Lyrantion, sweet sophisticated, orange blossom.
Schiff Base Methyl Anthranilate / Amyl Cinnamic Aldehyde.
319
Schiff Base Methyl Anthranilate / Triplal.
Schiff Base Phenylacetaldehyde and Methyl Anth a beautiful hyacinth flower note.
Schiff Base Seringone, sweet, herbaceous jasmin tuberose, orange blossom.
Schiff Base B - 292 Methyl Anthranilate / Hydroxycitronellal.
Schiff Base B - 799 Methyl Anthranilate / Lilial.
Sweet Pea Resembles orange blossom, hyacinth and a touch of rose.
Syringa Floral odor of muguet and neroli oil.
Verdantiol Offers an intense floral note to delicate flower type creations, such as
neroli, range blossom, narcissus and frangipani.
Yara Yara Crystals Intensely sweet orange blossom, acacia like.
Glen O. Brechbill
320
Orange Flower # 1a
5 Citronellol Prime
2 Undecatriene
1 Aurantiol
36 Geraniol Prime
.1 The
9 Laurine
3 Nerol Petals
3 Jasmonyl Acetate
1 Rose Oil - Turkey
.1 Tea Essence
2 Eugenyl Acetate
3 Fleuramone
6 C - 14 Peach
3 Iso Eugenol
1 Petilyn
3 Meranol
.2 Geranyl Acetate
1 Vanillyl Alcohol
1,000
3 Amberlyn
47 Coumane
9 Vanillin
.1 Civet Artificial
2 Woodynol II
3 Rosone
6 Methyl Benzoate
8 Osyrol
1 Alpha Damascone
5 Myraldyl Acetate
7 Ethyl, Vanillin
3 Aquanol
8 Hidroxcitronelal
16 Petilyn
4 Carnaline
21 Rose Substitute
4 Meijiff
1 y - Irone
57 Benzylacetate
8 Cassifix
.1 Alcohol C - 9
321
Glen O. Brechbill
Orange Flower # 1b
5 Citronellol Prime
2 Undecatriene
1 Aurantiol
36 Geraniol Prime
.1 The
5 Laurine
3 Nerol Petals
3 Jasmonyl Acetate
1 Rose Oil - Turkey
.1 Tea Essence
2 Eugenyl Acetate
3 Fleuramone
6 C - 14 Peach
3 Iso Eugenol
1 Petilyn
3 Meranol
.2 Geranyl Acetate
1 Vanillyl Alcohol
1,000
3 Amberlyn
47 Coumane
9 Vanillin
.1 Civet Artificial
2 Woodynol I
6 Benzyl Alcohol
3 Rosone
6 Methyl Benzoate
8 Osyrol
1 Nerolin Bromelia Crystals
5 Myraldyl Acetate
7 Ethyl, Vanillin
3 Aquanol
8 Lioral
16 Petilyn
4 Carnaline
21 Rose Substitute
3 Iris Beurre Oil
4 Meijiff
1 Iritone V
57 Benzylacetate
8 Neroli Oil
.1 Alpha Damascone
322
Orange Flower # 1c
5 Citronellol Prime
2 Undecatriene
1 Aurantiol
36 Geraniol Prime
.1 The
9 Laurine
3 Orange Oil Bitter
3 Jasmonyl Acetate
1 Rose Oil - Turkey
.1 Tea Essence
2 Dianthanol
3 Fleuramone
8 C - 14 Peach
1 Neroli Oliffac
3 Meranol
.2 Geranyl Acetate
1 Vanillyl Alcohol
1,000
3 Ambronnica
47 Coumane
9 Vanillin
.1 Civet Artificial
2 Chandanone
6 Benzyl Alcohol
3 Rosone
6 Methyl Benzoate
1 Rose China Oil
5 Myraldyl Acetate
7 Ethyl, Vanillin
3 Ozomor
8 Troenan
16 Petilyn
4 Eugenyl Acetate
21 Rose Substitute
4 Meijiff
1 Ionone 100 %
57 Benzyl Acetate Pure - Polarome
8 Vert De Cassis Givco
.1 Petitgrain Oil ( Orange Flower )
323
Glen O. Brechbill
Orange Flower # 1d
5 Citronellol Nat.
2 Methyl Octine Carbonate Sub.
1 Aurantiol
36 Geraniol Prime
.1 Tea Essence
9 Laurine
3 Nerol Petals
3 Jasmonyl Acetate
1 Rose Oil - Turkey
.1 Tea Essence
2 Orange Bitter Dominican Republic
2 Eugenyl Acetate
3 Fleuramone
6 Aldeido ( C - 14 ) Peiche
3 Iso Eugenol
1 Petilyn
3 Meranol
.2 Geranyl Acetate
1 Vanillyl Alcohol
1,000
3 Iso E Super
47 Coumane
9 Vanillin
.1 Civet Artificial
2 Santalex T Neat
6 Benzyl Alcohol Fr
3 Rosone
6 Methyl Benzoate
8 Osyrol
1 Damascenia 185 SA
5 Myraldyl Acetate
7 Ethyl, Vanillin
3 Aquanol
8 Hidroxcitronelal
16 Petilyn
4 Pheny Ethyl Alcohol
6 Carnaline
21 Rose Substitute
4 Meijiff
1 Iridales
8 Petit Grain Oil
.1 Mugone S 207 M
324
Orange Flower # 1e
5 Citronellol 98 %
2 Undecatriene
1 Aurantiol
36 Geraniol Fine
.1 Tea Essence
9 Laurine
3 Nerol Petals
3 Jasmonyl Acetate
.1 Tea Essence
2 Eugenyl Acetate
3 Fleuramone
6 C - 14 Peach
3 Iso Eugenol
.2 Geranyl Acetate
1 Anisyl Alcohol
1,000
3 Patchouli Amber
47 Coumane
9 Vanillin
.1 Oranger Crystals
2 Sandasweet ( Endanol )
3 Rosone
6 Methyl Benzoate
1 Alpha Damascone
5 Myraldyl Acetate
7 Ethyl, Vanillin
3 Melomor
8 Hidroxcitronelal
16 Petilyn
4 Eugenyl Acetate
21 Rose Substitute
4 Lilial
1 y - Irone
57 Hedione
.1 Alcohol C - 9
325
Glen O. Brechbill
Orange Flower # 2a
1 Rose Acetate
7 Wardia Substitute
6 Cassis Bourgenons
4 Bourgenal
.1 Nonadien
3 Wardia
25 Linalol S 97
6 Myraldyl Acetate
3 Jasilyn
2 Neroli Oil
7 Orange Oil ( Sweet ) - Florida
1,000
14 Methyl Cedryl Ketone Coeur
5 Ysamber K
3 Rose Crystals
12 Santalex T Neat
7 Vanilline
49 Musk 50 DPG
3 Cedrenyl Acetate
8 Galaxolide 50
3 Ethyl Vanillin
2 Damascenia 185 SA
51 Benzylacetate
3 Roseone
1 Iso Jasmone
6 Lilial
3 Irisone Bis
9 Rose Substitute
5 Hedione
6 Poirinate
2 Hedione
1 Rhodinol natural
38 Geraniol Coeur
8 Laurine Extra
1 Iso Rose
.1 Eau dFleur DOranger
7 Geranyl Acetate
326
Orange Flower # 2b
3 Citronellol RH
1 Rose Acetate
3 alpha Ionone
7 Wardia Substitute
6 Cassis Bourgenons
.1 Nonadien
3 Wardia
25 Linalol 98 %
6 Myraldyl Acetate
3 Jasilyn
1 Iso Rose
7 Orange Oil Orpur - Florida - Giv.
1,000
14 MCKHac
5 Ambefleur
3 Rose Crystals
12 Santalex T Neat
7 Vanilline
49 Musk 50 DPG
3 Cedarwood Oil of Virginia
8 Galaxolide 50
3 Ethyl Vanillin
2 Damascenia 185 SA
51 Hedione
3 Rose Crystals
1 Iso Jasmone
6 Lilial
3 Cetonal V
9 Rose Substitute
5 Hedione
6 Anapear
2 Hedione
1 Rhodinol natural
38 Geraniol Coeur
8 Laurine Extra
1 Fleur de Rose
5 Eugenol
7 Geranyl Acetate
32 Linalylacetate
327
Glen O. Brechbill
Orange Flower # 2c
1 Neroli Tunisia
7 Wardia Substitute
6 Cassis Fragrance
4 Bourgenal
.1 Nonadien
3 Wardia
25 Linalol ex Ho Wood Oil
2 Myraldyl Acetate
3 Jasilyn
2 Iso Rose
7 Texas Orange Oil ( Sweet & Light )
1,000
14 MCK
5 Ysamber K
3 Rose Crystals
12 Santalex T Neat
7 Vanillin
49 Musk 50 DPG
3 Cedrenyl Acetate
8 Galaxolide 50
3 Ethyl Vanillin
2 Damascenone
51 Hedione
3 Roseon
1 Iso Jasmone
6 Lilial
9 Rose Substitute
5 Claigeon
6 Poirinate
2 Hedione
1 Rhodinol natural
38 Geraniol Coeur
8 Lyral
1 Rose Acetate
.1 Neroli Abs. ( Orange Flower )
7 Geranyl Acetate
32 Linalyl Acetate
328
Orange Flower # 2d
1 Rose Acetate
7 Wardia Substitute
6 Cassifix
4 Bourgenal
.1 Nonadien
3 Wardia
25 Linalool
6 Myraldyl Acetate
3 Jasilyn
2 Iso Rose
1,000
5 Ysamber K
3 Rose Crystals
12 Santalex T Neat
7 Vanilline
3 Cedrenyl Acetate
8 Galaxolide 50
3 Ethyl Vanillin
2 Damascenia 185 SA
51 Benzylacetate
3 Roseone
1 Yara Yara Crystals
6 Lilial
3 Irisone Bis
9 Rose Substitute
15 Benzylacetate Nat.
6 Poirinate
2 Methyl Benzoate
1 Rhodinol natural
34 Geraniol Coeur
8 Hidroxicitronelal
1 Orange Oil Bitter
7 Geranyl Acetate
329
Glen O. Brechbill
Orange Flower # 2e
1 Rose Acetate
7 Wardia Substitute
6 Cassis Bourgenons
4 Bourgenal
5 Meijiff
.1 Orange - Floral Water
3 Petitgrain
25 Linalol S 97
6 Myraldyl Acetate
3 Jasilyn
2 Iso Rose
1,000
15 Sandiff
5 Iso E Super
3 Roseone
12 Cedrenyl Acetate
7 Vanilline
49 Musk 50 DPG
3 Cedrenyl Acetate
8 Cashmeran - IFF
3 Ethyl Vanillin
2 Damascenia 185 SA
51 Super Cepionate
3 Nerolin Bromelia
1 Cis Jasmone
6 Lilial
3 Irisone Bis
9 Rose Substitute
5 Hedione
6 Poirinate
2 Hedione
1 Rhodinol natural
38 Geraniol 60
8 Laurine Extra
1 Geranium Oil - China, Egypt
330
Orange Flower # 3a
5 Citronellol 850
3 Traseolide
4 Iso Raldeine 70
20 Geraniol Prime
1 Ylang Givco 225
2 Iso Eugenol
1 Pomarose
3 Cyclogalbaniff
1 Floranton T
4 Wardia
2 Ylang Odorata Oil
1 Iris Beurre Oil
1 Farnesyl Acetate
35 Linalyl Acetate
2 Bourgenal
1 Damascenia 185 SA
1,000
.1 Civette Givco 54
10 Benzyle Propionate
19 Musk Gazalle
27 Benzylsalicylate
6 Vanillin
3 Floral
15 Hydroxyciol
5 Methyl Benzoate
6 Vanilys - Pfw
1 Benzophenone
2 Iritone V
6 Cinnamic Alcohol
28 Eugenol / Clove
.1 Alcohol C - 9
1 Fleuramone
2 Vanilla Resinoid
8 y - Irone
16 Cyclosia Base - Firmenich
2 Orange Bitter Oil - Citrus Aurantium
.1 Neroli Super NC
28 Musk Ambrette Substiute
24 Linalool
331
Glen O. Brechbill
Orange Flower # 3b
2 Citronellol 850
3 Nepalva
4 Iso Raldeine 85
20 Geraniol Prime
1 Ylang Ylang II
2 Carnaline
1 Florymoss
3 Cyclogalbaniff
2 Stemone
1 Floranton T
4 Wardia
2 Ylang Odorata Oil
1 y - Irone
1 Farnesyl Acetate
35 Linalyl Acetate
3 Bourgenal
1 Alpha Damascone
.3 Cassifix
1,000
.1 Civet Orpur Ethiopia - Givaudan
48 Coumane
19 Musk Gazalle
6 Vanillin
4 Musk NC
3 Floral
10 Hydrofix L
8 Methyl Benzoate
6 Vanillin
1 Benzophenone
6 Cinnamic Alcohol
.1 Alcohol C - 9
1 Alpha Damascone
2 Vanilla Resinoid
8 y - Irone
310 ( DPG )
2 Citrus Aurantium
.1 Orange Flower Ether - IFF - USA
28 Musk Ambrette
24 Linalool
332
Orange Flower # 3c
5 Citronellol 850
3 Nepalva
4 Iso Raldeine 70
20 Geraniol Prime
1 Ylang Givco 225
2 Petitgrain Bigarade
1 Pomarose
3 Cyclogalbaniff
1 Floranton T
2 Ylang Odorata Oil
1 Iris Beurre Oil
1 Farnesyl Acetate
35 Linalyl Acetate
1 Petitgrain Oil
2 Scennal
1 Damascenia 185 SA
1,000
.1 Civet Paste - Ethiopia
10 Hercolyn - D
38 Helional
19 Musk Gazalle
6 Vanillin
3 Floral
15 Hydroxyciol
5 Methyl Benzoate
6 Vanilys - Pfw
1 Benzophenone
2 Iritone V
6 Cinnamic Alcohol
.1 Alcohol C - 9
4 Heliotropine
1 Fleuramone
2 Vanilys - Pfw
8 Ionone 100 % - IFF
16 Cyclosia Base ( Lily of the Valley )
2 Orange Bitter Oil ( Cold Pressed )
.1 Orange Flower Extract
28 Globanone
24 Linalol Ex Ho Wood Oil
333
Glen O. Brechbill
Orange Flower # 3d
5 Citronellol 850
3 Traseolide
20 Geraniol Prime
1 Ylang Ylang Petals ( Comoros )
2 Carnaline
1 Pomarose
3 Cyclogalbaniff
1 Floranton T
4 Wardia
2 Ylang Odorata Oil
1 Iridales
1 Farnesyl Acetate
2 Bourgenal
1 Damascenia 185 SA
.3 Clove Leaf Oil
1,000
.1 Civette Givco 54
19 Musk Gazalle
27 Benzylsalicylate
4 Musc Clear - India
3 Lilivert
15 Hydroxyciol
5 Methyl Benzoate
6 Vanilys - Pfw
1 Anisylalcohol
2 Hysimal
6 Cinnamic Alcohol
28 Eugenol ( Carnation )
.1 Alcohol C - 9
1 Fleuramone
2 Vanilla Resinoid
8 y - Irone
16 Troenan
2 Neroli, Tunisia
.1 Fleur de Rose
28 Serenolide
24 Etil Linalol
334
Orange Flower # 3e
3 Traseolide
20 Geraniol Prime
1 Ylang Givco 225
2 Iso Eugenol
1 Yara Yara
3 Glycoflor
1 Floranton T
4 Geraniol 970
2 Ylang Odorata Oil
1 Iris Beurre Oil
1 Farnesyl Acetate
35 Linalyl Acetate
1 Tubereuse 181
2 Bourgenal
1 Iso Rose
1,000
.1 Civet Tincture
48 Coumane
8 Sandalore
27 Benzylsalicylate
6 Vanillin
3 Floral
18 Hydroxyciol
5 Methyl Benzoate
6 Vanilys - Pfw
1 Benzophenone
2 Iritone V
6 Cinnamic Alcohol
28 Eugenol / Clove
.1 Alcohol C - 9
1 Fleuramone
2 Vanilla Resinoid
8 y - Irone
12 Lyrame Super
2 Petitgrain Oil Bigarade
.1 Neroli Bigarade Tunisia
28 Galaxolide Artesence
24 Linalol
335
Glen O. Brechbill
Orange Flower # 4a
1 Petilyn
15 Wardia
3 Verdox
2 Iris Beurre Oil
1 Methyl Tuberate
1 Thesaron
1 Meranol
2 Hysimal
3 Iso Amyl Gerenate
3 Isoeugenol
.1 Leaf Alcohol
1 Dianthanol
18 Linalyl Acetate
1,000
5 Kephalis
1 Civet Tincture
32 ( DEP )
6 Iso E Super
2 Helioforte
1 Thyme Oil White
8 Lilial
15 Cashmeran
5 Jasmoneige
7 Vanillinethyl
4 Methyl Benzoate
1 Fleuramone
28 Eugenol
7 Mallow
.1 Alcohol C - 10
20 Geraniol 970
5 Jasmylone 99
12 Iritone V
4 Scennal
.7 Poirinate
4 Aubepine
336
1 Petilyn
15 Wardia
3 Verdox
2 Iris Beurre Oil
1 Methyl Tuberate
1 Bitter Orange Oil C.P.
1 Meranol
2 Hysimal
3 Iso Amyl Gerenate
3 Isoeugenol
.1 Orange Flower Abs. - Morocco
1 Dianthanol
1 Bourgenal
18 Linalyl Acetate
1,000
Orange Flower # 4b
5 Kephalis
1 Civet Tincture
32 ( DEP )
6 Iso E Super
2 Helioforte
1 Thyme Oil White
8 Lilial
15 Cashmeran
5 Jasmoneige
7 Vanillinethyl
3 Methyl Benzoate
1 Anyl Salicylate
28 Eugenol
7 Mallow
.1 Alcohol C - 10
17 Hedione
20 Geraniol 970
5 Triflaige - A
12 Iritone V
4 Acetato Benzila
.7 Poirinate
4 Gardenia Acetal
337
Glen O. Brechbill
1 Muguet Alcohol ( Symrise )
5 Wardia
3 Apple Oliffac
1 Tuberose Oliffac
1 Thesaron
1 Meranol
2 Hysimal
3 Iso Amyl Gerenate
3 Eugenyl Acetate
.1 Cyclal - C
1 Clove Bud Oil - Madagascar
18 Linalyl Acetate
1,000
Orange Flower # 4c
5 Kephalis
1 Civet Powder # 1a
32 ( DEP )
37 Serenolide
6 Iso E Super
7 Vanilys
1 Thyme Oil White
15 Cashmeran
5 Jasmoneige
7 Vanillinethyl
4 Methyl Benzoate
1 Fleuramone
28 Eugenol
7 Mallow
.1 Alcohol C - 09
39 Geraniol 970
5 Jasmylone 99
12 Iritone V
4 Scennal
.7 Poirinate
2 Anisicaldehydedimethylacetal
338
.1 Violiff
1 Petit Grainol Std.
15 Wardia
3 Verdox
2 Iris Beurre Oil
1 Methyl Tuberate
1 Thesaron
1 Aurantiol Pure
2 Hysimal
3 Isoeugenol
.1 Leaf Alcohol
1 Dianthanol
1 Liveche
18 Linalylacetate
1,000
Orange Flower # 4d
5 Iso E Super
1 Civet Tincture
32 ( DEP )
6 Sandiff
7 Vanillin
2 Heliotropine
1 Thyme Oil White
8 Lilial
15 Cashmeran
5 Dupical
7 Vanillinethyl
4 Methyl Benzoate
1 Fleuramone
28 Eugenol
7 Hidroxicitronelal
.1 Alcohol C - 10
20 Geraniol 970
5 Iso Jasmone
12 Iridales
4 Scennal
.7 cis - 3 - Hexyl Acette
4 Anisic Aldehyde
339
Glen O. Brechbill
.1 Undecavertol
1 Petilyn
15 Wardia
3 Verdox
1 Methyl Tuberate
1 Thesaron
1 Meranol
2 Jasilyn
3 Isoeugenol
.1 Leaf Alcohol
1 Dianthanol
18 Linalyl Acetate
1,000
Orange Flower # 4e
5 Kephalis
38 Coumarin
1 Civet Powder # 1b
32 ( DEP )
6 Iso E Super
2 Helioforte
1 Thyme Oil White
8 Lilial
12 Muskylein
10 Amyl Cinnamic Aldehyde - alpha
5 Jasmoneige
7 Vanillinethyl
4 Methyl Benzoate
1 Fleuramone
28 Eugenol
7 Mallow
.1 Alcohol C - 10
23 Benzyle Acetate
20 Geraniol 970
5 Jasmylone 99
12 Hydroxy Citronellal dma
4 Jamaica Oil
5 Lioral
28 Linalol 98 %
.7 Anapear
4 Aubepine
340
Orange Flower # 5a
2 Eugenyl Acetate
1 Bulgaflor
3 Kir Base # 9741
3 Iridales
4 Wardia
.4 Vanillyl Alcohol
4 Nerol
5 Iris Beurre Oil
3 Terpineol Prime
.1 Florymoss
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Benzyl Benzoate
.1 Civette Givco 77
4 Heliotropine
9 Vanisal
.1 Polarose
33 Geraniol Extra pur
3 Mallow
112 Muguet Base
25 Geraniol 99 %
1 Rosone
11 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Oxide De Rosa
.1 Vanilla Resinoid
13 Citronellol - L
33 Linalol S 97
5 Lyral
3 Muguet Aldehyde
7 Orange, Bitter, W.I.
.2 Alcohol C - 10
6 Cassis Fragrance
.1 Geraniol Butyrate
341
Glen O. Brechbill
Orange Flower # 5b
2 Eugenyl Acetate
1 Bulgaflor
3 Kir Base # 9741
1 Cetonal V
3 Iridales
4 Wardia
.4 Vanillyl Alcohol
4 Nerol
5 Iris Beurre Oil
3 Syringa
.1 Florymoss
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Benzyl Benzoate
.1 Civette Givco 77
4 Heliotropine
5 Sandalwood Oil - India
9 Vanisal
.1 Polarose
62 Hedione
33 Geraniol Extra pur
3 Mallow
112 Muguet Base
25 Geraniol 99 %
1 Rosone
2 Fleuramone
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Rhodinol
.1 Vanilla Abs. CLess
13 Citronellol Pure FCC
29 Linalol Ex Ho Wood Oil
5 Lyrame Super
3 Muguet Aldehyde
7 Orange Flor Deco
.2 Alcohol C - 10
6 Cassis Fragrance
.1 Neroli Bigarade Tunisia
342
Orange Flower # 5c
3 Myraldyl Acetate
2 Eugenyl Acetate
1 Orange Amere Bresil
3 Kir Base # 9741
3 Ionone Alpha 60
4 Wardia
1 Rose Turque
.4 Vanillyl Alcohol
4 Nerol
5 Iris Beurre Oil
3 Terpineol Prime
.1 Florymoss
26 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Benzyl Benzoate
.1 Civette Givco 77
9 Vanisal
.1 Rosalva
39 Geraniol Prime
3 Mallow
25 Geraniol 99 %
8 Melon Org
1 Rosone
11 Eugenol / Clove
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Oxide De Rosa
.1 Vanilla Resinoid
13 Citronellol - L
33 Linalol S 97
5 Lyral
7 Orange Flor Deco
.2 Alcohol C - 09
.1 Neryl Acetate
343
Glen O. Brechbill
Orange Flower # 5d
3 Myraldyl Acetate
2 Eugenyl Acetate
3 Kir Base # 9741
3 Methyl Ionone
4 Wardia
3 Orange Peel Oil BitterChina
1 Rose Turque
.4 Vanillyl Alcohol
4 Nerol
5 Iris Beurre Oil
3 Terpineol Prime
.1 Neroli Petals Oil
26 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Hercolyn - D
8 Santal Core
.1 Civet Augaflor 9
9 Vanisal
.1 Rosalva
35 Geraniol Prime
3 Mallow
25 Geraniol 99 %
8 Fruitaleur
1 Rose Crystals
2 Lyrame
11 Eugenol / Clove
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Oxide De Rosa
.1 Anisyl Alcohol
33 Linalo0l Pure
5 Hydofix L
7 Verdantiol ( Lilavert )
.2 Alcohol C - 09
.1 Geraniol 60
344
Orange Flower # 5e
3 Myraldyl Acetate
2 Eugenyl Acetate
3 Kir Base # 9741
3 Ionone Alpha 60
4 Wardia
1 Rose Turque
.4 Vanillyl Alcohol
4 Orange Flower Ether - IFF
5 Iris Beurre Oil
3 Terpineol Prime
26 Linalyl Acetate
1 Vanillyl Alcohol
1,000
11 Benzyl Benzoate
.1 Civette Givco 77
4 Heliotropine
5 Amyris W.I. ( Sandalwood ) Oil
9 Vanillin
.1 Rosalva
18 Benzylsalicylate
42 Geraniol Prime
3 Mallow
8 Melon Org
1 Rosone
11 Eugenol / Clove
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Oxide De Rosa
.1 Vanilla Resinoid
13 Citronellol - L
33 Linalol S 97
5 Petilyn
3 Meijiff
7 Orange Flor Deco
6 Cassis Fragrance
.1 Fleuramone
345
Glen O. Brechbill
Orange Flower # 6a
3 Scennal
.1 Alcohol C - 9
5 Bourgenal
3 Neroli Bigarade Morocco
28 Geraniol 60
1 Ribes Mercaptan
34 Linalool Special
1 Coriander Oil Russian
4 Geranium 2222
2 Cassifix
1 Alpha Damascone
1 Jasilyn
29 Linalyl Acetate
5 Nerol
7 Myraldyl Acetate
3 Hydrofix R
1,000
.1 Anisyl Alcohol
7 Vanillin
41 Coumane
8 Benzyl Salicylate
1 Ysamber K
23 Hydroxycial
2 Nerolin Crystals
3 Muskylein
52 Super Cepionate
1 Iso E Super
6 Alicate
2 Heliotropine
18 Traseolide
5 Vanillinethyl
14 Hedione
1 Sandalwood Oil East Indies
3 y - Irone
4 Methyl Benzoate
5 Gardenia 1110
1 cis-2-Pentenol
346
Orange Flower # 6b
3 Rose ( 752 P99 )
3 Scennal
.1 Alcohol C - 9
5 Troenan
28 Geraniol Palmarosa
1 Ribes Mercaptan
34 Linalool Special
4 Geranium 2222
2 Cassifix
1 Persicol SA
1 Jasilyn
29 Linalyl Acetate
5 Nerol
7 Myraldyl Acetate
3 Lilivert
1,000
.1 Anisyl Alcohol
7 Vanillin
45 Coumane
8 Benzyl Salicylate
1 Ysamber K
2 Nerolin Crystals
3 Muskylein
52 Super Cepionate
4 Iso E Super
1 Coumarin Crystals ( IFRA ) - Giv.
2 Heliotropine
14 Macrolide
5 Etil Vanillin
16 Hedione
3 y - Irone
4 Methyl Benzoate
3 Gardenia Acetal
1 cis-2-Pentenol
347
Glen O. Brechbill
Orange Flower # 6c
3 Neroli 1301/M
3 Scennal
.1 Alcohol C - 9
28 Geraniol 60
1 Cassifix
34 Ethyl Linalool
4 Geranium 2222
2 Cassifix
1 Alpha Damascone
1 Jasilyn
29 Linalyl Acetate
1 Rose Givco 75 - Givaudan
7 Myraldyl Acetate
3 Hydrofix R
1,000
.1 Anisyl Alcohol
7 Vanillin
41 Coumane
8 Benzyl Salicylate
1 Ysamber K
23 Hydroxycial
2 Orange Bitter
3 Muskylein
52 Benzylacetate Coeur
1 Iso E Super
6 Alicate
2 Heliotropine
5 Ethyl Vanillin
14 Hedione
4 Methyl Benzoate
1 Iso Jasmone
348
Orange Flower # 6d
3 Geranium Oil - Egyptian
3 Scennal
.1 Alcohol C - 9
5 Stemone
1 Ribes Mercaptan
34 Linalool Special
1 Isoeugenol
2 Cassifix
1 Alpha Damascone
1 Azalea Oil
1 Jasilyn
29 Linalyl Acetate
5 Nerol
7 Myraldyl Acetate
1,000
.1 Anisyl Alcohol
7 Vanillin
41 Coumane
1 Ysamber K
23 Hydroxycial
2 Nerolin Crystals
3 Muskylein
52 Super Cepionate
1 Iso E Super
6 Alicate
2 Heliotropine
18 Traseolide
5 Ethyl Vanillin
14 Hedione
3 y - Irone
4 Methyl Benzoate
5 Gardenia 1110
1 cis-2-Pentenol
349
Glen O. Brechbill
Orange Flower # 6e
3 Scennal
.1 Alcohol C - 9
5 Bourgenal
28 Geraniol 60
1 Ribes Mercaptan
34 Linalool Special
4 Geranium Italy Orpur - Givaudan
2 Cassifix
1 Alpha Damascone
1 Jasilyn
29 Linalyl Acetate
5 Roseiff
7 Myraldyl Acetate
3 Orinox - Pfw
1,000
.1 Anisyl Alcohol
7 Vanillin
41 Coumane
8 Benzyl Salicylate
1 Ysamber K
16 Hydroxycial
2 Nerolin Crystals
3 Muskylein
22 Super Cepionate
1 Iso E Super
6 Alicate
2 Heliotropine
5 Vanillinethyl
14 Hedione
4 Methyl Benzoate
5 Gardenia
1 cis-2-Pentenol
350
Orange Flower # 7a
4 Florantone T
29 Linalool
1 Iso Jasmone
2 Nerol
.1 Leaf Alcohol
3 Thesaron
8 Orangeflor
3 Eugenyl Acetate
2 Petitgrain Begamotier
38 Linalyl Acetate
1,000
8 Vanillin
9 Benzyl Benzoate
17 Sandalwod Oliffac
5 Musk Clear
1 Rose Crystals
69 Benzylacetate
.1 Anisyl Alcohol
7 MDJ
4 Ethyl Vanillin
.1 Alcohol C - 09
5 Musk NC
1 Rosone
23 Eugenol / Clove
319 ( DPG )
7 Citronellol
6 Osyrol
4 Lyral
11 Wardia
8 Apple Oliffac
1 Di Methyl Octanol
1 Nerol Petals
351
Glen O. Brechbill
Orange Flower # 7b
4 Florantone T
29 Linalool
1 Iso Jasmone
2 Neroli Egypt, Morocco, Tunisia
.1 Leaf Alcohol
3 Thesaron
8 Orangeflor
3 Eugenyl Acetate
38 Linalyl Acetate
1,000
4 Musk Clear
9 Benzyl Benzoate
17 Sandalwod Substitute
5 Musk Clear
1 Rose Crystals
69 Benzylacetate
.1 Anisyl Alcohol
7 MDJ
4 Ethyl Vanillin
.1 Alcohol C - 09
5 Musk NC
1 Rosone
23 Eugenol / Clove
7 Citronellol 80
6 Osyrol
2 Rose Oil, Turkish
11 Wardia
8 Apple Oliffac
1 Di Methyl Octanol
1 Rhodinol
352
Orange Flower # 7c
.1 Neroli Abs.
4 Florantone T
32 Geraniol BJ
29 Linalool
1 Iso Jasmone
2 Nerol natural
.1 Leaf Alcohol
3 Myraldene
8 Orangeflor
1 Elintaal
3 Eugenyl Acetate
38 Linalyl Acetate
1,000
6 Vanillin
9 Benzyl Benzoate
5 Musk Clear
3 Rose Crystals
.1 Anisyl Alcohol
4 Ethyl Vanillin
.1 Alcohol C - 09
12 Sandec Givco 62
5 Musk NC
1 Rosone
23 Eugenol / Clove
2 Methyl Diantilis
319 ( DPG )
7 Citronellol Pure
6 Amyris Oil W.I.
4 Folrosia
11 Wardia
8 Verdox
1 Di Methyl Octanol
1 Nerol Petals
353
Glen O. Brechbill
Orange Flower # 7d
4 Florantone T
29 Linalool
1 Jasmonyl Acetate
2 Nerol
.1 Leaf Alcohol
2 Thesaron
8 Orangeflor
1 Geranium Rose Egypt
3 Eugenyl Acetate
2 Orange Oil Bitter
37 Linalylacetate
1,000
4 Musk
9 Benzyl Benzoate
5 Musk Clear
1 Rose Crystals
2 Benzyle Propionate Pure
69 Benzylacetate
.1 Anisyl Alcohol
7 Hedione
4 Ethyl Vanillin
.1 Alcohol C - 09
19 Myraldeine
1 Rosone
23 Eugenol / Clove
317 ( DPG )
7 Citronellol
6 Osyrol
4 Laurine Extra
11 Wardia
3 Hydroxyciol
1 Di Methyl Octanol
1 Geranyl Acetate
354
Orange Flower # 7e
4 Florantone T
32 Geraniol
29 Linalool Special
1 Iso Jasmone
2 Neroline Bromelia
.1 Leaf Alcohol
3 Thesaron
8 Orangeflor
3 Eugenyl Acetate
38 Linalyl Acetate
1,000
10 Vanillin
9 Benzyl Benzoate
5 Musk Clear
1 Rose Crystals
.1 Anisyl Alcohol
7 MDJ
4 Ethyl Vanillin
.1 Alcohol C - 09
5 Musk NC
1 Rosone
23 Eugenol / Clove
7 Citronellol
6 Amyris Oil W.I.
4 Lyral
11 Wardia
8 Apple Oliffac
1 Di Methyl Octanol
1 Orange Expression Bitter
355
Glen O. Brechbill
Orange Flower # 8a
33 Linalol 99 %
4 Laurinal
1 Meranol
27 Linalyl Acetate
.1 Alcohol C - 9
.3 Tubereuse 181
4 Geranyl Acetate
6 Lyrame
1 Roseiff
.1 Geraniol 600
2 Geranyl Acetate
1,000
1 Benzophenone
58 Galaxolide 50
4 Piperonyl Acetate
1 Damascenone
5 Iris Beurre Oil
9 Vanilys
2 Cashmeran
3 Petitgrain Oil
9 MDJ Super
2 Methyl Benzoate
6 Citronellol natural
3 Di Hydro Coumarex
36 Geraniol Savon
2 Nerol
.1 Exaltolide
2 Iso Raldeine 85
.1 Orange Flower Abs. - Tunisia
.2 Alcohol C - 9
7 Bourgenal
356
Orange Flower # 8b
33 Ethyl Linalool
2 Lyral
3 Myraldine
1 Meranol
27 Linalyl Acetate
.1 Alcohol C - 9
.3 Tubereuse 181
4 Geranyl Acetate
6 Lyrame
1 Roseiff
.1 Geraniol 600
1,000
1 Benzophenone
58 Cervolide
1 Damascenone
3 Musk Gazalle
9 Vanilys
2 Cashmeran
3 Petitgrain Oil
9 Acetate Benzila
2 Methyl Benzoate
3 Di Hydro Coumarex
36 Geraniol Savon
2 Neroli Bigarade Marocco
.1 Exaltolide
2 Iso Raldeine 70
.2 Alcohol C - 9
7 Stemone
357
Glen O. Brechbill
Orange Flower # 8c
33 Linalol 99 %
2 Fruitaleur
1 Meranol
27 Linalyl Acetate
.1 Alcohol C - 9
.3 Tubereuse 181
4 Geranyl Acetate
6 Lyrame
1 Iso Rose
.1 Geraniol Ex Plamarosa Oil
2 Geranyl Acetate
1,000
1 Benzophenone
58 Galaxolide 50
4 Heliotropine
1 Damascenone
5 Iris Beurre Oil
9 Vanilys
2 Musk GX
3 Petitgrain Oil
9 MDJ Super
2 Methyl Benzoate
6 Citronellol 98 %
3 Bitter Orange Oil ( Cold Pressed )
36 Geraniol Savon
2 Nerol
.1 Exaltolide
2 alpha - Ionone
.2 Alcohol C - 9
7 Scennal
358
Orange Flower # 8d
33 Linalol 99 %
4 Laurinal
1 Meranol
27 Linalyl Acetate
.1 Alcohol C - 9
.3 Ionone
5 Geranyl Acetate
3 Lyrame
1 Roseiff
.1 Geraniol 600
1 Neroli Artessence
4 Iso Jasmone
1,000
1 Benzophenone
4 Eugenyl Acetato Iso
1 Damascenone
9 Vanilys
2 Cashmeran
3 Petitgrain Oil
9 Hedione
2 Methyl Benzoate
3 Di Hydro Coumarex
36 Geraniol Fine FCC
2 Palmarosa Oil - Jamaica
.1 Musk Emeressence
2 Iritone V
.2 Alcohol C - 9
7 Fleuramone
359
Glen O. Brechbill
Orange Flower # 8e
35 Linalol 99 %
4 Laurinal
2 Meranol
28 Linalyl Acetate
.1 Alcohol C - 9
.3 Tubereuse 181
4 Geranyl Acetate
7 Lyrame Super
1 Geraniol Palmarosa
.1 Geraniol 600
2 Iso Rose
1,000
40 Coumarin Crystals ( Hay Like )
1 Benzophenone
58 Musk R - 1
4 Piperonyl Acetate
1 Damascenone
5 Iris Beurre Oil
9 Vanilys
2 Cashmeran
3 Petitgrain Oil
2 Methyl Benzoate
3 Di Hydro Coumarex
36 Geraniol Savon
25 Carnation Base
2 Nerol Africa
.1 Vanilla Abs. CLess MD - Quest, G.
2 Iso Raldeine 85
.2 Alcohol C - 9
4 Petilyn
360
Orange Flower # 9a
4 Jasmonyl Acetate
3 Orangeflor
5 Wardia
27 Linalool
3 Top Galbanum
1 Tangerine Oil Florida ( C.P. )
3 Geranyl Acetate
4 Meijiff
.4 Methyl Tuberate
1 Petitgrain Oil - France
3 Palmarosa, India
5 Iso Eugenol
1 Sensient
.1 Folione
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
3 Bourgenal
1,000
.1 Civet Commercial - Ethiopia
10 Benzyl Alcohol
5 Vanisal
11 Sandec Givco
41 Coumane
6 Iso E Super
4 Hydrofix R
61 Benzylacetate
4 Fleuramone
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 10
6 Lilivert
3 Citronellol 80
1 Sandiff
9 Laurine Extra
7 Bonorax
3 Irisone Bis
24 Geraniol BRI FCC
2 Bois De Rose Oil - Brazil
3 Muguet Aldehyde
5 Caryophelline
361
Glen O. Brechbill
Orange Flower # 9b
3 Orangeflor
5 Wardia
27 Linalool
3 Top Galbanum
1 Tangerinol
15 Phenyl Ethyl ALcohol
3 Geranyl Acetate
4 Meijiff
.4 Methyl Tuberate
3 Palmarosa, India
5 Iso Eugenol
1 Myraldeine
.1 Folione
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Mandarinal
3 Bourgenal
1,000
10 Benzyl Alcohol
5 Vanilline
11 Sandec Givco
2 Iso E Super
4 Lilivert
1 Oranger Crystals
61 Acetate Benzyle
4 Fleuramone
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 10
6 Hysimal
3 Citronellol 80
9 Laurine Extra
7 Bonorax
3 Irisone Bis
24 Geraniol BRI FCC
3 Lily of the Valley ( Muguet )
5 Caryophelline
362
Orange Flower # 9c
4 Jasmonyl Acetate
3 Orangeflor
5 Wardia
27 Linalool
3 Galbanum Givco 17
3 Geranyl Acetate
4 Lioral
.4 Methyl Tuberate
3 Palmarosa, India
5 Carnation ( Iso - Eugenol )
1 Sensient
.1 Violiff
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
3 Bourgenal
1,000
.1 Civet Commercial - Ethiopia
10 Benzyl Alcohol
5 Vanisal
11 Sandec Givco
41 Coumane
6 Iso E Super
4 Hydrofix R
61 Benzylacetate
4 Fleuramone
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 10
6 Hidroxicitronelal
3 Citronellol 80
1 Sandiff
9 Laurine Extra
7 Laurinal
3 Irisone Bis
24 Geraniol 60
2 Bois De Rose Oil - India
3 Muguet Aldehyde
5 Eugenyl Acetate
363
Glen O. Brechbill
Orange Flower # 9d
1 Geraniol Prime
4 Jasmonyl Acetate
3 Orangeflor
5 Wardia
27 Linalool
3 Top Galbanum
3 Acetate Geranyl
4 iso - Jasmone
.4 Methyl Tuberate
3 Palmarosa, India
5 Iso Eugenol
1 Sensient
9 Linalyl Acetate Pure
.1 Folione
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
3 Bourgenal
1,000
.1 Civet Tincture
10 Benzyl Alcohol
7 Vanisal
11 Osyrol
41 Coumane
6 Iso E Super
4 Hydrofix R
61 MDJ - Kao Corp. - Japan
4 Fleuramone
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 10
8 Hydroxy Citronellal - USA
3 Citronellol 80
1 Anthea Sandal Coeur - FFC Aroma
9 Laurine Extra
7 Bonorax
24 Geraniol BRI FCC
3 Muguet Aldehyde
5 Bisabolene
364
Orange Flower # 9e
1 Geraniol Pure
4 Jasmonyl Acetate
.1 Rosalva
3 Orangeflor
5 Wardia
27 Linalool
1 Neroli Oil - Morocco, Tunisia
15 Alcool Di Phenyl
3 Geranyl Acetate
4 Meijiff
.4 Methyl Tuberate
1 Cherry Birch Oil
3 Palmarosa, India
2 Iso Eugenol
1 Sensient
.1 Nonadien 1 ol
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
3 Bourgenal
1,000
.1 Civet Artificial
43 Galaxolide Artessence Base
5 Vanillin
11 Santalex T Neat
41 Coumane
6 Iso E Super
4 Hydrofix R
61 Super Cepionate - Zeon Corp. Japan
4 Fleuramone
3 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 10
6 Lilivert
3 Citronellol 80
1 Sandiff
9 Laurine Extra
7 Bonorax
3 Petilyn
24 Geraniol Pur FCC
2 Folrosia
3 Muguet Aldehyde
5 Apple Blossom
365
Glen O. Brechbill
Orange Flower # 10a
3 Neroli, Tunisia
22 Linalool
3 Neroli Oliffac
19 Geraniol Pure
6 Cassis Fragrance
3 Geranium Oil Egyptian
2 Iris odor
1 Grapefruit Oil ( Pink or White )
38 Linalyl Acetate
1 Rosilial
.1 Leaf Alcohol
1 Muguet Aldehyde
2 Tangerinol
1,000
8 Musk Emeressence
45 Macrolide - Syrmise
8 Vanillin
7 Hidroxicitronelal
9 Sandela
48 Benzyl Acetate
1 Beta Damascone
7 Methyl Benzoate
115 Muguet Base
4 Ethyl Vanillin
4 Citronellol 80 % ( Geraniol 15 % )
13 Lioral
1 Cashmeran
8 Benzylacetate
3 Methyl Cedrylone
25 Rose Base # 60
4 Methyl Ionone
3 Jasmonyl Acetate
1 Nerol Petals
366
Orange Flower # 10b
3 Neroli Super NC
22 Linalool
1 Cinnamon Leaf Oil
3 Bitter Orange Oil
16 Geraniol 970 Prime
6 Cassis Fragrance
2 Iritone V
38 Linalyl Acetate
1 Rosilial
.1 Leaf Alcohol
1 Muguet Aldehyde
1,000
47 Rhodiascent
8 Musk Emeressence
41 Serenolide
8 Vanillin
7 Hidroxicitronelal
9 Sandela
44 Benzyl Acetate
1 Beta Damascone
7 Methyl Benzoate
4 Aubepine
119 Muguet Base
4 Ethyl Vanillin
4 Citronellol RH
13 Lioral
1 Muskylein
8 Acetato Benzila
3 Methyl Cedrylone
29 Rose Base # 60
4 Iris Beurre Oil
24 Carnation Base
3 Jasmonyl Acetate
1 Nerol
367
Glen O. Brechbill
Orange Flower # 10c
3 Sandalore
3 Neroli, Tunisia
22 Linalool
3 Neroli Italie
19 Geraniol Fine
4 Geranyl Acetate natural
6 Cassis Fragrance
2 Iris odor
1 Grapefruit Oil of Texas ( C.P. )
38 Linalyl Acetate
1 Petitgrian Bigaradier
1 Damascenone - Firmenich
.1 Leaf Alcohol
1 Orangeflor
1,000
47 Coumarin Crystals - China
8 Musk Emeressence
9 Benzylsalicylate
8 Vanillin
7 Hidroxicitronelal
9 Sandela
48 Benzyl Acetate
1 Anisyl Alcohol
7 Methyl Benzoate
4 Anisic Aldehyde
115 Muguet Base
4 Ethyl Vanillin
4 Citronellol C
13 Lioral
8 Benzylacetate
3 Methyl Cedrylone
25 Rose Base # 60
1 Benzophenone
3 Iso Jasmone
1 Nerol 97 Pure
368
Orange Flower # 10d
3 Neroli, Bourbon
22 Linalool
3 Neroli Oliffac
19 Geraniol Coeur FCC
6 Kir Base # 9741
2 Methyl Ionone Alpha 60
39 Linalyl Acetate
1 Alpha Damascone
.1 Leaf Alcohol
1 Muguet Aldehyde
2 Tangerinol
1,000
47 Helional
8 Etilen Brassilato
8 Vanilys
7 Hidroxicitronelal
9 Sandela
48 Hedione - Firmenich
1 Beta Damascone
7 Methyl Benzoate
115 Muguet Base
4 Ethyl Vanillin
4 Citronellol Mugasa 92 %
15 Lioral
1 Nepalva
8 Benzylacetate
3 Kephalis
25 Rose Base # 67
4 Methyl Ionone
3 Jasmonyl Acetate
82 Iso Raldeine 70
3 Hydroxyciol
1 Nerol Petals
369
Glen O. Brechbill
Orange Flower # 10e
3 Massada
3 Neroli, Tunisia
22 Linalol
.5 Rose De Mai Abs. - Romania
1 Para Cresyl Distilled
3 Neroli Oliffac
19 Geraniol Pure
4 Acetate Geranyle 98 %
6 Stemone
2 alpha Ionone Extra
38 Linalyl Acetate
1 Tangerine Oil of Florida
1 9-Decen-1-OL
.1 Leaf Alcohol
1 Muguet Aldehyde
2 Mandarinal
1,000
8 Musk Emeressence
4 Heliotropine
35 Galaxolide GX
8 Vanilline
7 Lilial
9 Sandalore
1 Beta Damascone
4 Methyl Benzoate
125 Muguet Base
4 Ethyl Vanillin
4 Citronellol Pure
16 Lioral
1 Cashmeran
8 Benzylacetate
3 Iso E Super
25 Rose Base # 63
4 Methyl Ionone
3 Jasmone
3 Hydroxycitronelloldimethylacetal
1 Nerol 85 %
370
Arranging Fine Perfume Compositions - FLORAL ALDEHYDIC - Rose
Rose
tivars do not produce hips, as the
flowers are so tightly petalled that
they do not provide access for pol-
lination. The hips of most species
are red, but a few (e.g. Rosa
pimpinellifolia) have dark purple to
black hips. Each hip comprises an
outer fleshy layer, the hypanthium,
which contains 5160 "seeds"
(technically dry single-seeded
fruits called achenes) embedded in
a matrix of fine, but stiff, hairs.
Rose hips of some species, espe-
cially the Dog Rose (Rosa canina)
and Rugosa Rose (Rosa rugosa),
are very rich in vitamin C, among
the richest sources of any plant.
The hips are eaten by fruit-eating
birds such as thrushes and
waxwings, which then disperse the
seeds in their droppings. Some
birds, particularly finches, also eat
the seeds.
Rose thorns are actually prickles -
outgrowths of the epidermis.
While the sharp objects along a
rose stem are commonly called
"thorns", they are technically prick-
les - outgrowths of the epidermis
( the outer layer of tissue of the
on the stem. In most species they
are 515 centimetres long, pinnate,
with leaflets and basal stipules; the
leaflets usually have a serrated mar-
gin, and often a few small prickles
on the underside of the stem. Most
roses are deciduous but a few (par-
ticularly from South east Asia) are
evergreen or nearly so.
Pink roses in full bloom
The flowers of most species
have five petals, with the exception
of Rosa sericea, which usually has
only four. Each petal is divided into
two distinct lobes and is usually
white or pink, though in a few
species yellow or red. Beneath the
petals are five sepals (or in the case
of some Rosa sericea, four). These
may be long enough to be visible
when viewed from above and
appear as green points alternating
with the rounded petals. The ovary
is inferior, developing below the
petals and sepals. Roses are insect-
pollinated in nature.
The aggregate fruit of the rose
is a berry-like structure called a
rose hip. Many of the domestic cul-
371
A rose is a perennial plant of the
genus Rosa, within the family
Rosaceae. There are over 100
species. They form a group of erect
shrubs, and climbing or trailing
plants, with stems that are often
armed with sharp prickles. Flowers
are large and showy, in a number of
colours from white through yellows
and reds. Most species are native to
Asia, with smaller numbers native
to Europe, North America, and
northwest Africa. Species, cultivars
and hybrids are all widely grown
for their beauty and fragrance. Rose
plants range in size from compact,
miniature roses, to climbers that
can reach 7 meters in height.
Species from different parts of the
world easily hybridize, which has
given rise to the many types of gar-
den roses.
The name rose comes from
French, itself from Latin, rosa,
which was borrowed from Oscan,
from Greek rhodion (Aeolic wrodi-
on), from Old Persian wurdi
"flower" (cf. Avest. warda, Sogdian
ward, Parthian wr).
The leaves are borne alternately
stem ). ( True thorns, as produced
by e.g. Citrus or Pyracantha, are
modified stems, which always orig-
inate at a node and which have
nodes and internodes along the
length of the thorn itself ). Rose
prickles are typically sickle-shaped
hooks, which aid the rose in hang-
ing onto other vegetation when
growing over it. Some species such
as Rosa rugosa and Rosa pimpinel-
lifolia have densely packed straight
spines, probably an adaptation to
reduce browsing by animals, but
also possibly an adaptation to trap
wind-blown sand and so reduce
erosion and protect their roots (
both of these species grow natural-
ly on coastal sand dunes ). Despite
the presence of prickles, roses are
frequently browsed by deer. A few
species of roses have only vestigial
prickles that have no points.
Species
The genus Rosa is subdivided into
four subgenera:
Hulthemia ( formerly Simpli-cifoli-
ae, meaning "with single leaves" )
containing one or two species from
southwest Asia, R. persica and
Rosa berberifolia which are the
only roses without compound
leaves or stipules.
Hesperrhodos ( from the Greek for
"western rose" ) contains Rosa
minutifolia and Rosa stellata, from
North America.
Platyrhodon ( from the Greek for
pink, lilac, mulberry and red roses
from everywhere but North Africa.
Synstylae - white, pink, and crim-
son flowered roses from all areas.
Rose-picking in the Rose Valley
near the town of Kazanlak, 1870s,
engraving by F. Kanitz
Uses
Roses are best known as ornamen-
tal plants grown for their flowers in
the garden and sometimes indoors.
They have been also used for com-
mercial perfumery and commercial
cut flower crops. Some are used as
landscape plants, for hedging and
for other utilitarian purposes such
as game cover. They also have
minor medicinal uses.
Garden Roses
The majority of ornamental
roses are hybrids that were bred for
their flowers. A few, mostly species
roses are grown for attractive or
scented foliage (such as Rosa glau-
ca and Rosa rubiginosa), ornamen-
tal thorns (such as Rosa sericea) or
for their showy fruit (such as Rosa
moyesii).
Ornamental roses have been
cultivated for millennia, with the
earliest known cultivation known
to date from at least 500 BC in
Mediterranean countries, Persia,
and China. Many thousands of rose
hybrids and cultivars have been
bred and selected for garden use as
flowering plants. Most are double-
"flaky rose", referring to flaky
bark ) with one species from east
Asia, Rosa roxburghii.
Rosa ( the type subgenus ) contain-
ing all the other roses. This sub-
genus is subdivided into 11 sec-
tions.
Banksianae - white and yellow
flowered roses from China.
Bracteatae - three species, two from
China and one from India.
Caninae - pink and white flowered
species from Asia, Europe and
North Africa.
Carolinae - white, pink, and bright
pink flowered species all from
North America.
Chinensis - white, pink, yellow, red
and mixed-color roses from China
and Burma.
Gallicanae - pink to crimson and
striped flowered roses from west-
ern Asia and Europe.
Gymnocarpae - one species in
western North America (Rosa gym-
nocarpa), others in east Asia.
Laevigatae - a single white flow-
ered species from China
Pimpinellifoliae - white, pink,
bright yellow, mauve and striped
roses from Asia and Europe.
Rosa ( Cinnamomeae) - white,
Glen O. Brechbill
372
flowered with many or all of the
stamens having mutated into addi-
tional petals.
In the early 19th century the
Empress Josephine of France
patronized the development of rose
breeding at her gardens at
Malmaison. As long ago as 1840 a
collection numbering over one
thousand different cultivars, vari-
eties and species was possible when
a rosarium was planted by
Loddiges nursery for Abney Park
Cemetery, an early Victorian gar-
den cemetery and arboretum in
England.
A few species and hybrids are
grown for non-floral ornamental
use. Among these are those grown
for prominent hips, such as the
flagon shaped hips of Rosa moye-
sii. Sometimes even the thorns can
be treated as an attraction or curios-
ity, such as with Rosa sericea.
Cut flowers
Roses are a popular crop for
both domestic and commercial cut
flowers. Generally they are harvest-
ed and cut when in bud, and held in
refrigerated conditions until ready
for display at their point of sale.
In temperate climates, cut roses
are often grown in glasshouses, and
in warmer countries they may also
be grown under cover in order to
ensure that the flowers are not dam-
aged by weather and that pests and
disease control can be carried out
Geraniol ( C10H18O )
The main constituents of attar
of roses are the fragrant alcohols
geraniol and l-citronellol; and rose
camphor, an odourless paraffin.
Damascenone is also a significant
contributor to the scent.
Rose water, made as a byprod-
uct of rose oil production, is widely
used in Asian and Middle Eastern
cuisine. The French are known for
their rose syrup, most commonly
made from an extract of rose petals.
In the United States, this French
rose syrup is used to make rose
scones and marshmallows.
Rose hips
The rose hip, the fruit of some
species, is used as a minor source
of Vitamin C.
Rosa canina hips
Rose hips are occasionally
made into jam, jelly, and mar-
malade, or are brewed for tea, pri-
marily for their high vitamin C con-
tent. They are also pressed and fil-
tered to make rose hip syrup. Rose
hips are also used to produce Rose
hip seed oil, which is used in skin
products and some makeup prod-
ucts.
Medicine
The fruits of many species have
significant levels of vitamins and
have been used as a food supple-
effectively. Significant quantities
are grown in some tropical coun-
tries, and these are shipped by air to
markets across the world.
Perfume
Rose perfumes are made from
attar of roses or rose oil, which is a
mixture of volatile essential oils
obtained by steam distilling the
crushed petals of roses. An associ-
ated product is rose water which is
used for cooking, cosmetics, medi-
cine and in religious practices. The
production technique originated in
Persia then spread through Arabia
and India, but nowadays about 70%
to 80% of production is in the Rose
Valley near Kazanluk in Bulgaria,
with some production in Qamsar in
Iran and Germany.[citation needed]
The Kaaba in Mecca is annually
washed by the Iranian rose water
from Qamsar[citation needed]. In
Bulgaria, Iran and Germany,
damask roses (Rosa damascena
'Trigintipetala') are used. In the
French rose oil industry Rosa cen-
tifolia is used. The oil is transpar-
ent pale yellow or yellow-grey in
colour. 'Rose Absolute' is solvent-
extracted with hexane and produces
a darker oil, dark yellow to orange
in colour. The weight of oil extract-
ed is about one three-thousandth to
one six-thousandth of the weight of
the flowers; for example, about two
thousand flowers are required to
produce one gram of oil.
373
ment ( see previous section ). Many
roses have been used in herbal and
folk medicines. Rosa chinensis has
long been used in Chinese tradi-
tional medicine. This and other
species have been used for stomach
problems, and are being investigat-
ed for controlling cancer growth.
Art
Roses are often portrayed by
artists. The Luxembourg born
Belgian artist Pierre-Joseph
Redout produced some of the most
detailed paintings of roses.
Renoir's painting of cabbage
roses, Roses in a vase
Rose Oil
Rose oil, meaning either rose
otto ( attar of rose, attar of roses ) or
rose absolute, is the essential oil
extracted from the petals of various
types of rose. Rose ottos are
extracted through steam distilla-
tion, while rose absolutes are
obtained through solvent extraction
or supercritical carbon dioxide
extraction, with the absolute being
used more commonly in perfumery.
Even with their high price and the
advent of organic synthesis, rose
oils are still perhaps the most wide-
ly used essential oil in perfumery.
Two major species of rose are culti-
vated for the production of rose oil:
Rosa damascena, the damask
rose, which is widely grown in
Production
Due to the labor-intensive pro-
duction process and the low content
of oil in the rose blooms, rose oil
commands a very high price.
Harvesting of flowers is done by
hand in the morning before sunrise
and material is distilled the same
day.
There are three main methods of
extracting the oil from the plant
material:
Steam distillation, which pro-
duces an oil called rose otto or attar
of roses.
Solvent extraction, which
results in an oil called rose
absolute.
Supercritical carbon dioxide
extraction, yielding an essential oil
that may be marketed as either an
absolute or as a CO2 extract.
Distillation
In the process of distillation,
large stills, traditionally of copper,
are filled with roses and water. The
still is fired for 60 - 105 minutes.
The vaporized water and rose oil
exit the still and enter a condensing
apparatus and are then collected in
a flask. This distillation yields a
very concentrated oil, direct oil,
which makes up about 20% of the
final product. The water which con-
denses along with the oil is drained
off and redistilled, cohobation, in
Bulgaria, Turkey, Russia, Pakistan,
India, Uzbekistan, Iran and China
Rosa centifolia, the cabbage
rose, which is more commonly
grown in Morocco, France and
Egypt
Most rose oil is produced in
Bulgaria, Morocco, Iran and
Turkey. Recently, China has begun
producing rose oil as well.
The most common chemical com-
pounds present in rose oil are:
Citronellol, geraniol, nerol,
linalool, phenyl ethyl alcohol, far-
nesol, stearoptene, -pinene, -
pinene, -terpinene, limonene, p-
cymene, camphene, -caryophyl-
lene, neral, citronellyl acetate, ger-
anyl acetate, neryl acetate, eugenol,
methyl eugenol, rose oxide, -dama-
scenone, -damascenone, benzalde-
hyde, benzyl alcohol, rhodinyl
acetate, phenyl ethyl formate
The key flavor compounds that
contribute to the distinctive scent of
rose oil, however, are beta-damas-
cenone, beta-damascone, beta-
ionone, and rose oxide. Beta-dama-
scenone presence and quantity is
considered as the marker for the
quality of rose oil. Even though
these compounds exist in less than
1% quantity of rose oil, they make
up for slightly more than 90% of
the odor content due to their low
odor detection thresholds.
Glen O. Brechbill
374
order to obtain the water-soluble
fractions of the rose oil such as
phenyl ethyl alcohol which are a
vital component of the aroma and
which make up the large bulk, 80%,
of the oil. The two oils are com-
bined and make the final rose otto.
Rose otto is usually dark olive-
green in color and will form white
crystals at normal room tempera-
ture which disappear when the oil is
gently warmed. It will tend to
become more viscous at lower tem-
peratures due to this crystallization
of some of its components.
The essence has a very strong
odor, but is pleasant when diluted
and used for perfume. Attar of
roses was once made in India,
Persia, Syria, and the Ottoman
Empire. The Rose Valley in
Bulgaria, near the town of
Kazanlak, is among the major pro-
ducers of attar of roses in the
world.[2]
Due to the heat required for dis-
tillation, some of the compounds
extracted from the rose undergo
denaturing or chemical breakdown.
As such, rose otto does not smell
very similar to "fresh" roses.
The hydrosol portion of the dis-
tillate is known as rosewater. This
inexpensive by-product is used
widely as a food flavoring as well
as in skin care.
CO2 changes directly from a solid
to a gas in a process known as sub-
limation ). The supercritical fluid
CO2 extracts the aromatics from
the plant material.
Like solvent extraction, the
CO2 extraction takes place at a low
temperature, extracts a wide range
of compounds rendering an essence
more faithful to the original, and
leaves the aromatics unaltered by
heat. Because CO2 is gas at normal
atmospheric pressure, it leaves no
trace of itself in the final product.
The equipment for CO2 extraction
is expensive, which is reflected in
the price of the essential oils
obtained from the process.
Adulteration
It takes many pounds of rose petals
to distill one ounce of essential oil.
Depending on extraction method
and plant species, the average yield
can range from 1:1500 to 1:10000.
To mitigate the cost, some dishon-
est dealers will dilute rose oil with
geranium ( Pelargonium graveolens
) or Palmarosa ( Cymbopogon mar-
tinii ) EO's, both of which are rich
in geraniol, the main constituent of
rose oil. Some of these 'rose oils'
are up to 90% geranium or pal-
marosa to 10% rose. This is
referred to as extending the Rose
fragrance. This may be done to
compensate for chemotype, e.g.
Bulgarian distilled Rose oil is natu-
rally low in phenylethanol, and
Ukrainian or Russian rose oil is nat-
urally high in phenylethanol.
Solvent extraction
In the solvent extraction
method, the flowers are agitated in
a vat with a solvent such as hexane,
which draws out the aromatic com-
pounds as well as other soluble sub-
stances such as wax and pigments.
The extract is subjected to vacuum
processing which removes the sol-
vent for re-use. The remaining
waxy mass is known as a concrete.
The concrete is then mixed with
alcohol which dissolves the aro-
matic constituents, leaving behind
the wax and other substances. The
alcohol is low-pressure evaporated,
leaving behind the finished
absolute. The absolute may be fur-
ther processed to remove any impu-
rities that are still present from the
solvent extraction.
Rose absolute is a deep reddish
brown with no crystals. Due to the
low temperatures in this process,
the absolute may be more faithful
to the scent of the fresh rose than
the otto.
Carbon dioxide extraction
A third process, supercritical
carbon dioxide extraction, com-
bines the best aspects of the other
two methods. When carbon dioxide
is put under at least 72.9 atm of
pressure and at a temperature of at
least 31.1C (the critical point), it
becomes a supercritical fluid with
the permeation properties of a gas
and the solvation properties of a
liquid. ( Under normal pressure
375
Rose Fragrance Chemicals
Glen O. Brechbill
BOOK # 1 ( A - G
A & E Connock Ltd - U.K.
Geranium
Palmarosa
Rose
Rose Absolute
AROMATIC WATERS
Rose ( various types )
AROMATIC WATER
Rose Provence
Rose Summer Damask
Tuberose
A Fakhry & Company - Egypt
Rosa Centifolia Cabbage
Rose / Organic
Rosa Damascena Damascus
Rose ( Egypt )
A.N.E.C. - France
Rock Rose
Rose
Rosewood
AROMATIC RAW MATERIALS
Geranyle Acetate
Phenyl Ethyl Alcohol
ORGANIC ESSENTIAL OILS
& EXTRACTS
Palmarosa Oil - Andropogon
Martini
Rose Oil - Rosa Damascena
Agan Aroma & Chemicals - Israel
Delta Damascone
Palmarosa Oil - India
Rose Oil - Bulgaria, Lebanon,
Turkey
Rosewood Oil - Brazil
ABSOLUTES
Rose Abs. - Morocco
Rose De Mai Abs. - France
Alfa Chem - USA
Boise De Rose Oil Brazil
Bois De Rose Oil Terpeneless
Geranium Oil Bourbon, Chinese,
Egyptian, Moroccan
Palmarosa Oil Brazil, Guatemala,
India
AROMATIC CHEMICALS
Citronellyl Formate
Citronellyl Nitrile
Geraniol
Geranyl Formate
Phenoxy Ethyl Propionate
Phenyl Ethyl Cinnamate
Phenyl Ethyl Methyl Ether
Phenyl Ethyl Salicylate
Polarosa
376
Rose Concrete
Rose Crystals
Rose Geranium
Rose Hip Oil
Rose Indian
Rose Oil
Rose Water
Rose Wood Oil
Rose Oil ( Ruh )
Tuberose Absolute
Tuberose Concrete
Anthea Aromatics Pvt. Ltd. - India
Geraniol 60
Geraniol 98
Aldehyde C - 11 Iso
Citronellal
Citronellol 96 %
Citronellol Extra
Citronellyl Acetate Extra
Citronellyl Formate
Citronellyl Nitrile
Citronellyl Propionate
Di Methyl Octonol
Gelsone
Geraniol 98 %
Geraniol Ex Palmrosa
Geraniol Extra
Geranoxide
Geranyl Acetate Extra
Geranyl Formate
Geranyl Nitrile
Geranyl Propionate
Geranyl Formate
Geranyl Iso Butyrate
Geranyl Propionate
Geranium - Bourbon, Chine,
Egypte
Palmarosa - Guatemala,
Madagascar
Rose - Bulgarie, Maroc, Turquie
CONCRETES
Rose Atlas Maroc
Rose Centifolia Maroc
Rose Turquie
Tubereuse Inde
PRODUITS AROMATIQUES NATUREL
Acetate Citronellye Ex Citriodora
Acetate Citronellyle 85 %
Acetate Citronellyle 95 %
Acetate Geranyle Ex Citronelle
Acetate Geranyle 98 %
Acetate Geranyle Savon
Acetate Neryle
Acetate Rhodinyle Bourbon
Alcool Phenylethylique 96 %
Alcool Phenylethylique 99 %
Butyrate Cironellyle
Butyrate Geranyle
Citronellal Ex Citronelle
Citronellol 70 %
Citronellol 95 %
Citronellol 97 %
Citronellol 98 %
Citronellol Savon
Nerol Oxide
Nerol Super
Phenyl Ethyl Acetae
Phenyl Ethyl Phnyl Acetate
Pommerol
Rhodinol
Rhodinol ( Ex Geranium Oil )
Rosalva
Rose Crystals Ex Benzaldehyde
Rose Glycol
Rose Otto
Rose Oxide ( High-Cis )
Rose Oxide ( Inactive )
Geranium Oil - Bourbon, Chinese,
Egyptian
Palmarosa Oil
Rosewood Oil
NATURAL ISOLATES
Rhodinol
CONCRETES & ABSOLUTES
Rose Bulgarian
AROMATIC CHEMICALS
Citronellyl Butyrate
Citronellyl Formate
Citronellyl Iso Butyrate
Citronellyl Tiglate
Geranyl Butyrate
377
Dimethyloctanol
Formiate Citronellyle
Formiate Geranyle
Formiate Phenylethyle
Geraniol Ex Citronelle
Geraniol Ex Palmarosa
Geraniol 50 %
( Autres Alcools 48 % )
Geraniol 60 % ( Nerol 39 % )
Geraniol 98 %
Geraniol 99 %
Geraniol Savon
Nerol 85 %
Nerol 90 %
Aromor Flavors & Fragrances Ltd. -
Israel
Alpha Damascone
Beta Damascone
Damascenone
Geranium Oil
Rose Oil
Rosewood Oil
ABSOLUTES
Rose
Tuberose
Astral Extracts - USA
Geranium
Rosewood Texas Rectified
Basf - Germany
Citronellal
Citronellol
Citronellyl Acetate
Citronellyl Nitrile
Geraniol Extra
Geraniol 60
Geranyl Acetate
BASF Japan Ltd. - Japan
Citronellol
Citronellyl Acetate
Phenyl Ethyl Alcohol pure
Geranium Oil
Palma Rosa Oil
Rodinol sweet
Rodinol - X
Rose Wood Oil
Geranium Oil
Palmarosa Oil
Rose ( Abs. ) Oil
Rose Oil - Indian
Rosewood Oil / Boise De Rose
Tea Rose Oil
Tuberose Oil
Palmarosa Oil Extract
Palmarosa
Rosewood
BOTANICALS
Rose Hip ( Extract )
Rhodinol Augaflor 18
Rose Geranium Augaflor 19
Rose Otto Augaflor
Tuberose Augaflor 25
ESSENTIAL OILS
Geranium Oils
Rose Oils
Rosewood Oils
Rose Abs.
Australian Botanical - Aust.
Geranium - Bourbon Reunion,
China, Egypt
Palmarosa
Rose Otto Bulgarian
Rose Otto Damascena Turkish
Rosewood Brazilian
Rose Abs.
TRAVAIL A FACON RECTIFICATION
FRACTIONNEMENT
Rosewood Brasil Terp.
Glen O. Brechbill
378
Rose Attar
Barosyl S.A. - France
Geranium - Bourbon, Chinese,
Egyptian, Moroccan
Palmarosa
Rosa Turkish - Rosa Damascena
Rose Bulgarian
Rosewood
Rose - Rosa Damascena
Bedoukian Research - USA
Citronellol BRK FCC
Citronellyl Acetate BRK FCC
Citronellyl Anthranilate
Citronellyl Butyrate FCC
Citronellyl Formate FCC
Citronellyl Iso Butyrate FCC
Citronellyl Propionate FCC
Citronellyl Valerate
9-Decen-1-OL
9-Decen-1-Yl Acetate
Geraniol BRI FCC
Geranyl Acetate FCC
Geranyl Acetone
Geranyl Benzoate FCC
Geranyl Butyrate FCC
Geranyl Caprylate
Geranyl Formate FCC
Geranyl Iso Butyrate # 344
Geranyl Linalool
Geranyl Phenyl Acetate
Iso Amyl Geranate
Rose Oil
Rose Biodecolorized
Rose Absolute Decolorized
Tuberose Absolute
Rose Bioabsolute
Rose Bioconcrete
Tuberose Artessence
Citronellol S 85
Citronellol S 95
Citronellyl Acetate
Citronellyl Formate
Citronellyl Nitrile
Citronellyl Nitrile Terpenes
Geraniol 970
Geranyl Acetate
Geranyl Butyrate
Geranyl Formate
Nerol 97
Phenyl Ethyl Acetate
Phenyl Ethyl Phenyl Acetate
Brighten Colorchem - Netherlands
Rhodinol
AROMATIC CHEMICALS
Citronellol
Citronellyl Acetate
Methyl Nonyl Ketone FCC
Neo Geranium Oil
Nerol BRI ( 98 + % ) FCC
Neryl Acetate BRI FCC
Neryl Formate
10-Undecen-1-OL
Rosenol synthetic
Berje Inc. - USA
Boise De Rose Oil
Geranium Oil - Chinese, Egyptian
Palmarosa Oil
Rose Oil Bulgarian
Rose Oil Turkish
AROMA CHEMICALS
Benzophenone
Citronellol Natural
Citronellol Pure
Citronellyl Nitrile
Geraniol
Geranyl Nitrile
Nerol Pure
Neryl Acetate Pure
Phenyl Ethyl Iso Butyrate
Rhodinol Ex Geranium
Rhodinol Synthetic
379
Geraniol
Geranyl Acetate
Geranyl Butyrate
Geranyl Formate
Geranyl Propionate
Phenyl Ethyl Propionate
Geranium Oil
Palmrosa Oil
Rose Oil
Carrubba Inc. - USA
Geranium
Rose
Rose Centifolia
Rose Geranium
Rose Hips
Rosewood
Castrading - Korea
Boise De Rose, Brazil
Geranium - Bourbon, China, Egypt
Champon Vanilla - USA
Citronellyl Nitrile
Geraniol
Geranyl Acetate
Geranyl Nitrile
Nerol
Acetato De Geranila
Citronelol
Damascenone Alpha
Damascenone Beta
Damascone Delta
Di Metil Octanol
Geraniol
Geranyl Nitrile
Metil Tuberato
Nerol
Citrus & Allied - USA
Citronellol Coeur FCC
Geraniol Coeur FCC
Geraniol Synthetic 85 FCC
Geranyl Acetate Synthetic 85
Geranyl Butyrate Synthetic 85 %
CITRONELLOL & ESTERS
Citronellal 85/09 % FCC
Citronellal Residues
Citronellol Coeur FCC
Citronellol Extra EOA 93/95 %
Citornellol Pure FCC
Citronellyl Acetate Extra FCC
Citronellyl Butyrate Extra FCC
Citronellyl Formate Extra FCC
Citronellyl Formate Pure
Citronellyl Iso Butyrate Extra FCC
GERANIOL & ESTERS
Geraniol ( Fine Perfumery )
Geraniol Coeur FCC
Geraniol ex Palma Rosa
Charabot & Company Inc. - France
Geraniol Extra
Geranium Bourbon
Palmarosa Oil
Rhodinol X Geranium Oil
Geranium Oil
Rose Oil
Crimson Glory Rose Abs.
Wild Rose Abs.
Rose Concrete
Rose Wild Concrete
Geraniol ex Citronella
Citronellol
Rose Givco 217
Geranium Graveolens Oil
Rose Damascena BG Oil
Rose Damascena TK Oil
Geranium Graveolens Oil A0650
PERFUMARIA
Acetato Citronelila
Glen O. Brechbill
380
Geraniol Extra EOA 92/94 %
Geraniol Super EOA 96/98 T
Geranyl Acetate 95/90 T FCC
Geranyl Acetate Extra FCC
Geranyl Acetate Super FCC
Geranyl Acetate Synthetic 85
Geranyl Formate Extra FCC
Geranyl Iso Butyrate Extra
Geranyl Propionate Extra
NEROL & ESTERS
Nerol Special FCC
Nerol Synthetic 95 %
Neryl Acetate Synthetic 95
Neryl Formate Synthetic 95
Phenyl Ethyl Alcohol & Esters
Phenyl Ethyl Alcohol Extra
Phenyl Ethyl Formate
Clos D-Aguzon - France
Egyptian
Palmarosa Oil
Rosewood Oil
Rose Bulgarian Abs.
Rhodinol - Natural Isolate
AROMATIC CHEMICALS
Citronellyl Formate
Citronellyl Formate
Geraniol
Geranyl Acetate
Geranyl Butyrate
Geranyl Formate
Geranyl Propionate
Phenyl Ethyl 2 - Methyl Butyrate
NATURAL AROMA CHEMICALS
Geraniol
Geranyl Acetate
Citronellol Mugasa 92 %
Geraniol Pure
Geranyl Acetate
Geranyl Nitrile
Nerol 98 %
Neryl Acetate
Citronellol 95 %
Rosalin
Bois De Rose Bresil
Geranium Bourbon
Geranium Chine
Geranium Egypte
Palmarosa Inde
Geranyl Butyrate
Geranyl Formate
Geranyl Proionate
Cookson & Hunt - USA
Cosmark - Australia
Geranyl Acetate
Bois de Rose Oil - Brazil
Geranium Oil Bourbon - Reunion
Geranium Oil Egyptian - Egypt
Rose Absolute Maroc - Morocco
Rose Oil Otto - Bulgaria
Rose Bulgarian
Rose Turkish
Rosewood Oil
De Monch Aromatics, Inc. - U.K.
Geranium Chinese
Rose Bulgarian
Rose Turkish
AROMA CHEMICALS
Citronellol
381
Palmarosa Madagascar
Geranium Oil
Rockrose
Rose Oil
Earth Oil Plantations - U.K.
Geranium Oil
Rose Oil
Enter Oil - Viet Nam
Palmarosa Oil
Geraniol 60 % min.
Geraniol 75 % min.
ISOLATES
Geraniol - ex Palmarosa Oil
95 % ex Citronella
Oil 90 % min.
Geranium Oil - Chinese, Egyptian
Palmarosa Oil, Indian
Rose Oil - Russian, Turkish
Rosewood Oil
Rose Absolute / Concrete, Egypt
Rose Absolute, Turkey
Tuberose Absolute / Concrete
Geraniol Ex Palmarosa - natural
Formiate De Geranyle
Geraniol Extra pur
Geranyl Acetone
Geranyl Nitrile
Nerol Extra LG
Euma - Argentina
Geranium Africa, Bourbon
Palma Rose Oil
Rose Hip Oil Refined ( Clair )
Rose Hip Oil Pressure Distilled
( Coloured )
NATURAL MATERIALS
Bois De Rose ( Palo Rosa )
Geranio Aceite Esencial
Geraniol Africa
Geranio Borbon Ac. Es.
Palmarosa Ac.
Rosa Mosqueta Organica
( rosa rubiginosa )
Rosa Mosqueta Refinda
( rosa rubiginosa )
Rosa Turca Absoluto
Exaflor - France
CONCRETES
Rose - Egypte
Tubereuse - Inde
AROMA CHEMCIALS
Citronellol
Geranyl Acetate
Phenyl Ethyl Tiglate
Esarco - Argentina
Palmrosa Oil
Essencias y Materiales Lozmar, S.A.
de C.Y. - Mex.
Geranio Africa
Geranio Palmarosa
Geraniol
Esperia S.p.A. - Italy
Neroly
Rose Riveria
Essencia, Aetherische - Switzerland
Boise de Rose
Geranium Bourbon
Geranium Egypte
Rose Bulgarie
Rose Turquie
Rose De Mai Absolue
AROMATIC MATERIALS
Acetate De Geranyle
Damascenone Totale
Damascone Alpha
Glen O. Brechbill
382
FD Copeland & Sons Ltd. - UK
Geranium Oil - Bourbon
Geranium Oil - Chinese
Geranium Oil - Egyptian
Palmarosa Oil
Rosewood Oil ( Bois De Rose )
Rose Abs.
Tuberose Abs.
Rose Concrete
Geranium Bourbon FA Essence
Geranium Egypt Essence
Geranium Palmarosa Turkey
Essence
Rose Morocco Abs. Essence
Rose Morocco Essence
Rosewood Essence
Tuberose Abs.
Tuberose Concrete
Fine Chemical Trading - U.K.
Palmarosa
Rose
ABSOLUTES
Rose, Edward Bourbonia Abs.
Rose, Damascenia Abs.
Tuberose Abs.
Boise de Rose, Brazil
Boise de Rose, Peru
Geranium - Algeria, Bourbon,
Chinese, Egyptian, Morocco
Rose Otto - Bulgarian, Morocco,
Turkish
Rosewood ( Boise de Rose )
AROMATIC CHEMICALS
Alcohol C - 9
Alcohol C - 10
Citronellol
Citronellyl Formate
Geraniol, Perfumery Grade
Geranyl Formate
Geranyl Nitrile
Fleurin, Inc. - USA
Geranium Oil
Rose Oil - Turkey
ABSOLUTES
Rose Abs. - Bulgaria
Rose De Mai Abs.
Rose Abs. - Morocco
Tuberose Abs.
Citronellol Natural
Tuberose Concrete
Damarose Alpha
Damascenia 185 HB
Damascenone
Damascenone Total
Damascone Alpha
Damascone Beta
Damascone Beta FAB
Damascone Delta
Damascone Gamma
Roseessence 193 D
Wardia
Geranium Bulgaria - China, Egypt,
India, Madagascar,
Reunion Island, South Africa
Palmarosa India
Rosewood - Bois De Rose, Brazil
FOOD OILS
Rose Hip Cp Chile
Rose Hip Seed Refined Chile
Bois De Rose Oil
Geranium Oil
Palmarosa Oil
Rose Abs.
Tuberose Abs.
383
Citronellyl Acetate
Citronellyl Nitrile
Rosalina Crystal
Flowersynth - India
ROSE MATERIALS
Citronellyl Acetal
Di Methyl Acetal
Phenyl Acetaldehyde
Citronellyl Acetate
Citronellyl Formate
Citronellyl Phenyl Acetate
Geranyl Acetate
Geranyl Acetate Ex. Palmrosa
Geranyl Formate
Phenyl Acetaldehyde Citronellyl
Acetal
Geranium
Rosewood
Geraniol
Geranium Oil
Rose Oil
Rosewood Oil
Geranium Oil
Fruitarom Industries - Israel
Boise De Rose Brazil
Geranium Oil - African, Bourbon,
Chinese, Egypt
Palmarosa Oil East Indian
Rose Geranium Oil
Rose Oil Turkish
Rose Oil Type NF17
Furest Day Lawson - UK
Bois De Rose Oil
GMPCT - India
Palma Rosa Oil
Palmorasa Oil
Citronellol from Citronela
Citronellol - High Purity
Geraniol from Citral
Rose Crystals from Benzaldehyde
Rose Oxide from Citronellol
Givaudan Fragrance Corp - Switz.
Rose Givco 217
Adoxal
Aldehyde Iso C - 11
Geranodyle
Quest International - ( Switz )
Citronellyl Nitrile
Damas Rose FM 1248
Dorina SA
Geraniol For Soap AB 2015
Geranium Oil Syn ABQ 5629
Geranofix AB 751
Pelargone
Phenyl Ethyl Alcohol Extra
Rose AB380D
Rosania FM1018
Top Rose ABQ5644
Bois de Rose Oil ( Rosewood )
Pamarosa Oil
Rose Abs.
Rose Oil Organic
Citronellyl Acetate
Glen O. Brechbill
384
Citronellyl Formate - Usa
Geranyl Acetate
Geranyl Formate - Usa
Geranyl Nitrile
Geranyl Tiglate - Usa
Phenyl Ethyl Cinnimate - USA
Rosalin
Rose Oxide
Grolin & Company - USA
Boise De Rose Oil - Brazil
Geranium - Bourbon, China
Rose - Bulgaria
Rose - Turkey
Rosewood - Brazil
Geranium Oil
Palmarosa Oil
Rose Oil
AROMATIC CHEMICALS
Citronellol
Citronellyl Acetate
Citronellyl Formate
Citronellyl Nitrile
Geranyl Acetate
Geranyl Formate
Geranyl Propionate
Geranyl Tiglate
Geranium Egypte
Palmarosa
Handa Fine Chemicals Ltd., - UK
Geranium Oil
Palmarosa Oil
Rose Oil ( Otto )
CONCENTRATED BOTANICAL HERBAL
EXTRACTS
Geranium
Rose Mallow
Rosehip
Rosewood
AROMATIC CHEMICALS
Alcohol C - 10
Benzophenone
Citronellol 99 %
Citronellyl Acetate 99 %
Citronellyl Formate
Citronellyl Formate 99 %
Geraniol 99 %
Geranyl Acetate
Geranyl Butyrate
Geranyl Formate
Geranyl Nitrile
Geranyl Propionate
Nerol 99 %
Phenyl Ethyl Cinnimate
Phenyl Ethyl Iso Valerate
Rose Crystals
Rose Oxide
Gyran Flavours - India
Palmarosa Oil
HC Biochem - China
Geranium Oil
Rose Oil
Crimson Glory Rose Abs.
Crimson Glory Rose Concrete
Wild Rose Concrete
Bois De Rose Bresil
Geranium Oil - Bourbon, Chine,
Egypte
Palmarosa
Rose Bulgare
Rose Bulgare Abs.
Rose Maroc
Rose Maroc Abs.
Rose Turque
WATER SOLUBLE OILS
Bois De Rose Bresil
385
Phenyl Ethyl Butyrate
Phenyl Ethyl Cinnimate
Rose Crystals
Hindustan Mint & Agro - India
Geranium Oil
Palmrosa Oil
Rose Oil
AROMATIC CHEMICALS
Citronellol
Geraniol ex Palmrosa 99 %
BOOK # II ( I - Z )
Bois de Rose Bresil
Geranium Oil - Bourbon, Chine,
Egypte
Rose Bulgare, Maroc, Turquie
ABSOLUES
Rose Maroc, Turquie
CONCRETES
Rose De Mai Pays - Maroc,
Turquie
Neryl Acetate
Neryl Butyrate
Neryl Iso Butyrate
3 - Octyl Acetate
IFF - USA
Citronellol 700 98 TA
Citronellol 750
Citronellol 950
Citronellol Coeur
Citronellyl Acetate
Citronellyl Formate
Geraldehyde
Geraniol 5020
Geraniol 7030
Geraniol 980 Pure
Geraniol Coeur
Geranyl Acetate A
Geranyl Acetate Pure
Nerol 800
Nerol 850
Nerol 900
Neryl Acetate JAX
Peomosa
Phenyl Ehyl Acetate
Phenyl Ethyl Benzoate
Roseate
Tetrahydro Geraniol
Vernol
SYNTHETIC PRODUCTS
Acetate De Citronellyle
Acetate De Geranyle
Citronellol Ex Citriodora
Geraniol 100 %
Geraniol Extra Ex - Citronelle
Nerol Extra
Rhodinol Ex - Citronelle
Rhodinol Ex - Geranium
Innospec Inc. - USA
Citronellol 850
Rosone
Tetrahydro Geraniol
Interchim - France
Citronellol
Citronellyl Acetate
Citronellyl Formate
Citronellyl Nitrile
Citronellyl Tiglate
Geranyl Acetate
Geranyl Benzoate
Geranyl Butyrate
Geranyl Formate
Geranyl Iso Valerate
Geranyl Propionate
Geranyl Tiglate
Glen O. Brechbill
386
JC Buck Ltd. - United Kingdom
Bois De Rose Brazil
Geranium Oil - Bourbon Type,
Chinese,
Geranium, Egyptian Type
Palmarosa Indian
Rose - Bulgarian, Commercial,
Rose Egypt, Moroccan,
Turkish
ABSOLUTES
Rose Bulgarian - Egyptian, Maroc
J & Sozio, Inc. - USA
Geranium Oil Bourbon
Rose Absolute Maroc
Rosa
Kanta House - India
Palmarosa Oil
Geranoil Ex Citronella Oil
Geranoil Ex Jamarosa Oil
Geranoil Ex Palmarosa Oil
Boise de Rose rectified
Geranium Oil - Bourbon, China,
Egypt
Palmarosa Oil
Rose Bulgaria Oil
Rose China Oil
Rose Iran Double Distilled Oil
Rose Iran Single Distilled Oil
Rose Turkey Oil
Rosewood Oil
ABSOLUTES
Rose Bulgaria Abs.
Rose Morocco Abs.
Rose Turkey Abs.
Alcohol C - 09
Alcohol C - 10
Benzophenone
Citronellol
Citronellol - L
Citronellol 96 %
Citronellyl Acetate
Citornellyl Butyrate
Citronellyl Formate
Citronellyl Nitrile
Citronellyl Tiglate
Geraniol 60 %
Geraniol 98 %
Geranyl Acetate
Geranium Benzol Abs.
Geranium Hexane Abs.
Rhodinol Ex. Geranium Oil Abs.
Geranium Oil - Africa, Bourbon,
China, Egypt
Palmarosa Oil - East Indian
Rose Geranium Oil
Rose Oil - Turkey
Rose Oil Type NF17
Krupa Scientific - India
Citronellyl Acetate
Citronellyl Formate
Geranyl Acetate
Geranyl Formate
Phenoxy Ethyl Iso Butyrate
Rose Abs. Turkey
Rose Oil Turkey
Lionel Hitchen Ltd. - U.K.
Geranium Bourbon
387
Geranyl Benzoate
Geranyl Butyrate
Geranyl Formate
Geranyl Nitrile
Geranyl Propionate
Nerol 95 %
Neryl Acetate
Neryl Iso Butyrate
Phenyl Ethyl Carpylate
Phenyl Ethyl Crotonate
Phenyl Ethyl Heptanoate
Phenyl Ethyl Methyl Ethyl
Carbinol
Phenyl Ethyl Pivalate
Phenyl Ethyl Tiglate
Phenyl Ethyl Valerate
Citronellyl Formate
Rhodinol
Rose Oxide CO
Rose Oxide Racemic
Nerol
NATURAL MOLECULES
Citronellol Ex Eucal
Geranyl Acetate
Geranyl Butyrate
Citronellol Nat.
Citronellyl Acetate Nat.
Citronellyl Butyrate Nat.
Citronellyl Propionate Nat.
Geraniol Nat.
Geranyl Acetate Nat.
Geranyl Butyrate Nat.
Geranyl Propionate Nat.
Nerol Nat.
Neryl Acetate Nat.
Phenyl Ethyl Acetate Nat.
Phenyl Ethyl Alcohol Nat.
Phenyl Ethyl Butyrate Nat.
Phenyl Ethyl Iso Butyrate Nat.
Millennium Chemicals - USA
Citronellol 96 FCC
Citronellol AJ FCC
Citronellol Prime
Geraniol 80
Geraniol BJ FCC
Geraniol Fine FCC
Geraniol Prime
Geranyl Acetate 60 FCC
Geranyl Acetate FCC
Bois De Rose Oil Extra
Geranium Oil Extra
Rose Turkish Oil Extra
ABSOLUTES
Geranium Abs.
Rose Morocco Abs. Extra
Mane SA - France
Baie Rose Oil - South Africa
Rose Turkish Oil - Turkey
NATURAL ABSOLUTES
Rose Pays Abs. - France
Rose Turkish Abs. - Turkey
Rose Turkish Abs. MD - Turkey
NATURAL CONCRETE
Rose Pays Concrete - France
Rose Turkish Concrete - Turkey
MOLECULAR DISTILLATIONS
Rose Abs. MD
ABSOFLORS
Rose Absoflor
Tuberose Absoflor
AROMA CHEMICALS
Geranyl Ethyl Ether
Glen O. Brechbill
388
Nerolex
Moellhausen S.p.A. - Italy
Boise De Rose Oil
Geranium Oil - Africa, Bourbon
Barbot, China, Egypt
Palmarosa Oil
Rose Turkey Abs.
Moraflor Produits - France
Geranium - Bourbon - Reunion,
China, Egypt
Palmarosa - Guatemala
Rose - Egypt
SPECIALITIES OR RECONSTITUTE
OILS
Geranium Oil MF
Geranium Oil STD
Geranium Rose Oil MF
Rose Oil MF
Rose Oil Std
Boise De Rose
Geranio - Africa, Bourbon, Tipo
Bourbon, China
Palmarosa
Rosa Bulgara Essenza
Rosa Marocco Assoluta
Rosa Turca Assoluta
Geranium - China, Egypt,
Morocco, Reunion
Palmarosa - Brazil, India
Rose - Bulgaria, Morocco, Turkey
Oregano - Turkey
Rose - Rosa Damascena
Organica Aromatics - India
Citronellyl Tiglate
Geranyl Acetate
Geranyl Tiglate
FLORAL
Alpha Damascone
Beta Damascone
Iso Damascone
Damascenone
PCAS - France
Citronellyl Formate
Geranyl Butyrate
Geranyl Formate
Geranyl Tiglate
PFW Aroma Chemicals - Neth.
Rose Nitrile
Naradev - Hong Kong
Geranium Bourbon Type, Chinese,
Egyptian, Moroccan
Geranium over Roses
Palmarosa
Rose Bulgarian Distilled Extra
Rose Moroccan Extra
Rose Turkish
Rose Turkish Extra
Narain Terpene & Allied - India
Nardev - Israel
Bois De Rose Oil Terpeneless
Geranium Oil - Bourbon, China,
Egypt, Morocco
Palmarosa Oil - Guatemala, India
Rose Oil - Bulgaria, Morocco,
Turkey
Geranium Rosat, Egypt
Geranium, China
Geranium Rose, Zimbabwe
Palmarosa, India
Oliganic - USA
Bois De Rose
389
P.P. Sheth & Co. - India
Rose Oil Bulgaria
Rosewood Oil
Boise de Rose ( Rosewood Oil )
Geranium Oil
Palmarosa Oil
Rose ( Concrete / Absolute )
Rose Oil
Rosewood Oil ( Bois de Rose )
Tuberose ( Concrete / Absolute )
AROMATIC CHEMICALS
Geraniol
PEA ( Phenyl Ethyl Alcohol )
Boise De Rose Oil
Citronellol Laevo natural
Geraniol natural
Geranium Bourbon, China, Egypt
Palmarosa Oil
ABSOLUTES
Rose Morocco Abs.
Rose Turkey Abs.
Boise De Rose Oil
Rosa Damascenia Oil - Bulgaria,
France, Morocco
Rose Oil - Bulgaria, Russia,
Turkey
Rose Otto Oil - Bulgaria
Rose Wood Oil - Brazil
Tuberose Oil
Turkish Geranium Oil
Peter Jarvis Cosmetic Ltd. - UK
Floral Water Rose
Floral Water Rose Hip
Geranium EG
Geranium EO
Rose EA
Rose EG
Rose EO
Rose Hip EG
Rose Petal EG
Petigara Chemicals - India
Palmarosa Oil
Rosewood Oil
Rosa Abs.
Tuberosa Abs.
Palmarosa Oleo
AROMATIC CHEMICALS
Acetato Citronelila
Acetato Geranila
Acetato Nerila
Geranium Oil pure, Bourbon,
Chinese
Palmarosa Oil Indian
Rose Oil Otto
Rosewood Oil Brazilian
Rose Hip Solid Extract
AROMATIC CHEMICALS
Citronellol
Citronellyl Acetate
Geranyl Acetate
Geranyl Butyrate
Geranyl Formate
Geranyl Iso Formate
Geranyl Propionate
Nerol
Neryl Propionate
Rhodinol
Bois De Rose Oil - Brazil
Geranium Marorism Oil
Geranium Oil - Africa, Bourbon,
China, Egypt, Morocco
Palmarosa Oil
Rosa Centifolia Oil - Bulgaria,
France, Morocco
Glen O. Brechbill
390
Adoxal ( Farenal )
Alcool C - 9
Alcool C - 10
Butirato Citronelila
Butirato Geranila
Damascenia 185
Damascenone
Damascone Alfa
Damascenone Beta
Delphone
Di Metil Octanol ( Pelargol )
Geraniol Extra
Propionato Geranila
Phoenix Essential Oils - USA
Egyptian
Palmarosa Oil
Rose Oil - Bulgarian, Turkish
Bois De Rose Oil Brazil
Boise De Rose Oil Terpeneless
Egyptian, Moroccan
Palmarosa Oil - Brazil, Guatemala,
India
Rose Oil - Bulgarian, Maroccan,
Turkish
( Boise De Rose Oil )
AROMATIC OILS
Beta Damascone
Cyclo Rosan
Geranyl Acetone
Rose Oxide
Prima Fleur - USA
Geranium Oil - China, Egypt
Palmarosa Oil - Nepal
Rose Oil - Bulgaria
Rose Hip - Germany
ABSOLUTES
Rose Abs.
Rosa Centifolia Morocco
Rose Abs.
Rosa Damascena Bulgaria
Rose Bourbon Abs.
Rosa Borboniana India
Tuberose Abs.
Polyanthes India
Privi Organics Ltd. - India
Citronellyl Acetate
Dimethyl Octanol
Dimethyl Octanyl Acetate
Geranyl Acetate
Neryl Acetate
ABSOLUTES
Geranium Abs.
Rose De Mai Abs. French
Rose Abs. Maroc
Rose Abs. Turkish
CONCRETE
Geranium Concrete Decolorized
Rose Concrete Maroc
Rose De Mai Concrete French
AROMATIC CHEMICALS
Citronellyl Formate
Citronellyl Nitrile
Geranyl Formate
Polarose
Rose Crystals
Bois - De - Rose Oil
Geranium Oil
Palma Rosa Oil
Rose Wood Oil
391
Prodasynth - France
Citronellol A.J.
Citronellol natural
Citronellyle Acetate
Citronellyle Acetate natural
Citronellyle Butyrate
Citronellyle Caproate
Citronellyle Phenyl Acette
Citronellyle Propionate
Citronellyle Propionate natural
Citronellyle Tiglate
Citronellyle Valerate
Geraniol BJ
Geraniol natural
Geraniol Prime
Geraniol Pur
Geraniol Special 98 % AT
Geranyle Acetate natural
Geranyle Acetate Prime
Geranyle Acetate Pure
Geranyle Benzoate Pure
Geranyle Butyrate Fine
Geranyle Butyrate natural
Geranyle Caprylate
Geranyle Methyl Ether
Geranyle Phenyl Acetate
Geranyle Propionae
Geranyle Propionate natural
Geranyle Valerate
Nerol
Nerol natural
Neryle Acetate
Neryl Acetate natural
Neryle Propionate
Phenyl Ethyle Acetate
Phenyl Ethyle Cinnamate
Phenyl Ethyle Butyrate
Phenyl Ethyle Propionate
Phenyl Ethyle Tiglate
RAI Ingredients - Brazil
Geranyl Acetate
Geranyl Pure
Rose Acetol
Givaudan Fragrance Corp.
Geranitrile T
Geranium Givco 222
Geranodyle
Geranyl Acetone
Honeyrose Givco 219
Methyl Tuberate Pure
Rose Givco 217
Rose Oxide Racemic
Raj Aromatics Aroma Corp. - India
Geranium Oil E
Geranium Oil - Bourbon, Chinese
Rhodia Organics - France
Rosilial
Rosilial Plus
Rosalyptus
Rose Oxide ( High CIS )
Boise De Rose Essence
Bois De Rose Terpeneless Oil
Geranium Abs.
Geranium Oil
Rose De Mai Abs.
Rhodinol natural
Rosavertol Acetate
Boise De Rose Oil
Geranium Oil
Palmarosa Oil
Rose Oil
Rose Concrete
Rose Abs.
Quality Analyis Ltd. - U.K.
Geranium Oil - Egypt
Palma Rosa Oil - India
Rose Oil - Russia
Rose ( Otto ) Oil CO 2 - England,
Morocco
Rose ( Otto ) Oil - Turkey
ABSOLUTES
Rose Abs. - Egupt
Tuberose Abs. - India
SPECIALTY OILS
Evening Primerose Oil 10 % GLA
Rose Hip Seed Oil
FLORAL WATERS
Rose Water Distilled
Rose Water Triple Distilled
Glen O. Brechbill
392
Rose Moroccan Abs.
Rose Moroccan Oil
Rose Oil Turkey Comemrcial
Rose Otto Turque Oil
Rose Turkey Abs.
Rose Turque Essence
Tubereuse Abs.
Tubereuse 181
Boise De Rose Brazil FCC
Egyptian
Palmarosa FCC
AROMATIC CHEMICALS
Phenoxy Ethyl Propionate
SAT Group - India
Geranium Oil
SIPA A. Ch. Berthier - France
Acetate de Citronellyle
Acetate de Geranyle
Acetate de Neryle
Butyrate de Citronnellyle
Butyrate de Geranyle
Citronellol RH
Citronellol Select
Citronellol Terpenes
Citronellyl 2 Methyl Butyrate
Citronellyl Crotonate
Citronellyl Iso Valerate
Citronellyl Nitrile
Citronellyl Senecioate
Di Methyl Octanol P & F
Geraniol 60
Geraniol 90
Geraniol BJ
Geraniol Fine
Geraniol Prime
Geraniol Special
Geranyl Acetate
Geranyl Acetate 60 FCC
Geranyl Acetate Prime
Geranyl Butyrate
Geranyl Nitrile
Geranyl Tiglate
Nerol BJ
Neryl Acetate
Neryl Butyrate
Neryl Iso Butyrate
Neryl Propionate
Phenyl Ethyl Caprylate
Phenyl Ethyl Crotonate
Phenyl Ethyl 2 Methyl Butyrate
Formiate de Citronnnellyle
Formiate de Geranyle
Geraniol Pure 97 %
Nerol
Geranium Oil Bourbon Type 1730
Geranium Oil Egyptian
Geranox Base 4524 P
Rose Recobalm 127 P/A
Rose De Mai Absolue Recobase I
Tuberose Super 4478 P
Tuberose Synthetic 4477 P
Rose Oil Turkey A
Rose Oil Turkey 1282
Rose RC 2165
ABSOLUTES
Rose Abs.
Rose Abs. Turkey A
Rose Abs. Turkey 3219
Rose Abs. Egyptian
Rose Abs. Morocco 3223
Tuberose Abs. India A
EXTRACTS
Rose Petals Extract
AROMA CHEMICALS
Citronellol 96 FCC
Citronellol A.J.
Citronellol C
Citronellol CJ FCC
Citronellol Prime
393
Phenyl Ethyl Pivalate
Phenyl Ethyl Senecioate
Phenyl Ethyl Valerate
Rhodinol
Rhodinyl Acetate G FCC
Rosalin ( Rose Acetate )
Rose Nitrile
Sarcom Inc. - USA
Geranium - China, Egypt
AROMATIC CHEMICALS
Phenyl Ethyl Acetate 97 % China
Phenyl Ethyl Alcohol 99 % China
Rosalin China
Science Lab - USA
Boise de Rose Oil FCC
Geranium Oil Algerian FCC
Rose Hip Oil Refined
Rose Oil Artificial
Rose Oil Artificial NF
Rose Oil Turkish
Rose Oil Turkish FCC
Evening Primrose Oil
Geranium Oil
Palmarosa Oil
Rose Oil G - II 100
Rose Oil natural 101
Citronellyl Nitrile
Cyclorose
Geraniol
Geranium Extra
Geranium
Geranyl Formate
Geranyl Nitrile
Geranyl Propionate
Nerol Super
Rhodinol
Rose Crystals
Rose De Mai
Rose Oxide
Sigma Aldrich - USA
Boise De Rose
Geranium Bourbon
Rose Crystals > 97 %
Rose Oil, Turkish
Silvestris & Szilas Ltd. - Hungary
Geranium Oil
Rose Oil
Som Santi House - India
Geranium Oil - Nat.
Palmrosa Oil - Nat
Some Extracts - India
Geranium Oil nat.
Jamrosa Oil nat.
AROMA CHEMICALS
Rose Crystals
ATTARS INDIAN SPECIALTY
Rose G - 1
Rose G - 11
Rose Oil Natural ( 99.2 % )
Rose Water
Geranium Oil - Bourbon, China
Palmarosa Oil - India
Rose Oil - Bulgaria, Turkey
Rosewood Oil - Brazil 85 % min.
Shambhala Herbal - Nepal
Palmarosa Oil
Shanghai M & U Ltd - China
Geranium Oil
NATURAL AROMATIC CHEMICALS
Geranyl Formate
Geranyl Propionate
Palmarosa
AROMATIC CHEMICALS
Citronellol
Citronellyl Acetate
Citronellyl Formate
Glen O. Brechbill
394
Palmrosa Oil nat.
INDIGENOUS AROMA CHEMICALS
Geraniol Palm ( HY ) 95 %
Geranyl Acetate Palm ( HY ) 95 %
Sovimpex - France
Bois De Roses Bresil
Geranium - Chine, Egypte
Palmrosa Oil - Inde
Rose - Bulgare
Rose - Maroc
ABSOLUES / CONCRETES
Rose
Tubereuse
AROMATIQUES DE SYNTHESE
Citronellol
Geranyle Nitryle
Rosaline
Boise de Rose Oil FCC
Palmarosa Oil
Rose Hip Oil Refined
Rose Oil Artificial
Rose Oil Turkish
ABSOLUTES
Rose Abs., Bulgaria
Rose Abs., Morocco
Geranium, Bourbon ( O )
WILDCRAFED ESSENTIAL OILS
Geranium India ( WC )
Rosalina ( WC )
RARE & EXOTIC
Rose Absolute, Bulgaria
Rose Absolute, Morocco
Rose Attar
Rose Otto - 10 % in Jojoba
Rose Otto, Bulgaria
Single Notes 10 % Dilution
Symrise GmbH - Germany
Citronellyl Formate
Geranyl Tiglate
Iso Damascon
Phenyl Ethyl Cinnimate - Crystals
Phenyl Propyl Alcohol
Rholiate
Rosaphen
Citronellol 80
Citronellol Prime
Citronellol AJ FCC
Citronellyl Acetate Extra 95 %
Citronellyl Nitrile 92 %
Geraniol 60 %
Geraniol 70 (BJ) FCC
Geraniol 80 %
Geraniol 90 %
Geraniol Fine FCC
Geranyl Nitrile 91 %
Geranyl & Neryl
Geranyl Acetate 60 % FCC
Geranyl Acetate Extra 98 % FCC
Geranyl Acetate Prime 80 %
Nerol 50 %
Nerol 70 %
Nerol 80 %
Neryl Acetate 45 %
Phenyl Ethyl Acette FCC
Phenyl Ethyl Alcohol USP/FCC
Phenyl Ethyl Iso Butyrate FCC
Phenyl Ethyl Iso Valerate FCC
Geranium, Bourbon (O)
Geranium, E. Yunnan, China
Geranium, India (WC)
Palmarosa India (C)
Rose Otto, Bulgaria
395
Geranium Oil - China, Egypt
Palmarosa Oil
Rosewood Oil
Synarome - France
Bulgaflor
Fleur De Rose
AROMATIC CHEMICALS NATURAL
Corps Roses
Geraniol Palmarosa
Iso Butyrate De Phenyl Ethyle
Phenylacetate DIso Butyle
Phenylacetate De Geranyle
Phenylacetate De Phenyl Ethyle
Tadimety Aromatics Pvt Ltd. - India
Citronellyl Acetate
Citronellyl Formate
Citronellyl Formate
Di Methyl Octanyl Acetate
Geranyl Acetate DP
Geranyl Acetate SP
Geranyl Formate DP
Geranyl Formate SP
Neryl Acetate SP
AROMA & FINE CHEMICALS
Citronellol Fractions - Geosmin
Rosone
Taiwan Fine Chemicals
Citronellol
Geraniol
Militiz Aromatics
Geranyl Tiglate
Toyotama
Phenyl Ethyl Alcohol 99 %
AROMATIC CHEMICALS
Alpha Damascone - Armor
Geranyl Tiglate - Symrise
Phenyl Propyl Alcohol - Symrise
Th. Gyer Gmbh - Germany
SPECIALTIES
Citronellylbutyrate
Citronellylformate
Citronellylisobutyrate
Citronellylpropionate
Geranylbutyrate
Geranylisobutyrate
Rose Oxide D
Rose Oxide inactive
Rose Crystals Ex Benzaldehyde
Citronellol Extra
l-Citronellyl Acetate
l-Citronellyl Formate
l-Citronellyl Iso Butyrate
l-Citronellyl n-Butyrate
l-Citronellyl Phenyl Acetate
l-Citronellyl Tiglate
Geraniol Ex Citronella
Geraniol Extra
Nerol Extra
Neryl Acetate
Tetrahydro Geraniol
IFF - USA
Citronellol 700
Citronellol 750
Citronellol 950
Geraniol 5020
Geraniol 600
Geraniol 7030
Geraniol 980
Nerol
Neryl Acetate
Glen O. Brechbill
396
Rose Oxide inactive high cis
Rose Oxide L
AROMA CHEMICALS
Citronellyltiglate
Geranyltiglate
Rosaphen
Bois De Rose Oil min. 85 %
Egyptian
Palmarosa Oil
Rose Otto Oil
Rosewood Oil
NATURAL CHEMICALS
Geraniol Finest Ex Citronella
Geraniol Standard Ex Citronella
Neryl Geranyl Acetate
Neryl Geranyl Acetate Extra
RECTIFIED OILS
Rhodinol Ex Geranium Oil
( saponified )
Trisenx, Inc. - USA
Geraniol ( 980 Pure )
Geranium ( Chinese )
Geranyl Acetate ( Special Coeur )
Geranyl Nitrile ( Corps M227 )
U.K. Aromatic & Chemicals - India
CITRAL BASED PRODUCTS
Citronellyl Acetate
Citronellyl Formate
Geranyl Acetate
Geranyl Formate
PHENYL ACETIC ACID PRODUCTS
Boise De Rose Brazil
Palmarosa
Ultra International Limited - India
Geranium
Palmarosa
Rose
NATURAL RECONSTRUCTION OILS
Geranium
Geranium 204
Gernaium B - 1265
Geranium Bourbon
Gernaium/AM
Rose Istambuli
LIBRARY OF FINE CHEMICALS
Alpha Damascone
Beta Damascone
Citronellol ( 950 Pure )
Citronellyl Acetate
Damascenone ( Firm )
Geranium ( Chinese )
Geranyl Nitrile ( Corps M 227 )
Rosalva
Rose Oxyde ( Inactive )
Rose ( 752 P99 )
ESTERS
Citronellyl Acetate
KETONES
Alpha Damascone
Beta Damascone
Damascenone ( Firm )
397
NATURAL ABSOLUTES/CONCRETES
Rose Absolute
Rose Concrete
Tuberose Absolute
Tuberose Concrete
Boise de Rose Brazil FCC
Geranium - Bourbon, Chinese,
Egyptian
Palmarosa FCC
Egypt
Rose Oil - Bulgaria
Rosewood Oil
NATURAL AROMATICS
Geraniol ( Ex - Citronella )
Geraniol - Synarome
Firmenich - Switz.
Damascenone
Damascenone Total
IFF - USA
Citronellol 700 98 TA
Citronellol 950
Citronellyl Acetate A
Geraniol 5020
Gernaiol 600
Geraniol 7030
Geranyl Acetate Pure - IFF
Geranyl Acetone
Geranyl Butyrate
Geranyl Ethyl Ether - IFF
Geranyl Formate
Geranyl Hexanoate
Geranyl Nitrile
Geranyl Phenyl Acette
Geranyl Propionate
Geranyl Tiglate
Nerol 900 - IFF
Nerol, Pure
Neryl Acetate - IFF
Phenyl Ethyl Benzoate - IFF
Phenyl Ethyl Hexanoate
Phenyl Ethyl Methyl Ethyl Carbinol
Phenyl Ethyl Phenyl Acetate - IFF
Rosalin
Rosalva - IFF
Rosamusk - IFF
Rose Di Hydroxyde - Synarome
Rose Oxide 70:30
Rose Oxide 90:11 High Cis
Roseate - IFF
Venus Enterprises Ltd. - UK
Geranium Oil
Palmarosa Oil
Gernaiol 980
Geranyl Acetate A
Rosalva
Rosamusk
Synarome - France
Rose 1892
Rose Di Hydroxyde
AROMATIC CHEMICALS
Benzophenone crystal
Citronellol ( L )
Citronellol 700 98 TA - IFF
Citronellol 950 - IFF
Citronellol - BASF
Citronellyl Acetate A - IFF
Citronellyl Acetate - BASF
Citronellyl Formate
Citronellyl Nitrile
Citronellyl Tiglate
Damascenone - Firmenich
Damascenone Total - Firmenich
Damascone Beta
Damascone Delta - IFF
Geraldehyde - IFF
Gernaiol 5020 - IFF
Geraniol 60 - BASF
Geraniol 600 - IFF
Geraniol 7030 - IFF
Geraniol 980 - IFF
Geraniol BASF
Geranyl Acetate A - IFF
Glen O. Brechbill
398
Rose Otto Oil
Rosewood Oil
AROMATIC CHEMICALS
Citronellol
Citronellyl Acetate
Geraniol
Geranyl Acetate
Geranyl Acetate ( Natural )
Geranyl Nitrate
Nerol
Rosalin
Rosetone
Rose Oxide
Vesselino Trading Co. - Bulgaria
Rosa Damascenia auct. non Miller
FLORAL WATERS
Rosa Damascenia Auct. non Miller
WATER CONCENTRATES
Geranium Sanguineum L.
Rosa Damascena Auct. non Miller
CONCRETES
ABSOLUTES
Vigon International, Inc. - USA
Boise De Rose Oil
Phenyl Ethyl Isobutyrate
Bulgarian Rose Oil
Geranium Oil
Rose Aleppo Oil
AROMATIC CHEMICALS
Citronellol ex Citronella Oil
Citronellol ex Eucalyptus Oil
Citronellol 98 %
Citronellyl Acetate
Citronellyl Formate
Citronellyl Nitrile
Di Methyl Octanol
Geraniol C Extra ex Citronella
Geraniol ex Palmarosa
Geraniol 98 %
Geranyl Acetate
Geranyl Butyrate
Geranyl Formate
Geranyl Nitrile
Geranyl Propionate
Nerol Special FCC
Nerol Synthetic 95 %
Phenyl Ethyl 2 Methyl Butyrate
W & W Australia Ltd. - Australia
Geranium Oil
AROMATIC CHEMICALS
Citronellol
Geranyl Acetate
Rosalin ( Rose Acetate )
Walsh, John D., Co., Inc. - USA
Geranium Oil Egyptian
Rose Oil
ABSOLUTES
Rose Abs.
Citronellol
Citronellyl Acetate Pure
Citronellyl Formate
Citronellyl Nitrile
Di Methyl Octanol
Geraniol
Geraniol Coeur, FCC
Geranyl Acetate
Geranyl Nitrile
Nerol
Peomosa
399
Phenyl Ethyl Hexanoate
Glen O. Brechbill
400
Rose Notes
Adoxal Sweet floral waxy rosy referred to as ozone like.
Alcohol C - 8 Powerful fresh, orange rose like waxy and sweet odor.
Alcohol C - 9 Powerful oily floral fresh petal like, dilution - rosy.
Alcohol C - 11 Lenic Fresh rather fatty odor, citrusy waxy rosy petal like note.
Aldehyde C - 11 Lenic Powerful waxy rosy citrusy odor.
Alpha Damascone Intensely fruity reminiscent of plums and roses.
Benzophenone Powdery geranium rose like.
Beta Damascone Fruity apple rose like odor.
Bois De Rose Essence Slightly rose like with a sweet undertone.
Bois De Rose Oil Floral odor reminiscent of rose orange mignoette.
Bois De Rose Syn AB2034 Excellent substitute for bois de rose oil.
Bois De Rose Terpeneless Oil Floral and reminiscent of rose orange and mignonette.
Citronellol BRI Fresh, clean floral rosy odor.
Citronellol Oil Coeur Fresh, rosy, floral rosy.
Citronellol Oil Extra Purer grade, fresher rosy.
Citronellol 700 Clean fresh rose, citronellol 70%, Geraniol 7%, Nerol 18%, D M Octanol 5%.
Citronellol 700 98TA Clean, fresh, rose.
401
Citronellol 750 Clean fresh rose odor, fraction of citronellol 73%.
Citronellol 80 Intermediate Clean fresh rose odor, fraction of citronellol 83.5%.
Citronellol 850 Clean fresh rose odor, fraction of citronellol 86%.
Citronellol 850 Clean fresh rose, citronellol 86%, geraniol & nerol 12%.
Citronellol 950 Clean rose like, citronellol 95%, geraniol and nerol 4 %.
Citronellol Last Fraction Rosy, not as sweet as a typical fresh floral rose.
Citronellyl Acetate Fresh, rosy, fruity odor reminiscent of geranium oil.
Citronellyl Acetate A Sweet fruity geranium rose citronellyl acetate 85%, neryl acetate 5%.
Citronellyl Acetate BRI Fresh, rosy, fruity odor
Citronellyl Acetate Pure Sweet, fruity rose like, citronellyl acetate 95%, neryl acetate 5%.
Citronellyl Anthranilate Rosy, fruity odor, extremely long lasting.
Citronellyl Iso Butyrate Fresh almost citrusy rosy, intensely fruity and sweet odor.
Citronellyl N Butyrate Intensely fruity, sweet and somewhat rosy leafy, petal like.
Citronellyl Formate Pw leafy green fruity rosy fresh and light reminiscent of geranium rose.
Citronellyl Formate Natural Sweet citrus floral honey.
Citronellyl Lactone D Tenacious, spicy, rose absolute character.
Citronellyl Methyl Acetal A little known citrus note very effective natural note to lemon.
Citronellyl Nitrile A green rose like scent almost reminiscent of citralva.
Citronellyl Phenyl Acetate Sweet herbaceous rosy, heavy and reminiscent of rose petals.
Citronellyl Propionate Fresh fruity, sweet rosy odor more berry fruity odor.
Citronellyl Tiglate Leafy, rosy geranium note useful in geranium, rose petal bases.
Citronellyl Valerate Rosy, herbaceous honey like aroma.
Glen O. Brechbill
402
Damas Rose FM1248 Is very damascone rose directed.
Damascenia Rich sweet deep floral rose.
Damascenia Rosa Abs. Rich warm spicy floral and very deep rose odor, honey tones.
Damascenia Rosa Concrete Extremely rich deep and sweet floral truly reminiscent pink rose.
Damascenia 185 SA Very powerful warm fresh top note of rose otto.
Damascenone A powerful floral fruity note, very natural rose plum like.
Damascone Beta Powerful, fruity floral note reminiscent of blackcurrant, plum, rose, dil.
Delta Damascone A hybrid floral rose compound.
Di Butyl Sulfide Green, violet leaf, rose geranium character.
Di Hydro Carvyl Acetate Floral with rose, and cuminsed background, useful in floral accords.
Di Methyl Octanol Waxy dry rosy odor.
Di Phenyl Oxide Harsh floral green, metallic geranium rose type.
Dorina S A Floral rose specialty base extremely fresh and floral.
Ethyl Ortho Methoxy Benzoate Ylang tuberose, floral complex with raspberry and phenolic nuiance.
Farnesyl Acetate Faint, green floral rosy odor use in rose apple and herbal accords.
Florane Powerful, green crrushed petals rose like.
Florex A deep not sweet floral rose fragrance.
Geraniofix AB751 Sweet green geranium rose, best used in 10% dilution.
Geraniol Mild, and sweet floral rose.
Geraniol Coeur Floral, rose oily and green.
Geraniol Extra Sweet floral rose coeur grade.
Geraniol For Soap AB2015 Economical sweet rose base in lieu of geraniol last several days.
403
Geraniol 5020 Blend of geraniol 52%, nerol 25%, citronellol 20%.
Geraniol 60 Sweet floral rose.
Geraniol 600 Fresh rose petal, geraniol 60%, nerol 25%.
Geraniol 7030 Sweet fresh rose, geraniol 71%, nerol 19%.
Geraniol 8020 Sweet fresh rose with a citrus note, geraniol 81%, nerol 18%.
Geraniol 90 Mild and sweet floral rose.
Geraniol 980 Dry, rose petal, geraniol 97%.
Geraniol NC Floral, spicy note reminiscent of rose & palmarosa with carnation tone.
Geraniol N Supra Typical rosy mild, reminiscent of palmarosa oil
Geraniol RG Rose alcohols mix with citrus, verbana notes of nerol, dewy.
Geraniol WT Floral rose note with fresh verbena nuances.
Geraniol X Palmarosa Oil Sweet and floral rose like.
Geranium Absolute Intense and powerful somewhat leafy earthy but soft pleasant.
Geranium Algerian Lighter more rosy leafy.
Geranium Augaflor 9 A powerful rose like odour of Bourbon with a high degree of tenacity.
Geranium Bourbon Green leafy rosy strong.
Geranium Bourbon Oliffac An economical simulation of the natural oil for fine fragrances.
Geranium Bourbon Super A low priced apporach to geranium oil.
Geranium Chinese Natural source is China with a fine herbaceous rose like fragrance.
Geranium Concrete A delightful earthy herbaceous somewhat rosy foilage green like odor.
Geranium Egyptian Floral geranium rose blended from different batches.
Geranium Moroccan Sweet and powerful, rosy leafy slightly herbaceous odor.
Glen O. Brechbill
404
Geranium Oil Has a full leaf like rose odor.
Geranium Oil Syn ABQ 5629 Excellent substitute, interesting fruity and rosy nuances.
Geranium 222 Powerful green, leafy rosy with a fruiy minty undertone, rich.
Geranodyle Is a complex mixture with a fresh geranium odour.
Geranyl Acetate Sweet fruity floral rosy.
Geranyl Acetate Extra The finest sweet fruity floral rosy material available at low cost.
Geranyl Acetate Pure Sweet, fruity and rose, geranyl acetate 98%.
Geranyl Acetone Fresh floral light, but rather penetrating sweet rosy light green.
Geranyl Anthranilate Heavy sweet floral rose.
Geranyl Benzoate Faint rosy, very tenacious mildly floral.
Geranyl N Butyrate Sweet rather heavy fruity rosy odor.
Geranyl Caproate Fruity geranium rose like.
Geranyl Formate Fresh somewhat dry green leafy rosy odor.
Geranyl Iso Butyrate Sweeter than n butyrate.
Geranyl Phenyl Acetate Soft floral honey rose like.
Geranyl Propionate Sweet fruity rose warm.
Geranyl Tiglate Quite pleasant sweet herbaceous geranium like fragrance.
Iso Amyl Geranate Rosy, lemon honey character.
Iso Butyl Phenyl Acetate Powerful leafy rosy musky fragrance.
Iso Damascone A nice sweet slightly fruity green rose complex.
Iso Rose An isomeric rose floral compound.
Lorena Has a fresh odor of rose that recalls tang of the sea.
405
Meranol Dry rose petal.
Methyl Nonyl Ketone Fruity rosy orange like.
Methyl Tuberate Floral most likely tuberose, rose like material not sweet.
Neo Rose Otto A very high quality rose otto replacement at a lower cost.
Nerol Sweet rosy refreshing wet seashore like.
Nerol A Sweet rosy refreshing.
Nerol BG A good general purpose rose verbena quality with a warm spicy.
Nerol Coeur Moderately priced lemon verbena note dominating the rosy.
Nerol 800 Sweet fresh citrusy rose.
Nerol 850 Sweet citrusy, rose and fresh.
Nerol G A powerful refreshing, clean lemon rose odor.
Nerol 900 Sweet floral rose fresh citrus like.
Nerol O M Earthy, musty, palmarosa notes covering the verbena character.
Nerol Petals Sweet rosy leafy refreshing.
Nerol Regular A green note blends with the rose verbena tones in this grade.
Nerol Special A fresh sea shore like floral rose.
Neryl Acetate Very sweet fruity, floral odor of raspberry rose.
Neryl Butyrate Green waxy oily and fatty.
Neryl Formate Rosy, herbaceous green character.
Neryl Geranyl Acetate Citrus sweet floral.
Neryl Iso Butyrate Rosy, berry character.
Neryl Iso Valerate Rich, clary sage of bergamot odor in oriental, oakmoss.
Glen O. Brechbill
406
Neryl Propionate Fruity, jam like odor used in citrus and floral fragrances.
Octanol 2 A floral rosy fresh odor.
Octanol Nitrile 10 B - 2216 A rosy floral odor.
Palmarosa Oil Sweet floral rosy odor.
Palmarosa Oil Brazil Palmarosa has a sweet, floral, rosy scent.
Palmarosa Oil Guatemala A pale yellow or olive colored liquid with a sweet floral rosy odor.
Palmarosa India Palmarosa oil has a sweet floral with a hint of rose.
Patinol AB286 Is more geranium rosy in character then geranofix.
Peomosa Floral, rose mimosa like with a special light dry out.
Peonile With its geranium-rosy character provides interesting floral effects.
Phenirat Sweet, fruity, floral like rose somewhat honey.
Phenoxanal Fresh floral rose.
Phenoxy Ethanol Mild rosy, but also metallic.
Phenoxy Ethyl Alcohol Mild honey rose odor.
Phenoxy Ethyl Iso Butyrate Sweet fruity rosy floral.
Phenyl Ethyl Acetal Warm, green leafy also rosy balsamic odor.
Phenyl Ethyl Acetate Very sweet, rosy fruity honey like odor.
Phenyl Ethyl Alcohol Mild and warm rose honey like odor.
Phenyl Ethyl Alcohol Extra Fine, smooth, more powerful quality lasts a few days.
Phenyl Ethyl Benzoate Very faint floral balsamic odor reminiscent of dry rose petals.
Phenyl Ethyl Cinnimate Very faint and sweet pleasant balsamic odor.
407
Phenyl Ethyl Iso Butyrate Fresh fruity tea rose type.
Phenyl Ethyl Phenyl Acetate Heavy and very sweet floral balsamic odor, musky honey like.
Phenyl Ethyl Pivalate Floral possibly faintly rosy pratically no odor.
Phenyl Ethyl Propionate Very warm herbaceous rosy deep fruity.
Pivane 22 A sweet rosy floral fragrance.
Pivarose Pleasant, tea rose.
Polarose Powerful fatty oily waxy rosy odor.
Racinia A dry floral rose complex.
Rhodinol Coeur Geranium rose.
Rhodinol X Citronella Naturally sweet rosy floral.
Rhodinol X Geranium Oil Floral, rose sweet waxy and powdery.
Rhodinyl Acetate Sweet, light refreshing rose muguet, green leafy notes.
Rhodinyl N Butyrate Intensely sweet mellow fruity deep rosy.
Rhodinyl Formate Fresh leafy green delicate rosy.
Rhodinyl Phenyl Acetate Sweet, very deep soft honey like rose.
Rhodinyl Propionate Rich and sweet fruity floral rose geranium type.
Rhodinyl Salicylate Very weak sweet rosy powdery balsamic odor.
Rhodinyl Valerate Heavy fruity, slight earthy green, but also sweet odor.
Rosacene A nice light delicate floral rose compound not overly sweet.
Rosalva Powerful fatty oily, waxy rose odor.
Rosamusk Unusual combination of rose with musky modifications.
Rose Abs. Morocco Extremely fresh and sweet floral rose odor.
Glen O. Brechbill
408
Rose Abs. Oliffac An inexpensive substitute of natural absolutes from rose petals.
Rose Abs. Turkey A tenacious diffusive sweet floral, truly captures fresh flower.
Rose AB380D Rose absolute, slightly herbal animalic tones.
Rose Acetate Mild floral rosy.
Rosania FM1018 Diffusive natural green geranium rose.
Roseate Delicate moist rose petal tone with gentle power.
Rose Bulgare Oil Intensely rose like, and sweet.
Rose Concrete Morocco Has a warm deep floral, slight woody sweet with honey like notes odor.
Rose Crystals Mild, at first very weak green rosy balsamic odor.
Rose De Mai Rich, sweet, deep rosy very tenacious odor with honey notes.
Rose De Mai Abs. Rich and sweet deep rosy tenacious odor.
Rose De Mai Abs. French Has a rich sweet, deep rosy very tenacious odor.
Rose Essence 193 A very strong, but yet sweet floral rosy fresh odor.
Rose Essence Bulgare A very diffusive vivacious rose odor, slightly sweet and floral.
Rose Geranium Augaflor 19 A wonderfully rich, warm rosey odour reminiscent of a summer day.
Rose Givco 217 Warm rosy resembling natural Turkish oil quite delightful.
Roseessence 17.600B Full, rich, strong as natural rose otto bulgarian.
Rose Moroccan Abs. Deep sweet, rich and tenacious floral rose odor.
Rose Moroccan Oil Fragrant rose and characteristic of the flower.
Rose Nitrile A rich rose geranium woody note with excellent strength.
Rose Oil Moroccan Deep sweet, rich and tenacious floral rose.
Rose Oil Moroccan Select The finest moroccan rose fragrance at an attractive cost.
409
Rose Oil Otto Warm deep floral slightly spicy odor reminiscent of red roses.
Rose Oil Templar A typical sweet rose odor whose source is rooted in English lore.
Rose Oil Turkey Diffusive strong vibrant floral rose scent reminiscent of the rose.
Rose Oil Turkey Commercial An extremely floral typical rose odor, not intense or over powering.
Rose Oil Turkish Sweet floral rose.
Rose Orient Intensely rose like, mysterious diffusive, rounded and nice.
Rose Otto Augaflor A deep, warm, rich unmistakable rose odor.
Rose Otto Syn. Pour Savon A low cost simulation of rose otto for general purposes.
Rose Otto Turque Oil Sweet, intense floral rose.
Rose Oxide D Gives fresh herbal rose effects and rosy green nuances.
Rose Oxide Inactive A compound with an intensive note of roses.
Rose Oxide L Constituent of bulgarian attar of roses.
Rose Oxide R Reminiscent of rose geranium.
Rose Oxyde Green, very diffusive fresh note which resembles geranium oil.
Rose Oxyde Gauche Similar although sweeter, fresher and more diffusive.
Rosetal A Diffusive rose absolute type odor for use in floral based fragrances.
Rose Tenace Diffusive long lasting rose odor suggests otto of rose.
Rose Turkey Absolute Deep sweet rich rosy floral odor, souce Turkey.
Rose Turque Essence Fragrant rose characteristic.
Top Rose ABQ5644 The top note of bulgarian rose oil lasts a few weeks.
Trans De Cadro Beta Naphyl Floral rosy.
Trans 4 Decenal # 382 Floral rosy.
Glen O. Brechbill
410
Tuberanthia SA Tuberose.
Tuberose Abs. A heavy sweet almost nauseating floral odor of tuberose.
Tubereuse 181 A reconstitution of tuberose absolute, rich warm, sensual.
Tuberose Oliffac Sweet intense floral character of tuberose.
Tuberose Pomenade A heavy sweet almost overpowering tuberose odor.
Wardia A classic reproduction of rose de mai absolute, powerful.
411
Glen O. Brechbill
Rose # 1a
6 Irisone Bis
5 Citronellol Prime
3 Undecatriene
1 Florantone T
41 Geraniol
.1 Rose Bioabsolute
9 Laurine
5 Nerol
3 Jasmonyl Acetate
2 Eugenyl Acetate
3 Parmanyl
6 9-Decen-1-OL
1 Vanilla Alcohol
1 Petilyn
3 Fleuramone
.2 Acetate Geranyle 98 %
1 Iris Beurre Oil
1,000
3 Rionyl
46 Coumarine Chine
9 Vanilline
27 Musk R - 1
2 Amberfleur
9 Benzyle Benzoate
3 Rose Crystals
6 Methyl Benzoate
1 Iso - Rosal 38 C
4 Irotyl
7 Ethyl, Vanillin
3 Aquanol
24 Eugenol / Clove
5 Geraniol 98 %
18 Lilial
3 Methyl Dianthanol
51 Rose Substitute
3 Bnezophenone
4 Lioral
2 Rose Oil Turkish
8 Cassis Fragrance
.1 Alcohol C - 9
24 Musk SF
412
Rose # 1b
6 alpha - Ionone
5 Citronellol Prime
3 Scennal
1 Florantone T
41 Geraniol
.1 Rose Bioabsolute
5 Nerol
3 Jasmonyl Acetate
2 Eugenyl Acetate
3 Orris Oil
6 9-Decen-1-OL
1 Vanilla Alcohol
1 Petilyn
4 Fleuramone
1 Iris Beurre Oil
1,000
3 Amberfleur
46 Coumane
9 Vanilline
27 Musk R - 1
2 Alpha Damascone
9 Benzyl Alcohol
3 Rose Crystals
6 Methyl Benzoate
1 Iso - Rosal 38 C
6 Palmarosa
7 Ethyl, Vanillin
3 MelonOrg
24 Eugenol / Clove
5 Geraniol 98 %
18 Lilial
310 Di Propylene Glycol (DPG )
3 Methyl Dianthanol
58 Rose Substitute
3 Bnezophenone
4 Lioral
2 Rose Oil Turkish
8 Cassis Fragrance
.1 Alcohol C - 9
24 Musk SF
413
Glen O. Brechbill
Rose # 1c
6 Iris Beurre Oil
5 Citronellol 99 %
3 Undecatriene
1 Petitgrain Bigarade
41 Geraniol 60 %
.1 Rose Bioabsolute
9 Laurine
5 Nerol
3 Jasmonyl Acetate
2 Eugenyl Acetate
3 Parmanyl
6 9-Decen-1-OL
1 Vanilla Alcohol
1 Petilyn
3 Fleuramone
2 Iris Beurre Oil
1,000
3 Ambrox DL Coeur
46 Coumarine Chine
9 Vanillin
2 Amberfleur
9 Benzylalcohol FR
3 Rose Crystals
6 Methyl Benzoate
1 Iso - Rosal 38 C
4 Iso Rose
7 Ethyl Vanillin
3 Meijiff
24 Eugenol / Clove
18 Lilial
3 Methyl Dianthanol
71 Rose Substitute
3 Bnezophenone
4 Lioral
2 Rose Oil Bulgaria
.1 Alcohol C - 10
24 Musk R - 1
414
Rose # 1d
5 Citronellol 95 %
3 Undecatriene
1 Florantone T
.1 Rose Bioabsolute
9 Roseiff
5 Nerol
3 Jasmonyl Acetate
2 Eugenyl Acetate
3 Parmanyl
2 9-Decen-1-OL
1 Vanilla Alcohol
1 Scennal
4 Myraldyl Acetate
1 1 Iris Beurre Oil
1,000
3 Rionyl
46 Coumarine Chine
9 Vanilline
27 Musk R - 1
2 Amberfleur
9 Benzyle Benzoate
3 Rose Crystals
6 Methyl Benzoate
1 Iso - Rosal 38 C
4 Irotyl
7 Ethyl, Vanillin
3 Aquanol
24 Eugenol / Clove
5 Geraniol 98 %
18 Lilial
3 Methyl Dianthanol
3 Bnezophenone
4 Lioral
2 Alpha Damascone
57 Damascone
8 Cassis Fragrance
.1 Alcohol C - 9
24 Musk Emeressence
415
Glen O. Brechbill
Rose # 1e
5 Citronellol Prime
1 Undecatriene
1 Petitgrainol
41 Geraniol
.1 Rose Bioabsolute
9 Laurine
5 Nerol
3 Jasmonyl Acetate
2 Eugenyl Acetate
6 9-Decen-1-OL
1 Vanilla Alcohol
1 Petilyn
2 Fleuramone
.2 Geranyl Acetate Extra
1,000
3 Rionyl
46 Coumarine Chine
9 Vanilline
27 Musk R - 1
4 Rose Givco 213
9 Benzyle Benzoate
3 Rose Crystals
6 Methyl Benzoate
1 Iso - Rosal 38 C
4 Damascenone
7 Vanilys
3 Aquanol
5 Geraniol 98 %
18 Lyrame
3 Isoeugenol ( Carnation )
74 Rose Substitute
3 Bnezophenone
4 Lioral
2 Rose Oil Turkish
.1 Alcohol C - 9
24 Musk Clear
416
Rose # 2a
3 Citronellol Pure
1 Rose Acetate
3 alpha Ionone 70
9 Wardia Substitute
6 Cassifix
4 Bourgenal
2 Cananga Odorata
5 Hydroxy Citronellal dma
.1 Acetate de Neryle
3 Wardia
25 Linalol 98 %
6 Myraldyl Acetate
3 Jasilyn
2 Phyllos
1,000
5 Ambrox DL
2 Rose Crystals
12 Sandela
7 Vanillin
49 Globanone
3 Amborate
8 Galaxolide 50
4 Ethyl Vanillin
2 Beta Damascone
3 Sandiff
26 Eugenol 100 %
1 Iso Jasmone
5 Neo Galbanum Oil
6 Lilial
3 Myraldyl Acetate
49 Rose Substitute
5 Hedione
2 Hedione
1 Damascenia 185 SA
38 Geraniol 100 %
8 Mallow
1 Iso Rose
.1 Alcohol C - 10
38 Linalyl Acetate
417
Glen O. Brechbill
Rose # 2b
3 Citronellol Pure
1 Rose Acetate
3 alpha Ionone 70
9 Wardia Substitute
6 Cassifix
4 Bourgenal
2 Violiff
5 Hydroxy citronellaldimethylacetal
.1 Rose Abs. Morocco 3223
3 Rhodinol
25 Linalol 98 %
6 Myraldyl Acetate
3 Iso Jasmone
2 Phyllos
1,000
5 Ambrox DL
2 Rose Crystals
12 Sandela
7 Vanillin
29 Globanone
3 Amborate
28 Galaxolide 50
4 Ethylvanillin
2 Beta Damascone
51 MDJ Super
3 Sandalwood Oil New Caladonia
1 Iso Jasmone
5 Neo Galbanum Oil
6 Lilial
3 Myraldyl Acetate
59 Rose Substitute
5 Hedione
2 Hedione
1 Bois de Rose Brazil
38 Geraniol 99 %
8 Lyrame Super
.1 Alcohol C - 10
5 Eugenyl Acetate
38 Linalyl Acetate
1 Rose Damascenia
418
Rose # 2c
3 Citronellol Pure
1 Rose Oil ( Otto )
3 alpha Ionone 70
9 Wardia Substitute
6 Cassifix
6 Bourgenal
2 Cananga Odorata
5 Hydroxy Ciol
.1 Tuberose Abs.
3 Wardia
25 Linalol 98 %
6 Myraldyl Acetate
1 Geranium Rose Oil MF
2 Phyllos
6 Orange Oil Orpur - Lebanon ( G )
1,000
14 Sandela
5 Ambrox DL
2 Rose Crystals
12 Iso E Super
7 Vanillin
3 Amborate
5 Galaxolide 50
4 Ethyl Vanillin
2 Alpha Damascone
51 Acetate Bencila
3 Sandiff
23 Eugenol 100 %
1 Iso Jasmone
5 Neo Galbanum Oil
6 Lilial
3 Myraldyl Acetate
74 Rose Base # 57
5 Hedione
2 Iso Rose
1 Damascenia 185 SA
38 Geraniol 100 %
8 Rose Oil Std.
.1 Alcohol C - 09
38 Linalyl Acetate
419
Glen O. Brechbill
Rose # 2d
3 Citronellol Pure
1 Rose Givco 75
3 alpha - Ionone
9 Wardia Substitute
6 Cassifix
4 Bourgenal
2 Damascenia 185
5 Rose Wood Oil
.1 Rose Bourbon Abs. - India
3 Wardia
25 Linalol 98 %
4 Neroli Artessence - Biolandes
6 Myraldyl Acetate
3 Jasilyn
2 Palma Rosa Oil
3 Bitter Orange Oil ( C.P. )
1,000
5 Ambrox DL
2 Rose Crystals
12 Sandela
7 Vanillin
49 Globanone
3 Amberlyn
8 Galaxolide 50
3 Ethyl Vanillin
2 Beta Damascone
3 Sandalore
22 Eugenol 100 %
1 Iso Jasmone
5 Geraniol Special
6 Lilial
3 Myraldyl Acetate
5 Hedione
3 Methyl Benzoate
2 Hedione
1 Damascenia 185 SA
38 Geraniol Fine FCC
8 Mallow
1 Iso Damascon
.1 Alcohol C - 10
5 Iso Eugenol
7 Rose Otto Turque Oil
420
Rose # 2e
1 Rose Acetate
3 alpha Ionone 70
9 Wardia Substitute
8 Methyl Ionone
4 Bourgenal
2 Cananga Odorata
.1 Undecavertol
3 Wardia
25 Linalol 98 %
4 Petitgrain Oil ( Orange Flower )
6 Myraldyl Acetate
3 Jasilyn
2 Phyllos
6 Orange ( Sweet )
1,000
14 Amyris Wood Oil
5 Ambrox DL
2 Patchouli Dark - Indonesia
12 Sandela
7 Vanillin
49 Serenolide ( Musk )
3 Amborate
8 Galaxolide 50
4 Ethyl Vanillin
3 Beta Damascone
3 Osyrol
1 Iso Jasmone
5 Methyl Benzoate
6 Lilial
3 Myraldyl Acetate
70 Rose Substitute
5 Hedione
1 Damascenia 185 SA
38 Geraniol 980
8 Petilyn
1 Iso Rose
.1 Alcohol C - 10
5 Eugenyl Acetate
38 Linalylacetate
421
Glen O. Brechbill
Rose # 3a
3 Nepalva
4 Iso Raldeine 70
28 Galaxolide 50
64 Geraniol Pure
1 Ylang Givco 225
4 Iso Eugenol Tech
3 Nerol
1 Floranton T
5 Wardia Substitute
1 Pomarose
3 Cyclogalbaniff
2 Ylang Odorata Oil
3 Geranyl Acetate ( Special Coeur )
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
35 Linalyl Acetate
.3 Cassis Oliffac
1,000
.1 Civet Ethiopia
10 Benzyl Alcohol
8 Woodynol I
6 Vanillin
3 Fleuramone
5 Methyl Benzoate
2 Benzophenone
1 Rosaline
1 Anisyl Alcohol
.1 Alcohol C - 9
28 Carnation Base
2 Ethyl Vanillin
6 Rosaphen
2 Rose Istambuli
.1 Rosalva
24 Linalol
5 Citronellol 950
422
Rose # 3b
5 Nerol Petals
4 Iso Raldeine 70
28 Galaxolide 50
64 Rose Base # 73
1 Ylang Givco 225
4 Iso Eugenol
3 Geraniol C Extra ex Citronella
1 Floranton T
3 Wardia Substitute
1 Pomarose
3 Cyclogalbaniff
2 Ylang Odorata Oil
2 Bourgenal
1 Iso Rose
2 Scennal
35 Linalyl Acetate
.3 Bourgenal
1,000
.1 Civet Ethiopia
10 Benzyl Alcohol
19 ( Musk T ) - Takasago
8 Woodynol I
6 Vanillin
5 Methyl Benzoate
2 Benzophenone
1 Rosaline
1 Anisyl Propanol
.1 Alcohol C - 9
29 Carnation Base
29 Geraniol Pure
1 Damascenone Total
2 Ethyl Vanillin
6 Geranium ( Chinese )
2 Iso Rose
.1 Rosone
24 Linalol
5 Citronellol 950
423
Glen O. Brechbill
Rose # 3c
3 Nepalva
4 Iso Raldeine 70
28 Galaxolide 50
24 Geraniol Coeur, FCC
1 Ylang Givco 225
4 Iso Eugenol Tech
3 Nerol
5 Wardia Substitute
1 Pomarose
3 Cassifix
2 Ylang Odorata Oil
2 Bulgarian Rose Oil
1 Rosamusk - IFF
1 Farnesyl Acetate
35 Linalyl Acetate
.3 Styralylacetate
1,000
.1 Civet Ethiopia
10 Benzyl Alcohol
8 Woodynol I
6 Vanillin
3 Fleuramone
5 Methyl Benzoate
40 Rose Damascenia Base
2 Benzophenone
1 Rosaline
1 Anisyl Alcohol
.1 Alcohol C - 9
28 Carnation Base
1 Rose Aleppo Oil
2 Ethyl Vanillin
6 Rosaphen
2 Rosa Crystals
.1 Rosalva
24 Linalol
5 Citronellol 99 %
424
Rose # 3d
3 Cashmeran
4 Iso Raldeine 70
28 Serenolide
64 Geraniol Pure
1 Ylang Givco 225
4 Carnaline
3 Geraniol Finest Ex Citronella
1 Aurantiol Pure
5 Wardia Substitute
1 Pomarose
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 Tuberose Oliffac
2 Bourgenal
1 Nerol Synthetic 95 %
1 Farnesyl Acetate
36 Linalyl Acetate
.3 Cassis Oliffac
1,000
.1 Civet Paste
10 Benzyl Alcohol
48 Coumane
8 Chandanone
6 Vanillin
3 Fleuramone
5 Methyl Benzoate
2 Benzophenone
1 Rose Crystals
1 Anisyl Alcohol
53 MDJ Super
.1 Alcohol C - 9
28 Carnation Base
2 Ethyl Vanillin
6 Rosaphen
.1 Rosalva
24 Linalol 98 %
5 Citronellol Ex Palmarosa
425
Glen O. Brechbill
Rose # 3e
3 Gardenia 1110
4 Ionone Alpha 60
68 Geraniol Pure
1 Ylang Givco 225
4 Iso Eugenol Tech
3 Neryl Acetate NP
1 Floranton T
7 Wardia Substitute
1 Pomarose
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 Iris Beurre Oil
1 Rhodinol Ex Geranium Oil
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
35 Linalyl Acetate
.3 Cassis Oliffac
1,000
.1 Civet Ethiopia
10 Benzyl Alcohol
19 Traseolide
8 Woodynol I
6 Vanillin
5 Cashmeran
3 Geranium 204
4 Lyral
4 Methyl Benzoate
2 Benzophenone
1 Rosaline
1 Anisyl Alcohol
.1 Alcohol C - 9
26 Carnation Base
5 Coriander Oil
2 Ethyl Vanillin
41 Geraniol 500
6 Rose Attar
2 Rose Otto, Bulgaria
.1 Rosalva
24 Linalool
5 Citronellol 950 - IFF
426
Rose # 4a
.7 Poirinate
4 Aubepine
15 Wardia
3 Roseiff
2 Iris Beurre Oil
1 Tuberose Oliffac
1 Meranol
2 Rose Oil
2 Nutmeg Indonesia
.1 Leaf Alcohol
1 Iso - Eugenol
1 Bourgenal
18 Linalyl Acetate
1,000
5 Iso E Super
1 Civet Tincture
4 MCK
7 Vanillin
2 Heliotropine
1 Thymol Crystals
8 Lilial
17 Musk R - 1
5 Methyl Di Hydri Iso Jasmonate
7 Vanillinethyl
1 Methyl Benzoate
1 Folrosa Q
3 Citronellol
28 Eugenol
7 Mallow
56 Geraniol 970
.1 Alcohol C - 9
22 Benzyl Acetate
3 Jasmylone 99
12 Ionone Alpha 60
4 Geralddehyde - IFF
427
Glen O. Brechbill
Rose # 4b
.7 Poirinate
4 Aubepine
15 Wardia
3 Roseiff
2 Iris Beurre Oil
1 Tuberose Oliffac
1 Meranol
2 Rose Oil
2 Nutmeg Indonesia
.1 Leaf Alcohol
1 Bourgenal
18 Linalylacetate
1,000
5 Bacdanol
1 Civet Tincture
4 MCK
7 Vanillin
2 Heliotropine
1 Thymol Crystals
8 Lily of the Valley Base
27 Geraniol 98 %
7 Vanillinethyl
1 Methyl Benzoate
1 Folrosa Q
3 Citronellol
28 Eugenol
7 Mallow
56 Geraniol For Soap
.1 Alcohol C - 9
25 Benzyl Acetate
3 Jasmylone 99
12 Ionone Alpha 60
4 Geralddehyde - IFF
28 Linalol Pur
428
Rose # 4c
.7 Poirinate
4 Aubepine
2 Apple Oliffac
15 Wardia
3 Geraniol Coeur FCC
2 Iris Beurre Oil
1 Methyl Tuberate
1 Meranol
1 Iso - Eugenol
.1 Leaf Alcohol
1 y - Irone
16 Linalyl Acetate
1,000
7 Iso E Super
49 Coumane
1 Civet Tincture
4 Methyl Cedrylone
7 Vanillin
2 Heliotropine
1 Thymol Crystals
8 Lilial
17 Musk Emeressence
5 Benzyle Acetate Nat.
7 Vanillinethyl
1 Methyl Benzoate
1 Folrosa Q
3 Citronellol ex Eucalyptus Oil
28 Eugenol
7 Mallow
66 Geraniol 98 %
.1 Alcohol C - 9
22 Benzyl Acetate
12 Ionone Alpha 60
5 Petilyn
429
Glen O. Brechbill
Rose # 4d
.7 Poirinate
4 Aubepine
15 Wardia
3 Iso Damascon
1 Petitgrain Oil
2 Iris Beurre Oil
1 Tuberose Oliffac
1 Meranol
2 Rose Oil
3 Iso Amyl Geranate
2 Nutmeg Indonesia
.1 Leaf Alcohol
1 Iso - Eugenol
1 Bourgenal
17 Linalyl Acetate
1,000
5 Iso E Super
1 Civet
4 MCK
7 Vanillin
2 Heliotropine
1 Cinnamon Leaf Oil
8 Lilial
17 Musk R - 1
25 MDJ Super
7 Ethyl Vanillin
1 Methyl Benzoate
1 Folrosa Q
28 Eugenol / Clove
7 Mallow
86 Geraniol 80 %
.1 Alcohol C - 9
3 Jasmylone 99
430
Rose # 4e
.7 Perryfix Creations Aromatiques
4 Anisic Aldehyde
1 Rose Bulgaria Oil
15 Wardia
3 Rose Hip - Germany
1 Aurantiol
1 Roseate
1 Meranol
2 Acetate de Geranyle
1 Nutmeg W.I.
.1 Leaf Acetal
1 Rose Iran Single Distilled Oil
1 Bourgenal
18 Linalyl Acetate
1,000
5 Iso E Super
1 Civet Tincture
4 Koavonne
7 Vanillin
2 Heliotropine
1 Palma Rosa Oil
8 Lilial
1 Musk Clear
7 Vanilys - Pfw
1 Methyl Benzoate
1 Iso Rose
3 Citronellol - L
7 Mallow
76 Geraniol 970
.1 Alcohol C - 9
22 Hedione
3 Jasilyn
12 Irisone Bis
4 Geranium Oil
28 Linalool
431
Glen O. Brechbill
Rose # 5a
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Geraniol 600
2 Eugenyl Acetate
1 Kir Base # 9741
1 alpha - Ionone
4 Wardia
.4 Vanillyl Alcohol
3 Nerol
5 Iritone V
.1 Pomarose
23 Linalyl Acetate
1 Mirabelle 2000 D
1,000
3 Benzophenone
8 Amyrs Oil W.I.
.1 Civet Tincture 20 %
4 Heliotropine
5 Anthea Sandla Coeur
9 Vanillin
.1 Polarose
11 Iris Beurre Oil
3 Petilyn
102 Muguet Base
73 Geraniol 60
1 Rosone
9 Hidroxicitronelal
21 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Oxide De Rosa
4 Irisone Bis
13 Citronellol 96 %
1 Jasmone
32 Linalol 98 %
5 Muguet Alcohol
432
Rose # 5b
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Crimson Glory Rose Abs.
3 Myraldyl Acetate
2 Eugenyl Acetate
1 Kir Base # 9741
1 alpha - Ionone
4 Wardia
.4 Vanillyl Alcohol
3 Nerol
5 Iridales
.1 Pomarose
23 Linalyl Acetate
1 Mirabelle 2000 D
1,000
3 Rosone
8 Amyrs Oil W.I.
4 Heliotropine
9 Vanillin
.1 Polarose
9 Iris Beurre Oil
3 Petilyn
39 Hedione
102 Muguet Base
77 Geraniol 60
1 Rosone
9 Hidroxicitronelal
21 Carnation Base
6 Di Methyl Octanol
4 Hydrofix R
1 Adoxal
4 Irisone Bis
.1 Anisylalcohol
13 Citronellol 99 %
1 Rose Oil
32 Linalol 98 %
5 Meijiff
433
Glen O. Brechbill
Rose # 5c
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Rose Morocco Abs.
2 Eugenyl Acetate
1 Kir Base # 9741
1 alpha - Ionone
1 Rosa
1 Jasilyn
.4 Vanilla Tincture 20 %
3 Nerol
5 Iritone V
.1 Pomarose
23 Linalyl Acetate
1 The
1,000
3 Benzophenone
8 Sandalore
4 Heliotropine
5 Sandiff
9 Vanillin
.1 Polarose
11 Iris Beurre Oil
3 Beta Damascone
96 Muguet Base
83 Geraniol 60
8 Hydroxyciol
1 Rosone
9 Lyral
21 Eugenol
6 Di Methyl Octanol
4 Lioral
1 Rose Bulgare
.1 Vanilla Beans - Madagascar
4 Irisone Bis
13 Citronellol 99 %
1 Rose Oil Otto
33 Linalool Special
5 Muguet Alcohol
3 Geraniol 98 %
434
Rose # 5d
7 Orange Flor Deco
.2 Folione
.1 Rose Turkey Abs.
2 Eugenyl Acetate
1 Kir Base # 9741
4 Wardia
.4 Vamba
3 Nerol
5 Ionone Alpha 60
1 Petitgrain Bigaradier
.1 Pomarose
23 Linalyl Acetate
1 Mirabelle 2000 D
1,000
3 Rosa Crystals
8 Amyrs Oil W.I.
4 Heliotropine
43 Muskylein
5 Javanol
9 Vanillin
.1 Polarose
11 Iris Beurre Oil
3 Petilyn
90 Muguet Base
83 Geraniol Prime
1 Rosone
9 Hidroxicitronelal
21 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelal
3 Benzyl Propionate
4 y - Irone
13 Citronellol - High Purity
1 Nerol Petals
32 Linalol 98 %
5 Muguet Alcohol
3 Geraniol 970
435
Glen O. Brechbill
Rose # 5e
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Geraniol 600
2 Eugenyl Acetate
1 Kir Base # 9741
1 alpha - Ionone
4 Wardia
3 Iso Rose
.4 Vanilla Alcohol
3 Nerol
5 Iritone V
1 Neroli Aurantium Oil
.1 Pomarose
23 Linalyl Acetate
1 Mirabelle 2000 D
1,000
3 Benzophenone
6 Vanillin
.1 Polarose
11 Iris Beurre Oil
3 Hysimal
95 Muguet Base
93 Geraniol 60
1 Rose Crystals
9 Hidroxicitronelal
21 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelal
1 Oxide De Rosa
4 Irisone Bis
13 Citronellol 96 %
1 Jasmone
32 Linalol 98 %
5 Muguet Alcohol
436
Rose # 6a
5 Gardenia 1110
3 Jasmonyl Acetate
.1 Alcohol C - 10
3 Orange Oil Bitter W.I.
1 Ribes Mercaptan
34 Linalool Fine
1 Honey Rose Givco
4 Geranium Oil pure
2 Cassifix
1 Damascenonel
5 Aldeido Muguet
.3 Wardia
3 Iso E Super
1 Scennal
27 Linalyl Acetate
5 Nerol
7 Myraldyl Acetate
1 Florantone T
4 Pomarose
2 Hydroxycitronellal Pure
1,000
.1 Vanilys - Pfw
7 Vanillin
48 Coumarina
8 Benzyl Salicylate
1 Y samber K
2 Nerolin Crystals
4 Sandiff
3 Lilial
2 Rosenol synthetic
21 Serenolide
5 Vanillinethyl
14 Hedione
1 Sandalore
3 y - Irone
6 Methyl Benzoate
1 Acetate Geranyle Ex Citronelle
437
Glen O. Brechbill
Rose # 6b
5 Gardenia 1110
3 Jasmonyl Acetate
.1 Alcohol C - 10
54 Geraniol BRI FCC
1 Ribes Mercaptan
33 Linalool
1 Honey Rose Givco
4 Geranium Oil pure
2 Cassis Fragrance
1 Damascenonel
5 Aldeido Muguet
.3 Wardia
1 Scennal
27 Linalyl Acetate
5 Roseiff
7 Super Cepionate
1 Florantone T
4 Pomarose
1,000
.1 Vanilys - Pfw
7 Vanillin
48 Musc Clear
8 Benzyl Salicylate
1 Amberfleur
2 Nerolin Crystals
52 MDJ Super
4 Amyris Oil West Indies ( Sandal )
2 Rosalin
21 Serenolide
5 Ethyl Vanillin
14 Bois de Rose Oil - Brazil
1 Sandalore
3 y - Irone
6 Methyl Benzoate
12 Citronellol 96
1 Geranyl Acetate
.1 Violiff
438
Rose # 6c
3 Jasmonyl Acetate
.1 Alcohol C - 10
1 Ribes Mercaptan
34 Linalool Fine
1 Honey Rose Givco
4 Geranium Oil pure
2 Cassifix
1 Damascenia
5 Muguet Aldehyde
.3 Wardia
1 Azalea Oil - China
3 Iso E Super
1 Scennal
27 Linalyl Acetate
5 Nerol
7 Myraldyl Acetate
1 Florantone T
4 Pomarose
1,000
.1 Vanilys - Pfw
7 Vanillin
48 Coumarina
8 Benzyl Salicylate
1 Y samber K
2 Nerolin Crystals
4 Sandiff
88 Hydroxycitronellal Exteder
3 Lioral
2 Rosenol synthetic
21 Serenolide
5 Vanillinethyl
34 Geraniol Pur
64 Rose Base # 60
1 Sandalore
3 y - Irone
6 Methyl Benzoate
12 Citronellol 85/09 % FCC
.1 Folione
439
Glen O. Brechbill
Rose # 6d
5 Top Galbanum 18.326
3 Nerol 97
3 Jasmonyl Acetate
.1 Alcohol C - 10
1 Ribes Mercaptan
35 Linalool Fine
1 Honey Rose Givco
6 Geranium Italie Orpur - Givaudan
2 Cassifix
1 Fleur de Rose - Synrarome, Fr.
5 Aldeido Muguet
.3 Wardia
1 Iris V
3 Iso E Super
1 Scennal
27 Linalyl Acetate
5 Meranol
7 Myraldyl Acetate
1 Florantone T
1 Ionone
2 1 Hydroxycitronellal Pure
1,000
.1 Rosone
7 Vanillin
48 Coumarina
8 Benzyl Salicylate
1 Woodynol II
23 Hydroxycitronellal Pur
2 Orange Flower Ether
3 Cashmeran
4 Sandiff
3 Lilial
2 Amyl Salicylate
1 Eugenyl Acetate
21 Macrolide
5 Vanillinethyl
14 Hedione
1 Sandalore
3 y - Irone
6 Methyl Benzoate
12 Citronellol S 95
1 Geranyl Acetate Extra
.1 Tuberose Artessence - Biolandes
440
Rose # 6e
5 Gardenia 1110
3 Jasmonyl Acetate
.1 Alcohol C - 10
5 Kir Base # 9741
1 Ribes Mercaptan
34 Linalool Pur
1 Honey Rose Givco
2 Cassifix
1 Damascenonel
5 Lyrame Super
3 Chandanone
1 Scennal
27 Linalyl Acetate
5 Meranol
7 Myraldyl Acetate
1 Orange Oil Bitter ( W.I. ) - Trinidad
4 Fleuramone
1,000
.1 Civet Tincture
7 Vanillin
8 Benzyl Salicylate
1 Y samber K
2 Nerolin Crystals
4 Sandalore
3 Lilial
2 Rosenol synthetic
1 Bisabolene
21 Givescone - Givaudan
5 Vanillinethyl
14 Hedione
22 Eugenol - Flexitrail
1 Sandalore
3 y - Irone
6 Methyl Benzoate
.1 Folione
441
2 Rosone
4 Musk 50 ( DEP )
9 Benzyl Benzoate
.1 Exaltolide
16 Osyrol
5 Musk Clear
1 Rose Crystals
4 Heliotropine
69 Benzylacetate
.1 Anisyl Alcohol
12 MDJ Super
4 Ethyl Vanillin
.1 Alcohol C - 09
12 Santalox T Neat
5 Cashmeran
19 Lioral
1 Rosone
23 Eugenol / Clove
319 ( DPG )
32 Rose Base # 59
7 Citronellol S 85
2 Neo Geranium Oil
11 Wardia
8 MelonOrg
1 Di Methyl Octanol
3 Neroli Egypt
Glen O. Brechbill
Rose # 7a
5 Florantone T
58 Geraniol Prime
29 Linalool
.1 Folione
2 Benzyl Acetate
2 Nerol
6 Lyral
.1 Leaf Alcohol
3 Thesaron
8 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Kir Base # 9741
36 Linalyl Acetate
1,000
442
Rose # 7b
5 Florantone T
58 Geraniol Prime
29 Linalool
.1 Folione
2 Nerol
6 Lyral
.1 Leaf Alcohol
8 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Kir Base # 9741
36 Acetate de Linalyl
1,000
3 Rose Crystals
4 Musk 50 ( DEP )
9 Benzyl Benzoate
.1 Exaltolide
14 Sandalwood Substitute
5 Musk Emeressence
1 Rose Crystals
4 Heliotropine
.1 Anisyl Alcohol
12 MDJ Super
4 Ethyl Vanillin
.1 Alcohol C - 09
12 Bacdanol
5 Cashmeran
19 Graniol 970
1 Rosone
22 Eugenol / Clove
318 ( DPG )
44 Rose Base # 59
7 Citronellol S 85
2 Neo Geranium Oil
11 Wardia
8 MelonOrg
1 Di Methyl Octanol
3 Neroli Egypt
443
Glen O. Brechbill
Rose # 7c
5 Orangeflor
58 Geraniol Prime
29 Linalool
.1 Folione
2 Benzyl Acetate
2 Nerol
6 Lyral
.1 Leaf Alcohol
3 Thesaron
1 Verotyl
2 Kir Base # 9741
36 Linalyl Acetate
1,000
2 Rose Crystals ex Benzaldehyde
4 Musk TM II
9 Benzyl Benzoate
.1 Exaltolide
19 Benzylsalicylate
16 Sandalwood Australia
5 Cashmeran
1 Rose Crystals
4 Heliotropine
59 Benzylacetate
.1 Anisyl Alcohol
12 MDJ Super
4 Ethyl Vanillin
.1 Alcohol C - 09
12 Santalox T Neat
5 Methyl Benzoate
19 Lioral
1 Rosone
23 Eugenol / Clove
319 ( DPG )
52 Rose Base # 62
7 Citronellol S 85
11 Wardia
8 MelonOrg
1 Di Methyl Octanol
3 Neroli Egypt
444
Rose # 7d
5 Florantone T
58 Geraniol Pure
29 Linalol
.1 Undecavertol
2 Iso Jasmone
2 Nerol 98 %
1 Bourgenal
.1 Leaf Alcohol
3 Alpha Damascon
8 Orangeflor
1 Vanilla Alcohol
3 Eugenyl Acetate
2 Kir Base # 9741
36 Linalylacetate
1,000
3 Benzophenone
4 Musk 50 ( DEP )
9 Benzyl Benzoate
.1 Musk Abs. CLess
16 Osyrol
5 Musk Clear
1 Rose Crystals
3 Heliotropine
12 MDJ Super
4 Ethyl Vanillin
.1 Alcohol C - 09
10 Sandiff
5 Cashmeran
19 Geranio Africa
1 Rosone
23 Eugenol
14 Lyral
42 Rose Base # 59
9 Citronellol S 85
2 Geranium Chine
11 Wardia
8 Fruitaleur
2 Di Methyl Octanol
3 Neroli Artessence
445
Glen O. Brechbill
Rose # 7e
5 Aurantiol
29 Linalool
.1 Folione
5 Alcool Phenylethylique 96 %
2 Iso Jasmon
2 Acetate Neryle
1 Orange, Bitter Brazil
5 Troenan
.1 Leaf Alcohol
3 Thesaron
8 Orangeflor
1 Gelsone
1 Stemone
3 Iso - Eugenol ( Carnation )
36 Linalyl Acetate
1,000
2 Rosone
4 Musk 50 ( DEP )
9 Benzyl ALcohol
.1 Exaltolide
16 Osyrol
5 Musk Clear
1 Rose Crystals
.1 Vanilla Abs. CLess MD
12 Acetato Benzila
4 Ethyl Vanillin
.1 Alcohol C - 09
96 Muguet Base
12 Santalox T Neat
5 Musk R - 1
19 Lioral
1 Polarose
319 Propylene Glycol
42 Rose Base # 63
7 Citronellol Ex Citronelle
2 Rose Turquie
11 Rose Bulgarian
5 Melon Oliffac
4 Lyrame
1 Di Methyl Octanol
2 Bitter Orange NPF
446
Rose # 8a
.1 Ylang Core
1 Meranol
25 Linalyl Acetate
.3 Tubereuse 181
4 Geranyl Acetate
6 Lyral
1 Iso Damascone
.1 Geraniol 600
2 Perryfix ( Creations Aromatiques )
3 Acetate de Neryle
1,000
47 CouMarin
1 Benzophenone
.1 Vamba
.1 Civet Tincture
1 Rose Crystals
5 Iris Beurre Oil
7 Vanilys
2 Cashmeran
3 Rose Oil M/F
9 Hedione
2 Methyl Benzoate
6 Citronellol S 85
3 Lyral
56 Geraniol ex Palma Rosa
27 Eugenol
4 Phenafleur
2 Nerol
.1 Tuberose Absolute
.1 Iridales
.2 Alcohol C - 9
7 Bourgenal
33 Linalol Pur
447
Glen O. Brechbill
Rose # 8b
2 Damascenone
.1 Ylang Core
1 Meranol
25 Linalyl Acetate
.3 Rose Oxide R
4 Geranyl Acetate
6 Hidroxicitronelal
1 Iso Damascone
.1 Geraniol 600
2 Perryfix - Symrise, Perry Brothers
3 Acetate de Neryle
1,000
47 CouMarin
3 Benzophenone
.1 Vamba
.1 Civet Tincture
1 Rose Crystals
31 Benzyl Acetate
5 y - Irone
7 Vanilys
2 Cashmeran
3 Rose Oil M/F
2 Methyl Benzoate
6 Citronellol S 85
3 Lyral
58 Geraniol Pure
27 Eugenol
5 Phenafleur
2 Nerol natural
4 Iso Raldeine 85
.2 Alcohol C - 9
7 Bourgenal
33 Linalol Ex Bois De Rose Oil
448
Rose # 8c
.1 Ylang Core
1 Meranol
25 Linalyl Acetate
.3 Tubereuse 181
2 Rose Moroccan Extra
4 Geranyl Acetate
7 Lyrame Super
1 Iso Damascone
.1 Geraniol 600
4 Neryl Acetate
1,000
47 Coumane
1 Benzophenone
.1 Vamba
.1 Civet Tincture
3 Heliotropine
1 Roseone
5 Iris Beurre Oil
7 Vanillin ex Benzaldehyde
2 Musk 15
9 Hedione
2 Methyl Benzoate
6 Citronellol S 85
3 Lyral
27 Eugenol
4 Phenafleur
2 Nerol
4 alpha - Ionone
.2 Alcohol C - 9
33 Linalol 98 %
449
Glen O. Brechbill
Rose # 8d
.1 Ylang Ylang Petals I
1 Meranol
5 Cassifix
25 Linalyl Acetate
.3 Tube Rose Oliffac
8 Geranyl Acetate
6 Hysimal
1 Rose Oil Turkey 1282
.1 Geraniol 600
2 Pearalate
1 Acetate de Neryle
1,000
47 CouMarin
1 Benzophenone
.1 Vamba
.1 Civet Tincture
2 Rose Crystals
7 Vanilys
2 Muskylein
3 Rose Oil M/F
9 Hedione
2 Methyl Benzoate
5 Citronellol A.J.
3 Lyral
27 Eugenol
4 Sandalore
2 Nerol
2 Iso - Eugenol
4 Irisone Bis
8 Alcohol Ethylphenylique
.1 Rose Abs. Egyptian
.2 Alcohol C - 9
7 Bourgenal
32 Linalol Pur
450
Rose # 8e
.1 Ylang Core
1 Meranol
25 Linalyl Acetate
.3 Methyl Nonyl Ketone
4 Geranyl Acetate
5 Hidroxicitronelal ( Muguet )
1 Iso Damascone
.1 Rose Attar
1 Apritone
3 Neryl Acetate
1,000
47 Helional
1 Benzophenone
.1 Vamba
.1 Civet Tincture
1 Geranodyle
3 Iritone V
4 Vanilys
2 Musk Emeressence
3 Rose Oil M/F
14 Hedione
2 Methyl Benzoate
6 Citronellol S 95
3 Lyral
27 Eugenol
4 Phenafleur
2 Nerol
4 Iso Raldeine 85
.2 Alcohol C - 9
7 Bourgenal
33 Linalol Pur
451
Glen O. Brechbill
Rose # 9a
.1 Rose Abs. Turkey A
3 Aurantiol Pure
5 Wardia
27 Linalool
3 Citronet
1 Tangerinol
4 Top Muguet
2 Kir Base # 9741
.4 Methyl Tuberate pur
1 Orange Flor
2 Sensient
1 Methyl Dianthanol
39 Linalyl Acetate Special 95.5 %
.1 Violiff
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Veraflor
2 Bourgenal
1,000
.1 Civet Artificial 1c
10 Hercolyn - D
49 Musk R - 1
5 Vanisal
11 Sandela
51 Coumane
6 Iso & Super
4 Hydrofix R
51 Benzylacetate
4 Florosia
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 09
6 Lily Aldehyde
9 Lyral
7 Bonorax
2 Irisone Bis
54 Geraniol Fine
3 Muguet Aldehyde
5 Nutmeg, Ceylon
1 Geraniol 60
4 Jasmonyl Acetate
452
Rose # 9b
.1 Rose Abs. Turkey A
3 Aurantiol Pure
5 Wardia
27 Linalool
3 Citronet
1 Tangerinol
4 Top Muguet
2 Kir Base # 9741
1 Orange Flor
2 Sensient
1 Methyl Dianthanol
.1 Violiff
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Veraflor
3 Bourgenal
1,000
.1 Civet Artificial 1d
10 Hercolyn - D
49 Musk 50 DEP
5 Vanilline
11 Sandela
51 Coumarina
6 Iso & Super
4 Hydrofix R
1 Heliotropine
51 Benzylacetate
4 Florosia
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 09
6 Lily Aldehyde
9 Lyral
7 Bonorax
2 Irisone Bis
54 Geraniol Fine
3 Muguet Aldehyde
5 Nutmeg, Ceylon
1 Geraniol 60
4 Jasmonyl Acetate
453
Glen O. Brechbill
Rose # 9c
3 Aurantiol Pure
5 Wardia
27 Linalol
3 Citronet
4 Top Muguet
2 Kir Base # 9741
.4 Tuberose Oliffac
1 Orange Flor
2 Sensient
1 Methyl Dianthanol
.1 Violiff
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Fleuramone
2 Bourgenal
1,000
8 Benzyl Propionate
49 Musk R - 1
5 Vanisal
11 Sandela
51 Coumane
6 Iso & Super
4 Nerol 80 %
51 Benzylacetate
4 Florosia
9 Osyrol
5 Methyl Benzoate
43 Benzyle Acetate Pur
.1 Alcohol C - 09
6 Lily Aldehyde
9 Meijiff
7 Bonorax
2 y - Irone
57 Geraniol 90 %
3 Muguet Aldehyde
2 Cinnamon Leaf - Sri Lanka
1 Geraniol 60
4 Jasmonyl Acetate
454
Rose # 9d
.1 Rose Centifolia Abs. - France
3 Aurantiol Pure
5 Wardia
27 Linalool
1 Tangerine Oil ( Florida / Brazil )
4 Top Muguet
2 Kir Base # 9741
1 Orange Flor
3 Palmarosa, India
2 Sensient
1 Pepperwood
.1 Violiff
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Veraflor
3 Muguesia
1,000
.1 Civet Artificial 1a
10 Hercolyn - D
7 Vanisal
11 Sandela
51 Coumane
6 Iso & Super
4 Hydrofix R
1 Heliotropine
49 Benzylacetate
4 Florosia
7 Osyrol
5 Methyl Benzoate
.1 Alcohol C - 09
2 Lily Aldehyde
3 Citronellol Prime
9 Lyral
7 Bonorax
2 Irisone Bis
54 Geraniol Fine
3 Muguet Aldehyde
1 Geraniol 60
4 Jasmonyl Acetate
455
Glen O. Brechbill
Rose # 9e
.1 Rose ( Otto ) Oil - Russia
3 Methyl Anthranilate
5 Wardia
27 Linalool
3 Citronet
1 Tangerine Oil of Florida ( C.P. )
4 Top Muguet
1 Orange Flor
2 Sensient
1 Methyl Dianthanol
.1 Orangeflor
1 Florantone T
.1 Rose De Mai Absolue Recobase 1
.1 Rose Petals Extract
1 Veraflor
2 Bourgenal
1,000
.1 Civet Ethiopia
10 Hercolyn - D
49 Etilen Brassilato ( Musc T )
5 Vanillin
11 Sandela
51 Coumane
6 Iso & Super
4 Hydrofix R
52 Hedione
4 Florosia
7 Kephalis
5 Methyl Benzoate
.1 Alcohol C - 09
4 Lily Aldehyde
9 Hidroxicitronelal
7 Bonorax
2 Irisone Bis
65 Geraniol Fine
3 Mugone S 207 M
5 Nutmeg, Ceylon
1 Geraniol 60
4 Jasmonyl Acetate
456
Rose # 10a
3 Muguet Aldeido
1 Nerol Petals
3 Laurine Extra
22 Linalol
17 Geraniol Pure
4 Geranyl Acetate
6 Cassis Fragrance
2 Iris odor
17 Wardia
1 Grapefruit Oil ( White / Pink )
38 Linalyl Acetate
1 Rosilial
.1 Leaf Alcohol
1 Mugetanol
2 Isobergamote
1,000
8 Musk T - Takasago
4 Heliotropine
50 Traseolide
8 Vanillin
7 Hidroxicitronelal
9 Sandalwood Givco 83
48 MDJ Super
1 Dupical
4 Anisic Aldehyde
83 Muguet Base
4 Ethyl Vanillin
7 Methyl Benzoate
9 Hedione
4 Citronellol FCC
1 Cashmeran
8 Benzylacetate
55 Geraniol Pure
1 Reseda Body
457
Glen O. Brechbill
Rose # 10b
47 Coumarina
8 Galaxolide 50 ( IFF )
4 Heliotropine
50 Traseolide
8 Vanillin
7 Hidroxicitronelal
48 MDJ - Kao Corp. - Japan
1 Dupical
4 Anisic Aldehyde
81 Muguet Base
4 Ethyl Vanillin
7 Methyl Benzoate
11 Acetate Benzila
4 Citronellol FCC
1 Musk
8 Benzylacetate
55 Geraniol Pure
1 Reseda Body
3 Muguet Aldehyde
1 Nerol 95 %
1 Laurine Extra
22 Linalol
17 Geraniol Prime
4 Geranyl Acetate
8 Cassis Fragrance
2 Iritone V
17 Wardia
38 Linalyl Acetate
1 Tangerinol
1 Rosilial
.1 Leaf Alcohol
1 Mugetanol
4 Bergamot Oil FCC
1,000
458
Rose # 10c
3 Muguet Aldeido
1 Nerol 97
3 Cherry Bark Oil - India
19 Linalool
17 Geraniol Synthetic 98 FCC
4 Geranyl Acetate
6 Cassis Fragrance
2 Iridales
17 Wardia
36 Linalyl Acetate
1 Tangerine Oil of Texas ( C.P. )
1 Roseiff
.1 Leaf Alcohol
1 Mugone S 207 M
2 Bergaleaves
1,000
47 CouMarin Crystals
8 Musc T - Takasago
4 Heliotropine
50 Traseolide
8 Vanillin
7 Geraniol Pur
48 Benzyl Acetate Nat. - MelChem
1 Florosia
4 Iso Rose
83 Muguet Base
4 Ethyl Vanillin
7 Methyl Benzoate
9 Hedione
4 Citronellol FCC
1 Cashmeran
8 Geraniol 970
55 Geraniol Pure
1 Hyacinth PP
459
Glen O. Brechbill
Rose # 10d
3 Muguet Aldeido
1 Nerol Petals
3 Cinnamon Bark Oil
3 Hydrofix R
22 Linalol
1 Cinnamalva
17 Geraniol Pure
4 Geranyl Acetate
6 Cassis Fragrance
3 Gernaium Oil - China, Egypt
2 Meranol
17 Wardia
38 Linalylacetate
1 Tangerine Oil of California
1 Rhodinol
.1 Rose Oxide R
1 Mugetanol
2 Mandarinal
1,000
4 Heliotropine
50 Traseolide
8 Vanillin
7 Hidroxicitronelal
48 MDJ Super
1 Anisyl Alcohol
4 Anisic Aldehyde
83 Muguet Base
4 Ethyl Vanillin
7 Methyl Benzoate
9 Hedione
4 Citronellol FCC
1 Musk 781
6 Benzyl Acetate
3 Sandalwood Oils
55 Geraniol Pure
10 Ionone Alpha
24 Carnation Base
1 Hydroxyciol
460
Rose # 10e
3 Iso Jasmone
3 Muguet Aldeido
1 Nerol Petals
1 Coriander Oil - Russia
3 Hydrofix R
22 Linalool
1 Cinnamalva
3 Grapefruit Oil of Florida
17 Geraniol Prime
4 Geranyl Acetate
6 Vert De Cassis Givco
3 Gernaium Oil - China
2 Meranol
17 Wardia
40 Linalylacetate
1 Tangerine Oil
1 Rhodinol
.1 Rose Oxide R
1 Mugetanol
4 Clementine Oil Orpur - Givaudan
1,000
10 Musk Emeressence
4 Heliotropine
50 Traseolide
8 Vanillin
7 Hidroxicitronelal
48 MDJ Super
1 Anisyl Alcohol
4 Hawthorn
83 Muguet Base
5 Eugenyl Acetate
4 Ethylvanillin
7 Methyl Benzoate
9 Benzyle Acetato
4 Citronellol
1 Musk Gazalle
6 Benzyl Acetate
3 Sandalwood Oil Indian
55 Geraniol Pure
10 Ionone Alpha 60
22 Carnation Base
1 Hydroxyciol
461
Glen O. Brechbill
Violet
Viola is a genus of flowering plants
in the violet family Violaceae, with
around 400500 species distributed
around the world. Most species are
found in the temperate Northern
Hemisphere; however, viola
species (commonly called violets,
pansies or heartsease) are also
found in widely divergent areas
such as Hawaii, Australasia, and
the Andes in South America.
Most Viola species are perennial
plants, some are annual plants, and
a few are small shrubs. A number
of species are grown for their orna-
mental flowers in borders and rock
gardens; the garden pansy in partic-
ular is an extensively used spring
and autumn/winter bedding and pot
plant. Viola and violetta are terms
used by gardeners and generally in
horticulture for neat, small-flow-
ered hybrid plants intermediate in
size between pansies and violets.
Description
Viola species typically have heart-
shaped, scalloped leaves, though a
number have palmate leaves or
other shapes. The vast majority of
blooming, and in some species the
sepals enlarge after blooming. The
flowers have five free stamens with
short filaments that are oppressed
against the ovary, only the lower
two stamens have nectary spurs that
are inserted on the lowest petal into
the spur or a pouch. The flower
styles are thickened near the top
and the stigmas are head-like, nar-
rowed or often beaked. The flowers
have a superior ovary with one cell,
which has three placentae, contain-
ing many ovules.
Viola flowers are most often spring
blooming with chasmogamous
flowers with well-developed petals
pollinated by insects. Many species
also produce self-pollinated cleis-
togamous flowers in summer and
autumn that do not open and lack
petals. In some species the showy
chasmogamous flowers are infertile
(e.g.,Viola papilionacea).
After flowering, fruit capsules are
produced that split open by way of
three valves. On drying, the cap-
sules may eject seeds with consid-
erable force to distances of several
meters. The nutlike seeds have
Viola species are herbaceous, and a
substantial number are acaulescent
in habit - meaning they lack any
noticeable stems and the foliage
and flowers appear to rise from the
ground; the remaining species have
short stems with foliage and flow-
ers produced in the axils of the
leaves. The simple leaves of plants
with either habit are arranged alter-
nately; the acaulescent species pro-
duce basal rosettes. Plants always
have leaves with stipules that are
often leaf-like.
The flowers of the vast majority of
the species are zygomorphic with
bilateral symmetry. The flowers are
formed from five petals; four are
upswept or fan-shaped petals with
two per side, and there is one broad,
lobed lower petal pointing down-
ward. The shape of the petals and
placement defines many species,
for example, some Viola species
have a "spur" on the end of each
petal while most have a spur on the
lower petal.
Solitary flowers end long stalks
with a pair of bracteoles. The flow-
ers have 5 sepals that persist after
462
straight embryos, flat cotyledons,
and soft fleshy endosperm that is
oily. The seeds of some species
have elaiosomes and are dispersed
by ants.
Flower colours vary in the genus,
ranging from violet, as their com-
mon name suggests, through vari-
ous shades of blue, yellow, white,
and cream, whilst some types are
bicolored, often blue and yellow.
Many cultivars and hybrids have
been bred in a greater spectrum of
colours. Flowering is often profuse,
and may last for much of the spring
and summer.
One quirk of some viola is the elu-
sive scent of their flowers; along
with terpenes, a major component
of the scent is a ketone compound
called ionone, which temporarily
desensitises the receptors of the
nose, thus preventing any further
scent being detected from the
flower until the nerves recover.
Selected Species:
Viola arvensis
field pansy
Viola banksii
Australian native violet, ivy-
leaved violet
Viola biflora
yellow wood violet, twoflower
violet
Viola canina
heath dog violet
Viola cheiranthifolia
("dogtooth violets") are related to
the true Viola.
The genus includes dog violets, a
group of scentless species which
are the most common viola in many
areas, sweet violet (Viola odorata)
(named from its sweet scent), and
many other species whose common
name includes the word "violet".
Several species are known as pan-
sies, including the yellow pansy
(Viola pedunculata) of the Pacific
coast.
Common blue violet Viola sororia
is the state flower of Wisconsin,
Rhode Island, Illinois, and New
Jersey.
Australia is home to a number of
Viola species, including Viola hed-
eracea, Viola betonicifolia and
Viola banksii, first collected by
Joseph Banks and Daniel Solander
on the Cook voyage to Botany Bay.
The modern garden pansy (V.
wittrockiana) is a plant of complex
hybrid origin involving at least
three species, V. tricolor (wild
pansy or heartsease), V. altaica and
V. lutea (mountain pansy).
Species and cultivars
Cultivars of Viola cornuta, Viola
cucullata, Viola odorata, are com-
monly grown from seed. Other
species often grown include Viola
labradorica, Viola pedata and Viola
rotundifolia.
Teide violet
Viola corsica
Corsican pansy
Viola hederacea
Australian native violet, ivy-
leaved violet
Viola hirta
hairy violet
Viola labradorica
alpine violet
Viola odorata
sweet violet
Viola pedunculata
yellow pansy
Viola persicifolia
fen violet
Viola pubescens
downy yellow violet
Viola riviniana
common dog violet
Viola rostrata
long-spurred violet
Viola sororia
common blue violet, hooded
violet
Viola tricolor
wild pansy, heartsease
Note:
Neither Saintpaulia ("African vio-
lets") nor Erythronium dens-canis
Arranging Fine Perfume Compositions - FLORAL ALDEHYDIC - Violet
463
Bedding plants
The plants known to gardeners as
"violas" are common bedding and
pot plants world wide. In 2005 in
the United States, violas (including
pansies) were one of the top three
bedding plant crops and 111 million
dollars worth of flats of violas were
produced for the bedding flower
market. Pansies and violas used for
bedding are generally raised from
seed, and F1 hybrid seed strains
have been developed which pro-
duce compact plants of reasonably
consistent flower colouring and
appearance. Bedding plants are
usually discarded after one growing
season.
Perrenial Cultivars
There are hundreds of perennial
viola and violetta cultivars; many
of these do not "come true" from
seed and therefore have to be prop-
agated from cuttings. Violettas can
be distinguished from violas by the
lack of ray markings on their petals.
A few popular examples include:
Viola 'Ardross Gem' ( viola )
Viola 'Buttercup' ( violetta )
Viola 'Columbine' ( viola )
Viola 'Dawn' ( violetta )
Viola 'Etain' ( viola )
Viola 'Irish Molly' ( viola )
Viola 'Jackanapes' ( viola )
Viola 'Maggie Mott' ( viola )
Viola 'Martin' ( viola )
Viola 'Molly Sanderson' ( viola )
Viola 'Rebecca' ( violetta )
Viola 'Vita' ( viola )
Viola 'Zoe' ( violetta )
to orange flowers in the past (when
almonds or orange peel are treated
this way they are called pralines).
Candied violets are still made com-
mercially in Toulouse, France,
where they are known as violettes
de Toulouse. They are used as dec-
orating or included in aromatic
desserts.
The French are also known for their
violet syrup, most commonly made
from an extract of violets. In the
United States, this French violet
syrup is used to make violet scones
and marshmallows.
Viola essence flavours the liqueurs
Creme Yvette, Creme de Violette,
and Parfait d'Amour. It is also used
in Parma Violets confectionery.
Medicinal
The flowers, leaves and roots of
various Viola species are used for
medicinal purposes, being rich in
vitamins A and C. They also con-
tain a type of antioxidant called an
anthocyanin. Viola flowers are also
used to make an herbal tea that is
used in Chinese herbal medicine.
Most violas (all tested) and many
plants of the Violaceae plant family
contain cyclotides, which have a
diverse range of biological activi-
ties, including uterotonic, anti-HIV,
antimicrobial, and insecticidal
activities.
Viola canescens, a species from
from India, exhibited in vitro activ-
ity against Trypanosoma cruzi.
Viola ( 'Blackjack' )
Weed control
Not all violets are desired, and wild
violets are considered weeds in
North American lawns by some
people. Others tolerate or welcome
the presence of violets in lawns.
Wild violets are regarded as a prob-
lem in shady fescue lawns in North
America. Violets thrive in the
part/full shade and are not suscepti-
ble to most herbicides used to kill
common lawn weeds. Triclopyr, a
weedkiller, has been found to be an
effective method of controlling
wild violets in fescue lawns.
Culinary
When newly opened, Viola flowers
may be used to decorate salads or in
stuffings for poultry or fish.
Souffls, cream and similar
desserts can be flavoured with
essence of Viola flowers. The
young leaves are edible raw or
cooked as a somewhat bland leaf
vegetable. The flowers and leaves
of the cultivar 'Rebecca', one of the
Violetta violets, has a distinct vanil-
la flavor with hints of wintergreen.
A candied violet or crystallized vio-
let is a flower, usually of Viola
odorata, preserved by a coating of
egg white and crystallised sugar.
Alternatively, hot syrup is poured
over the fresh flower (or the flower
is immersed in the syrup) and
stirred until the sugar recrystallizes
and has dried. This method is still
used for rose petals and was applied
Glen O. Brechbill
464
Fourteen anthocyanins from V.
yedoensis and V. prionantha have
been identified. Some anthocyanins
show strong antioxidant activities.
Perfume
Viola odorata is used as a source for
scents in the perfume industry.
Violet is known to have a 'flirty'
scent as its fragrance comes and
goes. Ionone is present in the flow-
ers, which turns off the ability for
humans to smell the fragrant com-
pound for moments at a time.
Viola Odorata
Viola odorata is a species of the
genus Viola native to Europe and
Asia, but has also been introduced
to North America and Australasia.
It is commonly known as Wood
Violet, Sweet Violet, English
Violet, Common Violet, or Garden
Violet. The herb is known as
Banafsa, Banafsha or Banaksa in
India, where it is commonly used as
remedy to cure sore throat and ton-
silitis. The sweet scent of this
flower has proved popular through-
out the generations[by whom?],
particularly in the late Victorian
period, and has consequently been
used in the production of many cos-
metic fragrances and perfumes. The
French are also known for their vio-
let syrup, most commonly made
from an extract of violets. In the
United States, this French violet
syrup is used to make violet scones
and marshmallows.
pounds found in a variety of essen-
tial oils, including rose oil. beta-
Ionone is a significant contributor
to the aroma of roses, despite its
relatively low concentration, and is
an important fragrance chemical
used in perfumery. The ionones are
derived from the degradation of
carotenoids.
The carotenes alpha-carotene, beta-
carotene, gamma-carotene, and the
xanthophyll beta-cryptoxanthin, all
contain beta-ionone, and thus have
vitamin A activity because they can
be converted by plant-eating ani-
mals to retinol and retinal.
Carotenoids that do not contain the
beta-ionone moiety cannot be con-
verted to retinol, and thus have no
vitamin A activity.
Biosynthesis
Carotenoids are the precursors of
important fragrance compounds in
several flowers. For example, a
recent study of ionones in
Osmanthus fragrans Lour. var.
aurantiacus, exhibit the highest
diversity of carotenoid-derived
volatiles among the flowering
plants investigated. A cDNA
encoding a carotenoid cleavage
enzyme, OfCCD1, was identified
from transcripts isolated from flow-
ers of O. fragrans Lour. It was
found that the recombinant
enzymes cleaved carotenes to pro-
duce -ionone and -ionone in in vitro
assays.
It was also found in the same study
that carotenoid content, volatile
Characteristics
Viola odorata is quite similar to
other species of violet, but can be
distinguished by the following
characteristics:
the flowers are aromatic,
the flowers are normally either dark
violet or white,
the leaves and flowers are all in a
basal rosette,
the style is hooked (and does not
end with a rounded appendage),
the leaf-stalks have hairs which
point downwards, and
the plant spreads with stolons
(above-ground shoots).
These perennial flowers can mature
at a height of 4 to 6 inches and a
spread of 8 to 24 inches.
Species
The species can be found near the
edges of forests or in clearings; it is
also a common "uninvited guest" in
shaded lawns or elsewhere in gar-
dens.
Ionones
The ionones are a series of closely
related chemical substances that are
part of a group of compounds
known as rose ketones, which also
includes damascones and damas-
cenones. Ionones are aroma com-
465
emissions, and OfCCD1 transcript
levels are subject to photorhythmic
changes, and principally increased
during daylight hours. At the times
when OfCCD1 transcript levels
reached their maxima, the
carotenoid content remained low or
slightly decreased. The emission of
ionones was also higher during the
day; however, emissions decreased
at a lower rate than the transcript
levels. Moreover, carotenoid con-
tent increased from the first to the
second day, whereas the volatile
release decreased, and the OfCCD1
transcript levels displayed steady-
state oscillations, suggesting that
the substrate availability in the cel-
lular compartments is changing or
other regulatory factors are
involved in volatile norisoprenoid
formation. The formation of
ionones proceeds by a process
mediated by the carotenoid dioxy-
genases.
Organic synthesis
Ionone can be synthesised from cit-
ral and acetone with calcium oxide
as a basic heterogeneous catalysis
and serves as an example of an
aldol condensation followed by a
rearrangement reaction.
The nucleophilic addition of the
carbanion 3 of acetone 1 to the car-
bonylgroup on citral 4 is base catal-
ysed. The aldol condensation prod-
uct 5 eliminates water through the
enolate ion 6 to the pseudoionone
7.
Glen O. Brechbill
466
Violet Fragrance Chemicals
BOOK # 1 ( A - G )
Violet Leaf Absolute
A. Fakhry & Company - Egypt
Viola Odorata - Violet Leaf
Nonadienal
A.N.E.C. - France
Violette
Africa Trade - Africa
AROMATIC & MEDICINAL PLANTS
Iris Racine
Albert Vielle SA - France
Orris Oil - Italy
ABSOLUTES
Violet Abs. - Egypt
Alfa Chem - USA
Violet Leaf Abs.
Methyl Ionone Gamma
Methyl Octyne Carbonate
Orivone
Undecavertol
FLORAL GROUP
Orris
Violet
GREEN GROUP
Violet Leaves
Violette Feuilles Egypte Concrete
AROMATIC CHEMICALS
Ionone Alpha
Ionone Alpha Incolore
Ionone Beta
Ionone Beta Savon
Ionone Brute
Ionone Pure
Ionone Savon
http://en.wikipedia.org/wiki/Viola_(plant)
Violet Oil
Violet Leaf Abs.
FLORAL NOTE
Irone
Alpha Ionone
Beta Ionone
Di Hydro Beta Ionone
Ionone 100 %
Ionone Pure
Irisone Alpha
Irisone Pure
Irone Alpha
Irotyl
Iso Raldeine 70
Iso Raldiene 95
Liffarome
Methyl Ionone
467
Violet Leaves Absolute
Astra Extracts - USA
ESSENTIAL OILS
Iris
Orris Augaflor 13
Violet Augaflor 27
ABSOLUTE
Violet Leaf Abs. / Concrete
ABSOLUTES / CONCRETES
Iris Italy Iris Italie
Violet Viollettes
Basf - Germany
Beta Ionone R
BFA Laboratoires - France
Orris Iris Germanica L.
Rhizome Morocco
Alpha Ionone BRI FCC
Alpha Ionyl Acetate
Alpha Iso Methyl Ionol
Alpha Iso Methyl Ionone BRI
Alpha Iso Methyl Ionyl Acetate
Bordas Destilaciones - Spain
AROMA CHEMICALS
Alpha Ionone Extra
Alpha Ionone 700
Alpha Methyl Ionone
AROMA CHEMICALS
Ionone
Ionone Alfa
Ionone Beta
Orris Abs.
Violet Leaf Concrete
Carrubba Inc. - USA
EXTRACTS
Iris
Violet
Orris Butter / Root - Concrete
AROMATIC CHEMICALS
Methyl Ionone
Methyl Ionone Alpha
Charabot & Co., Inc. - France
Violet Leaves Abs.
Di Hydro Alpha Ionone
Ethyl Octine Carbonate
Methyl Octine Carbonate
e,z-26-Nonadien-1-AL FCC
3,z-2,6-Nonadien-1-OL FCC
Berje Inc. - USA
Orris Root Concrete
AROMA CHEMICALS
Ionone Alpha
Ionone Alpha-beta
Ionone Beta
Ionone for Soap
Methyl Ionone Alpha
Methyl Ionone Bj
Methyl Ionone Gamma
SPECIALTIES
Irone V
Orris Inco 3
Violet Pays Absolute
PARFUMERIE RECONSTITUTIONS
Orris Butter Artessence E - 3721
Glen O. Brechbill
468
Iris Abs.
Iris Concrete
Charabot SA - France
Violet Leaf Oil Abs. Egypt
Violet Leaf Oil Abs. Decolor Egypt
Violet Leaf Oil Abs.
Orris Concrete Morocco
Orris Resinoid Morocco
Firmenich SA - Switz.
Iris Concrete Synth 199 L.
Violettyne MIP
Givaudan SA - Switz.
Iris Givco 204/2
Irisone Alpha
Irone Alpha
Raldeine A GV
Undecavertol
Quest Intl. ( Givaudan ) - Switz.
Ionone
Iononyl Acetate
Iononyl Formate Extra
Methyl Ionone
Methyl Ionone Alpha Iso Super
QUIMICOS DE AROMATICOS
Ionona Alpha
Ionona Beta
ABSOLUTES
Violetes Feuilles Absolue
Viola Odorata
Irisone Mixed Ionones
Irisone, alpha
Irone, alpha
Iso - Raldeine 70
Iso - Raldeine 95
Exaflor - France
CONCRETES ET ABSOLUTES
Violette - Egypte
ABSOLUTES
Violet Leaves Abs.
Viola Odorata L.
Violet Leaves Concrete
Viola Odorata L.
Iralia
Iralia Total
Iris Concrete Synthetic 199 L
Methyl Octine Carbonate Subst.
Orris Questarome
Vioris
Rhodia SA - France
Alpha Ionone
Beta Ionone
Ionol CP
Ionona CP
Ionona Alfa
Ionona Beta
Irone Alpha
Metil Ionona Gama
Nonaidenal
Nonadienol 2, 6
Velvione
Cosmark - Australia
2 - Undecanone
PRODUIT DE SYNTHESE
Ionone Alpha
Ionone Beta
Violet Absolute / Concrete
469
Violettyne MIP
Violet Abs.
Orris, Concrete
AROMATIC CHEMICALS
Ionone, Alpha
Ionone, Beta
Beta Ionone
Frencharoma Imports Co., - USA
AROMATIC CHEMICALS
Ionone, Alpha
Ionone, Beta
Irone Alpha
Iris Givco 204/2
Orris Givco 204/2
AROMA CHEMICALS COMPENDIUM
Ionantheme 100 %
Ionone Beta
Irisone Pure
Irone Alpha
Methyl Octne Carbonate
Ionyl Acetate - Beta
Irone - Alpha
Methyl Ionone - 6
Methyl Ionone - Alpha - Iso
Methyl Ionone Gamma Supreme
Methyl Ionyl Acetate
Orris
Orris Root Absolute
Orris Root Concrete
Orris Root Resinoid
Violet
Violet Flower Absolute
Violet Methyl Carbonate
FRUITY
Ionone Epoxide - Beta
Methyl Beta Ionol
HC Biochem - China
Iris Concrete
Violette Absolute
Violet Abs.
Handa Fine Chemicals Ltd. - U.K.
Iris Moss
Hermani Ex-Imp Corp. - India
AROMATIC PERFUMERY CHEMICALS
Alpha Ionone
Ionone 100 %
Undecavertol
QUEST PERFUMERS COMPENDIUM
Azarbre
Ionone
Methyl Ionone
Methyl Ionone Alpha Iso
Methyl Ionone Beta
Methyl Octine Carbonate Sub.
Irisone Crystal - Usa
The Good Scents Company - USA
Orris Root Absolute
Violet Flower Absolute
AROMATIC CHEMICALS
Alpha Ionol
Alpha Ionone
Alpha Irone
Beta Ionol
Beta Ionone
Beta Ionyl Acetate
Methyl Ionyl Acetate
VIOLET NOTE
Ionol - Alpha
Ionol - Beta
Ionone - Alpha
Ionone - Beta
Ionyl Acetate - Alpha
Glen O. Brechbill
470
BOOK # 2 ( I - Z )
Ionone Total
Methyl Ionone Gamma
Methyl Ionone Totale
IFF - USA
Ionone 100 %
Ionone Alpha
Ionone Alpha Beta Regular
Ionone Beta
Methyl Ionone Gamma A
Methyl Ionone Gamma Coeur
Methyl Ionone Gamma Pure
Orivone
Violiff
JC Buck Ltd. - U.K.
Violette Feuilles Egyptian Abs.
Ionone 100 %
Methyl Ionone Alpha
Methyl Ionone Gamma
Irotyl
Methyl Ionone Gamma
Undecatriene 10 %
Orris Concrete 8 %
Orris Concrete 15 %
Orris Oil Liquid Concentrated
ABSOLUTES
Orris Abs. Extra
Violet Leaf Abs.
Violet Leaf Abs. Extra
Violet Leaf Abs. MD
Violet Leaf Egyptian Abs. Extra
Mane SA - France
Orris Abs. - Morocco
Orris Butter - Morocco
Violet Leaf Abs. - France
ABSOFLOR
Orris Absoflor
Violet Leaf Absoflor
Ionone Alpha Nat.
Ionone Beta Nat.
Ionone Mixture Nat.
Orris Resinoid
Viola Odorata
Viola Odorata
Kuber Impex Ltd. - India
Banafshah, Wild Violet
Viola Odorata
Orris
Iris Germanica
Violet Leaves Abs. Egypt
Ionone
Irone Alfa
Ivyal
Methyl Ionone
Methyl Ionone - Alfa
Methyl Ionone Gamma
Methyl Ionone Iso Super Alfa
Methyl Ionone Soap
Methyl Octine Carbonate
Ionantheme 100 %
Ionone Beta
Irisone Alpha
Irisone Pure
Irone Alpha
471
Violet Leaf Abs.
Moraflor Produits - France
Violet Oil M/F
Violetta Assoluta
Viola Odorata
PCAS - France
WOODY
Irisone Crystals
Violet Egypt Abs.
Violet French Abs.
AROMATIC CHEMICALS
Ionone
Ionone - Alpha
Ionone - Beta
Peter Jarvis Cosmetic - U.K.
HERBAL EXTRACTS
Violet EG
Violeta Folhas Abs.
AROMATIC CHEMICALS
Ionona Alfa Hol.
Ionona Beta
Iris Givco 204/2
Irisone Alpha
Irone Alpha
Isoraldeine 70
Isoraldeine 95
Undecatriene 10 %
Orris Concrete Natural
Orris Concrete Natural Essence
Violet Leaves Abs.
Orris Concrete FCC
SIpA A. Ch. Berthier - France
Irotyl
Irisox 511 M
ABSOLUTES
Violet Leaves Abs.
Violet Leaves Abs. Egypt A
RESINOIDS
Orris Resinoid S.B.A.
EXTRACTS
Orris ( Iris, Lily )
Ionona St.
Iris Concrete ( Orris )
Iris Anthene
Irival
Irone Alfa
Metil Ionone Gamma
Violet Leaf Abs.
Beta Ionone ( P/G)
Methyl Ionone
Prima Fleur - USA
Orris Select
Iris Pallida Albania
Violet Leaf Abs.
Viola Odorata Egypt
Ionone 100 %
Methyl Ionone
Violet Leaf Abs. - France
Ionantheme 100 %
Ionone Beta
472
Glen O. Brechbill
AROMA CHEMICALS
Alpha Ionone
Ionone AB
Methyl Ionone Gamma
Methyl Ionone Terpenes
Shanghai M & U Ltd. - China
Natural Aroma Chemicals
Alpha Ionone
Alpha Ionone
Methyl Ionone
Ionone Alpha
Ionone Beta
Orris Root Concrete 8 %
Synarome - France
Iris Concretarome 2900
Iris V
Irisarome
a-Ionone
a-Ionone Extra
b-Ionone
Orris Concrete FCC
ABSOLUTES
Iris Abs. 75 %
NATURAL AROMATICS
Ionone Alpha 50 %
Ionone Beta 50 %
IFF - USA
Ionone Alpha
Irival
Kao Corp. - Japan
Irotyl
AROMATIC CHEMICALS
Alpha Irone - Givaudan
Ionone 100 % - IFF
Ionone Alpha - IFF
Ionone Beta - IFF
Methyl Ionone
Violiff - IFF
Venus Enterprises Ltd. - U.K.
Alpha Ionone
Beta Ionone
IFF - USA
Ionone 100 %
Ionone Alpha
Ionone Beta
Methyl Ionone Extra
Methyl Ionone Gamma A
Methyl Ionone Gamma Supreme
Militiz Aromatics
Alpha Ionone 70
Alpha Ionone 80
Alpha Ionone 90
Thailand Institute - Thailand
France
Violet Leaf Abs.
ESSENTIAL OIL MAP OF THE WORLD
Europe
France
Violet
Italy
Orris
Trisenx, Inc. - USA
Alpha - Ionone
473
Walsh, John D. Co., Inc. - USA
ABSOLUTE
Violet Leaf Abs.
AROMATIC CHEMICALS
Ionone Alpha Beta
Ionone Alpha Regular
Ionone Alpha White Coeur
Ionone Beta, Pure
Irival
Methyl Ionone Alpha Extra
Methyl Ionone Beta Coeur
Methyl Ionone Extra
Methyl Ionone Gamma
Methyl Ionone Gamma Extra
Methyl Ionone Gamma Pure
Methyl Ionone Regular
ABSOLUTE
AROMATIC CHEMICALS
Alpha Iso Methyl Ionone
Alpha Iso Methyl Ionone pure
Beta Ionone
Methyl Ionone
Methyl Ionone Gamma pure
Glen O. Brechbill
474
Violet Notes
Alpha Ionone Soft warm, orris violet like, sweet and extremely diffusive.
Alpha Ionone 60 Mild floral violet odor.
Alpha Ionone White Coeur Floral violet like.
Alvanone Extra Rich natural woody violet odor with walnut creamy undertone.
Alvanone G Similar to the extra but woodier and less creamy.
Beta Ionone Warm woody dry odor with a fruity undertone.
Beta Ionone R Dry powdery, floral, woody, orris.
Cetonal Is an elegant ingredient used in woody, orris accords as well as with
leather, tobacco and animal notes where it acts as an excellent
blending agent and adds to the harmony of a fragrance.
Cetone Alpha Tenacious floral violet compound.
Cetone V Has many facets to its character and thus has many uses. It blends
well with ionones, citrus notes, lavender, fruity and oriental accords
where it adds body and excellent diffusion.
Ionantheme 100 % Is used largely in floral, violet bouquets, but also in fruit accords to
provide volume and substantivity. Is fruitier and less woody than
either Irisone Alpha or Irisone pure.
Ionol Alpha Berry, sweet ionone like with a woody floral powdery note.
Ionol Beta Sweet, woody berry powdery, floral and fruity.Ionone
Warm, balsamic, violet floral.
475
Ionone Alpha Floral, violet, woody fruity.
Ionone Alpha Extra Floral violet.
Ionone Alpha Beta Regular Warm, woody more violet, alpha ionone 60%, beta ionone 30%.
Ionone Alpha Methyl C Floral violet.
Ionone Alpha Methyl Naphyl A very faint slightly sweet floral violet type odor.
Ionone Alpha Refined Fruity, woody violet, fresher, alpha Ionone 81%, beta ionone 9%.
Ionone Alpha Regular Warm, woody violet, alpha ionone 70%, beta ionone 30%.
Ionone Alpha White Coeur Floral violet.
Ionone Beta Pure More fruity, and woody like than alpha.
Ionone 100 % Violet odor with a suggestion of cedarwood and orris.
Inonyl Acetate Fruity top note, characteristics of linalyl and terpinyl acetate.
Ionyl Beta Acetate Natural raspberry note.
Inonyl Formate Extra Powerful herbal floral.
Iraldein Delta Floral violet as well as with dry powdery iris nuances.
Iraldein Gamma Sweetly floral like violet slightly fruity like fig and raspberry.
Iraldeine Beta Woody warm odor.
Iraldeine Delta Light and warm woody floral sometimes ambergris odor.
Iraldein 100% Pleasant floral like violet as well as somewhat woody.
Iralia A very pure orris or violet note of powdery woody character.
Iris Aldehyde Extremely powerful, and diffusive orisy odor.
Iris Beurre Essence Orris violet.
Iris Beurre Oil Orris violet.
Glen O. Brechbill
476
Iris Concrete Woody oily violet like odor.
Iris Concrete 8 % Irone Orris, violet leaf like green odor.
Iris Concrete 11 % Irone Orris, violet leaf like green odor.
Iris Concrete 199 KSA Woody fatty oily but distinctly violet floral.
Iris Givco 204/2 This is a floral base specifically designed to match the scent of orris
absolute for use in functional applications. This reconstitution reflects the
different facets of natural orris absolute: gourmand, floral, woody and
powdery. Iris Givco 204/2 acts as a modifier of Iso Raldeine 70 and Ionone
Beta, boosting and imparting sparkling and vibrant effects to them. It also
blends beautifully with floral-green accords and enriches woody/chypre
themes. This base does not lead to discoloration. Cost-effective, natural-
smelling and stable replacement for orris absolute
Iris Noir Abs. Violet floral orris like.
Irisodor Violet floral.
Irisone Alpha Widely used in perfume compositions of almost all types. The use
of the fragrances in rose bases is very common. It is used in woody,
floral, balsamic, piney or citrus-like fragrances.
Irisone Pure Widely used in perfumes designed for functional products. Its
powerful, rich, floral-violet character is easy to blend with many
floral, woody, aldehydic, fruity and chypre accords.
Iris 199 D Wax like mass of woody, but distinctly violet odor.
Iris 199/K SA A reconstitution of iris concrete.
Iris 199 SA A reconstitution of iris absolute.
Iris Resin Deep sweet slightly woody tobacco like.
Iris Resinoid Oily woody violet like.
Iritone A velvety floral note in the violet ionone family.
Irival Concentrated orris note.
Irone Alpha Refined Soft warm orris violet like sweet and diffusive.
477
Isoraldeine 70 Has a fine, rich violet note, but its character is more orris-like and
dry than Iso Raldeine 95. Often used in flowery, woody, spicy oriental
accords. Brings volume and diffusion to fine blends.
Isoraldeine 95 Has a fine violet note, often used in flowery, woody spicy and
oriental accords. Brings volume and diffusion to compounds,
and has a more powdery skin care effect.
Mahagonate Woody spicy resembling patchouli, vetiver and sandalwood iris.
Merion Highly diffusive floral, oriental woody complex with violet note.
Methyl Ionone Warm, woody floral violet lasts several days.
Methyl Ionone Alpha Extra Orris violet floral.
Methyl Ionone Alpha Extra Floral, violet, isomeric mixture.
Methyl Ionone Alpha Iso Precious wood tobacco, creamy violet.
Methyl Ionone Alpha 60 Floral, violet, isomeric mixture.
M I A Iso Super FM1110 A sophisticated product in which the violet florality is enhanced.
Methyl Ionone Beta Woody warm odor.
Methyl Ionone Beta Coeur Purer grade more woody, and warm.
Methyl Ionone Extra Mild floral odor of violets.
Methyl Ionone Extra 500 Floral, woody, violet.
Methyl Ionone Gamma A A floral violet woody isomeric mixture.
Methyl Ionone Gamma Coeur Woody, floral violet.
Methyl Ionone Gamma Extra Mild floral odor of violets.
Methyl Ionone Gamma Pure Woody, floral violet, dry.
Methyl Ionone Gamma Replacer Familiar woody floral complex, tobacco like undertone.
Methyl Ionone Gamma Supreme Floral violet woody fruity complex.
Glen O. Brechbill
478
Methyl Ionone Regular Mild floral odor of violets.
Methyl Ionone Regular 450 Violet, woody.
Methyl Ionone Residue Harsh floral violet slightly woody.
Methyl Ionone Tails A harsh woody floral violet odor, reminiscent of ionone beta.
Methyl Ionone Terpenes Harsh woody solvent masking odor.
Methyl Octine Carbonate Green violet leaf like.
Methyl Octine Carbonate Sub. An unrestricted and safe replacement.
Methyl Octyne Carbonate Widely used in floral notes. It produces the powerful yet subtle note
of violet leaves with a fruity-vegetable cucumber undertone.
Neofolione Blends very well with most floral notes, especially violet, where it
is particularly useful in replacing Folione. It imparts freshness and
diffusion and has good stability.
Nonadienal Blends well in green top note accords. Used as a modifier it imparts
a natural violet leaf aspect.
2,6 Nonadien 1 OL Cucumber or violet flower odor.
2, 6, Nonadienal # 332 Intense powerful vegetable green, reminiscent of violet leaves.
2, 6 Nonad 1 al Diethyl Acetal Smooth floral violet, melon odor.
Nonadienol A constituent of violet leaves as well as of cucumber. Is effective in a
wide range of applications in adding a natural melon-cucumber note.
It is olfactively similar to Nonadienal, but is fruitier and less leafy.
Orriniff 25 % IPM Floral, violet, orris leather.
Orris Abs. A floral green violet like odor.
Orris Augaflor 13 This beautiful orris blend has all of the orris characteristics, warm in the
top note, cascading into a sea of violet, thus extending the perfumers art
to include this delicate fragrance.
Orris Concrete Floral violet.
479
Orris Concrete Natural Oily violet leaf like.
Orris Conc. Natural Essence Violet floral.
Orris Extract Waxy sweet floral violet with berry woody nuances.
Orris Oil Floral violet.
Orris Resin Abs. Floral violet.
Orris Resinoid A very herbaceous slightly green floral like odor.
Parmavert Powerful floral green, sweet and violet leaf like.
Pseudo M I Terpenes A harsh floral violet like odor.
Raldeine A GV A special quality of methyl ionone containing larger amounts of
the n-alpha greater 50 %, and n-beta typically 15 %. The result
is a woodier, fruitier olfactive character.
Rhuboflor Powerful green note, fruity floral and herbal, undertone orris.
Violet A favorite in Sufi healing since a hadith of the Prophet states that
"the excellence of the extract is above all others extracts as the
excellence of me is above all of the rest of creation". A shy yet
deep and early scent for quiet beauties.
Violet Abs. French Strong herbaceous floral violet.
Violet Abs. Rue Herbaceous floral violet, not as sweet as the French oil.
Violet Abs. Selection Strong floral violet odor.
Violet Augaflor 27 A fresh, green, violet odour. Long lasting, with a wonderful deep
green odour.
Violet Colorless 54.5219 Herbaceous floral odor of the violet.
Violet Concrete Characteristic of fresh violet leaves with a possible source in Egypt.
Violet Leaf Absolute Oily green cucumber leafy fresh sweet floral odor quite strong.
Violet Leaf Abs. N.Y. 11149 Green floral violet, very subtle slightly sweet.
Glen O. Brechbill
480
Violet Leaves Abs. Powerful green leaf odor delicately floral note reminiscent violet.
Violet Leaves Abs. Green, melon floral, fresh waxy and leafy.
Violet Leaf Abs. Slightly violet, not strong or sweet.
Violiff Floral, violet, banana.
481
3 Muskylein
46 Coumane
9 Vanillin
.1 Civet Ethiopia
25 Tonalid II - Pfw
2 Amberfleur
6 Benzyle Benzoate
3 Rose Crystals
6 Methyl Benzoate
10 Amyris Oil W.I.
1 Orivone
4 Irotyl
7 Vanillinethyl
8 Aquanol
5 Meijiff
8 Hydrofix R
3 Methyl Dianthanol
21 Rose Substitute
3 Bnezophenone
4 Lioral
2 Iris Beurre Oil
.1 Alcohol C - 9
7 Irisone Bis
5 Citronellol 98 %
3 y - Irone
Glen O. Brechbill
Violet # 1a
36 Geraniol Prime
.1 The
10 Laurine
3 Nerol
5 Jasmonyl Acetate
.1 Tea Essence
2 Eugenyl Acetate
3 Muguet Aldehyde
6 Aldehyde C - 14
3 Iso Eugenol
1 Muguet Aldehyde
1 Fleuramone
.2 Geranyl Acetate
1 Vanilla Resinoid
1,000
482
Violet # 1b
36 Geraniol Prime
.1 Mirabelle 2000 D
3 Nerol
5 Jasmonyl Acetate
1 Iso Rose
.1 Tea Essence
1 Petitgrain Oil
2 Eugenyl Acetate
3 Muguet Aldehyde
6 Aldehyde C - 14
3 Iso Eugenol
1 Muguet Aldehyde
1 Fleur de Rose
.2 Geranyl Acetate
1 Vanilla Resinoide
1,000
3 Sandela
42 Coumane
9 Vanillin
.1 Civet Ethiopia
2 Amberfleur
6 Benzyl Benzoate
3 Rose Crystals
6 Methyl Benzoate
9 Amyris Oil W.I.
1 Orivone
4 Iritone V
7 Vanillinethyl
8 Aquanol
1 Muguet Aldehyde
8 Hydrofix R
3 Methyl Dianthanol
26 Rose Substitute
3 Bnezophenone
4 Lioral
2 Iris Beurre Oil
.1 Alcohol C - 9
7 Irisone Bis
5 Citronellol 98 %
3 Irone
483
Glen O. Brechbill
Violet # 1c
36 Geraniol Prime
.1 Violet Leaves
3 Nerol
5 Jasmonyl Acetate
.1 Tea Essence
2 Eugenyl Acetate
3 Muguet Aldehyde
6 Aldehyde C - 14
3 Iso Eugenol
1 Muguet Aldehyde
1 Fleuramone
.2 Geranyl Acetate
1 Vamba
1,000
2 Muskylein
46 Coumane
9 Vanillin
.1 Civet Ethiopia
25 Serenolide
2 Amberone
6 Benzyle Benzoate
2 Rose Crystals
6 Methyl Benzoate
11 Amyris Oil W.I.
2 Orivone
4 Irotyl
7 Vanillinethyl
8 Aquanol
5 Meijiff
8 Hydrofix R
3 Methyl Dianthanol
21 Rose Substitute
3 Bnezophenone
4 Lioral
.1 Alcohol C - 9
7 Ionone Alpha 60
5 Citronellol ( 980 Pure )
3 y - Irone
484
Violet # 1d
36 Geraniol 970
.1 The
10 Laurine
3 Nerol
5 Jasmonyl Acetate
1 Meranol
.1 Tea Essence
2 Eugenyl Acetate
3 Muguet Aldehyde
6 Aldehyde C - 14
3 Iso Raldeine 70
1 Muguet Alcohol
1 Isoeugenol
.2 Geranyl Acetate FCC
1,000
46 Coumrina
9 Vanillin
.1 Civette Givco 73
25 Musk 50 DPG
2 Amberfleur
6 Benzyle Benzoate
3 Rose Crystals
6 Methyl Benzoate
10 Santalox T Neat
1 Orivone
6 Benzyl Acetate
4 Irotyl
7 Ethyl Vanillin
8 Aquanol
5 Meijiff
8 Hydrofix R
3 Pepperwood
21 Rose Substitute
3 Bnezophenone
4 Lioral
2 Iris Beurre Oil
57 Benzylacetate
.1 Alcohol C - 9
7 Irisone, alpha
5 Citronellol 98 %
3 Irone, alpha
485
Glen O. Brechbill
Violet # 1e
36 Geraniol Prime
.1 The
10 Laurine
3 Nerol
5 Jasmonyl Acetate
1 Rose Oil M/F
.1 Tea Earl Gray
2 Eugenyl Acetate
3 Muguet Aldehyde
6 Aldehyde C - 14
3 Eugenyl Acetate
1 Muguet Aldehyde
1 Fleuramone
.2 Geranyl Acetate
1 Vanilla Resinoid
1,000
3 Musc R - 1
46 Coumane
9 Vanillin
.1 Civet Ethiopia
25 Muscomer 810 P
2 Amberfleur
6 Benzyle Benzoate
3 Rose Crystals
6 Methyl Benzoate
10 Amyris Oil W.I.
1 Orivone
19 Benzyl Salciylate
5 Irotyl
7 Vanillinethyl
4 Fruitaleur
24 Eugenol 100 %
5 Lyrame Super
8 Hydrofix R
3 Methyl Dianthanol
21 Rose Substitute
3 Bnezophenone
4 Liral
2 Methyl Ionone
52 Acetato Benzila
.1 Alcohol C - 9
5 Citronellol 98 %
486
Violet # 2a
7 Geranyl Acetate
3 Citronellol
1 Rose Acetate
3 Jasilyn
9 Wardia Substitute
6 Cassis Bourgenons
1 Neroli Oliffac
2 Cananga Odorata
9 Hydroxyciol
3 Roseiff
25 Linalol S 97
6 Myraldyl Acetate
3 Iralia
2 Phyllos
7 Orange Oil Florida ( Sweet ) C.P.
1,000
14 Iso E Super
5 Amberfleur
3 Rose Crystals
12 Sandiff
49 Musk 50 DPG
3 Amborate
8 Givescone
4 Ethyl Vanillin
1 Alpha Damascone
51 Benzyl Acetate
3 Santalol
26 Eugenol
1 Jasmone
5 Galbanum Resinoid
6 Lioral
3 Myraldyl Acetate
10 Rose Substitute
5 Hedione
1 Damascenone
38 Geraniol Nat.
1 Rose - Bulgaria
.1 Alcohol C - 9
487
Glen O. Brechbill
Violet # 2b
7 Geranyl Acetate
3 Citronellol
1 Rose Acetate
3 Jasilyn
9 Wardia Substitute
6 Cassis Bourgenons
1 Neroli Oliffac
2 Cananga Odorata
9 Muguesia
3 Roseiff
26 Linalol ex Ho Wood Oil
6 Myraldyl Acetate
3 Iridales
1 Phyllos
8 Orange Douce - Dulcos Trading
1,000
14 Brahmanol
5 Amberfleur
3 Rose Crystals
12 Sandiff
49 Musk 50 DPG
3 Amborate
8 Serenolide
4 Ethyl Vanillin
1 Alpha Damascone
3 Santalol
26 Eugenol
1 Jasmone
5 Galbanum Resinoid
6 Lioral
3 Myraldyl Acetate
10 Rose Substitute
5 Iso Jasmon
6 Lily Aldehyde
1 Damascenone
38 Geraniol 60
1 Rose - Bulgaria
.1 Alcohol C - 10
488
Violet # 2c
7 Geranyl Acetate Nat.
3 Citronellol
1 Rose Acetate
3 Apple Juice Givco
6 Cassifix
1 Neroli Oliffac
9 Hydroxyciol
3 Roseiff
25 Linalol S 97
6 Myraldyl Acetate
3 Iritone V
2 Jasilyn
7 Lemon Oils
1,000
14 Iso E Super
5 Amberfleur
3 Rose Crystals
12 Sandiff
39 Musk 50 DPG
3 Amborate
8 Traseolide
4 Ethyl Vanillin
1 Alpha Damascone
51 Benzyl Acetate
3 Geranium Oil Std
23 Eugenol
1 Jasmone
5 Galbanum Resinoid
6 Lioral
3 Myraldyl Acetate
10 Rose Substitute
5 Hedione
1 Damascenone
38 Geraniol
1 Roseiff - IFF
.1 Alcohol C - 9
489
Glen O. Brechbill
Violet # 2d
7 Geranyl Acetate
3 Citronellol 98 %
1 Iris Givco 2/4/2
3 Vioris
9 Wardia Substitute
6 Cassis Bourgenons
1 Neroli Oliffac
2 Cananga Odorata
9 Hydroxyciol
.1 Iris
3 Roseiff
25 Linalool Coeur
6 Myraldyl Acetate
3 Ionone
2 Phyllos
7 Mandarinal ( Red ) - c.c.c. Italy
1,000
5 Amberfleur
3 Rose Crystals
12 Sandalore
49 Musk 50 DPG
3 Amborate
8 Cashmeran
4 Ethyl Vanillin
1 Alpha Damascone
51 Benzyl Acetate
3 Iononyl Acetate
26 Eugenol
1 Hedione
5 Galbanum Resinoid
6 Ivyal
3 Myraldyl Acetate
10 Rose Substitute
5 Hedione
1 Jasilyn
38 Geraniol ex Palmarosa
1 Damascenone
.1 Alcohol C - 9
490
Violet # 2e
7 Geranyl Acetate
3 Citronellol
1 Rose Acetate
3 Orris Resinoid
9 Wardia Substitute
6 Cassis Bourgenons
1 Neroli Oliffac
2 Cananga Odorata
3 Roseiff
25 Linalol S 97
6 Myraldyl Acetate
3 Irone V
2 Phyllos
7 Orange Oil of Texas ( Ruby Red )
1,000
14 Kephalis
5 Amberfleur
3 Benzophenone
12 Osyrol
49 Musk 50 DPG
3 Amborate
8 Givescone
4 Ethyl Vanillin
1 Beta Damascone
51 Benzyl Acetate
3 Santalol
26 Eugenol
1 Jasmone
5 Galbanum Resinoid
6 Irone V
3 Myraldyl Acetate
10 Rose Substitute
5 Hedione
1 Damascenone
38 Geraniol Nat.
1 Rose - Bulgaria
.1 Vioris
491
Glen O. Brechbill
Violet # 3a
24 Linalol 98 %
5 Citronellol 99 %
3 Musk Emeressence
4 Iso Raldeine 70
27 Geraniol 60 % ( Nerol 39 % ) Pur
1 Ylang Givco 225
4 Iso Eugenol Tech
5 Nerol
1 Floranton T
4 Wardia
1 Petilyn
3 Cyclogalbaniff
2 Ylang Odorata Oil
1 Ionone
1 Tuberose Oliffac
2 Bourgenal
1 Alpha Damascone
1 Muguet Alcohol
35 Linalyl Acetate
1,000
.1 Exaltolide
7 Benzyl Benzoate
8 Chandanone
6 Vanillin
5 Cashmeran
3 Fleuramone
14 Lyral
5 Methyl Benzoate
6 Vanilys
2 Rose Cristals
5 Cinnamic Alcohol
28 Eugenol
53 Benzylacetate
.1 Alcohol C - 09
1 Beta Damascone
2 Ethyl, Vanillin
9 Methyl Ionone - Alfa
17 Lioral
2 Nerolin Crystals
.1 Rosalva
28 Musk 50 DPG
492
Violet # 3b
24 Linalol 99 %
3 Musk Emeressence
4 Iso Raldeine 95
1 Ylang Givco 225
4 Iso Eugenol
5 Nerol
1 Floranton T
4 Wardia
1 Petilyn
3 Cyclogalbodor
2 Ylang Odorata Oil
1 Ionone
1 Tuberose Oliffac
2 Bourgenal
1 Alpha Damascone
1 Muguet Alcohol
35 Linalyl Acetate
1,000
.1 Iris Moss
7 Benzyl Benzoate
7 Sandasweet
6 Vanillin
3 Fleuramone
14 Lyral
5 Methyl Benzoate
6 Vanilys - Pfw
2 Rose Cristals
1 Methyl Ionone Iso Super Alfa
5 Cinnamic Alcohol
29 Eugenol
54 Benzyl Acetate Prime
.1 Alcohol C - 09
1 Beta Damascone
2 Ethyl, Vanillin
17 Lioral
1 Ionone 100 %
.1 Orris Absoflor
28 Macrolide
493
Glen O. Brechbill
Violet # 3c
24 Linalol
5 Citronellol 99 %
3 Musk Emeressence
4 Iris Germanica
1 Ylang Givco 225
5 Nerol
1 Floranton T
1 Petilyn
2 Ylang Odorata Oil
1 Ionone
1 Iso Rose
2 Bourgenal
1 Irisone Pure
2 Muguet Alcohol
35 Linalyl Acetate
1,000
.1 Iris Moss
7 Benzyl Benzoate
7 Sandasweet
6 Vanillin
3 Fleuramone
14 Lyrame
5 Methyl Benzoate
6 Vanilys - Pfw
2 Rose Cristals
5 Cinnamic Alcohol
29 Eugenol
54 Benzyl Acetate Prime
.1 Alcohol C - 09
1 Damascenone
2 Ethyl, Vanillin
17 Lioral
1 Ionone 100 %
.1 Violet Leaf Absoflor
28 Serenolide
494
Violet # 3d
24 Linalol Pur
5 Citronellol 99 %
3 Musk Emeressence
4 Iso Raldeine 70
27 Geraniol
1 Ylang Givco 225
4 Iso Eugenol
5 Nerol
2 Styralyl Acetate
1 Floranton T
4 Wardia
1 Violet Augaflor 27
3 Cyclogalbodor
2 Ylang Odorata Oil
1 Ionone 100 %
1 Tuberose Oliffac
2 Bourgenal
1 Alpha Damascone
1 Muguet Alcohol
35 Linalyl Acetate
.3 Bourgeons De Cassis
1,000
.1 Orris Resinoid
7 Amyris Oil W.I.
6 Vanillin
3 Fleuramone
5 Methyl Benzoate
6 Vanillin
2 Roseone
5 Cinnamic Alcohol
54 Acetate Benzila
.1 Alcohol C - 09
5 Cinnamalva
1 Beta Damascone
2 Ethyl, Vanillin
17 Lioral
.1 Orris Absoflor
28 Musk R - 1
495
Glen O. Brechbill
Violet # 3e
22 Trinalol
5 Citronellol C
3 Musc 50 BB
4 Irisone Bis
2 Ylang Givco 229
4 Iso Eugenol
5 Nerol
1 Floranton T
4 Wardia
1 y - Irone
4 Galbanodor
2 Ylang Odorata Oil
1 Tuberose Oliffac
2 Bourgenal
1 Beta Damascone
1 Muguet Alcohol
35 Linalyl Acetate
1,000
.1 Iris Moss
7 Hercolyn - D
48 Coumarina
7 Sandasweet
3 Fleuramone
14 Lyral
5 Methyl Benzoate
6 Vanilys - Pfw
2 Rose Cristals
6 Cinnamic Alcohol
29 Eugenol 100 %
54 Hedione
.1 Alcohol C - 09
1 Beta Damascone
2 Balsam Peru Oliffac
9 Ionone, Alpha
17 Lilial
.1 Orris Absoflor
8 Musk 781
496
Violet # 4a
1 Syringa
15 Wardia
3 Apple Blossom
2 Iris Beurre Oil
1 Iso - Eugenol
1 Meranol
2 Petilyn
4 Nutmeg W.I.
.1 Leaf Alcohol
1 Ionone Mixture Nat.
18 Linalyl Acetate
1,000
7 Iso E Super
49 CouMarin
1 Civet Tincture
32 Phthalate DEthyl
37 Globanone
7 Vanillin
2 Heliotropine
1 Thymol Crystals
6 Lilial
7 Vanillinethyl
2 Methyl Benzoate
1 Folrosa Q
3 Citronellol
7 Mallow
.1 Violet Leaf Abs. Extra
20 Geraniol 970
3 Jasmylone 99
4 Alpha Ionol
28 Linalol
497
Glen O. Brechbill
Violet # 4b
1 Syringa
15 Wardia
1 Iso - Eugenol
1 Meranol
2 Petilyn
4 Nutmeg W.I.
.1 Violet Leaves Abs.
1 Iso - Raldeine 70
18 Linalyl Acetate
1,000
8 Iso E Super
46 Coumane
1 Civet Tincture
32 Phthalate DEthyl
37 Globanone
4 Rionyl
7 Vanillin
2 Heliotropine
1 Thymol Crystals
6 Laurine Extra
7 Ethyl Vanillin
2 Methyl Benzoate
1 Folrosa Q
3 Citronellol - l
7 Mallow
.1 Orris Abs. - Morocco
20 Geraniol 970
3 Jasmylone 99
12 Methyl Ionone Supreme
4 Alpha Ionol
4 Hidroxicitronelal
25 Linalol
.1 Violiff
498
Violet # 4c
1 Syringa
15 Wardia
3 Apple Oliffac
2 Iris Beurre Oil
1 Hysimal
1 Iralia
1 Meranol
2 Lioral
4 Nutmeg W.I.
.1 Leaf Alcohol
1 Iso Eugenol
18 Linalylacetate
1,000
7 Iso E Super
49 CouMarin
1 Civet Tincture
32 Phthalate DEthyl
37 Globanone
4 Patchouli Amber
7 Vanillin
1 Thyme ( White / Red )
6 Lilial
7 Ethyl Vanillin
2 Methyl Benzoate
1 Carnaline
3 Citronellol 96 %
7 Mallow
20 Geraniol 970
3 Jasilyn
4 Fleuramone
28 Linalol
.1 Iris Concrete Synthetic 199 L
499
Glen O. Brechbill
Violet # 4d
1 Syringa
15 Wardia
3 Apple Blossom
2 Iris Beurre Oil
1 Iso - Eugenol
1 Meranol
2 Petilyn
4 Nutmeg W.I.
.1 Leaf Alcohol
18 Linalyl Acetate
1,000
7 Rhodiantal
49 Coumane
1 Civet Tincture
31 Phthalate DEthyl
4 Amberonne
7 Vanillin
2 Rhodiascent
1 Thymol Crystals
6 Lilial
7 Vanillinethyl
2 Methyl Benzoate
1 Iris Givco 204/2
3 Citronellol
7 Scennal
20 Geraniol 970
3 Iso Jasmone
7 Alcohol Phenyl Ethyl
4 Velvione - Citral Oleos Essenciais
5 Hidroxicitronelal
28 Linalol
500
Violet # 4e
1 Terpineol
15 Wardia
3 Apple Blossom
1 Iralia Total
1 Iso - Eugenol
1 Meranol
2 Ionone
4 Nutmeg W.I.
.1 Undecavertol
17 Linalyl Acetate
1,000
7 Brahmanol
49 CouMarin
1 Civet Powder # 2b
32 Phthalate DEthyl
37 Globanone
4 Amber Fleur
7 Vanillin
2 Heliotropine
1 Thyme Oil Red
6 Lilial
7 Vanillinethyl
2 Methyl Benzoate
1 Lyral
3 Citronellol
7 Mallow
.1 Violet Leaf Abs.
20 Geraniol 60
3 Iso Jasmone
4 Irisone Bis
28 Linalol
.7 Perryfix - Symrise
4 Hawthorn
.1 Ionone
501
Glen O. Brechbill
Violet # 5a
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Geraniol 600
3 Methyl Di Hydro Iso Jasmonate
2 Eugenyl Acetate
3 Kir Base # 9741
1 Iris Beure Oil
3 y - Irone
4 Wardia
1 2 - Undecanone
.4 Alcohol C - 10
2 Sandalwood FM 1068
3 Iritone V
.1 Florymoss
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
.1 Civet Abs.
3 Heliotropine
5 Bangalo
9 Vanillin
.1 Polarose
3 Ivyal
97 Muguet Base
35 Geraniol 60
1 Rosone
4 Lyral
21 Eugenol
6 Di Methyl Octanol
4 Hidroxicitronelol
4 Jacintheme
.1 Nonadienal
13 Citronellol 850
1 Iso Jasmone
33 Linalol 98 %
5 Muguet Alcohol
3 Mallow
502
Violet # 5b
7 Aurantiol
.2 Alcohol C - 9
.1 Geraniol 600
2 Eugenyl Acetate
3 Kir Base # 9741
3 y - Irone
4 Wardia
1 2 - Undecanone
.4 Alcohol C - 10
3 Irone Alpha
.1 Florymoss
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
.1 Civet Ethiopian
3 Heliotropine
5 Bangalo
9 Vanillin
.1 Rosalva
3 Ivyal
97 Muguet Base
35 Geraniol 60
1 Roseone
4 Raldeine A GV
21 Carnation Base
6 Di Methyl Octanol
4 Hidroxicitronelol
4 Jacintheme
.1 Folione
13 Citronellol Pur
1 Iso Jasmone
33 Linalol 98 %
5 Muguet Alcohol
3 Mallow
503
Glen O. Brechbill
Violet # 5c
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Vioris
2 Eugenyl Acetate
3 Kir Base # 9741
1 Iris Beure Essence
3 y - Irone
4 Wardia
1 2 - Undecanone
.4 Alcohol C - 10
3 Amyl Salicylate
.1 Thesaron
23 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Benzyl Alcohol
.1 Civet Abs.
1 Sandiff
9 Vanillin
.1 Polarose
3 Ivyal
35 Geraniol 60
8 Hydroxycitronellal 55 Pur
1 Rosone
4 Lyral
21 Eugenol
6 Di Methyl Octanol
2 Hidroxicitronelol
4 Jacintheme
15 Citronellol 850
1 Iso Jasmone
33 Linalol 98 %
5 Muguet Alcohol
3 Mallow
504
Violet # 5d
7 Orange Flor Deco
.2 Alcohol C - 10
.1 Geraniol 600
2 Eugenyl Acetate
3 Kir Base # 9741
1 Iris Beure Oil
3 y - Irone
4 Wardia
1 2 - Undecanone
.4 Alcohol C - 10
2 Amyris Oil ( West Indies )
2 Irisone Bis
.1 Florymoss
24 Linalyl Acetate
1 Mirabelle 2000 D
1,000
11 Benzyl Alcohol
8 Sandalore
.1 Civet Abs.
3 Heliotropine
53 Musc 50 DPG
5 Bangalo
10 Vanillin
.1 Polarose
3 Ivyal
97 Muguet Base
35 Geraniol ( Fine Perfumery )
1 Rosone
4 Lyral
21 Eugenol 100 %
6 Di Methyl Octanol
4 Hidroxicitronelol
.1 Vanilla Resinoid
4 Iso Rose
.1 Nonadienal
1 Iso Jasmone
33 Linalol 99 %
5 Meijiff
3 Stemone
505
Glen O. Brechbill
Violet # 5e
7 Orange Flor Deco
.2 Alcohol C - 9
.1 Geraniol 600
3 Kir Base # 9741
1 Iris Beure Oil
3 Ionone Alpha
4 Wardia
1 2 - Undecanone
.4 Alcohol C - 10
3 Iritone V
.1 Troenan
24 Linalyl Acetate
1 Laurinal
1,000
8 Endanol
.1 Civet Abs.
3 Heliotropine
5 Sandalore
9 Vanillin
.1 Polarose
6 Amyl Salicylate
2 Ivyal
91 Muguet Base
35 Geraniol 60
1 Rosone
3 Lyrame
21 Eugenol
6 Di Methyl Octanol
4 Anis Aldehyde
4 Jacintheme
.1 Folione
13 Citronellol Prime
1 CIS Jasmone
33 Linalol 98 %
5 Muguet Alcohol
3 Mallow
506
Violet # 6a
3 Geranyl Acetate
.1 Rose Turkey Abs.
3 Irotyl
.1 Alcohol C - 9
3 Orange Oil of California ( C.P. )
1 Ribes Mercaptan
34 Linalool Nat.
4 Geranium Oil pure
2 Cassifix
1 Rose Oil Turkey
5 Lilial
2 Carnaline
3 Iso E Super
1 Scennal
27 Linalyl Acetate
5 Nerol
7 Vioris
3 Hydrofix R
1,000
.1 Orris Resinoid
6 Vanilline
48 Coumane
8 Benzyl Salicylate
2 Nerolin Crystals
3 Traseolide
52 Benzyl Acetate
4 Sandela
6 Helional
5 Ethyl Vanillin
12 Hedione
1 Sandalore
3 alpha - Ionone
4 Methyl Benzoate
5 Gardenia 1110
1 Irisone Pure
507
Glen O. Brechbill
Violet # 6b
3 Geranyl Acetate
.1 Rose Turkey Abs.
3 Irival
.1 Alcohol C - 9
1 Ribes Mercaptan
34 Linalool
4 Geranium Orpur Italy - Givaudan
2 Cassifix
1 Rose Oil Turkey
5 Lilial
2 Carnaline
3 Koavonne
1 Scennal
27 Linalyl Acetate
5 Nerol Coeur
7 Vioris
1 Ylang Ylang I Petals
3 Hydrofix R
1,000
.1 Orris Resinoid
9 Vanillin
48 Coumarina
1 Sandiff
2 Nerolin Crystals
3 Traseolide
52 Benzyl Acetate
6 Helional
5 Ethyl Vanillin
1 Sandalore
4 Methyl Benzoate
5 Gardenia 1110
2 Citronellol
1 Alpha Ionone
508
Violet # 6c
3 Geranyl Acetate
.1 Violiff
3 Irisone Bis
.1 Alcohol C - 9
25 Geraniol 60
34 Linalol S 97
2 Greenarome
1 Rose Oil Turkey
5 Lilial
2 Carnaline
3 Iso E Super
1 Scennal
27 Linalyl Acetate Synthetic
5 Nerol
7 Vioris
4 Rhodiascent
1 Laurine
1,000
.1 Orris Resinoid
6 Vanillin
48 Coumane
2 Nerolin Crystals
3 Cashmeran
52 Benzyl Acetate
4 Sandela
6 Helional
5 Ethyl Vanillin
12 Benzylacetate
1 Sandalore
3 a-Ionone Extra
4 Methyl Benzoate
2 Citronellol Prime
1 Irisone Pure
509
Glen O. Brechbill
Violet # 6d
3 Geranyl Acetate
.1 Rose Turkey Abs.
3 Irotyl
.1 Alcohol C - 9
1 Ribes Mercaptan
34 Linalool Nat.
4 Geranium Oil pure
2 Cassifix
1 Rose Oil Turkey
5 Lilial
2 Carnaline
3 Iso E Super
1 Petilyn
27 Linalyl Acetate
5 Nerol
7 Methyl Ionone - Alpha
3 Hydrofix L
1,000
.1 Orris Resinoid
6 Vanilline
48 Coumane
8 Benzyl Salicylate
2 Nerolin Crystals
3 Traseolide
52 Benzyl Acetate
4 Sandela
6 Helional
5 Ethyl Vanillin
12 Hedione
1 Sandalore
3 alpha - Ionone
4 Methyl Benzoate
5 Gardenia 1110
1 Irisone Pure
510
Violet # 6e
3 Geranyl Acetate
.1 Alcohol C - 9
1 Stemone
34 Linalool Nat.
1 Terpinyl Acetate
4 Geranium Oil pure
2 Cassifix
1 Rose Oil Turkey
5 Lilial
.3 Violet Leaf Egyptian Abs. Extra
2 Carnaline
3 Iso E Super
1 Scennal
27 Linalyl Acetate
5 Nerol
7 Vioris
3 Hidroxicitronelal
1,000
.1 Orris Resinoid
6 Vanillia Tincture 20 %
48 Coumane
8 Benzyl Salicylate
1 Javanol
2 Nerolin Crystals
3 Traseolide
52 Benzyl Acetate
4 Sandalore
6 Helional
5 Ethyl Vanillin
12 Hedione
1 Amyris Oil W.I. ( Sandalwood )
3 alpha - Ionone
4 Methyl Benzoate
5 Gardenia 1110
511
Glen O. Brechbill
Violet # 7a
3 Neroli Oliffac
35 Geraniol 970
.1 Rose De Mai Abs.
5 Florantone T
29 Linalol 98 %
1 Jasmonyl Acetate
4 Geranyl Linalool
2 Nerol
1 Stemone
.1 Leaf Alcohol
5 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Kir Base # 9741
36 Linalyl Acetate
1,000
7 Vanilys
4 Givescone
9 Benzyl Benzoate
5 Musk Emeressence
1 Benzophenone
4 Heliotropine
69 MDJ
.1 Anisyl Alcohol
7 Claigeon
21 Meijiff
4 Ethyl Vanillin
.1 Alcohol C - 09
12 Santalox T Neat
1 Rose Crystals
1 Iridales
2 Magnol
321 ( DPG )
7 Citronellol Pure
6 Ivyal
4 Lyrame
11 Wardia
8 MelonOrg
1 Di Methyl Octanol
512
Violet # 7b
3 Neroli Oliffac
38 Geraniol 970
.1 Rose De Mai Abs.
5 Florantone T
29 Linalol 98 %
1 Jasmonyl Acetate
4 Geranyl Linalool
2 Acetate Neryle
1 Stemone
.1 Leaf Alcohol
5 Bitter Orange Oil - Italy
1 Verotyl
3 Eugenyl Acetate
2 Kir Base # 9741
36 Linalyl Acetate
1,000
7 Vanillin
4 Givescone
9 Benzyl Benzoate
5 Musk Emeressence
1 Benzophenone
4 Heliotropine
72 MDJ
.1 Anisyl Alcohol
7 Claigeon
21 Meijiff
4 Ethyl Vanillin
.1 Alcohol C - 09
12 Santalox T Neat
1 Rose Crystals
1 Iridales
2 Magnol
321 ( DPG )
4 Citronellol Pure
6 Irisone Bis
4 Lyrame
11 Wardia
8 Fruitaleur
1 Di Methyl Octanol
513
Violet # 7c
3 Neroli Oliffac
35 Geraniol 970
.1 Rose De Mai Abs.
5 Florantone T
29 Linalol 98 %
.1 Violette - Egypt
1 Jasmonyl Acetate
4 Geranyl Linalool
2 Nerol
.1 Leaf Alcohol
5 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Kir Base # 9741
35 Linalyl Acetate
1,000
7 Vanillin
4 Givescone
9 Benzyl Benzoate
5 Musk Emeressence
1 Benzophenone
4 Heliotropine
69 MDJ
.1 Anisyl Alcohol
7 Iso - Raldeine 70
21 Meijiff
4 Ethyl, Vanillin
.1 Alcohol C - 10
10 Amyris Oil W.I.
1 Rose Crystals
1 Iridales
2 Magnol
7 Citronellol 98 %
6 Methyl Ionone Alpha
4 Lyrame
11 Wardia
8 MelonOrg
1 Di Methyl Octanol
514
Violet # 7d
3 Neroli Oliffac
35 Geraniol 970
.1 Rose De Mai Abs.
5 Florantone T
29 Linalol 98 %
1 Myraldyl Acetate
4 Rhodinol
2 Nerol
1 Stemone
.1 Leaf Alcohol
5 Aurantiol Pure
1 Verotyl
3 Eugenyl Acetate
36 Linalyl Acetate
1,000
7 Vanilys
4 Base # III - Givaudan
9 Benzyl Benzoate
19 Benzylsalicylate
5 Musk Emeressence
59 MDJ
.1 Anisyl Alcohol
7 Claigeon
21 Meijiff
4 Vanilys
.1 Alcohol C - 09
12 Sandiff
1 Rose Crystals
1 Iridales
2 Magnol
7 Citronellol Pure
6 Ivyal
4 Lyrame
11 Wardia
8 MelonOrg
1 Di Methyl Octanol
515
Glen O. Brechbill
Violet # 7e
3 Neroli Oliffac
35 Geraniol 970
.1 Rose De Mai Abs.
5 Florantone T
29 Linalol 98 %
1 Iso Jasmone
4 Geranyl Linalool
2 Nerol
1 Stemone
.1 Leaf Alcohol
3 Ionone Alpha 60
5 Orangeflor
1 Verotyl
3 Eugenyl Acetate
2 Cassifix
36 Linalylacetate
1,000
7 Vanilys
4 Sandalore
9 Benzyl Benzoate
2 Musk Emeressence
1 Benzophenone
4 Heliotropine
59 MDJ
.1 Anisyl Alcohol
7 Claigeon
4 Ethyl Vanillin
.1 Alcohol C - 09
12 Santalox T Neat
1 Rose Crystals
1 y - Irone
2 Magnol
321 ( DPG )
7 Citronellol ex Palmarosa - India
4 Lyrame
11 Wardia
8 MelonOrg
1 Di Methyl Octanol
516
Violet # 8a
2 Lilivert
3 Raldeine A GV
.1 Petilyn
1 Petitgrain Oil
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
4 Geranyl Acetate
5 Lyral
1 Wardia
.1 Rose Abs.
4 Neryl Acetate
1,000
1 Benzophenone
58 Musc 50 % DEP
1 Amberfleur
.2 Civet Tincture
29 DEP
1 Damascenone Alpha
36 MDJ Super
9 Vanillin
2 Muskylein
3 Iso Jasmone
9 Hedione
2 Methyl Benzoate
6 Citronellol 70 %
3 Ionone Alpha
36 Geraniol Extra
27 Carnation Base
4 Phenafleur
2 Nerol
.1 Exaltolide
1 Eugenyl Acetate
4 Iso Raldeine 85
.1 Iris Moss
.2 Alcohol C - 9
33 Linalol Pur
517
Glen O. Brechbill
Violet # 8b
2 Lilivert
3 Raldeine A GV
.1 Vioris
1 Petitgrain Oil
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
4 Geranyl Acetate Extra
5 Lyral
1 Wardia
.1 Rose Abs.
4 Acetate Neryle
1,000
47 Coumane
1 Rose Crystals
58 Musc 50 % DEP
1 Rionyl
.2 Civet Tincture
29 DEP
4 Heliotropine
1 Damascenone Alpha
36 MDJ Super
9 Vanillin
2 Muskylein
3 Iso Jasmone
9 Hedione
2 Methyl Benzoate
6 Citronellol Extra
3 Ionone Alpha
36 Geraniol Extra
27 Eugenol
4 Phenafleur
2 Nerol
.1 Exaltolide
4 Iso Raldeine 85
.1 Vioris
.2 Alcohol C - 9
33 Linalol
518
Violet # 8c
2 Lilivert
3 Raldeine A GV
.1 Petilyn
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
4 Geranyl Acetate
5 Lyral
.1 Rose Abs.
2 Pearalate
4 Neryl Acetate
1,000
1 Benzophenone
58 Musc 50 % DEP
1 Amberfleur
.2 Civet Tincture
29 DEP
1 Damascenone Alpha
9 Benzyl Propionate
9 Vanillin
2 Muskylein
3 Iso Jasmone
7 Hedione
2 Methyl Benzoate
6 Citronellol 70 %
38 Geraniol Extra
25 Carnation Base
4 Irisone Bis
2 Nerol
1 Dianthanol
4 Iso Raldeine 70
.1 Ionone 100 %
.2 Violet Augaflor 21
7 Stemone
33 Linalol 98 %
519
Glen O. Brechbill
Violet # 8d
2 Lilivert
3 y - Irone
.1 Petilyn
1 Neroli Oliffac
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
4 Geranyl Acetate
5 Lyral
1 Wardia
.1 Rose Abs.
4 Neryl Acetate
1,000
37 Helional
1 Benzophenone
1 Amberfleur
.2 Civet Tincture
29 DEP
1 Damascenone Alpha
36 Benzylacetate
9 Vanillin
2 Muskylein
3 Iso Jasmone
9 Hedione
2 Methyl Benzoate
6 Citronellol 70 %
3 Ionone Alpha
36 Geraniol Prime
27 Carnation Base
4 Phenafleur
2 Nerol
.1 Givescone
1 Eugenyl Acetate
4 Iso Raldeine 85
.1 Jasmone
.2 Alcohol C - 9
33 Ethyl Linalool
Violet # 8e
2 Lioral
3 Raldeine A GV
.1 Jasilyn
1 Petitgrain Oil
1 Meranol
25 Linalyl Acetate
4 Geranyl Acetate
5 Iridales
1 Wardia
.1 Rose Abs.
4 Neryl Acetate
1,000
1 Benzophenone
58 Musc 50 % DEP
1 Amberfleur
.2 Civet Tincture
29 DEP
4 Heliotropine
1 Damascenone Alpha
36 Hedione
5 a-Ionone Extra
9 Vanillin
2 Muskylein
3 Jasmone
9 Hedione
2 Methyl Benzoate
6 Citronellol 70 %
3 Ionone Alpha
36 Geraniol 60
27 Carnation Base
4 Phenafleur
2 Nerol
.1 Violeta Folhas Abs.
1 Dianthanol
.1 Rose
.2 Alcohol C - 9
7 Cassifix
33 Linalol Nat.
521
Glen O. Brechbill
Violet # 9a
27 Linalol
3 Meranol
3 Acetate Geranyle
4 Muguesia
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
13 Linalylacetate
.1 Orris Resinoid
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
1,000
.1 Civette Givco - Givaudan
10 Benzyl Benzoate
11 Osyrol
51 Coumane
6 Iso & Super
4 Hydrofix R
51 Benzylacetate
4 Florosia
7 Sandela
5 Methyl Benzoate
53 Benzyl Acetate
.1 Alcohol C - 10
6 Troenan
3 Citronellol Extra
1 Kephalis
9 Hysimal
7 Bonorax
9 Alpha Ionyl Acetate
3 Irisone Bis
24 Geraniol Prime
2 Laurine Extra
3 Muguet Aldehyde
5 Nutmeg, Ceylon
1 Geraniol Pure
4 Methyl Jasmonate
.1 Undecavertol
3 Orangeflor
5 Wardia
522
Violet # 9b
27 Linalol
3 Meranol
3 Acetate Geranyle
4 Muguesia
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
13 Linalyl Acetate
.1 Orris Resinoid
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
1,000
10 Benzyl Benzoate
47 Serenolide
11 Santalox T Neat - Takasago
51 Coumane
6 Iso & Super
4 Hydrofix R
1 Heliotropine
51 Benzylacetate
4 Florosia
7 Sandela
5 Methyl Benzoate
53 Benzyl Acetate
.1 Alcohol C - 10
6 Troenan
3 Citronellol ex Palmarosa Oil
1 Kephalis
9 Muguesia
7 Bonorax
3 Irisone Bis
24 Geraniol 60
2 Ivyal
3 Muguet Aldehyde
5 Nutmeg, Ceylon
1 Geraniol Pure
4 Methyl Jasmonate
.1 Undecavertol
3 Aurantiol Pure
5 Wardia
523
Glen O. Brechbill
Violet # 9c
27 Linalol
3 Meranol
3 Acetate Geranyle
4 Muguesia
2 Kir Base # 9741
.4 Viola Odorata L.
1 Orange Flor
2 Sensient
13 Linalylacetate
.1 Orris Resinoid
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Thesaron
1,000
.1 Civet
10 Benzyl Alcohol
41 Coumane
6 Iso E Super
4 Hydrofix R
51 Benzylacetate
4 Florosia
7 Sandela
5 Methyl Benzoate
53 Benzyl Acetate
.1 Alcohol C - 10
6 Troenan
3 Citronellol Nat.
9 Hysimal
7 Bonorax
3 y - Irone
24 Geraniol Prime
2 Laurine Extra
3 Muguet Aldehyde
5 Hexyl Salicylate
1 Geraniol Pure
4 Methyl Jasmonate
.1 Neofolione
3 Orangeflor
5 Iso Rose
524
Violet # 9d
27 Linalol
3 Meranol
3 Acetate Geranyle
4 Muguesia
2 Kir Base # 9741
1 Orange Flor
2 Lilial
13 Linalyl Acetate Synthetic
.1 Orris Resinoid
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Florosia
2 Stemone
1,000
.1 Civet Tincture
10 Benzyl Benzoate
47 Musk Gazalle
11 Amyris Oil W.I.
51 Coumane
6 Iso & Super
4 Hydrofix R
1 Acetate Iso Eugenyl
51 Benzylacetate
4 Florosia
7 Sandela
6 Methyl Benzoate
53 Benzyl Acetate
.1 Alcohol C - 10
6 Troenan
3 Citronellol Extra
1 Kephalis
9 Hysimal
7 Bonorax
3 Irisone Bis
2 Laurine Extra
3 Muguet Aldehyde
3 Bisabolene
1 Geraniol Pure
4 Jasmonyl
3 Orangeflor
5 Wardia
525
Glen O. Brechbill
Violet # 9e
27 Linalol
3 Meranol
1 Tangerine Oil Dancy Type ( Calif. )
3 Acetate Geranyle
4 Orivone
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
13 Linalylacetate
.1 Orris Resinoid
1 Florantone T
.1 Galbanum Absolue
.1 Geraniol 600
1 Vioris
2 Vern Aldehyde
1,000
10 Benzyl Benzoate
5 Vanillin
51 Coumarina
6 Iso & Super
4 Hidroxicitronelal
51 Benzylacetate
4 Florosia
5 Methyl Benzoate
43 Benzyl Acetate
.1 Alcohol C - 10
6 Troenan
3 Citronellol Extra
1 Kephalis
9 Hysimal
7 Bonorax
3 Irisone Bis
24 Geraniol Prime
2 Jasmone
3 Lyrame
5 Glycoflor
4 Methyl Jasmonate
.1 Violiff
3 Orangeflor
5 Wardia
526
Violet # 10a
3 Lilial
22 Linalol
1 Cinnamalva
3 Neroli Oliffac
17 Geraniol Pure
4 Acetate Geranyle
6 Lyrame Super
5 Vetiver Oil ( Java )
2 Irisone Bis
17 Wardia
1 Pamplemousse
38 Linalyl Acetate
1 Rosilial
.1 Leaf Alcohol
3 Italian Bergamot Orpur - Givaudan
1,000
44 Coumarine
9 Benzylesalicylate
47 Galaxolide 50
8 Vanilys
9 Iso E Super
45 Benzyl Acetate
4 Ethyl, Vanillin
7 Methyl Benzoate
9 Hedione
4 Citronellol Pur
13 Lilivert
1 Musk R - 1
8 MDJ
24 Eugenol / Clove
3 Jasmone
3 Muguet Aldehyde
1 Nerol 900
527
Glen O. Brechbill
Violet # 10b
3 Hydroxycitronellal E
22 Linalol
1 Caryophelline
3 Neroli Oliffac
17 Geraniol Pure
4 Acetate Geranyle
6 Lilestralis
2 Irisone Bis
17 Wardia
1 Grape Fruit Oil ( Florida ) C.P.
38 Linalyl Acetate
1 Rosilial
.1 Leaf Alcohol
4 Bergamot Oil - Sicilian Orpur
1,000
44 Coumarine
8 Musk Emeressence
9 Benzylesalicylate
47 Galaxolide 50
8 Vanillin
10 Iso E Super
45 Benzyl Acetate
4 Ethyl, Vanillin
6 Methyl Benzoate
9 Hedione
4 Citronellol Pur
13 Hydroxycitronellol ( Hydroxiol )
.1 Rose Attar
8 MDJ
24 Eugenol / Clove
1 Geranium Oil - Bourbon
3 Jasmone
3 Muguet Aldehyde
1 Nerol 900
3 Gardenia Fleuriff
528
Violet # 10c
3 Lilial
22 Linalol
1 Cinnamalva
3 Neroli Artessence
17 Geraniol 98 %
4 Acetate Geranyle
6 Lyrame Super
2 alpha - Ionone
17 Wardia
1 Pamplemousse
38 Linalyl Acetate
1 Rosilial
.1 Anisyl Alcohol
1 Lioral
3 Clementine Oil
1,000
44 CouMarin
9 Benzylesalicylate
47 Galaxolide 50
8 Vanilys
9 Iso E Super
45 Benzyl Acetate
4 Hawthorn
4 Ethyl, Vanillin
7 Methyl Benzoate
9 Hedione
4 Citronellol Pur
13 Lilivert
1 Musk R - 1
8 MDJ
1 Musk R15
3 Vioris
3 Muguet Aldehyde
1 Nerol 900
3 Ionone Alpha 60
529
Glen O. Brechbill
Violet # 10d
3 Lilial
22 Linalol
.5 Iso Rose
1 Pepperwood
3 Neroli Oliffac
17 Geraniol Prime
4 Geranyl Acetate
6 Lyrame Super
2 Irisone Bis
17 Wardia
38 Linalyl Acetate
1 Tangerinol
1 Rosilial
.1 Leaf Alcohol
3 Mandarin Oil Red - Italy
1,000
44 Coumarine
9 Benzylesalicylate
47 Galaxolide 50
6 Vanilys
9 Iso E Super
45 Benzyl Acetate
4 Ethyl, Vanillin
7 Methyl Benzoate
9 Hedione
4 Citronellol - L
13 Lilivert
1 Musk R - 1
8 MDJ
22 Eugenol 100 %
3 Iso Jasmone
3 Muguet Aldehyde
1 Nerol 850
530
Violet # 10e
3 Hydrofix R
22 Linalol
1 Cinnamalva
3 Neroli Oliffac
17 Geraniol Pure
4 Acetate Geranyle
6 Lilestralis
2 Irisone Bis
15 Wardia
1 Pamplemousse
38 Linalyl Acetate
1 Rosilial
.1 Leaf Alcohol
2 Bergamot Oil Givco 113 - Giv.
1,000
44 Coumarine
8 Muscenone
9 Benzyl Propionate
8 Vanilys
9 Koavone
45 Benzyl Acetate
5 Eugenol
4 Vanisal
7 Methyl Benzoate
9 Jasmonyl Acetate
4 Citronellol Pur
13 Lilivert
1 Musk GX
3 Methyl Ionne Iso Super Alfa
3 Hydroxyol
1 Nerol 900
3 Iso Rose
531
Glen O. Brechbill
Ylang Ylang
Cananga Odorata
Commonly called Ylang - Ylang
( ee-lang-ee-lang ), cananga tree,
ilang-ilang, kenanga (Indonesian),
fragrant cananga, Macassar-oil
plant or perfume tree), is a tree val-
ued for its perfume. The essential
oil derived from the flowers is used
in aromatherapy.
Artabotrys odoratissimus, ylang-
ylang vine, and Artabotrys hexa-
petalus, climbing ylang-ylang, are
woody, evergreen climbing plants
in the same family; A. odoratis-
simus is also a source of perfume.
Description
Cananga odorata is a fast-growing
tree of the custard-apple family,
Annonaceae, that exceeds 5 m (15
ft) per year and attains an average
height of 12 m (40 ft). It grows in
full or partial sun, and prefers the
acidic soils of its native rainforest
habitat. The evergreen leaves are
smooth and glossy, oval, pointed,
with wavy margins, and 13 - 20 cm
(5 - 8 in) long. The flower is droop-
ing, long-stalked, with six narrow
Caryophyllene
p-cresyl methyl ether
Methyl benzoate
Sesquiterpenes
Etymology
The name ylang-ylang is derived
from Tagalog, either from the word
ilang, meaning "wilderness", allud-
ing to its natural habitat, or the
word ilang-ilan, meaning "rare",
suggestive of its exceptionally deli-
cate scent.[citation needed] A more
widely accepted translation is
"flower of flowers". The plant is
native to the Philippines and
Indonesia and is commonly
grown in Polynesia, Melanesia,
Micronesia and Comoros Islands.
Characteristics
The fragrance of ylang-ylang is rich
and deep with notes of rubber and
custard, and bright with hints of
jasmine and neroli. The essential
oil of the flower is obtained through
steam distillation of the flowers and
separated into different grades
(extra; 1; 2; 3) according to when
the distillates are obtained. The
greenish yellow (rarely pink)
petals, rather like a sea star in
appearance, and yields a highly fra-
grant essential oil.
Cananga odorata var. fruticosa,
dwarf ylang-ylang, grows as small
tree or compact shrub with highly
scented flowers.
Ylang-ylang has been cultivated in
temperate climates under conserva-
tory conditions.
Its clusters of black fruit are an
important food item for birds, such
as the Collared Imperial-pigeon,
Purple-tailed Imperial-pigeon,
Zoe's Imperial-pigeon, Superb
Fruit-dove, Pink-spotted Fruit-
dove, Coroneted Fruit-dove,
Orange-bellied Fruit-dove, and
Wompoo Fruit-dove.
Chemical Constituents
Typical chemical compositions of
the various grades of Ylang ylang
are reported as follows:
Linalool
Geranyl acetate
532
main aromatic components of
ylang-ylang oil are benzyl acetate,
linalool, p-cresyl methyl ether, and
methyl benzoate, responsible for its
characteristic odor.
Uses
The essential oil of ylang-ylang is
used in aromatherapy. It is believed
to relieve high blood pressure, nor-
malize sebum secretion for skin
problems, and is considered to be
an aphrodisiac.According to
Margaret Mead, it was used as such
by South Pacific natives such as the
Samoan Islands where she did
much of her research. The oil from
ylang-ylang is widely used in per-
fumery for oriental or floral themed
perfumes (like Chanel No. 5).
Ylang-ylang blends well with most
floral, fruit and wood smells.
In Indonesia, ylang-ylang flowers
are spread on the bed of newlywed
couples. In the Philippines, its
flowers, together with the flowers
of the sampaguita, are strung into a
necklace (lei) and worn by women
and used to adorn religious images.
Ylang-ylang's essential oil makes
up 29% of the Comoros' annual
export (1998).
Ylang Ylang is a common ingredi-
ent in the herbal motion sickness
product MotionEaze.
Perfumery
Ylang-Ylang whether as an essen-
tial oil or synthetic ingredient finds
Moreover, the oil contains a high
percentage of (-)-linalool (ca. 15
%), geranyl acetate (ca. 10 %) and
farnesyl acetate (ca. 3 %), as well
as a number of other sesquiterpenes
and their oxygenated derivatives,
e.g. muurolol T (ca. 2 %). p-Cresyl
methyl ether is a characteristic of
the ylang-ylang flower.
The pure compound has a very
powerful odour, offensive to most
people. However, in lower concen-
tration, and supplemented by the
multitude of other odorants present
in the flower, it supplies much of
the exotic character of ylang-ylang.
A delightful ylang-ylang absolute
is made by extraction of the flow-
ers. It has an intesely sweet-floral
and very diffusive odour with a typ-
ical balsamic floral note, and is dis-
tinguished from the odour of the oil
by its lightness and uniformity -
according to Arctander. It is one of
the finest floral materials in high-
class muguet perfumes (lily-of-the-
valley).
The genus Cananga holds only four
species, all with fragrant flowers.
The rest of the Annonacean family
usually has flowers with a moldy or
putrid smell, if they have any smell
at all.
Etymology: ylang-ylang, or ilang-
ilang, is Indonesian, meaning
'loosely hanging' (flowers).
its way into many fine fragrances.
Ylang-Ylang
Cananga odorata (Annonaceae)
The ylang-ylang tree is planted
everywhere in the tropics because
of its fragrant flowers. In the
Philippines, for example, the tree is
seen in almost every village. The
peculiar flowers are green when
they come out, but in a few days
they turn yellow and become high-
ly fragrant. On special occasions
the women put them in their hair.
Ylang-ylang oil is obtained by
steam distillation of the freshly
picked flowers, especially in
Madagascar and the Comores. It is
a pale yellow oil with a very pow-
erful, floral and intensely sweet
odour and a cresylic and benzoate-
like top note of limited tenacity.
The fadeout is more pleasant, soft
and sweet, slightly spicy and bal-
samic-floral. It is a classical ingre-
dient in perfumery, used for exam-
ple in Chanel No. 5 (Chanel 1921),
and in countless other perfumes.
The major constituents of the oil
are a number of well-known power-
ful odorants, e.g. benzyl acetate (ca.
25 %),
p-cresyl methyl ether (ca. 20 %),
methyl benzoate (ca. 5 %), methyl
salicylate and cinnamyl acetate.
Although only precent in traces, p-
cresol, eugenol and isoeugenol are
also odour determining, as well as
benzyl salicylate (ca. 3 %).
Arranging Fine Perfume Compositions - FLORAL ALDEHYDIC - Ylang Ylang
533
Ylang Ylang Fragrance Notes
Glen O. Brechbill
BOOK # 1 ( A - G )
Ylang Ylang Abs.
A.N.E.C. - France
Ylang Ylang
Cananga
Ylang Ylang Complete
Ylang Ylang Extra
Ylang Ylang I
Ylang Ylang II
Ylang Ylang III
ORGANIC ESSENTIAL OILS &
EXTRACTS
Ylang Ylang Complete, I, II, III,
and Extra - Cananga Odorata
Cananga Oil - Indonesia
Ylang Ylang Oil - Comoro Islands
Ylang Ylang Extra - Comoro
FLORAL NOTE
Cananga
Ylang Ylang
Ylang Oil Extra
Ylang Oil I
Ylang Oil II
Ylang Oil III
Ylang Oil Complete
FLORAL GROUP
Ylang Ylang
Cananga
Ylang Ylang Deuxieme
Ylang Ylang Extra
Ylang Ylang Premiere
Ylang Ylang Trosieme
Ylang Ylang Extras - Comoro
Ylang Ylang First Oil - Comoro
Ylang Ylang Second Oil - Comoro
Ylang Ylang Third Oil - Comoro
Alfa Chem - USA
Cananga Oil
Ylang Ylang Extra
Ylang Ylang I
Ylang Ylang II
Ylang Ylang III
ABSOLUTE
Ylang Ylang Abs.
CONCRETE
Ylang Ylang Concrete
Cananga Oil
Ylang Ylang Oil
534
Cananga Oil
Ylang Ylang Oil
Ylang Augaflor 28
Ylang Augaflor 31
ESSENTIAL OILS
Cananga Oil
Ylang Ylang I
Ylang Ylang II
Ylang Ylang III
Ylang Ylang Abs.
Australian Botanical - Aust.
Cananga Java
Ylang Ylang 1
Ylang Ylang 2
Ylang Ylang 3
Ylang Ylang Extra
Ylang Ylang Super Extra
Ylang Ylang Fractionated
Ylang Ylang Fractionnee
Ylang Ylang Terpeneless
Ylang Ylang Deterpenee
Cananga Oil
HERBAL EXTRACT
Ylang Oil, No. 1
Ylang Oil, No. 2
Ylang Oil, No. 3
Cananga Oil
Ylang Concrete
Ylang Extra
Ylang No. 1
Ylang No. 2
Ylang No. 3
Charabot & Co., Inc. - France
Ylang Ylang Oil Extra
Ylang Ylang First
Ylang Ylang Second
Ylang Ylang Third
Cananga Oil
Ylang Ylang Oil
Charabot SA
Cananga Oil
Ylang Oil
Ylang Oil I
Ylang Oil II
Ylang Oil III
Ylang Oil II Madagascar
Ylang Oil III Madagascar
Ylang Oil Extra Morocco
Ylang Oil I Morocco
Ylang Oil II Morocco
Ylang Oil III Morocco
Ylang Abs.
Ylang Ylang
Barosyl S.A. - France
Cananga Java
Cananga Macrophylla
Cananga Odorata Totum
Ylang Ylang Extra
Cananga Odorata Extra
Ylang Ylang I
Cananga Odorata I
Ylang Ylang II
Cananga Odorata II
Ylang Ylang III
Cananga Odorata III
Cananga Oil
Ylang Ylang Oils
Carrubba Inc. - USA
BOTANICAL EXTRACTS
Ylang Ylang
Castrading - Korea
Cananga, Java
Ylang Ylang Extra
Ylang Ylang No. 1
Ylang Ylang No. 2
Ylang Ylang No. 3
Ylang Oil Extra
535
Givaudan Fragrance - Switz.
Ylang Givco 225
BASES PERFUMARIA
Ylang Eco Essence E5380
Ylang Odorata Oil
OLEOS ESSENCIAS - NATURALS
Ylang Odorata Oil 1400
Cananga Oil
Ylang Oil Extra
Ylang Oil I
Ylang Oil II
Ylang Oil III
Ylang Oil Complete
Cananga Oil - Indonesia
Ylang Ylang Oil # 3 - Comoros
Ylang Ylang Oil Bourbon Extra -
Reunion
Cananga Oil
Ylang Ylang
De Monchy Aromatics, Inc. - U.K.
Ylang Ylang III
Ylang Ylang Oils Extra
Ylang Ylang Oils I
Ylang Ylang Oils II
Ylang Ylang Oil III
Ylang Ylang Extra
Ylang Ylang I
Ylang Ylang II
Ylang Ylang III
Essencia, Aetherische Oele - Switz.
Cananga Java
Cananga Odorata
Ylang Ylang Extra
Cananga Odorata
Ylang Ylang II
Cananga Odorata
Euma - Argentina
Cananga
Ylang Ylang I
Ylang Ylang III
NATURALES PRODUCTOS
Ylang Ylang I
( cananga odorata 1a dest. )
Ylang Ylang III
( cananga odorata 2 a dest. )
Ylang Ylang III
( cananga odorata 3 a dest. )
Exaflor - France
Ylang Ylang
Destilerias Munoz - Spain
F.D. Copeland & Sons
Cananga Oil
Ylang Oil Extra
Ylang Oil no. 1
Ylang Oil no. 2
Ylang Oil no. 3
Djasula Wangi - Indonesia
Cananga Oil
Cananga Indonesie
Ylang Extra Comoros
Ylang Extra S Comoros
Ylang Ylang 1 Comoros
Ylang Ylang II Comoros
Ylang Ylang III Comoros
EXTRAITS
Ylang Ylang - Comoros
Cannaga Oil
Ylang Ylang Oil
J.Piltz - Brazil
Ylang Ylang
Earth Oil Plantations Ltd. - U.K.
Ylang Ylang Oil
Glen O. Brechbill
536
Madagascar
Ylang - Ylang
FD Copeland & Sons Ltd. - U.K.
Cananga Oil
Ylang Oil Extra
Ylang Oil no. 1
Ylang Oil no. 2
Ylang Oil no. 3
Ylang Ylang I Essence
Ylang Ylang III Essence
Fine Chemical Trading Ltd. - U.K.
Ylang - Ylang Extra
Cananga Indonesia
Cananga Oil
Ylang - Ylang Oils
Cananga
Ylang, Complete
Ylang, Extra
Ylang I
Ylang II
Ylang III
Ylang Oil ( Fleur )
Ylang Givco 225
Quest Intl. - Givaudan Switz.
Ylang Ylang Oil
Ylang Oils I, II, III, Complete
The Good Scents Company - USA
Cananga Oil
Cananga Oil Terpeneless
Ylang Ylang Oil
ABSOLUTES
Ylang Ylang Absolute
CONCRETES
FLORAL
Cananga Oil
Ylang Ylang Oil
Cananga Java
Cananga Oil
Ylang Ylang Oil
Fleurin, Inc. - USA
Ylang Ylang I, II, III
Ylang Ylang Abs.
Flowersynth - India
Ylang
Cananga
Ylang Ylang # 1
Ylang Ylang # 2
Ylang Ylang # 3
Cananga Oil
Ylang Ylang Oil
Cananga Oil
Ylang Ylang Oil
Fruitarom Industries - Israel
Ylang Ylang 2
Ylang Ylang 3
Ylang Ylang Extra
Ylang Ylang Petals
Fuerst Day Lawson - U.K.
Cananga Oil
Ylang Oils
537
HC Biochem - China
Ylang Ylang Oil
Cananga Indonesie
Cananga Oil
Ylang Ylang Extra Comores
Ylang Extra Oil
Ylang Ylang I Comores
Ylang I Oil
Ylang Ylang II Comoroes
Ylang II Oil
Ylang Ylang III Comores
Ylang III Oil
Haldin - Indonesia
Cananga Oil
Handa Fine Chemicals Ltd., - U.K.
Cananga Oil
Ylang Ylang
BOTANICAL EXTRACTS
Cananga
Ylang Ylang
BOOK # II ( I - Z )
Cananga Indonesie
Ylang Ylang Deuxieme Comores
Ylang Ylang Extra Comores
Ylang Ylang Prmiere Comores
Ylang Ylang Troisieme Comores
Ylang II Oil
Ylang III Oil
Ylang Ylang Oil I
Ylang Ylang Oil III
Ylang Ylang Abs. Extra
Cananga Oil
Ylang Ylang Oil
Ylang Ylang Oil II
SPECIALTIES OR RECONSTITUTE OILS
Ylang Oil Std
Ylang III Oil MF
Ylang Ylang
Cananga Odorata
Naradev - Hong Kong
Cananga
Ylang Core
Ylang Ylang Extra
Ylang Ylang I
Ylang Ylang II
Ylang YLang III
Ylang Ylang Super Extra
Nardev - Israel
Cananga Oil
IFF - USA
FRAGRANCES BY ODOR
Ylang Ylang
JC Buck Ltd. - U.K.
Ylang Extra
Ylang # 1
Ylang # 2
Ylang # 3
J & E Sozio, Inc. - USA
Ylang Ylang Extra
Ylang Ylang
Ylang Ylang Oil
Cananga Odorata
Cananga Oil
Ylang Ylang 2
Ylang Ylang 3
Ylang Ylang Extra
Ylang Ylang Petals
Cananga Java Oil
Ylang Extra Oil
Ylang 1 Oil
Glen O. Brechbill
538
Cananga, Indonesia
Ylang Ylang Extra, Spain
Oliganic - USA
Cananga - Indonesia June - Aug.
Ylang Ylang Comoros
April, Nov.
Ylang Ylang Madagascar
July - Augst.
P.P. Sheth & Co. - India
Cananga Oil
Ylang Ylang Oil I
Cananga Oil
Ylang Ylang Oils
Cananga Oil
Ylang Ylang Extra Oil
Ylang Ylang I Oil
Ylang Ylang III Oil
Ylang Oil Extra
Ylang Oil # 1
Ylang Oil # 2
Ylang Oil # 3
Ylang Ylang Oil
Prima Fleur - USA
Ylang Ylang # 1 Canangal Odorata
Wild Flower Comores
Ylang Ylang # 2
Regular Flower Madagascar
Ylang Ylang # 3
Wild Flower Comores
Ylang Ylang # 3
Organic Flower Madagascar
Ylang Ylang Extra
Wild Flower Comores
Organic Flower Madagascar
Puresence Wursten Inc. - Switz.
Cananga Oil
TERPENES
Ylang Ylang Tails / Terpenes
Ylang Ylang No. 1, II, III -
Comoros
Ylang Givco 225
Raj Aroma Corp. - India
Ylang Oil Extra
Ylang Oil I
Ylang Oil II
Ylang Oil III
Cananga Hook F & Thomas Oil
Ylang Ylang Oil
Peter Jarvic Cosmetic Ltd. - U.K.
BOTANICAL LISTING
Ylang EO
Cananga Oil
Ylang Ylang Oil
Phoenix Aromas & Essential - USA
Cananga Oil
Ylang Ylang Extra Oil
Ylang Ylang I Oil
Ylang Ylang II Oil
Ylang Ylang III Oil
Cananga Decolorized
Cananga Oil
Ylang Ylang Extra
Ylang Ylang I
Ylang Ylang II
Ylang Ylang III
Ylang Ylang Abs.
Cananga Oil
539
Ylang Oil STD
Ylang Abs.
Ylang Extra Oil
Ylang 1 Oil
Ylang 3 Oil
Cananga Java Native FCC
Ylang Ylang Extra
Ylang Ylang First
Ylang Ylang Second
Ylang Ylang Third
SAT Group - India
Cananga Oil
Ylang Ylang Oil
Ylanox 3520 P
Ylang Oil Extra 1596
Ylang Oil I 1924
Ylang Oil II 2641
Sarcom Inc. - USA
Cananga Indonesia
Science Lab - USA
Cananga Oil
Ylang Ylang Oil
Cananga Oil
Brazil
Ylang Ylang Oil
Comoros
Cananga Oil
Ylang Ylang Oil
Reunion
Cananga Oil
Ylang Ylang Oil
Ylang Ylang Oil - Payan Bertrand
Ylang Ylang Oil ( A 8147 ) -
Payan Bertrand
Cananga Oil Java
ESSENTIAL OIL MAP OF THE WORLD
Africa
Comoros
Ylang Ylang
Mayotte
Ylang Ylang
Ylang Ylang Oil
Cananga Oil Java
Ylang Ylang I - Commoro
Ylang Ylang II - Commoro
Ylang Ylang III - Commoro
Sigma Aldrich - USA
Cananga Oil
Ylang Ylang Oil
Ylang Ylang Oil I
Ylang Ylang Oil II
Ylang Ylang Oil III
Sovimpex - France
Cananga
Ylangs - Comores
Ylangs - Madagascar
Cananga Oil
Ylang Ylang Oil
Ylang Ylang # 3 Pure
Ylang Ylang Extra ONC
Ylang Ylang Oil
540
Glen O. Brechbill
Asia
Indonesia
Ylang Ylang
Cananga Indonesian
Ylang
Ultra International Limited - India
Ylang Ylang
Cananga Java Native FCC
Ylang Ylang Bourbon
Ylang Ylang Bourbon First
Ylang Ylang Bourbon Second
Ylang Ylan Bourbon Third
Ylang Ylang Extra
Cananga Oil
Ylang Ylang Oil I
Ylang Ylang Oil II
Ylang Ylang Oil III
Ventos Enterprises Ltd. - U.K.
Cananga Oil
Ylang Ylang Oil
Vigon International, Inc. - USA
Ylang III
Ylang Synthetic
W & W Australia Pty - Aust.
Ylang Ylang Oil
Walsh, John D., Co. Inc. - USA
Ylang Oil, Extra
Ylang Oil, I
Ylang Oil, II
Ylang Oil, III
Cananga Oil
Ylang Ylang
541
Ylang Ylang Notes
Glen O. Brechbill
Cananga Decolorized Oil Is a sweet floral balsamic quite diffusive odor. Woody notes spring
forth as an initial impression. Has a fresh floral background that
can be quite intoxicating. Free from the dark natural color.
Cananga Oil Java Sweet and floral, ylang-ylang oil, jasmin.
Methyl Para Cresol Sharp and sweet, dilution - ylang, hyacinth and wall flower.
Para Cresyl Methyl Floral odor of wall flower, and ylang-ylang.
Ylang Abs. Intensely sweet floral very diffusive odor truly reminiscent.
Ylang Augaflor 28 This warm, sweet, floral specialty has the ability to turn an ordinary
perfume into a well-founded extravaganza. Blends well with previous
Ylang. Should not be used in place of, but to compliment.
Ylang Augaflor 31 This warm, sweet floral heady specialty has all the characteristics
of a high grade Ylang. It has the harsh top note, quickly followed
by the heady aromas expected and used in high grade perfumes.
Ylang Extra Oil Floral and intensely sweet odor.
Ylang Extra Oliffac P Enables broad usage of the fine top note ylang grades.
Ylang Givco 225 Is the economical reconstitution of the essential oil. Intensely, floral, powerful,
balsamic and spicy, it reflects all the typical odor characteristics of ylang-ylang
oil. The creamy-sweet and spice parts of the top note are nice balanced and
allow the use of Ylang Givco 225 as a replacement of ylang ylang oil in many
applications. This cost effective Ylang Ylang blends well in all type of floral
compounds, especially in so called "white floral" bouquet such as jasmin,
magnolia, muguet, tuberose.
542
Ylang Oliffac Extra An economical alternative to the finer grades of ylang oils.
Ylang Oliffac 597 An economical simulation of the ylang odor.
Ylang Oliffac Standard A good general purpose substitute for the ylang flower character.
Ylang 1 Oil In between quality or fraction.
Ylang 3 Oil Sweet floral and balsamic woody odor.
Ylang 299 K Powerful, floral and intensely sweet odor.
Ylang Ylang Otherwise known as the flower of flowers of "the poor man's jasmine".
Alleged to possess aphrodisiac qualities. A common addition to
"love-potions."
Ylang Ylang Abs. Intensely sweet floral, and very diffusive odor.
Ylang Ylang Complete Powerful, and intensely sweet, but also soft balsamic floral odor.
Ylang Ylang Concrete Rich sweet and intensely floral.
Ylang Ylang Oil Sweet floral and intensely floral.
Ylang Ylang Oil Rich sweet and intensely floral with outstanding tenacity.
Ylang Ylang Oil Extra Very powerful floral intensely sweet of cresylic benzoate type.
Ylang Ylang " First " In between quality generally a mixture of different fractions.
Ylang Ylang " Second " In between quality generally a mixture of different fractions.
Ylang Ylang " Third " Sweet floral and balsamic woody odor tenacious sweet.
543
3 Amberonne
46 Coumarina
9 Vanilline
.1 Exaltolide
9 Benzyl Alcohol
3 Roseone
6 Methyl Benzoate
1 Iso - Rosal 38 C
4 Ionone Alpha 60
7 Ethyl, Vanillin
3 Aquanol
26 Carnation Substitute
5 Hidroxcitronelal
18 Lilial
3 Methyl Dianthanol
4 Cananga Macrophylla - Cananga J.
2 Ionone Alpha 60
24 Galaxolide 50
.1 Alcohol C - 9
Glen O. Brechbill
Ylang Ylang # 1a
5 Citronellol 850
3 Undecatriene
1 Florantone T
46 Geraniol Prime
9 Hidroxicitronelal
3 Acetate de Geranyle FCC
3 Jasmonyl Acetate
.1 Tea Essence
2 Eugenyl Acetate
3 Parmanyl
6 Aldehyde C - 14
3 Eugenyl Acetate
1 Petilyn
4 Fleuramone
.2 Nerol Coeur
1 Iso Rose
1,000
534
Ylang Ylang # 1b
5 Citronellol Prime
3 Folione
1 Florantone T
46 Geraniol Prime
9 Hidroxicitronelal
5 Jasmone
.1 Tea Essence
4 alpha-Ionone Extra
2 Eugenyl Acetate
1 Vanilla Alcohol
6 Aldehyde C - 14
3 Eugenyl Acetate
1 Petilyn
4 Fleuramone
.2 Nerol Coeur
1 Iso Rose
1,000
3 Rionyl
46 CouMarin
9 Vanillin
.1 Exaltolide
4 Sandelwood Oliffac
9 Benzyl Alcohol
3 Roseone
6 Methyl Benzoate
1 Iso - Rosal 38 E
7 Ethyl, Vanillin
3 Fruitaleur
5 Hidroxcitronelal
18 Lilial
3 Methyl Dianthanol
2 Ionone Alpha 60
24 Galaxolide 50
.1 Alcohol C - 9
545
Glen O. Brechbill
Ylang Ylang # 1c
5 Citronellol 850
3 Undecatriene
46 Geraniol 60
3 Coriander Oil - Russia
9 Hidroxicitronelal
3 Jasmonyl Acetate
.1 Tea Essence
2 Eugenyl Acetate
3 Parmanyl
6 Aldehyde C - 14
3 Eugenyl Acetate
1 Petilyn
4 Fleuramone
.2 Nerol Coeur
1 Alpha Damascone
1,000
46 Coumarina
9 Vanilline
.1 Exaltolide
9 Benzyl Alcohol
3 Roseone
6 Methyl Benzoate
8 Bacdanol
1 Iso Rose
4 Methyl Benzoate
7 Ethyl, Vanillin
2 Aquanol
5 Laurinal
18 Lilial
307 Propylene Glicol
3 Methyl Dianthanol
4 Cananga, Java
57 MDJ Super
5 Cassifix
.1 Alcohol C - 9
7 Irisone Bis
546
Ylang Ylang # 1d
5 Citronellol 850
3 Undecatriene
1 Florantone T
46 Geraniol 60
9 Hidroxicitronelal
3 Jasmonyl Acetate
1 Anisyl Alcohol
4 Myraldyl Acetate
2 Eugenyl Acetate
3 alpha Ionone
6 Aldehyde C - 14
3 Eugenyl Acetate
1 Scennal
4 Fleuramone
.2 Nerol Coeur
1 Rose Acetate ( Rose Crystals )
1,000
3 Amberonne
46 Coumarina
9 Vanilline
.1 Vanilla Tincture 20 !
4 Sandalore
9 Benzyl Alcohol
3 Roseone
6 Methyl Benzoate
1 Iso - Rosal 38 C
4 Ionone Alpha 60
7 Ethyl, Vanillin
3 Aquanol
26 Eugenol
5 Hidroxcitronelal
18 Lioral
3 Bisabolene
2 y - Irone
4 Cashmeran
.1 Alcohol C - 9
7 Methyl Ionone
547
Glen O. Brechbill
Ylang Ylang # 1e
5 Citronellol 850
3 2, 6 Nonadien 1 ol - Bedoukian
1 Florantone T
46 Geraniol Prime
9 Hidroxicitronelal
3 Jasmonyl Acetate
.1 Rose Damascenia Abs.
2 Eugenyl Acetate
3 Parmanyl
6 Aldehyde C - 14
3 Eugenyl Acetate
1 Petilyn
4 Florosia
.2 Nerol Coeur
1 Iso Rose
1,000
3 Amberlyn
46 Helional
9 Vanilline
.1 Musk Abs. CLess
37 Galaxolide 50 in DEP
9 Benzyl Alcohol
3 Roseone
6 Methyl Benzoate
1 Iso - Rosal 38 C
4 Ionone Alpha 60
7 Ethyl, Vanillin
3 MelonOrg
5 Hidroxcitronelal
8 Lilial
3 Methyl Dianthanol
2 Iso Jasmone
55 Acetato Benzila
5 Cassis Fragrance
.1 Alcohol C - 9
548
Ylang Ylang # 2a
22 Ylang Ylang III Madagascar
5 Eugenol
38 Linalyl Acetate
1 Rose Acetate
3 Ionone Alpha
6 Cassis Bourgenons
2 Ylang Oil Extra
3 Persicol SA
3 Wardia
25 Linalol 99 %
4 Neroli Artessence
6 Myraldyl Acetate
3 Irisone Bis
2 Phyllos
5 Orange Oil Valencia ( C.P. )
1,000
14 Sandela
5 Ambrox DL
3 Rose Crystals
7 Vanilys - Pfw
49 Musk 50 DPG
3 Amborate
8 Galaxolide 50
4 Vanilys - Pfw
2 Damascenone
51 Benzyl Acetate
3 Rose Crystals
26 Eugenol
1 Iso Jasmone
5 Galbanum Givco 51
6 Lyral
9 Rose Substitute
6 Jacinthaflor
2 Jasmone
1 Damascenia 185 SA
38 Geraniol 100 %
8 Hysimal
.1 Alcohol C - 9
549
Glen O. Brechbill
14 Sandalwood Oil - Australia, India
5 Ambrox DL
3 Rose Crystals
7 Vanilys - Pfw
49 Musk 50 DPG
3 Cedrenyl Acetate
8 Galaxolide 50
4 Vanilys - Pfw
2 Beta Damascone
51 Benzyl Acetate
3 Rose Crystals
118 Hydroxycitronellal Pur 55
26 Eugenol ex Clove Bud Oil - Indesso
1 Jasilyn
5 Galbanodor
6 Lyral
3 Geranyl Linalol
11 Rose Substitute
6 Jacinthaflor
2 Iridales
1 Damascenia 185 SA
38 Geraniol 100 %
8 Troenan
.1 Alcohol C - 9
1 Iso Eugenol
38 Linalyl Acetate
1 Apritone
3 alpha - Ionone
6 Cassis Bourgenons
2 Ylang Oil Extra
3 Persicol SA
3 Wardia
25 Linalol 99 %
4 Neroli Artessence
6 Myraldyl Acetate
4 Irisone Bis
2 Rosa Centifolia Oil - France
1,000
Ylang Ylang # 2b
550
5 Eugenol
38 Linalyl Acetate
1 Rose Acetate
3 Ionone Alpha
6 Cassis Bourgenons
2 Ylang Oil Extra
3 Persicol SA
3 Wardia
25 Linalol 99 %
4 Neroli Artessence
3 Irisone Bis
2 Phyllos
1,000
5 Amberfleur
3 Rose Crystals
7 Vanilys - Pfw
49 Musk 50 DPG
3 Amborate
8 Galaxolide 50
4 Vanilys - Pfw
2 Bois - De - Rose Oil
51 Benzyl Acetate
3 Rose Crystals
26 Eugenol
1 Damascenone Alfa
5 Galbanum Coeur
6 Lyral
9 Rose Substitute
5 Cananga Java
6 Troenan
2 Cis Jasmone
1 Acetato Geranila
34 Geraniol 100 %
8 Hysimal
.1 Alcohol C - 10
Ylang Ylang # 2c
551
Glen O. Brechbill
5 Eugenol
38 Linalyl Acetate
3 Citronellol Prime
1 Rose Oil - Bulgaria
3 Ionone Alpha
9 Wardia Substitute
6 Cassis Bourgenons
2 Ylang Oil Extra
3 ( C - 14 )
6 Wardia
25 Linalol 99 %
4 Petitgrain Oil
6 Myraldyl Acetate
3 Irisone Bis
2 Phyllos
1,000
Ylang Ylang # 2d
15 Sandalwood Orpur Italy - Givaudan
5 Amberonne
2 Benzophenone
7 Vanilys - Pfw
49 Musk Clear
3 Amborate
8 Galaxolide 50
4 Vanilys - Pfw
2 Alpha Damascone
51 Benzyl Acetate
3 Rose Crystals
26 Eugenol
1 Benzyl Acetate
5 Galbanum Givco 51
6 Lyral
9 Rose Substitute
6 Jacinthaflor
2 Jasilyn
1 Damascenia 185 SA
42 Geraniol 100 %
8 Hidroxicitronelal
.1 Alcohol C - 9
552
5 Eugenol
7 Iridales
38 Linalyl Acetate
3 Citronellol 80
1 Rose Acetate
3 Ionone Alpha
6 Cassis Bourgenons
2 Ylang - Ylang Oils
3 Persicol SA
3 Wardia
25 Linalol 99 %
4 Orangeflor
6 Myraldyl Acetate
3 Irisone Bis
2 Phyllos
5 Orange Oil ( Cold Pressed ) - USA
1,000
Ylang Ylang # 2e
14 Sandela
5 Ambrox DL
3 Rose Crystals
7 Vanilys - Pfw
45 Musk 50 DPG
3 Ylang Ylang 3
8 Cashmeran
4 Vanilys - Pfw
2 Damascenone
51 Benzyl Acetate
3 Rose Crystals
121 Muguet Base
26 Eugenol
1 Iso Jasmone
5 Galbanum Givco 51
6 Lyral
9 Rose Substitute
6 Jacinthaflor
2 Jasmone
1 Damascenia 185 SA
38 Geraniol 100 %
8 Hysimal
1 Hidroxicitronelaldimethylacetal
.1 Alcohol C - 9
553
Glen O. Brechbill
Ylang Ylang # 3a
2 Nerol
.1 Polarose
24 Linalol
3 Nepalva
4 Cetonal V
20 Geraniol Fine
11 Ylang Givco 225
4 Iso Eugenol Tech
3 Nerol
1 Floranton T
4 Wardia
1 Rose Acetate
2 Ylang Odorata Oil
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
35 Linalyl Acetate
.3 Bourgenal
1,000
10 Benzylalcohol
8 Sandela T
6 Vanillin
5 Cashmeran
3 Fleuramone
5 Methyl Benzoate
1 Benzophenone
1 Iritone V
6 Cinnamic Alcohol
28 Eugenol
53 Hedione
.1 Alcohol C - 9
1 Beta Damascone
2 Vanilla Resinoid
8 y - Irone
16 Liral
5 Citronellol 850
554
Ylang Ylang # 3b
.1 Polarose
24 Linalol
3 Cananga Java
4 Ionone Alpha 60
22 Geraniol Fine
11 Ylang Ylang Petals
4 Iso Eugenol Tech
3 Nerol
1 Orange Oil Bitter ( W.I. )
4 Wardia
1 Rose Acetate
2 Ylang Odorata Oil
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
35 Linalyl Acetate
.3 Bourgenal
1,000
10 Hercolyn - D
19 Musk R - 1
8 Sandalore
6 Vanillin
5 Musk T
3 Fleuramone
5 Methyl Benzoate
1 Benzophenone
1 Iridales
6 Cinnamic Alcohol
28 Eugenol
53 MDJ Super
.1 Alcohol C - 9
1 Damascone Total
2 Vanilla Resinoid
16 Hydrofix R
5 Citronellol Prime
555
Glen O. Brechbill
Ylang Ylang # 3c
2 Nerol
.1 Polarose
7 Musc Emeressence
24 Linalol Pur
3 Nepalva
4 Cetonal V
20 Geraniol Fine
11 Ylang Givco 225
4 Iso Eugenol Tech
3 Nerol
2 Lyral
1 Floranton T
4 Wardia
1 Rose Acetate
2 Ylang Odorata Oil
2 Bourgenal
1 Rosa
1 Farnesyl Acetate
35 Linalyl Acetate
.3 Bourgenal
1,000
.1 Civet Powder # 1d
10 Hercolin - D
46 Coumarin
19 Serenolide
8 Amyris Oil W.I.
6 Vanillin
5 Cashmeran
3 Fleuramone
7 Methyl Benzoate
1 Benzophenone
1 Iritone V
6 Cinnamic Alcohol
28 Eugenol
53 Hedione
.1 Alcohol C - 9
1 Anisyl Alcohol
2 Vanilla Resinoid
8 Irone Alpha
16 Liral
5 Citronellol Nat.
556
Ylang Ylang # 3d
2 Nerol
.1 Rosalva
24 Linalol
3 Nepalva
4 Iris Beurre Oil
.1 Violiff
26 Geraniol Prime
11 Ylang Givco 236
3 Iso Eugenol ( Dianthanol )
3 Nerol
1 Floranton T
4 Ylang Oil Extra
1 Rose Acetate
2 Ylang Odorata Oil
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
36 Linalyl Acetate
.3 Bourgenal
1,000
10 Alcool Benzila
8 Sandela T
6 Vanillin
5 Cashmeran
3 Fleuramone
15 Hydroxy ciol
5 Methyl Benzoate
1 Benzophenone
1 Irisone Bis
6 Cinnamic Alcohol
28 Eugenol
53 Benzyl Acetate
.1 Alcohol C - 9
1 Beta Damascone
2 Vanilla Resinoid
8 y - Irone
5 Citronellol FCC
557
Glen O. Brechbill
Ylang Ylang # 3e
.1 Polarose
24 Linalol
4 Cetonal V
20 Geraniol Fine
11 Ylang Givco 225
4 Eugenyl Acetate
3 Nerol
1 Floranton T
4 Wardia
1 Rose Acetate
2 Ylang Odorata Oil
2 Bourgenal
1 Iso Rose
1 Farnesyl Acetate
35 Linalyl Acetate
.3 Bourgenal
1,000
.1 Exaltolide
1 Cedrol Crystals
8 Sandiff
6 Vanillin
5 Cashmeran
3 Fleuramone
5 Methyl Benzoate
1 Benzophenone
1 Ionone Alpha Coeur
6 Cinnamic Alcohol
28 Eugenol
53 MDJ
.1 Alcohol C - 9
62 Ionone Alpha 60
1 Beta Damascone
2 Vanilla Resinoid
8 y - Irone
16 Liral
5 Citronellol Pure
558
Ylang Ylang # 4a
.7 Cananga Java
4 Aubepine
1 Synabran
2 Iris Beurre Oil
1 Ivyal
1 Tubereuse 181
1 Iso Rose
2 Meranol
4 Cinnamalva
.1 Leaf Alcohol
1 Carnaline
1 Bourgenal
18 Linalyl Acetate
1,000
49 Coumarin
1 Ambergris
37 Musk 50 DPG
6 Iso & Super
7 Vanilla Resinoid
2 Helioforte
1 Heliotropine
8 Mugentanol
17 Musk 50 in DPG
5 Iso Jasmone
7 Vanillinethyl
2 Methyl Benzoate
1 Ylang Oils
3 Citronellol
28 Eugenol / Clove
7 Petilyn
.1 Alcohol C - 9
22 Super Cepionate
20 Geraniol 970
3 Jasmylone 99
12 Ionone Alpha 60
7 Alcool Phenyl Etil
4 Boisnal
25 Linalol 98 %
559
Glen O. Brechbill
Ylang Ylang # 4b
.7 Mugone S 207 M
4 Anisicaldehyde
.1 Folione
1 Vanilla Alcohol
11 Geraniol For Soap AB 2015
2 Iris Beurre Oil
1 Ivyal
1 Tubereuse 181
1 Iso Rose
2 Meranol
4 Cinnamalva
.1 Leaf Alcohol
1 Carnaline
1 Bourgenal
18 Linalyl Acetate
1,000
49 Coumarin
1 Amberfleur
37 Musk 50 DPG
6 Iso & Super
6 Vanilla Resinoid
2 Benzyl Salicylate 98 % - Chine
1 Bisabolene
8 Mugentanol
17 Musk 50 in DPG
5 Iso Jasmone
3 Vanillinethyl
2 Methyl Benzoate
1 Cananga Oil Java
3 Citronellol
28 Eugenol / Clove
7 Petilyn
.1 Alcohol C - 9
22 Super Cepionate
20 Geraniol 970
3 Methyl Jasmonate
12 Ionone Alpha Pure
4 Boisnal
25 Linalol 99 %
560
Ylang Ylang # 4c
.6 Ylang Ylang III
4 Aubepine
.1 Neofolione
1 Synabran
2 Iris Beurre Oil
1 Ivyal
1 Roseiff - IFF
1 Iso Rose
2 Meranol
4 Cinnamalva
.1 Leaf Alcohol
2 Isoeugenol ( Carnation ) Dianthanol
1 Bourgenal
18 Linalylacetate
1,000
49 Coumarin
37 Musk 50 DPG
6 Iso & Super
7 Vanilla Resinoid
2 Helioforte
1 Heliotropine
8 Meijiff
17 Musk 50 in DPG
5 Iso Jasmone
7 Ethyl Vanillin
2 Methyl Benzoate
.1 Para Cresyl Redistilled
3 Citronellol
7 Petilyn
.1 Alcohol C - 9
22 Super Cepionate
20 Geraniol 970
3 Jasmone
12 Ionone Alpha
7 Alcool Phenyl Ethyl
4 Ivyal
25 Linalool
561
Glen O. Brechbill
Ylang Ylang # 4d
.7 Cananga Java
4 Aubepine
1 Stemone
1 Ivyal
1 Tubereuse 181
1 Iso Rose
2 Meranol
4 Cinnamalva
.1 Leaf Alcohol
1 Carnaline
1 Meranol
1,000
5 Sandalwood Oil New Caladonia
49 Coumarina - Lluche ( Spain )
1 Rionyl
37 Musk 50 DPG
6 Iso & Super
7 Vanilla Resinoid
2 Lyrame
1 Heliotropine
8 Mugentanol
17 Musk 50 in DPG
5 MDj
7 Vanillinethyl
2 Methyl Benzoate
1 Ylang Oils
3 Citronellol
28 Carnation Base
7 Petilyn
.1 Alcohol C - 9
22 Cepionate
20 Geraniol 970
3 Jasmylone 99
12 Ionone Alpha 60
7 Alcool Phenyl Etil
4 Mallow
25 Linalool
562
Ylang Ylang # 4e
.7 Cananga Java
4 Aubepine
.1 Folione
1 Synabran
2 Iris Beurre Oil
1 Ivyal
1 Tubereuse 181
1 Iso Rose
2 Meranol
4 Cinnamalva
.1 Leaf Alcohol
1 Carnaline
1 Bourgenal
18 Linalyl Acetate
1,000
5 Sandalore
49 Coumarin
1 Ambergris
37 Musk 50 DPG
6 Iso & Super
7 Vanisal
2 Helioforte
1 Heliotropine
8 Mugentanol
17 Musk NC - A
5 Iso Jasmone
7 Vanillinethyl
2 Methyl Benzoate
3 Ylang Ylang Extra
1 Citronellol 98 %
28 Eugenol / Clove
7 Petilyn
.1 Anisyl Propanol
22 Benzyl Acetate
20 Geraniol 970
3 Jasmylone 99
12 Ionone Alpha 60
4 Boisnal
1 Cananga Java - Indonesia - Fritzsche
563
Glen O. Brechbill
Ylang Ylang # 5a
.2 Alcohol C - 9
.1 Violiff
2 Eugenyl Acetate
1 y - Irone
3 Iridales
4 Wardia
.4 Vanillyl Alcohol
4 Nerol Petals
5 Iritone V
.1 Florymoss
24 Linalyl Acetate
1 Lindenol
1,000
11 Benzyl Benzoate
8 Amyris Wood Oil
.1 Anisyl Alcohol
5 Heliotropine
6 Sandalore
9 Vanilline
.1 Polarose
10 Hedione
3 Petilyn
62 Benzylacetate
107 Muguet Base
25 Geraniol 60
8 Laurinal
1 Rosone
4 Hidroxicitronelal
21 Eugenol
6 Di Methyl Octanol
4 Lyrame - IFF
1 Iso Rose
2 Irisone Bis
13 Citronellol Pure
1 Jasmonyl Acetate
33 Linalol S 97
2 Mugone S 207 M
3 Lily Aldehyde
7 Orange Flor Deco
564
Ylang Ylang # 5b
.2 Alcohol C - 9
.1 Violiff
2 Eugenyl Acetate
1 y - Irone
3 Iris Beurre Oil
4 Wardia
.4 Vanillyl Alcohol
4 Nerol
5 Vioris
.1 Florymoss
24 Linalyl Acetate
1 Syringa
1,000
11 Benzyl Benzoate
8 Amyris Wood Oil
.1 Anisyl Alcohol
5 Heliotropine
6 Sandalore
9 Vanilline
.1 Polarose
10 Jasmone
3 Petilyn
62 Benzylacetate
25 Geraniol 60
8 Laurinal
1 Rosone
4 Hidroxicitronelal
21 Eugenol
6 Di Methyl Octanol
4 Lyrame - IFF
1 Iso Rose
2 Irisone Bis
13 Citronellol Pure
1 Ylang Extra Comoros
33 Linalol
2 Mugone S 207 M
3 Lyral
7 Orange Flor Deco
565
Glen O. Brechbill
Ylang Ylang # 5c
.2 Alcohol C - 9
.1 Undecavertol
2 Eugenyl Acetate
1 y - Irone
4 Wardia
.4 Vanillyl Alcohol
3 Nerol Petals
5 Iritone V
.1 Florymoss
25 Linalyl Acetate
1 Lindenol
1,000
8 Sandal Amiris
.1 Anisyl Alcohol
5 Heliotropine
6 Sandalore
9 Vanillin
.1 Rosalva
10 Hedione
3 Petilyn
62 Benzylacetate
107 Muguet Base
25 Geraniol Pur
8 Laurinal
1 Rosone
4 Hidroxicitronelal
21 Eugenol
6 Di Methyl Octanol
2 Lifetaal
1 Iso Rose
2 Irisone Bis
.1 Anisyl Alcohol
15 Citronellol 60
1 Jasmone
33 Linalol
2 Mugone S 207 M
3 Lily Aldehyde
7 Orange Flor Deco
566
Ylang Ylang # 5d
.2 Violet Leaves
6 Galbanum - Givco ( Iran ) Orpur
.1 Violiff
3 Myraldyl Acetate
2 Carnaline ( Iso - Eugenol )
1 y - Irone
3 Iridales
4 Wardia
.4 Vanillyl Alcohol
4 Nerol
.1 Florymoss
24 Linalyl Acetate
1 Lindenol
1,000
11 Benzyl Benzoate
8 Amyris Wood Oil
.1 Anisyl Alcohol
4 Heliotropine
6 Sandalore
9 Vanilline
.1 Polarose
10 Hedione
3 Petilyn
108 Muguet Base
25 Geraniol 60
8 Laurinal
1 Rosone
4 Hidroxicitronelal
21 Eugenol
9 Citronellol Prime
4 Lyrame - IFF
1 Iso Rose
2 Irisone Bis
13 Rose Base # 60
1 Iso Jasmone
33 Linalol S 97
2 Ylang Oils
1 Hidroxicitronelal
7 Aurantiol
567
Glen O. Brechbill
Ylang Ylang # 5e
.2 Viola Odorata L.
.1 Violiff
2 Eugenyl Acetate
1 y - Irone
3 Iridales
4 Wardia
2 Iso Moghanol
.4 Vanillyl Alcohol
4 Nerol Petals
5 Iritone V
.1 Florymoss
25 Linalyl Acetate
1 Lindenol
1,000
11 Benzyl Benzoate
8 Amyris Wood Oil
.1 Anisyl Alcohol
5 Heliotropine
53 Serenolide
6 Santalol
9 Vanilline
.1 Polarose
10 Hedione
3 Petilyn
62 Benzylacetate
107 Muguet Base
25 Geraniol 60
8 Laurinal
1 Bisabolene
4 Hidroxicitronelal
6 Di Methyl Octanol
4 Lyrame - IFF
2 Ivyal
2 Givescone
.1 Vanilla Resinoid
12 Citronellol Pure
1 Vioris
33 Linalol S 97
2 Mugone S 207 M
3 Lily Aldehyde
568
Ylang Ylang # 6a
26 Geraniol 970
1 Caryophelline
2 Cassifix
1 Sandolen
5 Muguet Aldehyde
3 Iso E Super
1 Green Key Base # 51
27 Linalyl Acetate
5 Nerol
7 Myraldyl Acetate
1 Ylang Ylang III Petals
4 Iso Eugenol
3 Hysimal
1,000
.1 Musk Abs CLess
49 Coumane
1 Florsantal
2 Rose Crystals
3 Muskylein
54 Benzyl Acetate
4 Alicate
2 Heliotropine
5 Vanillinethyl
14 Hedione
1 Iso Mohaganol
3 y - Irone
4 Methyl Benzoate
5 Gardenia Fleuriff
1 Jasmonyl Acetate
3 Cananga Oil Java
.1 Ylang, Complete
.1 Ylang Ylang Abs. - Comoros
569
Glen O. Brechbill
Ylang Ylang # 6b
26 Geraniol 970
1 Pepperwood - Givaudan
2 Stemone
1 Sandolen
5 Muguet Aldehyde
3 Iso E Super
27 Linalyl Acetate
5 Nerol
7 Myraldyl Acetate
1 Ylang Ylang III Petals
4 Rhodiascent
3 Hysimal
1,000
.1 Musk Abs CLess
49 Coumane
39 Tonalid II
1 Florsantal
2 Rose Crystals
3 Vanilys - Pfw
4 Santaliff
4 Alicate
2 Heliotropine
5 Vanillinethyl
14 Hedione
25 Eugenol ( Substitute ) - Carnation
1 Sanjinol
3 y - Irone
4 Methyl Benzoate
5 Gardenia Fleuriff
2 Citronellol 60
1 Iso Jasmone
3 Cananga Oil Java
.1 Ylang, Complete
5 Cassione
3 Orange Sweet
570
Ylang Ylang # 6c
26 Geraniol 970
1 Caryophelline
1 Cassifix
1 Sandolen
5 Muguet Aldehyde
3 Santal Coeur
27 Linalyl Acetate
5 Geranium Oil Pure
7 Myraldyl Acetate
1 Ylang Ylang I
4 Iso Eugenol
3 Jasmone
1,000
.1 Musk Abs CLess
7 Vanillin
1 Florsantal
1 Roseone
3 Vanilline
54 Benzyl Acetate
4 Sandal Oliffac
4 Alicate
2 Heliotropine
5 Vanillinethyl
25 Eugenol
1 Iso Mohaganol
3 y - Irone
4 Methyl Benzoate
1 Methyl Benzoate
3 Geranyl Acetate 60
3 Cananga Oil, Indonesia
.1 Ylang Oils
571
Glen O. Brechbill
Ylang Ylang # 6d
26 Geraniol 970
1 Ghost Lily - Givaudan
1 Santaliff
5 Muguet Aldehyde
3 Kephalis
27 Linalyl Acetate
5 Petilyn
7 Myraldyl Acetate
1 Ylang Ylang
4 Iso Eugenol
3 Hydrofix R
1,000
.1 Musk 15
49 Rhodiascent
1 Florsantal
2 Rosa Crystals
3 Muskylein
54 Benzyl Acetate
4 Velvione
4 Alicate
2 Methyl Benzoate
5 Vanillinethyl
14 Acetate Bencila
1 Givescone
3 y - Irone
4 Methyl Benzoate
5 Gardenia Fleuriff
1 Thesaron
3 Cananga Oil Java
.1 Ylang
3 Orange
572
Ylang Ylang # 6e
26 Geraniol 60
1 Bisabolene
2 Cassifix
1 Sandolen
5 Muguet Aldehyde
1 Coriander Oil
3 Iso E Super
7 Myraldyl Acetate
1 Ylang Ylang III Coeur
4 Iso Eugenol
3 Acetate - De Benzyle
1,000
.1 Velvione
7 Vanilla Resinoid
49 Coumane
39 Traseolide - Quest International
1 Florsantal
2 Rose Crystals
3 Muskylein
54 Methyl Di Hydro Jasmonate - MDJ
4 Osyrol
4 Alicate
2 Heliotropine
5 Ethylvanillin
14 Hedione
1 Sandalore
3 Benteine
4 Methyl Benzoate
5 Gardenia Synthetic
1 iso - Jasmone
3 Geranyl Acetate
3 Cananga Oil Java
.1 Ylang, Complete
3 Orange Oil of Italy - C.C.C.
573
Glen O. Brechbill
Ylang Ylang # 7a
11 Geraniol ex Hydroxycitronellal
8 MelonOrg
1 Di Methyl Octanol
3 Neroli Oliffac
5 Florantone T
30 Geraniol Prime
29 Linalol
.1 Violiff
1 Jasmonyl Acetate
4 Geranyl Acetate
2 Nerol
.1 Leaf Alcohol
3 Ionone Alpha
6 Orangeflor
1 Methyl Benzoate
2 Kir Base # 9741
1,000
4 Musk Emeressence
9 Benzyl Benzoate
5 Musk Clear
1 Rose Crystals
69 Benzylacetate
.1 Anisyl Alcohol
7 MDJ Super
1 Ethyl Vanillin
.2 Alcohol C - 09
12 Santalox T Neat
5 Cashmeran
1 Rose Crystals
23 Eugenol / Clove
2 Magnol
6 Pomarose
4 Fleuramone
574
Ylang Ylang # 7b
8 MelonOrg
1 Di Methyl Octanol
3 Neroli Oliffac
5 Florantone T
30 Geraniol 60
29 Linalol
.1 Violiff
1 Jasmonyl Acetate
4 Nerol Pure
2 Nerol
.1 Leaf Alcohol
6 Orangeflor
1 Methyl Benzoate
2 Kir Base # 9741
1,000
4 Musk R - 1
9 Benzyl Benzoate
5 Musk Clear
1 Rose Crystals
69 Benzylacetate
.1 Anisyl Alcohol
1 Ethyl Vanillin
.2 Alcohol C - 09
12 Sandanol
5 Cashmeran
1 Rose Crystals
7 Citronellol Prime
6 Pomarose
4 Florosia
575
Glen O. Brechbill
Ylang Ylang # 7c
8 Fruitaleur
1 Di Methyl Octanol
3 Neroli Oliffac
5 Florantone T
30 Geraniol Prime
29 Linalol
.1 Folione
1 Iso Jasmon
4 Geranyl Acetate
2 Nerol
.1 Leaf Alcohol
6 Orangeflor
1 Methyl Benzoate
3 Eugenyl Acetate
2 Kir Base # 9741
1,000
4 Musk Emeressence
9 Benzyl Benzoate
17 Sandela
5 Musk Clear
1 Rose Crystals
4 Ionone
.1 Anisyl Alcohol
7 MDJ Super
1 Ethyl Vanillin
.2 Vioris
5 Cashmeran
1 Benzophenone
23 Eugenol / Clove
2 Magnol
6 Benteine
4 Ylang Oil Extra
576
Ylang Ylang # 7d
11 Geraniol 970
8 Melon Oliffac - IFF
1 iso - Jasmone
3 Neroli Oliffac
5 Florantone T
30 Geraniol Prime
29 Linalol
.1 Violiff
1 Jasmonyl Acetate
4 Geranyl Acetate
3 Iso Rose
.1 ( Stems & Leaves ) - Green
3 Ionone Alpha
6 Orangeflor
1 Methyl Benzoate
3 Iso Eugenol
2 Stemone
35 Ethyl Linalyl Acetate
1,000
7 Vanillys - Pfw
4 Musk Emeressence
9 Benzyl Benzoate
.1 Civet Artificial # 1a
5 Musk Clear
4 Iris Beurre Oil
69 Benzylacetate
.1 Anisyl Alcohol
7 MDJ Super
21 Hydroxicitronelal
1 Ethyl, Vanillin
.2 Alcohol C - 09
12 Santalox T Neat
5 Cashmeran
1 Rose Crystals
23 Eugenol / Clove
2 Aubepine ( Anisque Aldeido )
7 Citronellol 80
6 Irisone Bis
4 Fleuramone
577
Glen O. Brechbill
Ylang Ylang # 7e
8 Apple Oliffac
1 Rhodinol
3 Orange Flower ( Bitter )
5 Florantone T
30 Geraniol Prime
28 Linalool
.1 Undecavertol
1 Jasmonyl Acetate
2 Nerol
.1 Rose Oxide R.
3 Ionone Alpha
6 Aurantiol
2 Methyl Benzoate
2 Kir Base # 9741
35 Linalyl Acetate
1,000
4 Musk Emeressence
9 Benzyl Benzoate
5 Musk Clear
1 Rose Crystals
4 Iridales
.1 Anisyl Alcohol
7 Acetate Benzyle
21 Hydroxyciol
1 Ethyl Vanillin
.2 Alcohol C - 10
12 Santalol
5 Cashmeran
1 Rose Acetate
23 Eugenol / Clove
2 Magnol
4 Anis Aldehyde
4 Fleuramone
578
Ylang Ylang # 8a
.2 Alcohol C - 9
7 Bourgenal
33 Linalol Pur
2 Methoxyycitronellal Q
3 Troenan
.1 Ylang Ylang I Petals
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tubereuse 181
4 Geranyl Acetate
5 Lyrame
1 Wardia
.1 Geraniol 600
3 Nerol Coeur
1,000
47 Rhodiascent - Rhodia ( France )
3 Benzyl Alcohol
.1 Anisyl Alcohol
.1 Civet Ethiopian Paste
32 DEP
1 Damascenone Alpha
31 Benzyl Acetate
5 Iris Beurre Oil
9 Vanilys
2 Cashmeran
3 Iso Jasmone
12 Hedione
2 Methyl Benzoate
5 Citronellol 70 %
3 Helional
36 Geraniol Pure
27 Carnation Base
4 Phenafleur
2 Nerol
1 Carnaline
1 Iso Raldeine 70
.1 Jasmone
579
Glen O. Brechbill
Ylang Ylang # 8b
.2 Alcohol C - 9
7 Bourgenal
33 Linalol Pur
3 Ivyal
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tuberose Oliffac
2 Dianthanol
4 Geranyl Acetate
5 Lyrame
1 Wardia
.1 Geraniol 600
1 Perryfix - Symrise ( Perry Brothers )
3 Lindenol
1,000
47 Coumane
1 Benzoin Resinoid # 5 - Laos
.1 Anisyl Alcohol
32 DEP
1 Damascenone Alpha
31 Benzyl Acetate
9 Vanilys
2 Musk R - 1
12 Hedione
2 Methyl Benzoate
5 Citronellol 70 %
3 Terpineol Prime ( Perfumery Grade )
46 Geraniol Pure
4 Phenafleur
2 Nerol
1 Carnaline
.1 Methyl Jasmonate Pure
580
Ylang Ylang # 8c
.2 Orris Resinoid
7 Bourgenal
33 Linalol Pur
3 Troenan
.1 Ylang Ylang II Petals
1 Meranol
5 Cassis Fragrance
25 Linalyl Acetate
.3 Tubereuse 181
2 Methyl Dianthanol
4 Geranyl Acetate Nat.
5 Lyrame
1 Wardia
.1 Rose Attar
3 Rosaphen
1,000
3 Benzylalcohol
.1 Anisyl Alcohol
32 DEP
1 Beta Damascone
31 Benzyl Acetate
5 Iris Beurre Oil
9 Vanilys
2 Cashmeran
3 Iso Jasmone
12 Hedione
2 Methyl Benzoate
5 Citronellol 70 %
3 Helional
9 Hydroxy Citronellol Dma
36 Geraniol Pure
27 Carnation Base
4 Phenafleur
2 Nerol
1 Jasmin Oil P.g.
1 Iritone V
.1 Methyl Jasmonate Pure
581
Glen O. Brechbill
Ylang Ylang # 8d
.2 Alcohol C - 9
7 Scennal
33 Linalool
3 Muguesia
.1 Ylang Ylang Premiers Comoros
1 Meranol
25 Linalyl Acetate
.3 Rose Oil Turkish
3 Geranyl Acetate
5 Lyrame
.1 Geraniol 600
1 Perryfix - Symrise
2 Phyllos
1,000
3 Benzyl Alcohol
.1 Amberfleur
32 DEP
1 Damascenone Alpha
31 Benzyl Acetate
5 Iris Beurre Oil
9 Vanilline
2 Cashmeran
3 Iso Jasmone
12 Hedione
2 Methyl Benzoate
5 Citronellol 70 %
3 Helional
36 Geraniol Pure
27 Carnation Base
4 Phenafleur
2 Nerol
1 Eugenyl Acetate
1 Iso Raldeine 70
.1 Para Cresyl redistilled
582
Ylang Ylang # 8e
.2 Alcohol C - 9
7 Bourgenal
33 Linalol
3 Troenan
1 Meranol
25 Linalyl Acetate
4 Geranyl Acetate
5 Neo - Geraniol Oil
1 Wardia
.1 Geraniol 600
2 Iso Rose
1,000
3 Benzyl Alcohol
58 Musk T ( Etilene Brassilato )
.1 Anisyl Alcohol
.1 Civet
32 DEP
1 Beta Damascone
31 Benzyl Acetate
5 Iris Beurre Oil
9 Vanilys
2 Cashmeran
111 Muguet ( Lily of the Valley Base )
3 Iso Jasmone
12 Hedione
2 Methyl Benzoate
97 Ionone Alpha
5 Citronellol 70 %
3 Helional
36 Geraniol Pure
4 Cananga Oil Java
2 Nerol
1 Cinnamalva
1 iso - ionone
.1 Jamaica Oil
583
Glen O. Brechbill
Ylang Ylang # 9a
1 Geraniol Prime
4 Jasmonyl Acetate
.1 Vioris
3 Orangeflor
5 Wardia
27 Ethyl Linalool
3 Top Galbanum Oil
4 Muguet Aldehyde
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
9 Linalyl Acetate 99.5 % Pure
1 Florantone T
.1 Galbanum Absolue
.1 Ionone
1 Florosia
3 Bourgenal
1,000
.1 Civetone
10 Benzyl Benzoate
46 Musk 50 DEP
5 Vanillin
11 Sandec Givco
51 Coumane
9 Iso & Super
4 Hydrofix L
51 Hedione
4 Florosia
5 Methyl Benzoate
.1 Anisyl Alcohol
6 Methyl Benzoate
3 Citronellol Nat.
1 Sandalore
9 Lyral
7 Bonorax
3 Iso Jasmone Pure
2 Myraldyl Acetate
3 Muguet Aldehyde
5 Nutmeg, Ceylon
584
Ylang Ylang # 9b
1 Geraniol Prime
.1 Iris Beurre Oil
3 Orangeflor
5 Wardia
27 Ethyl Linalool
3 Top Galbanum Oil
4 Muguet Aldehyde
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
1 Florantone T
.1 Galbanum Absolue
.1 Ionone
1 Florosia
2 Bourgenal
1,000
.1 Civet
10 Hercolyn - D
46 Globanone
5 Vanillin
11 Indisan
51 Coumane
9 Iso & Super
4 Mugone S 207 M
51 Hedione
4 Florosia
5 Methyl Benzoate
53 Benzyl Acetate
.1 Anisyl Alcohol
6 Methyl Benzoate
3 Citronellol Nat.
1 Sandalore
9 Lyral
3 Iso Jasmone Pure
24 Geraniol Nat.
3 Muguet Alcohol
5 Nutmeg, W.I.
585
Glen O. Brechbill
Ylang Ylang # 9c
1 Geraniol Prime
4 Iso Jasmone
.1 alpha - Ionone
3 Orangeflor
5 Wardia
27 Ethyl Linalool
3 Galbanum Coeur
4 Muguet Aldehyde
2 Kir Base # 9741
.4 Methyl Tuberate
1 Orange Flor
3 Palmarosa - India
2 Sensient
1 Florantone T
.1 Galbanum Absolue
.1 Lyrame
1 Florosia
3 Stemone
1,000
.1 Civetone
10 Benzyl Alcohol
46 Musk 50 DEP
5 Vanillin
23 Propionato Bencila - China
51 Coumane
9 Iso & Super
4 Muguet Aldehyde
51 MDJ
4 Florosia
5 Methyl Benzoate
.1 Polarose
6 Methyl Benzoate
3 Citronellol Nat.
1 Sandela
9 Lyral
7 Bonorax
9 Methyl Ionone
3 Iso Jasmone Pure
2 Myraldyl Acetate
3 Hidroxicitronellal
5 Caryophelline Acetate
586
Ylang Ylang # 9d
1 Nerol Petals
4 Jasmonyl Acetate
.1 Vioris
3 Orangeflor
5 Wardia
27 Ethyl Linalool
3 Top Galbanum Oil
4 Muguet Aldehyde
2 Cassis Fragrance
.4 Tubereuse 181
1 Orange Flor
2 Petilyn
.1 Undecavertol
1 Florantone T
.1 Galbanum Absolue
.1 Ionone
1 Florosia
1,000
.1 Ambergris
10 Benzyl Benzoate
46 Musk 50 DEP
5 Vanillin
11 Amyis
51 CouMarin
9 Iso & Super
4 Hydrofix L
1 Heliotropine
51 Benteine
4 Florosia
7 Brahmanol
5 Methyl Benzoate
.1 Anisyl Alcohol
6 Methyl Benzoate
3 Citronellol Nat.
1 Sandalore
9 Lyral
7 Bonorax
9 alpha - Ionone
3 Iso Jasmone Pure
24 Geraniol Coeur
2 Myraldyl Acetate
3 Lioral
5 Bisabolene
587
Glen O. Brechbill
Ylang Ylang # 9e
1 Geraniol Prime
4 Jasmonyl Acetate
.1 Vioris
3 Aurantiol Pure
5 Wardia
27 Linalool
3 Top Galbanum Oil
4 Muguet Aldehyde
2 Stemone
.4 Methyl Tuberate
1 Orange Flor
2 Sensient
1 Florantone T
.1 Galbanum Absolute
1 Florosia
3 Bourgenal
1,000
10 Benzyl Benzoate
46 Musk 50 DEP
5 Vanillin
11 Sandec Givco
51 Coumane
9 Iso & Super
4 Hydrofix L
1 Acetatyl Iso Eugenyl
51 Hedione
15 Jasphene
4 Florosia
7 Iso E Super - IFF
5 Methyl Benzoate
94 Lily of the Valley Base ( Muguet )
.1 Anisyl Alcohol
6 Methyl Benzoate
3 Citronellol - L
1 Sandalore
9 Hidroxicitornellal
7 Bonorax
9 alpha - ionone
3 Iso Jasmone Pure
2 Myraldyl Acetate
3 Muguet Aldehyde
2 Pepperwood
588
Ylang Ylang # 10a
3 Jasilyn
3 Muguet Alcohol
1 Nerol
4 Iris Beurre Oil ( Violet )
3 Hysimal
22 Linalol
.5 Narcisse Abs. - L.M.R. ( IFF ) - Fr.
2 Neroli Oliffac
17 Geraniol 60
4 Geranyl Acetate
6 Cassis Fragrance
2 Iridales
16 Wardia
38 Linalyl Acetate
1 Tangerinol
1 Rosilial
.1 Leaf Alcohol
1 Mugetanol
3 Bergamot Oil C.C.C. - Italy
1,000
44 Rhodiascent
8 Musk Ambrette Subsitute
45 Serenolide
8 Vanillin
7 Hidroxicitronelal
9 Santalex T Neat
48 Benzyl Acetate
1 Beta Damascone
108 Muguet Base
4 Ethyl, Vanillin
7 Methyl Benzoate
2 MDJ
4 Citronellol 850
13 Lioral
1 Nepalva
8 Benzyl Acetate
3 Endanol
10 Methyl Ionone
24 Eugenol
1 Geranium Givco 223
589
Glen O. Brechbill
Ylang Ylang # 10b
3 Iso Jasmone
3 Muguet Alcohol
1 Nerol
3 Hysimal
22 Linalol
.5 Narcisse Abs. - L.M..R. ( IFF ) - Fr.
2 Neroli Oliffac
17 Geraniol 60
4 Geranyl Acetate
6 Cassis Fragrance
2 Iridales
38 Linalyl Acetate
1 Tangerinol
1 Rosilial
.1 Leaf Alcohol
1 Mugetanol
3 Bergamot Givco 72
1,000
8 Etilen Brassilato ( Musk T )
9 Benzyl Salicylate
45 Serenolide
8 Vanillin
7 Hidroxicitronelal
9 Santalex T Neat
48 Benzyl Acetate
1 Beta Damascone
4 Hawthorn
2 Ethyl, Vanillin
7 Methyl Benzoate
2 MDJ
4 Citronellol 850
13 Lioral
1 Nepalva
8 Benzyl Acetate
3 Endanol
10 Ionone Alpha 60
24 Eugenol
590
Ylang Ylang # 10c
3 Jasilyn
3 Muguet Alcohol
1 Nerol
3 Hysimal
22 Linalol ex Bois de Rose Oil
.5 Orris Abs. - L.M.R. ( IFF ) - Fr.
2 Neroli Oliffac
17 Geraniol 60
6 Cassis Fragrance
5 Vetiver Acetate
2 Iridales
16 Wardia
1 Grapefruit Oil ( Pink/White )
38 Linalyl Acetate
1 Mandarin Oil Red - Argentina
1 Rosilial
.1 Leaf Alcohol
1 Mugetanol
3 Bergamont Oil
1,000
8 Traseolide
45 Serenolide
8 Vanillin
7 Hidroxicitronelal
9 Iso & Super
48 Benzyl Acetate
1 Beta Damascone
4 Anis Aldehyde
108 Muguet Base
4 Ethyl, Vanillin
7 Methyl Benzoate
2 MDJ
4 Citronellol 850
13 Lioral
1 Amber Core
8 Cephionate
3 Endanol
25 Rose Base # 60
10 Ionone
24 Eugenol
1 Geranium Oil Morocco
591
Glen O. Brechbill
Ylang Ylang # 10d
1 Iso Jasmone
3 Muguet Alcohol
1 Nerol
3 Hysimal
22 Linalol
.5 Iris Abs. - L.M.R. ( IFF ) - Fr.
1 Suderal LT
17 Geraniol 60
4 Geranyl Acetate
6 Cassis Fragrance
2 Irisone Bis
1 Pamplemousse
38 Linalyl Acetate
1 Vanilla Alcohol
1 Petilyn
.1 Leaf Alcohol
1 Muguet Aldehyde
2 Clementine Oil
1,000
44 Coumarin
8 ( Musk T )
9 Benzyl Salicylate
45 Serenolide
8 Vanilys
7 Hidroxicitronelal
48 Benzyl Acetate
1 Beta Damascone
4 Hawthorn
2 Ethyl Vanillin
7 Methyl Benzoate
2 MDJ
4 Citronellol 850
13 Lioral
1 Nepalva
9 Benzyl Acetate
3 Endanol
10 Ionone Alpha 60
24 Eugenol
592
Ylang Ylang # 10e
3 Iso Rose
3 Muguet Alcohol
1 Nerol
2 Jasmone
22 Linalol
.5 Rose Abs. - L.M.R. ( IFF ) - Fr.
1 Isoeugenol ( Dianthanol )
2 Neroli Oliffac
17 Geraniol 60
4 Geranyl Acetate
6 Cassifix
2 Iridales
37 Linalyl Acetate
1 Tangerinol
1 Muguesia
.1 Leaf Alcohol
1 Neo - Galbanum Oil - Bedoukian
2 Bergamot Oil C.C.C. - Italy
1,000
8 Etilen Brassilato ( Musk T )
9 Benzyl Salicylate
8 Vanillin
7 Lioral
48 Benzyl Acetate
1 Delta Damascone
4 Hawthorn
2 Ethyl, Vanillin
7 Methyl Benzoate
2 MDJ
4 Citronellol 850
13 Lioral
1 Nepalva
8 Benzyl Acetate
3 Endanol
10 Ionone Alpha 60
593
Glen O. Brechbill
594
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History of Chanel
C
HANEL, WORTH AN ESTIMATED
$1.5 BILLION, is one of the
largest companies in the $4 billion
global perfume industry. Chanel
started its success with the intro-
duction of Chanel No. 5 perfume,
which continued to be a top selling
perfume into the 1990s.
Information, Business
Description, History,
Background Information on
Chanel
The company has since diversi-
fied its offerings beyond perfumes
to include designer clothes and
accessories, which are sold in
department stores and Chanel bou-
tiques around the world. The com-
pany boasts a rich history rife with
intrigue, wealth, and scandal.
By the 1990s, the Wertheimer
family of France had maintained
controlling interest in Chanel for
over 100 years. Chanel traces its
roots back to 1870, when Ernest
Wertheimer moved from Alsace,
France, to Paris during the Franco-
Prussian War. Shortly after his
arrival he purchased an interest in a
French theatrical makeup company
called Bourjois. Bourjois success-
fully introduced dry rouge to the
European market in the 1890s.
The company grew rapidly, and
by the early 1920s, Bourjois had
begun making and distributing skin
creams from his Rochester, New
York, plant for cosmetic industry
giant Helena Rubenstien. By the
1920s, Bourjois had become the
largest cosmetics and fragrance
manufacturer in France.
Though the Wertheimer family
would control the finances of
Chanel from its inception, the
impetus and creative vision for the
company came from Coco Chanel.
Theophile Bader, founder of the
successful French department store
chain Galeries Lafayette, intro-
duced Coco Chanel to Ernest
Wertheimer's son, Pierre, in 1922.
Coco Chanel sought financial help
from Pierre Wertheimer to market a
fragrance she had developed in
1921.
An admirer of Coco Chanel,
Pierre Wertheimer wanted to help
her succeed and, two years after
their introduction, he founded
Parfums Chanel to make and sell
her upscale perfume, named Chanel
No. 5. Pierre Wertheimer funded
the venture and retained a 70 per-
cent ownership share in the compa-
ny. Coco Chanel got a modest 10
percent of the company and Bader
received 20 percent.
During the 1920s and 1930s
Parfums Chanel thrived. In addition
to selling the famous Chanel No. 5
perfume, the company eventually
introduced other fragrances. In
1929, Pierre Wertheimer intro-
duced Soir de Paris, a fragrance
aimed at the general public and
marketed through the Bourjois
company. Meanwhile, Coco Chanel
operated a successful fashion stu-
dio near the Louvre museum in
Paris. Under an agreement with the
Wertheimers, she operated her
design business as a separate com-
pany, but sold the clothes under the
Chanel name. Although Parfums
Chanel and Coco Chanel's design
business flourished, the personal
e
597
relationship between Coco Chanel
and Pierre Wertheimer deteriorated.
The friction between Coco
Chanel and the Wertheimer family
stemmed from Coco Chanel's dis-
satisfaction with the terms of their
original agreement. Coco Chanel
resented what she viewed as an
attempt by the Wertheimers to
exploit her talents for their own
gain. She felt she should have a
larger than ten percent portion of
the company, and she argued that
she had unwittingly signed away
the rights to her own name. The
Wertheimers countered her griev-
ances with an argument that
reminded Coco Chanel that the
Wertheimers had funded her ven-
ture in the first place, giving her the
chance to take her creations to mar-
ket, and had made her a relatively
wealthy woman.
In 1935 Chanel hired a Parisian
attorney, Rene de Chambrun, to
renegotiate her agreement with the
Wertheimers. But the Wertheimers
successfully quashed those
attempts. Furthermore, her fashion
business sputtered during the late
1930s and at 56-years-of-age Coco
Chanel closed it when the Nazis
invaded France. Coco Chanel
found a new way to fight the
Wertheimers during World War II.
In fact, the Wertheimers fled the
country in 1940, eventually landing
in the United States. With the pow-
erful Wertheimer family gone,
Coco Chanel went to work trying to
so, in 1947, he settled the dispute
with Coco Chanel, giving her
$400,000 and agreeing to pay her a
two percent royalty on all Chanel
products. He also gave her limited
rights to sell her own perfumes
from Switzerland.
Coco Chanel never made any
more perfume after the agreement.
She gave up the rights to her name
in exchange for a monthly stipend
from the Wertheimers. The settle-
ment paid all of her monthly bills
and kept Coco Chanel and her for-
mer lover, von Dincklage, living in
relatively high style. It appeared as
though aging Coco Chanel would
drop out of the Chanel company
saga.
At 70 years of age in 1954,
Coco Chanel returned to Paris with
the intent of restarting her fashion
studio. She went to Pierre
Wertheimer for advice and money,
and he agreed to finance her plan.
In return for his help, Wertheimer
secured the rights to the Chanel
name for all products that bore it,
not just perfumes. Once more,
Wertheimer's decision paid off
from a business standpoint. Coco
Chanel's fashion lines succeeded in
their own right and had the net
effect of boosting the perfume's
image.
In the late 1950s Wertheimer
bought back the 20 percent of the
company owned by Bader. Thus,
when Coco Chanel died in 1971 at
the age of 87, the Wertheimers
use new occupation regulations to
take control of the Parfums Chanel
partnership. But the savvy
Wertheimers stymied that move,
too. In their absence, they found an
Aryan proxy to run their businesses
and keep Coco Chanel at bay.
During World War II, Coco
Chanel stayed in Paris, moving into
the Hotel Ritz with her new para-
mour, Hans Gunther von
Dincklage, a member of the
German information service.
According to one of Coco Chanel's
biographers, Edmonde Charles-
Roux, she played a role in a secret
peace mission near the end of the
War. Charles-Roux contends that
German intelligence sent Coco
Chanel to visit Winston Churchill
as part of a secret peace mission.
Coco Chanel was arrested immedi-
ately after the Liberation of France
and charged with abetting the
Germans, but Churchill intervened
on her behalf and she was released.
After her release, Coco Chanel
immediately fled France for
Switzerland. Meanwhile, Pierre
Wertheimer returned to Paris to
resume control of his family's hold-
ings. Despite her absence, Coco
Chanel continued her assault on her
former admirer and began manu-
facturing her own line of perfumes.
Feeling that Coco Chanel was
infringing on Parfums Chanel's
business, Pierre Wertheimer want-
ed to protect his legal rights, but
wished to a avoid a court battle, and
598
owned the entire Parfums Chanel
operation, including all rights to the
Chanel name.
Pierre Wertheimer died six
years before Coco Chanel passed
away, putting an end to an intrigu-
ing and curious relationship of
which Parfums Chanel was just
one, albeit pivotal, dynamic. Coco
Chanel's attorney, Rene de
Chambrun, described the relation-
ship as one based on a business-
man's passion for a woman who felt
exploited by him. "Pierre returned
to Paris full of pride and excitement
[after one of his horses won the
1956 English Derby]," Chambrun
recalled in Forbes. "He rushed to
Coco, expecting congratulations
and praise. But she refused to kiss
him. She resented him, you see, all
her life."
Pierre Wertheimer's son,
Jacques, took control of the Chanel
operation in 1965. The 55-year-old
Jacques was perhaps best known
for his managment of the family's
racing stables and horse breeding
operations; Pierre Wertheimer had
established one of the finest racing
stables in the world in 1910, and
Jacques became a renowned horse
breeder. According to some critics,
however, he did not direct as much
attention on the operation of
Chanel.
In 1974, Jacques's 25-year-old
son Alain Wertheimer gained con-
trol of the company. While the
press suggested that the move to
Importantly, Alain Wertheimer
refused to relinquish control of any-
thing related to the family's Chanel
operations. In fact, Chanel remains
one of few companies in the cos-
metic and apparel industry that
does not license its fragrances, cos-
metics, or apparel to other produc-
ers or distributors.
Part of Chanel's success during
the 1980s (and throughout the
1900s for that matter) was its
adherence to a conservative, proven
image. Chanel designers and mar-
keters were extremely careful to not
tamper with the Chanel legend.
While other perfumes had changed
to follow short term trends, the
Chanel fragrance remained classic
and unchanged. Even the Chanel
No. 5 bottle, with its traditional
black-and-white label and simple
lines, was considered a work of art
by the company. "We introduce a
new fragrance every 10 years, not
every three minutes like many com-
petitors," explained Chanel mar-
keter Jean Hoehn Zimmerman in
Marketing News. "We don't con-
fuse the consumer. With Chanel,
people know what to expect. And
they keep coming back to us, at all
ages, as they enter and leave the
market."
As a result of Alain Werthe-
imer's efforts during the 1980s and
early 1990s, the Chanel's perform-
ance improved significantly. Going
into the 1990s, in fact, Chanel was
considered a global leader in the
fragrance industry and a top inno-
new management involved animos-
ity and family feuds, Chanel man-
agement maintained that control
was ceded in a friendly and peace-
able manner.
Chanel No. 5 was still a global per-
fume industry leader when Alain
Wertheimer took the helm. But,
with only four percent of the piv-
otal $875 million U.S. market, its
dominance was fading. After years
of mismanagement, Chanel had
become viewed by many
Americans as a second-rate fra-
grance that appealed to out-of-style
women. Alain Wertheimer suc-
ceeded in turning Chanel around in
the United States. He removed the
perfume from drug store shelves in
an effort to create a greater sense of
scarcity and exclusivity. As the
number of U.S. outlets carrying
Chanel No. 5 plummeted from
18,000 to 12,000, Alain
Wertheimer pumped millions into
advertising Chanel's fragrances and
cosmetics. His efforts increased
profits.
In 1980, Alain Wertheimer
stepped up efforts in Chanel's U.S.
fashion operations. Attempts to
parlay the Chanel fashion division
into a profit center and promotional
device for Chanel's fragrances suc-
ceeded. Chanel opened up more
than 40 Chanel boutiques world-
wide. By the late 1980s those shops
sold everything from $200-per-
ounce perfume and $225 ballerina
slippers to $11,000 dresses and
$2,000 leather handbags.
599
vator in fragrance advertising and
marketing. Chanel continued to
spend more on advertising than
almost any other perfume company
and, as a result, was reaping the fat-
test profit margins in the industry.
In addition, the company had con-
tinued to expand into new product
lines, including Chanel watches
retailing for as much as $7,000;
additions to its popular shoe line;
and other high-priced clothes, cos-
metics, and accessories.
The Wertheimers would have
been wealthy without their Chanel
business. However, Chanel's suc-
cess in the 1980s was credited with
boosting the Wertheimer family's
wealth to a new level. Alain
Wertheimer moved his offices to
New York in the late 1980s, reflect-
ing Chanel's emphasis on the U.S.
market. Although sales of high-end
goods were hurt by the global
recession of the early 1990s,
demand began recovering in the
mid 1990s and Chanel continued to
expand its boutique chain and prod-
uct line.
Additional Details
Private Company
Founded: 1924 as Parfums Chanel
Employees: 912
Sales: $450 million
SICs: 2844 Toilet Preparations
Further Reference
Berkowitz, Harry, "Not Everyone
Shared Caged Fantasy:
Does New Chanel Ad Evoke
Freedom or the Same Old
Constraining Attitudes?"
Newsday, August 30, 1992, sec. 1,
p. 72.Berman, Phyllis, and Zina
Sawaya,
"The Billionaires behind Chanel,"
Forbes, April 3, 1989, p.
104.Hunter, Catherine E.,
"Scientist, Inventor, Futurist," Drug
& Cosmetic Industry, May 1993, p.
20.Johnson, Rebecca,
"Scent of a Woman," ADWEEK
Eastern Edition, November 29,
1993, p. 30.Kamen, Robin,
"Exec Suiting Up for Growth:
Chanel to Open New Boutiques,
Cater to Buyers," Crains New York
Business, August 15, 1994, sec. 1,
p. 13.Oliver, Joyce Ann,
"She Innovates without Destroying
a Legend," Marketing News,
December 10, 1990, p. 10.
Swisher, Kara, "Chanel Bucks the
Trend Toward Tysons Corner,"
Washington Post, May 7, 1990, sec.
E, p. 31.
Search Company History
600
She was shrewd, chic and on the
cutting edge. The clothes she creat-
ed changed the way women looked
and how they looked at themselves
Coco Chanel wasn't just ahead of
her time. She was ahead of herself.
If one looks at the work of contem-
porary fashion designers as differ-
ent from one another as Tom Ford,
Helmut Lang, Miuccia Prada, Jil
Sander and Donatella Versace, one
sees that many of their strategies
echo what Chanel once did. The
way, 75 years ago, she mixed up
the vocabulary of male and female
clothes and created fashion that
offered the wearer a feeling of hid-
den luxury rather than ostentation
are just two examples of how her
taste and sense of style overlap
with today's fashion.
Chanel would not have defined
herself as a feminist in fact, she
consistently spoke of femininity
rather than of feminism yet her
work is unquestionably part of the
liberation of women. She threw out
a life jacket, as it were, to women
not once but twice, during two dis-
tinct periods decades apart: the
1920s and the '50s. She not only
appropriated styles, fabrics and
articles of clothing that were worn
by men but also, beginning with
how she dressed herself, appropri-
ated sports clothes as part of the
language of fashion. One can see
how her style evolved out of neces-
sity and defiance. She couldn't
afford the fashionable clothes of
the period so she rejected them and
made her own, using, say, the
sports jackets and ties that were
everyday male attire around the
racetrack, where she was climbing
her first social ladders.
It's not by accident that she became
associated with the modern move-
ment that included Diaghilev,
Picasso, Stravinsky and Cocteau.
Like these artistic protagonists, she
was determined to break the old
formulas and invent a way of
expressing herself. Cocteau once
said of her that "she has, by a kind
of miracle, worked in fashion
according to rules that would seem
to have value only for painters,
musicians, poets."
By the late '60s, Chanel had
become part of what she once
rebelled against and hated the
Establishment. But if one looks at
documentary footage of her from
that period, one can still feel the
spit and vinegar of the fiery peasant
woman who began her fashion rev-
olution against society by aiming at
the head, with hats. Her boyish
"flapper" creations were in stark
contrast to the Belle Epoque
millinery that was in vogue at the
time, and about which she asked,
"How can a brain function under
those things?" Something that
Chanel can never be accused of is
not using her brain. Her sharp mind
is apparent in everything she did,
from her savvy use of logos to her
deep understanding of the power of
personality and packaging, even the
importance of being copied. And
she was always quotable: "Fashion
is not simply a matter of clothes.
Fashion is in the air, born upon the
wind. One intuits it. It is in the sky
and on the road."
It is fitting, somehow, that Chanel
was often photographed holding a
cigarette or standing in front of her
famous Art Deco wall of mirrors.
601
Fashion tends to involve a good
dose of smoke and mirrors, so it
should come as no surprise that
Gabrielle Chanel's version of her
life involved a multitude of lies,
inventions, cover-ups and revi-
sions. But as Prada said to me: "She
was really a genius. It's hard to pin
down exactly why, but it has some-
thing to do with her wanting to be
different and wanting to be inde-
pendent."
Certainly her life was unpre-
dictable. Even her death in 1971, at
the age of 87 in her private quarters
at the Ritz Hotel was a plush ending
that probably would not have been
predicted for Chanel by the nuns in
the Aubazine orphanage, where she
spent time as a ward of the state
after her mother died and her father
ran off. No doubt the sisters at the
convent in Moulins, who took her
in when she was 17, raised their
eyebrows when the young woman
left the seamstress job they had
helped her get to try for a career as
a cabaret singer. This stint as a per-
former she was apparently charm-
ing but no Piaf led her to take up
with the local swells and become
the backup mistress of Etienne
Balsan, a playboy who would
finance her move to Paris and the
opening of her first hat business.
That arrangement gave way to a
bigger and better deal when she
moved on to his friend, Arthur
("Boy") Capel, who is said to have
been the love of her life and who
backed her expansion from hats to
clothes and from Paris to the
One could say perfume helped keep
Chanel's name pretty throughout
the period when her reputation got
ugly: World War II. This is when
her anti-Semitism, homophobia
(even though she herself dabbled in
bisexuality) and other base inclina-
tions emerged. She responded to
the war by shutting down her fash-
ion business and hooking up with
Hans Gunther von Dincklage, a
Nazi officer whose favors included
permission to reside in her beloved
Ritz Hotel. Years later, in 1954,
when she decided to make a come-
back, her name still had "dis-
graced" attached to it.
Depending on the source, Chanel's
return to the fashion world has been
variously attributed to falling per-
fume sales, disgust at what she was
seeing in the fashion of the day or
simple boredom. All these explana-
tions seem plausible, and so does
Karl Lagerfeld's theory of why, this
time around, the Chanel suit met
such phenomenal success.
Lagerfeld who designs Chanel
today and who has turned the com-
pany into an even bigger, more
tuned-in business than it was before
points out, "By the '50s she had the
benefit of distance, and so could
truly distill the Chanel look. Time
and culture had caught up with
her." In Europe, her return to fash-
ion was deemed an utter flop at
first, but Americans couldn't buy
her suits fast enough. Yet again
Chanel had put herself into the yolk
of the zeitgeist. By the time
Katharine Hepburn played her on
coastal resorts of Deauville and
Biarritz. One of her first successes
was the loose-fitting sweater, which
she belted and teamed with a skirt.
These early victories were similar
to the clothes she had been making
for herself women's clothes made
out of Everyman materials such as
jersey, usually associated with
men's undergarments.
Throughout the '20s, Chanel's
social, sexual and professional
progress continued, and her emi-
nence grew to the status of legend.
By the early '30s she'd been courted
by Hollywood, gone and come
back. She had almost married one
of the richest men in Europe, the
Duke of Westminster; when she
didn't, her explanation was, "There
have been several Duchesses of
Westminster. There is only one
Chanel." In fact, there were many
Coco Chanels, just as her work had
many phases and many styles,
including Gypsy skirts, over-the-
top fake jewelry and glittering
evening wear made of crystal and
jet beads laid over black and white
georgette crepe not just the plainer
jersey suits and "little black dress-
es" that made her famous. But
probably the single element that
most ensured Chanel's being
remembered, even when it would
have been easier to write her off, is
not a piece of clothing but a form of
liquid gold Chanel No. 5, in its Art
Deco bottle, which was launched in
1923. It was the first perfume to
bear a designer's name.
602
Broadway in 1969, Chanel had
achieved first-name recognition
and was simply Coco.
603
Fashion designer. Born on August
19, 1883, in Saumur, France. With
her trademark suits and little black
dresses, Coco Chanel created time-
less designs that are still popular
today. She herself became a much
revered style icon known for her
simple yet sophisticated outfits
paired with great accessories, such
as several strands of pearls. As
Chanel once said,luxury must be
comfortable, otherwise it is not
luxury.
Her early years, however, were
anything but glamorous. After her
mothers death, Chanel was put in
an orphanage by her father who
worked as a peddler. She was
raised by nuns who taught her how
to sew a skill that would lead to her
lifes work. Her nickname came
from another occupation entirely.
During her brief career as a singer,
Chanel performed in clubs in Vichy
and Moulins where she was called
Coco. Some say that the name
comes from one of the songs she
used to sing, and Chanel herself
said that it was a shortened ver-
sion of cocotte, the French word
for kept woman, according to an
article in The Atlantic.
Around the age of 20, Chanel
became involved with Etienne
Balsan who offered to help her start
a millinery business in Paris. She
soon left him for one of his even
wealthier friends, Arthur Boy
Capel. Both men were instrumental
in Chanels first fashion venture.
Opening her first shop on Pariss
Rue Cambon in 1910, Chanel start-
ed out selling hats. She later added
stores in Deauville and Biarritz and
began making clothes. Her first
taste of clothing success came from
a dress she fashioned out of an old
jersey on a chilly day. In response
to the many people who asked
about where she got the dress, she
offered to make one for them. My
fortune is built on that old jersey
that Id put on because it was cold
in Deauville, she once told author
Paul Morand.
In the 1920s, Chanel took her thriv-
ing business to new heights. She
launched her first perfume, Chanel
No. 5, which was the first to feature
a designers name. Perfume is the
unseen, unforgettable, ultimate
accessory of fashion that heralds
your arrival and prolongs your
departure, Chanel once explained.
In 1925, she introduced the now
legendary Chanel suit with collar-
less jacket and well-fitted skirt. Her
designs were revolutionary for the
time borrowing elements of mens
wear and emphasizing comfort over
the constraints of then-popular
fashions. She helped women say
good-bye to the days of corsets and
other confining garments.
Another 1920s revolutionary
design was Chanels little black
dress. She took a color once associ-
ated with mourning and showed
just how chic it could be for
eveningwear. In addition to fash-
ion, Chanel was a popular figure in
the Paris literary and artistic
worlds. She designed costumes for
the Ballets Russes and for Jean
Cocteaus play Orphe, and count-
ed Cocteau and artist Pablo Picasso
among her friends. For a time,
Chanel had a relationship with
composer Igor Stravinsky.
604
Another important romance for
Chanel began in the 1920s. She met
the wealthy duke of Westminster
aboard his yacht around 1923, and
the two started a decades-long rela-
tionship. In response to his mar-
riage proposal, she reportedly said
There have been several
Duchesses of Westminster but there
is only one Chanel!
The international economic depres-
sion of the 1930s had a negative
impact on her company, but it was
the outbreak of World War II that
led Chanel to close her business.
She fired her workers and shut
down her shops. During the
German occupation of France,
Chanel got involved with a German
military officer, Hans Gunther von
Dincklage. She got special permis-
sion to stay in her apartment at the
Hotel Ritz. After the war ended,
Chanel was interrogated by her
relationship with von Dincklage,
but she was not charged as a col-
laborator. Some have wondered
whether friend Winston Churchill
worked behind the scenes on
Chanels behalf.
While not officially charged,
Chanel suffered in the court of pub-
lic opinion. Some still viewed her
relationship with a Nazi officer as a
betrayal of her country. Chanel left
Paris, spending some years in
Switzerland in a sort of exile. She
also lived at her country house in
Roquebrune for a time.
At the age of 70, Chanel made a tri-
In addition to the longevity of her
designs, Chanels life story contin-
ues to captivate peoples attention.
There have been several biogra-
phies of the fashion revolutionary,
including Chanel and Her World
(2005) written by her friend
Edmonde Charles-Roux.
In the recent television biopic,
Coco Chanel (2008), Shirley
MacLaine starred as the famous
designer around the time of her
1954 career resurrection. The
actress said that she had long been
interested in playing Chanel.
Whats wonderful about her is
shes not a straightforward, easy
woman to understand.
umphant return to the fashion
world. She first received scathing
reviews from critics, but her femi-
nine and easy-fitting designs soon
won over shoppers around the
world.
In 1969, Chanels fascinating life
story became the basis for the
Broadway musical Coco starring
Katharine Hepburn as the leg-
endary designer. Alan Jay Lerner
wrote the book and lyrics for the
shows song while Andre Prvin
composed the music. Cecil Beaton
handled the set and costume design
for the production. The show
received seven Tony Award nomi-
nations, and Beaton won for Best
Costume Design and Ren
Auberjonois for Best Featured
Actor.
Coco Chanel died on January 10,
1971, at her apartment in the Hotel
Ritz. She never married, having
once said I never wanted to weigh
more heavily on a man than a bird.
Hundreds crowded together at the
Church of the Madeleine to bid
farewell to the fashion icon. In trib-
ute, many of the mourners wore
Chanel suits.
A little more than a decade after her
death, designer Karl Lagerfeld took
the reins at her company to contin-
ue the Chanel legacy. Today her
namesake company continues to
thrive and is believed to generate
hundreds of millions in sales each
year.
605
mark a revolution, because it intro-
duced modern conceptions of man-
ufacture and marketing. But even
this would be an exaggeration.
Chanel No 5 might have used syn-
thetic aromas more liberally than
previous perfumes, but Jacques
Guerlain had used an aldehyde two
years earlier in his scent Mitsouko;
and his uncle Aime Guerlain had
enthusiastically embraced other
synthetics a generation before - in
Jicky, for instance, created in 1889.
Rather, if Chanel No 5 exempli-
fies anything, it is continuity.
Although the perfume was selected
by Coco Chanel (and named after
her lucky number), it was created
by Ernest Beaux, a Russian per-
fumer who had learnt his art work-
ing for the House of Rallet before
moving to Coty in Grasse during
the revolution. Jacques Polges, just
the second director of perfume at
Chanel since Beaux's death, recent-
ly said: "Though his world and ours
are totally different, there are still
things that are the same, most par-
ticularly the artistry. We must help
people to feel and appreciate this
dimension."
F
OR COCO CHANEL, NO 5 WAS
THE SMELL OF A WOMAN; for
Julie Burchill, it is the smell of rich
mothers. For Nicholas Blincoe,
perfume is the condition to which
all art aspires
The British do use perfume, but
only occasionally, and then in mod-
eration. When my grandmother
died, I discovered a litre bottle of
Chanel No 5, bought in Paris in the
1930s and left unopened in her cel-
lar. She had no use for such a large
bottle, and so, for 60 years, the per-
fume was left to evaporate through
the stopper. This British puritanical
streak runs deep. Although we
have a suspicion of high-flown the-
ory, the best British art, design and
architecture lies broadly within the
modernist mainstream, because
modernism champions puritanical
virtues such as boldness, clarity
and simplicity - virtues we already
possess. We find it much harder to
appreciate eroticism, sensuality
and luxury, the extravagant quali-
ties that perfumers bring to their
art.
Perhaps because of this bias
against extravagance, we have no
real language to appreciate per-
fume as perfume. It is far easier to
treat it as a commodity - even as a
con trick pulled on the consumer.
There was a kind of glee behind
recent reports that the laboratories
hired to create synthetic beef-
flavoured sprays for McDonald's
fries also manufacture perfumes for
American fashion houses. And it is
often remarked that the role of the
couture catwalk show is to sell not
clothes but perfume, as though the
symbiosis between fashion and
perfume is illegitimate, and that
selling perfume is somehow
shameful.
In fact, fashion houses began to
develop their own perfumes rela-
tively recently. The first to carry
the name of a couturier was Chanel
No 5, in 1921. Chanel No 5 also
has the distinction of being the first
fragrance to use synthetic aromas
in high concentrations, of a kind
known as aldehydes, which ampli-
fy other scents by giving them a lift
and sparkle. If there is something
essentially unmodern about per-
fume, Chanel No 5 could be seen to
606
Conservative art and literary
critics often posit the idea of an
apostolic tradition, exemplified by
a canon. This tradition actually
exists among perfumers. The
House of Guerlain, for example,
was founded in the early 19th cen-
tury by Pierre-Francois-Pascal
Guerlain, and a descendant, Patricia
de Nicolai, now has her own suc-
cessful house in London. The
House of Creed is even more sta-
ble. Founded in London in 1760, it
relocated to Paris in the 1850s, and
remains family-owned today. One
can as easily wear Fleurs de
Bulgarie, created by Henry Creed
in 1845, as Neroli Sauvage, created
by Olivier Creed in 1994.
It is remarkable that so many
classic perfumes still exist. All the
perfumes named above are easily
available: in what other field is it
possible to use the exact same
product as Queen Victoria (Fleurs
de Bulgarie), Colette (Jicky),
Diaghilev (Mitsouko), Marilyn
Monroe (Chanel No 5) or me
(Neroli Sauvage)? And with these
perfumes, you are not buying a
reproduction or an approximation.
It really is the same perfume.
The perfumer's tradition is
long. New techniques such as gas
chromatography, which is used to
analyse "headspace" (the air around
a living flower), are used alongside
distillation processes that have not
changed since the Arabs developed
them. Some ingredients, too, are as
old as civilisation. Frankincense is
In a phrase that existentialist
philosophers used, perfume is the
thing-in-itself.
A perfume is always a coup de
foudre, a surprise. It is immediately
sensual, a synthetic and created ele-
ment that acts directly on the sens-
es in a material way. One could
argue that all art aspires to the con-
dition of perfume - aside from mag-
ical realism, which aspires to the
condition of the perfume advert.
All the great perfumes have stories
attached to them. This is not coinci-
dence; perfume is the engine oil of
our imaginations. Our libidinous
bodies react to perfume by produc-
ing ideas, fancies and stories.
Those writers most interested in
perfume always present themselves
as slaves to their sensuality, and so
helpless before perfumes. All are
writers with links to the decadent
movement - for instance, Oscar
Wilde, who wrote in The Picture of
Dorian Gray that musk "troubled
the brain" and violets "woke the
memory of dead romances"; or J K
Huysmans, who describes an orgy
of aromatherapy in Against Nature
using perfume-spraying machines
that pummel the senses. Proust pre-
sented himself as wholly enslaved
to involuntary memories and wrote
that perfume is "that last and best
reserve of the past, the one which
when all our tears have run dry, can
make us cry again". Yet, beyond
this enslavement to the material and
sensual, each of these writers posits
a new kind of freedom. Perfume
a balsam (or gum resin), myrrh an
extract of a root, and while the
young Christ may have appreciated
them, neither is close to being the
most valuable perfume ingredient.
Balsam of Mecca, for instance, is
worth twice its weight in silver
because (rather confusingly) it
grows only in Syria on two planta-
tions, one of four acres, the other
considerably smaller.
The mostly excellent perfume
writer Susan Irvine recommends
that, with perfume, "less is sexier".
She is wrong. It takes much more
perfume to create an effective
vapour trail, or "sillage", than one
might imagine. And it needs to be
renewed frequently. The rule, in
perfume as in other things, ought to
be bling-bling. The ostentatious
display of luxury and sensuality
was beyond my grandmother's gen-
eration, but we ought not be so eas-
ily discouraged.
It is odd that perfume is treated
with suspicion even by those who
regard themselves as aesthetes or
connoisseurs in other fields. It may
be that the language of modernity
precludes a language that could
appreciate fragrance. The key prob-
lem of modernity was representa-
tion. The solution was to produce
works that did not depend upon
their relation to other things, but
created a sense of their own integri-
ty and necessity. Perfumers have
never faced this problem, because
perfume does not refer to anything:
it is only a smell and nothing else.
607
stokes the imagination, but the
ideas created transcend their
source, and the novels they produce
are the proof of this.
In perfume, we can find the
philosopher's holy grail, a sinuous
link between materialism and free
will. It creates romance, but the
contours of that romance are left to
the imagination. For Coco, Chanel
No 5 was the smell of a woman; for
Julie Burchill, it is the smell of rich
mothers; for Susan Irvine, it is the
smell of fur and hand-embroidered
knickers. But for Ernest Beaux, its
creator, Chanel No 5 was the snowy
landscape of his birth which recalls,
for me, the words of Mikhail
Bakunin: "Even in Russia, that vast
and snow-covered kingdom, a
storm is brewing."
Nicholas Blincoe is the co-editor of
All Hail the New Puritans (Fourth
Estate, 6.99)
608
''I spoke to the Wine Spectator
because that's PR, that's how you
sell wine. I will gladly speak to
you, about the wine and the horses,
because we sell the brand value.
Horses are the brand value of
'Wertheimer Frres.' But I don't
give interviews on Chanel because
it is not useful for the Chanel busi-
ness.''
Dozens of others did speak to
The Times about this reclusive
family, and this is probably one of
the first glimpses of their lifestyle.
For example, the Wertheimers have
an impressive art collection
Picasso, Matisse, Rousseau and
many fine Asian pieces that graces
their eight homes as well as the
company's executive offices on
57th Street, yet they never allow
any of the works to be loaned or
photographed. Alain, slim, beard-
ed, the more cynical of the two
brothers, lives with his wife,
Brigitte, and their three children in
a grand apartment on Fifth Avenue,
has a country home in Connecticut
and is steeped in money Forbes
estimates the family's combined
wealth to be $5 billion but he does-
C
HANEL MAY BE THE MOST
FAMOUS FRENCH BRAND IN THE
WORLD. Coco Chanel, its founder,
is one of France's most recogniza-
ble icons its perfume, No. 5, the
world's best-selling scent ever. And
Karl Lagerfeld, its designer of 19
years, is perhaps the most quoted
personality in the fashion business.
Yet nothing nothing is known
about the company's owners, the
Wertheimers, who have held the
majority stake in Les Parfums
Chanel since its incorporation in
1924. ''We're a very discreet family,
we never talk,'' Grard Wertheimer,
one of the two brothers who run the
business, whispered to me before
the Chanel couture show in Paris
last year. ''It's about Coco Chanel.
It's about Karl. It's about everyone
who works and creates at Chanel.
It's not about the Wertheimers.''
Which is why in the current
business environment, where the
feuds, firings and fickleness of the
fashion impresarios get as much
press as the designers do the
biggest story in fashion is still the
fact that the Wertheimers never
give theirs away.
For instance, they never reveal
sales figures for any of their com-
panies, which are all privately
owned. (Women's Wear Daily esti-
mates that Chanel does over $2 bil-
lion in fragrance and fashion sales
annually.) When Alain, the chair-
man of the board of Chanel, and his
brother Grard, the chairman of
Chanel S.A. Geneva, the compa-
ny's European branch, attend
Chanel shows, they drive them-
selves there in a modest French-
made hatchback, slip into the hall
unnoticed and sit in the third or
fourth row. They rarely, if ever,
attend Chanel boutique openings or
other Chanel events, they never
lend their names to advertising, and
they eschew licensing the company
name for bedsheets and aerosols.
''You can make money that way,''
Alain told Wine Spectator some
years ago in one of his rare inter-
views. ''But that's not the way to
run a family business.''
The Wertheimers refused a for-
mal interview with The Times for
this article, although Alain did say:
609
n't hesitate to use his Metrocard to
get around Manhattan. Similarly, he
and Brigitte shun the charity ball
and Park Avenue dinner circuit. As
Nan Kempner, the New York
socialite, puts it, ''I've known them
for years to say, 'How do you do,'
but I've never been in their house,
and they have never been to mine.''
Grard, short, slightly round
and more affable, lives a similarly
private life with his wife, Valrie,
and their two teenagers in an
antique- and art-filled manse with a
formal French garden in the exclu-
sive Vandoeuvres section of
Geneva. ''They are very secluded,''
says one high-standing Geneva
businessman, who, like others of
his social standing, refuses to speak
for attribution. ''You don't see them
in restaurants, they aren't part of the
fake Geneva crowd.
''Valrie,'' he adds, ''is the anti-
Nan Kempner.''
When the Wertheimers are in
Paris, they rarely step out. They are
great enthusiasts of classical music
''and they do quite often go to the
Thtre du Chtelet because I bump
into them,'' says Emmanuel de
Brantes, former social editor of
French Vogue. ''I do see them every
year at the Arc de Triomphe horse
race at Longchamp. But they don't
feel compelled to go out, even for
Chanel-related things. It's quite
strange.''
What the Wertheimers do
Bourjois Cosmetics, from his
father, Jacques, the portfolio has
grown to include the gun makers
Holland & Holland; Frdric
Fekkai beauty salons; Ers, maker
of bathing suits and lingerie; G & F
Chatelain, the watchmakers; and
until three years ago, the Isaac
Mizrahi Company. ''We're in the
business of selling pleasure,'' Alain
explained to Wine Spectator. ''We
don't sell handbags or haute cou-
ture. We sell dreams.''
The Wertheimers' obsession
with secrecy is in part cultural: the
French believe there is no reason to
reveal one's private life in the pur-
suit of business goals. But their
silence is also a professional ploy.
Unlike other limelight-seeking lux-
ury titans like Bernard Arnault, the
owner of LVMH Mot Hennessy
Louis Vuitton, and Domenico De
Sole, the chief executive of Gucci
Group, the Wertheimers prefer to
remain anonymous and let their
brands be the stars. It is an odd way
of doing business in an industry
that has increasingly turned its
business barons into celebrities.
But this seems to suit them fine,
and it has been the way they have
conducted their businesses since
their grandfather Pierre first negoti-
ated a contract with Coco Chanel in
1924.
The Wertheimers, whose roots
date to medieval Germany, arrived
in Paris when Pierre's father,
Ernest, left Alsace during the
Franco-Prussian war. In the 1870's,
instead is live like Old World aris-
tocrats that is, in quiet luxury. Their
friends are a small, tight-lipped cir-
cle of Rothschilds, Wildensteins,
Gutfreunds and Bichs (of Bic-ball-
point-pen wealth). Their passions
are shooting (years back, doves in
Mexico; these days, game at their
chateau in the Loire Valley), horse
racing (their stables are among the
greatest in the world), fine wines
(two more chateaus, in Bordeaux),
art collecting and skiing at their
chalet in the Swiss Alps.
When in New York, the
Wertheimers lunch most every day
in their corporate dining room,
enjoying a light menu ''soup in the
winter, seafood in the summer,''
Alain once said often accompanied
by a bottle of Rausan-Sgla, their
deuxieme cru Bordeaux, in a crys-
tal decanter. They prefer to enter-
tain at home, dinners of 12 or so
''with all the footmen and other
Continental accoutrements,''one
invitee recalls. When they do give
to charities, it is to those that per-
sonally interest them, like the
Game Conservancy Trust in Britain
or Action Innocence (against child
pornography on the Internet) and an
orphanage in Santo Domingo, two
projects run by Grard's wife,
Valrie, a former nurse.
And they work Alain in New
York, Grard in Geneva quietly and
diligently managing the family
empire. In the 28 years since Alain
took over the helm of Chanel and
the family's original holding,
610
Ernest invested in Bourjois, a the-
atrical makeup company, which by
the 1920's his sons, Pierre and Paul,
had turned into the biggest cosmet-
ics and fragrance business in
France.
Pierre was also an avid horse-
man who began one of the world's
great racing dynasties. The
Wertheimers' first winner was in
1911; their first champion was
Epinard, in the early 20's. Pierre's
greatest success came in 1956,
when his horse Lavandin won the
Epsom Derby. Today, Grard over-
sees the family's horse stock, which
in 1995 included 120 horses in
Chantilly, a few in California and
70 broodmares divided between
Kentucky and the Haras de Saint-
Lonard-La-Barbrie, their stud
farm in Normandy, with Kentucky-
style barns and a small chateau
moved brick by brick from l'Orne.
The horses are an important
part of the Wertheimer story
because it was at the races that
Pierre met Coco Chanel. Born in a
poorhouse and raised in an orphan-
age, Chanel was a courtesan and
the milliner for the mondaine, with
shops in Paris, Deauville and
Biarritz. In 1922, she and Ernest
Beaux, a perfumer from Grasse,
created the scent known as No. 5,
said to be named for Chanel's lucky
number. The perfume was an
instant hit with Chanel's customers,
but it was made in limited amounts
in Beaux's laboratories. Thophile
Bader, the founder of the depart-
the Wertheimers, Chanel attempted
to declare the company abandoned.
But the Wertheimers were wili-
er: they bought almost 50 percent
of an airplane propeller company
run by a French engineer (and an
Aryan) named Flix Amiot. When
Chanel betrayed them, the
Wertheimers signed Les Parfums
Chanel over to Amiot, a collabora-
tor who sold arms to the Nazis.
It worked: the Germans left Les
Parfums Chanel alone. When the
war was over, Amiot gave the com-
pany back to the Wertheimers;
helping them ''saved his little neck''
from the revenge-seeking Allies,
Alain Wertheimer told Forbes.
Thomas was later named president
of Chanel in the United States, a
post he held for 32 years.
Chanel, meanwhile, was arrest-
ed by French Resistance forces.
She was released the next day,
allegedly thanks to the help of
Churchill, a friend of Chanel's ex-
beau, the Duke of Westminster. She
fled to Switzerland, where she con-
tinued to menace the Wertheimers,
her wartime plot having failed. She
threatened to produce her own ver-
sion of No. 5 Mademoiselle Chanel
No. 5 and two other new scents,
and filed a suit in France that
charged that Les Parfums Chanel
made an inferior product and
demanded that ownership and
rights be returned to her. Instead,
the family renegotiated a deal:
rather than 10 percent of all French
ment store Galeries Lafayette,
wanted to sell No. 5, so he intro-
duced Chanel to his friend Pierre
Wertheimer at the Longchamp
racetrack outside Paris.
In 1924, the trio negotiated a
deal that incorporated Les Parfums
Chanel. Wertheimer would make
No. 5 in his Bourjois factory and
receive 70 percent of the profits.
Bader earned 20 percent as a find-
er's fee. And Chanel herself
received a mere 10 percent. Feeling
she had been cheated, Chanel filed
lawsuit after lawsuit, trying to get
more control and more of the prof-
its. By 1928, according to Axel
Madsen in the biography ''Chanel:
A Woman of Her Own,'' the
Wertheimers had a lawyer on their
staff who dealt solely with Chanel.
When the Nazis arrived in Paris
in 1940, Pierre and his brother,
Paul, fled to New York. They sent
an American emissary, H. Gregory
Thomas, back to France with a mis-
sion: to get the formula for No. 5
and the main ingredients (essential
oils of jasmine and tuberose) from
Grasse. Thomas also helped
Pierre's son Jacques escape to New
York.
Chanel, then in her 50's, closed
her fashion business but continued
to live across the street at the Hotel
Ritz, a Nazi headquarters. She soon
began a romance with a young Nazi
officer named Hans Gunther von
Dincklage. Believing she could
wrest control of her company from
611
sales of No. 5, Chanel would have 2
percent of world sales, and the right
to produce her own scents (without
the numeral 5). She never did.
In 1953, as No. 5 sales began to
lag, Pierre Wertheimer paid a visit
to the then-70-year-old Chanel at
the Beau Rivage hotel in Lausanne.
Within a few days, she was back on
the rue Cambon in Paris, planning
her relaunch of Chanel couture. But
when her first collection was
roundly dismissed (''A Fiasco!'' one
British paper said), she met with
Wertheimer again.
''You know, I want to go on, go
on and win,'' she told him, accord-
ing to Madsen.
''You're right,'' he said. ''You're
right to go on.''
Pierre then negotiated his final
deal with Chanel: the family would
pay for the fashion house's rue
Cambon headquarters, her personal
expenses and her taxes for the rest
of her life in return for control of
her name for perfume and fashion.
As Chanel had no heirs, upon her
death the family would receive her
perfume royalty payments, too. A
few years later, the Wertheimers
bought from the Bader family the
remaining 20 percent of the house.
Chanel kept making headlines:
Marilyn Monroe declared the only
thing she wore to bed was No. 5,
and Jacqueline Kennedy stood
solemnly next to her husband
Chandon before taking over Chanel
but he saw quickly what needed to
be done. He began by reining in
distribution, pulling Chanel No. 5
off drugstore shelves. He started
the Chanel Beaut cosmetics line,
which he made sure was sold only
in high-end stores. In 1978, Chanel
introduced its first mass-produced
ready-to-wear line, designed by
Philippe Guibourg. Then in 1980,
Alain hired an advertising execu-
tive, Kitty D'Alessio, to run the
American branch of the company.
D'Alessio had handled Chanel's
ad campaigns for years, and under-
stood what the company needed to
reposition itself in the rapidly
changing fashion world: a new
designer. She zeroed in on Karl
Lagerfeld, then the designer for
Chloe. ''I had been following his
career for a long time and thought
he was brilliant and had a great
sense of modernity,'' D'Alessio told
me. What clinched it, though, is
that in ''all the previous work he had
been doing, he had never copied
Chanel or had a Chanel influence,
and that attracted me at once,''
D'Alessio remembers. ''Here was
an original.''
Lagerfeld was hired in 1983 to
design Chanel couture; a year later
he took over ready-to-wear as well.
His mandate was to resurrect the
label. To do that he had to resurrect
Coco Chanel. Lagerfeld has based
whole collections on famous pho-
tos of her by Cecil Beaton or Horst,
and imagined her romances with
President Kennedy's flag-covered
casket on Air Force One in a blood-
splattered pink Chanel suit. But as
popular as the little Chanel suit was
then, the company's fashions and
finances remained static.
The reason was probably
Jacques, Pierre's 55-year-old son,
who took over when Pierre died in
1963. Jacques, by all accounts, was
a kind and sad man who was not
terribly interested in the business.
He preferred to spend much of his
adult life tending to the family's
racehorses in Chantilly. He and his
French-born wife, Eliane, divorced
in New York in the 1950's, and he
lived alone on the Avenue Foch in a
splendid, sprawling flat filled with
Egyptian sculpture and his impres-
sive collection of abstract paint-
ings. ''I don't think he did a great
deal,'' one old friend admitted.
Coco Chanel referred to him as ''the
kid.''
Chanel died in her room at the
Ritz in January 1971, at age 83.
Jacques, himself an old man by
then, slowly became mentally inca-
pable. By 1974, the company had
dwindled, and only the perfume
line and the original shop on rue
Cambon remained. Frustrated with
the business's poor performance,
Jacques's son, Alain, a 25-year-old
who barely knew Coco, petitioned
the board of trustees to let him take
over the company.
Alain had little business experi-
ence he had interned at Mot &
612
the polo-playing Boy Capel and
Grand Duke Dmitri of Russia. And
while, season after season, he con-
tinues to design contemporary
clothes, the root of each collection
is the cardigan jacket suit that
Chanel herself created in 1925.
Lagerfeld is famously mercuri-
al, but several years ago he
described his relationship with the
house's owners: ''There's one divine
person in the whole business, and
that's Alain Wertheimer. If it
weren't for him, it would never
work. He and I made a pact, like
between the Devil and Faust, and
he is 100 percent behind me. So I
can do what I like, when I think I
should do it -- even if the political
or commercial idea is the opposite
of what I should'' be doing. This
statement, more than any other,
reflects the Wertheimers' business
strategy. Unburdened by published
growth figures, they can invest in
the long-term. As Alain once
explained: ''We don't think about
return. We are not buying to sell.
We're buying to make it better.''
In the last decade, Chanel has
continued to grow, introducing
Allure perfume in 1996, a sports
collection, a watch line and a fine
jewelry collection sold in 200
Chanel boutiques and in-store
shops. Though the cosmetics and
perfumes sell enormously well,
fashion sales have slowed in the
last few years, according to sources
close to the Wertheimers and
Lagerfeld, with upstarts like Prada
and Gucci dominating the young
luxury market. Chanel has not pro-
duced a must-have handbag in
more than a decade.
The Wertheimers are currently
looking for a corporate coordinator
to recruit design talent and pull
together the many factions that
Lagerfeld has created over the
years, so that if and when Lagerfeld
does step down, the transition will
go smoothly. As Didier Grumbach,
the president of the French fashion
federation and the former manufac-
turer of Chanel ready-to-wear,
observed, ''Designers will come
and go, but Chanel will always be
Chanel. And the Wertheimers will
always be behind it.''
613
www.valdatasystems.com/documents.DMS/GCI-D1866.pdf
M
ANUFACTURER CHANEL, INC.,
recognized as a producer of
fine cosmetic and fragrance prod-
ucts, recently decided to enhance
the efficiency of its modern manu-
facturing facility in Piscataway,
New Jersey, by upgrading its man-
ufacturing plant, processes and
data collection practices.
Chanel's progressive manage-
ment investigated the possibility of
further computerizing its manufac-
turing procedures and methods of
data collection, during the planning
stage of its manufacturing area
upgrade.
Like many other manufactur-
ers, Chanel previously used paper
batch sheets to instruct its operators
as to which formulas should be
produced and in what quantities.
This method of record keeping was
labor intensive and time consum-
ing. The company decided that a
computerized manufacturing sys-
tem that would eliminate the need
for employees to have to write,
total or key-board-enter any manu-
facturing data was required. The
computerized system would help
the company maintain high-quality
products, while speeding up pro-
duction and eliminating the poten-
tial for record-keeping and tran-
scription errors.
After evaluating various sys-
tems, Chanel chose the
Manufacturing Execution System
(MES) Dispense Master from
Valdata Systems USA, Inc., a New
Jersey-based systems developer.
Dispense Master is designed as a
bolt-on software program that
directly interfaces to the main
office Manufacturing Resource
Planning (MRP) computer pro-
gram. Once the production require-
ments have been scheduled in the
MRP system, they are automatical-
ly downloaded to the Dispense
Master system by means of the
Warehouse Management System.
Dispense Master then takes respon-
sibility for controlling the manu-
facturing process and collecting
and recording all manufacturing
data.
During the manufacturing facil-
ity upgrade, the material pre-weigh
areas were fitted with touch-screen
computer workstations and bar
code printers and scanners. The
electronic scales used in these areas
were directly interfaced to the com-
puter workstations. Instead of the
paper batch sheets previously used
to show the operators what ingredi-
ents and weights where required,
the new system displays this infor-
mation on the computer screen.
Dispense Master is a real-time,
totally paperless system.
Using the system
The computerized system
prompts the operators to scan a bar
code label on the raw material
ingredient container to verify that
the correct ingredient and lot have
been selected. Then it prompts
them to weigh the specified quanti-
ty. The computer takes weight data
directly from the scales and verifies
that the required weight is within
the tolerance allowed before it will
accept and record the weight infor-
mation. A bar code label, which
contains human readable and bar
code data, is then printed and
applied onto the batched pre-weigh
container.
614
Dispense Master automatically
collects production data as it is pro-
duced. It eliminates the need for
operators to manually write or use
keystrokes to enter data, speeding
up production and eliminating the
potential for recording and tran-
scription errors. Operators only
have to touch the computer screen,
or scan in bar-coded data, to enter
information into the system. The
system not only eliminates the pos-
sibility of batch errors caused by
incorrect data entry, but also incor-
rect ingredients, incorrect lots or
incorrect weights.
Dispense Master also produces
a validated audit trail of all transac-
tions, and this information is auto-
matically sent to the company's
MRP program, which then updates
its inventory and batch files.
Dispense Master closes the loop
from the shop floor to the office.
After the ingredients required
for a formula have been weighed,
they are taken to the mixing and
blending area. Operators in this
area are very mobile, so they use
portable computer workstations
that interface to the system by radio
frequency (RFLAN). These
portable systems also support bar
code scanning and printing. The
operators are prompted to scan the
pre-weighed bar code ingredient
container labels as they are added
to the batch. Dispense Master
System will accept only the
required containers for that batch"
receive data from the office MRP
system has sped up and streamlined
Chanel's manufacturing processes.
The new system has impressed
both the operators who use the sys-
tem and Chanel's management
group. George Ott, Chanel's execu-
tive director of manufacturing said,
"Valdata's Dispense Master System
has streamlined our raw material
weighing and batch processing
operations, while improving inven-
tory accuracy and process control.
The Compound operators find the
system easy to navigate and use,
resulting in improved efficiency."
In fact, Chanel has estimated that
the system has increased efficien-
cies by 20-30 percent. By sending
clean, validated production data to
the MRP system, the system has
extremely high levels of system
data accuracy, and the new system
helps operators do their jobs-thor-
oughly and accurately...
The system will check each
ingredient container before allow-
ing the operator to continue pro-
cessing. When all the required con-
tainers have been correctly added,
the system will print out a new bar
code label to identify the bulk
batch. Chanel requested a custom
modification to the software that
allows the manufacturer to individ-
ually assign mixing tanks to batch-
es based on production priorities.
The modification also allows them
to schedule the mixing tanks for
cleaning or maintenance.
When all the mixing processes
have been completed and the fin-
ished bulk product is ready to move
to the filling line, the system
prompts an operator to start trans-
ferring the finished bulk product
storage containers. Each container
is placed on a scale that is inter-
faced to a computer workstation,
the empty container is tared out and
the product is transferred. When the
transfer is complete, the system
prints out a bar code label that is
placed onto the container. It is at
this stage of the operation that the
office MRP s)'stem changes the sta-
tus of raw materials that are work-
in-process, to finished bulk product
inventory automatically.
Streamlining efficiencies
Dispense Masters method of
prompting and then auditing opera-
tors through each stage of the man-
ufacturing processes is unique. Its
ability to automatically send and
615
F
OR THE LAST 81 YEARS, THE
CHANEL NAME HAS CARRIED A
SPECIAL RESONANCE FOR WOMEN 30
AND OLDER, who have made Chanel
No. 5 the world's leading fragrance.
But the younger market has proved
elusive for Chanel, a state of affairs
it intends to change with the intro-
duction of its latest fragrance
appealing to 20-somethings.
Chanel makes a big pitch for a new
perfume aimed at young women, its
toughest market.
Chanel's name for the new fra-
grance Chance is fitting. To capture
the fancy of this fickle group of
women of ages 18 to 29, Chanel is
giving Chance the biggest market-
ing push in the company's history
with an introductory budget esti-
mated at more than $12 million.
Chanel is flinging itself into a mar-
ket already crowded by competi-
tors' earlier entrants, like Happy by
Clinique and CK One from Calvin
Klein.
Chanel's aggressive plans are
self-explanatory, industry
observers said. ''Young consumers
are the lifeblood of the beauty
industry,'' said Irma Zandl, presi-
dent of the Zandl Group in New
York, a consulting company that
specializes in the under-30 age cat-
egory. ''A brand not recruiting teens
or young adults is just getting old.''
Over the last six years, Chanel
has gradually made inroads into the
younger consumer market. In 1996,
the company introduced Allure,
marketed to women in their late
20's and 30's. Coco Mademoiselle
soon followed, and its target mar-
ket was women 25 and up.
''So, it's not something that, you
know, we just woke up one day and
said 'Oh, uh-oh, No. 5 customers
are aging, we better go find a
younger consumer,' '' said Laurie
Palma, senior vice president for
fragrance and Internet marketing at
Chanel in New York.
But neither Allure nor Coco
Mademoiselle has made great
inroads into the 18-to-34 market,
which represents a third of the $2
billion women's fragrance market.
According to a study by NPD
BeautyTrends in Port Washington,
N.Y., which tracks the beauty
industry, the leading brands owned
and used most often by women 18
to 34 in 2001 include: Happy by
Clinique, which had overall sales of
$101 million in 2001; Romance by
Ralph Lauren, at $63 million;
Tommy Girl by Tommy Hilfiger, at
$42 million; Victoria's Secret
Divine (which is not tracked by
NPD, but has annual sales estimat-
ed at $40 million); Lancaster Cool
Water Woman at $30 million;
Calvin Klein's Obsession at $27
million; and CK One at $20 mil-
lion.
Arie L. Kopelman, president
and chief operating officer at the
United States unit of the French
couture house Chanel, is confident
that Chance will be among the top
tier of this group. He predicts that
''in the short term,'' Chance will be
''as big as Chanel No. 5.'' Domestic
sales for No. 5 were $50 million in
2001, putting it in sixth place
among all fragrances, according to
NPD.
has given Chance a light, fresh,
616
floral scent, which is meant to con-
vey a youthful, sexy and romantic
attitude, Ms. Palma said.
To differentiate it from all other
Chanel fragrances, which come in
square-shaped bottles and are pack-
aged in black and white or beige,
the Chance bottle is circular and
packaged in pink. The scent will be
available in domestic department
stores later this month and in other
countries next spring.
The ads, created by an internal
team and photographed by Jean-
Paul Goude, also try to differentiate
Chance from some of the other suc-
cessful fragrances geared to 20-
somethings. The print ad features a
16-year-old Russian model, Anne
Vyalitsyna, dressed in a gown,
clinging to the enormous bottle,
embracing ''her chance.'' The kicker
reads, ''The unexpected new Chanel
fragrance.''
''I don't think Chanel in blue
jeans would be interesting,'' Ms.
Palma commented. ''That's Tommy
or Ralph, which they have that
already.''
The television commercial,
shot in Venice, is set to the tune
''Taking a Chance on Love'' and
shows a young couple doing just
that.
Chance will also have a major
Internet program within the Chanel
Web site, scented impressions in
magazines and extensive sampling
efforts, including roll-on minibot-
tles in targeted areas like college
campuses.
''We have tried to make Chance
modern and young and do all the
things that we needed to do for this
generation, but still keep it ground-
ed, rooted in what Chanel is all
about,'' Mr. Kopelman said. ''And
you can have your cake and eat it in
this situation. They are not mutual-
ly exclusive.''
The marketing effort could turn
off some of Chanel's core audience,
warned Clive Chajet, a corporate
identity and brand consultant. If
Chance is for the young, then, ''all
other Chanel fragrances are for
older women only, and if you're not
using their younger fragrance, then
you're old.''
But, in the end, Ms. Zandl said:
''It's all about the juice. The adver-
tising can bring them to the fra-
grance bar where they're going to
test it, but then it's the juice itself is
what makes the sale.''
617
But neither Allure nor Coco
Mademoiselle have made great
inroads into the 18 to 34 market,
which represents a third of the
US$2 billion women's fragrance
market. According to a 2001
Women's Fragrance Track
Consumer Study by NPD
BeautyTrends in Port Washington,
New York, which tracks the beauty
industry, the leading brands owned
and used most often by women 18-
to-34 years old include: Happy by
Clinique, which had overall sales of
US$101 million in 2001; Romance
by Ralph Lauren, at US$63 million;
Tommy Girl by Tommy Hilfiger, at
US$42 million; Victoria's Secret
Divine (which is not tracked by
NPD, but has annual sales estimat-
ed at US$40 million); Lancaster
Cool Water Woman at US$30 mil-
lion; Calvin Klein's Obsession at
US$27 million; and CK One at
US$20 million.
Arie L. Kopelman, president
and chief operating officer at
Chanel Inc, the US unit of the
French couture house Chanel, is
confident that Chance will be
among the top tier of this group. He
F
OR THE PAST 81 YEARS, THE
CHANEL NAME has carried a
special resonance for women 30
and older, who have made Chanel
No. 5 the world's leading fragrance.
But the younger market has proved
elusive for Chanel, a state of affairs
it intends to change with the intro-
duction of its latest fragrance
appealing to 20-somethings.
A new scent:
Long a favorite brand for
older women, the
perfume giant decided to hire
a consulting company that
specializes in marketing to
the under-30 crowd
Chanel's name for the new fra-
grance Chance is fitting. To capture
the fancy of this fickle young group
of women between the ages of 18
and 29, Chanel is giving Chance
the biggest marketing push in the
company's history with an intro-
ductory budget estimated at more
than US$12 million. Chanel is
flinging itself into a market already
crowded by competitors' earlier
entrants, like Happy by Clinique
and CK One from Calvin Klein.
Chanel's aggressive plans are
self-explanatory, according to
industry observers. "Young con-
sumers are the lifeblood of the
beauty industry," said Irma Zandl,
president of the Zandl Group in
New York, a consulting company
that specializes in the under-30 age
category. She added that, "A brand
not recruiting teens or young adults
is just getting old."
Over the last six years, Chanel
has gradually made inroads into the
younger consumer market. In 1996,
the company introduced Allure,
marketed to women in their late
20s and 30s. Coco Mademoiselle
soon followed, and its target mar-
ket was women 25 and up.
"So, it's not something that, you
know, we just woke up one day and
said `Oh, uh-oh, No. 5 customers
are aging, we better go find a
younger consumer,'" said Laurie
Palma, senior vice president for
fragrance and Internet marketing at
Chanel Inc. in New York.
618
predicts that "in the short term,"
Chance will be "as big as Chanel
No. 5."
Domestic sales for No. 5 were
US$50 million in 2001, putting it in
sixth place among all fragrances,
according to NPD.
Chanel has given Chance a
light, fresh, floral scent, which
Palma said is meant to convey a
youthful, sexy and romantic atti-
tude.
To differentiate it from all other
square-shaped Chanel fragrances
that are packaged in black and
white or beige, the Chance bottle is
circular and packaged in pink. The
scent, with an entry price point of
US$38.50, will be available in
domestic department stores later
this month and in other countries
next spring.
The ads, created by an in-house
team and photographed by Jean-
Paul Goude, also try to differentiate
Chance from some of the other suc-
cessful fragrances geared to 20-
somethings. The print ad features a
16-year-old Russian model, Anne
Vyalitsyna, dressed in a gown,
clinging to the enormous bottle,
embracing "her chance." The tag
line reads, "The unexpected new
Chanel fragrance."
"I don't think Chanel in blue-
jeans would be interesting," Palma
said. "That's Tommy or Ralph,
which they have already."
The television commercial, shot
in Venice, Italy, is set to the tune
"Taking a Chance on Love" and
shows a young couple doing just
that.
Chance will also have a major
Internet program within the Chanel
Web site, scented impressions in
magazines and extensive sampling
efforts, including rollerball mini-
bottles in targeted areas like college
campuses.
"We have tried to make Chance
modern and young and do all the
things that we needed to do for this
generation, but still keep it ground-
ed, rooted in what Chanel is all
about." He added, "And you can
have your cake and eat it in this sit-
uation. They are not mutually
exclusive."
The marketing effort could turn
off some of Chanel's core audience,
warned Clive Chajet, a corporate
identity and brand consultant. If
Chance is for the young, then "all
other Chanel fragrances are for
older women only. And if you're
not using their younger fragrance,
then you're old."
But, in the end, Zandl said, "It's
all about the juice. The advertising
can bring them to the fragrance bar
where they're going to test it, but
then it's the juice itself is what
makes the sale."
619
1997. In 2002, rumors began circu-
lating of a possible marriage with
the famed house of Herms. During
the new millennium, Chanel has
stepped up its purchases in the lux-
ury sector, acquiring A. Michel et
Cie, exclusive hat maker for the
haute couture set and the famed Les
broderies Lesage, which provides
embroidery for the haute couture
industry. These acquisitions com-
plement the company's existing
fashion industry holdings, such as
the Lemarie, a flowers and feathers
craftsman and Desrue, producer of
buttons. Meanwhile, Chanel has
been attempting to break into the
skin care segment, launching its
own line under the Precision brand.
Chanel SA is a private company
wholly owned by the Wertheimer
family. The company's revenues are
estimated to top EUR 2 billion per
year.
Launching Perfume History in the
1920s
Chanel SA traces its roots back
to 1870, when Ernest Wertheimer
moved from Alsace, France, to
Paris during the Franco-Prussian
C
hANEL SA IS ONE OF THE LEG-
ENDARY NAMES IN PERFUMES.
The company has parlayed its pres-
tigious brand name into a world-
leading retail empire. In addition to
its flagship perfume brand Chanel
No. 5 which has long been the
world's top-selling perfume Chanel
has expanded its line to include
women's fashions, jewelry and
accessories, handbags, leather
goods, and other products.
Key Dates
1922: Pierre Wertheimer agrees to
back new perfume developed by
Coco Chanel, and founds Parfums
Chanel.
1929: Company launches new fra-
grance, Soir de Paris.
1954: Coco Chanel makes Parisian
comeback after fleeing to
Switzerland following World War
II.
1974: Alain Wertheimer takes con-
trol of company.
1983: Karl Lagerfeld is hired as
Chanel designer.
1996: Chanel acquires gun maker
Holland & Holland.
1997: Chanel acquires high-end
swimwear designer Eres.
2001: Chanel acquires stake in lux-
ury watchmaker Bell & Ross.
2002: Chanel acquires milliner A.
Michel et Cie. and embroidery
house Lesage.
Company History:
While its products are sold
through third parties, Chanel also
operates its own network of more
than 80 company-owned retail
stores worldwide. There are also
more than 120 Chanel shop-in-
shop boutiques in leading depart-
ment stores around the world.
Chanel has also begun building up
a portfolio of luxury brands,
including gunsmith Holland &
Holland and high-end French
bathing suit maker Eres, bought in
620
War. Shortly after his arrival he
purchased an interest in a French
theatrical makeup company called
Bourjois. Bourjois successfully
introduced dry rouge to the
European market in the 1890s. The
company grew rapidly, and by the
early 1920s, Bourjois had begun
making and distributing skin
creams from his Rochester, New
York, plant for cosmetic industry
giant Helena Rubenstien. By the
1920s, Bourjois had become the
largest cosmetics and fragrance
manufacturer in France.
Though the Wertheimer family
would control the finances of
Chanel from its inception, the
impetus and creative vision for the
company came from Coco Chanel.
Theophile Bader, founder of the
successful French department store
chain Galeries Lafayette, intro-
duced Coco Chanel to Ernest
Wertheimer's son, Pierre, in 1922.
Coco Chanel sought financial help
from Pierre Wertheimer to market a
fragrance she had developed in
1921. An admirer of Coco Chanel,
Pierre Wertheimer wanted to help
her succeed and, two years after
their introduction, he founded
Parfums Chanel to make and sell
her upscale perfume, named Chanel
No. 5. Pierre Wertheimer funded
the venture and retained a 70 per-
cent ownership share in the compa-
ny. Coco Chanel got a modest 10
percent of the company and Bader
received 20 percent.
During the 1920s and 1930s
In 1935 Chanel hired a Parisian
attorney, Ren de Chambrun, to
renegotiate her agreement with the
Wertheimers. But the Wertheimers
successfully quashed those
attempts. Furthermore, her fashion
business sputtered during the late
1930s and at 56 years of age Coco
Chanel closed it when the Nazis
invaded France. Coco Chanel
found a new way to fight the
Wertheimers during World War II.
In fact, the Wertheimers fled the
country in 1940, eventually landing
in the United States. With the pow-
erful Wertheimer family gone,
Coco Chanel went to work trying to
use new occupation regulations to
take control of the Parfums Chanel
partnership. But the savvy
Wertheimers stymied that move,
too. In their absence, they found an
Aryan proxy to run their businesses
and keep Coco Chanel at bay.
During World War II, Coco
Chanel stayed in Paris, moving into
the Hotel Ritz with her new para-
mour, Hans Gunther von
Dincklage, a Nazi officer.
According to one of Coco Chanel's
biographers, Edmonde Charles-
Roux, she played a role in a secret
peace mission near the end of the
war. Charles-Roux contends that
German intelligence sent Coco
Chanel to visit Winston Churchill
as part of a secret peace mission.
Coco Chanel was arrested immedi-
ately after the liberation of France
and charged with abetting the
Germans, but Churchill intervened
on her behalf and she was released.
Parfums Chanel thrived. In addition
to selling the famous Chanel No. 5
perfume, the company eventually
introduced other fragrances. In
1929, Pierre Wertheimer intro-
duced Soir de Paris, a fragrance
aimed at the general public and
marketed through the Bourjois
company. Meanwhile, Coco Chanel
operated a successful fashion stu-
dio near the Louvre museum in
Paris. Under an agreement with the
Wertheimers, she operated her
design business as a separate com-
pany, but sold the clothes under the
Chanel name. Although Parfums
Chanel and Coco Chanel's design
business flourished, the personal
relationship between Coco Chanel
and Pierre Wertheimer deteriorated.
The friction between Coco
Chanel and the Wertheimer family
stemmed from Coco Chanel's dis-
satisfaction with the terms of their
original agreement. Coco Chanel
resented what she viewed as an
attempt by the Wertheimers to
exploit her talents for their own
gain. She felt she should have a
larger than 10 percent portion of the
company, and she argued that she
had unwittingly signed away the
rights to her own name. The
Wertheimers countered her griev-
ances with an argument that
reminded Coco Chanel that the
Wertheimers had funded her ven-
ture in the first place, giving her the
chance to take her creations to mar-
ket, and had made her a relatively
wealthy woman.
621
Postwar Comeback
After her release, Coco Chanel
immediately fled France for
Switzerland. Meanwhile, Pierre
Wertheimer returned to Paris to
resume control of his family's hold-
ings. Despite her absence, Coco
Chanel continued her assault on her
former admirer and began manu-
facturing her own line of perfumes.
Feeling that Coco Chanel was
infringing on Parfums Chanel's
business, Pierre Wertheimer want-
ed to protect his legal rights, but
wished to avoid a court battle, and
so, in 1947, he settled the dispute
with Coco Chanel, giving her
$400,000 and agreeing to pay her a
2 percent royalty on all Chanel
products. He also gave her limited
rights to sell her own perfumes
from Switzerland.
Coco Chanel never made any
more perfume after the agreement.
She gave up the rights to her name
in exchange for a monthly stipend
from the Wertheimers. The settle-
ment paid all of her monthly bills
and kept Coco Chanel and her for-
mer lover, von Dincklage, living in
relatively high style. It appeared as
though aging Coco Chanel would
drop out of the Chanel company
saga.
At 70 years of age in 1954,
Coco Chanel returned to Paris with
the intent of restarting her fashion
studio. She went to Pierre
Wertheimer for advice and money,
and he agreed to finance her plan.
racing stables and horse breeding
operations; Pierre Wertheimer had
established one of the finest racing
stables in the world in 1910, and
Jacques became a renowned horse
breeder. According to some critics,
however, he did not direct as much
attention on the operation of
Chanel.
New Management in the 1970s
In 1974, Jacques's 25-year-old
son Alain Wertheimer gained con-
trol of the company. While the
press suggested that the move to
new management involved animos-
ity and family feuds, Chanel man-
agement maintained that control
was ceded in a friendly and peace-
able manner.
Chanel No. 5 was still a global
perfume leader when Alain
Wertheimer took the helm. But,
with only 4 percent of the pivotal
$875 million U.S. market, its dom-
inance was fading. After years of
mismanagement, Chanel had
become viewed by many
Americans as a second-rate fra-
grance that appealed to out-of-style
women. Alain Wertheimer suc-
ceeded in turning Chanel around in
the United States. He removed the
perfume from drugstore shelves in
an effort to create a greater sense of
scarcity and exclusivity. As the
number of U.S. outlets carrying
Chanel No. 5 plummeted from
18,000 to 12,000, Alain
Wertheimer pumped millions into
advertising Chanel's fragrances and
In return for his help, Wertheimer
secured the rights to the Chanel
name for all products that bore it,
not just perfumes. Once more,
Wertheimer's decision paid off
from a business standpoint. Coco
Chanel's fashion lines succeeded in
their own right and had the net
effect of boosting the perfume's
image. In the late 1950s
Wertheimer bought back the 20
percent of the company owned by
Bader. Thus, when Coco Chanel
died in 1971 at the age of 87, the
Wertheimers owned the entire
Parfums Chanel operation, includ-
ing all rights to the Chanel name.
Pierre Wertheimer died six
years before Coco Chanel passed
away, putting an end to an intrigu-
ing and curious relationship of
which Parfums Chanel was just
one, albeit pivotal, dynamic. Coco
Chanel's attorney, Rene de
Chambrun, described the relation-
ship as one based on a business-
man's passion for a woman who felt
exploited by him. "Pierre returned
to Paris full of pride and excitement
[after one of his horses won the
1956 English Derby]," Chambrun
recalled in Forbes. "He rushed to
Coco, expecting congratulations
and praise. But she refused to kiss
him. She resented him, you see, all
her life."
Pierre Wertheimer's son,
Jacques, took control of the Chanel
operation in 1965. The 55-year-old
Jacques was perhaps best known
for his management of the family's
622
cosmetics. His efforts increased
profits.
In 1980, Alain Wertheimer
stepped up efforts in Chanel's U.S.
fashion operations. Attempts to
parlay the Chanel fashion division
into a profit center and promotional
device for Chanel's fragrances suc-
ceeded. A large part of the compa-
ny's success could be credited to its
hiring of famed designer Karl
Lagerfeld in 1983, who revitalized
the company's clothing fashions
and remained its chief visionary
into the next century.
During the 1980s Chanel
opened up more than 40 Chanel
boutiques worldwide. By the late
1980s those shops sold everything
from $200-per-ounce perfume and
$225 ballerina slippers to $11,000
dresses and $2,000 leather hand-
bags. Importantly, Alain
Wertheimer refused to relinquish
control of anything related to the
family's Chanel operations. In fact,
Chanel remains one of the few
companies in the cosmetic and
apparel industry that does not
license its fragrances, cosmetics, or
apparel to other producers or dis-
tributors.
While Lagerveld revamped the
company's clothing designs, the
rest of the company's designers and
marketers carefully maintained a
conservative, proven image so as
not to tamper with the Chanel leg-
end. Although other perfumes had
changed to follow short-term
clothes, cosmetics, and accessories.
The Wertheimers would have
been wealthy without their Chanel
business. However, Chanel's suc-
cess in the 1980s was credited with
boosting the Wertheimer family's
wealth to a new level, and by the
late 1990s the Wertheimer family's
fortune was estimated to top $5 bil-
lion. Alain Wertheimer moved his
offices to New York in the late
1980s, reflecting Chanel's emphasis
on the U.S. market. Although sales
of high-end goods were hurt by the
global recession of the early 1990s,
demand began recovering in the
mid-1990s and Chanel continued to
expand its boutique chain and prod-
uct line.
Wertheimer remained chairman
of the company while Franoise
Montenay, the company's CEO and
president, was charged with bring-
ing it into the next century. In the
1990s Chanel began expanding its
holdings, acquiring Lemari, one of
the most renowned feather and
flower crafts houses for the Parisian
fashion industry. The company
continued in this trend with the
acquisition of milliner A. Michel et
Cie. and embroidery house Lesage.
Chanel was rumored to be interest-
ed in acquiring another famed sup-
plier to the haute couture set, boot-
and shoemaker Massaro.
In 1996, Chanel acquired
exclusive gun maker Holland &
Holland. The company's attempt to
extend that brand name to a wider
trends, the Chanel fragrance
remained classic and unchanged.
Even the Chanel No. 5 bottle, with
its traditional black-and-white label
and simple lines, was considered a
work of art by the company. "We
introduce a new fragrance every 10
years, not every three minutes like
many competitors," explained
Chanel marketer Jean Hoehn
Zimmerman in Marketing News.
"We don't confuse the consumer.
With Chanel, people know what to
expect. And they keep coming back
to us, at all ages, as they enter and
leave the market." Indeed, the
launch of a new fragrance, Coco, in
the 1980s, was to provide the com-
pany with another strong perfume
success.
Luxury Goods Conglomerate for the
21st Century
As a result of Alain
Wertheimer's efforts during the
1980s and early 1990s, Chanel's
performance improved significant-
ly. Going into the 1990s, in fact,
Chanel was considered a global
leader in the fragrance industry and
a top innovator in fragrance adver-
tising and marketing. Chanel con-
tinued to spend more on advertising
than almost any other perfume
company and, as a result, was reap-
ing the fattest profit margins in the
industry. In addition, the company
had continued to expand into new
product lines, including Chanel
watches retailing for as much as
$7,000; additions to its popular
shoe line; and other high-priced
623
range of fashions met with a luke-
warm reception, forcing Chanel to
scale back and realign Holland &
Holland to its original concept. A
more promising acquisition came
in 1997, when Chanel bought high-
end swimsuit maker Eres. In 2001,
the company acquired a stake in up-
and-coming watchmaker Bell &
Ross.
Chanel continued to expand its
retail holdings at the beginning of
the century. In 2001 the company's
U.S. subsidiary launched a new
retail concept, featuring only acces-
sories bearing the Chanel name. In
July 2002 the company rolled out a
new jewelry and watch flagship
store on New York's Madison
Avenue, and expected to build up
these sales with the expansion of its
network of independent retailers.
Shortly after, the company opened
a new, 1,500-square-foot handbag
and shoe flagship store next door to
its jewelry and watch store in New
York, bringing the total number of
Chanel stores in the United States
to 25. The company also targeted
the Far East, opening a new 2,400-
square-foot boutique in Hong
Kong, and paying nearly $50 mil-
lion to acquire a building in Japan's
Ginza shopping district. After 80
years, the Chanel name continued
to attract customers from around
the world.
Principal Subsidiaries: Chanel Inc.
(USA); Chanel KK (Japan); Chanel
Hong Kong; Paraffection.
Principal Competitors: Bulgari
S.p.A.; Cartier SA; Chanel S.A.;
Christian Dior SA; Gianfranco
Ferre SpA; Gianni Versace SpA;
Gucci Group N.V.; Herms
International; I Pellettieri d'Italia
S.p.A.; LVMH Inc. (U.S.); LVMH
Mot Hennessy Louis Vuitton SA;
Montres Rolex S.A.; Puig Beauty
& Fashion Group; Compagnie
Financire Richemont AG; S.T.
Dupont S.A.; Tiffany & Co.
624
girl of that time. But, Chanel didnt
have the opportunities of most
other children and her childhood
would soon be interrupted once
again.
When she was 17 years old,
Chanel was sent to an Aubazine
orphanage, where nuns took over as
her primary caregivers. Supportive
of her efforts as a seamstress, the
nuns helped Chanel get a local job
to build her talents. But, Chanel
was bored with the simplicity of her
surroundings and decided to pursue
a life of excitement and stardom.
She abruptly took off for the town
of Moulins in an attempt to become
a cabaret singer.
While singing didnt prove to
be Chanels forte, the experience
was valuable in that it introduced
her to Etienne Balsan, a rich French
playboy and textile heir who took a
liking to the young aspiring singer.
Chanel soon found herself as a mis-
tress to Balsan and living a luxuri-
ous life. But, Balsan had many mis-
tresses and Chanel grew bored
again. She rekindled her interest in
sewing and approached Balsan
l
The Humble Beginnings - The Early
Years
T
HE SIMPLE MENTION OF THE
NAME CHANEL and images of
luxury, grandeur and haute couture
spring up in minds across the
world. As one of the most recog-
nized and venerated brands in fash-
ion history, Chanel came from the
impoverished streets of France to
revolutionize womens fashion and
liberate it from its restrictions.
Thirty years after her death,
Chanels lasting impact on the
fashion world can still be felt.
Premire interview la
tlvision de Mademoiselle
Coco Chanel dans son
bureau... sur la mode, sa
prochaine collection, l'l-
gance, son don, son style et
les imitations.
A celle-ci succde une prsen-
tation des modles de la
collection 1959 par le man-
nequin vedette de Chanel,
Marie-Hlne ARNAUD, et
d'autres mannequins.
Phrase finale de Mlle
CHANEL dans l'escalier
sur la collection prsente:
Born on August 19, 1883 in
Saumur, France, Gabrielle Bonheur
Coco Chanel was the illegitimate
daughter of a shop girl and a street
peddler who would know little of
the comforts of a stable family life.
Her mother passed away when
Chanel was just six years old, and it
wouldnt be long before her father
also abandoned her. Averse to
fatherhood, he quickly ran off and
left the young Chanel and her four
siblings to fend for themselves on
the streets of France. They went to
live with their two aunts in
Auvergne, France and it was here
where Chanel learned much of the
etiquette that would characterize
her later career.
Living with her aunts, Chanel
was taught how to be a polite little
girl, to sit up straight and to learn
how to sew. She took an early lik-
ing to sewing and instead of play-
ing with dolls, spent much time
dressing them in material she had
cut from curtains. She also spent
her time playing sports and horse-
back riding, atypical activities for a
625
with a business proposition. With
more money than he knew what to
do with, Balsan decided to give
Chanel the money she needed to
open up her own hat and dress shop
in Paris.
It was a small boutique with
just two teenage girls as employees,
but Chanels first venture into the
world of fashion proved successful.
She became one of the popular go-
to ladies for the well to do of Paris.
It wouldnt be long before Chanel
was moving on to bigger and
brighter things, turning her single
little store into one of the most
powerful empires in the fashion
industry.
The Beauty Magnate - Chanel
Leaves Her Mark
Chanel was beginning to make
a name for herself among the whos
who of Paris all the while acquiring
a taste for their luxuries and deca-
dent lifestyle. With her modest hat
and dress store, Chanels reputation
was already beginning to grow as a
woman who had little interest in the
extravagant and tight-fitting clothes
that were all the rage at the time.
Instead, she opted for darker and
simpler dresses that drew their
inspiration from mens clothing as
well as the outfits of the nuns she
had grown up around.
With her new taste of the opu-
lent life, Chanel decided to leave
Balsan and link onto the arm of his
friend, a wealthy businessman by
on a special concoction for a
French company. Chanel sampled
the essence and after making a few
suggestions, convinced Beaux to
give it to her instead. With that, the
legendary Chanel No. 5 perfume
was born in 1924.
At the same time, Chanel had
also been making quite a name for
herself in the inner circles of the
elite, having romantic liaisons with
many of the most notable dukes and
businessmen of the time. But, it
was one relationship in particular
that would threaten to destroy
Chanels career completely.
During World War II, Chanel
closed down her business and
began a relationship with a German
Nazi officer. Her reputation in the
publics eyes became quickly and
irrevocably damaged. She thought
her years as a designer were fin-
ished and she stayed out the spot-
light until 1954, when at the age of
71, Chanel decided to make a
comeback. To this day, nobody
knows if she returned because she
was bored or if she wanted to
reclaim her territory amongst the
growing competition. But, it didnt
matter Chanel was back.
She received a lukewarm recep-
tion in Europe, where her designs
were not perceived as being as rev-
olutionary as they once were.
Americans thought otherwise and
embraced Chanel with open arms.
Europe would follow soon after.
the name of Arthur Boy Capel.
The two would go on to enjoy a
passionate affair until Capels life
was cut short by a car accident
while on his way to see Chanel in
1919. But, in their early days
together, it would be Capel who
helped get Chanels career off the
ground. He provided the financing
for Chanel to open an additional
two boutiques in Biarritz and
Deauville.
In no more than four years,
Chanels business had become so
successful that she was able to pay
back the startup money she had ini-
tially received from Capel in full
this, despite the fact that it was
given to her as a gift, not a loan.
Chanel had broken into the fashion
industry by being a trendsetter,
gaining inspiration for her designs
largely from her lovers closet and
using traditionally masculine mate-
rials to make them. Instead of the
ornate pieces of her competitors,
Chanels creations were minimal
and unpretentious yet still sophisti-
cated. Her little black dress
quickly became a staple in the fash-
ion world.
While her prominence as a
fashion designer was continuing to
grow, it was the release of a product
in the 1920s that would immortal-
ize Chanel. After the death of
Capel, Chanel had become mistress
to the Russian Grand Duke Dmitri,
through whom she met Ernest
Beaux. Beaux was in the perfume
industry and was currently working
626
Chanel quickly climbed back to
her position at the top of the fashion
ladder and continued to innovate
and create designs until her death at
the age of 88. She never married
and had no children, but Chanel
had achieved the kind of success
that most others only dream about.
Today, under the direction of Karl
Lagerfeld, Chanel remains one of
the most prestigious and successful
fashion houses in the world.
Lesson # 1 - Be One of a Kind
In order to be irreplaceable
one must always be different, said
Chanel. People laughed at the way
I dressed, but that was the secret of
my success: I didnt look like any-
one.
Having grown up in an orphan-
age and being surrounded by the
simple black outfits of the nuns that
looked after her, Chanel emerged
into adulthood with a different view
of fashion. She disliked the look of
corsets and felt that women were
taking on too much discomfort in
the name of fashion. Luxury must
be comfortable, otherwise it is not a
luxury, she said.
With that opinion, Chanel set
out to bring her unique vision to the
fashion industry. She was a
resourceful woman who tried to
bring her creativity to her products
in a distinctive way. For instance,
Chanel grew tired of holding her
purse and became the first designer
to ever attach a chain to a purse. A
Innovation! One cannot be
forever innovating, she exclaimed.
I want to create classics. When
Chanel No.5 was released, it was
not only the first perfume to bear a
designers name, but it also had a
distinctly masculine scent and bot-
tle that set it apart from its competi-
tors. Yet again, Chanel had created
something unique that would prove
able to stand the test of time;
throughout the 1990s, the company
claims to have been selling one bot-
tle of Chanel No.5 somewhere in
the world every thirty seconds.
By creating classic pieces that
were nonetheless unique, Chanel
was able to become not only a
mainstay in the fashion industry but
also one of the most powerful guid-
ing forces behind the latest fashion
trends.
Lesson # 2 - Be Bold
In fashion, you know you have
succeeded when there is an element
of upset, said Chanel.
When Chanel first introduced
her jersey and tweed suits for
women, she was rebuked by the
European critics. But, Chanel gave
no matter. From day one, her career
had been characterized by her will-
ingness to defy convention time
after time. Whether it was through
her own personal style or the prod-
ucts she designed, Chanel was
audacious and paid no attention to
those who didnt see eye to eye
with her vision. The most coura-
fashion faux pas at the time, it was
only a matter of time before
Chanels invention had become the
latest fashion trend. Soon, more
purses than not would have chains
and straps attached thanks to
Chanels unique vision.
It was Chanel who introduced
the world to numerous fashion
trends that were unheard of at the
time, but which soon became the
industry standard. When she want-
ed a shoe that would flatter her foot
and give the appearance of a longer
leg, Chanel created her famous
two-tone sling-back, a shoe that
was tan at the foot but black at the
toe. This had never been done
before and it took a visionary like
Chanel to see that it was possible.
It was this kind of problem-
solving that Chanel brought to all
of her product lines that allowed
her to be so successful. Her designs
werent like all the others; they
were unique, they were simple, and
they were practical. Chanel intro-
duced the women of the world to
the sailor blouse, stretch jerseys,
costume jewelry, cashmere cardi-
gans, chic waterproof raincoats,
and most famously, the little black
dress, which even today remains a
basic necessity in almost every
womans wardrobe.
Chanel was an innovative force
in the fashion industry despite the
fact that she felt the constantly
changing nature of fashion trends
was a little on the ridiculous side.
627
geous act is still to think for your-
self, she said. Aloud.
She created her signature scar-
let lipstick before such a colour was
ever envisioned for a proper ladys
lips; she wore open-necked shirts
when everyone else was buttoning
theirs up; and she wore trousers that
showed off her ankles which only
men had been able to do before.
Success is often achieved by those
who don't know that failure is
inevitable, said Chanel. She
ignored the critics and continued
embodying her bold vision of fash-
ion and femininity.
During the First World War,
when Chanel was just starting to
grow in prominence, she ran into
trouble. Fabric supplies were run-
ning low the world over and she did
not know how she was going to
continue designing her clothes. She
could have given up, closed down
her business, waited for the war to
end and hoped that she could begin
anew afterwards. But, giving up
was not in Chanels nature.
Because Chanel had always
loved wearing mens clothing and
borrowing clothes from her part-
ners closets, she came up with a
bold new idea to use jersey to make
womens dresses. Before Chanel,
jersey was a fabric whose use was
limited to mens underwear. It was
unthinkable that the same material
that was used to create mens
underwear should be used to make
fashionable dresses for proper
is in the air, born upon the wind.
One intuits it. It is in the sky and on
the road. A passionate woman,
Chanel found the inspiration for her
designs in the simplicities of her
everyday life. From the closets of
her lovers to the time she spent out-
doors on her frequent fly-fishing
expeditions, Chanel never stopped
seeking out ideas for new product
lines.
Chanels fame came almost as
much from her personal exploits
and relationships as it did from her
designs. From Picasso to Salvador
Dali to Stravinsky to Diaghilev,
Chanel became a companion to
many of the most powerful and tal-
ented men of her time. But, she
wasnt just idling her time away in
their company. Instead, Chanel was
using them for the inspiration they
were providing her.
During the 1930s, Chanel came
as close as she ever would to mar-
rying. She was the mistress to the
Duke of Westminster, one of
Europes richest men, and was due
to marry him but in classic Chanel
style, she changed her mind,
explaining, There have been sev-
eral Duchesses of Westminster.
There is only one Chanel. But, it
was during her time with the Duke
that Chanel got her inspiration for
her soft-belted coat, tweed jackets
and blazers, sailor sweaters and
cuff-linked shirts. She had bor-
rowed his wardrobe to create a
sense of style all her own.
ladies unthinkable to everyone but
Chanel, that is. She was willing to
take that bold first step and soon,
her jersey dresses were all the rage.
How many cares one loses
when one decides not to be some-
thing but to be someone, said
Chanel. When she accidentally
singed her hair, instead of worry-
ing, Chanel boldly decided to chop
it all off. Would her new hairstyle
ruin her image of femininity and
class? She wasnt worried. She
showed up to an opera with her rad-
ically short tomboyish hair and
almost immediately, she had creat-
ed the latest fashion trend. The next
day, women everywhere were
going to hairdressers to demand
this new hairstyle, called the bob.
Ive never done anything by
halves, said Chanel. Her career
was characterized by a willingness
to be bold, to take risks, to defy
convention and to challenge stereo-
types. She ignored societys rules
and created a style all her own. It
was her readiness to be daring and
follow her own path that set Chanel
apart from her competitors and
attracted loyal customers the world
over. She offered women exciting
new propositions and in opening
the door to a new world of fashion
freedom, Chanel turned the indus-
try on its head.
Lesson # 3 - Be Inspired
Fashion is not simply a matter
of clothes, said Chanel. Fashion
628
Chanel also sought inspiration from
the natural environment around her.
She had an enduring love for the
camellia, a large, delicate flower
whose leaves are simple and
arranged in an alternate pattern.
She became infamous for trying to
immortalize the flower in fabric
and for wearing a white camellia
herself on many occasions. The
camellia is said to represent radi-
ance and purity and was soon being
placed on Chanel bags, belts and
jewelry, in addition to clothes. This
simple flower would become one of
Chanels classic trademarks.
Throughout most of her career,
Chanel made her home in her
beloved Ritz Paris, in which her
suite continues to be named after
her to this day. Her view over-
looked the Place Vendme, a
hexagonal open area in the centre
of Paris. It was this shape that
inspired many of Chanels cre-
ations, including numerous watch
faces as well as the stopper for the
Chanel No.5 perfume bottle.
A fashion that does not reach
the streets is not a fashion, Chanel
once said. Not only did Chanel
bring her fashion to the streets, but
she was also able to take fashion up
from the streets, using the personal-
ity of a city and its natural environ-
ment to inspire her creations. The
simplicity of this approach was a
large part of their appeal; a simple
flower on the side of a handbag
would bring more elegance than a
thousand tiny frills and laces.
Chanel didnt create her prod-
ucts with just beauty in mind; she
didnt want women to be beautiful
just so they could leave their hous-
es. She wanted women to be beau-
tiful so that they could leave their
houses and become someone, to do
something important. Chanel knew
all too well that in order to succeed
in any industry, it was important to
present yourself as the success that
you dream of being. And, for her, it
was important to feel like a real
woman. The more feminine a
woman, the stronger she is, said
Chanel.
She once joked that, A woman
who doesnt wear perfume has no
future. Chanel was a staunch
believer in the importance of per-
sonal appearance as being a con-
tributing factor in ones profession-
al success. In the 15 seconds it
takes for someone to make a first
impression, Chanel believed it was
important to fill that time with
nothing but elegance and class.
Beauty, according to Chanel,
was something that was attainable
by any woman who put any effort
into it. Nature gives you the face
you have at twenty, said Chanel.
It is up to you to merit the face you
have at fiftya woman has the age
she deserves. Investing in your
appearance was an investment in
your future, according to Chanel.
By presenting yourself as an ele-
gant, youthful and refined woman,
she believed that you were commu-
nicating success itself. If you
Chanel understood that message
and made it the basis of all her cre-
ations. She took the beauty from
the world around her and trans-
formed it into beautiful products
that could sell.
Lesson # 4 - Leave a Strong
Impression
Dress shabbily and they
remember the dress, said Chanel.
Dress impeccably and they
remember the woman. Chanel
understood the importance of
appearance to getting ahead in the
business world. Looking her best
wasnt just a matter of wanting to
feel feminine or being attractive for
Chanel, it was also a way to gain
respect.
When Chanel first started her
own business, she did so at a time
when it was almost unheard of for
women to be calling the shots. She
had to struggle to break into the
male-dominated industry and knew
that in order to do so, she would
have to present herself as well put
together as possible. Chanel
believed that it was a simple fact of
life the more beautiful the woman,
the more successful she would be.
I dont understand how a woman
can leave the house without fixing
herself up a little if only out of
politeness, said Chanel. And
then, you never know, maybe thats
the day she has a date with destiny.
And its best to be as pretty as pos-
sible for destiny.
629
dressed the part, you could achieve
the part.
A lthough she spoke mainly of
femininity and would never have
defined herself as a feminist,
Chanels contribution to the eman-
cipation of women is indisputable.
It was this desire to help women
feel beautiful and successful that
kept Chanel working in the industry
until the day she died. I love luxu-
ry, she said. And luxury lies not
in richness and ornateness but in
the absence of vulgarity. Vulgarity
is the ugliest word in our language.
I stay in the game to fight it.
Lesson # 5 - Take a Second Chance
World War II proved to be a
turning point in Chanels career.
Despite being wildly successful,
Chanel decided to close up shop in
1939, when France declared war on
Germany. She closed the doors of
her stores and stopped designing
altogether. While other couturiers
were leaving the country, Chanel
decided to remain in her beloved
Ritz Paris apartment. It was here
where she would live out the con-
troversy that was soon to surround
her life.
During the war, Chanel had
begun a relationship with Hans
Gunther von Dincklage, a German
Nazi officer who was 13 years
younger than her. It was von
Dincklage who protected Chanel at
the Ritz Paris. But, once the war
was over, Chanel found that her dif-
In 1954, Chanel launched her
first comeback collection but it was
not the success she had envisioned.
European fashion critics dismissed
her line as the same old thing and
believed Chanel had passed her
prime. America, on the other hand,
embraced her new collection and
within three seasons, Chanel had
regained her position atop the fash-
ion industry. She gave her classic
Chanel suit a makeover, along with
her handbags, jewelry and shows.
Soon, Chanel had become a status
symbol for a brand new generation
of wealthy women and celebrities.
She had disappeared from the
industry for over 15 years. When
Chanel returned, she had to fight
not only a tarnished reputation but
now her younger competition as
well. She had been written off and
was considered past her prime, but
Chanel persevered to regain her
fashion crown. Chanel knew she
had a fresh wave of ideas and ener-
gy coming to her and she set out to
claim her second chance to use
them.
Taking Haute Couture to New
Heights: How Chanel Achieved
Success
When Time magazine pub-
lished its list of the 100 most influ-
ential people of the 20th century,
Chanel was only the person in the
fashion industry to be named. With
that, her influence on not only her
own field, but on the world as a
whole, became obvious. When I
ficulties were just beginning. Her
reputation in the publics eye was
destroyed because of her associa-
tion with the Nazis. Chanel
believed that her career as a design-
er had effectively come to an end.
She was 56 years old and she
was giving up. Relying primarily
on the continuing sales of her per-
fume as her income, Chanel
became a recluse and tried as hard
as possible to stay out of the public
eye. For fifteen years, the world
saw little of Chanel and, except for
her name lining the shelves of per-
fume departments she had faded
into the background.
It was in 1954 when Chanel
decided that she wanted to make a
comeback. Numerous reasons are
given for her return; Chanel wanted
to stop the rise of Christian Dior,
who was bringing women back to
an era of tight, restricting clothing;
sales from her perfume were
falling; and she was just plain
bored.
Regardless, Chanel was now in
her seventies and would be compet-
ing against a fresh, young crop of
designers. Could she handle the
challenge? She believed so and
armed with that faith in herself,
Chanel set out to find the financing
she needed, assemble her staff, and
find the fabrics and equipment she
required to reinvigorate her compa-
ny. She was, in essence, starting all
over again.
630
can no longer create anything, Ill
be done for, Chanel once said. She
was a dedicated workaholic who
devoted herself competely to her
work until the day she died at the
age of 88. What were Chanels
succses factors?
She Was Different: From her
style to her personality to her mar-
keting, everything about Chanel
was unique. She brought a new
vision of womens fashion to the
industry and, with its boyish quali-
ties, simplicity and clean lines, she
revolutionized the field. She
brought fashion down to a practical
level, all the while maintaining a
sense of class and elegance that
appealed to the elitest of women.
She Was Daring: She fashioned
elegant womens dresses out of the
same material that was used to cre-
ate mens underwear, and at a time
when women werent even sup-
posed to be thinking about mens
underwear. She cut her hair and
wore loose clothing when society
told her she should have long, flow-
ing hair and tight corsets around her
body. Chanel was willing to take
the risks she needed to in order to
reach the top.
She Was Inspired: Chanel once
attended a masquerade ball dressed
as a figure from a Watteau painting.
The compliments she received
from her outfit prompted her to turn
it into a womans suit. Everything
from paintings to mens clothing to
architectural shapes to simple flow-
tinues to represent an image of chic
and elegance around the world.
Coco Chanel Quotes
Dress shabbily and they remember
the dress; dress impeccably and
they remember the woman.
Fashion passes, style remains.
Fashion is not simply a matter of
clothes. Fashion is in the air, born
upon the wind. One intuits it. It is in
the sky and on the road.
In order to be irreplaceable one
must always be different.
A girl should be two things: classy
and fabulous.
The most courageous act is still to
think for yourself. Aloud.
As long as you know men are like
children, you know everything.
Success is often achieved by those
who don't know that failure is
inevitable.
How many cares one loses when
one decides not to be something but
to be someone.
Don't spend time beating on a wall,
hoping to transform it into a door.
The best color in the whole world,
is the one that looks good, on you.
A women who doesn't wear per-
ers served as inspiration for Chanel
and wound up in some form or
another in her creations. By looking
to the ordinary in order to get ideas,
Chanel was able to create the
extraordinary.
She Communicated Success:
For Chanel, beauty was not just
about looking good. It was about
presenting oneself in a way that
garnered respect from the outside
world and allowed one to move for-
ward with ones own goals. By tak-
ing care of your appearance,
Chanel believed that you would be
able to present yourself as a power-
ful and successful person, even if
you werent there quite yet.
She Was Resilient: Elegance is
refusal, Chanel said refusal to give
up. Chanel never lost faith in her-
self. Despite having to overcome
her age and her ruined reputation,
she was able to make a comeback
in the industry at the age of 71. She
reinvented her designs and gave
them a fresh spin, which helped
make her company a leader once
again.
May my legend prosper and
thrive, said Chanel. I wish it a
long and happy life. Indeed, her
company continues to thrive. By
refusing to license out the Chanel
name, the company has maintained
strict quality control over its prod-
ucts, allowing it to stay at the top of
its game in all the decades since
Chanels death. Today, Chanels
overlapping double C logo con-
631
fume has no future.
Elegance is not the prerogative of
those who have just escaped from
adolescence, but of those who have
already taken possession of their
future.
A woman is closest to being naked
when she is well dressed.
If a man talks bad about all women,
it usually means he was burned by
one woman.
I don't understand how a woman
herself up a little - if only out of
politeness. And then, you never
know, maybe that's the day she has
a date with destiny. And it's best to
be as pretty as possible for destiny.
There goes a woman who knows all
the things that can be taught and
none of the things that cannot be
taught.
Luxury must be comfortable, other-
wise it is not luxury.
There is time for work, and time for
love. That leaves no other time.
There are people who have money
and people who are rich.
I invented my life by taking for
granted that everything I did not
like would have an opposite, which
I would like.
Elegance does not consist in putting
object of passion. Flee it if you feel
it. Passion goes, boredom remains.
Some people think luxury is the
opposite of poverty. It is not. It is
the opposite of vulgarity.
It is the unseen, unforgettable, ulti-
mate accessory of fashion that her-
alds your arrival and prolongs your
departure.
I don't know why women want any
of the things men have when one
the things that women have is men.
A woman has the age she deserves.
Innovation! One cannot be forever
innovating. I want to create clas-
sics.
Why am I so determined to put the
shoulder where it belongs? Women
have very round shoulders that
push forward slightly; this touches
me and I say: 'One must not hide
that!' Then someone tells you: 'The
shoulder is on the back'. I have
never seen women with shoulders
on their backs.
When I can no longer create any-
thing, I'll be done for.
Material things aside, we need no
advice but approval.
Youth is something very new:
twenty years ago no one mentioned
it.
Guilt is perhaps the most painful
on a new dress.
Nature gives you the face you have
at twenty; it is up to you to merit
the face you have at fifty.
Fashion is made to become unfash-
ionable.
Fashion is architecture: it is a mat-
ter of proportions.
Those who create are rare; those
who cannot are numerous.
Therefore, the latter are stronger.
My friends, there are no friends.
Great loves too must be endured.
A style does not go out of style as
long as it adapts itself to its period.
When there is an incompatibility
between the style and a certain state
of mind, it is never the style that tri-
umphs.
Elegance is refusal.
Since everything is in our heads,
we had better not lose them.
I love luxury. And luxury lies not in
richness and ornateness but in the
absence of vulgarity. Vulgarity is
the ugliest word in our language. I
stay in the game to fight it.
Look for the woman in the dress. If
there is no woman, there is no
dress.
Jump out the window if you are the
632
companion of death.
I was the one who changed, it was-
n't fashion. I was the one who was
in fashion.
A fashion that does not reach the
streets is not a fashion.
Scheherezade is easy; a little black
dress is difficult.
May my legend prosper and thrive.
I wish it a long and happy life.
In fashion, you know you have suc-
ceeded when there is an element of
upset.
I've never done anything by halves.
My reason for choosing diamonds
is that, dense as they are, they rep-
resent the greatest worth in the
smallest volume.
Mademoiselle Coco Chanel
In her inner circle of friends,
fashion designer Coco Chanel was
known as Mademoiselle. Over
her fifty-odd year career of running
her own business, she came to be
considered as the Grande
Mademoiselle of both the fashion
industry and high society. Coco
Chanel not only revolutionized
what women wore, but also the
roles they were supposed to play in
society.
Through her clothes, Chanel
wanted to celebrate the freedom
Everything that this designer
did was meant to emphasize an
alternative way of living. Much
liker her simpler style of dress, her
celebrated Chanel No. 5 perfume
was unique for its time. Not only
was its name basic, but so too was
the design of its bottle, with its rec-
tangular lines and cut stopper. She
would not have any of the ornate
and romantic bottles so popular at
the time.
I did not go into society
because I had to design clothes,
she once remarked. I designed
clothes precisely because I did go
into society. Because I was the first
to live the life of this century.
It was with this legacy in mind
that in 2001, under the direction of
Karl Lagerfeld, the House of
Chanel introduced Coco Chanel
Mademoiselle. Known as the
younger sister to the more grown-
up fragrances, Coco Chanel
Mademoiselle is aimed at the
younger generation of independent
fashionistas. It is described as, A
light sensual fragrance, a luminous
sophisticated fragrance, a modern
interpretation!
Chanel was a woman ahead of
her time. This younger fragrance is
meant to provide the same sense of
empowerment and freedom that the
designer tried to infuse throughout
her collection in her own time.
and equality of women. By playing
with simple designs and typically
masculine fabrics, she offered an
alternative to the more constraining
womens fashion at the time. By the
mid-1920s, corsets were out; a pop-
ular Chanel look had been adopt-
ed, consisting of a wool jersey suit
with a full-cut, short skirt, and a
straight, collarless jacket.
The designer herself was the
embodiment of this new look. By
using unconventional models and
appealing to fashion magazines, the
designer forced the fashion indus-
try to accept her more masculine
designs. She was no longer simply
about creating stylish hats and
designer threads. She had done
something bigger she had created a
new way of life, and in so doing,
laid the foundation for the coming
womens liberation.
However foolish it was, and
however much business sense it
didnt make at the time,
Mademoiselle Coco Chanel refused
to follow the fashion trends dictated
to her by the society in which she
lived. Instead, she focused on
designs that she would actually
want to wear. Her influence and
ability to impact new trends was
soon unparalleled. A simple trip to
Venice, Italy, in which
Mademoiselle Coco Chanel wore
bell-bottom trousers in order to be
able to better climb out of the gon-
dolas would soon start the pants
revolution for women.
633
Coco Chanel Handbag
The launch of the first Coco
Chanel handbag in 1955 marked
the beginning of a fashion revolu-
tion. Coco had retired in 1939, and
had been written off by most in the
industry. Her perfumes could still
be bought at Chanel outlets, but she
had stopped making any new
designs, and had effectively retired
from the fashion business. When
she made her comeback at the age
of 71, and introduced the innova-
tive and hugely popular Coco
Chanel handbag, her success was
thus all the more remarkable.
The purse that would turn the
fashion world on its head was a
quilted one, but it was not the mate-
rial that made it such a unique phe-
nomenon. For the first time in fash-
ion history, a womans handbag
now had a chain shoulder strap on
it. No longer did a woman have to
hold her purse in her hands.
Instead, she was free to sling it over
her shoulders and use her hands
however she pleased. This purse
was thus, in a sense, empowering.
Coco Chanels designs were all
about simplicity and functionality,
but with a classic sense of style.
This ourse was meant to reflect this
philosophy. The designer herself
never left her house without her
own over her shoulder. And, it
seemed that soon the rest of the
world would agree with her idea. In
its first year, this purse became so
popular that the designer had to
dress, the company continues to be
a leader and an innovator in the
industry.
Coco Chanel Sunglasses
Carrie, Miranda, Charlotte,
SamanthaYou? What could you
possibly have in common with the
girls from the hit HBO show Sex
and the City? Well, put on a pair of
Coco Chanel sunglasses and you
would be close.
In 1999, in partnership with
Italian eyewear producer Luxottica,
the House of Chanel introduced its
first line of eyewear and eyeglass
frames. It doesnt matter that the
designer had passed away twenty-
eight years ago; her legacy remains
as founder of one of the most
prominent and revered brands in
the world. Inspired by her own cre-
ations, Karl Lagerfeld of Fendi
fame launched a line of Chanel eye-
wear that has risen dramatically in
popularity thanks in large part to
the ladies of Sex and the City.
Chanel once described luxury
as the necessity where necessity
ends. Lagerfelds line of eyewear
and the cult-like craze that sur-
rounds them would certainly meet
that description. Whether its wear-
ing a trendy pair out on the town
with a pair of Manolo Blahniks like
Carrie, a classic pair for the office
like Charlotte, or a leopard print
pair for the gym like Samantha,
there seems to never be a wrong
time to wear a pair.
refuse many of the requests for
orders that hade been made to her.
She simply didnt have the time or
the staff to make them all. After all,
the high quality and fine craftsman-
ship that she insisted upon for all of
her products meant that it was a
painstaking process to manufacture
each individual one.
In little time, her signature
Coco Chanel handbag was being
copied all around the world. It
became known throughout the
industry as the Chanel 2.55 after
the month and the year it was intro-
duced. Today, variations of the
Coco Chanel handbag remain as
sought after as they were fifty years
ago. The 2006 Luxury Line, with
its metal chain embedded in leather,
was one of the most anticipated
Coco Chanel handbags of the year.
The enormous brand power of
Chanel is such that it has inspired
entire lines of fake and much
cheaper purses, complete with the
now famous double-C logo, in
countries such as Vietnam,
Thailand, and China. Whereas an
authentic one costs an average of
$1,500, a fake one usually costs just
$60. And, with little noticeable dif-
ference to the untrained eye,
demand for the cheaper purse has
been growing. It is a problem that
the House of Chanel is committed
to dealing with. In the meantime,
however, the fashion powerhouse
remains at the top of its game.
Whether it is a Coco Chanel hand-
bag or a watch or its little black
634
In todays celebrity-obsessed
culture, you will be hard-pressed to
find a celebrity brave enough to be
seen without a pair of sunglasses,
be they Coco Chanel sunglasses or
another. A chic pair of shades can,
in and of themselves, make a state-
ment. One only needs to look at
Jackie O, one of the first celebrities
to begin wearing fashionable over-
sized sunglasses a trend that has
continued to this day to understand
the impact of sunglasses.
Sunglasses are no longer about
protecting your eyes, or at least not
these ones. Theyre about complet-
ing a style, finishing a look, and
setting oneself apart from the
crowd. Hiding behind shades might
give off an air of mystery, but they
no doubt reveal much more about
your personality than you might
think. From Mirrorshades and
Aviators, to Wayfarers and
Glaciers, there are sunglasses for
every personality type. Heck, even
the Roman emperor Nero used to
prefer watching gladiator fights
through polished emeralds his own
early version of sunglasses.
While buying your own pair no
matter which Sex and the City girl
you most identify with will run you
into the hundreds of dollars, many
aficionados and die-hard Chanel
fans consider it a necessary invest-
ment, just as Coco once said her-
self. After all, with the enormous
staying power that the brand has
demonstrated in the near century
that it has been in existence, and the
Initially, this new fragrance was
introduced solely to the fashion-
istas personal friends and her best
clients. However, in 1924, after
partnering with French business-
man Pierre Wertheimer, the product
went public, with Wertheimer own-
ing 70 percent, Coco owning 10
percent, and another private
investor owning 20 percent. Today,
the Wertheimer family continues to
run that side of the business.
From Chanel No. 5 to her later
Coco Mademoiselle and Chanel
Coco fragrances, Coco Chanel per-
fume is based on Cocos desire to
have a scent that reflects my per-
sonality, something abstract and
unique. In her own time, most per-
fumes were based on the idea of
being beautiful through the likes
of floral scents in order to further
enhance a womans beauty.
However, Coco Chanel perfume
was meant to contrast this natural
beauty by being more artificial.
Sales of the fragrance have con-
tinued to increase over time, espe-
cially after being introduced in the
U.S. in the 1950s. In 1953, sales
skyrocketed when Marilyn Monroe
famously answered the question of
what she wore to bed with the
answer, Two drops of Chanel No.
5. Even Andy Warhol got on the
bandwagon, when he made nine
silk screens of Chanel No. 5. In
1959, the uniqueness of the product
design itself landed the bottle in the
Museum of Modern Art in New
York City. Over the years,
House of Chanels continuous pen-
chant for innovation under the
direction of Lagerfeld, it seems
unlikely that any pair you choose to
invest in will go out of style any
time soon.
Just make sure you dont let
them out of your sight; even the
most refined and polite of girls has
been known to turn into a greedy
fiend at the sight of a pair of Coco
Chanel sunglasses.
Coco Chanel Perfume
In 1924, legendary fashion icon
Coco Chanel remarked, I want to
give women an artificial perfume.
Yes, I really do mean artificial, like
a dress, something that has been
made. I dont want any rose or lily
of the valley; I want a perfume that
is a composition. Today, eighty-
three years after the first launch of
Chanel No. 5, Coco Chanel per-
fume remains as popular as ever
and indeed, one of the best known
brands in the world.
The idea of creating a fragrance
first arose in 1920, when the young
fashion designer was introduced to
Ernest Beaux through her beau at
the time, the Russian Grand Duke
Dmitri. Beaux was a perfumer, and
at the time was working on a spe-
cial concoction for another compa-
ny. After sampling the scent, she
convinced Beaux to sell it to her
instead, and thus was launched the
first of her scents, Chanel No. 5.
635
spokespersons for the product have
included Catherine Deneuve,
Estella Warren, and Nicole
Kidman.
In the 1970s, the market domi-
nance that Coco Chanel perfume
was enjoying began to fade. Many
women, especially in America,
began to view it as a fragrance for
out-of-style women. However,
Pierre Wertheimers grandson
Alain had recently taken over con-
trol of the company and focused his
efforts on turning it around. By
spending millions of dollars on
advertising, profits slowly began to
rebound. Today, Chanel No. 5
remains one of the most famous
and most expensive perfumes
available anywhere in the world.
Indeed, at a price of hundreds of
dollars per ounce, it is the special
woman that can afford the special
Coco Chanel perfume.
Coco Chanel Biography
The Coco Chanel bio is a story
that begins far removed from the
opulence that her name would later
come to represent. Born in Saumur,
France, in 1883, Gabrielle Bonheur
Coco Chanel was the illegitimate
daughter of a shop girl who would
die soon after and a traveling sales-
man who would abandon his
daughter on the streets of France. It
was her two aunts, with whom she
was sent to live, who would teach
the young girl the etiquette that
would come to shape the Coco
Chanel bio.
after, but Coco Chanels business
kept on growing. In fact, in less
than four years, she was able to pay
back all the startup money she had
received from her beaus despite the
fact that they were given to her as
gifts, not loans.
This life story was beginning to
stand out because so too were her
clothes. With her little black dress
and masculine-inspired pieces,
Chanel was quickly becoming a
fashion trendsetter throughout
Europe. She soon expanded beyond
clothing, and in 1924, launched the
product that would make her
immortal the famous Chanel No. 5
perfume. For the time being, it
appeared that nothing could go
wrong for this designer.
However, during World War II,
she began to stand out for another
reason: she was having a personal
relationship with a German Nazi
officer. Public opinion of her quick-
ly turned sour and she withdrew
from the spotlight. It wasnt until
1954, when she was 71 years old,
that her life story would take a turn
for the better. The designer had
decided to make a comeback.
At first, Europeans did not take
well to the reemergence of Coco
Chanel, but over time, she would
regain her position at the top of the
industry, and would continue to
dominate until her death at the age
of 88. Today, the Coco Chanel bio
stands out as a story of success by
innovation.
At the age of 17, the future
designer was sent to live in an
orphanage, where nuns taught her
the basic techniques of sewing and
helped her land a local job as a
seamstress. However, this life was
meant for more exciting things than
a seamstress, and so the ambitious
young girl took off for the town of
Moulins to become a cabaret
singer.
While the experience in
Moulins did not open up any
singing opportunities, it did set this
life story in a new direction. It was
here that she met Etienne Balsan, a
rich, young French textile heir to
whom she soon became mistress.
Bored with her life as a mistress, it
wasnt long before she would
approach Balsan with a business
proposition; she wanted to open up
a hat and dress shop in Paris. Rich
as he was, Balsan gave her the
money. In little time, this had
become the story of a budding
entrepreneur. Indeed, her little Paris
shop was quickly becoming one of
the most popular boutiques in all of
Paris.
Much like her darker and sim-
pler clothes than were fashionable
at the time, the Coco Chanel bio
began to stand out from the rest.
She soon left Balsan and became
involved with Arthur Boy Capel,
a wealthy businessman who
financed her expansion. An addi-
tional two boutiques were built in
Biarritz and Deauville. Capel
would die in a car accident not long
636
fashion industry by going back to
basics, incorporating elegance,
class, and originality. Under her
tight reign from 1909-1971, Coco
Chanel held the title as Chief
Designer until her death on
January 10, 1971.
1909 - 1932
In 1909, Chanel opened a
millinery shop, under the name of
Chanel Modes, at 21 Rue
Cambon in Paris. Her hats were
worn by famous French actresses
who helped establish her reputa-
tion. Chanel introduced in 1913
womens sportswear at her new
boutique in Deauville, France. Her
line of jersey clothing was a reac-
tion to the lifestyle changes sur-
rounding WWI. Coal was scarce
and women were taking on factory
jobs in the men's stead. They need-
ed warm clothing that would stand
up to working conditions. Her
clothes of this time period were
also greatly affected by the relative-
ly new idea of women's sports.
Chanel has continued in that trend,
producing sports clothing, acces-
sories, and equipment even more so
C
HANEL REVOLUTIONIZED HAUTE
COUTURE FASHION by replacing
the traditional corseted silhouette
with the comfort of simple suits
and long, lean dresses. She intro-
duced to the world her signature
cardigan jacket in 1925. She had
numerous other major successes
that changed the fashion industry
including the ever popular "'Chanel
suit'", composed of a knee-length
skirt and trim, boxy jacket, tradi-
tionally made of woven wool with
black sewing trim and gold but-
tons, worn with large costume-
pearl necklaces.
History
The hem of the suit is weighted
down with a chain. Wealthy
women around the world began to
flock to her 31 Rue Cambon bou-
tique to commission couture outfits
from her. The House of Chanel
became an icon of elegance and
from then on, the name Chanel
became synonymous with ele-
gance, wealth, and elitism, as well
as the ultimate sign of French high
class.
After the phenomenal success
of her perfume, No. 5, Coco
Chanel's fashions became even
more well-known and were pur-
chased by the high flyers of
London and Paris society alike.
Chanel took to living at the Htel
Ritz Paris, and her suite of resi-
dence has become famous and is
now named the "Coco Chanel
Suite."
Chanel is also known for its
quilted fabric which also has a
"secret" quilting pattern sewn at the
back to keep the material strong. It
was inspired by the jackets of jock-
eys. This material is used for cloth-
ing and accessories alike. The
brand is now headed by German-
born designer Karl Lagerfeld, who
also designs for the House of
Fendi, as well as his namesake
label.
The Coco Chanel Era
Coco Chanel, founder of the
House of Chanel, began her fash-
ion career in 1910. She heralded
new designs and revolutionized the
637
today.
Her fashion became known in
1915 throughout France for priori-
tising freedom of movement by not
featuring ostentation and redundan-
cy in her designs. She affirmed the
Houses style of authentic, fluid
and comfortable lines. She then
opened her first couture house in
Biarritz, France, to introduce her
other fashion lines.
1921 saw the introduction of
her first perfume Chanel No. 5. It
was internationally popular with
women of high society in particu-
lar. La Socit des Parfums
Chanel" was founded in 1924 to
produce and sell perfumes and
beauty products. Just before
launching her first perfume, she
met with a fortune teller, who told
Coco that her lucky number was 5.
So she named her scent "No. 5",
and released it on the fifth day of
the fifth month of the year, May 5.
1924 also greeted the first
Chanel costume jewelery collection
that Harpers Bazaar described as
one of the most revolutionary
designs of our time.
In 1926, Chanel introduced the
little black dress, greeted by
Vogue as the new uniform of the
modern woman. That same year,
Chanel introduced the classic
tweed. Inspired by visits to
Scotland with the Duke of
Westminster, Chanel created her
first tweed suits.
pass with her death. Other posthu-
mous projects came to light a few
years later. In 1974, the House of
Chanel launched Cristalle eau de
toilette, which was in the workings
when Coco Chanel was alive. 1978
saw the launch of the first non-cou-
ture, prt--porter line and world-
wide distribution of accessories. In
1981, Chanel launched a new eau
de toilette for men, Antaeus.
The Karl Lagerfeld Era
A Chanel shop in Prince's
Building, Central, Hong Kong.
Karl Lagerfeld would become
one of the most iconic designers of
recent times. With his flashy sense
of style combined with a strong
vision of a new Chanel, Lagerfeld
brought the couture house to new
levels, and is still continuing to
woo and awe the fashion world.
1983 was the year of change for
the House of Chanel. It was the
year Karl Lagerfeld was appointed
Artistic Director for Chanel
Fashion, including haute couture,
prt--porter, and accessories. He
shocked the fashion world by
changing Chanels fashion lines
from the predictable same styles
that greeted world year after year to
shorter cuts and eye capturing
designs. In 1984, the House of
Chanel launched the fragrance,
Coco, in honour of the late Coco
Chanel. In 1986, the House of
Chanel struck a deal with watch-
makers and in 1987, the first
Chanel premiered an exhibition
of jewelery in 1932 dedicated to the
diamond. Several of the pieces,
including the Comet and
Fountain necklaces were re-intro-
duced by Chanel in 1993.
1935 - 1981
In 1939, she retired from fash-
ion design and closed her popular
couture house. Only her perfumes
and accessories were sold at
Chanels boutiques.
Coming out of fashion retire-
ment at the age of 71, Chanel re-
opened the couture house in 1954.
Her first show received internation-
al acclaim, with her signature jer-
sey suit being introduced that bore
her favourite number: 5. In
February 1955, Chanel introduced
the quilted bag with the shoulder
strap, named the 2.55 bag after the
month and year of its creation. That
same year, Chanel launched her
first eau de toilette for men, Pour
Monsieur.
In 1957 at the Fashion Awards
in Dallas, Chanel and her spring
collection received the Fashion
Oscar. The fashion world applaud-
ed her as the most influential
designer of the twentieth century.
On January 10, 1971, Coco
Chanel died, ending an era of revo-
lutionary fashion that would still be
the classic model fashion designers
today find inspiration in.
However, her influence did not
638
Chanel watch made its debut. 1990
saw the launchL'Z'1996 greeted the
launch of Allure fragrance and due
to its immense popularity, a mens
version, Allure Homme was
launched in 1998. The House of
Chanel launched its first skin care
line, PRCISION in 1999. That
same year, Chanel launched a new
travel collection, and under a
license contract with Luxottica,
introduced a line of sunglasses and
eyeglass frames. 2000 saw the
launch of the first unisex watch by
Chanel, the J12, a style whose clean
cuts and fusion of masculine and
feminine elements formed a revolu-
tionary watch, and a supposed cult-
following in certain circles. To
please the younger fashionistas,
Chanel introduced Coco
Mademoiselle and an In-Between
Wear in 2003. 2002 saw the launch
of Chance fragrance, with a scent
of surprise and glamour. The House
of Chanel founded the Paraffection
company that gathered the five
Ateliers dArt: Desrues for orna-
mentation, Lemari for feathers and
camellias, Lesage for embroiderer,
Massaro for shoemaker, and Michel
for millinery. A prt--porter col-
lection proposing their know-how
was designed by Karl Lagerfeld. It
is now traditionally presented each
December. 2003 saw such an
immense popularity of Chanel
haute couture that the company
founded a second atelier on rue
Cambon. The sunglasses brand is a
brand of Italian Luxottica Group.
The No. 5 perfume had always
received free campaigns from
Vietnam, Thailand, and China. An
authentic Chanel handbag retails
from around $1,500, while a coun-
terfeit usually costs around $100,
creating a demand for the signature
style at a cheaper price. All authen-
tic Chanel handbags are serialised.
Watches
Creative Director at Chanel
Jacques Helleu followed Coco
Chanel's credo, having designed the
first Chanel watch named
'Premiere' in 1987. The first model
of the Chanel J12 watches line was
introduced in 2000.
In 2005, Chanel designers
introduced the J12 line into the area
of Fine Jewelry timepieces - they
developed the jewelry watch that
was equipped with the tourbillon.
Chanel asked experienced Swiss
watchmakers to develop the exclu-
sive 'CHANEL O5-T.1' movement.
In 2006, the line was joined by
Chanel J12 Haute Joaillerie set with
597 baguette-cut diamonds, fol-
lowed by the creation of the Chanel
J12 Tourbillon Haute Joaillerie. In
2007, Chanel launched its first J12
GMT model.
In 2008, Chanel initiated the
partnership with Audemars Piguet,
having developed the 'J12 calibre
3125', equipped with an innovative
automatic movement CHANEL AP
3125, the fusion of the AP 3120
movement and Chanel 'J12' ceram-
ic.
actresses and starlets that used it
daily, including Marilyn Monroe,
Nicole Kidman, and Vanessa
Paradis.
2005 - Present
The Luxury Line, introduced in
2006 featuring a metal chain
embedded in the leather, is one of
the most desired "it" bags of the
moment. Chanel still is popular
because they mix the trends of
today with the class and simplicity
they had when they first opened.
The House of Chanel, under the
leadership of Karl Lagerfeld and
Brandi williams, has defined the
style and fashion of Chanel as
being the five essentials: audacious,
perfectionist, unique, passionate,
and visionary.
The Iconic Logotype
The Chanel logotype is an inter-
locking double-C, one facing for-
wards the other facing backwards.
(Originally it was not a logo that
Coco Chanel came up with) This
derives from the name Coco
Chanel. "Coco" is the nickname
frequently used by Chanel founder,
Gabrielle Chanel. The logotype
was not trade-marked until during
the first openings of Chanel stores.
Chanel is currently dealing with
illegal use of the double-C logotype
on cheaper goods, especially coun-
terfeit handbags. Countries said to
be producing great numbers of
counterfeit Chanel handbags are
639
No. 5 The Film
Chanel has launched a new
advertising film that casts Nicole
Kidman as the new face of Chanel
No. 5. It was motioned and pro-
duced by Baz Luhrmann (director
of Moulin Rouge as well as the
1996 modern version of Romeo &
Juliet) and was shot on location in
Sydney. Kidman takes on the role
of the most famous woman in the
world while Brazilian Model/Actor
Rodrigo Santoro plays a struggling
writer who falls in love with
Kidman. The advert lasts 3 min-
utes, and took many months of pre
and post production. Also, about 26
million euros ($46 million) were
spent, making No. 5 The Film one
of the most expensive advertise-
ments in history.
Coco Mademoiselle ( Le Film )
Recently, the young Academy
Award-nominated actress Keira
Knightley and Brandi Williams has
been announced as the new faces of
Coco Mademoiselle, a fragrance
intended for the younger fans of
Chanel. A short advertising film
was made starring Knightley, who
subsequently plays Coco Chanel
herself, clad in a bowler hat and
short styled bob. The film was
directed by the BAFTA-winning
English film director Joe Wright,
who has also worked with
Knightley in his award-winning
films Pride & Prejudice and
Atonement
640
L
IFE IS SMELLING EVEN SWEETER
for Nicole Kidman.
"The Hours" Oscar winner, said
to be a close friend of the creative
director at Chanel, Karl Lagerfeld,
has been announced as the new
international face of Chanel No. 5,
say published reports.
While financial details of the
deal are not being revealed, the
Sydney Sun-Herald in Australia
reported that Kidman would be
paid $12 million Australian (about
$8.5 million U.S.).
Kidman's Australian publicist,
Wendy Day, tells the paper: "It's a
wonderful acknowledgement from
Chanel and a great accolade for
her."
Day, however, could not con-
firm reports that Kidman was
preparing to announce her engage-
ment to Lenny Kravitz, after a
report in the London Daily Mail
that the couple would inform pals
and family members of their wed-
ding plans at a party in New York
in early December.
Day tells the paper that she
doesn't know how serious the
Kidman-Kravitz relationship is.
In her Chanel role, Kidman will
assume a mantle previously held by
some of the most beautiful women
in the world, including Ali
MacGraw, Candice Bergen, Lauren
Hutton, Jean Shrimpton, Catherine
Deneuve and Carole Bouquet.
Such directors as Ridley Scott
and Luc Besson have previously
worked on one of the most high-
profile campaigns in fashion,
Chanel No. 5 ads.
For her debut as the face of the
house, Kidman will be reunited
with her "Moulin Rouge" director
Baz Luhrmann, who reportedly
will direct and produce the ads,
which will begin airing a year from
now.
641
waned even to the slightest degree
with a whole generation of younger
women rediscovering Marilyn
Monroes definition of voluptuous-
ness to sleep in nothing more than a
few drops of No. 5. And therefore
surely something of a difficult act
for Mr. Polge to follow, nest ce
pas?
"Most definitely", he admits.
And all the more so because he
never had the opportunity of meet-
ing Coco Chanel, the self-pro-
claimed Queen of Haute Couture,
whose reign endured for almost six
decades. "Of course it is a handicap
having to create perfumes without
her. But I try to overcome this by
having my own private dialogue
with her. And I think that goes for
all of us employed here at Chanel,
in perfumery and fashion alike."
So how does Mr. Polge go about
creating a new fragrance? Well, its
all in the mind, he insists. That is to
say a perfume is established in his
thoughts and imagination, only set-
ting out to produce the formula for
what has already been smelled
somewhere deep down in his psy-
H
E WILL ONLY SAY SO IF PRESSED.
Although why he should be so
hesitant is unclear. "Well on my
passport it says that I am a per-
fumer", says Jacques Polge, the top
man at Chanel. Part of the truth -
but certainly not the whole truth
and nothing but the truth. "Its just
that to most people it sounds a little
odd if I give a more accurate
description of my job", he confides.
"And what might that accurate
description be, Mr. Polge?", his
interviewer insists, evidently eager
to hear him articulate the magic
words. "Well", Polge replies a little
uneasily, "I am a nose".
He is far too modest that Mr.
Polge. For not only is he a nose, he
is undoubtedly the leading nose in
the world. Based in his elegant
fourth floor offices in Pariss smart
Avenue Charles de Gaulle, and just
a stone throw from the Arc de
Triomphe, Polges brief is daunting
indeed: entrusted by Chanel to
interpret the aromatic heritage and
spirit of the late Mademoiselle her-
self, his constant challenge to adapt
and create new perfumes for the
contemporary world.
Gabrielle Coco Chanel was
perhaps the most influential coutu-
rier of the twentieth century, her
glamorous designs helping to liber-
ate women from the plumed and
corseted extravagance of Belle
Epoch costume. Freeing women
from ostentatious displays of
wealth, she instituted a classically
elegant modern style that persists
to this day. All the more ironic,
therefore, that the most successful
of her ventures was the launching
of the apparently eternal fragrance
No. 5, introduced with much fan-
fare back in the early 1920s. A
classical heart, introduced by a
rush of dizzying sensuality, and
surrounded with a multitude of
light floral notes, No. 5 was daz-
zling, upsetting each and every
conventional aromatic notion of the
day. Almost immediately the repu-
tation of No. 5 spread overseas to
become one of the great mythical
symbols of our time. After the lib-
eration of Paris, G.I.s who wanted
to take a bottle of the celebrated
perfume back home could be seen
waiting patiently to enter 31 rue
Cambon, forming queues over 500
meters long. Nor has its popularity
642
che. This creative process can take
place at work, whilst in his lab
(aptly situated in the Avenue des
Parfums) or, just as likely, whilst
bellowing out Maurice Chevalier
songs under the shower.
Whereupon he declares the French
equivalent of by George Ive got
it. He must have been working in
the lab or showering a lot, of late,
for during the course of the last few
years he has come up with best sell-
ing brand names such as Coco a
homage to Mademoiselle, of course
goste, Christalle and Allure, the
fresh and sophisticated abstract-flo-
ral scent which Chanel is confident
will blaze a trail well into the next
century.
"Please forgive me if this sounds
rather rude but your nose looks
quite ordinary to me."
"It is", Polge retorts with a
smile. "A nose is made, not born. I
havent got a better nose than
you. Its just that I have had a cer-
tain training; I am used to working
with my nose as a matter of course,
and as such I am able to put order
into what I smell. Its like becoming
proficient at the piano - there are
certain muscles that have to be
exercised regularly. Its the same
thing when it comes to perfumes
you need to train and work your
nose."
Do not even think of interrupt-
ing Polge at this point, for he is in
full flow. Anxious to explain the
universal appeal of perfumes, he is
Despite Polges pessimism
about the future, however, he has
been unable to deter his 23 year old
son Olivier from wanting to follow
in his fathers (how should one put
it?) - footsteps.
"I tried to talk him out of it",
Polge confesses. "But then I
thought about it and concluded that
I didnt have the right to do any
such thing. I cant say that I will be
able to make a great nose out of
him. Thats impossible. But of
course I hope that one day he too
will become the nose of Chanel.
Because for someone passionate
about perfumes, there really is no
better position in the world."
A sentiment with which the
great, late Mademoiselle Chanel
would no doubt concur wholeheart-
edly.
The main Web site of freelance
writer Jeremy Josephs is at
www.jeremyjosephs.com. Please
check there if you might be inter-
ested in engaging him as a writer.
Many of his articles are available
online.
moving onto interesting terrain. Its
time for sex, philosophy and reli-
gion - subjects which are tradition-
ally taboo for the Anglo-Saxons -
but without mention of which no
day would be complete for any self-
respecting Frenchman.
"Perfume, he asserts, "is an
internal dimension of femininity.
Nor is it a coincidence that some
98% of perfumes sold today are
from the famous marques of cou-
turiers. If companies such as
Chanel became interested in per-
fume and we were the first - then of
course its related to commercial
reasons. But it is also to do with
deeper reasons, which are telling us
that perfumes are to do with an
invisible prolongation of the work
being carried out by the couturier.
In other words the couturier acts on
the outside - and the continuation of
what he does is his perfume. Plus
olfaction is most definitely the most
wild of our senses - smell being
directly linked to primitive instincts
such as sex. People often ask me
what makes a beautiful perfume. To
which I reply its the perfume which
the woman you love is wearing."
"I am afraid that we noses are a
breed on the way to extinction", he
explains a little sorrowfully. "Its
just in the old days each marque
used to employ its own nose. What
tends to happen now is that very
few companies actually make their
own perfumes - they buy in or have
it made for them. To me the future
doesnt seem very rosy."
643
and, after many years of ill health
due to asthma, her mother became
very ill in the spring of 1895 and
died at the age of thirty three.
Until she was seventeen in 1900
Gabrielle was educated at a convent
orphanage run by nuns at Aubazine
and she spent a further two years at
another convent school at Moulins.
During her years at the convent
Gabrielle became accomplished at
sewing, and during holidays spent
with her aunt Julia, who had a pas-
sion for hats, she learned the art of
millinery.
Keeping her eyes and ears open
she began to form her own opinion
of the sort of styles she preferred.
At twenty she began work as an
assistant in a shop selling
trousseaux and layettes (wedding
outfits and baby wear) and every-
day clothes for girls and ladies.
Moulins was a garrison town and
the tailors' shops were always busy.
Gabrielle found a job in one of
these as a seamstress, but her
evenings were spent enjoying life
with the officers, who showed her
the sights and took her to night-
T
ILL THE RUSSIAN REVOLUTION
OF OCTOBER 1917 ERNEST had
exclusive fragrance contract with
the family of Tsar Nicholas II.
Creator of the world famous fra-
grance Chanel # 5 in October of
1921. Fifth of a series of five sam-
ples on May the fifth.
The beginning
Although she was born at the
end of the nineteenth century,
Chanel was to become one of the
most influential designers of the
twentieth century. She was not
influenced by previous fashion, but
had entirely new ideas on how to
make a woman look feminine.
Dispensing with the frills and
furbelows of the Edwardian era,
she brought in a clean, uncluttered
look that was to become the basis
for much of the haute couture
design in the following decades.
Her father, Albert Chanel, was
an itinerant market trader, moving
from place to place as the fancy
took him. In the winter of 1881 he
found lodgings in Courpiere,
France and soon began paying
attention to Jeanne Devolle the
younger sister of his landlord.
However, in the spring of 1882
Albert once more felt the urge to
travel and left the area, leaving
behind the nineteen year old Jeanne
who was by now pregnant.
Jeanne eventually tracked
Albert down in Aubenas and gave
birth, in a public tavern, to Julia,
Gabrielles older sister. Albert
would not marry Jeanne, but she
stayed with him and they were
soon on the move again, this time
to Saumur in the Auvergne. It was
here, on August 19th, 1883, that
Jeanne Gabrielle Chanel was born.
She was christened by the hospital
chaplain, and, years later, told the
story that a nun at her christening
named her Bonheur, though there is
no documentation to prove this.
Gabrielles parents were at last
married in July 1884, and contin-
ued their wandering life, some-
times with the children and some-
times leaving them behind with
anyone who was willing. By now
there were several more children
644
clubs.
Always on the look out for
something different, Gabrielle
became a singer at La Rotunde,
where, in her husky voice, she sang
Ko Ko Ri Ko and Whos seen
Coco in the Trocadero?. From that
time she became know as Coco,
which remained with her through-
out her life.
In 1906 she moved to Vichy,
hoping to establish a singing career
there, but her voice did not suit the
owner of the biggest nightclub and
all she could do was to sew the
dresses for the other artistes such as
Mystingette. Disillusioned, she
returned to Moulins.
She found nothing here for her
either and later that year eagerly
accepted the suggestion by Etienne
Balsan, an old admirer, that she live
with him in his Chateau de
Royallieu. Although not yet accept-
ed by the society ladies who visited
the chateau, Gabrielle became an
accomplished horse rider and was
one of the first women to wear rid-
ing breeches. In order not to give
the appearance of being a kept
woman she always wore very plain,
strictly tailored clothes, with a
boater. Soon becoming bored with
a life filled with horses and card
playing, she began to create hats for
her friends.
At this time in 1909, at the age
of 26, she became friendly with an
Englishman Arthur Capel, nick-
ance in Maupassant's play "Bel
Ami" at the Vaudeville theatre in
Paris. The hats were of straw, with
wide brims turned up on one side.
Dorziat later modelled the hats for
photographs in Les Modes.
Everyone spent the summer in
the fashionable resort of Deauville.
In the summer of 1914 with talk of
war in the air the atmosphere was
more hectic than ever, and
Gabrielle took advantage of this by
opening a shop on the rue Goutaut,
once more financed by Arthur
Capel. Her logo was painted on a
white awning above the shop, the
word Chanel in black lettering.
This time she was selling clothes as
well as millinery and could be seen
around town in her masculine, tai-
lor made clothes, setting the trend
for the future. The unusual couple
captured the imagination of the car-
icaturist Sem who illustrated sever-
al publications with models by the
very chic Chanel. Gabrielle had
by now discovered that displaying
clothes on a live model had many
advantages, and could be seen with
her aunt Adrienne promenading on
the pier, displaying her designs for
all the fashionable ladies to see.
Arthur Capel was a very suc-
cessful businessman and a keen
polo player. Gabrielle hoped to set-
tle down with him, but he was often
away on business and was usually
seen in the company of other
women. Immersing herself in her
work, Gabrielle launched her first
Chanel suit. A sailor blouse in tri-
named Boy, who was one of
Etiennes friends. He encouraged
her to extend her expertise and, at
Etiennes suggestion, Gabrielle was
installed in the ground floor apart-
ment at 160 boulevard Malesherbes
in Paris where Etienne had con-
ducted his liaisons. Here she made
and sold millinery to society
women and soon had a staff of
three.
Chanel aged 27
It became clear in 1910 that the
premises were much too small and
Gabrielle tried to persuade Etienne
to give her a loan to buy her own
premises, but he refused. Arthur
Capel had, by this time, become
very important to her and he lent
her the money to buy a shop at 21
rue Cambon. Her fame was spread-
ing and photographs of her cre-
ations were appearing in the fash-
ionable magazines. Little by little
Arthur introduced new interests
into her life. She became interested
in dancing, meeting Isadora
Duncan and her bohemian friends.
But Gabrielle never really enjoyed
their way of life and she soon aban-
doned them. She became more fond
of Boy Capel and her circle of
friends became more cosmopolitan,
with singers, artists and actors all
being part of the set who regularly
visited Etiennes chateau de
Royallieu. It was here, in 1911, that
she met Gabrielle Dorziat, a well
known actress. The two became
friends and in 1912 Coco Chanel
made two hats for Dorziats appear-
645
cot material over an open necked
shirt and a skirt which was straight
but loose enough to walk in and just
showing the feet. A plain straw hat
completed the outfit, a combination
that she had been wearing for some
time, but which everyone now
wanted to wear as a change from
the figure hugging fashion of the
day.
World War I
At the outbreak of war in 1914
Deauville became deserted as
everyone rushed back home. Capel,
ever the businessman, persuaded
Gabrielle to stay. His hunch was
correct as, on returning to the resort
having lost their clothes in the war,
customers found that Chanel was
the only shop left open. Times were
changing. The society ladies decid-
ed to go bathing, dressed in bathing
costumes designed by Chanel, with
wide, knee length bloomers.
Capel had been posted to
London but still lived in Paris.
Before his departure he took
Gabrielle to Biarritz, another very
fashionable resort. Seeing the
potential for a much larger business
he advanced the money for yet
another new venture. This time
they opened a maison de couture in
a villa near the Casino, the Villa
Larralde on rue Gardres, selling
dresses for 3000 francs.
By July 1915 the Biarritz house
had more than sixty employees and,
leaving her sister Antoinette in
her time with her men friends.
When she was 36 years old, in
October 1919 Chanel became regis-
tered as a coutourire and moved
further along the same street in
Paris; 31 rue Cambon was to
remain the House of Chanel for the
rest of her life.
Even though he was married
Capel still sought out Gabrielle
when he was in Paris. But all this
was to come to an abrupt end. On
December 21st, 1919 Arthur Capel
was driving to Cannes for
Christmas when he was involved in
a fatal accident. As soon as she
heard the news Gabrielle insisted
on being driven to the scene of the
accident to pay her last respects.
For a while she was inconsolable,
but she had the businesses to run
and life must go on.
Branching out
Capel had left Gabrielle 40,000 in
his will and, three months after his
death, she moved into a new villa at
Garches. Her sense of colour and
style were reflected in the colours
she chose for the exterior, beige
stucco with black lacquered shut-
ters.
So began a new era in Chanels
life, full of painters, composers and
dancers. Her friend Misia Sert, a
pianist of some renown, had a large
circle of friends in the theatrical
world, and it was she who intro-
duced Gabrielle to this exciting and
charge, Gabrielle returned to Paris.
Here they made the clothes for
Biarritz and, when necessary, sent
personnel to help with the extra
work. With three hundred people
working for her in 1916 she found
that she was able to repay her debts
to Arthur Capel, much to his sur-
prise.
Whilst looking for a new knitted
fabric to resemble tricot, Gabrielle
found a manufacturer who had
made a knitted, woollen material
called jersey. This material was
generally used for gentlemen's
underwear but he found that his
clients did not like the beige colour.
To his surprise she bought his entire
stock and made herself an unfitted
redingote reaching halfway down
the skirt. It was an immediate suc-
cess.
Meanwhile Chanels fame was
spreading. One of the dresses from
her Biarritz collection was copied
in America and appeared in
Harper's bazaar in 1916. In France
it was to be 1920 before anyone
made a copy of any of her clothes.
They did, however, copy her hair
style which she had cut short in
1917.
That year was to prove a diffi-
cult one for Gabrielle as Arthur
Capel decided that the time had
come for him to marry into the
English aristocracy. She pretended
not to mind, but was deeply unhap-
py about it. To cover her distress
she rented a villa where she spent
646
invigorating environment.
Misia decided that Gabrielle
needed to have a complete change
from her work and the things that
reminded her of Capel, so she and
her husband took her with them to
Venice. Here they met Serge
Diaghilev, who was having desper-
ate financial problems. Having
been sponsored by the Romanovs
before the uprising, he needed a
backer for a new production of Le
Sacre de Printemps to be staged by
the Ballets Russes in Paris, but
could see no prospect of finding the
money. Gabrielle listened and said
nothing, but on returning to Paris
she visited Diaghilev at his hotel
and handed him the money he
required, on condition that he told
no one. However his private secre-
tary knew, and it was he who, much
later, told the world of this gener-
ous gift. Gabrielles home at
Garches also became a refuge for
Igor Stravinsky, the composer, who
with his wife and four children had
returned from Switzerland in order
to become French citizens.
The summer of 1920 found
Gabrielle once more in Biarritz.
Grand Duke Dmitri Pavlovich was
also on holiday, and it soon became
clear that they were very attracted
to each other, even though he was
eleven years younger than she was.
A member of the Romanov family,
he had been treated as a son by the
tsar, but he had survived the war
and now had very little money.
They lived together for a year, and
The perfume was an immediate
success and, though other manufac-
turers tried to produce copies, no
one was able to capture it exactly
and Chanel No. 5 remained the
favourite. Parfums Chanel was
founded in 1924, run by Pierre and
Paul Wertheimer, and with Ernest
Beaux as its technical director.
Dmitri, or his Russian ancestry,
was to be the inspiration for a fur-
ther innovation that year. Gabrielle
had introduced embroidery into
some of her garments as early as
1916, but after the war embroidery
became very popular and she
experimented with a black rubash-
ka blouse, embroidered on the cuffs
and collar, worn over a straight
skirt. The idea was so popular that
an embroidery workshop was set
up, with the Grand Duchess Maria,
Dmitris sister, in charge, using
machines to embroider intricate
patterns on a wide variety of gar-
ments. Fur, another favourite of
Chanels, was used to line a full
length cloak, giving a distinctly
Russian air to the collection. Many
of the models and saleswomen in
the salon were also Russian, and
they, in turn, brought their Russian
friends as clients.
At the end of the year Gabrielle
and Dmitri parted company and he
married an American, but he and
Gabrielle remained firm friends.
The villa at Garches was also sold
and Gabrielle moved back to 29,
Faubourg St. Honor in Paris. Her
theatrical friends were soon filling
in that year Chanels most success-
ful product was created; the per-
fume Chanel No. 5.
Chanel 5 perfume
Until this time all perfumes had
been based on natural flower fra-
grances. These were very concen-
trated essences but once in use the
perfume quickly evaporated and
faded. Dmitri had grown up in the
Russian court where perfumes were
used in large quantities. He was
acquainted with Ernest Beaux, a
perfume chemist at Grasse, the cen-
tre of the perfume industry. So it
happened that Gabrielle too became
acquainted with Ernest Beaux and
the idea for her own perfume
evolved. This was to be based, not
on flower essences, but on eighty
different ingredients, creating a
more stable base and a distinctive
abstract perfume and could also be
used in smaller quantities.
Gabrielle left the mixing of the
ingredients to Ernest Beaux, but
she made the final decisions about
the finished product, sampling it
several times before deciding on
the perfume that she thought
reflected the image she wanted to
portray. Even the bottle was a total-
ly new concept, moving away from
the elaborate, frivolous designs of
other manufacturers to a sharp cor-
nered cube, in which the perfume
was visible through the glass. The
label was also devoid of ornament,
in plain white, with the words No.
5 Chanel printed in black.
647
the apartment with their singing
and dancing, much to the annoy-
ance of the neighbours, but
Gabrielle shrugged off their com-
plaints. Picasso, Stravinsky and
Diaghilev were all to be found
there, pursuing their particular
interests.
For several years after this
Gabrielle was involved in a tempes-
tuous love affair with Pierre
Reverdy, a struggling poet, with a
wife patiently waiting at home.
Even after their final separation in
1926 he was to continue to dedicate
his poems to Gabrielle, and she
owned the first editions of his com-
plete works, as well as a priceless
copy of Cravates de chanvre, by
Reverdy, with original water colour
illustrations by Picasso.
It was Jean Cocteau who asked
Gabrielle to design the costumes
for his production of Antigone at
the newly opened Atelier Theatre in
Paris. In December 1922, at the
age of thirty nine, Chanel was to
become as famous for her theatrical
costumes as for her haute couture
collections. The stage sets were
designed by Picasso, with music by
Arthur Honegger, using the oboe
and the harp. Taking the theme
from Greek vase paintings, both
Chanel and Picasso created an
authentic Greek atmosphere for the
play. Antigone was dressed in a
long, tunic dress in white wool,
decorated with brown bands, over
which she wore a woollen cloak
patterned in brown. Picasso also
The 1925 Arts Decoratifs
Exhibition in Paris brought togeth-
er the architecture, furniture and
fashion of the time, with the pavil-
ion of elegance displaying the
gowns of Boulanger, Lanvin, Patou
and Chanel. The Art Deco style
was nothing new for Chanel, who
had been creating the smooth,
almost masculine look for several
years. To be chic all frills and
fussiness must be eliminated, even
the hair styles were short, smooth
and slicked back. The era of mass
production had also arrived, some-
thing which caused most designers
to start law suits against the firms
copying their garments. Chanel,
however, took all this in her stride
and decided to go along with the
trend, creating fashion for every-
one, not just for the select few who
could afford it. The little black
dress displayed in Vogue in
1926 was a typical Chanel style, in
black crepe de chine, tight fitting
on the hips, with no collar and long,
straight sleeves, soon became the
standard for the smart occasion.
Costume jewellery was first
introduced into the fashion world
by Paul Poiret and in 1924 Chanel
decided to open a jewellery work-
shop with Comte Etienne de
Beaumont as manager. Imitation
jewellery that looked like the real
thing became part of the fashion-
able woman's wardrobe. The twin-
set and pearls look was created.
The jeweller Madame Gripoux
made the imitation pearls and glass
beads for the Chanel collections.
used the Greek vase as his inspira-
tion, thus bringing together the cos-
tumes and the sets.
In 1924 Cocteaus Le Train
Bleu, portraying tennis, golf and
swimming on the Riviera, opened
at the Champs-Elyses Theatre in
Paris, with costumes by Chanel,
and stage curtain by Picasso. With
Anton Dolin and Bronislava
Nijinska in the starring roles, the
costumes provided a challenge for
Gabrielle, who had to make sure
that the clothes she designed
allowed the dancers to perform
somersaults as well as conventional
dance movements. The first
designs, tried on for the first time at
the dress rehearsal, were something
of a disaster, with the dancers com-
plaining that the costumes did not
fit and restricted their movements.
Frantic alterations were made and
on the opening night the costumes
were a triumph. Once more Chanel
was influencing fashion with her
thigh length, knitted bathing dress-
es with shorts just showing
beneath, worn with a skull cap and
earrings. Her tennis players outfit
of white, loose-fitting, knee length
dress and headband, soon became
the rage in fashionable circles, and
no one was seen on the beach
unless they were wearing the
Chanel bathing dress.
The collaboration between
Chanel and Cocteau lasted for four-
teen years, from 1923 to 1937, and
with each production a new fashion
emerged.
648
The Duke di Verdura, who joined
Chanel in 1927 as a textile design-
er, later created some of the most
unusual pieces of jewellery for her
collections.
The Final Phase
On a trip to Monte Carlo in the
autumn of 1925 Gabrielle was
introduced to the Duke of
Westminster, who immediately
became enchanted with her. But
she was not so easily persuaded that
he should become a large part of
her life. She did not want to give
up her independence and move to
England, away from her circle of
friends. However, slowly but sure-
ly, the Duke persuaded her to try
the English way of life and she
began to spend more time with him
at his various homes and on his
yachts. Although he had already
been married twice, the Duke had
no heir, which made Gabrielle think
that perhaps she could be the moth-
er of the future Duke; but at the age
of forty six the odds were stacked
against it.
The years spent mixing with the
English aristocracy became appar-
ent in the designs for her collec-
tions. 1926 to 1931 was considered
to be the English period, with
sports jackets, waistcoats and shirts
in the masculine style. But the
Chanel touch was always there, this
time using jewellery with simple
cardigans or sweaters in a way that
no Englishwoman had ever done.
The affair with the Duke was to be
selection of clothes was produced,
including a bias cut evening gown
in black satin and a suit that was
also in a style much loved by
Chanel, with a fitted waist and wide
revers, worn with a white blouse.
The public loved the clothes but
the Hollywood stars did not want
clothes designed exclusively by
one person. Gabrielle would not
put up with all the arguments and
released herself from the contract,
leaving Samuel Goldwyn to find
another designer.
Fashionable clothes were
becoming more accessible to the
general public. Early in 1932
Gabrielle was invited by a British
textile firm to design a range of
clothes using cotton materials. She
used cotton lawn, muslin and
organdie to great effect for ball
gowns and clothes for the races.
One of the notable fashion events
of the year was held at the Duke of
Westminsters London apartments,
where over a hundred Chanel cre-
ations, using British materials,
were modelled by her friends. All
the designs were able to be copied,
and the charity event was attended
by manufacturers from all over the
world.
Chanel costume jewellery, par-
ticularly pearls, was now a part of
the fashionable womans
wardrobe, but Gabrielle now had
other ideas. Her salon became a
fortress, guarded by alarms, for she
was about to launch an exhibition
as short lived as the rest, and by
1929 he was looking round for a
new wife. Gabrielle, not without a
struggle, resigned herself to the
situation and returned to Paris to
take up her old life and her old
friends. She did, however keep her
contacts in England.
But once again fate intervened
and a new phase began.
Depression had hit the United
States of America and Samuel
Goldwyn, the movie mogul, decid-
ed that one way to help women to
forget the misery was to produce
films depicting a different way of
life. A famous dress designer must
be found to produce memorable
clothes. That designer had to be
Gabrielle Chanel. His stars were to
wear Chanel styles both on and off
screen, and he was prepared to pay
Chanel one million dollars for the
pleasure of going to Hollywood
twice a year with her designs.
Misia, as so often, was her com-
panion on the triumphal entry into
Hollywood in April 1931, where
they were greeted by many of the
top movie stars. Gloria Swanson
was to star in the film Tonight or
Never and Gabrielle was asked to
design her wardrobe. This proved
harder than expected as Miss
Swanson was pregnant, and at each
fitting the clothes became tighter,
causing Gabrielle to urge Miss
Swanson to lose weight and not
wear a girdle, which showed
beneath the sheer fabric. However,
with the usual Chanel creativity, a
649
of real jewellery. The exhibition, in
November, 1932, was not open to
the public, but to prominent people
in the jewellery trade, who paid for
the privilege of seeing her unique
new creations. The proceeds were
to to be divided between two chari-
ties. Her aim, she claimed was to
provide employment for the crafts-
men at such a difficult time. Wide
bracelets that could be split up and
worn separately, and necklaces
covering the shoulders, which were
a work of art in themselves, caused
quite a stir.
A new influence had entered
Gabrielles life. Paul Iribarnegaray,
Iribe to his friends, became her
constant companion and moved
into her house on the Faubourg. It
was rumoured that they were to be
married, but he still had a wife.
Over the next three years Gabrielle
began to lean more and more on
Iribe, leaving him to fight her legal
battles, of which there were many.
However, a particularly nasty inci-
dent outside her apartments, in the
Spring of 1934, when the Fascists
tried to take over the city, made
Gabrielle decide to leave the
Faubourg. Dismissing all her staff
except her personal maid, she took
her furniture and moved, with Iribe,
to the Ritz hotel.
A Classic Chanel Suit
The summer was spent at the
villa on the Riviera, but the world
was changing, and by the next year
Hitler was gaining prominence in
in the creations of others.
These years were to be some of
the worst of her life, but she was
persuaded to design the costumes
for Cocteau's play Oedipe Roi,
starring Jean Marais. The costumes
were indeed very strange, resem-
bling rolls of bandage draped round
the actors, or heavy, outdated dress-
es and bonnets. Needless to say
press and public were scathing in
their condemnation.
With one last effort, Chanel
made a comeback with her red,
white and blue gypsy dresses of
1939, before the outbreak of war
forced her to make a momentous
decision. She was closing down
the workrooms and salons, only the
boutique, selling accessories and
perfume, would remain open. She
could not be persuaded to change
her mind, though the trade union
and staff tried their best.
After a short time in seclusion,
Gabrielle once more came back to
Paris where she was offered a small
room at the Ritz. After the closure
of her salons she had told everyone
how poor she was, but, in fact, she
was a wealthy woman and the sales
of perfume and accessories never
faltered. She still had an apartment
above the shop, and here she
brought a German officer, Hans
Gunther von Dincklage, after their
fateful meeting in 1941. Spatz, as
he was called, was thirteen years
younger than Gabrielle, who was
now fifty six, but, always dressed in
Germany, which was to have an
effect on all their lives.
Gabrielle and Iribe were spend-
ing the summer of 1935 as usual at
the villa. A game of tennis had
been arranged, but, just as Gabrielle
arrived, Iribe collapsed with a heart
attack and died soon afterwards. At
the age of fifty two Gabrielle was
once more alone. Misia, still her
closest friend, tried to comfort her,
but to no avail, and Gabrielle
returned to Paris in the Autumn,
once more to immerse herself in
work.
But worse was to come with the
great strike of 1936, when all the
workers in the city went on strike
for better conditions and better pay.
The employees at the house of
Chanel joined the strike, and locked
the doors against Gabrielle.
Dressed in a classic Chanel suit,
she tried to argue with them but
they would not listen. Inevitably
she had to give in to their demands,
or the business she had spent so
long building up would cease to
exist.
The threat of war hovered over
the world, but the Exposition des
Arts et Techniques was held in
Paris in 1937, and Gabrielle took
every opportunity to be seen wear-
ing her own creations. A crystal
plate designed by Chanel and
engraved with a pair of scissors cut-
ting into a piece of material, held
the inscription I used these scis-
sors to cut all that was superfluous
650
to be beaten, she continued to
design, and little by little she made
her mark once more on womens
fashion, helped by increased sales
in the United States.
She carried on, working herself
to exhaustion, going across the road
to her room at the Ritz for a few
hours troubled sleep, then returning
to her cutting and fitting with
renewed vigour. But on January
10, 1971, she went to her room and,
lying on her single bed, with her
maid beside her, she quietly died, at
the age of eighty eight.
civilian clothes, he seemed happy
to merge into the background.
Their affair lasted until 1944. After
being arrested and held briefly by
the Clean up Committee
Gabrielle decided that the time had
come to move to Lausanne in
Switzerland.
For years Chanel had been fight-
ing the Wertheimer brothers over
the rights to manufacture her per-
fumes. Never having actually
signed a permanent contract with
them, she had never accepted that
she was being treated fairly.
However, in 1947, they finally
came to an agreement, giving
Gabrielle a two per cent royalty on
gross sales worldwide, plus other
benefits. After all the years of
wrangling she was satisfied, as, at
that time this represented one mil-
lion dollars per year.
Gabrielle watched in dismay as
male designers such as Dior began
to dress women in figure restricting
clothes once more. She had spent
so many years designing easy fit-
ting styles, which flattered the
female figure. In 1953 she could no
longer stand the inactivity and
began to design a new collection.
On the 5th of February 1954, at the
age of seventy-one, she once more
opened her Paris salon with a col-
lection based on her previous best
selling styles; the simple, collarless
Chanel suit with skirt just skim-
ming the knee, nothing frivolous or
fussy. The press were cruel in their
castigation, but Gabrielle was not
651
Chanel is just the latest and
most dramatic example of a trend
toward alternative marketing that
started with luxury's courting of the
celebrity spokesperson.
Louis Vuitton has not only pro-
duced limited edition handbags in
collaboration with painters ranging
from Stephen Sprouse to Takashi
Murakami, but has also recently
donated an Olivier Debr stage cur-
tain to the Hong Kong Opera, and
next week unveils new Christmas
windows in all 322 stores designed
by the artist Ugo Rondinone.
MaxMara, the Italian fashion
house, also recently announced its
sponsorship of the MaxMara Art
Prize for Women. Ms Carter says:
"They are not selling the products,
they are selling an image and an
attitude attached to that image."
The new press ad campaign
from Brioni, the luxury menswear
label, does not feature a suit, or
even a man, but instead features an
architectural shot of a Falcon
900EX plane. Black and white and
stylised, it is meant to convey the
ephemeral "values" of Brioni:
T
HE RUMOURS BEGAN DAYS
BEFORE THE CHANEL women's
wear show last month in Paris.
Press photographers would not be
admitted unless they wore black
suits and white shirts; Nicole
Kidman, the "face" of the house's
perfume, Chanel No 5, was com-
ing; Karl Lagerfeld, the house's
designer, had convinced a bevy of
famous 1980s models to come out
of retirement.
The rumours were all true, and
when the black and white-clad pho-
tographers saw Ms Kidman, there
was such a frenzy on the catwalk
that the paparazzi started to tumble
off the catwalk.
It was a frightening end to a
slick show and it was staged. The
"crazed-photographer" stunt had
been set up by Mr Lagerfeld to
publicise the new ad campaign for
Chanel No 5, which centres on a
"commercial" - if you can call it
that - directed by Moulin Rouge
director Baz Luhrmann, starring
Ms Kidman, and lasting almost
three minutes (if you include the
credits). When it debuts on
American TV screens on Thursday
and the rest of the world over the
next month, it may well change the
direction of luxury goods advertis-
ing. It certainly shows the advertis-
ers' recognition that it needs to
change.
"It is clearly no longer enough
to just have an attitude and show a
picture; you have to attach an emo-
tional story to that," says Carol
Potter, a global business director of
J. Walter Thompson. "That is a
global trend but it is especially
acute when it comes to luxury
goods, because with luxury goods
you are paying to feel special you
need that personal connection."
Carolyn Carter, president and
chief executive of Grey Global
Group, says: "Every target group is
becoming more resistant to the tra-
ditional advertising methods, so
brands have to look at different
ways to move people. This is evi-
denced in the migration to other
strategies like product placement in
films, direct marketing and spon-
sorship."
652
power, technology, leadership,
speed, travel, design elegance, says
chief executive Umberto Angeloni.
When Chanel artistic director
Jacques Helleu first approached Mr
Luhrmann about making the film,
the director told him: "I have no
real experience (of making an ad)
but what I can make you is a trailer
for a movie that has never actually
been made, that is not about
No, 5 but in which No. 5 is the
touchstone."
Marianne Etchebarne, interna-
tional marketing director of Chanel
fragrances, says: "This campaign
launches at a time when the market
is more and more promotionally
oriented.However, No. 5 is the
benchmark of the market, and this
new campaign will be the strongest
to date in terms of making all
women dream about No. 5."
The short "film" is a quick-cut
version of a love story that tells a
tale of the most famous woman in
the world (Kidman), who flees a
horde of paparazzi and jumps into a
taxi where she meets a young writer
(Brazilian star Rodrigo Santoro) so
immersed in his own world that he
does not know who she is. They
share a lost weekend in his garret
before she acknowledges her
responsibilities and returns to the
outside world.
653
They share a romantic moment,
locked in a kiss and embrace, be-
fore reality accosts her in the form
of a man in the shadows. She must
choose between love and responsi-
bility. Together, they realise she
must return to the world from
which she came.
Fulfilling her destiny, she
makes a glamorous appearance at a
spectacular public appearance. A
changed soul. Full of poise and
confidence. As she climbs the
grand staircase to glory, in a burst
of paparazzi flashbulbs, she feels
the young mans presence across
the river. She stops.
She catches sight of the silhou-
ette of the Chanel sign. They con-
nect for a moment. They share the
memory they will never forget. She
turns back, a stronger person, no
longer running from her responsi-
bility but walking confidently
towards it.
The young man remembers her
kiss. Her smile. Her perfume.
Nicole Kidman and Jacques
T
AKE A CLASSIC PERFUME, ADD
AN ACCLAIMED ACTRESS, AN
EXOTIC YOUNG ACTOR and an inno-
vative film director, and what do
you get? The renewed spirit of
Chanel No.5. Majorie Chew finds
out what goes into the making of
the Chanel ad video.
Destiny has a way of introduc-
ing people. A chance meeting. A
shared gaze. Love at first sight in
a taxi. Imagine two souls crossing
paths in busy New York.
In the spirit of the legendary
Chanel No.5 comes a stunning
romantic fantasy, an urban fairy
tale written, directed and produced
by Baz Luhrmann (director of
Moulin Rouge, 2001). It is a new
advertising film that casts Nicole
Kidman as the new face of Chanel
No.5.
Nicole Kidman and Rodrigo
Santoro in Chanel No.5 the Film
which was shot on location in
Sydney. Kidman takes on the role
of the most famous woman in the
world while charming Brazilian
actor Santoro plays a struggling
writer who falls in love with
Kidman. As one of the worlds
most celebrated actresses, Kidman,
plays the role of the most famous
woman in the world. Young and
charming Brazilian actor Rodrigo
Santoro plays a struggling writer
who falls in love with Kidman.
The story is set in a mythical
metropolis where a mysterious and
beautiful woman runs out of her
limousine and into the traffic of the
imaginary Times Square. She
escapes the paparazzi and the
screaming fans, and plunges into
the heart of neon and noise.
She leaps into a taxi, which
already has a young male passen-
ger in the back seat. Their eyes
meet.
Just drive, she orders the cab-
bie.
Before long, the pair is cavort-
ing on the rooftop of the young
mans apartment. There is an enor-
mous globe-lit double-C sign in the
form of a crescent moon with the
mythical city skyline in the dis-
tance.
654
Helleu, artistic director of Chanel,
on the set of the advertising film. A
unique white gold and diamond
necklace was made for Kidman: a
long flowing ribbon that falls down
to the bottom of her back, ending
with a No.5
The stuff of dreams. Chanel
No.5.
This is a tale of stolen love,
haute couture, fine jewellery and
fragrance coming together in one
unforgettable production. The com-
mercial a two-minute film was
shot in five days in Sydney. It is the
latest Kidman-Luhrmann collabo-
ration, a creative relationship that
began 10 years ago.
The making of No.5 advertising film
Artistic director of Chanel
Jacques Helleu, who guarded and
nurtured the image of Chanel No.5
for 30 years, started thinking about
the new Chanel No.5 advertising
film in 2002, according to informa-
tion provided by Chanel.
If you have to tell the story,
No.5 is an absolute legend, he says.
This film, he feels, evokes a meet-
ing, a passionate love.
Helleu knew Kidman was per-
fect for this role. When he saw
Moulin Rouge, he was impressed
by her absolutely incredible power
of seduction.
During the concept stage,
days, the preparation was enor-
mous.
Karl Lagerfeld, one of the icon-
ic masters of the fashion world,
specially designed five beautiful
haute couture dresses for Kidman.
Her first dress was a pink cloud of
120m of tulle tapered by numerous
seamstresses to fit every curve of
her perfect body.
A unique white gold and dia-
mond necklace was also made for
Kidman: a long flowing ribbon that
falls down to the bottom of her
back, ending with a No.5. Three
people from the Chanel jewellery
department travelled to Australia to
adjust this amazing piece of jew-
ellery; the only obvious reference
to the fragrance in this film.
Whats the advertising impact of the
film?
Helleu concedes that the
strength of the film comes from the
talent of Luhrmann and Kidman,
from their extraordinary ability to
make a film that lasts only a few
seconds with the same profession-
alism required for a full-length
film.
Helleu explains: From the
very beginning, I was guided by the
same obsession to reveal feminine
seduction in all of its facets, to
show the incarnation of this seduc-
tion above all.
While the advertising of No.5
Helleu recalls that Luhrmann told
him that he would make a film, not
an advertisement. He gave
Luhrmann total freedom to create
magic on the screen. And waited to
be amazed.
Luhrmann chose to tell a story
depicting the kind of woman who
wears the legendary perfume. His
childhood memories of Chanel
No.5 include a flash of black-and-
white footage; Marilyn Monroe
answering Chanel No.5 when
asked by the Press what she wore in
bed; the beautiful Catherine
Deneuve with a French accent on
television talking about her lovers.
As I was growing up, it was
accepted that a glamorous woman
drank champagne, got laid, jetted
off to romantic locations and wore
Chanel, he says.
Helleu says: Luhrmann is a
true artist who was able to give a
cinematographic wholeness to the
entire production with a true
rhythm, characters, and a very spe-
cial atmosphere, and all of this in a
context that draws attention.
The action happens in a
metropolis that resembles New
York, but it was all filmed in
Australia. I was struck by the preci-
sion of Luhrmann, this direction
down to the least detail, the details
of the street which give a dramatic
intensity to the action.
Although the shoot lasted five
655
is based on breaking away and
doing something different, theres a
spirit that remains: you shouldnt
hold onto an image, a pure illustra-
tion, but rather focus on a character,
an attitude.
How is Kidman emblematic of
Chanel No.5?
At the climax of the story,
Kidman looks back at her lover: a
necklace drapes her bare back. A
total of 687 diamonds form the
iconic number 5.
Created in 1921, No.5 has kept
all of its seduction and mystery.
The best-selling fragrance in the
world is composed of ylang-ylang
from the Comoro Islands, jasmine
from Grasse and May rose a true
olfactory symphony.
And so the legend of Chanel
No.5 lives on.
656
Rouge. The ad moreover finishes
with a preposterous and inter-
minable roll of movie-style credits,
which go on about half as long as
the ad itself, detailing everyone
from the director to the set runner.
Of course, the humblest Tesco
advert could give a list of credits if
it chose. But this is to tell us (and
tell us and tell us and tell us) that
they are artists and not hucksters.
No 5 is not an ad, it seems, but a
celebrity-enriched piece of exqui-
site corporate art that celebrates
luxury goods as well as flogging
them.
Of course, commercials are get-
ting slicker, smarter, wittier, invest-
ing in the highest possible produc-
tion values, to match the fact that
upscale shows such as The West
Wing and The Sopranos are regard-
ed with as much awe as movies.
Some of the biggest Hollywood
names started life in ads. Return
traffic is rarer, though companies
attach big-name directors to their
projects like brand labels. Without
their name actually appearing
onscreen, however, their participa-
tion has to be advertised externally
N
ICOLE KIDMAN'S LATEST
SCREEN APPEARANCE PRE-
MIERES ON TELEVISION tomorrow
night. She's in something called No
5, directed by Baz Luhrmann. But
it's only three minutes long and it is
an advertisement - the biggest,
poshest, shiniest advertisement
ever - for Chanel perfume. No 5
was unveiled to the UK's cultural
observers last week who were duly
provoked and intrigued by the
audacity of this art-commerce
crossover. Could this be the screen
equivalent of Fay Weldon writing a
novel sponsored by Bulgari?
Catwalk queen ... Nicole
Kidman giving her three
minutes to Chanel's 18m
commercial
No 5 is basically a mini-
Notting Hill or micro-Roman
Holiday, with any vestige of
humour utterly expunged. Nicole
plays a lonely megastar who, mad-
dened by the pressures of fame,
impetuously scrambles out of her
limo and into a cab with that bloke
from Love Actually who doesn't
quite get off with Laura Linney.
She has a platonic bohemian
moment with him on a rooftop,
behind an illuminated Chanel logo.
"Who are you?" he gasps. "I'm a
dancer!" she replies, snuggling up
to him with a few razzle-dazzle
moves. But then a solemn old
geezer appears and says she must
go back. (Who's he when he's at
home? Her manager? Her dad? The
building's janitor? All three?) So
Nicole dutifully resumes her
celebrity vocation, floating up to a
red-carpet premiere, surrounded by
giant, faintly Stalinesque pictures
of herself, while her amour
breathes in voiceover about what a
precious fleeting moment it was:
"Her kiss ... Her smile ... Her per-
fume."
And her stonking fee. Nicole's
price-tag (2m), along with Baz's,
contributed mightily to the reported
18m cost. But director and star
interestingly signal that they have
not diminished their Hollywood
status by taking the Chanel
shilling. This they achieve by the
pairing itself, reminding us of their
last collaboration, the unimpeach-
ably successful and classy Moulin
657
to the advertisement itself.
Nike got Spike Lee to direct
their spots, and three years ago
BMW commissioned a series of
short car-chase movies which could
only be accessed on the internet,
directed by names like Tony Scott,
John Woo, John Frankenheimer,
Ang Lee, Wong Kar-wai, Guy
Ritchie and Alejandro Gonzalez
Inarritu. Here again, the status-
transaction is tricky. These A-list
directors were attracted by the
money of course, but also by the
left-field wackiness of the web
angle: this made it exclusive, and
even experimental, different in kind
to the abject business of just crank-
ing out a commercial. Mercedes
followed up by hiring Michael
Mann to direct a cinema commer-
cial starring Benicio Del Toro.
Mann disguised it as a faux-trailer
for a non-existent movie in which
the brand was hardly mentioned.
Other actors do them of course.
B-lister Burt Reynolds does ads for
Dollond & Aitchison spectacles.
Higher up the food chain, Samuel L
Jackson does quirky commercials
for our own Barclays Bank, in
which the name of the product is
not permitted to soil his lips.
Jennifer Aniston does Barclaycard
TV ads, but has reportedly insisted
that they must not be used in the
US.
Grand as it is, Baz Luhrmann's
No 5 is part of all this. Hollywood
stars do ads, and Hollywood
movies offer product placements.
But the caste divide between ads
and movies remains as strong as
ever.
658
Deneuve, Ali McGraw, Jean
Shrimpton and Candice Bergman
all promoted the product.
However, at the time none of
them was as big a star as Nicole is
now.
But director Baz said: 'My
childhood memories of Channel
No. 5 is of Catherine Deneuve,
looking beautiful onTV.
'It was accepted that a glam-
orous woman drank champagne,
jetted to romantic locations and
wore Chanel.'
And the new commercial will
not be the first Chanel ad to capture
the public's imagination with its
style and atmosphere. When super-
model Estelle Warren became the
face of Chanel No. 5 in the
Nineties, the company produced an
unforgettable advert. Many remem-
ber the image of the beautiful
women wandering through a long,
golden corridor in nothing but a
short Little Red Riding Hood cloak
before stepping through ornate
doors into city streets hushed by
T
hE WORLD'S MOST EXPENSIVE
ADVERT, FOR THE WORLD'S MOST
FAMOUS PERFUME AND STARRING the
world's most glamorous woman, is
on your telly tonight.
Rumoured to have cost 5mil-
lion, the Chanel No. 5 commercial,
featuring Nicole Kidman, is being
promoted with teasing clips of the
four-minute extravaganza.
For the first time, Chanel have
shelled out for a star bigger than
the brand and an Oscar-nominated
director, Baz Lurhmann of Moulin
Rouge fame, for what is more a
mini-movie than a 30-second
promo.
Suitably enough, it can be seen
on Channel 4 during Moulin
Rouge, which stars Nicole and
starts at 9pm.
The advert follows the 'most
famous woman in the world',
Nicole, as she begins a passionate
love affair with an artist played by
gorgeous Brazilian star Rodrigo
Santoro. Set in a mythical metrop-
olis, the pair escape to the rooftops
to get away from the limelight. But
Nicole, said to have picked up
more than 1million for her part,
has to return to the red carpet and
the awaiting paparazzi, glancing
back wistfully at the rooftop garden
where her lover remains. Debussy's
Clair de Lune is the soundtrack for
a production oozing with style.
Nicole's costumes were
designed by Karl Lagerfeld and
were hand-stitched in the Chanel
couture salon.
The Aussie screen queen is
also decked out in 17million
worth of gems. Stylish, slick and
elegant, the advert is sure to secure
her place as the world's most glam-
orous woman.But she is not the
first celebrity to be associated with
the famous French brand of
clothes, fragrances and cosmetics.
Coco Chanel herself was the
first face of Chanel No. 5 when she
launched the perfume in the
Twenties.
For decades, it was the most
popular scent in the world and gor-
geous women such as Catherine
659
snowfall.
Most people can recall the eerie
music, from Edward Scissorhands,
the festive feel and the ending
where a wolf howls at the moon,
even if they don't remember what
the advert was for.
Johnny Depp's wife,Vanessa
Paradis, is another beauty on con-
tract to Chanel.
In an atmospheric advert for
Chanel's Coco perfume,Vanessa is
half-woman, half-exotic bird pos-
ing on a trapeze in a gilded cage,
dressed in nothing but fishnet
stockings and feathers.
In a spooky finale, lightning
flashes and a male figure is silhou-
etted ghost-like against the stormy
sky.
But apart from those who
worked for the company, there have
been plenty of celebrities through
the years who loved to wear Chanel
products.
Hollywood icon Marilyn
Monroe famously said Channel No.
5 was the only thing she wore in
bed.
Modern-day diva Mariah
Carey apparently won't venture out
on the ski slopes unless she is
dressed from head to toe in Chanel.
The company's launch of their
2005 collection last month was
attended by the likes of Linda
Evangelista, Princess Caroline of
Monaco and, of course, Nicole, all
resplendent in Chanel.
Nicole's Chanel dress at the
Oscars in 2002, before she was
employed by the company, was
hailed by many as the biggest fash-
ion success of the night.
Even pop princess Kylie
Minogue, more famed for her tiny
gold hot pants than classic chic, has
become a fan of the designer label
since taking up with her French
boyfriend Olivier Martinez.
Celebrities are desperate to be
associated with a brand synony-
mous with style and elegance. And
where celebrities tread, ordinary
people want to follow.
There is still a bottle of Chanel
No. 5 sold every 30 seconds and the
fragrance clocks up around 60mil-
lion in sales for the company every
year.
But Chanel are not willing to
rest on their immaculately-styled
laurels.
They are hoping the new
advert will make such an impres-
sion that husbands and boyfriends
across the world will feel it would
be rude not to slip a bottle into their
other halves' stockings this
Christmas.
660
into "screenings" at the company's
swish Bond Street offices.
"It differs from a traditional
advert in many respects," explains
the publicist, smoothing the skirt on
her immaculate black-and-white
outfit. "For a start, there aren't any
shots of a bottle of Chanel No 5.
The whole project was executed as
a film."
Certainly it bears the hallmarks
of a Hollywood film. It is beautiful-
ly shot on high-gloss celluloid, has
costumes designed by Karl
Lagerfeld and a score by Debussy.
It reprises the successful partner-
ship of Moulin Rouge!, which
Luhrmann directed, but this time
Kidman plays the "most beautiful
and most famous woman in the
world".
As Mark Lawson, the presenter
of Radio 4's Front Row, puts it:
"You sense that Luhrmann was
pushing at an open door when he
pitched that to her."
Kidman's character briefly
escapes her pitiable lot after meet-
I
T LASTS 180 SECONDS, STARS
NICOLE KIDMAN, is directed by
Baz Luhrmann, cost Chanel $42
million to make - and it's just pre-
miered. So what's it like?
Dashing .... Nicole Kidman in
the three-minute
Chanel No 5 film.
'It's a film, not an advert," the
Chanel publicist says, firmly. "As
he says himself, Baz Luhrmann
doesn't do adverts."
As she speaks, she presses play
on the DVD and Nicole Kidman
rushes gazelle-like into frame. She
turns to face the camera, her
alabaster skin flushed the same
colour as her cascading gown, her
eyes round with panic.
She is being pursued by
paparazzi in a cityscape lined with
billboards bearing her image. As
the cameras close in, Kidman
ducks into a taxi to escape.
"Drive," she orders, breathless and
desperate, before turning to notice
a sultry Brazilian beside her. The
publicist whispers to me: "It's a
fairy-tale romance."
This is No 5: The Film, a three-
minute movie or the world's most
expensive advertisement, depend-
ing on your stance. Chanel argues
that it is "a creative first. The film
to revolutionise advertising."
At $42 million or $ 233,333 a
second it is certainly a first in terms
of budget. Miss Kidman's $4.7 mil-
lion fee alone is equal to the entire
cost of the Oscar-nominated 1995
film Trainspotting.
Although shot in five days in
Sydney, Australia, No 5: The Film
took "many more months to com-
plete".
Its premiere on Britain's
Channel Four at the weekend and
in Australia last week was preced-
ed by advertisements - "Chanel
invites you to a television premiere
this evening at 9.20pm" - and was
even included in television listings.
The fuss surrounding the "film" has
been such that journalists were
forced to sign confidentiality
agreements before being allowed
661
ing Rodrigo Santoro, who plays
the man she meets in the taxi. In
Luhrmann's words, he is "a young
Gabriel Garca Marquez" who lives
on the Lower East Side, reads
Shakespeare, plays a guitar and
types on an old-fashioned Olivetti.
Santoro's character doesn't know
who Kidman is (despite the bill-
boards) and she "lies", telling him:
"I'm a dancer."
To the strains of Debussy's
Clair de Lune, the couple cavort
on his rooftop garret, backdropped
by an enormous double-C logo.
After four days, her secretary
appears as an apparition in their
bedroom: "You must return to the
all-important event tomorrow," he
tells Kidman, in faintly menacing
tones. And so she does, embold-
ened, to face fame anew on life's
red carpet. Santoro is left wistful,
remembering only "her kiss, her
smile, her perfume". It is a roman-
tic comedy without the comedy.
The film finishes with one
minute of rolling credits - citing
make-up artists and riggers. It is
followed by a 25-minute "making
of" documentary, complete with
footage of Kidman giggling
coquettishly with Lagerfeld during
fittings in a London hotel room
and Luhrmann pitching what
sounds like an entirely separate
movie about Coco Chanel at the
company headquarters in rue
Cambon, Paris.
Contrary to Chanel's argument,
is a high-end product and a really
beautiful, glossy film makes sense
for that product." It is, she adds,
not a departure but thoroughly in
keeping with its previous cam-
paigns. "Their last No 5 advert,
with Estella Warren playing Little
Red Riding Hood, was also a two-
minute film."
Another advertising executive
argues that Chanel has gone to
such lengths out of desperation to
reposition No 5: "Its image has
slipped. It might be one of the
biggest-selling scents in the world,
but it's considered to be the scent
you buy your mistress in the air-
port or your grandma for her birth-
day."
In that way, Chanel has merely
revived an age-old policy: making
its brand synonymous with
Hollywood glamour.
The scent, launched in 1921,
first scored this coup in 1954 when
it was allied with Marilyn Monroe.
She claimed, with outrageous
seductiveness, that all she wore to
bed were: "A couple of drops of
Chanel No 5."
Later, Chanel repeated that
success with the Catherine
Deneuve, Ali MacGraw and
Carole Bouquet.
As for its status as a movie, No
5: The Film, has one serious flaw:
to squeeze into Britain's tight
advertising schedules over
in making this film Luhrmann is
not fighting the tide of directors
crossing from advertising to fea-
tures, but joining the prestigious
ranks of other Hollywood auteurs.
Michael Mann, the director of
Heat, teamed up with Benicio Del
Toro for Mercedes-Benz in 2002
and Anthony Minghella, the direc-
tor of The English Patient, directed
a television campaign for
Guinness. Before them, David
Lynch and even Sir Alfred
Hitchcock have sullied their art for
the adman's penny.
Lesley Ali, the creative direc-
tor at WCRS advertising agency,
believes that by producing such a
big-budget advert, Chanel has not
gone against the grain but merely
upped the ante in what has become
a trend in the luxury-goods sector.
"Ultimately, the film, like an
advert, reflects what the product is
and in that way it can't be called
revolutionary," she says. "Any
product needs to have its values
represented, whether it is a three-
minute film or a four-second spi-
ral, it still has a brand value that it
wants to project. If Chanel thinks
this validates its brand value to the
target market, that's great. If
everyone did that formula, howev-
er, it wouldn't be exclusive, so I
don't think it will revolutionise the
face of advertising. It's just one
way of doing it.
"Obviously a lot of thought has
been put into this: they believe this
662
Christmas, it has been ruthlessly
cut to 30 seconds. "But it is still a
film," the spokesman insists. "It
retains the plot of the film, its just
an edited version."
663
Wertheimer family, secretive patri-
cians who amassed a fortune in cos-
metics, owned the House of
Chanel. For a few years, they did
nothing with it except to continue
to market the perfumes, and to pay
rent on a small boutique on the Rue
Cambon, which sold accessories.
Eventually, they hired a new
designer, who has since vanished
from the scene, and introduced a
line of ready-to-wear. In 1983, the
president, Kitty DAlessio, lured
Karl Lagerfeld away from Chlo,
and made him the creative director.
His mandate was to raise the profile
of the brand and to rejuvenate
which in the aggressive fashion cli-
mate of the early eighties meant to
sex up and trick out the Chanel
style, and he did so with a bravura
or a brashness, depending on ones
point of view, that seemed to some
critics and clients a betrayal of the
Chanel patrimony. But as Lagerfeld
began to define a creative identity
that was both separate from Chanel
and consonant with his interpretive
role as her steward, he reliably pro-
duced superior collections.
I
ONCE HAD A CHANCE TO BUY A
COUTURE SUIT BY CHANEL that
was made sometime in the nine-
teen-fifties, her comeback years.
She had closed her maison de cou-
ture, on the Rue Cambon, when
war was declared in 1939, and
reopened it in 1954, when she
returned to France, at seventy-one,
from self-imposed exile in
Switzerland.
The stories of her attempts to
wrest control of Chanel Parfums
from her partners, the Wertheimer
family, by exploiting the Nazi race
laws, and of her startling offer to
Hitlers secret police chief to bro-
ker a negotiated peace with her old
friend Winston Churchill a farcical
operation code-named Modellhut
(fashion hat) by Chanels S.S. han-
dlers have always somewhat damp-
ened her charm for me.
But the suit was a classic tweed
in opalescent pink, with flecks of
mauvish blue and a selvage trim, a
slightly flared skirt that grazed the
knee, and a boxy jacket with her
signature cropped sleeves and nar-
row armholes. The dealer who was
selling it, a Frenchwoman, sized
me up literally before she let me try
it on. She had been keeping it under
wraps in her back room like a rare
piece of erotica, waiting for the
right customer.
Except for the thrilling virtuos-
ity with which it is made, there is
very little sex appeal to a mid-cen-
tury Chanel suit. It is a convention-
al and even dowdy uniform if one
wears it without some wink of
impiety. But it keeps faith with an
enlightened notion that refuses to
die, no matter how hard its adver-
saries the Versaces of the world try
to kill it, and one which we owe
almost entirely to Chanel: that a
woman is entitled to dress with the
same dignity, comfort, and self-
possession as a man.
Chanel died in 1971, at the age
of eighty-seven, with no heirs
except a trusted manservant. She
left her estate to a foundation in
Liechtenstein, and, according to
Axel Madsen, the author of a thor-
ough biography, A Woman of Her
Own, its value was estimated at
thirty million dollars. By then, the
664
A new show of couture, ready-
to-wear, jewelry, accessories, and
toiletries by Chanel and Lagerfeld,
which opened at the Metropolitan
Museum on May 5th and runs until
August 7th, pays homage to
Chanels purism. It is curated by
Harold Koda and his associate,
Andrew Bolton, of the Mets
Costume Institute. They have
mounted a number of exhibitions in
the claustrophobic basement where
couture is usually displayed, which
nevertheless captured the poetry of
fashion. This production involved
bigger interests and egos. It
received extravagant support
from its sponsor, Chanel, Inc.,
Koda told me, though he declined
to quantify it; additional support
from Cond Nast; and advice from
Lagerfeld, a man of imperious
opinions that he has never been shy
about expressing. (A Chanel show
planned five years ago by Kodas
predecessor, the late Richard
Martin, was cancelled by mutual
agreement when the Met bridled at
Lagerfelds demands.) But this
time, Koda said at a press confer-
ence on the day of the annual
Costume Institute Ball, speaking in
the Great Hall of the museum,
there couldnt have been a show
without Karls interventions. The
catalogue is a luxuriously pristine
example of the printers art, thanks
in part to Lagerfeld, who hand-tint-
ed the cover and the digitally
processed photographs.
The installation, elevated to the
Mets main floor, was designed, on
Lagerfelds recommendation, by
Chanels work makes her an elusive
subject. Her couture is easy to find
beautiful, but its artistry, Koda
noted, is hard to read, which
might have been a good reason to
provide some context for it a social
history, one of several filmed inter-
views, or a portrait of Chanel at
work. A visceral sense of the
woman has been sacrificed to aes-
thetics, the way personal objects
are banished from a modernist
dcor (though Chanels dcors
were rich and eclectic). Koda
hoped that by using Lagerfelds
work as a foil he could start a
dialogue, and supply some of the
missing tension. But the conceit of
then-and-now Chanel suits side by
side in a white box isnt a recipe for
lively conversation. Perhaps the
foils to juxtapose with Chanel were
her contemporaries in fashion. She
wasnt a fount of invention, like
Schiaparelli; a technical innovator,
like Fortuny or Vionnet; or an
impresario, like Poiret, although
she did design memorable cos-
tumes for Cocteau, Diaghilev, and
Jean Renoir. Her own rules of the
game, distilled over the decades,
were a core of beliefs that were as
much about womanhood and its
paradoxes as about clothing.
"Balzac has invented every-
thing, Colette wrote, and he might
have invented Chanel, had she not
done it with such panache herself.
Gabrielle Chanel was born in 1883,
in Saumur, a city of the Loire
Valley, where her parents, who
already had a mildly retarded
Olivier Saillard, a program director
at the Muse de la Mode et du
Textile, in Paris. Its cool, almost
clinical rigor celebrates Chanels
allegiance to the aesthetics of mod-
ernism. Nineteen modular vit-
rineswhite cubes open on one side
are aligned in a grid against the
black walls of a windowless
gallery, giving visitors the illusion
of strolling through the shopping
streets of a bungalow colony on the
dark side of the moon. Within each
module, two, three, or six man-
nequins, faintly rouged and coiffed
in white feathers, display sixty-
three ensembles from eight
decades. The earliest is an evening
gown by Chanel, circa 1917-20, of
black silk tulle with a fringe of pail-
lettes; the latest an evening dress by
Lagerfeld from spring/summer
2005, of black silk lace and chiffon.
The ensembles are grouped by
color, mood, shape, material, and
affinity (little black dresses; Gypsy
exuberance; orientalist-moderne
lam; romantic lace; permutations
of the suit) rather than by period, as
they would be in a retrospective, a
genre for which Chanel seems like
an obvious candidate. But
Lagerfeld is quoted in the show as
detesting retrospectives, and the
curators believe that couture
deserves to be looked at without
extraneous or sensational distrac-
tions. We dont do the biography
thing, Koda told me. Thats my
bias. Chanel wouldnt be remem-
bered if it wasnt for the work.
The deceptive simplicity of
665
daughter and were not yet married,
had settled briefly. Her father,
Albert, was an itinerant peddler
descended from peasants and tav-
ern keepers, and her mother,
Jeanne, was a seamstress with a
fragile constitution that was further
strained by a vagabonds life, a
faithless husband of incorrigible
charm, and the birth of six children.
She died at thirty-two, when
Gabrielle was eleven, and Albert
sent his sons to live with relatives
and his daughters to a high-walled
convent orphanage (he never came
back to retrieve them), where the
nuns taught them to sew. Six years
later, Gabrielle was given the
choice of taking the veil or leaving.
Her maternal grandmother
arranged for another convent to
take her in a boarding school in
Moulins, a garrison town where the
lite 10th Light Horse Cavalry hap-
pened to be stationed and in 1903,
when she was twenty, her teachers
found her a respectable situation.
She went to work for a draper and
his wife who liked to employ the
nuns charity cases humble maid-
ens, they imagined, handy with a
needle. Many years later, Chanel
described herself at that age as a
restless misfit with a hot little
body. She told her friend Paul
Morand, Arrogance is in every-
thing I do. It is in my gestures, the
harshness of my voice, in the glow
of my gaze, in my sinewy, torment-
ed face.
There were no respectable situ-
ations for a girl like Chanel in a
garrison town. She freelanced at a
founded her career.
Modernism was in part a
response to the artifice and dandy-
ism of the fin de sicle, which may
have suggested another of Chanels
working axioms: the simplest solu-
tion has the greatest authority. She
made her dbut in fashion as a
milliner who, in an era of exorbi-
tant plumage, stripped the trimming
from her hats, and went on from
there. In Charles-Rouxs recently
reissued Chanel and her World
(Vendome; $50), a life in pictures
adapted from her biography, there
is a photograph of Coco at thirty
(she always looked a decade
younger than she was), posing on
the rocky beach at Deauville, hat-
less and windblown, in front of a
weathered cabana. One hand is
deep in the pocket of a chunky fish-
ermans chemise with a middy col-
lar and rolled cuffs, and she has
thrust a flower into the belt. The
picture was taken in the summer of
1913, when Chanel opened her first
maison de couture on a fashionable
street next to the Deauville casino.
It was financed by the English polo
player, writer, and industrialist for
whom she had left Balsan, Arthur
(Boy) Capel, her great love. And it
was here that Chanel staged her
coup: the introduction of supple
cardigan suits, devoid of embellish-
ment, that skimmed an uncorseted
body. They were made from jersey
tricot a cheap fabric used for the
mens underwear and work clothes
that her father had peddled. The
ladies of Deauville woke up one
local cabaret as a poseuse one of
the pretty extras who filled in
between the artistes numbers with
a few songs, then passed a hat.
Though she couldnt carry a tune,
the soldiers found her adorable, and
they called her Coco, the name of a
pet in one of her coy ditties. On
weekends, she moonlighted at a tai-
lors shop patronized by the offi-
cers, and it was there that she met
tienne Balsan, her first protector.
He was the black sheep of a rich
family, a famous polo player and
horse breeder who owned a chteau
near Compigne, where Chanel
learned to ride, and acquired a
number of other skills that the nuns
had neglected. For a while, she
overlapped with Balsans outgoing
mistress, milienne dAlenon, the
great Belle poque demimondaine,
and one of Cocos early promoters.
Though Chanel never referred
to her convent years, and in her
novelistic memoirs translated the
word nuns into aunts, and the
orphanage into a farmhouse of dour
spinsters, she also never outgrew
what Edmonde Charles-Roux, one
of her best biographers, calls a
yearning for austerity. However
gratefully Chanel might have
recalled the gallants who initiated
her into the idle and racy life of an
apprentice courtesan, it came with
its own set of humiliations. Perhaps
as a result, the little grisette passed
among playboy friends refused
ever to fetishize another woman
and that was the moral principle
(one of the few) on which Chanel
666
morning to discover a shocking
deficit of chic between their own
clothes and la mode Chanel. It was
the difference between a regime of
frivolity and one of nonchalance.
The First World War made
Chanels name rich Parisians
escaping at short notice to
Deauville flocked to her shop to
replenish their wardrobes. (Among
her many gifts, one of the greatest
was a genius for timing.) She, in
turn, gave a clientele who were
suddenly emancipated by adversity,
and by the departure of their men,
clothes they could walk, drive, and
work in. By the early twenties,
those women, and their daughters,
were game for sports, cigarettes,
enterprise, speed, divorce, short
skirts, bobbed hair (Chanel had
cropped her own luxuriant tresses
in 1917), and the exquisitely unpre-
tentious little black dress a Ford
signed Chanel, as Vogue cap-
tioned one of them. Paul Poiret, her
leading rival, dismissed her sump-
tuary reforms as la misre de luxe,
and in one respect he was right. To
wear them smartly, you needed the
adolescent body of the undernour-
ished waif she had been.
Chanel was always her own
best model, and she was proud to
say that she never designed a dress
that she wouldnt have worn. Her
style was a synthesis of feminine
softness and masculine ease, the
gossamer and the tweedy. If she
appropriated certain virile entitle-
ments the way she borrowed her
into a mansion near the Elyse
Palace and spent her fortune with
abandon: on a Rolls-Royce;
Coromandel screens; cascades of
diamonds and pearls that she mixed
rakishly with her ropes of amusing
trinkets; and a villa at
Roquebrune, in Provence, where
she cohabited with the grandest of
her consorts, the Duke of
Westminster, and entertained the
Churchills. Chanel and the Duke
tried very hard to conceive a child
he had no heirs and when they did-
nt (she was by then forty-two) he
married someone else. She con-
soled herself gamely with a defiant
boast: There have been several
Duchesses of Westminster, but only
one Chanel.
Despite her wealth, Chanel was
a notoriously stingy employer, and
she saw no reason that her under-
paid fitting models, having spent
the day immobile on their feet,
shouldnt find it natural as they
were beautiful girls to spend the
night in a supine position earning
overtime. But she was generous to
her embarrassingly rustic brothers
(in part to keep them out of sight),
and she quietly paid the expenses of
penniless artists, poets, godchil-
dren, and friends. The last of
Chanels known gentlemen gigolos
was Hans Gunther von Dincklage,
alias Spatz, the suave German offi-
cer who shared her suite at the Ritz
during the Occupation. When she
was arrested after the Liberation of
Paris by the Comit dpuration,
and questioned about this unfortu-
lovers sweaters and overcoats and
elements from the uniforms of their
grooms, gamekeepers, and crew-
men there was no militance to her
chic. Her original distinction was to
have rescued the New Woman of
the Belle poque not only from her
frumpy bloomers and didactically
mannish tailleurs but from her sta-
tus as an object of ridicule to the
Old Men of either sex who feared
her modernity. Chanels respect for
the appearance of propriety was the
adaptive trait of the orphan and
shopgirl. Like Joan of Arc, another
daughter of the people who
acquired a large following of aristo-
crats, Chanel did so by outclassing
them in the lists of purity.
Chanels tastes were virtually
infallible except in romance and
politics. She had many passions but
few loves, and it amused her to
keep younger men, one of whom
was Grand Duke Dmitri
Pavlovitch, the Tsars nephew and
an alleged assassin of Rasputin.
She also hired his sister, the Grand
Duchess Marie, to direct the
embroidery workshop that pro-
duced her sumptuous Russian
tunics and tabards of the twenties.
Dmitri repaid her generosity with
an introduction to Ernest Beaux, a
chemist and perfumer, who in 1920
concocted the formula for Chanel
No. 5. Though Chanel conceded the
distribution rights to the
Wertheimers and litigated with
them for the next forty years, the
royalties made her one of the rich-
est women in France. She moved
667
nate alliance, she supposedly retort-
ed to her interrogator, Really,
monsieur, a woman of my age can-
not be expected to look at his pass-
port if she has a chance of a lover.
Chanel was released after three
hours, and there were, amazingly,
no further repercussions. Madsen,
who had access to files of the
British Foreign Office that were
inadvertently declassified in
1972, explains why. Churchills old
friend possessed secret information
that might have embarrassed him:
from 1940 until the end of the war,
he had violated his own countrys
trade embargo with Germany to
pay for the upkeep of the French
properties owned by the Duke of
Windsor. This information was
apparently not shared with the
Resistance, and neither was the file
on Operation Modellhut. Though
Chanel was never persona non
grata in France, she prudently
moved to a resort town near
Lausanne, where Spatz joined her,
and she later paid a large sum,
Madsen says, to suppress any men-
tion of her name or her activities in
the memoirs of Hitlers former
police chief.
Lagerfeld was a sixteen-year-
old star fashion student in 1954, the
year that Chanel went back into
business, with a critically disas-
trous first collection of silk and jer-
sey suits and lace evening gowns
that recalled her couture of the thir-
ties, and which the French and
British press soundly panned as
tion homage, her assistant said (to
which one might add, she paid her-
self that homage all the time).
When the Chambre Syndicale de la
Couture tightened the rules govern-
ing press access to the collections,
Chanel resigned. Come to my
place and steal all the ideas you
can, she told the media. Fashion
isnt made to be canned. As
Rhonda Garelick writes in a
thoughtful catalogue essay, shop-
girls riding city buses in head-to-
toe faux Chanel delighted the nar-
cissist in her and perhaps the
secret populist as well.
Whatever Chanel would have
made of the Met show, it is just the
sort of meal she preferred a lean
banquet, beautifully plated, that
leaves you hungry. But the narcis-
sist might have wondered why on
earth her seven decades of iconic
work needed Lagerfelds as a foil,
and the populist might have
resented the shows solecism.
Chanel spoke and speaks to a host
of other artists and designers across
the spectrum, with whom an open
forum would have been more stim-
ulating than a hermetic dialogue.
Koda assured me that Lagerfeld did
not have or expect veto power, but
the curators made no secret of their
anxiety to please him. And here one
touches upon the inherent problem
with the extravagant corporate
sponsorship of museum fashion
shows the trap of gratitude. The
unseemly promotional hyperbole of
the message from Chanels chief
operating officer which introduces
mumsy and pass. Lagerfeld later
told Madsen that he thought Chanel
got it right, and the Americans
agreed with him. She was
relaunched on this side of the
Atlantic by the enthusiasm of edi-
tors, buyers, and fashion civilians
for ageless, undemanding clothes
that restored the comfort women
had surrendered to Diors New
Look, and offered relief from the
tiresome comedy of the hemline
wars that dominated postwar fash-
ion. The youthquake of the sixties
never shook Chanels convictions
(I hate the old little girls, she said
of matrons in miniskirts), and she
wasnt troubled by the disdain of
futurists like Courrges, who called
her an old Rolls, still in working
order, but inert. Her pronounce-
ments grew more oracular, and they
acquired an acidity she took no
pains to dilute. Jackie Kennedy had
horrible taste, and was responsi-
ble for spreading it all over
America. (Madsen notes that
Chanel had evidently forgotten
about the pink suit.) Saint Laurent,
on the other hand, was a young man
with excellent taste, she said.
The more he copies me, the more
taste he displays.
Chanel always shrugged at the
knockoff artists and pirates who
rushed copies into mass production,
and she wasnt as vulnerable to
them as other designers. Her
strength was never novelty, and
reproductions couldnt possibly
compete with the work of her cou-
ture atelier. She considered imita-
668
the catalogue serves as a reminder
that the sponsors interest, however
philanthropically packaged, is
brand awareness, and publicity is
the forge that heats the double C.
A museums obligation is to retain
its cool-headed autonomy.
Lagerfeld in his own right is a
virtuoso, and more versatile than
Chanel in certain respects. Some of
the loveliest couture in the show the
ivory cocktail suit of spun-sugar
boucl, with a dissolving hem; the
romantically tiered evening dress
of black tulle, with a trompe-loeil
cummerbund of silver threadwork
and rhinestones is, in fact, his hand-
iwork. But Chanel asked one
unsparing question of every stitch
she made, of every flourish or tuck
on a dress: Is it essential? And if
one asks the question about
Lagerfelds place in this show at the
Met, which should have been
Chanels show, not a Chanel show,
the answer is no.
669
share of the women's fragrance
market for the past three years,
according to Euromonitor.
It is benefiting from a boom in
premium fragrance sales, spurred
by rising disposable incomes in
regions such as Eastern Europe, the
Middle East and Africa. The fra-
grance market is highly fragment-
ed, but No 5 has managed to cling
on to market leadership, staying
well ahead of its nearest rival, Estee
Lauder's Pleasures. Chanel's Allure
is the third-biggest seller.
In the UK, however, the picture
is a little different. Although No 5
is the top-selling women's fra-
grance, its share has fallen over the
past three years (see box). The
2002 launches of Hugo Deep Red
and Glow by J.Lo stole buyers from
No 5, while Jean Paul Gaultier,
Christian Dior's J'adore and Dolce
& Gabbana Light Blue have all
increased their share since 2001.
Chanel's challenge in the UK is
to make the No 5 brand more rele-
vant to a younger audience. Where
their mothers may have preferred to
I
T IS THE ULTIMATE MEDIA PLACE-
MENT. VIEWERS OF THE TERRES-
TRIAL TV premiere of the film
Moulin Rouge, starring Nicole
Kidman, on Channel 4 this
Saturday will also see the full
three-minute version of a new cam-
paign for Chanel No 5 in its first
break. The ad, like Moulin Rouge,
is directed by Baz Luhrmann and
features Kidman reprising her role
from the movie.
Five months ago Chanel, work-
ing with Luhrmann's agent,
approached Channel 4 suggesting
the programme/ad deal. The agree-
ment neatly dodges any regulatory
issues, as ASA codes aimed at
maintaining the separation of pro-
gramming from ads do not apply to
films. Arguably it also achieves the
dream media buy - an almost seam-
less join between programme and
ad.
Similarly, Chanel's media
agency Mediaedge:cia, together
with cinema sales house Pearl &
Dean, has negotiated with cinema
owners for the execution to be
shown as part of the run of film
trailers, rather than with the other
ads. The three-minute cut debuted
last Friday, the opening night of
Bridget Jones: The Edge of
Reason, with two-minute versions
now appearing with other films.
This ambitious media strategy
is a fitting environment for a block-
buster of an ad. Chanel artistic
director Jacques Helleu, mes-
merised by Moulin Rouge,
approached Luhrmann with a view
to recapturing the magic for its
flagship brand. The fashion house
also briefed its creative director,
Karl Lagerfeld, to design five
dresses for Kidman to wear in the
campaign, including one with pink
feathers and a 15ft train.
Staying ahead
Chanel is estimated to have
invested 18m in the campaign
(which also appears in magazines)
to keep 83-year-old Chanel No 5,
the world's market leader in premi-
um fragrances, at the top.
Globally, Chanel No 5 has
maintained a constant 3.2% value
670
stand by one signature scent,
today's teens and 20-somethings
prefer to have an array of fra-
grances on their dressing table.
They are also spending more
per bottle. As teenagers and those
in their early 20s grow richer they
are inclined to trade up from mass-
market fragrances to premium
brands. 'It is the celeb-linked
brands such as Glow by J.Lo that
have done well to tap into this
trend,' says Euromonitor account
manager Claire Briney.
She predicts that this
Christmas' launch of True Star by
Tommy Hilfiger, featuring
Beyonce, as well as next year's
Britney fragrance from Elizabeth
Arden, will continue this trend at
the expense of the more classic per-
fumes.
Younger competition
Chanel has already launched
two fragrance brands to capture this
younger market. Coco
Madamoiselle was introduced in
2001 and Chance in 2002, and both
have done well, taking a 2.3% and
2% share respectively in their first
year of trading.
Boots fragrance buyer Mary
Green says that although the classic
brands are aspirational, 'younger
customers tend to go for Chance or
Mademoiselle if they want Chanel'.
She adds that young men, who
account for half of all purchases of
women's fragrances, are also start-
ing to perceive Chanel No 5 as an
'older' scent.
Euromonitor's Briney feels
price may also be an issue. 'The
smallest available size of Chanel
No 5 is a 50ml bottle, which is
often too much of a leap for
younger consumers. Elizabeth
Arden has been able to attract this
age group into its Sunflowers and
True Love fragrances by reducing
bottle sizes to a more affordable
30ml.'
So will the adoption of Kidman
as the face of No 5 help boost the
brand's appeal to its future core
market? Interbrand chairman Rita
Clifton is not convinced. 'Nicole
Kidman is known for being quirky
and interesting, but not necessarily
acclaimed for being a great beauty,'
she says.
However, Clifton points out
that the Chanel brand as a whole
has been bolstered by the populari-
ty of its trademark tweed clothing
this season, an effect which could
feed through into the profile of its
fragrances.
Whatever the long-term effect
of the current campaign, the
shelves in Boots are still likely to
be bereft of No 5 come 25
December; the brand is notorious
among fragrance retailers for being
the first choice for 'panicky men
hurtling around stores on Christmas
Eve', according to Briney.
671
ern society.
As for Chanel no. 5, it remains
entrenched as the perfume with the
longest stretch of popularity in his-
tory having been launched in the
1920s. Our guide tells us that when
the perfume was being developed,
Coco Chanel was sent numbered
samples. She chose sample number
five and hence it became Chanel
number five. Not only that, she
used the starkly simple laboratory
bottle for selling the new perfume.
The design has joined the perma-
nent collection at the New York
Museum of Modern Art. The per-
fume itself became a status symbol
in the 1950s when Marilyn Monroe
said that all she wore to bed were a
few drops of Chanel no. 5.
A different world.....
But Coco Chanel's private
apartments on the Rue Cambon are
quite the opposite of the elegant
simplicity of her salons or her
clothes. The dcor is ornate and
baroque with the artefacts ranging
from lacquered Coromandel
screens with Chinese paintings to
F
ROM THE AUSTERE BLACK AND
WHITE COVER OF THE ICONIC
NUMBER 5 PERFUME to the little
black dress immortalised by Coco
Chanel. Her stamp is unmistakable
in the stark black and white dcor
and mirrorred walls of the famed
fashion house's main salon in Paris.
Even our guide, the company
spokesperson, is wearing a rose
pink and grey-green check outfit
that screams "Chanel" all over it.
Chanel. The name evokes the image.
Luxury and exclusivity.
We are lucky. The house of
Chanel has agreed to take our small
group of Indian journalists not only
for a peek at the salon but also on a
tour of Coco Chanel's private apart-
ments on the upper floor. My male
colleagues are clearly not as excit-
ed as I am but gaze politely at the
minimalist salon from where we
climb a spiral staircase to the door
of the private apartments. Like me,
however, their jaws drop when the
doors open and we step into anoth-
er world. The opulence and
baroque artistry of the apartment
where the legendary couturier
spent much of her time are mind-
boggling as expensive artefacts
abound in each room with even the
walls having stories to tell.
From obscurity to fame.
But first, a bit of the story of
how Gabrielle Chanel rose from
obscurity in the small town of
Aubazine to being the toast not
only of Paris, but the world. Her
life began in 1883 as a virtual
orphan studying under the care of
nuns in a convent. She grew up to
become a seamstress with an
instinctive flair for knowing how to
look chic without spending too
much money. When she became
rich and famous, Coco, as she was
known, created an imaginary rich
family background for herself,
seeking to hide her humble back-
ground. By then few cared where
she came from as the elegant seam-
stress had conquered the fashion
world with her daring innovative
designs. The little black dress,
short skirts, and men's jacket worn
with a skirt are all vintage Chanel
and even today form the basics of a
modern woman's wardrobe in west-
672
elaborate life size models of deer
ranged in front of the fire place.
The mirrors have elaborate oversize
frames while the chandeliers repli-
cate the double "C" symbol used as
a brand logo in most products
including bags and belts.
Everything in the rooms reflects the
concept of duality in her products
with nearly each antique or display
piece having a twin beside it. At the
entrance itself are two life-size stat-
ues of young boys poised in front of
the Coromandel screens which, we
are told, she had bought from India.
Strangely, she never turned in for
the day in this artistic apartment
above the main salon. Instead, she
would return every night to the Ritz
Hotel.
... and life
We are told she would sit on top
of the stairs leading to her private
apartments, looking through the
mirrors on the walls at her clients
downstairs. She could see their
reactions as models walked down
the steps wearing her creations,
without being seen herself. The
salon on the ground floor has dcor
typically identified with Chanel.
The focus is on shades of black and
white with a touch of grey in the
carpets which have a unique design
for each segment of the showroom.
Our guide informs us the
woman who began life in a convent
had several affairs with renowned
personalities. She was the compan-
ion of the Duke of Westminister for
10 years though several other men
swept through her life. At the age of
50, she finally contemplated mar-
riage but the man in question,
designer Paul Iribe, suddenly died
while playing tennis.
When Coco Chanel died in
1971, her fashion house apparently
remained dormant for a decade but
was revived under the leadership of
designer Karl Lagerfeld in the early
1980s. It is under his guidance that
the House of Chanel has finally
reached India with the first show-
room now in New Delhi's Imperial
Hotel. Despite the changes at the
helm, we are told the essential clas-
sic designs of Coco Chanel will
remain imbued in all creations of
this high fashion house.
673
Allure the Chanel perfume for the
woman of today was released in
1996.
The Chanel perfume range is
always released with the help of a
beautiful celebrity. The first such
person who helped make Chnnel
perfume well known was Marilyn
Monroe. In an interview with a
journalist Marilyn Monroe said that
she only wore Chanel No.5 to bed.
Nicole Kidman became the new
face of Channel perfumes during
2004. As we knew her as a talented
actress the idea that she wore
Chanel perfumes brands made sure
that we would try a Chanel perfume
the next time that we went to buy
perfumes. This constant change of
well known personalities and
celebrities helps to keep Chanel
perfumes in our minds.
For all of these reasons Chanel
perfumes is an iconic perfume.
When we buy even a small sample
perfume we are buying into history,
because no other perfume has
changed the way that we look at
perfumes and ourselves.
T
HERE ARE MANY PERFUMES IN
THE WORLD THAT STAY IN OUR
MEMORIES AS BEING WONDERFUL OR
EVEN GREAT. These perfumes how-
ever are eclipsed by the most
famous perfume of our modern
times. This is the Chanel Perfumes
that bears the simple number 5 on
its label. We know this perfume as
it is now called Chanel No.5.
There are many stories about
how this Chanel perfume came into
being. What is known is that it was
created by one Ernest Beaux and
relesed at the premier of one of
Chanel's fashion shows. This was
in 1921. The perfume was a hit
because it departed from the usual
standard of perfumes that were sold
during that era.
This particular Chanel perfume
set the stage for many new innova-
tions in the perfume world because
of the new ideas that were used to
create this perfume. Instead of the
usual flower scents that were used
Ernest Beaux used synthetic per-
fume oils as well in his creation. He
let Chanel choose the sample that
she wanted to present and when it
became famous other perfumes
were made around this same idea.
Today while Chanel No.5 is
one of the most famous perfumes
in the world there are other types of
Chanel perfumes for us to see and
try. Some Chanel perfumes have
followed the trend of the first
Chanel perfume. These perfumes
bear a simple number as their
name.
Besides these Ernest Beaux
created other famous Channel per-
fumes for us. These include Chanel
22 which was released in 1922,
Cuir de Russie which was intor-
duced in 1925, Gardenia which the
public saw in about 1925, and Bois
des Isles which came into our lives
during 1926. These perfumes were
later reintroduced to the world as
boutique exclusives in 1986.
Other than these Chanel per-
fumes there are some new brands
on the market. For instance in 1984
the house of Chanel launched their
tribute perfume to Channel. This
Chanel perfume was simply called
Coco in honor of Coco Channel.
674
Edi Kurnik was born in
Maribor - Slovenia, in 1968. He
studied management and marketing
at the University of Maribor.
Currently serving as the E-com-
merce Manager at Triple A-Invest,
the leading direct marketing com-
pany and network in Slovenia.
675
Chanel competitor had established
a fragrance house, Parfum de
Rosine, named for one of his
daughters.
Gabriel Chanel was introduced
to Ernest Beaux. Although we tend
to forget it today, at this point it was
Beaux who was established in his
career, although it had been disrupt-
ed by the Russian Revolution.
Chanel, although her fame was
growing, was still struggling to get
a foothold in the fashion world.
Their first perfume together was the
greatest legend of all time No. 5 or,
as we more commonly know it,
Chanel No. 5.
The final link in this story starts
with a small cosmetics business
launched in 1862 by Joseph Albert
Ponsin. Ponsin hired Alexander-
Napoleon Bourjois, who expanded
the business and, ultimately, came
to own it. Before his death,
Bourjois took on a partner, Emile
Orosdi. After Bourjois's death,
Orosdi acquired the balance of the
business from Bourjois's family.
Through circumstances, Orosdi
became acquainted with Ernest
T
HERE ARE, PERHAPS, THREE
CHANEL STORIES WHICH, OF
COURSE, ARE CLOSELY RELATED.
First, there is the story of Gabriel
"Coco" Chanel (1883-1971), the
girl from a humble, nasty back-
ground who forced her way into the
society world and became an inter-
national fashion icon for her fash-
ionable dresses. That story has
been well told by Edmonde
Charles-Roux in her book, Chanel,
although Charles-Roux makes it
quite clear that Coco Chanel work
tirelessly to conceal, obscure and
distort her personal biography.
Next there is the story of A.
Rallet & Co. of Moscow, Russia,
and its chief perfumer, Ernest
Beaux (1881-1961). Beaux "inher-
ited" his position with Rallet
through his father, a perfumer,
member of the board, and superin-
tendent of the company. Beaux
learned his craft and art as a labo-
ratory apprentice.
Rallet was one of two major
Russian fragrance houses that had
been founded by Frenchmen. (The
other was Brocard. Coty too would
establish himself in Russia just
before the Russian Revolution of
1917!) Both Rallet and Bocard
were successful; both sold interna-
tionally; both had hundreds of
items in their product lines.
In 1912, Ernest Beaux, now
Rallet's top perfumer and manager
of it's laboratories, had a grand suc-
cess with his Bouquet de
Napoleon.
Then came the Russian
Revolution. Rallet, Bocard, Coty
were all nationalized. The owners
lost their capital. Managers
appointed by the new government
took over the businesses. A. Rallet
& Co. what was left of it and Ernest
Beaux decamped for Grasse,
France, where they were taken in
under the sheltering wings of
Chiris, a major fragrance whole-
saler, who had probably been a
major supplier to Rallet.
In 1921, Gabriel Chanel, for
reasons unknown, decided to create
a perfume for her new, successful,
fashion business. Previously fash-
ion designer Paul Poiret now a
676
Wertheimer. Wertheimer invested
in Bourjois. Perfume was added to
the product line. Wertheimer and
Orosdi went on to build a depart-
ment store, Galeries Lafayette, in
part to sell their perfumes and cos-
metics.
Ernest Wertheimer's son,
Pierre, was a horse race enthusiast
as was Gabriel Chanel. Chanel
bought forms for her hats at
Galeries Lafayette. They became
acquainted. On April 4, 1924,
Parfums Chanel was established,
with Gabriel Chanel a 10 percent
owner. She was to complain about
the size of this share for most of the
rest of her life but her 10 percent
share made her wealthy without
having to do anything. She contin-
ued to own her clothing business
100 percent.
Ernest Beaux who, by this time,
had created Chanel's No. 22, now
went to work for the Wertheimers
as director of their Bourjois labora-
tory. His greatest creation for
Bourjois was Paris de Soir /
"Evening in Paris" but he continued
to create fragrances for Chanel.
(Like Chanel No. 5, Evening in
Paris is still on the market today!)
Click on image to enlarge
Chanel No.1
What was it? Where did it come
from? When was it issued? Was it
authorized by the Wertheimers?
Probably not!
found mass distribution. Try any
Chanel perfume on the market
today not just a quick spritz, but
wear it for hours and you'll discov-
er just how good perfume can be.
Today the Chanel business,
both perfume and couture, is in the
hands of the Wertheimer family.
The business relationship
between Gabriel Chanel and Pierre
Wertheimer was colorful to say the
least. The marketing power of the
Wertheimers made Chanel per-
fumes world famous. Prior to
World War II, a factory was estab-
lished in Hoboken, New Jersey, to
make Chanel and Bourjois prod-
ucts. Gabriel Chanel complained.
Hoboken wasn't France. The
Federal Trade Commission com-
plained. You can't suggest that your
product is made in France if it is
made in Hoboken. Labeling was
revised. The brand continued to
flourish. Coco tried to introduce her
own, non-Wertheimer perfumes.
The Wertheimers had them seized
by the authorities. During World
War II, Gabriel Chanel closed her
couture business. The Wertheimers
sold Chanel No. 5 to the U.S. Army
PX system. Chanel No. 5 emerged
from the war as the world's best
known fragrance. Gabriel Chanel's
first post-war collection in Paris
was met with a general lack of
interest. Her outfits were consid-
ered to be dated.
When perfumer Ernest Beaux
retired, he was replaced (in New
York, where Parfums Chanel was
now headquartered) by perfumer
Henri Robert. (Elizabeth Arden had
tried to hire Henri Robert but he
wanted more money than Arden
was willing to pay!). When Henri
Robert retired, he was replaced by
Jacque Polgue. Parfums Chanel
continues its dedication to quality,
even though their products have
677
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H
AVE YOU EVER THOUGHT ABOUT
THE NAMES OF THE PERFUMES?
Why each of them has its specific
own name? Is it a spontaneous
decision to name a perfume JOY,
Shalimar or CHANEL N 5 ?
Why N 5 and not N 6 , N 7 or N
8?
Perfume, says Sophia
Grosjman, IFFs star perfumer, is
a promise in a bottle.
We want to believe. We crave
to be prettier, richer, sexier and
happier than we are. Perfume
speaks more to our vulnerabilities
than to our strengths. Consider the
labels on the fragrances we buy:
Pleasures, Beautiful, Delicious,
Sexy. As Charles Revson said: We
sell hope. And we buy. But,
behind almost every significant
perfume there is a story. Take for
example Shalimar.
According to a legend,
Raymond Guerlain and his wife
were on their trip to USA by sea.
His wife wore Shalimar and all
of the passengers were astonished
by this innovative, oriental vanilla
scented perfume. When the couple
landed USA, all the high society
fell in love with Shalimar which
became favorite still today. The
perfume got its name from a legend
about an Indian emperor who had a
garden named Shalimar.
My dresses fit very well my
clientsI want a perfume
addressed to a modern woman that
will fit her as my clothes do. It
must have a character. And it must
be an expensive one. Ernest
Beaux, the creator of Chanel N
5 introduced Coco Chanel
(Gabrielle) ten bottles, and separat-
ed them in two groups. One group
was numbered in numbers from 1
to 5, the second group was num-
bered 20 to 24. Mademoiselle
Chanel chose bottle N 5. When
Beaux asked her why she had cho-
sen that specific bottle, she
answered: I am going to exhibit
my collection on May the 5th,
cest-a-dire, the 5th day of the 5th
month. So lets take a bottle with
this number. Hope this number will
bring success to perfume.
Our experts made a research to
678
H
IS NAME AND HIS FACE MAY NOT
MEAN ANYTHING TO THEM, BUT
JACQUES POLGE has undoubtedly
found his way into the bedrooms,
bathrooms and handbags of women
the world over. He has earned com-
pliments for women and indirectly
brought about first dates, second
dates and even marriage proposals.
How? By creating some of the
most seductive fragrances on the
market.
Polge, you see, is a perfumer,
or, as he is known in the business, a
"nose". And not just any nose. He
is in charge of perfumes at Chanel,
one of the world's most prestigious,
successful and luxurious fashion
brands. Not only is he responsible
for creating new fragrances his lat-
est, Allure Sensuelle, goes on sale
in Britain on Monday but he is the
guarantor of quality for all Chanel
perfumes. In other words, the com-
pany's fragrance heritage rests in
his hands.
In a laboratory in one of Paris's
anonymous but smart suburbs,
Polge, a dapper, laid-back 61-year-
old, conjurs up fragrances which
evoke exotic climes, opulence,
decadence and, above all, sensu-
ousness. Over the course of more
than 25 years as Chanel's nose, he
has created one fragrance phenom-
enon after another: Coco, Allure,
Coco Mademoiselle and Chance
for women. For men his scents
include Antaeus and Egoiste. If hit
fragrances were feted like hit
records, Polge's walls would be
decorated in platinum discs.
Instead, the walls of Polge's
very cool and clinical lab are lined
with shelves packed with hundreds
of vials of different coloured liq-
uids. Every morning consignments
of raw materials arrive from all
over the world. On any given day
these might include iris, one of
Polge's favourite fragrance "notes"
from Florence; patchouli, which
features in the new perfume, from
Java; and from the south of France,
Rosa Centifolia and jasmine grown
exclusively for Chanel No5. Polge
and his team analyse every ingredi-
ent before making their selection.
Given the amount of raw materials
there are to play with, and blends to
experiment with, it's obvious that
the perfume-making process is a
time-consuming one.
Sitting at his vast desk, half of
which is covered with little bottles
and jars of cardboard testers, Polge
agrees. "Curiously enough, the
longest part of the process is to find
a name for the fragrance because
more or less every name has been
taken." By the time names are
being discussed, Polge has usually
had several different embryonic
fragrances on the go for a long
time, and has gradually been whit-
tling them down. "Once we have
the name, it's a question of choos-
ing the perfume usually it's a choice
between two and adjusting it to suit
the whole idea. The process never
takes less than three, sometimes
four years in all.
"But, you know," he adds, "I
consider that the time involved in
the creation is nothing compared to
the time the fragrance lives."
Certainly, timelessness is a key
characteristic of Chanel perfumes.
After all, Chanel No5, the compa-
ny's greatest fragrance hit, has been
679
popular since its launch in 1921. Its
iconic bottle is the most easily
recognisable and most pho-
tographed of any fragrance flacon.
The scent is as admired by industry
experts as it is beloved by women,
and it is regarded as a pioneering
perfume. Polge points out that
when couturier Coco Chanel
launched No5, it was the first time
that fashion and fragrance had been
successfully linked. Another reason
for its status as the perfumer's per-
fume is that it broke with conven-
tion by being modern and abstract.
"No5 was the first fragrance to use
lots of flowers while not relating to
the precise scent of a flower. There
is a mystery behind 5, and that
mystery is very important in a fra-
grance," says Polge.
There's also an agelessness
about No5. It's a scent that has been
worn by generations of women,
including Marilyn Monroe who
boosted sales significantly with her
famous comment that all she wore
to bed at night were "a few drops of
Chanel No5". Another Chanel fra-
grance, No19, only came into being
because of its ageless appeal.
Leaving the Ritz one day in 1970,
Coco Chanel was wearing the then
not-yet-launched No19 when she
was accosted by a stranger who
asked her for the name of her per-
fume because his two female
friends had fallen under its spell. At
the time, Chanel was 87. The inci-
dent convinced her that the fra-
grance should be launched
although her advisors had reserva-
fume, when he was in his early
teens and soon developed an inter-
est in the traditional art of per-
fumery. Had he lived in Paris or the
north of France, he asserts, he is
unlikely to have become a nose.
"Being in Grasse, I became aware
that there was such a profession as
a perfumer." It wasn't merely the
smells or the creative element
which attracted the young Polge.
Perfume making had a romantic
appeal, too.
"I liked the idea, the poetic idea
that fragrance is a kind of language.
It doesn't use words. It doesn't use
images. It's invisible. All these
attributes, for me, made sense," he
says.
Although he didn't study chem-
istry, Polge went to university
before serving a traditional appren-
ticeship in Grasse, where he
learned a great deal from Jean
Carles, the creator of the classic
fragrance Ma Griffe. However, he's
quick to point out that, "You have
to teach yourself nobody can teach
you how to smell. It's a very per-
sonal thing. There is a method, yes,
but nobody can smell for you."
Polge trained himself to memorise
and recognise thousands of fra-
grance constituents; his memory is
"a library" of different scents. His
tip? "To memorise, you need to
impose order by classifying smells
in groups."
By the late 1970s, Chanel was
one of the last few perfume houses
to have its own in-house nose.
tions.
Despite the agelessness of the
existing Chanel fragrances, Polge
believes that the company mustn't
rest on past glories. "A brand only
shows it's alive by creating new
product," argues Polge. "But we
don't want to create too many new
things because often new fra-
grances replace the old ones." And
this is one of the main differences
between Chanel and the competi-
tion: whereas many beauty compa-
nies launch a new fragrance every
couple of years and phase out older
ones or ones which aren't selling
well, each new Chanel fragrance
becomes a permanent fixture on the
Chanel counter. Polge says: "We
want our fragrances to complement
each other, and to last. When we
create something, we're always
looking to the long term, we never
do anything just for the short term."
Polge's tenure as only the third
nose in Chanel's 85-year history as
perfume makers began in 1978 and
overlapped with that of his prede-
cessor, Henri Robert. Robert was
the creator of the sparkling, sum-
mery fragrance Cristalle, and No19,
the last Chanel perfume in Coco
Chanel's lifetime and Polge's per-
sonal favourite. "Mr Robert was
rather old when I succeeded him -
he was 80, so I still have some time
to go," says Polge, laughing.
Originally from Provence,
Polge moved with his family to
Grasse, known as the capital of per-
680
(Now, it's the only house which can
boast that every single one of its
fragrances was made in its own lab
by its own nose.) Robert had suc-
ceeded Ernest Beaux, the man
behind No5, and both perfumers
worked very closely with
Mademoiselle Chanel herself.
Polge was the first nose operating
entirely by himself, with no input
from Mademoiselle, who had died
in 1971. However, he was keenly
aware of her ongoing presence.
After all, he was now responsible
for ensuring that her fragrances
continued to be made exactly as she
had wanted them.
It's little wonder then, that
Polge's first fragrance for women
was an olfactory homage to the
great lady herself. Coco, launched
in 1984, was inspired by Chanel
and, especially, her Parisian home.
Polge explains: "The idea came
from the way Mademoiselle Chanel
had decorated her apartment above
the shop on the rue Cambon. The
three rooms had not been touched
since her death. I was very sur-
prised by the dcor it wasn't what I
had expected at all. There were lac-
quered screens, gilt mirrors, and
treasures she had brought back
from Venice. To me, this was the
very opposite of the simple style I
associated her with.
"It was so different that I tried
to understand how it related to her
fashion and her perfumes. And then
I realised that she had created some
fragrances early on Cuir de Russie,
with an inner dimension, you see,
so I thought it was a nice poetic
idea. That was the starting point."
To create a version of the
famously fresh, simple and under-
stated Allure which reflected the
provocative qualities Polge sensed
in Mouglalis's husky voice, he went
back to the original, floral oriental
fragrance. "I added some character-
istic notes that give more depth for
instance, I added a lot of woody
notes, lots of spices, lots of amber
notes, and musk. I don't know how
people will see Allure Sensuelle. I
think a lot of people see it as a new
fragrance that has nothing to do
with the previous Allure. There is a
link but they are two distinct per-
sonalities: whereas Allure is fresh,
simple and easy to wear, and its
sensuality is quite discreet and held
back, I would say that in Allure
Sensuelle the erotic side is flaunted
more and is more prominent. It's
the scent of a great seductress!"
For his next project, Polge is
planning to delve into the compa-
ny's past once more. He is about to
start work on some more lost
Chanel fragrances. Slipping into
conspiratorial mode, he says, excit-
edly: "I've not even told anyone in
the company this but somebody at
our factory at Pantin was going to
throw away a lot of old papers. We
have a conservatoire, a private
museum where we keep lots of
Mademoiselle's possessions and
archives, and the person responsi-
ble for that went to see what they
Bois des Iles and Sycomore which
were as baroque as her apartment.
At the time, all these fragrances had
been discontinued, probably
because they were not very suc-
cessful. With their disappearance, a
part of her style had disappeared so
it became very important to me to
create a fragrance which reflected
that baroque side of her style."
The resulting Coco is a sensual,
opulent and, as Polge puts it,
"baroque" fragrance with a spicy
floral heart, fruity floral top notes
and a woody base which evokes the
perfumes that Chanel had created
early in her career. Two of these
fragrances Cuir de Russie and Bois
des Iles were later revived by Polge
and now, along with the similarly
resurrected No22 and Gardenia,
enjoy something of a cult follow-
ing.
Just as Coco was an interpreta-
tion of Chanel's exotically decorat-
ed home, Polge had a very specific
inspiration when it came to creating
his latest fragrance for women,
Allure Sensuelle. He says: "One of
the models for our fragrance Allure
is an actress called Anna
Mouglalis. By accident, I happened
to hear her voice one day, and it
surprised me. It was a deep voice,
strong and almost masculine. I was
very surprised by it, by the con-
trasts. I liked the idea of creating a
fragrance after a voice because I
think that one's voice is very impor-
tant, it reveals an inner dimension. I
think that perfume also has to do
681
were going to throw away. Included
in the papers were old formulas that
Mademoiselle Chanel created, like
Une Ide and 1940 very old fra-
grances that nobody remembers
and I have to see what can be done
with those in the future." sm
Allure Sensuelle goes on sale on
Monday at major department
stores. The eau de parfum starts at
48.50.
682
Before that, Estella Warren, Carole
Bouquet, Cheryl Tiegs, Jean
Shrimpton, Lauren Hutton, Ali
Macraw, Suzy Parker, Candice
Bergman and Marilyn Monroe.
Prerna Goel has been termed the
Indian Chanel girl. What makes
up a Chanel girl?
Prerna Goel was chosen by an
English production house for a doc-
umentary on various countries to be
shown as part of a television series,
Luxury Unveiled (China, India,
Mexico, UK and Switzerland.) The
idea behind the television series
was to meet 5 Chanel clients from
the various parts of the world so
they could tell us why they dress in
Chanel.
C
HANELS INDIAN REP MARIELOU
PHILLIPS talks on the power of
muses, the mystique of No 5 and
the mighty Karl.
What separates Chanel from other
super-luxe designer brands?
Its the amazing history of the
brand, with a creator that changed
the way women dressed in the
1920s. Chanel is one of the rare
houses to have its in-house cre-
ators in the various sectors they are
given total liberty and creative
freedom. Today, these creators
integrated into the House of Chanel
remain faithful to the values of
Chanel, finding their inspiration in
the intimate world of the creator
Gabrielle Coco Chanel while rein-
terpreting the Chanel codes in
every new collection.
Tell us a little bit on Chanels fash-
ion genius, Karl Largerfeld
Karl Largerfeld reinvents the
legend of Coco Chanel through
fashion, be it haute couture or
ready to wear. He, like the other
creators, uses the brand codes and
icons in every collection to
strengthen the value of the brand.
What is the mystique behind
Chanel No 5 - the worlds most
famous perfume?
The key to No 5 is the excellent
quality of its raw materials, some
of which cannot be replaced and
constitute the essence of the fra-
grances identity. At each step of
fabrication, Chanel cultivates a
meticulous craft of luxury from
raw materials to packaging; Chanel
protects the mystery and the ability
to incite dreams. From 1921 to
today, Chanel No 5 is still the best-
selling fragrance worldwide.
Youve been a muse for YSL early
on in your career. Who are some of
the muses for the Chanel brand?
Recently, the voice of Anna
Mouglalis, a beautiful French
actress inspired Jacques Polge. He
transcribed the sensuous voice of
Anna into a fragrance called Allure
Sensuelle. Nicole Kidman incar-
nates the image of No 5 her ele-
gance and ability to represent the
spirit and modernity of Chanel.
683
http://www.javno.com/en/lifestyle/clanak.php?id=71259
O
NCE MORE THE GODS OF THE
FASHION INDUSTRY HAVE PRE-
PARED A TREAT FOR ORDINARY MOR-
TALS, with the main ingredient of
the naked skin of the famous. Keira
Knightley nude in the campaign for
the elegant Chanel.
However the commercial cam-
paign, as we can expect from this
fashion house, glows with sophisti-
cated style, merging sex appeal and
glamour.
Following in the footsteps of
Nicole Kidman, who in 2003 was
brilliant in the most expensive
commercial campaign of all time
for Chanel No. 5, Keira was bril-
liant in 'Coco Mademoiselle. The
filming took place in the centre of
the fashion world, Paris, in the
background of the well known
Eiffel Tower, the picturesque sun-
set with the musical background by
Joss Stone L Is For The Way.
One of the locations is
Vendome, where the Ritz hotel is,
in which Coco lived for more thir-
ty years, reports communitylive-
journal.com.
684
and stabilises the ecology, said
Ahuja.
Besides, the return from rose
cultivation is higher at Rs 40,000
per hectare. Regular crops like rice
fetches not more than Rs 25,000
per hectare, said Bimal Chander, a
farmer in Kangra district, Himachal
Pradesh. Hence, the attraction to
switch to damask.
At present, about 4,000 hectares
are under Damask rose cultivation.
They are grown in Kashmir,
Himachal, Haryana and Punjab,
and are harvested for its oil, water
and concrete.
But unlike rose oil which has a
captive market in West Asia and is
more expensive at Rs 2.5 lakh-Rs 3
lakh (it takes 4,000 kg of petals to
make one kg of oil), the demand for
rose concrete is restricted, hence
there are few promoters of rose
concrete. The early onset of sum-
mer this year has affected the blos-
som, that blooms once or twice a
year and is expected to push up
prices further in the international
market.
New Delhi - :
T
HE SCENT OF A SWEET-SMELLING
HIMALAYAN ROSE is luring a
Parisian couture house.
House of Chanel, the French
fashion brandname synonymous
with feminine sartorial elegance
and signature perfumes like No. 5,
has been sniffing out aromatic fra-
grances in Himachal Pradesh.
A year ago, a two-member team
from Chanel visited the govern-
ment-run Institute of Himalayan
Bioresource Technology in
Palampur on the slopes of
Dhauladhar range to check out the
perfuming potentials of its rose
stock.
They ( Chanel ) are testing our
products to develop perfumes and
we are trying to match their specif-
ic requirements, said P S Ahuja,
the director at the institute.
Last week, the institute sent a
10 kg batch of rose concrete to a
Mumbai-based company to for-
ward it to Chanels Paris office.
Price: Rs 60,000-Rs 75,000 per kg.
The rose concrete, a highly
expensive wax-like substance, has
been extracted from a rose variety
called Damask rose, or Rosa
Damascena. In the secretive world
of perfume business, it is used in
cosmetics by a select few makers.
The stock of Damask rose was
originally brought from Bulgaria in
the late 70s, but the institute start-
ed conducting trials on rose con-
crete a few years ago. Besides, it
has developed two varieties of
damask Himroz and Jwala that can
grow in high altitude as well as in
the plains.
The Damask rose grown in
the hills is better in quality and has
higher notes of fragrance, said
Ahuja.
According to a source, the fash-
ion house is keen to procure rose
concrete to the tune of 100 kg a
year from India, a deal that may
prompt contract farmers to grow
Damask rose. Rose cultivation
creates little disturbance to the soil
685
Marielou Phillips, public rela-
tions manager of Chanel in India,
refused to comment but said that
the fashion house currently meets
its need of rose material from
Grasse, the perfume capital of
France located a few kilometres
from the city of Canne, south of
France.
686
L
ES EXCLUSIFS COMPRISES 10
IDENTICAL BOTTLES, each with
its own special story. The bottles
have been deliberately kept simple
so that all the emphasis is on its
contents.
Each of these 10 fragrances in
this compilation are unique, and
while the perfumes created by
Coco Chanel and Ernest Beaux
(creator of Chanel fragrances when
Coco was alive) are acknowledged
as classics, the new creations by
Jacques Polge (the main Chanel
nose now) are true masterpieces.
His genius lies in the ability to
evoke memories and stir your
imagination.
I was lucky enough to be able
to have a whiff of all the different
perfumes prior to meeting Chanel
perfumer Christopher Sheldrake in
Singapore recently (my favourites
being 28 La Pausa and N18), but
really, theres nothing like being
treated to a smell test with an
expert perfumer.
N22
Named after the year of its cre-
ation (1922) this is femininity per-
sonified, and a rich scent of beauti-
ful flowers. Tuberose appears with
grace, while aldehydes give
strength and spirit. It will sweep
men of their feet and pretty much
knock them out. (Created by Coco
and Beaux.)
Gardenia
Cocos love of white flowers is
legendary, thus the appearance of
the iconic camellia in Chanel col-
lections. Unfortunately it has no
scent, but the gardenia, which it
closely resembles, is sweet
smelling and this perfume is a gar-
denia garden in full bloom.
(Created by Coco and Beaux.)
Bois Des Iles
Chanel created the little black
dress in 1926 and fashion was
awash with the exotic influence
from the African subcontinent. To
complement that trend, this per-
fume took the wearer on an intoxi-
cating journey to a world of pre-
cious woods, opiate scents and lan-
guid flowers. It was the first woody
fragrance in the history of perfume,
and is still guaranteed to stir the
soul and ignite the senses. (Created
by Coco and Beaux.)
The one that almost didnt make
it the divine N18.
Cuir De Russie
Russia was the training ground
for Beaux, it also yielded a lover for
Coco in the form of Grand Duke
Dimitri, and inspired a taste for
Byzantine ornaments and fur-
trimmed capes. Created in 1927,
this musky, smoky fragrance
echoes the Imperial Guard with
his weather beaten boots softened
by birch bark. With leather and
wood scents softened by Oriental
jasmine, this scent is the most mas-
culine. (Created by Coco and
Beaux.)
Eau de Cologne
All great perfumers have their
eau de cologne, so naturally one
had to be included in Chanels cat-
alogue in 1929. The original was
687
created by an Italian perfumer
based in Cologne. This time round,
with Polges touch, it retains the
citrus and nepoli ingredients but in
a more subtle blend. Light and with
a very fresh, clean scent.
31 Rue Cambon
In 1921, Coco set up her work-
shops, shows, boutiques and even-
tually her home at this address. The
buzz of her workplace is captured
in a beautiful chypre fragrance that
is sensual, elegant, modern and
fashion personified. (Created by
Polge.)
N18
Named after the prestigious
address of Chanels fine jewellery
boutique (No 18, Place Vendome),
this was the most difficult perfume
to make, partly due to the rareness
of the ambrette seed, which it con-
tains. According to Sheldrake,
N18 was also hard to complete, so
much so that it was almost left out
from the collection. This gem is a
wonderful, intoxicating fragrance
that evokes happiness. (Created by
Polge.)
Coromandel will be familiar to
Malaysians.
Coromandel
A distinctly oriental scent
inspired by Cocos famous
Coromondel screen (Chinese
laquered screen). It is a scent that
Malaysians will immediately find
familiar and it will undoubtedly
create a yearning for historical
buildings, Chinese antiques, quiet
streets and the culture and elegance
of ancient China. (Created by
Polge.)
Bel Respiro
The name of Cocos first home
in the countryside, this perfume
sweeps you away to place where
its perpetually spring time. The
scent of freshly cut grass mingles
with the promise of a new day,
where everything is bright and
sunny. (Created by Polge.)
28 La Pausa
This was the address of Cocos
elegant house above the village of
Roquebrune with a view of the far-
away Italian coast. The iris is the
main feature here, the sumptuous
rhizone of which tons are required
to extract just a hundred grams of
absolute. The perfume will make
you yearn to be out in the sunshine,
to take a holiday by the sea and to
curl up in bed and fall asleep.
(Created by Polge.) The Les
Exclusifs range is available at the
Chanel boutique in Suria KLCC.
Each fragrance costs RM730 for a
200ml bottle, except the Eau de
Cologne EDT Flacon 400ml which
costs RM1,210.
688
cost $175.
With the collection Mr. Polge
restores four Chanel fragrances that
had disappeared: Chanel No. 22
(from 1922), which Mr. Beaux cre-
ated the year after he created No. 5.
The other three Chanel perfumes
are also from the 20s: the rich
leather Cuir de Russie, the green
floral Gardnia and the spicy Bois
des les.
To complement them he has
created six new Chanel perfumes,
almost doubling the number of
post-World War II Chanels in
print. (Among those are Coco,
Coco Mademoiselle and No. 19.)
In the scent business the collec-
tion is regarded as an audacious
move. A 10-perfume collection is
a huge number, said Alain
Lorenzo, the president of Parfums
Givenchy France. Perhaps they
felt a single perfume wouldnt
make an impact.
But if Mr. Lorenzo expresses
surprise (Chanel has traditionally
exercised more restraint in their
A
T 31, RUE CAMBON, NEAR THE
PLACE DE LA CONCORDE and
on the third floor above the Chanel
store, there is an apartment with
exquisite 17th-century Chinese
wooden screens, no kitchen and no
bedroom. Jacques Polge is the
Chanel perfumer, and he knows the
apartment well because it belonged
to the woman everyone at Chanel
refers to as Mademoiselle.
Coco Chanel slept and ate at
the Ritz, but she entertained here.
(Dinner was brought in by ser-
vants.) On one of Mr. Polges vis-
its, while the apartment was closed
and off limits to all but the most
trusted insiders, he noticed the
screens. That was years ago, how-
ever, and that is getting ahead of
the story.
Since 1978, Mr. Polge has
exercised a unique power in the
industry. He alone both curates and
guards the work of his two (only
two) Chanel perfumer predeces-
sors, Ernest Beaux and Henri
Robert. He also invents new
Chanel perfumes.
His latest project was inspired
in a roundabout way by his first
encounter with Chanels apartment.
I was new at Chanel, and I
was very surprised by this dcor,
he said. He was impressed by the
rich and detailed silver and gold
boxes, luxurious Art Deco furni-
ture and leather-bound books,
which stood out against the apart-
ments celadon walls.
I said, Whats that, and
whats this? Mr. Polge said. I
was thinking, I wonder how these
objects are represented in her per-
fumes, not only the ones that still
existed but also those that were no
longer sold.
On Feb. 12, Mr. Polge tried to
answer the questions he posed to
himself at 31, rue Cambon with the
release of a collection of 10 per-
fumes called Les Exclusifs. There
will be no marketing and no ads,
and the perfumes will be sold only
in Chanel boutiques and at
Bergdorf Goodman, in 200-milli-
liter spray bottles of eau de toilette,
an unusually large size. Each will
689
launches), he adds that, correctly
managed, Les Exclusifs make
strategic sense.
Mr. Lorenzo said, A lot of tra-
ditional players like us are worried
by mass market perfumers, who
churn things out all the time with
no content and no beauty but com-
mercial appeal for a short-term
win.
For the high-end players who
believe in luxury and scarcity and
real design and a perfumery about
creative fragrances that will sur-
prise people, this could work well,
he said. Theres an element of rar-
ity and high end in their proposi-
tion."
Kate Greene, the vice president
for marketing fine fragrances in
North America at Givaudan, said
that 800 new fragrances are expect-
ed to make their appearance in
2007. Yet Chanels collection, she
said, is great for that part of the
industry in search of innovation.
All six of Mr. Polges new Les
Exclusifs represent ideas that fasci-
nated him.
What interested me intellectu-
ally, he said of one, "was to create
a chypre, a family of fragrances,
that characterizes a certain ele-
gance, but to challenge myself to
do it without the traditional chypre
oak moss. He took a journey
through the patrimony of Chanel:
the places she went, the houses she
a thing, you do marketing.
He added, Even when one
says one doesnt do it, which is just
another way of doing it.
But in sales Chanel is taking a
risk. According to the NPD Group,
which provides market data on the
fragrance business, Chanel No. 5
was second and Coco
Mademoiselle sixth of the top 10
selling fragrances in 2006, with
Chance in the top 20. Will the
Exclusifs collection divert the
Chanel customer and thus hurt the
status of its market leaders?
Karen Grant, the senior beauty
industry analyst at NPD, believes
not. I think its going to be a niche
part of their business, she said.
Les Exclusifs also represent a
subtler strategic gambit: position-
ing. Chanel is trying to establish
the role of the perfumer taking the
lead, whereas the craze on the
lower end is with the celebrity per-
fumes, Ms. Grant said. Its estab-
lishing the perfumer, making a
statement."
It is Mr. Polge who selects,
buys and in some cases even
designs the raw materials he has put
in Les Exclusifs. For the last scent
he got up and led the way through
the Ritz and across to 18, place
Vendme, the Chanel jewelry bou-
tique, which opened in 1997.
Upstairs, Mr. Polge sprays it on
lived in and the objects she loved.
And because he had been so
struck by the elegance of her apart-
ment he named his elegant modern-
ized chypre after it: 31, rue
Cambon.Sitting in the living room
there, Mr. Polge pointed to
Chanels lacquered 17th-century
Chinese wooden screens called
coromandel which he saw so many
years ago, and noted that he gave
this name to another of his per-
fumes, an unclassifiable rich scent
of tangy fruit peel, amber and, nat-
urally, burnished wood.
Bel Respiro, his green scent,
which smells of hyacinth and fresh-
cut grass, was named after Chanels
country house in Garche, just out-
side Paris. (She housed the com-
poser Stravinsky there.)
And he did an iris and decided
to name it 28 La Pausa after a house
Chanel built on the Cte dAzur,
whose gardens were filled with iris-
es.
Mr. Polges most traditional
scent, his Eau de Cologne, is the
only new Exclusif available in a
400-milliliter splash, at $300, and
the only one not anchored in a part
of Chanels life. I just felt every
perfumer should have an eau de
cologne, he said with a laugh.
Mr. Polge readily talks about
his hope for the widest possible
appreciation of Les Exclusifs.
From the moment you want to sell
690
a blotter and asks, Do you smell
jewels in my No. 18? and the per-
fume does in fact have an angular
construction with a crystalline
character like a translucent stone.
Some figures in the perfume
business noted that such collections
are not new. Its interesting to see
that Chanel with Les Exclusifs has
today an approach identical to
Herms with its Hermessences,
super-high-end perfumes reserved
for the brands own stores, said
Olivier Monteil, a spokesman for
Herms.
Herms began its line in 2004.
Its seventh Hermessence is to join
the collection in November.
And Ms. Grant of NPD
observed, Weve seen a few pres-
tige brands that have come out with
wardrobes of fragrance Marc
Jacobs, Thierry Muglers trio of
Stars so this is not a new trend.
But, she said, the collection is so
large and the price point so exclu-
sive, it is in harmony with Chanel.
Ms. Greene of Givaudan noted
the Armani Priv, Dior and single-
note Prada collections. But she
described Les Exclusifs as funda-
mentally different.
This may be the way for peo-
ple to appreciate perfume, the anti-
commoditization, true luxury piece
of perfume, she said.
At this instant, she added, I
have seven blotters on my desk,
things Im smelling right now. Six
are Les Exclusifs."
691
ally large size, for $175.
With the collection, Polge
had disappeared: Chanel No.22,
from 1922, which Beaux created
the year after he created No.5. The
other three Chanel perfumes are
also from the '20s: the rich leather
Cuir de Russie, the green floral
Gardenia and the spicy Bois des
Iles.
post-World War II Chanels "in
print." Among those are Coco,
Coco Mademoiselle and No.19.
move. "A 10-perfume collection is
a huge number," said Alain
Givenchy France. "Perhaps they
felt a single perfume wouldn't make
an impact."
But if Lorenzo expresses sur-
prise by saying "Chanel has tradi-
tionally exercised more restraint in
Paris -
A
T 31 RUE CAMBON, NEAR THE
PLACE DE LA CONCORDE and
on the third floor above the Chanel
exquisite 17th century Chinese
refers to as "Mademoiselle."
the Ritz, but she entertained here:
Dinner was brought in by servants.
During one visit by Polge, while
the apartment was closed and off
limits to all but the most trusted
insiders, he noticed the screens.
That was years ago, however, and
that is getting ahead of the story.
Since 1978, Polge has exer-
cised a unique power in the indus-
try. He alone both curates and
guards the work of his two and
there were only two Chanel per-
fumer predecessors, Ernest Beaux
and Henri Robert. Polge also
invents new Chanel perfumes.
encounter with the Chanel apart-
ment.
"I was new at Chanel, and I was
very surprised by this decor," he
said. He was impressed by the rich
and detailed silver and gold boxes,
Art Deco furniture and leather-
bound books, which stood out
against the celadon-colored walls.
"I said, 'What's that, and what's
this?'" Polge said. "I was thinking,
'I wonder how these objects are
represented in her perfumes,' not
only the ones that still existed but
also those that were no longer
sold."
Polge sought to answer those
questions recently at 31 rue
Cambon with the release of a col-
lection of 10 perfumes called Les
Exclusifs. There will be no market-
ing and no ads, and the perfumes
are being sold only in Chanel bou-
tiques and at Bergdorf Goodman,
most of them in 200-milliliter spray
bottles of eau de toilette, an unusu-
692
their launches" he adds that, cor-
rectly managed, Les Exclusifs
make strategic sense.
"A lot of traditional players
like us are worried" by mass mar-
ket perfumers "who churn things
out all the time with no content and
no beauty but commercial appeal
for a short-term win," Lorenzo said.
"For the high-end players who
prise people, this could work well,"
he said.
that 800 new fragrances were
expected to make an appearance in
2007. The Chanel collection, she
said, is "great for that part of the
industry in search of innovation."
All six of Les Exclusifs repre-
sent ideas that fascinated Polge.
"What interested me intellectu-
ally," he said of one, "was to create
a chypre," a family of fragrances,
"that characterizes a certain ele-
oak moss." He took a journey
the places, the houses and the
objects she loved. And because he
had been so struck by her apartment
he named his elegant modernized
chypre after it: 31 rue Cambon.
Sitting in the living room there,
Polge pointed to the lacquered 17th
century coromandel screens that he
saw so many years ago, and noted
that he gave this name Coromandel
to another of his perfumes, an
unclassifiable rich scent of tangy
fruit peel, amber and, naturally,
burnished wood.
cut grass, was named after Chanel's
side Paris. She housed the compos-
er Stravinsky there. Polge also did
an iris scent and decided to name it
28 La Pausa after a house Chanel
built on the Cote d'Azur, whose
gardens were filled with irises.
The most traditional Polge
only Exclusif available in a 400-
milliliter splash, at $300, and the
only one not anchored in a part of
Chanel's life. "I just felt every per-
fumer should have an eau de
cologne," he said with a laugh.
Polge readily talks about his
hope for the widest possible appre-
ciation of Les Exclusifs. "From the
moment you want to sell a thing,
you do marketing," he said. "Even
when one says one doesn't do it,
which is just another way of doing
it."
693
New York, NY -
P
arisian based House of Chanel
today announced a new series
of women's lipsticks and fragrances
designed to coincide with the
release of RJR's Camel No. 9 ciga-
rette brand. A spokesperson for
Chanel stated that the new line was
designed to accentuate female
smokers attracted to the new ciga-
rette while accommodating non-
smoking women who simply wish
to project the allure of the cigarette
smoker.
"Our new perfume, Camel No. 9,
is an exquisite blend of actual camel
urine with the tart aroma of a well
worn ashtray," stated the Chanel
spokesperson. "There is a slight touch
of nicotine added for extra allure as
well as a refreshing pick me up."
Camel No. 9 "Eau de Fumar" by
Chanel
The Chanel spokesperson stated
that, just as the RJR cigarette brand,
their line of products was also target-
ed towards a younger female audi-
ence with an eye towards introducing
teens and preteens to cosmetics.
Chanel dismissed concerns over the
inclusion of small quantities of nico-
tine in their products stating that the
FDA had not as yet chosen to regulate
nicotine as a drug. As a precaution,
however, surgeon general warnings
will be discretely placed on all pack-
aging.
"We're looking forward to a
tremendous hit with this line, as our
pre-marketing surveys have been out
of the roof, particularly with girls in
the 12 to 16 age group," stated the
Chanel spokesperson.
Chanel went on to say that pre-
liminary studies were underway to
investigate the feasibility of possible
future tie-ins with other feminine care
products as well as birth control.
694
J
aCQUES POLGE IS THE CHANEL
PERFUMER, and he knows the
apartment at 31, rue Cambon, well.
It belonged to the woman everyone
at Chanel refers to as
"Mademoiselle."
Since 1978, Polge has exer-
cised a unique power in the indus-
try. He alone both curates and
guards the work of his two Chanel
perfumer predecessors, Ernest
Beaux and Henri Robert. He also
invents new Chanel perfumes.
His latest project was the
release last month of a collection of
10 perfumes called Les Exclusifs.
The perfumes are sold only in
Chanel boutiques and at Bergdorf
Goodman, in 200-milliliter spray
bottles of eau de toilette for $175
each.
With the collection Polge
(from 1922), which Beaux created
the year after he created No. 5. The
other three Chanel perfumes are
also from the '20s: the rich Cuir de
Russie, the floral Gardenia and the
spicy Bois des Iles.
post-World War II Chanels "in
print." (Among those are Coco,
Coco Mademoiselle and No.19.)
move. "A 10-perfume collection is
a huge number," says Alain
Givenchy France. "Perhaps they
felt a single perfume wouldn't
make an impact."
But Lorenzo adds that, correct-
ly managed, Les Exclusifs make
strategic sense.
North America at Givaudan, says
2007. Yet Chanel's collection, she
says, is "great for that part of the
industry in search of innovation."
Most of Polge's six new Les
Exclusifs are anchored in a part of
Chanel's life. Because he had been
so struck by the elegance of her
apartment, he named his elegant
modernized chypre (sandalwood
scent) after it: 31, rue Cambon.
cut grass, was named after Chanel's
side Paris.
Chanel built on the Cote d'Azur,
es.
Polge's most traditional scent,
his Eau de Cologne, is the only new
Exclusif available in a 400-milli-
liter splash, at $300, and the only
one not anchored in a part of
Chanel's life. "I just felt every per-
fumer should have an eau de
Paris -
695
cologne," he says with a laugh.
In sales Chanel is taking a risk.
According to the NPD Group,
was second and Coco
Chance in the top 20. "Chanel is
trying to establish the role of the
perfumer taking the lead, whereas
the craze on the lower end is with
the celebrity perfumes," says Karen
Grant, of NPD. "It's establishing
the perfumer, making a statement."
696
The third film involves Danile
Thompson, director of the French
comedy Fauteuils dorchestre, reti-
tled in the English-language market
as Orchestra Seats or Avenue
Montaigne.
t
S
HE WAS THE WOMAN WHO
DEFINED STyle and ruled over
Parisian haute couture for nearly
six decades, inventing French chic
with her little black dress, famous
suit and turtleneck sweaters.
Now, 26 years after Coco
Chanels death, three rival films are
being made about the designers
life, it emerged at the Cannes Film
Festival yesterday.
One involves Christopher
Hampton, Oscar-winning film-
maker and one of Britains fore-
most writer-directors. He is fresh
from finishing the screen-play for
Atonement, adapted from Ian
McEwans novel and starring Keira
Knightley, and is working on a
script about Chanel with the French
director Anne Fontaine.
Audrey Tautou, the French star
of Amlie and The Da Vinci Code,
will play Chanel. Hampton says
that she bears a striking resem-
blance to her. He is involved in a
$15 million (7.5 million) produc-
tion that focuses on the early years
of Gabrielle Chanel (1883-1971)
her childhood, early womanhood,
and the people who shaped her.
It will show how she was born
into poverty, the illegitimate
daughter of a travelling salesman,
and how her dream had been to be
a cabaret singer. It was in a Roman
Catholic orphanage, where she was
abandoned by her father after her
mothers death, that she learnt to
sew.
She opened a millinery shop in
Deauville in 1913. Her designs,
which emphasised simplicity and
comfort, revolutionised the fashion
industry for the next 30 years.
Costume pearls, the boucl suit and
No 5 perfume were among the
enduring Chanel elements.
One of the rival productions,
Coco & Igor, is based on a book
published in 2002 by Chris
Greenhalgh. It will star Marina
Hands. The subject is an unexpect-
ed choice for its director, William
Friedkin, whose previous films
include The Exorcist and The
French Connection.
697
For Chanel style, someone who
has never shopped further upmar-
ket than Marks & Spencer can still
buy a bottle of No 5 at duty-free, or
a black powder compact at the
make-up department of John
Lewis. A man I know, who has
been wearing the same uniform of
jeans and leather jacket since the
1960s, has as his one concession to
fashion the Chanel Homme after-
shave he has loyally stuck to for 30
years because he likes the simple
classic lines of its packaging.
It's hard to underestimate how
much Chanel style has changed us
all. The black dress existed before
Chanel turned her attention to it,
but it was considered funereal and,
in the years before the First World
War, buried under bows, pleats,
lace, bustles and leg-of-mutton
sleeves. What Chanel meant was a
dress that was minimalist, sophisti-
cated, elegant, to be worn at any
time of day. Reacting against the
sumptuous designs of her immedi-
ate predecessor, Paul Poiret, she
advocated what she called 'austere
luxury', the essence of chic. Her
revolutionary approach to design
T
HE LITTLE BLACK DRESS, TWEED
SUITS, costume jewellery and
red lipstick we owe them all to
Gabrielle 'Coco' Chanel. As a new
book celebrates her signature style,
Linda Grant assesses the legacy of
fashion's very arch modernist
In the autumn of 2005 I attend-
ed the launch party for Justine
Picardie's entrancing new book
about the history of all the clothes
she had ever worn, My Mother's
Wedding Dress: the Life and
Afterlife of Clothes. Picardie's
mother had, far back in the 1960s,
got married in a little black dress,
now faithfully copied for her
daughter to wear at the party. The
launch was held at the Chanel store
in Knightsbridge, and it was a trib-
ute to the power of a single word -
Chanel - that almost every woman
in the room was wearing a little
black dress. Black had just made a
comeback, but for many of us it
had simply never gone away. The
LBD, so easy to wear, so versatile
in its possible interpretations as
fashions come and go, is probably
the single most enduring style
statement of the 20th century,
already racing on into the 21st.
Coco Chanel in trademark
ropes of pearls in a 1935 Man Ray
portrait
The moment you say the word
Chanel a picture comes to mind: of
a square, stoppered perfume bottle,
a little suit, a white camellia. Coco
Chanel, credited with being the
person who invented modern
clothes, stamped her adamant, dis-
tinctive personality on everything
she touched. An addictive new
book, Chanel: Collections and
Creations, by Danile Bott,
explores five designs that changed
the world and asks what it was
about Chanel's visual statements
that are so enduring and alluring.
Students of fashion can identify
Dior's New Look, Yves Saint
Laurent's le Smoking,
Schiaparelli's skeleton dress or
Jean Paul Gaultier's conical bra,
but such is the power of the Chanel
brand that if you showed those two
intertwined Cs to any woman in
any city in the world she would
recognise them at once.
698
meant that the black dress could be
worn as day, cocktail and evening
wear. 'A woman dressed in black
draws attention to herself, not her
dress,' observes Bott.
The very first LBD, the Ford of
dresses, she called it, referring to
the Model T car built on a produc-
tion line for the masses, was
designed to be democratic; any
woman could wear one. The origi-
nal design shows a long-sleeved,
slim-hipped dress, gathered low at
the waist and reaching to just below
the knee. Its only adornments are
two pleated Vs dropping from the
shoulders and rising from the hem,
meeting in the middle to further
create the illusion of slimness. You
could step out in it today and no
one would notice that you were
wearing something designed more
than 80 years ago. Chanel would
develop this concept for the rest of
her life, altering the fabrics, adding
sequins or chiffon trains, but the
underlying structure remained. A
black dress, with dropped waist and
schoolgirl white collars and cuffs,
worn over leather footless tights
from 2003 reveals how radical her
thought was. 'A fashion that goes
out of fashion overnight is a dis-
traction, not a fashion,' she said.
Chanel's beauty packaging
remains much the same today as it
was 80 years ago
Chanel launched her career at
the height of modernism, in design,
art, literature and music. By return-
ensure it hung properly, and the
only concession to embellishment
was the gilt buttons embossed with
lion's head, stars, the sun or double
C.
Lagerfeld radically reinterpret-
ed the suit, making it in pink tweed,
fraying the hems and jacket edges
(a trend that worked its way to the
Per Una range at Marks &
Spencer), and in the process turned
it into one of the most celebrated
comebacks in the history of fash-
ion.
One thing Chanel was quite
clear about was her dislike of the
unadorned face: 'I don't understand
how a woman can leave the house
without fixing herself up a little - if
only out of politeness,' she said.
She regarded the lips as the primary
weapons of seduction and insisted
on painting them a deep vermillion.
As far back as 1921 she made her
first stick of colour, protected in
wax paper, the precursor of the lip-
stick as we know it today. Next she
made for herself a mother-of-pearl
tube, then a push-up case in gun-
metal grey. Pictures of her early
cosmetics show the designs to be
startling similar to today's. The No
5 bottle remains unchanged since
the 1920s. The black boxes she
used for her powder and eyeshadow
go back as far as 1932, and were
made from Bakelite, then being
used in car manufacturing.
A 1930s gold, sapphire and ruby
bangle
ing to the essential form, the move-
ment showed radical simplicity.
Modernism was the thinking
woman's fashion statement, and
derived its power from the idea that
women were no longer to be whol-
ly decorative. They could act, and
needed clothes to wear while doing
so. Chanel herself designed things
not as playful allusions to what had
gone before but to meet the
demands of her own life and body.
When Karl Lagerfeld arrived at
Chanel in 1982, there seemed to be
no more unlikely a designer to lead
the house. A master of post-mod-
ernism, he was the opposite of
everything Chanel stood for, yet his
greatest triumph was the revival of
the Chanel suit.
My mother, slim and only 5ft
2in, had a wardrobe full of good-
quality high-street copies of the
Chanel suit. She knew they were
what suited her best and she hung
on to them long after they went out
of fashion. The Chanel suit dates
from the reopening of the fashion
house in 1954 (it had closed during
the war), but it was Jackie Kennedy
who made it famous. In jersey and
tweed, with its collarless jacket and
slim skirt, it was meant to be a kind
of second skin. Worn with a quilted
chain-handle bag, two-tone sling-
backs and a camellia brooch, it was
a look as simple and sophisticated
as the little back dress, but less
dressed-up. Chanel insisted that
every suit had pockets into which a
woman's hand could actually fit,
the jacket hem was weighted to
699
But Chanel did not entirely
eschew adornment. She was an
inveterate wearer of necklaces, and
the lavish, even Byzantine luxury
of her jewellery contrasted with the
minimalist lines of her clothing.
The spectacular Comte necklace
of 1932 is a diamond star from
which a cascade trail of 649 dia-
monds drapes itself round the
shoulder, arching at the neck and
ending at the base of the throat. It is
interesting that Chanel, who adored
the minimalist form, should have
thrown pearls and gold chains all
over her severe canvas. Bott offers
some suggestions: in the 1930s
Chanel had accepted a commission
from the International Diamond
Guild, which she took because she
felt that, in times of economic
depression, too much austerity
was depressing. Another possi-
bility is that her lover, Paul Iribe,
was a jewellery designer. But per-
haps there is a more material con-
sideration: before she was a major
designer she was a courtesan, the
lover of wealthy men such as the
Duke of Westminster who, in the
tradition of the times, rewarded her
affections with gifts of diamonds.
Yet her originality would hit on
one emblem, the camellia, which in
her hands became a necklace, a
watch, a hat, a chignon, a detail on
a button, or just a silk flower
pinned to a dress. There was some-
thing radically simple about its
shape, what Bott calls 'its perfect,
almost geometric roundness'. As far
back as 1922 a stylised camellia is
embroidered on a blouse. Every
season it appears as a jewelled
monogram on a toe or beaded out-
line on the heel of a Chanel shoe.
Like the lotus in Buddhism, the
camellia expressed for Chanel a
shape with infinite possibilities.
And so she goes on, the way she
saw and thought affecting the lives
of millions unborn when she first
discarded what was known and set
out on an adventure into the future.
Chanel Collections and
Creations' (Thames & Hudson,
19.95), by Danile Bott, is avail-
able from Telegraph Books (0870
428 4112) at 17.95 plus 1.25
p&p
700
cost $175.
With the collection Mr. Polge
(from 1922), which Mr. Beaux cre-
ated the year after he created No. 5.
The other three Chanel perfumes
are also from the 20s: the rich
leather Cuir de Russie, the green
floral Gardnia and the spicy Bois
des les.
post-World War II Chanels in
print. (Among those are Coco,
Coco Mademoiselle and No. 19.)
move. A 10-perfume collection is
a huge number, said Alain
Givenchy France. Perhaps they
felt a single perfume wouldnt
make an impact.
But if Mr. Lorenzo expresses
surprise (Chanel has traditionally
exercised more restraint in their
A
T 31, rue Cambon, near the
Place de la Concorde and on
the third floor above the Chanel
exquisite 17th-century Chinese
refers to as Mademoiselle.
(Dinner was brought in by ser-
vants.) On one of Mr. Polges vis-
its, while the apartment was closed
and off limits to all but the most
trusted insiders, he noticed the
screens. That was years ago, how-
ever, and that is getting ahead of
the story.
Since 1978, Mr. Polge has
exercised a unique power in the
industry. He alone both curates and
guards the work of his two (only
two) Chanel perfumer predeces-
sors, Ernest Beaux and Henri
Robert. He also invents new
Chanel perfumes.
encounter with Chanels apartment.
I was new at Chanel, and I
was very surprised by this dcor,
he said. He was impressed by the
rich and detailed silver and gold
boxes, luxurious Art Deco furni-
ture and leather-bound books,
which stood out against the apart-
ments celadon walls.
I said, Whats that, and
whats this? Mr. Polge said. I
was thinking, I wonder how these
objects are represented in her per-
fumes, not only the ones that still
existed but also those that were no
longer sold.
On Feb. 12, Mr. Polge tried to
answer the questions he posed to
himself at 31, rue Cambon with the
release of a collection of 10 per-
fumes called Les Exclusifs. There
will be no marketing and no ads,
and the perfumes will be sold only
in Chanel boutiques and at
Bergdorf Goodman, in 200-milli-
liter spray bottles of eau de toilette,
an unusually large size. Each will
701
launches), he adds that, correctly
managed, Les Exclusifs make
strategic sense.
Mr. Lorenzo said, A lot of tra-
ditional players like us are worried
by mass market perfumers, who
churn things out all the time with
no content and no beauty but com-
mercial appeal for a short-term
win.
For the high-end players who
prise people, this could work well,
he said. Theres an element of rar-
ity and high end in their proposi-
tion."
2007. Yet Chanels collection, she
said, is great for that part of the
industry in search of innovation.
All six of Mr. Polges new Les
Exclusifs represent ideas that fasci-
nated him.
What interested me intellectually,
he said of one, "was to create a
chypre, a family of fragrances,
that characterizes a certain ele-
oak moss. He took a journey
the places she went, the houses she
appreciation of Les Exclusifs.
From the moment you want to sell
a thing, you do marketing.
He added, Even when one
says one doesnt do it, which is just
another way of doing it.
But in sales Chanel is taking a
risk. According to the NPD Group,
was second and Coco
Chance in the top 20. Will the
Exclusifs collection divert the
Chanel customer and thus hurt the
status of its market leaders?
Karen Grant, the senior beauty
industry analyst at NPD, believes
not. I think its going to be a niche
part of their business, she said.
Les Exclusifs also represent a
subtler strategic gambit: position-
ing. Chanel is trying to establish
the role of the perfumer taking the
lead, whereas the craze on the
lower end is with the celebrity per-
fumes, Ms. Grant said. Its estab-
lishing the perfumer, making a
statement."
It is Mr. Polge who selects,
buys and in some cases even
designs the raw materials he has put
in Les Exclusifs. For the last scent
he got up and led the way through
the Ritz and across to 18, place
Vendme, the Chanel jewelry bou-
tique, which opened in 1997.
lived in and the objects she loved.
And because he had been so
struck by the elegance of her apart-
ment he named his elegant modern-
ized chypre after it: 31, rue
Cambon.
Sitting in the living room there,
Mr. Polge pointed to Chanels lac-
quered 17th-century Chinese
wooden screens called coromandel
which he saw so many years ago,
and noted that he gave this name to
another of his perfumes, an unclas-
sifiable rich scent of tangy fruit
peel, amber and, naturally, bur-
nished wood.
cut grass, was named after Chanels
side Paris. (She housed the com-
poser Stravinsky there.)
Chanel built on the Cte dAzur,
es.
Mr. Polges most traditional
only new Exclusif available in a
400-milliliter splash, at $300, and
the only one not anchored in a part
of Chanels life. I just felt every
perfumer should have an eau de
cologne, he said with a laugh.
Mr. Polge readily talks about
his hope for the widest possible
702
Upstairs, Mr. Polge sprays it on
a blotter and asks, Do you smell
jewels in my No. 18? and the per-
fume does in fact have an angular
construction with a crystalline
character like a translucent stone.
Some figures in the perfume
business noted that such collections
are not new. Its interesting to see
that Chanel with Les Exclusifs has
today an approach identical to
Herms with its Hermessences,
super-high-end perfumes reserved
for the brands own stores, said
Olivier Monteil, a spokesman for
Herms.
Herms began its line in 2004.
Its seventh Hermessence is to join
the collection in November.
And Ms. Grant of NPD
observed, Weve seen a few pres-
tige brands that have come out with
wardrobes of fragrance Marc
Jacobs, Thierry Muglers trio of
Stars so this is not a new trend.
But, she said, the collection is so
large and the price point so exclu-
sive, it is in harmony with Chanel.
Ms. Greene of Givaudan noted
the Armani Priv, Dior and single-
note Prada collections. But she
described Les Exclusifs as funda-
mentally different.
This may be the way for peo-
ple to appreciate perfume, the anti-
commoditization, true luxury piece
of perfume, she said.
At this instant, she added, I
have seven blotters on my desk,
things Im smelling right now. Six
are Les Exclusifs."
703
D
ESPITE THE WIDE VARIETY OF
PERFUMES on the market,
many women still have a difficult
time choosing their signature scent,
claiming that some perfumes are
too sweet, flowery or musky.
However, theres no denying that
the perfumes out on the market
now are definitely more unusual
than the ones that our grandmoth-
ers wore decades ago. There are
scents for women who prefer fresh,
clean scents as well as for those
who would rather stick to the clas-
sic musky perfumes.
Rustans Department store
recently relaunched two perfumes:
Eau d Hadrien by Annick Goutal,
and Coco Mademoiselle by
Chanel. Eau d Hadrien, a fresh cit-
rus-based cologne with notes of
lemon, grapefruit, citron and
cypress, is celebrating its 25th year
as an iconic perfume with a new
range of limited-edition products
and packaging.
The limited-edition Eau d
Hadrien line contains seven key
products: perfumed body cream,
body scrub, body oil, body spray,
conditioning shampoo, scented
candle, and of course, the concen-
trated perfume version of the scent.
To mark the anniversary of one of
its most famous scents, Annick
Goutal Paris commissioned artist
Caroline Rennequin to hand-paint
1,000 bottles of Eau d Hadrien.
The bottles, considered to be col-
lectors items, are painted with
fruit-laden lemon trees and are
topped with gilded gold butterflies.
Chanel, on the other hand,
tapped Keira Knightley as the latest
endorser of its Coco Mademoiselle
perfume. The actress, who is best
known for her roles in movies such
as Pride and Prejudice and
Pirates of the Caribbean, was
selected as the latest face of the
Chanel perfume. She follows in the
footsteps of actresses such as
Catherine Deneuve and Nicole
Kidman with the campaign, where
she is depicted as a sultry, mysteri-
ous woman.
I like fragrances with charac-
ter, said Knightley in a statement
to the press. Coco Mademoiselle
has character and temperament. Its
a fresh, clean, delicate and subtle
scent that isnt aggressive. Its
young and modern. In that sense,
the perfume matches me perfectly.
She continued, Coco
Mademoiselle is a fragrance that
you can wear both in the day wear-
ing jeans, or in the evening in an
elegant dress. And thats definitely
an advantage.
Coco Mademoiselle is
described as a scent with top notes
of citrus, followed by floral under-
tones. The notes blended into the
scent include rose, oriental jasmine,
vanilla bourbon, Indonesian
patchouli and white musk. Aside
from the traditional bottle of per-
fume, the scent is also available in a
compact as solid perfume, and in a
small decanter as purse perfume,
which has a higher concentration
than the usual bottled perfumes.
Manila - Philippines
704
Premire is a fragrance you can
wear all day long."
But some things don't change.
"A woman looks for mystery in a
fragrance," Sheldrake says.
A journalist once asked
Marilyn Monroe what she wore to
bed, and she cooed, "Just a few
drops of No. 5." It's the ineffable je
ne sais quoi of Chanel No. 5 that
has ensured its timeless appeal, and
a truly beguiling mystery never
grows old
E
VER THE SORCERESS OF STYLE,
SHE CHOSE HAUNTING SCENTS
FROM ALL OVER THE WORLD JASMINE
AND LUSH PINK MAY ROSES from the
medieval Provenal town of
Grasse, creamy yellow ylang-ylang
blossoms from the Comoro Islands
off the east coast of Africa, rum-
scented tonka beans from South
America, vanilla and sandalwood,
and a rich mlange of other ingre-
dients and blended them all into a
sensuous fragrance that instantly
captivated le tout Paris.
Chanel, photographed by Cecil
Beaton in her Paris apartment,
April 1965. Cond Nast Archive.
Created at the dawn of the
Roaring 20s, Chanel No. 5 was as
modern a perfume as Coco
Chanel's revolutionary clothes
were the harbingers of a new era in
fashion for sexy, emancipated
women. Launched in 1921, Chanel
No. 5 is the best-selling scent in the
world as well as a groundbreaking
icon of design; its sleek, androgy-
nous packaging was exhibited at
New York's Museum of Modern
Art and immortalized in a series of
silk screens by Andy Warhol.
But now the House of Chanel
has recalibrated its classic fra-
grance in a new product called No.
5 Eau Premire. Retaining the
essential character of the original
while refreshing its appeal was a
job for Chanel's venerable master
perfumer, Jacques Polge, known in
the rarefied world of scent as the
Nose.
"We needed to re-interpret
Chanel No. 5 for the modern era,"
says Christopher Sheldrake,
Polge's deputy, or as he puts it the
second nose of Chanel.
The result of their alchemy is a
youthful fragrance whose effect is
brightened by the orange-flower-
oil neroli and Damascene roses
from Turkey and Bulgaria, which
have a fresher, greener aroma than
the honeyed May roses.
"No. 5 can be like one's moth-
er's fragrance, and Eau Premire is
certainly younger," Sheldrake
explains. "No. 5 can also be an
evening fragrance, but Eau
705
a kept woman. We may therefore
well anticipate that she did not use
perfumes herself. Did she get a per-
fume as a present from Pavlovitch?
Was it Rallet N1, a perfume
famous at the Russian Imperial
Court, a perfume created in
Moscow some seven years earlier
by Beaux and launched in 1913
under the name Bouquet de
Catherine by A. Rallet & Co. of
Moscow?
The Birth of Rallet N1
The timing of the Bouquet de
Catherine launch was unfortunate.
When, in 1914, war broke out with
Germany, sentiment in Russia was
fiercely anti-German.10 One target
of this hatred was the Empress
Alexandra, a German who, while
fiercely patriotic to Russia, had
long been disliked by peasants and
nobles alike for her puritanical
ways and appearance of cold
detachment to her subjects.
Regrettably for Rallet, Catherine
the Great had also been German.
Thus, rather than being a repeat of
Beauxs Le Bouquet de Napolon
success, Le Bouquet de Catherine
http://www.gcimagazine.com/news/webexclu-
N
OT SURPRISINGLY, CHANEL N5
the legendary most-worn
perfume of all time is surrounded
by countless legends, including a
mixing error by Beauxs assistant,
who added pure aldehydes rather
than the prescribed 10% solution.
Another story goes that Mlle
Chanel chose of the fifth bottle
from two rows of scents numbered
1 to 5 and 20 to 24 because five
was her lucky number. And yet
another legend has it that Beauxs
inspiration for Chanel N5 came
during military action beyond the
Arctic Circle, when the midnight
sun released an extremely fresh
scent from the lakes.
What we know for sure is that
the story of Chanel N5 began in
Biarritz, France, which had become
the meeting place for an unlikely
mix of Russian nobility that had
managed to escape the massacres
following the collapse of Tsarist
Russia. Biarritz was flourishing
and so was the boutique which
Chanel had opened there in
September 1915 her second, after
Deauville, France. While in 1915 it
was the French high society that
wanted to forget about the World
War I, in 1920 it was the Russian
nobility that wanted to forget the
Bolshevik coup. It was an ideal
occasion for Chanel to promote her
fashion and to be seen with her
friends, all dressed up in Chanel.
One of these friends, singer Mathe
Davelli, claimed to have intro-
duced Chanel to the Grand Duke
Dimitri Pavlovitch, first cousin of
Tsar Nicolas II. In the summer of
1920, Chanel began a love affair
with Pavlovitch who was 11 years
her junior. It lasted about a year. It
is said that Pavlovitch introduced
Chanel to Beaux on the beach at
Cannes during a short trip to the
Cte dAzur, but here is where the
story becomes murky.
Since her days with Etienne
Balsan in Royallieu, near
Compigne, France, Chanel avoid-
ed pearls and lace to hide that she
was a kept woman. At the time she
spent her days riding horseback in
the French countryside and is
reported to have said that women
perfume themselves only to hide
bad smells. Perfumes, too, may
have suggested to her the status of
706
disappeared into the fog of war and
revolution.
Beaux made no mention of the
fragrance in his 1946 biography.8a
Instead, a new perfume emerged,
Rallet N1, perhaps first launched
as the eau de cologne version Rallet
O-De-Kolon N1 Vesovoi, which
was sold by weight (vesovoi).
The renaming of Bouquet de
Catherine to Rallet N1 was report-
ed by Michael Edwards, who
received the information from
Marcel Carles, who had heard it
from his father, Jean Carles.9 The
Bouquet de Catherine or Rallet N1
was intended as the female counter-
part to the Bouquet de Napolon.
Beaux was inspired by the immedi-
ate success, in 1912, of Quelques
Fleurs by Houbigant, in which per-
fumer Robert Bienaim had for the
first time used aldehyde C-12 MNA
(2-methyl undecanal). In his study
of Quelques Fleurs, Beaux experi-
mented with these novel materials.
One cannot exclude a mixing error
by a lab assistant, nor, as gas chro-
matographs had not yet been
invented, the possibility that Beaux
initially did not have a clue about
the usage level and simply dosed
too high. It may be assumed, how-
ever, that Beaux discovered during
these experiments that, by employ-
ing a complex of the novel aldehy-
des C-110 (undecanal), C-11
(undec-10-en-1-al) and C-12
(dodecanal), he could overcome the
fattiness of jasmine absolute and
rose oil. Consequently, he increased
the level of the aldehyde complex
cations developed between 1919
and 1921, and may indeed stem
rom the series numbered 20 to 24.
Rallet was acquired by Coty in
1926 and, inspired by the interna-
tional success of Chanel N5,
Vincent Roubert reinterpreted the
Rallet N1 concept, resulting in
LAimant (French for magnet);
the scent was launched in 1927 and
relaunched in a modern bottle in
1995. Yet Rallet N1 was still in
production in the late 1940s (Photo
6 and Photo 7), most likely
unchanged, as Coty wanted to keep
it as a luxury branch.17 In addition
to Rallet N1 and Rallet Gardenia
(Photo 3), Coty launched Rallet
Chypre and Rallet No. 3, the latter
probably close or identical to the
pre-1917 Rallet O-De-Kolon N3
Vesovoi. In typical Coty fashion,
these fragrances were offered in
five sizes, priced from $3.50 to
$25.00 per bottle in the United
States.
Who was the perfumer behind
Mademoiselle Chanel N1, which
was said to have been manufac-
tured in Zurich, Switzerland?15b
Despite his praise of the fragrance,
which made it appear as if someone
else had compounded it, it rather
looks like Beaux himself was its
creator. The scent somehow bears
his signature: the conceptual simi-
larity to the Rallet N1 theme, the
use of an overdose of a novel mate-
rial, and the fact that this novel
material was a-n-methyl ionone,
which was available only from
and the jasmine-rose accord inces-
santly. Beaux certainly followed a
well-considered and systematic
path in balancing aldehydic and flo-
ral complexes, and the floral heart
built around jasmine, rose de mai,
orris, ylang-ylang and lily of the
valley was certainly inspired by
Quelques Fleurs, although Bouquet
de Catherine was far more daring
and revolutionary.
On April 4, 1924, Chanel
entered into an agreement with
Bader and Wertheimer whereby the
new partners would undertake to
promote Chanels perfume, and
others to be introduced under her
name. In return, she would receive
a 10% interest in the business.
Parfums Chanel would now take
over the perfume business, intro-
ducing the signature cut-glass fla-
con that had been designed by Jean
Helleu for the Wertheimer
relaunch.16 In the same year,
Beaux, who since 1922 had been
representing his friend Eugene
Charabot in Paris, became technical
director for both Bourjois and
Parfums Chanel. He would go on to
create new masterpieces for the
Wertheimer group including Cuir
de Russie (1924), Gardnia (1925),
Bois des les (1926) for Parfums
Chanel, and Soir de Paris (1929)
and Kobako for Bourjois (1936).
Chanel N22, first launched in 1922
(in limited quantity, and 1926 offi-
cially) and recently re-released as
part of the Les Exclusifs de Chanel
series (2007), also most likely orig-
inated from the Rallet N1 modifi-
707
Haarmann & Reimer or Givaudan.
In addition, Beaux was a good
friend of Leon Givaudan, and
ionone isomers such as Cetone
Alpha fascinated the perfumer.
We will probably never know
for sure what Beaux did between
1940 and 1945, but who other than
Beaux could Chanel have selected
to challenge her N5? Certainly
the N1 in the perfumes name
could have been inspired by
Beauxs original creation for Rallet.
In any case, Chanels tactic
worked. In truth, all she wanted
was more money from the
Wertheimers. She had no capability
of marketing Mademoiselle Chanel
N1 in a serious way. But she could
have caused confusion among N5
customers. With a sharply rising
sales curve for this perfume, Pierre
Wertheimer wished to eliminate
any risk. Flying to Europe and
meeting with Chanels lawyer in
1947, Wertheimer renegotiated the
1924 agreement, and Chanel
received an additional 2%. Chanel
and Wertheimer made peace. When
Chanel wanted to resurrect her cou-
ture house, Wertheimer even
backed her financially. Chanels
comeback collection, shown in
Paris on February 5, 1954, was a
fiasco. Pierre had to buy the cou-
ture business as well to prevent its
insolvency. Then, in New York in
1955, Chanels collection became
such a huge success that even the
ill-reputed costumes from the pre-
vious year sold out.
In 1954, Henri Robert, who had
known Beaux since their days
together at La Bocca, replaced him
as Chanels chief perfumer.
However, Beaux (who, incidental-
ly, had used his connections to
obtain work for Russian emigrants
since the 1920s) remained involved
in Chanel Perfumes until the end of
1960 when he was discharged at
age 79.20 Deeply disappointed, he
died only a few months later, on
March 8, 1961, in his Paris apart-
ment. His funeral was held in the
south of France in the parish of
Notre Dame de Graz de Passy.21 It
is said that the church was carpeted
with roses.19 Pierre Wertheimer
died five years later, on April 24,
1965, at the age of 77. Chanel con-
tinued inexorably after her spectac-
ular comeback and brought out new
collections every year until 1971,
when, on January 10, she died in
her suite in the Ritz in Paris at the
age of 88. Her N5, however, still
proves immortal, a true legend as
best illustrated by the famous quote
of Marilyn Monroe in answer to the
question of what she wears at night:
Five drops of N5.
708
him amid flasks and alembics filled
with fragrances in the making.
She described what she wanted:
A womans fragrance that smells
like women.
Beaux created a perfume with-
out a dominant note, but rich with
floral scents. No fewer than 80
ingredients were used, including
aldehydes, used for the first time in
perfumery to enhance fragrances.
Chanel chose the fifth sample,
to which she wanted added a great
quantity of jasmine from Grasse,
the most luxurious perfume raw
material in the world.
In 1986, Jacques Polge, the
man behind Parfums Chanel since
1979, created the No5 Eau de
Parfum, a contemporary interpreta-
tion of the original fragrance with
lighter citrus notes and hints of
vanilla.
Raw Materials
Ylang-ylang, harvested In
Madagascar and Mayotte, is anoth-
A
FRIEND ONCE REMARKED THAT
HER FAVOURITE FRAGRANCE IS
CHANEL NO5.
'I want a fragrance that smells
like a woman.' And that was how
Chanel's founder created the cos-
metic brand's legendary perfume.
Syida Lizta Amirul Ihsan unveils
the history behind Chanel No5.
She sounded snobbish the fra-
grance, after all, is the grand dame
of perfumes and did you know that
it was the only thing that Marilyn
Monroe wore to bed? but no, my
friend was not showing off.
I always take a bottle with me
when Im on an assignment over-
seas in winter. Its scent is unparal-
leled, like a bouquet of sweet
blooms trailing your steps. Its per-
fect.
Heres how No5 became the
legend it is.
History
During the summer of 1921,
accompanied by the Great Duke
Dmitri of Russia, a cousin of the
Tsar, Gabrielle Chanel went to
Monte Carlo to meet friends and
the meeting ended with Chanel
deciding to launch a fragrance.
So it was that, in the sensual
warmth of the Midi region of
France, the land of flowers and lux-
urious opulence, No5 took root.
Ernest Beaux, former perfumer
to the court of the Tsar, created a
stunning bouquet. Some said the
name was chosen because it was
the fifth sample offered by Beaux.
The bottle designed by
Mademoiselle Chanel is a model of
minimalism and simplicity.
Considered a 20th century icon, the
perfume bottle was exhibited in the
New York Museum of Modern Art
in 1959.
A few years later, the bottle
was featured in a series of artworks
by painter Andy Warhol.
Complex Composition
In 1917, Beaux set up his labo-
ratory at La Bocca, near Grasse,
and it was here that Chanel met
709
er vital ingredient in No5. Polge
uses it to create the fragrances
heady notes.
Rosa Centifolia, a rose also
from Grasse also known as the May
rose because it flowers once a year
for three weeks in May, is another
ingredient. Aldehydes are still used
to enhance scents.
Quality Control
To guarantee quality in every
bottle of perfume, Polge personally
selects and inspects all the ingredi-
ents that go into its making. The
quality of rose and jasmine is
affected, for example, by the
weather.
He also ensures the correct for-
mula for the fragrance is used.
The baudruchage bottle sealing
method is used where a fine mem-
brane is manually attached with
two rows of black pearl cotton yarn
over the neck of the bottle to ensure
it is both air- and water-tight.
A wax stamp with the Chanel
double C seal is then applied to
make the bottle tamper-proof.
Chanel is the only perfumer using
this sealing method.
Publicity
Breaking from tradition, No5
appeared in a television commer-
cial for the first time in 1953.
After Chanel and Monroe,
other beautiful women like Candice
Bergen, Suzy Parker, Ali McGraw,
Lauren Hutton, Jean Shrimpton,
Cheryl Tiegs, Catherine Deneuve,
Carole Bouquet and Estella Warren
were chosen to symbolise the per-
fume.
In 2004, Nicole Kidman took
on the role. She appeared in the
commercial directed by Baz
Luhrman, who coincidentally also
directed her in his movie, Moulin
Rouge.
710
T
HE NUMBER FIVE SEEMED TO
HAVE A SPECIAL PLACE in
Gabrielle Coco Chanels heart.
Aside from naming her signature
fragrance Chanel No. 5, the leg-
endary fashion icon and designer
named her trademark black quilted
bag the 2.55.
Why was Coco fixated with the
number and how did it become
associated with one of the worlds
leading luxury brands? How does
Karl Lagerfeld, Chanels equally
iconic if a bit eccentric creative
director, manage to continue to
make the brand fresh and exciting
for todays current crop of fashion-
istas?
Stephanie Donnet-Couette,
Chanels regional marketing man-
ager for Asia and the Pacific, in a
recent symposium in Bangkok
dubbed as Chanel, the Spirit of a
Living Brand, discussed the sig-
nificance of the number five as
well as the brands other iconic
emblems and how they add to its
mystique and bottom line figures.
The event was in conjunction
with Thailands first-ever
Emporium World Fashion
Showcase, a gathering of high-
end luxury brands in a series of
fashion shows, talks and parties
organized by the Emporium
Shopping Complex.
Gabrielle was a very supersti-
tious woman, said Donnet-
Couette. She considered five a
lucky number, and for a number of
good reasons.
Not another fragrance
When she turned her attention
to fragrances in 1921, a few years
after her non-traditional approach-
es in couture were warmly received
by Paris fashion cognoscenti,
Coco declared that she didnt want
another perfume with a single-
flower scent. Rather, she wanted a
composite womans fragrance,
never mind if it was artificial, that
smelled like, well, a woman.
That was probably why she
loved to spruce up her outfits with
camellias, another Chanel icon,
said Donnet-Couette. The flower
is beautiful, but doesnt have any
scent, which probably suited her, as
it didnt interfere with her per-
fume.
Coco, the occasional singershe
got her nickname from enthusiastic
fans during her salad days singing
at neighborhood cafs and former
hat designer, wasnt acting on pure
whim. As the fashion designer who
sunbathed (even before the tanned
look became in) and freed women
from constricting corsets by intro-
ducing them to more practical yet
smart sportswear and tailored sepa-
rates, she certainly knew what she
was doing.
She lost no time commissioning
leading perfumer Ernest Beaux to
work on her dream fragrance. After
several attempts, Beaux, as far as
his headstrong client was con-
cerned, got it right on his fifth try.
He still had a few more combina-
tions to explore, but Coco asked
him to stop since she already got
what she wanted.
She thus named the houses sig-
nature fragrance, which to this day,
said Donnet-Couette, has remained
//showbizandstyle.inquirer.net/li
711
extremely saleable (one bottle
every 30 seconds the world over!),
Chanel No. 5 in honor of her
favorite number, and because of the
fact that it was literally created on
the perfumers fifth attempt.
Gabrielle was what we would
call today ahead of her time, said
Donnet-Couette. Not only did she
defy conventions, she sought inspi-
rations from the most unlikely
places and people.
And that included, of course,
her string of lovers such as Etienne
Balsan (equestrienne-inspired out-
fits), Arthur Boy Capel, the Duke
of Westminster (tailored suits) and
the Grand Duke Dimitri of Russia
(multiple strands of pearls, both
real and fake).
She also spent time with lead-
ing artistic luminaries of the day,
collaborating with the likes of
Cocteau and Picasso and providing
financial support to Stravinsky,
Diaghilev, Radiguet and Pierre
Reverdy.
When the Paris-based Coco
was much younger, she opened a
second shop that sold hats in
Deauville, a seaside resort town
north of Paris. Imagine how
shocked she was when she first saw
young women hiding their beauti-
ful bodies beneath layers of cloth-
ing and stifling corsets during sum-
mer.
She noticed how they could
white pieces season after season.
The Bangkok talk also included
a documentary that showed
Lagerfeld and his team at work.
Although the film was in French,
one couldnt help but be amused as
well as amazed at the power the old
man wields over his subjects-cum-
collaborators. It also showed how
dedicated and tradition-bound he
and his team are.
There was a poignant scene in
the documentary reminiscent of
Miranda Priestly, the haughty mag-
azine editor in the film The Devil
Wears Prada, that left members of
the audience either agape or in
stitches.
As Lagerfeld, trailed by two
assistants, makes his way to his
top-floor office on rue Cambon, the
buildings frantic telephone opera-
tor calls every department head to
tell them Monsieur Lagerfeld is
headed your way. In short, be pre-
pared!
For all his seeming attempts to
appear aloof, Lagerfeld appears to
be well liked by the staff. Or at
least, they respect him enough to
get things done the way he wanted.
He sits down most of the time as he
critiques a prototype he himself
designed draped not on a dress
form, but on a living, breathing
model!
Coco, like Lagerfeld today,
proved to be both resilient and driv-
hardly breathe, said Donnet-
Couette. She shocked them in
return by sporting short hair and
designing and wearing sportswear
made of lightweight jersey, which,
during that time, was only used as
material for mens underwear.
Women, however, warmed up to
the idea before long.
Coco could swing both ways
with ease, fashion-wise, that is.
While shes best known for
womens tweed jackets, sailing
jumpers and embroidered or fur-
lined coats with hints of masculine
energy no doubt influenced by
either rummaging through or bor-
rowing items from her lovers clos-
ets she also made her mark in fash-
ion by introducing women to the
little black dress.
Bright colors didnt excite her
as much as black and/or white did.
Their beauty, she once declared, is
absolute. She went on to say that
the woman dressed in either black
or white gets all the attention at a
ball.
Countless versions
Perhaps, no one best under-
stands her design sensibilities bet-
ter than Lagerfeld himself, the
imperious-looking sexagenarian
(no one really knows his exact age)
now behind the house. Not only has
he successfully reinvented Cocos
classic tweed ensembles once too
often, he has come up with count-
less and well-received black and
712
en even during her senior years. In
1939, as World War II was knock-
ing on Paris doorstep, she decided
to close her couture house only to
reopen it in 1954 with a legendary
fashion show.
The event generated a great
deal of press, fueled, of course, by
the clothes and the designer herself.
(Some of the juicy tidbits below
were, for obvious reasons, no
longer part of Donnet-Couettes
presentation.)
Coco, then already 71, report-
edly got tepid reviews from the
French press who accused her,
albeit in whispers, of collaborat-
ing with the enemy during the war
(she reportedly even lived in
Germany for a time with a German
military officer for a lover).
It took members of the
American press to say it as it was:
Cocos clothes remained as wear-
able and as revolutionary as ever! It
was the year she gave women the
trimmed tweed suit now better
known as the Chanel suit and, a
year later, the 2.55 handbag. How
did she arrive at such a seemingly
clinical name?
Well, simple. It was made in
February 1955, said Donnet-
Couette. With the bags launching,
an aging yet astute Coco, who
passed away in 1971, again made
history by being the first designer
to put a shoulder strap on her bag to
free its users hands. As always,
another smart yet practical move
from one of the 20th centurys most
remarkable women.
713
An anteroom, cloistered in
Chinese lacquered screens
engraved with camellias Chanel's
favourite flower welcomes me into
her baroque world. Two statues of
black slaves direct me into her sit-
ting room, and I'm dazzled by the
gilded statues beside the marble
fireplace; the extravagant Louis XV
desk scattered with fortune tellers'
cards; and the enormous chandelier
bearing her entwined initials.
Beige, black and white Chanel's
preferred colours dominate the
decor but the apartment is the
antithesis of her pared-down aes-
thetic. Here the whimsy she sup-
pressed in the name of sophistica-
tion is aired without restraint.
The apartment is also a ceme-
tery of memorabilia from her many
lost loves including the English
industrialist Arthur "Boy" Capel,
who lent her the money to buy Rue
Cambon, Igor Stravinsky and the
second Duke of Westminster Hugh
"Bendor" Grosvenor, the richest
man in Europe. "She sucked culture
from all the men she was with,"
says Marie-Louise de Clermont-
Tonnerre, international PR director
C
OCO'S TIME-LOCKED PARIS
APARTMENT provides Celia
Walden with a rare glimpse of the
treasures that tell of a life of love
and loss.
Mademoiselle Chanel is not at
home but I am sure that her ghost,
severe in a black suit with an angry
slash of red lipstick, is present amid
a haze of cigarette smoke and her
signature No5 scent.
Inspirational: Coco Chanel in 1936
Gabrielle "Coco" Chanel's pri-
vate apartment, at 31 rue Cambon,
Paris, is a source of wonder that has
been preserved exactly as the
designer left it when she died in
1971. It is closed to the public but,
after months of supplication, the
fashion house granted me a rare
visit.
The building, bought by
Chanel in 1920, still houses the
ground-floor shop, the haute cou-
ture workrooms in the attic (where
100 seamstresses still work entirely
by hand), and what is now Karl
Lagerfeld's study. Among the
labyrinth of rooms, half-way up the
Art Deco stairs that run like a spine
through the 18th century building,
is the apartment, which Coco
called her "nest". It was in these
three small rooms that Coco trans-
formed women's wardrobes. Here,
she dreamed up "the new uniform
of modern women", as French
Vogue christened it (she dispensed
with restrictive corsets and fabrics,
favouring more relaxed and practi-
cal designs), and numerous classics
that still enchant today the little
black dresses, two-tone pumps,
boucl suits and quilted shoulder
bags.
After Coco died in her sleep at
the age of 87, the brand - and rue
Cambon - languished until 1983,
when Lagerfeld was hired by the
Wertheimers (who own Chanel) to
rejuvenate it. On the day of my
visit, Lagerfeld is tearing around
Paris preparing for this week's
ready-to-wear shows. But inside
Coco's apartment there is a mau-
soleum-like tranquillity. I am not
surprised to hear that Lagerfeld
often drops in to seek inspiration.
advertisement
714
of Chanel.
On a coffee table in the sitting
room are silver cigarette boxes
bearing the duke's crest, and he
adorned the lampposts in
Westminster with Chanel's initials.
But she still refused to marry him.
"There have been several
Duchesses of Westminster," she
would say, "there is only one
Chanel."
Behind the coffee table is the
caramel quilted suede couch she
offered to guests she liked; others
sat in an upright chair. The illegiti-
mate daughter of a travelling sales-
man and a shop girl, Chanel and her
two sisters were raised as orphans
when their father abandoned them
following their mother's death. It
was through her clothes and sur-
roundings that Coco reinvented
herself. "She used to pretend that a
bust in the dining room was a rela-
tive in fact, she picked it up in an
antique shop," says Marika Genty,
director of the Chanel archive.
Back in time: Coco Chanels
suite is preserved just as she left it
in 1971. On table tops, carved into
chair legs, in wood and marble, are
Chanel's two favourite motifs: lions
and wheat. "She was a Leo and a
great believer in astrology," says de
Clermont-Tonnerre, "so there are
lions everywhere. There are even
five of them curled around her
tombstone in Lausanne."
Wheat is a symbol of life and
During the German occupation,
Coco closed the salon and spent
most of her time at the Ritz, con-
ducting an affair with a Nazi offi-
cer. At the end of the war she was
arrested for collaboration - though
not charged - and spent the follow-
ing years in exile in Switzerland. In
1954, she returned and her apart-
ment became the epicentre of
Parisian society. "The place was
filled with artists, actresses and
socialites," says de Clermont-
Tonnerre. "Cocteau, Dali, Romy
Schneider, Jeanne Moreau, the
Rothschilds and Madame
Pompidou would come here often."
Her parties were legendary,
says de Clermont-Tonnerre. ''As
she got older and more lonely, she
didn't want people to go home. One
New Year's Eve she insisted on
escorting her guests down those
stairs, stopping on each step to tell
a different anecdote. It took over an
hour to reach the bottom."
The writer Claude Delay was
one of Coco's closest friends during
the last decade of her life. "One
Sunday, he picked her up, took her
to the Bois de Boulogne in her
black Cadillac, and escorted her
back. She died that afternoon. She
always hated Sundays, because for
her it was just a day when nobody
worked."
charity and a dusty bouquet rests by
the sitting room fireplace, echoing
a small painting on the wall oppo-
site. "Salvador Dali knew about her
obsession with wheat, so he gave
her a simple blade, painted on can-
vas," says de Clermont-Tonnerre.
"When we had the apartment val-
ued, it was by far the most valuable
thing."
Chanel never cared much about
the value of an object, only the
pleasure she derived from it. "She
bought a set of 18th-century
Chinese screens, ripped them apart
and stuck them on the walls like a
vulgar piece of wallpaper," says
Genty. In the dining room, two
ornate allegories support squares of
marble that were ripped off a larger
table bought at auction. In the mid-
dle of the gold-painted room, sur-
rounded by 19th-century Spanish
mirrors, is a simple peasant's wood-
en dining table.
There is no bed in the flat
because Chanel kept a room over
the road, at the Ritz. "She would
arrive here every morning at 11,"
says de Clermont-Tonnerre. "The
hotel porter would call and say,
'Mademoiselle is arriving!', just as
we do for Karl today. Only for
Coco, a young lady was employed
to spray No5 all around the stair-
case in preparation for her arrival."
It was the scent that made Coco her
fortune; from its launch in 1921 it
has been the world's best-selling
perfume.
715
A
ROUND 70S YEARS AFTER IT
FIRST APPEARED, the Chanel
Sycomore fragrance is back on the
shelves of high-end cosmetic
stores.
Chanel Sycomore was first
mixed by Ernest Beaux for Coco
Chanel in the 1930s and was origi-
nally described as a 'woody' scent
with 'balsamic notes'. it's now been
re-created by perfumer Jacques
Polge as part of Chanel's rare per-
fume collection, adding a hint of
sandalwood, cypress, juniper and
pink pepper.
If those descriptions mean
absolutely nothing to you, it might
be worth nipping to your local store
for a blast. A 50ml bottle will cost
140.
716
zation. Do some eighth-grade alge-
bra to apply Herms margin (30
percent) to Chanels revenue, and
voil!
Estimated value of Chanel's fashion
business: $5.6 billion to $7.7 billion
Step No. 2 - No. 5 and Beyond
Things arent as straightforward
with the other half of Chanels busi-
ness perfume and cosmetics
because there is no one ideal com-
pany to compare it with. Our
investment-banking sources sug-
gest that the best way to appraise
Chanels beauty business is to take
an average of the figures from some
top competitors: Clarins, Este
Lauder, and LOral. Apply their
average cash flow margin 16 per-
cent to the other 50 percent of
Chanels revenue, and the resulting
range is $180 million to $240 mil-
lion. Because, unlike our amalgam
of cosmetics companies, Chanel is
a luxury-goods business, our
sources suggest multiplying that
range by 17, Herms multiple.
Estimated added value: $3.1 billion
A
BACK-OF-THE-ENVELOPE CAL-
CULATION of how much the
luxury company everyone would
love to buy may actually be worth.
Jimmy Choo, Peter Som, and
Valentino did it in private equity
deals last year. Prada and Salvatore
Ferragamo have been hoping to do
it in initial public offerings this
year. The new trend in high-end
fashion? Selling not just clothes,
handbags, and shoes, but the com-
pany itself. Yet the one that moguls
would love to get their hands on
Chanel shows no sign of being for
sale.
Brothers Alain and Grard
Wertheimer of Paris tightly control
the legendary fashion house, which
boasts 151 boutiques and offers
everything from the iconic No. 5
fragrance to contemporary versions
of founder Coco Chanels pioneer-
ing little black dress. A Chanel
blouse can cost about $3,000, but
the companys value is far less
clear. We asked a handful of invest-
ment bankers including Gilbert
Harrison and Robin Andrea Harris,
founder and vice president, respec-
tively, of the fashion-industry
investment firm Financo, and
Mitch Hara, a managing director in
Peter J. Solomon Co.s mergers-
and-acquisitions group to help us
come up with a guesstimate.
Step No. 1 -Handbags, Heels, and
the Little Black Dress
Fashion finance gurus believe
Chanels annual revenue runs
between $2.3 billion and $3 billion.
But because Chanels financials are
private, the best clues to its overall
value must be gleaned from com-
parable public companies. Most
experts say the best one to look at
is Hermsanother revered
European brand and a family-con-
trolled player thats not fond of
licensing out its name. (Chanel has
only one licensing deal.) Since
Herms isnt active in the cosmet-
ics business, its useful only in
valuing Chanels fashion side,
which is believed to account for
about 50 percent of the companys
revenue (or between $1.1 billion
and $1.5 billion). Herms is worth
17 times its earnings before inter-
est, taxes, depreciation, and amorti-
717
to $4.1 billion
Step No. 3 - The Crystal Ball
Simple addition of the figures
calculated in the two preceding
steps suggests that Chanel may be
worth between $8.7 billion and
$11.8 billion (average of $10.3 bil-
lion). But those calculations were
performed using values from
todays strained marketplace.
From last years peak, the aver-
age luxury-goods stock is off 40
percent. Because Chanel is, well,
Chanel, some in the industry
believe that its value may hold up
better. Take one C, interlock it
with another C, and what you have
is priceless, says Marshal Cohen,
chief analyst at NPD Group, a mar-
ket research company.
That may be hyperbole, but
Chanel is arguably the single most
valuable fashion brand.
Anticipating a future in which the
economy is stronger and more cus-
tomers can afford a thousand-dollar
belt, Chanel may be worth signifi-
cantly more. So some analysts
argue that its appropriate to boost
our results by about 25 percent.
Estimated added value: $2.2
billion to $3 billion
The Bottom Line
How hard will Chanel be hit by
the forces battering its luxury com-
petitors? If you think Chanel is no
different from the others, its value
is probably around $10 billion. If
you think its uniquely positioned,
the number is closer to $15 billion.
Estimated value of Chanel: $10.3
billion to $14.8 billion
718
to the deal.
As the face of Coco
Mademoiselle, Miss Watson, who
earns 2million a movie, follows in
the footsteps of Kate Moss, who
was signed up in 2003 but dropped
the following year in favour of
Miss Knightley.
A spokesman for Miss Watson
last night declined to comment.
A
S HERMIONE GRANGER IN THE
HARRY POTTER FILMS, she is
used to dealing with all sorts of
revolting potions.
But now Emma Watson is to be
associated with a far more enchant-
ing concoction as the new face of
the Chanel fragrance Coco
Mademoiselle.
The 18-year-old actress has
signed a two-year contract worth
3million with the French fashion
house to promote the brand.
Harry Potter star Emma
Watson is the new face of the
Chanel fragrance Coco
Mademoiselle
Miss Watson, who became a
household name in the films based
on JK Rowling's books, has signed
up with leading model agency
Storm, which is thought to have
secured her first major campaign.
It is understood that she will
replace Keira Knightley, 23, whose
contract with Coco Mademoiselle
ends this summer. Sources said
Chanel is creating a new role for
Miss Knightley who, in her latest
advert, poses provocatively with
just a bowler hat covering her mod-
esty.
A source said Miss Watson's
appointment will be announced
next month. 'Emma has been excit-
edly telling friends that she is going
to be taking over from Keira.
Emma has been slowly inte-
grated into the Chanel brand.
They have been dressing her
for film premieres and parties over
recent months to see if she is the
right fit. Watson is to replace Keira
Knightley, pictured in a Chanel ad
'Once it became clear she is
growing into a beautiful young
woman and wears the Chanel brand
so elegantly, they had to sign her
up. Chanel realises it is important
to target a young audience.'
It is understood that Miss
Watson's bosses at Warner Bros,
which makes the Harry Potter
films, have given their full backing
719
He has distilled essential oils for
more than decade, starting his trade
in flora-rich Costa Rica. His wife,
Marisa Goodwin, 30, is a herbalist.
They run Organic Fair farm in
Cobble Hill, where they've cultivat-
ed a burgeoning vegetable garden,
an exotic laying-chicken coop and a
garden of aromatic plants, from
which they make essential oils,
chocolate and other products. They
also live at the farm with their six-
month-old daughter, Nigella.
Lemon balm, lavender, fennel,
thyme and clary sage sprawl across
the garden. The couple seeks out
more exotic scents in the woods in
the area. "We were able to make a
Douglas fir essential oil by distill-
ing the needles of fallen trees.
Imagine the possibilities of using
the needles as a byproduct of log-
ging," Kent said.
Marisa wanted to try grand fir and
Sitkas. "Most of the Douglas fir
essential oil comes from Eastern
Europe. Why not here where it's
local and the needles can be re-
used," she said. Their used needles
I
N 1921, FASHION MAVEN COCO
CHANEL created the world's top-
selling perfume saying, "I want to
give the world something artificial
like a dress. Something that has
been made I want a perfume that is
a composition."
At the time, jasmine was the
desired scent - distilled from the
night-picked flowers in the moun-
tains of France. Rare and exotic
ingredients have always made for
the most coveted perfumes, from
the scent in the sacs of the Asian
musk deer to amber, fossilized tree
sap.
The recipe for Chanel No. 5
called for neroli, jasmine, ylang-
ylang and, for the first time in his-
tory, a synthetic molecule called
aldehyde.
It gained cult status when
Marilyn Monroe famously said:
"What do I wear in bed? Why,
Chanel No. 5, of course."
While aldehyde was a rare
ingredient 87 years ago, synthetic
molecules now dominate the per-
fume-making business. In fact,
most scents are chemical com-
pounds reproduced to mimic natu-
ral scents, using instruments that
can determine the chemical make-
up of a plant's vapours.
But as the $2.9-billion high-
end perfume industry experiences a
glut of scents endorsed by every
celebrity from list A to B - its sales
are in decline.
Fewer women wear traditional
perfumes or scents at all. They cite
allergies and environmental con-
cerns over how perfume is pro-
duced as reason to hark back to its
natural origins. Meanwhile, the
aromatherapy industry booms with
natural essential oils as key ingre-
dients.
In the rural woods of the
Cowichan Valley a young family
finds their living and passion
experimenting with the aromatic
essences of plants they grow and
harvest.
"Anything that has a scent, I'll
distill it," Kent Goodwin, 37, said.
720
make a walking path on the farm.
The couple's farm is the home
base for a new collective of aroma
enthusiasts and lots of experimen-
tation. The Aromatic Farm Co-op
joins perfumers, aromatherapists
and farmers, with Goodwin steam-
distilling on site.
"Our commitment is to sustain-
able, local, organic, ethically pro-
duced essential oils," Kent said.
"And we use the best ingredients
and methods. You can't get more
exclusive than that."
Ellen Coburn is a member of
the co-operative. While she is
studying to be a horticulturist, she
has spent more than 20 years in the
scent-blending business at several
of the Island's top resort spas.
"Originally all scents used were
natural. Traditionally, though, there
were high costs associated with the
laborious processes of extraction,"
Coburn said.
For example, 250 kilograms of
rose petals might make only one
kilogram of essential oil, which
would sell for more than $21,000.
Also, most oils are distilled at the
point of origin to avoid decomposi-
tion. Synthetic fragrance oils are
easier, cheaper and most used.
But trends might swing the
other way, said Coburn, "with a
more educated consumer particu-
larly on the West Coast understand-
ing the benefits of pure essential
oils, and looking for them in the
products they buy."
If that is indeed the growing
trend, Vancouver Island's "green"
essential oils are sure to be gold.
721
the report is false, no statement.
Got that?
Go figure.
And Keira Knightley gets to
keep her Chanel fragrance contract,
which she signed last fall. For the
time being...
W
HEN A BRITISH NEWSPAPER
REPORTED LAST WEEK THAT
"Harry Potter's" Hermoine, actress
Emma Watson, had just landed a
multimillion-dollar fragrance deal
with Chanel, the corporate offices
refused to let their PR reps issue a
statement that the report was false.
As a result, the false report
spread like wildfire across the
Internet. Just Google "Emma
Watson" and "Chanel" and see the
results. So why didn't Chanel cor-
rect the original erroneous report
and stop the madness?
"We're not allowed to make
statements when the reports are not
true," a New York-based Chanel
spokesman explained this morning.
Huh?
"It's the company's policy not
to make a statement if the report is
not true," she continued. "For
instance, when Audrey Tautou's
contract was leaked to the press, we
issued a statement because it was
true, she was being put under con-
tract."
Even now, Chanel will NOT
issue a written denial. "We are only
allowed to speak to reporters about
this. We cannot widely release a
statement that the report isn't true."
Even the Chanel spokesman's
name may not be used due to yet
another strange set of corporate
rules. "I cannot be quoted. Just say
company spokesman," she
explained.
Oh-Kay.
The Chanel rep admitted that
the strange technique of non-
addressal of incorrect items may
not be in hindsight the wisest
move.
"The story did take on a life of
its own," the rep admitted. "It was
everywhere. And I can understand
why everyone thought it was true
because we do often work with
Emma Watson, dressing her for
events. And she's adorable."
So, unless a report on a Chanel
fragrance deal is true, there will be
no double-C-stamped statement. If
722
I
T'S SUCH A BIG STORY FOR SUCH A
SMALL SCREEN. Oscar-winner
Shirley MacLaine will play fashion
legend Chanel in a made-for-cable
movie titled Coco Chanel, set to air
8 p.m. Saturday on Lifetime.
The three-hour biopic opens in
1954 as the famed couturier is
attempting a comeback. In reflec-
tion, she recounts her humble
beginnings, orphaned childhood,
doomed love affairs and entrepre-
neurial spirit at the dawning of the
20th century. As World War II
approaches, Chanel introduces her
iconic ideas for women's fashion:
easy-care jersey dresses;
menswear-inspired suits; costume
jewelry; adding a logo to clothing
and developing a signature per-
fume ... Chanel No. 5.
Chanel died in her Ritz Hotel
apartment in 1971 at the age of 87
while working on yet another col-
lection. A Broadway musical
called Coco, starring Katherine
Hepburn, ran for 329 sold-out per-
formances even though critics (and
Coco herself) were underwhelmed.
Another frock film about
Chanel is in the works in France
starring Audrey Tautou (The Da
Vinci Code) and Alessandro Nivola
(Junebug, Jurassic Park III). Titled
Coco Avant Chanel or Coco Before
Chanel the movie will focus on her
younger days and rise to global
fame.
Here are some of Chanel's most
famous bon mots:
"A girl should be two things: classy
and fabulous."
"A woman who doesn't wear per-
fume has no future."
"Fashion fades, only style remains
the same."
"Nature gives you the face you
have at 20; it is up to you to merit
the face you have at 50."
723
which ends in a powdery softness.
Hawthorn grows in many
places. It is often used for hedges in
the countryside, as it is a beautiful
blooming thorny bush. It is also
known as May blossom. The sta-
men inside the flower is yellow and
smells honey-like.
What emotions do you hope this
scent will trigger?
For the Les Exclusifs collec-
tion, I wanted to offer a choice of
fragrances for everyone. Beige
offers a new choice. The emotion is
that the past is alive again. Its
renewing a fragrance of the past.
Mademoiselle [Coco Chanel] had a
fragrance called Beige de Chanel,
which launched in 1940. Its been a
long time since the hawthorn note
has been used in a fragrance. Its
something from the past which now
comes to life in a modern way.
Proust wrote about hawthorn. He
spoke of the melancholy that mem-
ories of the past can bring. So, for
me, Beige is a modern fragrance
with a link to the past.
C
HANEL NOSE JACQUES POLGE
created the beauty brands lat-
est fragrance, Beige. The latest
addition to Chanels fragrance col-
lection Les Exclusifs de Chanel is a
perfume called Beige. On the eve
of its launch, Vanity Fair beauty
director SunHee Grinnell spoke to
Jacques Polge, the revered Chanel
nose who created the scent.
SunHee Grinnell: I believe that it
takes a very sensitive, particular
person to create such exquisite fra-
grances. So, who is Jacques Polge?
Jacques Polge: I am a lover of poet-
ry. What would reality be without
its poetic dimension? Even if you
do not read poetry, it plays an
important role in everyday life. I
am a lover of fragrance, and fra-
grance is a form of poetry. It does-
nt speak, but it gives so much.
Where did you grow up? Did your
early-childhood surroundings con-
tribute in any way to your becom-
ing one of the great noses of our
century?
I grew up in the South of
France, near Avignon. I would go
to Grasse for the summer with my
family, and go to Cannes to swim
in the ocean. From Nice to Cannes,
to Grasse was a garden when I was
a child. There were fields of rose,
jasmine, violets, and orange blos-
som. It was the birthplace of per-
fumery. When you approached
Grasse, you would smell the jas-
mine. Now you dont, because
there is much less production here,
but then, flowers were everywhere.
Of course my surroundings as a
child lead me to perfumery. We are
all influenced by our childhood. It
is unconscious and instinctive.
What are Beiges notes? Was it cre-
ated in the usual way, from top to
bottom?
The notes of Beige consist of a
bouquet of hawthorn, freesia, and
frangipani, with shimmering hints
of honey. Its a stunning blend of
white petals and yellow gold. Its a
sumptuous white floral. At Chanel,
we never create fragrances from
top to bottom in the traditional way.
Hawthorn is typically an endnote,
but in Beige, it is the keynote,
724
This fragrance is perhaps the
best embodiment of the couture
houses foundation. Did
Mademoiselle Chanel have inspira-
tional words that you drew from
when creating a scent for this
extremely versatile color?
Mademoiselle Chanel spoke of
beige as a comfortable color, a
color of eternal elegance, not la
mode but something that never
goes out of style. My inspiration
was to translate the idea of this
color into a fragrance that was fresh
and floral. My vision of the beige
color came alive with the hawthorn
note in accord with honey.
What are the characteristics of
women who would wear Beige?
I see many types of women
wearing this fragrance. Beige is an
important color for Chanel. A
Chanel woman follows fashion but
is looking for that which never goes
out of style.
725
family, who have been in the busi-
ness of flower production for six
generations. Chanel has had an
exclusive arrangement with them
since 1987, and now the Muls pro-
duce both rose and jasmine solely
for the brand. Each year 50 (largely
female) workers are employed for
approximately four weeks, from
7am to 6.30 pm daily, to pick the
roses grown on the Muls five
hectares. The roses must be picked
when they are open, says Fabrice
Mul, the son-in-law of the current
owner. They open overnight and
we gather them during the day.
When we pick an open one, that
will cause another to open the next
day, which is why we have so many
people to make sure they gather all
of the roses.
Pickers wear scarves and straw
hats to protect themselves from the
sun, as well as gloves, not because
of thorns but because of the bees in
the flowers. The gloves are quite
fine so that they can still feel the
rose, but the bee stings wont pene-
trate, says Mul. The pick itself is a
specific motion kind of twist and
snap, with fingers placed just below
T
HIS WEEK, AS THE EDITORS,
RETAILERS AND PRIVATE CUS-
TOMERS gathered in Paris for the
Chanel spring/summer 2009 show
many in the brands trademark
boucl jackets or camellia-
bedecked sunglasses or beige-and-
black spectator shoes they were, as
always, handed miniature white
shopping bags containing a special
little something.
And though such gifts are com-
mon enough often when the collec-
tion is over and the venue has emp-
tied, the runway will be littered
with unwanted straightening irons
and scented candles this time there
was hardly a scrap left on a seat.
When it comes to Chanel and per-
fume, apparently, even the most
jaded fashionista feels a niggling
desire.
The question is: why? After all,
from January to September this
year in the UK, 233 new perfumes
have been launched and a further
1,718 launched internationally.
And there are enough scents at a
scent counter to make any sensibil-
ity reel. Yet atop it all sits Chanel
No 5, the single most successful
perfume in history, created in 1921
by Ernest Beaux and still among
the top five best-selling fragrances
in the world. What has it got that
everyone else hasnt?
Its the flowers, stupid.
Actually, to be specific, its the
rose de Mai (May rose), a centifo-
lia variety grown in the fields of
Grasse, south-eastern France, and
generally considered to be the
benchmark (alongside Grasse jas-
mine) for floral excellence.
Each year, for No 5, we use
more than 60 tonnes of rose de
Mai, says Jacques Polge, the cele-
brated nose of the house, and the
man responsible for such Chanel
scents as Allure and Coco
Mademoiselle. Polge goes to
Grasse, where the roses are grown,
more or less every year for the
harvest, though it isnt strictly nec-
essary. Everythings done here
with people that know what they
have to do, he says.
Those people are the Mul
726
the head of the flower and roses are
dropped into the large fabric aprons
each picker wears, which are in
turn emptied into large, brown hes-
sian sacks. On average, a days
work yields three to four tonnes of
roses, which are then driven a few
minutes up the lane to be
processed. Chanel built its own fac-
tory in 1987 near the fields in
Grasse, to optimise the freshness of
the blooms.
At the factory the roses are
poured, sack by sack, into one of
four giant vats (each holds 250
kilos), where they are separated
into six layers, each divided by a
large sieve-like disc. Once full, the
vats are sealed and, over the course
of six hours, pumped full of about
6,000 litres of hexane, a solvent
that extracts all the molecules and
wax from the blooms, which are
then emptied for compost. This
process goes on 24 hours a day dur-
ing the harvest.
The wax and oils that result
from this solvent extraction then go
through another process in which
they are placed in ethyl alcohol and
gently heated, causing the oil to
dissolve and rise to the top; the heat
then slowly evaporates the alcohol.
By the end, what is left is the fra-
grance concrete: large slabs of a
waxy-looking, dull-copper-
coloured substance. Approximately
2,500kg of flowers produce 6kg of
concrete (which sells for approxi-
mately 3,500 per kg on the open
market). The concrete is preserved
in this form until it is needed to
make the actual fragrance, when all
the slabs are mixed together to
ensure consistency and then sepa-
rated, with every kg of concrete
yielding about 600g of absolute
(pure extracted rose) and 400g of
wax. The absolute then goes
straight into the fragrances.
And for those few who arent
swayed by the numbers, processes
and history of the scent well, Polge
understands. Sort of. Sometimes
flower power needs a tweak. So,
later this month Eau Premiere, a
new take on the houses classic,
makes its debut a fragrance intend-
ed for those who up to now, for
one reason or another, have not
used No 5 but would like to, says
Polge.
Maybe they found it a bit
heavy or rich; this is fresher, more
transparent, he continues which is
not to say it is rose-free. Very few
people realise that when you offer
someone perfume it is as if you are
giving them a big bunch of flow-
ers, says Polge.
727
the house she had built on the Cte
d'Azur, and its iris-filled garden.
"Would you like to see the lab?"
wonders Polge, an elegant and
sprightly man in his early sixties,
known by his entourage simply as
"le nez". Well, who wouldn't? This,
after all, is where the alchemy that
is the perfumer's art is performed,
and where the impossibly luxurious
components that go into the cre-
ation of some of the world's most
extraordinary fragrances are
housed in cabinets lining the walls
and in a central rotating glass cylin-
der. There are hundreds of tiny,
vivid-blue bottles "Because blue
is a beautiful colour, but also
because it protects against the sun's
rays," says Polge.
In this one, relatively small
room, then, Chanel's most precious
essences are preserved, and new
formulas developed. Polge is not
unreasonably proud of the place
(which is perhaps best described
whisper it as reminiscent of Doctor
Who's Tardis, albeit an unusually
big-budget version).
F
OR NEARLY A CENTURY, it's been
the scent of choice for the
world's most fashionable women.
So why is Chanel trying to improve
on perfection? Susannah Frankel
follows her nose to Paris
Neuilly, in the western outskirts
of Paris, just at the point where
Haussmann's Grands Boulevards
give way to the glittering skyscrap-
ers of La Defnse, may be smart,
but it's not the most obvious home
for a brand with the stature of
Chanel. It is here, though, that the
fragrance and beauty arm of that
label resides, in a surprisingly
unassuming bronze and glass struc-
ture boasting neither signage nor
logo.
Inside, it is a rather different
story. Entirely clad in black and
beige, famously Mlle Chanel's cho-
sen colours, from the cool marble
floors and imposing pilasters to the
simple but reassuringly expensive
leather furniture, and even the two-
tone uniform twin-sets of staff seat-
ed in reception, it is all quintessen-
tially Chanel.
Take a lift to the penthouse, and
it's all change once again, this time
to a bright, predominantly white
interior dominated by walls of win-
dow on all four sides, overlooking
the rooftops of Paris, and flooded
with diffuse, early autumn light. It
is here that Chanel's master per-
fumer for 30 years, Jacques Polge,
presides over his olfactory empire,
which remains the most successful
of its kind in the world.
Polge, only the third generation
of in-house perfumers at Chanel, is
not only guardian and curator of
bestselling fragrances including
Cristalle, No 19 and, most famous
of all, No 5, he is also the creator of
Coco, Coco Mademoiselle,
Antaeus, Chance, Allure and, most
recently, Les Exclusifs, a line avail-
able only in Chanel boutiques and
featuring reissued scents first intro-
duced by the grande dame herself,
and all-new ones each inspired by
and named after the minutiae of her
well-documented life: 31 rue
Cambon, for example, a mod-
ernised chypre, was the address of
Chanel's first Paris home and bou-
tique; 28 La Pausa is inspired by
728
Today, the positively uplifting
scent of orange zest fills the air.
"Quite possibly," Polge says, some-
what conspiratorially. We are here
today to talk about Eau Premire,
the first new concentration of
Chanel No 5 to be released on to
the market for over 20 years. Given
that around 600 new fragrances are
introduced annually, that makes it
quite an event in itself. Like its
magnificent antecedent and Chanel
No 5, first given to the world in
1921, is still among the most com-
plex and, indeed, modern fra-
grances ever created it comes in a
rectangular bottle stamped with
simple black lettering, though it is
longer and leaner, and the perfume
is almost clear rather than the orig-
inal's amber.
Unlike many other great scents,
the original Chanel No 5 has never
been reinterpreted for a supposedly
more contemporary audience. For
all those who love it it is estimated
that a bottle is sold every 55 sec-
onds somewhere in the world great
pains are taken to ensure that it
smells just as it did when launched,
which is no mean feat. However,
new interpretations of the scent are
introduced the last of these, also
courtesy of Polge, was Eau de
Parfum back in the 1980s.
"For us, you know, Chanel No 5
never needed to be revamped,"
Polge explains, refusing, with some
diplomacy, to be drawn on the 2003
reworking of Yves Saint Laurent
Rive Gauche, to name just one,
"Before the last war," he con-
tinues, "we knew, perhaps, of only
six constituents of jasmine [among
No 5's principle ingredients], but
now we know more than 200. In
Eau Premire, I used many ingredi-
ents that did not exist when the
original was created. I think,
though maybe I'm wrong, that if
Monsieur Beaux created No 5 now,
he would have used them, too.
As perhaps befits the world's
most legendary fragrance, the truth
and mythology surrounding the
creation of Chanel No 5 are entan-
gled. It is believed that Gabrielle
("Coco") Chanel was introduced to
Ernest Beaux, perfumer to the
Russian court, by her lover, the
Grand Duke Dmitri Romanov, who
escaped revolutionary Russia with
the chemist to settle in Biarritz in
1920. Until that point, the milliner-
turned-couturier had demonstrated
no interest in perfume whatsoever
she viewed is as superficial if not
distasteful, aimed primarily at the
none-too-romantic pursuit of mask-
ing the odour of unwashed bodies.
Just as Mlle Chanel's desire was
to give women a stylish and con-
temporary uncluttered wardrobe
that was a million miles away from
the furbelows and frills of the belle
poque, so she aimed to revolu-
tionise perfume. The scents that
came before Chanel No 5 were
heavy single-note florals, packaged
in, to her pioneering mind, overdec-
orated bottles that did little, if any-
thing, to advertise the importance
which left its core audience bewil-
dered, even bereft. (Paco Rabanne's
Eau de Calandre, still available, is
now considered to be a closer
approximation of the original Rive
Gauche.) Before Polge arrived at
Chanel, he was, coincidentally, co-
creator of Rive Gauche. This, of
course, was the most emblematic
scent of the 1970s, in much the
same way as the rather less suc-
cessful Obsession by Calvin Klein
dominated the Eighties.
Chanel No 5, though, has stood
the test of time far better than either
of these. "No 5 has always been a
very alive perfume in the compa-
ny," Polge continues. "It is our job
to protect the creation, and we
make all types of effort in order that
it remains the same. Every time
there is a change in fashion or in
women's habits of using perfume,
instead of altering what already
exists, we launch a new product.
First came Eau de Toilette, then
there was Eau de Parfum, and very
soon there will be Eau Premire."
The latest addition to the
Chanel No 5 family of fragrances is
fresher and perhaps more gentle
than its majestic forebear, making it
more in line with current, lighter
trends in perfumery. "The history is
very simple," says Polge. "Eau
Premire is for all those women
who came to me and said, 'No 5 is
fantastic but it's not for me'. Eau
Premiere is lighter, more transpar-
ent, but, in essence, it is still No 5.
729
of the juice within.
"The perfumes that were
around before No 5 related precise-
ly to specific flowers," Polge
explains. "There was jasmine, rose,
gardenia, lily of the valley. For me,
No 5 was the first perfume that
used flowers lots of flowers but that
didn't immediately relate to one in
particular."
In other words, Chanel No 5
was the world's first abstract fra-
grance, as signposted by its very
name, a number Chanel's lucky
number according to folklore rather
than anything more obviously fem-
inine or even just evocative. Chanel
herself, ever the adept marketer, put
it neatly. She wanted, she told
Beaux when she first commis-
sioned him, "un parfum de femme,
odeur de femme".
"Chanel never answered a
question directly," says Polge.
"And that is not only very clever
but also appropriate to perfume,
which is a poetic way of saying
something using neither images nor
words. What I think she meant by
that was the idea that the perfume
smells different on different
women, that a woman's natural per-
fume informs the fragrance she
wears. Although people may
believe otherwise, there are actual-
ly very few fragrances that do that."
The secret to No 5's intentional-
ly elusive nature, and to the fact
that, almost 90 years after its incep-
synthetic product has its roots in a
natural product. Taking an ingredi-
ent that is a very tiny part of the
natural product and synthesising it
allows us to give nuances that we
couldn't before. More importantly,
there are natural products that don't
smell good and are cheap, like cit-
ronella [used to repel insects and
bring dogs into line] and lemon
grass [the staple ingredient of often
foul-smelling detergents]. Then
there are synthetic products that
smell very good and are extremely
expensive."
One such product is the alde-
hyde C10. Polge offers a drop of it
to me on a paper stick, and the
aforementioned aroma of oranges
that smell better than even nature
intended is immediately apparent.
A second stick is more peculiar and
difficult to identify, though still
bizarrely appealing. "It smells
clean," I say. "Clean is an important
word," replies Polge charitably,
before adding: "It smells like the
steam rising from a cotton shirt that
is being ironed." And that, of
course, is precisely what it smells
like, and demonstrates, perhaps,
why a nose is a nose in the first
place, and the rest of us are mere
amateurs by comparison.
Whatever, the single quality
that aldehydes share and in this C10
is the exception that proves the rule
is that they smell extremely unfa-
miliar. And it is just the "clean" mix
of aldehydes in question that is the
secret of Chanel No 5.
tion, it remains almost impossible
to pin down is, in fact, scientific
more than poetic. This was the first
fragrance to make use of syntheti-
cally replicated molecules taken
from products of natural origin
called aldehydes. To explain the
nature of aldehydes is a complex
business, and one perhaps best left
to chemists. Put briefly, though,
they run the gamut from repellent
formaldehyde, for example, which
smells aggressively cloying and is
used to preserve cadavers to infi-
nitely desirable powdery, efferves-
cent and pure.
The first aldehydes were syn-
thesised in a laboratory in France in
the late 19th century, but it wasn't
until Beaux started working with
them that they were stabilised for
use in perfume. And the fruits of
his endeavour are still contained
within Chanel No 5.
While Mlle Chanel had no
problem with the use of synthetics
she famously, for example, mixed
costume jewellery with the real
thing, considering that to be a signi-
fier of modernity today we react
badly to the introduction of chemi-
cals to any product, from fragrance
to food, erroneously believing that
they are a cheap and allergenic sub-
stitute for the real thing. Often,
however, just the opposite is the
case.
As Polge himself puts it:
"People don't understand the word
'synthetic'. Usually, any so-called
730
"Beaux used the best materials
he had at his disposal at the time,"
says Polge, "but he said that the
impression was that there was too
much at the bottom of the bottle
and that it lacked lift." The effect of
aldehydes, Polge's eminent prede-
cessor went on to claim, was like
that of "lemon juice on strawber-
ries" they add sparkle to the main
ingredient, enhancing any natural
properties, and bringing them to
life. The "strawberries" in Chanel
No 5 are principally rose and jas-
mine, and in the preservation of
these, two of the most expensive
ingredients of perfumery both tra-
ditional and modern, the house of
Chanel is also unrivalled. In 1987,
true to its intention to stay true to
the character of its original scent,
Chanel signed a contract with the
Mul family in Grasse, who now
work exclusively for the company
producing the finest flowers of their
kind.
"In 1921, if you wanted rose or
jasmine, the only place you could
find it was Grasse," Polge says he
grew up in the South of France and
holidayed in Grasse, so remembers
the smell of intense flower produc-
tion well. "For many reasons,
though, and principally as a result
of the pursuit of cheap labour, that
is no longer the case. First, produc-
tion went to Calabria in southern
Italy, then to Egypt, to North
Africa, and finally to India. It's not
necessarily worse jasmine, but it is
different. In order to keep the per-
fume as it should be, we signed a
way back when, but also later creat-
ed its own ad campaign inspired by
Warhol's original.
Then, of course, there are the
many "faces" of No 5. The original
of these was Chanel herself, pho-
tographed with perhaps her great-
est, and certainly most lucrative,
creation in her Paris apartment by
Man Ray. Although Marilyn
Monroe was never actually signed
up by Chanel, she helped to estab-
lish No 5's allure, famously declar-
ing that "a few drops of No 5" was
the only thing she wore in bed.
Since that time, some of the world's
most beautiful women have repre-
sented the fragrance, including the
French actresses Catherine
Deneuve (a brave choice at the time
given that she was barely known
outside Europe, and America was,
and still is, the biggest market for
luxury fragrance), and Carole
Bouquet. More recently, Nicole
Kidman became the first
Hollywood superstar to promote
No 5 in a film and stills captured by
the Moulin Rouge! director Baz
Luhrmann. From next year, Audrey
Tautou, currently filming the lead
in Coco and Igor, documenting the
love affair between Chanel and
Stravinsky, will assume the mantle.
In the end, though, no amount
of marketing can justify the unpar-
alleled supremacy of this fragrance,
which, as Polge puts it, is ultimate-
ly attributable to the fact that "it
smells good".
contract with the biggest producer
in Grasse. Later, we did the same
for rose."
This shrewd move makes
Chanel look good, for sure, not
only keeping the French tradition of
flower cultivation for fragrance
alive, but also ensuring that No 5,
and Parfum No 5, the original and
most exclusive concentration in
particular, remains exactly the
same.
"When I joined the company,"
Polge says, "the production of both
rose and jasmine was decreasing,
year by year, to the point that we
were worried that soon we wouldn't
have enough. By working directly
with the producers, we couldn't turn
the clocks back to increase the pro-
duction to what it once was, but we
did stop its decline."
If this much time and effort is
involved in ensuring that Chanel
No 5 is the most enduringly suc-
cessful fragrance in history, there
is, of course, more to its spectacular
longevity than the juice itself. The
Chanel No 5 bottle, altered only
minimally since first designed by
Coco Chanel herself, is by now as
recognisable a part of contempo-
rary culture as Coca-Cola. Small
wonder, then, that back in the
1950s, Andy Warhol captured its
transparent beauty in myriad
colourways. For its part, Chanel,
never a company to miss a trick,
not only reproduced the work for a
limited-edition run of packaging
731
So, what exactly does Chanel
No 5 smell like?According to Luca
Turin, author of The Secret of Scent
and, with Tania Sanchez, the
recently published Perfumes The
Guide, notable for its plain-spoken
style and even, by beauty-industry
standards, plain rudeness, No 5
smells as follows:
"Those who have been brought
up on stunted, suburban fragrances
must find it hard to accept the exis-
tence of such a regally beautiful
thing," he writes. "The top notes
surprise every time: a radiant cho-
rus of ylang and rose floating like
gold leaf on the chalk-white back-
ground of aldehydes. Curiously,
this most modern of perfumes
evokes an image of great antiquity,
perhaps a Scythian jewel on a white
dress.
"The drydown fades the way
white flowers do, slowly becoming
soft and flesh-coloured. And to get
an idea of No 5's quality, smell it on
a paper strip after 24 hours. Now
try this with whatever else you're
wearing. See?"
And here's the similarly dis-
cerning and brilliant New York
Times perfume critic, Chandler
Burr, on the subject. "Chanel No 5
hits you like a bank of white-hot
searchlights washing the powdered
stars at a movie premiere in Cannes
on a dry summer night. If you
haven't smelled it in a while, do so
again. It's great to bathe in that
light."
think of Titian," he says. "Venice
was very important to Chanel."
And a film? "Franois
Truffaut's Baiss Vols."
And a piece of music?
"Mozart's Concerto for Clarinet,"
Polge says, barely pausing for
thought.
Finally, I wonder, if Chanel No
5 were an animal, what would it be?
"That's easy. It would be a
lion."
And that lion continues to roar.
In A Year Inside the Perfume
Industry, a study of olfactory life in
France and the US, Burr states that
Chanel's competitors are "exquis-
itely conscious of the perfume
referred to by some in the industry
as the monster le monstre Chanel's
No 5. Here is a 90-year-old fra-
grance, always at the top of the
international bestseller lists, an
institution whose 2003 sales [were]
an astonishing 180m."
Back in Jacques Polge's labora-
tory, a comparatively understated
place given the scale of the treas-
ures it holds, "le nez" appears
happy to indulge my curiosity.
"When Chanel No 5 was first
created," he says, "it was very
influential and many imitations
were created, but those have now
all disappeared, which means that
No 5 seems more different than
ever. I think that today, No 5 really
is unique, and that is the most
important thing, to create some-
thing that is unique.
If there is one word I would use
to describe it, it would be 'mystery'.
It's a very mysterious fragrance,
and that is a fine quality. A fra-
grance that lacks mystery is too
obvious, it can never last very
long."
If Chanel No 5 were a book, I
ask him, what would it be? "Les
Liaisons dangereuses," he replies.
And a painting? "It makes me
732
The scent, priced at $167 for a
75ml bottle and $223 for a 150ml
one, goes on sale at Chanel coun-
ters here today.
'The basic ingredients are the
same but it has been tweaked to
reflect a more contemporary feel,'
says Christopher Sheldrake, deputy
perfumer at the fashion house.
'There is a slightly more citrusy
top note but it is still recognisable
as No. 5; there is no alteration of
the basic formula.'
The new Chanel No. 5, housed
in a taller bottle, retains the primary
ingredient that made the 1921 orig-
inal so distinctive: a heavy dose of
jasmine extract.
Sheldrake reveals: 'Coco didn't
want to make just any perfume. She
wanted to make the most special
perfume in the world; the most
expensive perfume in the world
and the most expensive essence of
that time was jasmine because it
was so hard to extract.'
In order to balance the heavy
C
HANEL NO. 5 ISN'T JUST A PER-
FUME. It's a concept; an
embodiment of the French woman.
Above all, it's an astoundingly suc-
cessful PR campaign that has
worked its magic since 1921.
Then, designer Coco Chanel
hired celebrated perfumer, Ernest
Beaux, to create the potion for her:
Never mind what it contained - it
had to be the most expensive and
coveted juice in the world.
Today, nearly 90 years down
the road, head honchos at her pri-
vately-owned Parisian fashion
house are no less practised in her
legacy.
5 Facts About Chanel No. 5
1: When Coco Chanel hired per-
fumer Ernest Beaux to create the
world's most exclusive scent, he
came up with several prototypes.
No. 5 - which coincides with
Coco's lucky number - was chosen
from the series.
2: The shape of the Chanel No. 5
bottle cap is inspired by the octag-
onal shape of Paris' famous Place
Vendome.
3: Chanel's fetish flower was the
camellia, which has been erro-
neously thought to be a component
of No. 5. The flower is scentless, a
fact that Coco herself was pleased
with since it allowed women to
wear the bloom without having its
fragrance interfere with their cho-
sen perfume.
4: Before it was commercially
available in 1924, Chanel No. 5
was given away to Coco's friends
and clients who visited her first
boutique near the Louvre in Paris.
5: Coco sprayed No. 5 liberally in
her favourite stairway of her apart-
ment in Rue Cambon, where she
would often sit - unobserved - on
the fifth step while watching fash-
ion shows held in her parlour
through a panel of mirrors.
They have leveraged on the
scent's century-old tradition to
introduce its newest incarnation:
Chanel No. 5 Eau Premiere.
733
dose of jasmine, other ingredients
had to be added to the mix. These
included extract of the May rose,
cultivated in exclusive fields in the
South of France specially for
Chanel. Other components include
essence of the Madagascan ylang
ylang flower and - importantly - the
synthetically-produced component,
aldehyde.
The use of manufactured fra-
grances was revolutionary in its
time, says Sheldrake.
In keeping with the tradition,
the new Chanel No. 5 is also alde-
hyde-based.
There were other factors that
ensured the liquid became an
instant hit, if only through provoca-
tive marketing.
While contemporary fragrances
of the 1920s boasted fiddly, roman-
tic names such as Angel's Breath or
Mystical Shower, Coco took the
bold step of calling her fragrance
the minimalist - almost banal - No.
5.
Her receptacle of choice was a
blocky, unadorned vial, which epit-
omised the modern, no-nonsense
but classy Parisian woman.
With the advent of perfumery,
jasmine has become much easier to
extract and the perfume is now
more of an affordable luxury. One
bottle is reportedly sold every 30
seconds, making it the top-selling
'Eau Premiere is still Chanel
No. 5 but it's also a different No. 5,'
Sheldrake says.
'As for how it is different, that
is our secret - a secret that began
with the original No. 5, whose
exact composition is still carefully
guarded today.'
Experience the new Chanel No.
5 Eau Premiere at a fragrance lay-
ering session and get a free sample.
Limited to the first 80 customers
per counter. Call 6735-3325 ext 111
for store listings.
perfume in the world.
The new sister version is
lighter, airier, more transparent and
younger, Sheldrake explains.
'It retains the sensuousness in
the original but is clean, like fresh
laundry. It is produced with a
greater understanding of the eco-
logical process, reflecting changing
cultural references and tastes of
people who are environmentally
conscious.'
Meanwhile, the fashion house
hopes to make Eau Premiere a 21st-
century classic on the back of the
original formula.
Here, the aura of history has
been turned on its head. Classic
advertising campaigns that once
sealed No. 5's place in the history
of fragrances have been recalled as
part of Eau Premiere's storytelling
process: Marilyn Monroe swore it
was the only thing she wore to bed;
Catherine Deneuve posed with the
bottle.
Then in 2004, Nicole Kidman
became its ambassador, endorsing
the liquid in a high-profile ad cam-
paign by film director Baz
Luhrmann.
Now, Eau Premiere is being
marketed - not quite on the face of
yet another femme fatale - but par-
adoxically, on the concept of the
old Chanel No. 5.
734
8. Lacoste - Pink
9. Yves Saint Lauren - Opium
10. Beckham - Intimately Her C
HANEL NO. 5 HAS BEEN NAMED
AS THE MOST ICONIC PERFUME
of all time, according to the poll of
2,000 women by health and beauty
retail chain Superdrug.
Fashion house's signature scent
is said to have acquired its name
after Coco Chanel commissioned
the renowned perfumer Ernest
Beaux to make six perfumes for her
to choose. The bottles were labeled
No. 1 to 6, and Chanel chose the
fifth bottle. She then declared that
the jasmine scent would simply be
called No. 5.
Calvin Klein's unisex pefume,
One, followed at second place,
while its Eternity scent is at third.
Superdrug's Matt Twigg tells
telegraph.co.uk, "Perfume is such
an essential part of getting ready
for a woman and the fragrance they
choose can really reflect their
mood at that moment."
"Chanel No.5 is an iconic per-
fume which has truly stood the test
of time, being just as popular now
as when it first went on sale almost
90 years ago."
"All the perfumes in the top 10
have adorned dressing tables
across the country and will remain
staple scents for years to come."
Couple David and Victoria
Beckham's Intimately Her also
made the list, the only celebrity
scent featured.
The top ten most iconic perfumes of
all time:
1. Chanel No. 5
2. Calvin Klein - One
3. Calvin Klein - Eternity
4. Chanel - Coco
5. Dior - Poison
6. Ghost
7. Cacharel - Anais Anais
London, England -
735
"A woman without a perfume is
a woman without a future,"
remarked the woman whose Chanel
Number 5 became the world's top
selling scent.
Both "Coco avant Chanel"
(Coco before Chanel), starring
Tautou and "Coco et Stravinsky,"
starring Mouglalis, will focus on
the designer's early career before
she became a living symbol of the
fashion industry.
The two films are currently in
production and are expected to
reach the screen next year.
Karl Lagerfeld, the exuberant
German who became chief design-
er of the firm in 1983 kicked off the
procession with a short film he
directed himself and presented this
week to a select audience in a small
Paris theater this week.
In "Coco Chanel 1913-1923," a
silent film shot in black and white,
he shows her at the beginning of
her long career with the two men
who shared her life at the time,
"Boy" Capel and the Russian Grand
C
OCO CHANEL, CREATOR OF THE
LITTLE BLACK DRESS and
byword for Parisian chic, joins a
growing roster of French cultural
figures to be celebrated on screen
with two films of her life due out
next year.
Audrey Tautou, star of
"Amelie" and Anna Mouglalis,
who played France's ultimate intel-
lectual heroine Simone de
Beauvoir in a separate biopic, will
embody the elegant Chanel, whose
fortune began in 1912 with a sim-
ple Paris shop.
"Coco Chanel had to fight to
succeed," Mouglalis told reporters
this week. "She was capable of
extreme meanness and great gen-
erosity, of being extremely hard
and very sweet, she was black and
white."
The producers are hoping to
repeat the success of "La Vie en
Rose," the 2007 film that gave
Marion Cotillard her Oscar-win-
ning role as the legendary
chanteuse Edith Piaf.
Cinema and television portray-
als of famous French people have
mushroomed since, mirroring the
recent Hollywood trend that has
produced film lives ranging from
singing legend Johnny Cash to
President George W. Bush.
Francoise Sagan, author of the
1954 best-seller "Bonjour
Tristesse," philosopher-lovers
Beauvoir and Jean-Paul Sartre or
Albert Spaggiari, an impish bank
robber who pulled off one of
France's most spectacular heists
have all had the treatment.
Gabrielle "Coco" Chanel,
whose legacy includes the simple
black dresses that have graced a
million cocktail parties since she
unveiled the original in 1926,
seems a natural addition.
Raised an orphan, she allied an
iron will, a tart tongue and a flair
for design to the modernist spirit of
the 1920s and built one of the
world's biggest fashion houses.
Paris, France -
736
Duke Dmitry.
Lagerfeld, who earlier this year
designed a special five euro coin
with a portrait of Chanel, described
the film as "a very light, very amus-
ing little bit of sparkle" but said he
did not want to leave her life to oth-
ers.
"I wanted to make this film
because there are so many films
about Chanel, I thought it would be
good for Chanel to make one too,"
he told reporters.
737
term or temporary contracts.
Sixteen of the employees work in
the firm's historic home in the Rue
Cambon where the late Coco
Chanel dreamt up her little black
dresses and No 5 perfume in the
1920s.
The company employs 16,000 peo-
ple worldwide. In the little world
of luxury goods, the news has had
the impact of a bombshell, said Le
Parisien newspaper. By coinci-
dence, French television was show-
ing the first part of an Italian-
American mini-series on the life of
Coco Chanel last night.
In addition, two new biopics about
the pioneering Paris couturire -
one starring Audrey Tatou - are to
reach cinemas in the coming
months. The trouble at Chanel is
mirrored across a French-dominat-
ed luxury goods industry, which
enjoyed an historic boom with sales
growth of about 10 per cent a year
since 2003.
In another sign of hard times,
LVMH, the world's biggest luxury
conglomerate, has cancelled a plan
for a Louis Vuitton megastore in
the Ginza district of Tokyo. Profits
in the 170 billion (165 billion)
global luxury market are still
expected to be substantial this year,
but LVMH has lost 44 per cent of
its share value in 2008. Richemont,
a Swiss company that owns Cartier
and Montblanc, has suffered a sim-
ilar share fall. Experts are predict-
ing a 4 per cent decline in sales in
2009.
Not everyone is suffering to the
same degree. Swiss watchmakers
have been hardest hit but Herms,
the Paris leather goods and silk-
square company, has seen its share
price rise by nearly 16 per cent this
year and expects its sales to grow
by about 10 per cent.
Some in the trade believe they
are facing a harsh future after a
decade in which greed and easy
money led to hubris. Alain Nemarq,
the chairman of Mauboussin, the
prestige jewellery firm, said that
the world of luxury had gone wild
in pursuit of the idea that nothing
could be too expensive and no prof-
Chanel, one of the grandest French
fashion names, is to lay off 200
Paris staff in an unmistakable sign
that even the world's top luxury
brands are feeling the pinch in the
global recession.
Until recently, France's marques de
grand luxe were claiming immunity
from the slump. Demand for the
high end was holding up, driven by
the luxury appetites of the nou-
veaux riches of Russia, China and
other emerging powers, they said.
The denial has faded over the past
month as Russians and Asians have
been noticeably absent over
Christmas from the boutiques in the
Paris golden triangle off the
Champs lyses and their equiva-
lents in London and New York.
Business in Japan has slumped.
A week ago Chanel, privately
owned and secretive about its
affairs, called off a glitzy art show
as it was about to arrive in London
from New York. Over the weekend
trade unions reported that the fash-
ion house was to lay off all of its
200 Paris staff who are on fixed-
738
it margin too exorbitant. The pur-
suit of exclusive trophies ... is fin-
ished, he wrote in Le Figaro last
week. We will now return to rea-
son, decency and discretion.
Essence of style
Coco Chanel opened her first small
shop in Paris in 1909, selling hats
to actresses
The first Chanel perfume, No 5,
was created in 1921. La Socit des
Parfums Chanel was founded in
1924
In 1928 Chanel introduced the little
black dress, hailed by Vogue as the
uniform of the modern woman
Wasnt it five years ago that the
Chanel Group spent 45 million dol-
lars filming a silly three minute
commercial? I heard that Nicole
Kidman was paid fifteen million
dollars for the same three minutes
of work. Of course no one remem-
bers the commercial. Had to be
money well spent.
739
I
TS BEEN FIVE YEARS SINCE BAZ
LUHRMANN surprised everyone
with his fantastic Chanel N5 ad
starring Nicole Kidman.
Audrey Tautou, who plays
Coco Chanel in the long-
awaited biopic, will be the
muse of director Jean-Pierre
Jeunet in a trip on the Orient
Express.
Its the new Chanel N5 cam-
paign that comes five years after
the legendary ad starring Nicole
Kidman. Chanel knew that hed set
a high standard, and that theyd
need a duo that could recreate the
magic of their campaigns. So they
chose Audrey Tautou, who plays
Coco Chanel in the soon-to-be-
released biopic, and Jean-Pierre
Jeunet, whose films simply radiate
magic... The result should be fasci-
nating.
The ad is finally here and the
official release is on the way very
soon. Today were bringing you the
first images: the production was
unlimited so it looks like a real
Jeunet-style film.
The plot is a meeting between
strangers on an exotic trip from
Paris to Istanbul on the Orient
Express. Audrey worked alongside
model Travis Davenport. The film
lasts just over 2 minutes, and itll
be officially released on the 5th of
May, 88 years after Coco launched
her legendary perfume.
Chanel are on board Louis
Vuittons philosophy of travel as
the paradigm of luxury, the
escapism theme taking them to
exotic new places.
Gee I wonder if this two minute
commercial is going to take five
years and twenty million dollars to
film.
Original cost of developing
Chanel N5 five hundred francs?
One never knows that Ernst Breux
actually created the scent by acci-
dent.
740
The plot is a meeting between
strangers on an exotic trip from
Paris to Istanbul on the Orient
Express. Audrey worked alongside
model Travis Davenport. The film
lasts just over 2 minutes, and itll
be officially released on the 5th of
May, 88 years after Coco launched
her legendary perfume.
Chanel are on board Louis
Vuittons philosophy of travel as
the paradigm of luxury, the
escapism theme taking them to
exotic new places.
Gee I wonder if this two minute
commercial is going to take five
years and twenty million dollars to
film.
Original cost of developing Chanel
N5 five hundred francs?
One never knows that Ernst Breux
actually created the scent by acci-
dent.
http://www.viewonfashion.com/article/119-
et
Its been five years since Baz
Luhrmann surprised everyone with
his fantastic Chanel N5 ad starring
Nicole Kidman.
Audrey Tautou, who plays
Coco Chanel in the long-
awaited biopic, will be the
muse of director Jean-Pierre
Jeunet in a trip on the Orient
Express. Its the new Chanel
N5 campaign that comes five
years after the legendary ad
starring Nicole Kidman.
Chanel knew that hed set a high
standard, and that theyd need a
duo that could recreate the magic of
their campaigns. So they chose
Audrey Tautou, who plays Coco
Chanel in the soon-to-be-released
biopic, and Jean-Pierre Jeunet,
whose films simply radiate magic...
The result should be fascinating.
The ad is finally here and the offi-
cial release is on the way very soon.
Today were bringing you the first
images: the production was unlim-
ited so it looks like a real Jeunet-
style film.
741
Look at Truman Capote, the recent
subject of a pair of more or less
identical screenplays. And history
does have a habit of coughing up
figures who repeatedly stir the cre-
ative juices. This is usually because
theres an insoluble riddle at the
heart of their story. Take the
civilised Nazi Albert Speer, or the
tragic Indian mathematician
Ramanujan, or the vanishing
yachtsman Donald Crowhurst
dramatists keep coming back to the
well because, in each case, theres
no getting to the bottom.
It could be that Chanel belongs
in this gallery thanks to the distinct-
ly colourful company she kept. Her
brief dalliance with an aesthetic co-
revolutionary in Paris, in 1920, is
dramatised in Chanel & Stravinsky.
She was also pals with Cocteau,
Picasso and Chaplin, and spent the
war in occupied Paris under the
protection of a Nazi officer. It was
only thanks to her connections in
the highest reaches of the British
establishment that got her off the
hook, and only in the 1950s that she
dared return from Swiss exile.
Good material for a drama, surely?
S
HE GLIDES ON THE ARM OF A
TAIL-COATED SWAIN into an ele-
gant belle poque salon. Music
swirls, eyes swivel and no wonder.
Her thin black dress hugs a gamine
frame, a look of masculine confi-
dence rests on her face. Gabrielle
Bonheur Chanel, better known as
Coco, is making an entrance.
Fashion icon and designer is
to be played by both Anna
Mouglalis and Audrey Tautou
while Shirley MacLaine
took US TV role
Its not her only one today
through a crowded maze of extras,
crew, stylists and film-set gofers or,
indeed, on other days. Coco Chanel
is making a lot of entrances on film
at the moment. Last year, I visited
the set of Chanel & Stravinsky, five
minutes walk from the Gare du
Nord, to see the rising French star
Anna Mouglalis as Coco opposite
the Danish Bond villain Mads
Mikkelsen. However, this is just
one of three on-screen incarnations
of the distinguished designer.
There is also Coco Avant Chanel
on the way this summer, a lavish
confection starring Audrey Tautou,
and last year both French films
were preceded by the American tel-
evision mini-series Coco Chanel,
for which Shirley MacLaine barked
and purred and received a Golden
Globe nomination.
It doesnt even stop there. Until
recently, there were at least two
other Chanel film projects on the
go. One was to be written and
directed by the French veteran
Danile Thompson, while an
American version was rumoured to
be starring that noted demi-
mondaine Demi Moore. (There
will also be a book on Chanel from
Justine Picardie in the autumn.)
Not all of these could possibly have
reached fruition; there will be no
Chanel film No 5, or, indeed, four.
But three finished dramas on one
woman, however celebrated, seems
excuse enough to ask the question:
what on earth is going on?
One possible answer is that
these are just London buses. Films
sometimes come along in twos and
threes because film-makers often
think along uncannily similar lines.
742
Well, yes, except that none of these
films goes anywhere near her war
record. Its not an easy slip to
explain in a heroine. The French
remain squeamish about stories that
shine a light on wartime collabora-
tion, but even the MacLaine mini-
series on the Lifetime Network,
with no French involvement, con-
trived not to mention the war.
The fascination of her early
years helps to explain Chanels
appearance on screen. It boils down
to two words: Edith Piaf. Marion
Cotillards Oscar-winning turn in
2007s La Vie en Rose opened the
idea of a biopic in France,
explains Anne Fontaine, director
and co-writer of Coco Avant
Chanel. The biopic is not a very
French tradition, but Chanel is one
of the best-known French figures in
the world, and I was astonished
someone hadnt done a film on her
before.
As dramatised in Coco Avant
Chanel, the designer, like Piaf, had
a troubled youth, out of which she
battled by sheer force of personali-
ty. Her mother died when she was
12, her father disappeared to
America in search of work, and she
spent the next seven years in an
orphanage run by nuns. As with La
Vie en Rose, the film will shine a
bright light onto a past the facts of
which are not widely known.
Edmonde Charles-Rouxs biogra-
phy, the bible of Chanel studies,
explained how the facts of her
youth were blurred by a clerical
film is based. Both book and
screenplay pinpoint 1920 as the
year of Chanels efflorescence and
attribute it in part to the influence
of Stravinskys guiding revolution-
ary spirit. Designers were second-
class citizens for a long time,
Greenhalgh explains. In the novel
and the screenplay, when
Stravinsky and Chanel have a fight,
she says, Im just as smart as you.
And as much of an artist. He says,
Youre not an artist, Coco. Youre
a shopkeeper. Its perhaps a reflec-
tion of the increasing power and
significance of women that were
finally appreciating what she did
for them.
Greenhalghs 2002 novel was
not the first effort to put the story of
Chanels liberation of women from
the corset at the heart of a fiction.
Before her death in 1971, Chanel
was able to witness her transmogri-
fication into a musical. Alan Jay
Lerner and Andr Previn collabo-
rated on Coco in 1969. Chanel was
delighted to discover she would be
played by a Hepburn; less so when
she found out she would be embod-
ied not, as she assumed, by the
clotheshorse Audrey but by the bat-
tle-axe Katharine. The show ran on
Broadway for more than 300 per-
formances. If Chanel goes on to
prosper in the cinema, dont back
against the musical making a return
(like Pam Gemss Piaf, recently
revived).
There was a ring of truth to the
casting of the less sylphlike
error at her birth in 1883, when a
clerk was left to guess that her sur-
name was spelt Chasnel. But
Chanel also abetted in the creation
of her own myth by changing her
birth date to 1893.
Although the nuns taught her to
sew, it was the stage that originally
attracted her. Like Piaf, she picked
up a nickname there, from singing
Ko Ko Ri Ko. Coco Avant Chanel
concentrates on the two affairs that
changed her destiny. The first was
with Etienne Balsan, a rich aristo-
crat in whose chateau, explains
Fontaine, she discovers how privi-
leged women of the era dress, and
where she invents the very practical
clothes that come from riding on
horses and running in the fields.
She then fell in love with the young
English blade Boy Capel, who
supported her early in her career
but whom she refused to marry
until she could pay off her debts to
him. As the film hints, her dedica-
tion to her career would leave no
room for marriage or children.
Capel, who married an English
aristocrat and broke her heart,
before dying in 1919, also appears
at the start of Chanel & Stravinsky,
when the heroine attends her first
classical concert. It just happens to
be the riotous premiere of Le Sacre
du Printemps in 1913. The idea that
Chanel could claim equal billing
with classical musics first great
iconoclastic modernist was first
posited by Chris Greenhalgh in his
novel Coco and Igor, on which the
743
Hepburn. The consensus is that
Chanel had the hide of a rhinocer-
os. She was tough and quite cold,
says Jan Kounen, the director of
Chanel & Stravinsky. She was a
bit of a tyrant, says Mouglalis.
She built an empire at a time when
women were not working at all.
She was a fighter all her life. She
was angry about centuries of lack
of education for girls and wanted to
change that. I think she hated
women, because she wanted things
to change quickly and women were
going for the dresses, not the way
of life.
Rake-thin and with the bari-
tone voice of a seasoned smoker,
Mouglalis is ideal casting. They
obviously thought so at the
Lifetime Network, because she was
offered the part of the young Coco
for the mini-series before it went to
the Slovak actress Barbora
Bobulova. For her part, Fontaine
was not prepared to proceed with
Coco Avant Chanel until she found
the right actress. If I hadnt had
Audrey Tautou, I dont think I
would have developed the project
because I needed an ideal inter-
preter to play Chanel. You cant
imitate her. You have to have the
bodily proportions. If shes too big,
it wont work. If shes too round, it
wont work, either.
In the spirit of pre-match spar-
ring, Coco Avant Chanels publici-
ty campaign is putting it about that
its film is the one officially recog-
nised by the House of Chanel. In
reality, Karl Lagerfeld, chief
designer of Chanel since 1983, has
looked supportively on both pro-
ductions, supplying access to
designs and drawings (though not
much exists from 1920). His recent
collection opened with a short
black-and-white silent film called
Paris-Moscou: the houses connec-
tion with Russian culture is clearly
not one he repudiates. Just dont
expect him to produce a film enti-
tled Paris-Berlin. However many
times they dramatise the life of
Coco Chanel, some things remain
unsayable.
744
birth in 1883, to a peasant family, is
shrouded in mystery. It seems like-
ly that she was born in Saumur, in
western France. When she was a
child, her mother died and her
father abandoned her to be brought
up by the nuns, with iron discipline
and frequent beatings. Strange and
farouche, Chanel never trusted a
man again, and hated all forms of
authority for the rest of her life. Yet,
although she hated to recall those
early days, they had a great effect
on her fashion thinking. She was
the first couturier to use mens fash-
ion and dress as the basis for wom-
enswear, and she chose the black
and white of the nuns habit to give
womens clothing an authority that
she remembered from her convent
days. This was Chanel, however, a
woman so fatally scarred by her
early years that she could not resist
using fashion to avenge the lowly
position in which society had
placed her. Attracted to the upper
classes because they were the ones
who held the power in the first
decades of the 20th century, she
still couldnt resist pulling them
down. In the aftermath of the first
world war, there was barely a fami-
L
IKE A BABY IN A PRAM, FASHION
IS ALWAYS READY TO THROW
AWAY THE OLD toy for the prospect
of some new and shiny bauble dan-
gled before it. Thats why fashion
reputations soon fade and even the
greatest names become nothing but
footnotes for academics. In fashion
as in everything else, however, the
bigger the noise, the longer its
echoes and, as in most areas of life,
the one who gets in first makes the
greatest impact.
Mystery surrounds the coutu-
rier from her illegitimate
birth in Saumur through her
depiction as revolutionary
and man-hater
Yet some survive by breaking
down the glass wall between fash-
ion and the real world to become
names known to all. In the 20th
century, there were three, Christian
Dior, Yves Saint Laurent and
Chanel and the most widely known
was Chanel, not because of what
she achieved, but because of what
she came to symbolise. Add to that
a name easily recognised, remem-
bered and pronounced (even now,
within fashion, many are stumped
by the pronunciation of
Schiaparelli, Ghesquire and many
others), and an iconic perfume
recognised the world over, and you
have the basis for a kind of immor-
tality.
Certainly, extravagant claims
have been made on Chanels
behalf, not least the sweeping judg-
ment of Diana Vreeland, high
priestess of 20th-century fashion
and editor in chief of American
Vogue in the 1960s. Chanel
invented the 20th century for
women is a claim more hyperbol-
ic than factual, but, like so much in
fashion, it is accepted without
question. She didnt, any more than
she invented the little black dress,
the other claim made on her behalf.
What Chanel did and I love her for
it was fight the establishment with
all the guerrilla tactics of a born
outsider. She hated authority and
hated those who wielded it in her
day, even more so than now, men.
To know why, we need to look at
her background.
Gabrielle Chanels illegitimate
745
ly in France or Britain that was not
in mourning. Women wore black,
often for several years. Chanel
found it boring. But she thought
back to the nuns, as well as noting
the dress of servants in the early
1920s, and decided that what was
needed to make black chic was
white at neck and cuffs. It also gave
her a frisson to dress the rich and
fashionable in the same way as
their servants.
Her class war continued with
the men. In a determined bid for
power, she became the mistress of
rich always rich and powerful
males able to set her up in business
and open all social doors. She used
them as they used her: as trophies
to attract more trophies. Much has
been written about her love affairs,
but Chanel remained silent on the
subject. There is no record of her
admitting to having any of them. I
believe that when her father aban-
doned her, he made it impossible
for her to love men, love being
based on the one thing she could
never give them: trust. But she
wore their clothes and adapted
them for women whether to
demean masculinity or to empower
women remains debatable.
It has been suggested many
times that Chanel was more at ease
with women than with men, but her
contempt for most of her sex, allied
to her vicious, uncompromising
tongue, terrified most women.
Again, she was attracted to power
players. She was a close friend of
Coco Chanel was not always a
trailblazer, but this shrewd little
businesswoman had learnt a thing
or two on her climb to the top.
Above all, she understood the job,
which was to sell clothes. Unlike
other couturiers, she professed to
be happy when she saw cheap
copies of her clothes on the streets
of Paris. Having started at the bot-
tom of the social heap, she knew all
about dreams and the need for aspi-
rations. For her, the models who
paraded down her catwalk were as
important as the clothes because a
good model makes women in the
audience envious and this makes
them insecure, so they buy in order
to re-establish their self-esteem.
This was 60 years before Versace
invented supermodels in the form
of Kate Moss and Naomi
Campbell. Such prescience is
entirely typical of her unique com-
bination of earthy reality and
romantic dreams. What did Chanel
have that has created a mania that
shows no sign of abating? Vreeland
once explained it to me: She
understood all women because she
had been all women. She despised
men, yet she loved men. She had
been bullied and shamed, and she
bullied and shamed in her own way.
But, above all, she wanted women
to have the freedom that men took
as their own right. That is why
Chanels name remains as strong as
ever.
the socialite Misia Sert, who exer-
cised authority over the social,
artistic and fashionable world of
Paris throughout the 1920s. In her
last years, it was the independence
of American women who enjoyed
much more freedom than those in
Europe allied with their clean, fresh
fitness, that attracted her. She
adored the 1950s model Suzy
Parker, for example.
Was Chanel a lesbian? It has
been hinted at many times, but it
seems unlikely. But she was fond of
the world of male homosexuals, to
which Sert introduced her not
because they were gay but because
they were clever. Her high-profile
lovers, such as Boy Capel, the
Duke of Westminster and Grand
Duke Dmitri, had all inherited their
position and were generally consid-
ered rather limited, whereas
Cocteau, Dali and Diaghilev were
important for what they had
achieved. As a self-made woman,
Chanel always admired and envied
the achievements of others.
So, why has her name survived
where those of other designers,
equally important in her time, have
disappeared from current currency?
Was it because she was a woman?
Hardly: Paquin and Lanvin beat her
to that. A modernist? No: Poiret,
who released women from the
Edwardian constriction of corsets,
got there first. The fact that she put
women in informal casualwear?
No: her contemporary and detested
rival, Patou, was ahead of her.
746
War!
Time heals, but sometimes it's
worth opening the wound again
when a reputation suddenly appears
to be sanitised. While Chanel's
biographer, Edmonde Charles-
Roux, says her style genius con-
sisted in being incorruptibly sober
and pure, her life was less clean-
cut. Paris during the occupation
was a compromising and uncom-
fortable place for other artists and
writers, who tended to keep their
heads down: Oh, I am not looking
for risks to take, said Picasso, her
friend, but in a sort of passive way
I do not care to yield to either force
or terror.
Edith Piaf sang in nightclubs
for the Nazis. Jean-Paul Sartre said:
Everything we did was equivocal.
We never quite knew whether we
were doing right or wrong. A subtle
poison corrupted even our best
actions.
But Chanel was unequivocal.
She decided to place herself snugly
in the enemy's bosom, conveniently
near to her shop. After the Paris
A
s we gear up for cultural
Chanel-mania this summer
with two hagiographic films about
the designer, a new biography and
the sound of slavering from glossy
magazines, it is worth pausing to
investigate Coco Chanel's whole-
sale and retail involvement with the
Nazis.
Why is Coco Chanel getting a
free pass on her collaboration
with the Nazis? Her past was
deeply compromised
The world's greatest fashionista
may have rescued women from the
corset, but she did not have a good
war. When shoppers swoon over
the iconic quilted handbag with the
CC logo, most are unaware that
Chanel once went to Berlin to plot
with Walter Schellenberg, who
wore his Waffen SS logo as Hitler's
chief of foreign intelligence.
Perhaps Chanel-lovers also
have no idea that she tried to wrest
control of her perfume manufactur-
ing from a Jewish family, taking
advantage of pro-Aryan laws. Or
that she was arrested for war
crimes and then mysteriously
released.
Previously, I'd seen it men-
tioned that Chanel had survived the
war rather comfortably at the Paris
Ritz in the arms of a Nazi officer,
Hans Gunther von Dincklage, and
then gone into exile in Switzerland
with him, but a few hours spent in
the library revealed that she was far
more deeply involved with the
Germans than that. There was even
a (somewhat ridiculous) Nazi plot,
using Chanel as bait, called
Operation Modelhut.
None of this will be discussed,
of course, in two upcoming biogra-
phical films: Coco Avant Chanel,
starring Audrey Tautou, and Coco
Chanel and Igor Stravinsky, with
Anna Mouglalis, about Chanel's
relationship with the Russian com-
poser. Nor was it detailed in a
Chanel television mini-series with
Shirley MacLaine last year, or in
the 1981 film Chanel Solitaire.
With commercial good sense, all
films avoid the German invasion of
Paris and Chanel's collaboration.
It's a case of Don't Mention The
747
invasion she fled to the country, but
returned a year later to demand
back her room at the Ritz, which
had been commandeered by the
Germans. There, aged 56, she
shacked up with von Dincklage, a
German playboy officer 13 years
her junior, who may have been a
spy and was known frivolously as
Spatz or sparrow.
Whatever his role, von
Dincklage's coterie brought Chanel
into high Nazi circles, yet she
remains inexplicably untarnished,
unlike Unity Mitford and Diana
Mosley. It's hard to tell what the
intentions of Operation Modelhut
were, but they included the peculiar
idea that one of Chanel's friends,
who knew Churchill well, would
pass a letter from her suggesting
that there should be secret negotia-
tions to end the war. Chanel who
had met Churchill once or twice at
social events obviously saw herself
as a heroic figure in this.
Schellenberg was interrogated
by the British after the war con-
cerning the visit in 1943 from Frau
Chanel, a French subject and pro-
prietress of the noted perfume fac-
tory. According to the transcript:
This woman was referred to as a
person Churchill knew sufficiently
to undertake political negations
with him, as an enemy of Russia
and as desirous of helping France
and Germany whose destinies she
believed to be closely linked
together. Operation Modelhut fell
apart, and the mutual friend of
those bags and little black dresses.
Sales grew, Chanel was rehabilitat-
ed, and history faded away. Now
she is merely a brand in Karl
Lagerfeld's hands.
In his fascinating book, The
Shameful Peace, Frederic Spotts
notes that the occupation was mer-
ciless in exposing character. Keep
that in mind or, if you do go to the
Chanel films this summer, turn off
your mobile phones, forget
Chanel's compromised past and
enjoy the show.
Churchill and Chanel denounced
her as a German agent.
It seems to me that Chanel bent
to the times, always intent on sur-
vival. The French call this Systme
D, or systme dbrouillard, which
means getting round the rules
somehow. As Charles-Roux notes,
playing refugee was not her style,
hence Chanel's move to the Nazi-
infested Ritz. Who else could
afford to buy her perfume? Later,
when the law banned Jews from
owning companies, she tried to
depose the Wertheimer family who
manufactured her scents. And
towards the end of the war, as the
Germans looked less than victori-
ous, Chanel revived her largely
imaginary friendship with
Churchill.
After the war, thousands of the
collaboratrices horizontales - sexu-
al collaborators had their hair shorn
in public humiliations, yet Chanel
was arrested and soon released,
though no one knows exactly who
among the Allies protected her.
Was it her connection with the
Duke of Westminster? There's no
proof, except that Chanel and her
perfume royalties went into exile in
Switzerland for a decade, because
she was most definitely not wanted
at home.
Chanel made a comeback in
1956. The French papers panned
her collection as old hat: she was
not forgiven. But across the
Atlantic, the Americans just loved
748
designer will be fuelled further by a
separate film later this year that will
concentrate on Chanel's relation-
ship with Russian composer Igor
Stravinsky.
Brought up in an orphanage,
Coco Chanel took up early with a
wastrel playboy before taking her
first steps in fashion and opening a
hat shop in the fashionable resort of
Deauville, displaying charm and
iron-willed ambition in equal meas-
ure.
"She was a very hard, very
authoritarian, very proud character
and at the same time, this was a
period of her life when her charac-
ter wasn't entirely formed," Tautou
said.
Chanel, who died in 1971, brought
a new simplicity to women's
clothes after the elaborate styles of
the pre World War One "Belle
Epoque" and the little black cock-
tail dress she created in 1926
remains a fashion staple to this day.
But her formidable personality
was at least as important as her
A
UDREY TAUTOU, STAR OF
"AMELIE," takes to French
screens this week as the legendary
designer Coco Chanel and, coinci-
dentally or not, also takes over
from Nicole Kidman as front-
woman for Chanel Number 5 per-
fume.
"Coco avant Chanel," directed
by Anne Fontaine, is the latest
French biopic to ride the wave cre-
ated by "La vie en rose," which
gave Marion Cotillard her Oscar-
winning role as the tortured
chanteuse Edith Piaf.
"Coco Chanel's personality was
absolutely extraordinary but
beyond her genius and talent she
has everything that the heroine of
any great novel has," Tautou told
France Inter radio.
Tautou has stared out gravely
from billboards ahead of the launch
of the film, which got warm
reviews in the French press and
tells the story of Gabrielle "Coco"
Chanel as she moves from occa-
sional cabaret singer to revolu-
tioniser of women's fashion.
Next month, she will also
appear as the mysterious heroine of
a two minute advertisement for
Chanel Number 5 shot by Jean-
Pierre Jeunet, director of "Amelie,"
the film that propelled her to star-
dom in 2001.
The short film, which took four
months to make, shows Tautou pur-
sued by a handsome stranger on the
Orient Express train to Istanbul. It
will replace a similarly elaborate
mini-film starring Australian
Oscar-winner Nicole Kidman.
Chanel offered some items of
clothing and locations to the mak-
ers of "Coco avant Chanel" but is
otherwise unconnected to the film
and a spokeswoman insisted that
Tautou's simultaneous appearance
in the advertising push was coinci-
dental.
However surprising that may
seem, the coincidence is no doubt a
welcome one and interest in the
Paris -
749
designing talent in creating the aura
of the Chanel name.
"A woman without a perfume is
a woman without a future," she
once declared and she backed her
own future by creating "Chanel
Number 5," which became the
biggest selling scent of all time.
750
Even Claude Evin, the politi-
cian behind a 1991 anti-smoking
law, said the ban should not extend
to "cultural heritage".
There is already concern that
another film due out later this year
about Serge Gainsbourg, the
Gauloise-puffing crooner, will fall
foul of the no smoking rules. One
of his songs is entitled God smokes
Havana cigars.
Coco Before Chanel, the new
film starring Tatou, opened in
France this week to wide critical
acclaim.
It focuses on the early years of
Gabrielle Chanel, nicknamed
"Coco" during her failed attempt to
launch a singing career. The film
sees her move from poverty-strick-
en orphan to early catwalk success,
but stops short of her controversial
affair with a Nazi officer at Paris's
Ritz hotel during the Occupation.
Next month the best-selling
perfume Chanel No 5 unveils a new
advertising campaign starring
Tautou, best known outside France
T
he transport authority's deci-
sion to remove the posters
because they were "unhealthy and
inappropriate" was condemned as
"ridiculous" by Chanel fans and
even by the man who drew up
France's draconian anti-smoking
laws.
The posters show Tautou as the
chain-smoking French creator of
the little black dress gazing sensu-
ously at the camera in silk pyjamas,
with a cigarette smouldering in her
right hand.
Chanel was 87 when she died
in 1971, despite smoking several
packets of cigarettes a day for most
of her life. It is rare to find photos
or her without a cigarette.
However, Metrobus, the com-
pany which runs advertising on
Paris' buses and trains, said that the
law came before historical accura-
cy.
"Cigarettes are banned on our
entire transport system, and there is
no reason why we should be giving
them free advertising through this
film poster," a spokesman said.
The film's producers were
obliged to provide an alternative
poster showing Tautou with the
male lead.
But a representative of Warner
France said that "for us, the real
poster is where Coco Chanel is
smoking in a natural pose that
translates her strong personality
and her modernity".
The ban comes days after a
poster of Jacques Tati, one of
France's most enduring comic char-
acters, was altered to conform to
French rules prohibiting the "direct
or indirect" promotion of tobacco
products. The actor-director's
trademark pipe was replaced with a
yellow windmill a move which one
cinema expert said would have
made him "die laughing".
Roselyne Bachelot, the health
minister, admitted that the rules
were being taken too far. "We're
getting pretty ridiculous with this,"
she said.
751
for her role in Amelie.
In another sign of Chanel
mania, a second film about her love
affair with the Russian composer
Igor Stravinsky will be released
later this year, as part of a new
found French craze for biopics
sparked by La Vie en Rose, the
Oscar-winning film on the life of
Edit Piaf, the troubled chanteuse.
752
Semitic". Chanel even tried to use
the law banning Jews from owning
businesses to wrest control of her
perfume business from the
Wertheimer family: She failed and
the Wertheimers own House of
Chanel, along with various vine-
yards, to this day.
Such was Chanel's collusion
with the Nazis that at one point
after the war she was arrested and
charged with war crimes before
being mysteriously released. None
of this, however, is dealt with in
French director Anne Fontaine's
new film which, as the title sug-
gests, deals with her early years
when she tried to be a singer -
hence the nickname Coco - and bat-
tled her way into the fashion busi-
ness. Tautou, who is taking over
from Nicole Kidman as the face of
Chanel No. 5, has said of Chanel:
"She was a very hard, very authori-
tarian, very proud character and at
the same time, this was a period of
her life when her character wasn't
entirely formed." That's one way of
putting it.
A
UDREY TAUTOU, ONE OF THE
DARLINGS of the French cine-
ma since her appearance in the
2001 hit film Amelie, opens in cin-
emas across France today in an
new film about the iconic French
designer Coco Chanel. However,
Coco Avant Chanel stops short of
depicting an aspect of the pioneer-
ing couturier the French would
rather forget that she was a
renowned Nazi collaborator and
anti-Semite.
The Coco Chanel story is one
of France's favourite fairytales.
Abandoned by her father and with
her mother dead, Gabrielle Chanel
her real name was brought up by
nuns who taught her to sew. From
those humble beginnings she grew
to become one of the world's best
loved designers famed for tailoring
men's fashion to women's needs,
inventing the little black dress and
introducing round-necked jackets
and quilted handbags to wardrobes
around the world.
However, there is a darker side
to her story. It was often said that
she was prepared to sleep with the
right people to get ahead and, after
the Germans occupied France in
1940, Chanel conducted an affair
with the Nazi officer Hans Gunther
von Dincklage at Pariss Ritz hotel,
thus becoming one of France's
notorious "horizontal collabora-
tors".
In his book, 1940-1945 Annees
Erotiques, the French historian
Patrick Buisson details how some
of his country's best-loved icons
disgraced themselves during the
war. "Coco Chanel or the actress
Arletty star of Les Enfants du
Paradis were the incarnation of the
values of France: insolence, free-
dom and in Chanel's case ele-
gance," Buisson told the Guardian.
"In their own way, each was an
icon. The fact that they could fall
for the occupier was not just a
transgression, it was damaging for
the national conscience.
Similar sentiments are
expressed by Carmen Callil in her
recent book Bad Faith: A Forgotten
History of Family, Fatherland and
Vichy France where Chanel is
described as "indomitably anti-
753
A woman with glossy cinnamon-
brown skin lies beside a jewel-
bright swimming pool in a backless
black maillot. The shadow of a
passing airplane crosses her body,
just as an equally tan man, clad in
nothing but a tiny Speedo, material-
izes out of thin air on the other side
of the pool and dives in. Over a del-
icate vibraphone melody, a breathy
female voice says, I am made of
blue sky and golden light. And I
will feel this way forever. The
man emerges from the water and
disappears; the woman turns to face
the sun; a new voice issues an
unforgettable invitation: Share the
fantasy. Chanel No. 5.
The first time I saw those images
flash across a TV screen was on a
snowy Christmas night in the early
80s. I was only nine years old, but
that commercial blew in on a hot
wind from some previously
untapped tropical zone in my imag-
ination: All of the things I hoped to
experience as a grown-up came to
me in a giddy rush glamour,
romance, mystery, luxury, a place
that obviously was not Kansas.
something abstract and unique.
Furthermore, she requested that it
not smell like any particular flower
mono-floral scents were the fashion
at the time but rather a composi-
tion. Serendipitously, Beaux had
been experimenting with synthetic
fragrance molecules called aldehy-
des. When combined with an
accord of florals including ylang-
ylang, May rose, and jasmine
(which Coco bade him to be extrav-
agantly heavy-handed with; it was
then the costliest perfume oil in the
world), they created an effect of
marble smoothness, as if all of the
notes were breathing as one.
Using aldehydes was a stroke of
genius, says Christopher
Sheldrake, the deputy perfumer to
Chanels esteemed nose Jacques
Polge. No. 5 was created in the art
deco era, and like so much art and
design from that period, it still feels
very modern and avant-garde
because of its complex mixture of
the natural and the man-made. For
Polge, Chanels master perfumer
for more than 30 years, this unique
blend is the key not only to No. 5s
enduring allure but also to the very
je ne sais quoi its wearers (like me)
Id never smelled Chanel No. 5; Id
never even heard of it. I had no idea
that Ridley Scott directed that par-
ticular commercial (as well as an
equally memorable Fountainhead-
reminiscent follow-up that
involved a skyscraper, a train, a
woman in a red dress, and a rendi-
tion of the Ink Spots I Dont Want
to Set the World on Fire), that the
haunting music was by the same
composer who scored Chariots of
Fire, or that it was a prime example
of the kind of advertising alchemy
that has long defined the brand. All
I knew was that No. 5 stood for
something I couldnt define but
very much wanted. To paraphrase
Liz Lemon, I wanted to go to there.
Perhaps more than any other fra-
grance, Chanel No. 5s identity is
inextricably bound to the uncon-
ventional character of the woman
who was responsible for its cre-
ation. When, in 1921, Coco Chanel
was introduced to former Russian-
court perfumer Ernest Beaux by her
then-lover Grand Duke Dmitri
Pavlovich, she set him the chal-
lenging task of concocting a scent
that reflected her own personality,
754
seek to capture: A great fragrance
has to be mysterious and indefin-
able, he says. It must never give
everything away all at once. Its the
same as a persons character the
most intriguing are those who
reveal themselves bit by bit so that
youre always discovering some-
thing new about them.
When I finally got my first bottle of
Chanel No. 5, I was 20. I paid
assiduous attention to perfumery
advice (apply it over unscented
moisturizer if you want it to last;
dab it on the pulse points inside
your elbows and behind your
knees; spritz your ankles so the
scent will blossom up), and it
inevitably made me feel a little
more soign than the scruffy, self-
conscious college student I saw in
the mirror. I knew that true worldli-
ness and wisdom were still years
away, but I hoped that by wearing
No. 5 I was sending a message to
the world: I like the finer things in
life, I can be trusted with a secret,
and theres a pretty good chance
that Im a lot of fun in the sack.
In 1954, a reporter asked Marilyn
Monroe what she wore to bed. Just
a few drops of No. 5, she respond-
ed. Sales spiked. Its hard to imag-
ine any other fragrance being a bet-
ter distillation of Monroes sex
appeal: ravishingly hot-blooded but
also delicate and elusive. Her
endorsement (she also reportedly
added a slug of the scent to her fre-
quent skin-firming ice-water baths)
became the first in a long tradition
ever seen. For Hutton who is in
many ways a quintessential No. 5
woman; a trailblazing, unconven-
tional beauty, an inveterate world
traveler that was the tale that sealed
the deal. No. 5 was my favorite
perfume. To me, it smells expen-
sive and feminine and also reassur-
ing. But after that, I remember
thinking, Of course I love it; it
comes from the real thing.
The new face of the brand, Audrey
Tautou, also has a particularly redo-
lent memory of the iconic juice.
When I was a little girl, I had an
aunt in her thirties, she says. She
displayed a bottle of Chanel No. 5
in her library that looked huge to
me. We were not allowed to touch
it, so it was a symbol of mystery,
the epitome of luxury. It was like a
jewel. Tautou exudes classic
French chic but also a warm, quirky
charm. Amlie director Jean-Pierre
Jeunet, whom Chanel commis-
sioned to create a short film starring
Tautou (in the tradition of Baz
Luhrmanns 2004 collaboration
with Kidman), describes her as
magnetic, moving, and uniquein
other words, the embodiment of
those qualities we all want to con-
vey when we wear No. 5. Tautou is
also, of course, a dead ringer for
Mlle Chanel herself and will be
playing her in the upcoming biopic
Coco Avant Chanel, one of several
films about the legendary designer
currently in production.
A couple of years ago, I visited
Chanels apartment above her bou-
of No. 5s association with beauti-
ful women and moreover, women
who in some way represented an
aspect of its multifarious appeal.
French actresses such as Catherine
Deneuve, who appeared in ads for
the scent throughout the 60s and
70s, and Carole Bouquet, who lent
her face to the brand in the 80s and
90s, underscored its sophistication
and inscrutability (as well as its dis-
tinctly French sensuality: In a tele-
vision commercial from the early
70s, Deneuve looks soulfully into
the camera and purrs, He under-
stands I cannot talk about feelings;
he lets me show him in other
ways). In the 60s, fresh-faced
American models such as Cheryl
Tiegs (whose No. 5 print ad was
shot one year before a Sports
Illustrated cover catapulted her to
locker-room ubiquity) and
preLove Story Ali MacGraw
embodied the spirit of youthful joie
de vivre that lies at the fragrances
libertarian Jazz Age heart.
Lauren Hutton, who was pho-
tographed by Richard Avedon for a
No. 5 ad in 1968, remembers,
Dick had spent a lot of time with
Coco in Paris, and he told me all
about her apartment and about how
she had been this adventurous
young girl who had always done
everything her own way. She took
him to Grasse, where the perfume
is made, and showed him the
mountains of pink rose heads that
go into the perfume. He said the
scent was so strong he swooned: It
was the most beautiful thing he had
755
tique at 31, rue Cambon, which has
been preserved exactly as she left it
when she died in 1971. The scent of
No. 5 hangs in the air as if she has
only moments ago exited stage left,
muttering bons mots and rattling
faux pearls; her assistants used to
spray it in the staircase when she
arrived at the front door, and it has
permeated the walls, the rugs, the
famous beige suede couch. Its as
much a part of the personality of
the place as her coromandel
screens, Italian mirrors, and collec-
tion of crystal balls (in which she
surely must have seen the future
damn, did that woman know what
would last). It was there that it
became clear to me what Beaux
managed to bottle when he stop-
pered that first flacon in 1921: an
attitude. Chanel was the ultimate
self-made woman, someone whose
confidence and sense of purpose
rendered her indelible. How many
cares one loses when one decides
not to be something but to be some-
one, she once said. Therein, I
think, lies the key to je ne sais quoi.
Anyone can tap into it; its just a
way of approaching the world.
Again, the most telling declaration
comes from the lips of Mlle Chanel
herself: When asked where a
woman should wear fragrance, she
responded, Wherever she expects
to be kissed. Not wants to be
kissed, mind you. Expects. That
pretty much sums it up. April Long
The Women of Chanel
Marilyn Monroe
Coco Chanel 1937
Lauren Hutton 1968
Cheryl Tiegs 1969
Ali MacGraw 1971
Catherine Deneuve 1976
Carole Bouquet 1987
Estella Warren 2001
Nicole Kidman 2004
756
Chanel style in the making.
They also applauded the stellar
performances of Audrey Tautou as
the determined, petit taureau noir
and Benot Poelvoorde who plays
the designers first lover, Etienne
Balsan.
Despite rave reviews in France
this past week, Fontaine's cinemat-
ic celebration of Coco Chanels
youth has attracted more than its
fair share of criticism abroad.
Several British newspapers led
the way, panning Fontaines film
for ignoring Chanels controversial
affair with a Nazi officer in Paris
during the Occupation. Coco
Before Chanel also had a run-in
with the transport authorities in
Paris who slapped a ban on posters
showing Audrey Tautou smoking.
This as part of her new role as the
"50-a day" designer, the depiction
of which authorities deemed
"unhealthy and inappropriate".
International screenings of
Coco Before Chanel with English
subtitles will follow later this year.
A second film, Coco & Igor, will be
shown at the Cannes film festival
next month, starring Marina Hands.
It is directed by William Friedkin
and tells the story of Chanel's love
affair with the Russian composer
Igor Stravinsky .
Audrey Tautou fans will also be
pleased to know that she'll feature
in the new Chanel N5 perfume ad,
directed by Jean-Pierre Jeunet (of
Amlie), due to be released on 5
May, no less than 88 years after
Coco Chanel launched her leg-
endary perfume.
The films release comes at a cru-
cial time for Frances century-old
fashion house where staff morale
hit a low at the end of last year
when Chanel announced it was
shedding 10 per cent of its work-
force. This is due to losses that
have been attributed to a steep
decline in sales of its luxury goods:
a trend which even the brands
timeless classically-cut tweed suits,
quilted handbags, and N5 perfume
failed to buck.
French daily Le Parisien report-
ed that "in the little world of luxury
goods, the news had the impact of a
bombshell," indicating peoples
surprise when they learned that
even Frances grandest fashion
house wasnt immune to the luxury
sales recession.
French director Anne
Fontaines costume drama on the
early life of Coco Chanel hit cine-
ma screens in France on 22 April.
French film critics lavished praise
on the films artistic quality and on
the "reverse elegance" of the cos-
tumes designed by Catherine
Leterrier, which illustrate the
757
by the pronunciation of
Schiaparelli, Ghesquire and many
others), and an iconic perfume
recognised the world over, and you
have the basis for a kind of immor-
tality.
Certainly, extravagant claims
have been made on Chanels
behalf, not least the sweeping judg-
ment of Diana Vreeland, high
priestess of 20th-century fashion
and editor in chief of American
Vogue in the 1960s. Chanel
invented the 20th century for
women is a claim more hyperbolic
than factual, but, like so much in
fashion, it is accepted without ques-
tion. She didnt, any more than she
invented the little black dress, the
other claim made on her behalf.
What Chanel did and I love her for
it was fight the establishment with
all the guerrilla tactics of a born
outsider. She hated authority and
hated those who wielded it in her
day, even more so than now, men.
To know why, we need to look at
her background.
Gabrielle Chanels illegitimate
birth in 1883, to a peasant family, is
shrouded in mystery. It seems like-
ly that she was born in Saumur, in
western France. When she was a
child, her mother died and her
father abandoned her to be brought
up by the nuns, with iron discipline
and frequent beatings. Strange and
farouche, Chanel never trusted a
man again, and hated all forms of
authority for the rest of her life. Yet,
although she hated to recall those
early days, they had a great effect
on her fashion thinking. She was
the first couturier to use mens fash-
ion and dress as the basis for wom-
enswear, and she chose the black
and white of the nuns habit to give
womens clothing an authority that
she remembered from her convent
days.
This was Chanel, however, a
woman so fatally scarred by her
early years that she could not resist
using fashion to avenge the lowly
position in which society had
placed her. Attracted to the upper
classes because they were the ones
who held the power in the first
decades of the 20th century, she
still couldnt resist pulling them
down. In the aftermath of the first
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/arti-
Like a baby in a pram, fashion is
always ready to throw away the old
toy for the prospect of some new
and shiny bauble dangled before it.
Thats why fashion reputations
soon fade and even the greatest
names become nothing but foot-
notes for academics. In fashion as
in everything else, however, the
bigger the noise, the longer its
echoes and, as in most areas of life,
the one who gets in first makes the
greatest impact.
Mystery surrounds the couturier
from her illegitimate birth in
Saumur through her depiction as
revolutionary and man-hater
Yet some survive by breaking
down the glass wall between fash-
ion and the real world to become
names known to all. In the 20th
century, there were three, Christian
Dior, Yves Saint Laurent and
Chanel and the most widely known
was Chanel, not because of what
she achieved, but because of what
she came to symbolise. Add to that
a name easily recognised, remem-
bered and pronounced (even now,
within fashion, many are stumped
758
world war, there was barely a fami-
ly in France or Britain that was not
in mourning. Women wore black,
often for several years. Chanel
found it boring. But she thought
back to the nuns, as well as noting
the dress of servants in the early
1920s, and decided that what was
needed to make black chic was
white at neck and cuffs. It also gave
her a frisson to dress the rich and
fashionable in the same way as
their servants.
Her class war continued with
the men. In a determined bid for
power, she became the mistress of
rich always rich and powerful
males able to set her up in business
and open all social doors. She used
them as they used her: as trophies
to attract more trophies. Much has
been written about her love affairs,
but Chanel remained silent on the
subject. There is no record of her
admitting to having any of them. I
believe that when her father aban-
doned her, he made it impossible
for her to love men, love being
based on the one thing she could
never give them: trust. But she
wore their clothes and adapted
them for women whether to
demean masculinity or to empower
women remains debatable.
It has been suggested many
times that Chanel was more at ease
with women than with men, but her
contempt for most of her sex, allied
to her vicious, uncompromising
tongue, terrified most women.
Again, she was attracted to power
rival, Patou, was ahead of her.
Coco Chanel was not always a
trailblazer, but this shrewd little
businesswoman had learnt a thing
or two on her climb to the top.
Above all, she understood the job,
which was to sell clothes. Unlike
other couturiers, she professed to
be happy when she saw cheap
copies of her clothes on the streets
of Paris. Having started at the bot-
tom of the social heap, she knew all
about dreams and the need for aspi-
rations. For her, the models who
paraded down her catwalk were as
important as the clothes because a
good model makes women in the
audience envious and this makes
them insecure, so they buy in order
to re-establish their self-esteem.
This was 60 years before Versace
invented supermodels in the form
of Kate Moss and Naomi
Campbell. Such prescience is
entirely typical of her unique com-
bination of earthy reality and
romantic dreams.
What did Chanel have that has
created a mania that shows no sign
of abating? Vreeland once
explained it to me: She understood
all women because she had been all
women. She despised men, yet she
loved men. She had been bullied
and shamed, and she bullied and
shamed in her own way. But, above
all, she wanted women to have the
freedom that men took as their own
right. That is why Chanels name
remains as strong as ever.
players. She was a close friend of
the socialite Misia Sert, who exer-
cised authority over the social,
artistic and fashionable world of
Paris throughout the 1920s. In her
last years, it was the independence
of American women who enjoyed
much more freedom than those in
Europe allied with their clean, fresh
fitness, that attracted her. She
adored the 1950s model Suzy
Parker, for example.
Was Chanel a lesbian? It has
been hinted at many times, but it
seems unlikely. But she was fond of
the world of male homosexuals, to
which Sert introduced her not
because they were gay but because
they were clever. Her high-profile
lovers, such as Boy Capel, the
Duke of Westminster and Grand
Duke Dmitri, had all inherited their
position and were generally consid-
ered rather limited, whereas
Cocteau, Dali and Diaghilev were
important for what they had
achieved. As a self-made woman,
Chanel always admired and envied
the achievements of others.
So, why has her name survived
where those of other designers,
equally important in her time, have
disappeared from current currency?
Was it because she was a woman?
Hardly: Paquin and Lanvin beat her
to that. A modernist? No: Poiret,
who released women from the
Edwardian constriction of corsets,
got there first. The fact that she put
women in informal casualwear?
No: her contemporary and detested
759
tion starring Audrey Tautou, and
last year both French films were
preceded by the American televi-
sion mini-series Coco Chanel, for
which Shirley MacLaine barked
and purred and received a Golden
Globe nomination.
It doesnt even stop there. Until
recently, there were at least two
other Chanel film projects on the
go. One was to be written and
directed by the French veteran
Danile Thompson, while an
American version was rumoured to
be starring that noted demi-
mondaine Demi Moore. (There will
also be a book on Chanel from
Justine Picardie in the autumn.) Not
all of these could possibly have
reached fruition; there will be no
Chanel film No 5, or, indeed, four.
But three finished dramas on one
woman, however celebrated, seems
excuse enough to ask the question:
what on earth is going on?
One possible answer is that these
are just London buses. Films some-
times come along in twos and
threes because film-makers often
think along uncannily similar lines.
Look at Truman Capote, the recent
subject of a pair of more or less
identical screenplays. And history
does have a habit of coughing up
figures who repeatedly stir the cre-
ative juices. This is usually because
theres an insoluble riddle at the
heart of their story. Take the
civilised Nazi Albert Speer, or the
tragic Indian mathematician
Ramanujan, or the vanishing
yachtsman Donald Crowhurst
dramatists keep coming back to the
well because, in each case, theres
no getting to the bottom.
It could be that Chanel belongs in
this gallery thanks to the distinctly
colourful company she kept. Her
brief dalliance with an aesthetic co-
revolutionary in Paris, in 1920, is
dramatised in Chanel & Stravinsky.
She was also pals with Cocteau,
Picasso and Chaplin, and spent the
war in occupied Paris under the
protection of a Nazi officer. It was
only thanks to her connections in
the highest reaches of the British
establishment that got her off the
hook, and only in the 1950s that she
dared return from Swiss exile.
Good material for a drama, surely?
news search google perfume
She glides on the arm of a tail-coat-
ed swain into an elegant belle
poque salon. Music swirls, eyes
swivel and no wonder. Her thin
black dress hugs a gamine frame, a
look of masculine confidence rests
on her face. Gabrielle Bonheur
Chanel, better known as Coco, is
making an entrance.
Fashion icon and designer is
to be played by both Anna
Mouglalis and Audrey Tautou
while Shirley MacLaine
took US TV role
Its not her only one today through
a crowded maze of extras, crew,
stylists and film-set gofers or,
indeed, on other days. Coco Chanel
is making a lot of entrances on film
at the moment. Last year, I visited
the set of Chanel & Stravinsky, five
minutes walk from the Gare du
Nord, to see the rising French star
Anna Mouglalis as Coco opposite
the Danish Bond villain Mads
Mikkelsen. However, this is just
one of three on-screen incarnations
of the distinguished designer. There
is also Coco Avant Chanel on the
way this summer, a lavish confec-
760
Well, yes, except that none of these
films goes anywhere near her war
record. Its not an easy slip to
explain in a heroine. The French
remain squeamish about stories that
shine a light on wartime collabora-
tion, but even the MacLaine mini-
series on the Lifetime Network,
with no French involvement, con-
trived not to mention the war.
The fascination of her early years
helps to explain Chanels appear-
ance on screen. It boils down to two
words: Edith Piaf. Marion
Cotillards Oscar-winning turn in
2007s La Vie en Rose opened the
idea of a biopic in France,
explains Anne Fontaine, director
and co-writer of Coco Avant
Chanel. The biopic is not a very
French tradition, but Chanel is one
of the best-known French figures in
the world, and I was astonished
someone hadnt done a film on her
before.
As dramatised in Coco Avant
Chanel, the designer, like Piaf, had
a troubled youth, out of which she
battled by sheer force of personali-
ty. Her mother died when she was
12, her father disappeared to
America in search of work, and she
spent the next seven years in an
orphanage run by nuns. As with La
Vie en Rose, the film will shine a
bright light onto a past the facts of
which are not widely known.
Edmonde Charles-Rouxs biogra-
phy, the bible of Chanel studies,
explained how the facts of her
youth were blurred by a clerical
film is based. Both book and
screenplay pinpoint 1920 as the
year of Chanels efflorescence and
attribute it in part to the influence
of Stravinskys guiding revolution-
ary spirit. Designers were second-
class citizens for a long time,
Greenhalgh explains. In the novel
and the screenplay, when
Stravinsky and Chanel have a fight,
she says, Im just as smart as you.
And as much of an artist. He says,
Youre not an artist, Coco. Youre
a shopkeeper. Its perhaps a reflec-
tion of the increasing power and
significance of women that were
finally appreciating what she did
for them.
Greenhalghs 2002 novel was not
the first effort to put the story of
Chanels liberation of women from
the corset at the heart of a fiction.
Before her death in 1971, Chanel
was able to witness her transmogri-
fication into a musical. Alan Jay
Lerner and Andr Previn collabo-
rated on Coco in 1969. Chanel was
delighted to discover she would be
played by a Hepburn; less so when
she found out she would be embod-
ied not, as she assumed, by the
clotheshorse Audrey but by the bat-
tle-axe Katharine. The show ran on
Broadway for more than 300 per-
formances. If Chanel goes on to
prosper in the cinema, dont back
against the musical making a return
(like Pam Gemss Piaf, recently
revived).
There was a ring of truth to the
casting of the less sylphlike
error at her birth in 1883, when a
clerk was left to guess that her sur-
name was spelt Chasnel. But
Chanel also abetted in the creation
of her own myth by changing her
birth date to 1893.
Although the nuns taught her to
sew, it was the stage that originally
attracted her. Like Piaf, she picked
up a nickname there, from singing
Ko Ko Ri Ko. Coco Avant Chanel
concentrates on the two affairs that
changed her destiny. The first was
with Etienne Balsan, a rich aristo-
crat in whose chateau, explains
Fontaine, she discovers how privi-
leged women of the era dress, and
where she invents the very practical
clothes that come from riding on
horses and running in the fields.
She then fell in love with the young
English blade Boy Capel, who
supported her early in her career
but whom she refused to marry
until she could pay off her debts to
him. As the film hints, her dedica-
tion to her career would leave no
room for marriage or children.
Capel, who married an English
aristocrat and broke her heart,
before dying in 1919, also appears
at the start of Chanel & Stravinsky,
when the heroine attends her first
classical concert. It just happens to
be the riotous premiere of Le Sacre
du Printemps in 1913. The idea that
Chanel could claim equal billing
with classical musics first great
iconoclastic modernist was first
posited by Chris Greenhalgh in his
novel Coco and Igor, on which the
761
Hepburn. The consensus is that
Chanel had the hide of a rhinocer-
os. She was tough and quite cold,
says Jan Kounen, the director of
Chanel & Stravinsky. She was a
bit of a tyrant, says Mouglalis.
She built an empire at a time when
women were not working at all.
She was a fighter all her life. She
was angry about centuries of lack
of education for girls and wanted to
change that. I think she hated
women, because she wanted things
to change quickly and women were
going for the dresses, not the way
of life.
Rake-thin and with the baritone
voice of a seasoned smoker,
Mouglalis is ideal casting. They
obviously thought so at the
Lifetime Network, because she was
offered the part of the young Coco
for the mini-series before it went to
the Slovak actress Barbora
Bobulova. For her part, Fontaine
was not prepared to proceed with
Coco Avant Chanel until she found
the right actress. If I hadnt had
Audrey Tautou, I dont think I
would have developed the project
because I needed an ideal inter-
preter to play Chanel. You cant
imitate her. You have to have the
bodily proportions. If shes too big,
it wont work. If shes too round, it
wont work, either.
In the spirit of pre-match sparring,
Coco Avant Chanels publicity
campaign is putting it about that its
film is the one officially recognised
by the House of Chanel. In reality,
Karl Lagerfeld, chief designer of
Chanel since 1983, has looked sup-
portively on both productions, sup-
plying access to designs and draw-
ings (though not much exists from
1920). His recent collection opened
with a short black-and-white silent
film called Paris-Moscou: the
houses connection with Russian
culture is clearly not one he repudi-
ates. Just dont expect him to pro-
duce a film entitled Paris-Berlin.
However many times they drama-
tise the life of Coco Chanel, some
things remain unsayable.
762
and then mysteriously released.
Previously, I'd seen it men-
tioned that Chanel had survived the
war rather comfortably at the Paris
Ritz in the arms of a Nazi officer,
Hans Gunther von Dincklage, and
then gone into exile in Switzerland
with him, but a few hours spent in
the library revealed that she was far
more deeply involved with the
Germans than that. There was even
a (somewhat ridiculous) Nazi plot,
using Chanel as bait, called
Operation Modelhut.
Related Links
None of this will be discussed,
of course, in two upcoming biogra-
phical films: Coco Avant Chanel,
starring Audrey Tautou, and Coco
Anna Mouglalis, about Chanel's
relationship with the Russian com-
poser. Nor was it detailed in a
Chanel television mini-series with
Shirley MacLaine last year, or in
the 1981 film Chanel Solitaire.
With commercial good sense, all
films avoid the German invasion of
Paris and Chanel's collaboration.
It's a case of Don't Mention The
War!
Time heals, but sometimes it's
worth opening the wound again
when a reputation suddenly appears
to be sanitised. While Chanel's
Roux, says her style genius con-
sisted in being incorruptibly sober
and pure, her life was less clean-
cut. Paris during the occupation
was a compromising and uncom-
fortable place for other artists and
writers, who tended to keep their
heads down: Oh, I am not looking
for risks to take, said Picasso, her
friend, but in a sort of passive way
I do not care to yield to either force
or terror.
Edith Piaf sang in nightclubs
for the Nazis. Jean-Paul Sartre said:
Everything we did was equivocal.
We never quite knew whether we
were doing right or wrong. A subtle
poison corrupted even our best
actions.
But Chanel was unequivocal.
She decided to place herself snugly
in the enemy's bosom, conveniently
near to her shop. After the Paris
As we gear up for cultural
Chanel-mania this summer with
two hagiographic films about the
designer, a new biography and the
sound of slavering from glossy
magazines, it is worth pausing to
investigate Coco Chanel's whole-
sale and retail involvement with the
Nazis.
Why is Coco Chanel getting a
free pass on her collaboration
with the Nazis? Her past was
deeply compromised
The world's greatest fashionista
may have rescued women from the
corset, but she did not have a good
war. When shoppers swoon over
the iconic quilted handbag with the
CC logo, most are unaware that
Chanel once went to Berlin to plot
with Walter Schellenberg, who
wore his Waffen SS logo as Hitler's
Perhaps Chanel-lovers also
have no idea that she tried to wrest
control of her perfume manufactur-
ing from a Jewish family, taking
advantage of pro-Aryan laws. Or
that she was arrested for war crimes
763
invasion she fled to the country, but
returned a year later to demand
back her room at the Ritz, which
had been commandeered by the
Germans. There, aged 56, she
shacked up with von Dincklage, a
German playboy officer 13 years
her junior, who may have been a
spy and was known frivolously as
Spatz or sparrow.
Whatever his role, von
Dincklage's coterie brought Chanel
into high Nazi circles, yet she
remains inexplicably untarnished,
unlike Unity Mitford and Diana
Mosley. It's hard to tell what the
intentions of Operation Modelhut
were, but they included the peculiar
idea that one of Chanel's friends,
who knew Churchill well, would
pass a letter from her suggesting
that there should be secret negotia-
tions to end the war. Chanel who
had met Churchill once or twice at
social events - obviously saw her-
self as a heroic figure in this.
Schellenberg was interrogated
by the British after the war con-
cerning the visit in 1943 from Frau
Chanel, a French subject and pro-
prietress of the noted perfume fac-
tory. According to the transcript:
This woman was referred to as a
person Churchill knew sufficiently
to undertake political negations
with him, as an enemy of Russia
and as desirous of helping France
and Germany whose destinies she
believed to be closely linked
together. Operation Modelhut fell
apart, and the mutual friend of
those bags and little black dresses.
Sales grew, Chanel was rehabilitat-
ed, and history faded away. Now
she is merely a brand in Karl
Lagerfeld's hands.
In his fascinating book, The
Shameful Peace, Frederic Spotts
notes that the occupation was mer-
ciless in exposing character. Keep
that in mind or, if you do go to the
Chanel films this summer, turn off
your mobile phones, forget
Chanel's compromised past and
enjoy the show.
Churchill and Chanel denounced
her as a German agent.
It seems to me that Chanel bent
to the times, always intent on sur-
vival. The French call this Systme
D, or systme dbrouillard, which
means getting round the rules
somehow. As Charles-Roux notes,
playing refugee was not her style,
hence Chanel's move to the Nazi-
infested Ritz. Who else could
afford to buy her perfume? Later,
when the law banned Jews from
owning companies, she tried to
depose the Wertheimer family who
manufactured her scents. And
towards the end of the war, as the
Germans looked less than victori-
ous, Chanel revived her largely
imaginary friendship with
Churchill.
After the war, thousands of the
collaboratrices horizontales sexual
collaborators had their hair shorn in
public humiliations, yet Chanel was
arrested and soon released, though
no one knows exactly who among
the Allies protected her. Was it her
connection with the Duke of
Westminster? There's no proof,
except that Chanel and her perfume
royalties went into exile in
Switzerland for a decade, because
she was most definitely not wanted
at home.
Chanel made a comeback in
1956. The French papers panned
her collection as old hat: she was
not forgiven. But across the
Atlantic, the Americans just loved
764
peak.
The new commercial couldn't
be more different from Luhrmann's
all-singing, all-dancing extravagan-
za and that is nothing if not a sign
of the times. The high-camp nostal-
gia and movie-star glamour that its
predecessor depicted would seem
rather too ostentatious and too
obviously escapist, perhaps in the
current climate.
Despite the apparently intimate
nature of Jeunet's offering, howev-
er, it remains what might not unrea-
sonably be described as a mega-
production. A crew of 25 people
reportedly worked on it for three
weeks last May, filming every-
where from Paris to Limoges and,
of course, Turkey. "Even in the
world of advertising, it can be said
that the house of Chanel works in
an unparalleled level of comfort,"
Jeunet told a fashion trade paper
earlier this year.
It is safe to assume, given the
status of the brand in question, that
the company's motives are far from
altruistic. It's no secret that it is the
T
HERE ARE "MUSES" AND THEN
THERE ARE "FACES". The differ-
ences between the two are subtle
but manifold. A muse is principally
a cost-free affair, based on friend-
ship more often than not. A face,
on the other hand, is a high-earner,
likely to secure many millions for
any services required.
Although the figure was never
disclosed it's simply bad manners
in circles like these to talk about
such things it is estimated that
Nicole Kidman was paid upwards
of $4 million (and some put the
figure as high as $12) when she
agreed to become the face of the
world's most famous fragrance,
Chanel No 5.
This month, and after no less
than five years, she will be replaced
by French-born Audrey Tautou.
The fruits of this most recent sign-
ing, a short film directed by Jean-
Pierre Jeunet, who cast Tautou as
the lead in both Amelie and A Very
Long Engagement, goes online this
Tuesday.
The date of the campaign's
release is a symbolic one: 5 May
2009 is 88 years to the day since
No 5 was introduced. Chanel is big
on symbolism, as anyone who fol-
lows the fortunes of the iconic
French brand will be quick to testi-
fy. Whatever, No 5 went on to
become the world's bestselling fra-
grance the powers that be at Chanel
claim that a product bearing its
name (be it in the form of scent,
soap or bath oil) is sold every six
seconds.
The forthcoming film depicts
the beautiful, doe-eyed and quin-
tessentially Gallic Tautou en route
from Paris to Istanbul aboard the
Orient Express, tantalisingly cross-
ing paths with the model Travis
Davenport. In its complete form, it
runs for around two-and-a-half
minutes but, as with the preceding
campaign in that instance, Ms
Kidman directed by Baz Luhrmann
there will also be a shorter, tele-
vised version. Expect any home
worth its TV licence to be positive-
ly bombarded where these are con-
cerned, particularly in the run-up to
Christmas when, for obvious rea-
sons, sales of fragrance reach their
765
fragrance division of any fashion
house that makes it a globally suc-
cessful phenomenon. And there are
few more globally successful phe-
nomenons in history than Chanel
No 5.
Neither is the choice of Tautou
as Kidman's successor in any way
random. Coco avant Chanel, the
long-awaited biopic of Gabrielle
"Coco" Chanel's life, directed by
Anne Fontaine, and starring the
gamine French actress, has just
been released in France. It will fol-
low worldwide later on in the year.
For her part, Tautou, who
claims to have turned down other
potentially lucrative campaigns,
has said: "I needed to have a con-
nection with the product."
The powers that be at Chanel,
however, insist that, whether the
film is the hit it is expected to be or
not, that is not the reason behind
Tautou's employment. "There's no
marketing move behind it,"
Chanel's president of fragrance and
beauty, Andrea d'Avack, claims,
pointing out that another movie,
Coco Chanel and Igor Stravinsky,
this time directed by Jan Kounen
and to be released in the autumn, is
also in the pipeline. "I personally
believe there are things in l'air du
temps. There is a general interest
for Coco Chanel."
Whichever way one chooses to
look at it, this is a brand which has
always had its finger firmly on the
her new-found grandeur in a suite
at the Paris Ritz.
3. Marilyn Monroe, 1960
When asked by an interviewer
in 1954 what she wore in bed,
Marilyn Monroe answered "a few
drops of Chanel No 5". Though
with this one sentence she probably
cemented its reputation as the most
desirable fragrance in the world,
she was paid not a penny for the
endorsement and was never offi-
cially the face of the scent.
4. Ali McGraw, 1966
While the power of celebrity
endorsement was by this time a
recognised commodity, this picture
of the young actress Ali MacGraw
was in fact taken a good four years
before she attained superstar status
for her role in 'Love Story'. This
campaign was a departure because
MacGraw is American, reflecting
No 5's by now global appeal, but
also because her childlike beauty
was nothing if not testimony to the
thinking of the age.
5. Catherine Deneuve, 1972
Although the great French
actress might seem like the most
obvious choice in the world, her
employment as the face of Chanel
No 5 was actually considered a risk
at the time. She was best known for
the 1968 Luis Bunuel art film,
'Belle de Jour', for which she was
dressed not by Chanel but by Yves
pulse where selecting the woman
who might best represent its prod-
uct is concerned. From Ali
MacGraw pre-Love Story to
Catherine Deneuve and, more
recently, from Kate Moss to Keira
Knightley, Chanel has consistently
selected its faces extremely careful-
ly, safe in the knowledge that the
right woman or indeed man will
prove to be worth far more than
their weight in gold.
A lot of bottle: The many faces of
Chanel
1. Coco Chanel, 1921
The first ever commercial for
Chanel No 5 was an illustration
depicting the couturier herself.
Compared to today's big-budget
campaigns, it may seem almost
whimsical. It was executed by the
Parisian caricaturist of his age,
Sem, and showed Mademoiselle in
all her slim-hipped, pioneeringly
androgynous glory gazing up to the
heavens in apparent rapture at a
bottle of Chanel No 5.
2. Coco Chanel, 1937 Gabrielle
Chanel
By this time the golden age of
photography had dawned. This pic-
ture was shot by Francois Kollar,
famed for his often surrealistic
style, as seen most prolifically in
the pages of 'Harper's Bazaar' mag-
azine. Again, Gabrielle Chanel her-
self is the subject, now at the height
of her fame and photographed in all
766
Saint Laurent, and she was still
barely known outside France. Even
so, her icy and highly sophisticated
beauty was the perfect fit with the
scent.
6. Carole Bouquet, 1986
Bunuel also captured the
extraordinary beauty of Carole
Bouquet, this time in 'That Obscure
Object Of Desire'. Unlike Deneuve,
however, five years prior to signing
with Chanel, Bouquet had shot to
international fame as the Bond girl,
playing alongside Roger Moore in
the 1981 film, 'For Your Eyes
Only'. The former wife of Gerard
Depardieu, Bouquet is perhaps the
ultimate ultra-chic Parisian beauty.
What more, then, could an ultra-
chic Parisian brand wish for?
7. Vanessa Paradis, 1991
Hardly the most emancipated
image of womanhood, this cam-
paign for the not quite so classic (at
the time) fragrance, Coco, featured
Vanessa Paradis shot by Jean-Paul
Goude dressed in almost nothing
but feathers and twittering merrily
in a gilded cage apparently inspired
by one Mlle Chanel had in her own
apartment.
8. Inspired by Andy Warhol, 1997
It is nothing if not testimony to
Chanel No 5's iconic status that, in
the 1950s, the transparent beauty of
its bottle was immortalised by
Andy Warhol. Never a company to
modesty. The current face of Coco
Mademoiselle, hers is a rather more
fresh-faced image than Ms Moss's.
miss a trick, almost half a century
later Chanel bought the rights to
use the work to advertise the scent.
In this instance, the focus is on the
product itself rather than a woman.
9. Kate Moss, 2003
Perhaps the most mainstream
choice of them all, Kate Moss was
the perfect face to represent the
younger fragrance, Coco
Mademoiselle, giving it a London-
girl edge that no other actress or
model could rival. In 2005 and fol-
lowing the infamous 'Mirror'
expos of her drug-taking habits,
Moss's contract wasn't renewed,
although Chanel always insisted
there was no link between the two
events.
10. Nicole Kidman, 2004
The face of No 5 for half a decade,
Kidman is rumoured to have
received between $4m and $12m
for her services. As well as shoot-
ing a film with the 'Moulin Rouge'
director Baz Luhrmann, plus a print
campaign, she went so far as to
make an appearance on the Chanel
catwalk in the very black velvet
gown she's photographed in here.
11. Keira Knightley, 2007
Speculation was rife as to
whether this image of the boyish
Ms Knightley had been enhanced
she is not, after all, famous for her
curves, here proudly on display
with only a bowler hat to hide her
767
T
HERES SOMETHING UNSETTLING
ABOUT SEEING AUDREY
TAUTOU, because she looks uncan-
nily like the designer Coco Chanel.
Not that I ever met Mademoiselle
(as she was known to her staff
throughout her career), for she died
in 1971, at the age of 87.
She charmed us all as the
ingenue in Amelie, but
Audrey Tatou's new role,
playing the fashion legend
Coco Chanel,
is far more complex and mys-
terious
But here I am, on a spring after-
noon in Paris, in the glittering suite
of a palace hotel, trying not to stare
at Tautou, having just watched her
in two different incarnations of
Chanel: the heroine of Anne
Fontaines film Coco avant Chanel,
and the new face of Chanel No 5, a
perfume that has come to represent
the woman who launched it, in
1922, as well as the millions of
women around the world who feel
it to be their own.
What I recognise of Chanel in
myself is a strong spirit, intelli-
gence and pride, says Tautou
which is doubtless true, but their
physical resemblance is also
instantly evident. Ive spent
months in historical archives,
searching out photographs to illus-
trate the Chanel biography I am
writing, and both women have a
similarly powerful presence,
despite their slightness of stature
(Tautou is 5ft 3in, and as slender as
Chanel), with high cheekbones and
porcelain pale skin, bobbed hair
and dark eyes. They are the epito-
me of chic Parisians, but come
from the same rural region of
France Auvergne, several hundred
miles south of the capital city. Its
the centre of France, the heart of
the country, far from the sea, and
very isolated, with volcanic moun-
tains, says Tautou.
Theres something about the
landscape that makes the
Auvergnat strong-minded. She
had a more stable childhood than
Chanel: Coco (born Gabrielle) was
the daughter of an itinerant pedlar,
who abandoned her and her two
sisters in an orphanage after their
mother died; Tautou, the eldest of
four children, was brought up by
both parents (her father is a dental
surgeon, her mother a teacher). But
as Tautou speaks, I am reminded of
Colettes description of Chanel in
1932 as a little black bull, her
despotic eyebrows, arched above
eyes the colour of granite. You
can see the same determination in
Tautous face, when she flashes a
look that says, Dont mess with
me.
No wonder, then, that the house
of Chanel should have chosen her
for its latest No 5 commercial, to be
launched on Tuesday the fifth day
of the fifth month, in accordance
with Mademoiselle Chanels super-
stitious attachment to her lucky
number. Directed by Jean-Pierre
Jeunet, who worked with Tautou on
Amlie, it was filmed on the Orient
Express, from Paris to Istanbul, and
features a romance between two
travellers: a handsome young man
(played by the American model
Travis Davenport) falls for gor-
geous Audrey, and traces her by her
scent.
768
Tautous role is that of an elu-
sive mystery woman, and she plays
a similar game in interviews, as
Chanel used to do. Neither dis-
cussed their love life. Tautou has
never confirmed the speculation
that she is involved with Lance
Mazmanian, a writer. And she
proves herself equally adept at side-
stepping questions about the previ-
ous faces of No 5, who include
Marilyn Monroe, Catherine
Deneuve and, most recently, Nicole
Kidman. For me, Chanel No 5 is a
legend in itself, she says. You can
wear it, offer it as a gift and share it,
but it transcends all the women who
have embodied the fragrance before
me. Instead, Tautou concentrates
on her link with Chanel. I dont
compare myself with these great
actresses, I dont see myself as part
of their lineage. I feel closer to the
fragrance itself, its history and even
Coco Chanel.
The history of No 5 is inextri-
cably woven into the narrative of
Chanels life, the details of which
she told and retold in a number of
different and intriguing ways. The
truth if there can be such a thing in
a designer who understood the
power of the looking glass, of dou-
bling and multiplying reflections in
a succession of artfully placed mir-
rors is being reshaped again, in
Coco avant Chanel. But the outline
of the story goes something like
this.
In the early 1920s, Chanel met
Ernest Beaux, an expert perfumer
unforgettable memories that can
suddenly appear from nowhere,
like a gust of wind hitting your
face. Thus No 5 reminds her of
herself as a small child, in her
aunts house. She had placed her
bottle on a shelf, and at the time it
seemed enormous to me. Even
then, it symbolised luxury, refine-
ment and mystery. I used to tell
myself that every spray of the fra-
grance was the height of luxury.
Touching her aunts bottle was
strictly forbidden, and even now,
she says, she wears her perfume
like a secret.
That might seem implausible
given her high-profile association
with a vast global brand, but in this,
as in other matters, Audrey Tautou
speaks in a manner suggestive of
Coco Chanel. For although Chanel
became an instantly recognisable
label in her own lifetime, she also
remained an intensely private
women, intent on keeping a great
many secrets to herself. Justine
Picardies biography of Coco
Chanel will be published by
HarperCollins this autumn
who had set up a laboratory in
Grasse, in the south of France. She
asked him to create a perfume
such as never before been made
unlike any of the heavy, floral for-
mulas fashionable at the time and
Beaux came up with 10 different
samples. Chanel chose the fifth bot-
tle, pronouncing it to be the perfect
blend, a womans perfume, with a
womans scent, and naming it
Number Five my lucky number. It
will be Chanel No 5.
Tautou doesnt attach quite the
same importance as Chanel did to
numbers. (Chanel based many of
her designs on fives, along with
other signifiers in her much-dupli-
cated iconography No 19, for
example, denoted her birthday on
August 19.) But Tautou does tell
the following anecdote: I can be a
bit of a fetishist. The day it was
announced that I was the new face
of Chanel No 5, on May 5 the fifth
of the fifth I was in New York. The
number of my hotel room was 555.
Nobody had asked for that number
in particular I just went into the
room that had been allocated to me.
And I said to myself that it was
very strange.
Despite the overlapping coinci-
dences and similarities, Tautou
doesnt agree with Chanels maxim
of A woman who doesnt wear
perfume has no future, but she is
clearly aware of the seductive
power of fragrance, and its poten-
tial to evoke memory, as well as
desire. You have this store of
769
Her perfume was to be 'un par-
fum de femme, lodeur de femme
(the scent/smell of a woman). And
while it could be floral, it was to be
a synthetic composition that was
not like anything else. Beaux
acknowledged that any scent that
represented the couturier should be
pioneering Chanel had, after all,
changed the face of fashion with
her simple alternative to the decora-
tive Edwardian wardrobe; so she
would expect a scent that broke
boundaries.
Having experimented with
aldehydes, synthetic floral notes as
other perfumers had been doing
since the 19th century Beaux knew
they would make a perfect top note,
as they give an abstract impression
of flowers. When you smell No 5
you dont just get a hit of rose or
another exact aroma, you smell a
figurative floral composition; but
the genius of it is you know that
rose is in there somewhere. It is this
'mysterious sensation, as
Christopher Sheldrake, Chanels
director of research and develop-
ment, describes it, that is part of No
5s allure. He maintains its endur-
C
ERTAIN SCENTS HAVE HAD THEIR
MOMENTS: Yves Saint Laurent
Rive Gauche is emblematic of the
1970s; Obsession, by Calvin Klein,
the 1980s. But no fragrance engen-
ders total recall like Chanel No 5.
We know the box. We know the
bottle. We know the scent. And in a
business where 600 new perfumes
hit the beauty counters each year,
this is no mean feat.
Launched in 1921, Chanel No
5 remains the most coveted
perfume on the market, its
position still unchallenged
nearly nine decades later.
In perfumery, No 5 is affection-
ately known as le monstre a bottle
of it is sold every 55 seconds some-
where in the world. That said, the
scent is impossible to summarise in
a note. 'Powdery and 'vanilla-y
are as close as most get to a
description. Chandler Burr, the
New York Times perfume critic,
describes it conceptually (and bril-
liantly) as 'like a bank of hot
searchlights washing the powdered
stars at a movie premiere in Cannes
on a dry summer night. But that
still doesnt capture the actual
smell. And the reason this is so
hard to do is that No 5 is an abstract
scent, the worlds first. Before it
most women wore single-note flo-
rals (rose, violet and gardenia), tra-
ditional smells in whimsical bottles
that Coco Chanel felt did nothing
to promote the fragrance inside. In
fact she was dismissive about per-
fume altogether, believing it to be
nothing more than a slightly repug-
nant mask for body odour. Then
she met the nose Ernest Beaux.
They were introduced by her
lover, the Grand Duke Dmitri
Pavlovich. Beaux had been a per-
fumer to the Russian court and, like
Pavlovich (who had played a part
in the murder of Rasputin), he now
lived in exile in Biarritz. He was
already an accomplished nose his
creations included a cologne,
Bouquet de Napoleon, and the
mysterious Bouquet de Catherine
and he liked to experiment.
Inspired by this, Mademoiselle
Chanel commissioned him, recog-
nising the potential to reinvent
scent, just as she had womens
fashion.
770
ing appeal is down to 'an enormous
amount of good taste and good luck
on the part of Chanel and Beaux.
Beaux was the first to stabilise
the aldehydic molecules in scent;
and, as he found, as well as giving
perfume an elusive quality they
brought the real notes alive and
made them sing. He said the impact
they had on No 5 was like 'lemon
juice on strawberries the 'straw-
berries being principally the per-
fumes heart notes May rose and
jasmine. To the aldehydic top note
Beaux also added ylang ylang from
the Comoro Islands and neroli, and
No5s base notes sandalwood and
Bourbon vanilla.
The name (said to have been
chosen because it was the fifth sam-
ple Beaux presented to Chanel, and
which she knew would be timeless
because a number needs no transla-
tion), and the simple bottle, a bril-
liant foil to the fanciful ones around
it and tweaked only slightly since it
was first designed, are recognisable
parts of contemporary culture.
Andy Warhol made No 5 a subject
for one of his screen prints, which
Chanel reproduced as a limited-edi-
tion box in 1982 a resourcefulness
visible throughout No 5s exis-
tence.
Great pains have been taken to
ensure that No 5 smells the same
now as it did when it launched in
1921, not the norm in contempo-
rary perfumery. Many classics have
been 'edited in the name of moder-
nity fixed when they were not bro-
ken forever losing what made them
magnificent. Not No 5. While
Chanel has created new interpreta-
tions of No 5 to meet changes in
fashion and habits most recently, in
2008, the lighter No 5 Eau
Premire by Jacques Polge no
adjustments have been made to the
original (the rose extract is still har-
vested by the same family farm that
Chanel bought to maintain aroma
continuity).
This week (on May 5, the day
No 5 debuted in 1921), the nlatest
inventive campaign a romantic film
directed by Jean-Pierre Jeunet and
starring Audrey Tautou was
released online (Tautou is also star-
ring as Coco Chanel in the forth-
coming film of Chanels life). Stills
of the three-minute ad had been
popping up on networking sites
such as Bebo weeks before the
launch, but Chanel went with the
flow, acknowledging that it intro-
duces No 5 to an audience and per-
haps a younger one.
Smart, but not surprising, given
how No 5 has always led the way,
reinventing itself through the world
it rules like a queen bee. It is quite
a performance, and the show gets
better and better.
771
pearls, sailor stripes and little black
dress and elevated simplicity to the
height of luxury. She was the only
designer to be named on Time mag-
azine's 100 most influential people
of the 20th century.
At Paris Fashion Week, pub-
lisher Jefferson Hack threw a party
in "Coco's" private apartment, in
the Rue Cambon. The first floor of
the Chanel boutique downstairs
was turned into a bar and dance
floor.
As Lagerfeld chatted upstairs,
in Mme Chanel's dining room, with
Moss and Jamie Hince, on the floor
below, Stefano Pilati danced up a
storm with Milla Jovovich and the
International Herald Tribune's Suzy
Menkes.
According to British writer
Chris Greenhalgh, whose novel
was made into the film Coco
Chanel & Igor Stravinsky, her life
was always destined for the biopic.
"There had been a film on
Marie Antoinette, about Edith Piaf,
about Joan of Arc... so she was
http://www.thisislondon.co.uk/fashion/article-23688744-
S
HE LIBERATED WOMEN FROM THE
CORSET. Her friends included
Cocteau, Picasso and Chaplin. She
had a love affair with Russian com-
poser Igor Stravinsky. No wonder
Coco Chanel (1883-1971) is the
muse for the coolest names in fash-
ion - from Kate Moss and Jefferson
Hack to Nicole Kidman.
When news broke last week
that English National Ballet
dancers will wear Chanel haute
couture for a special production to
celebrate the centenary of the influ-
ential troupe Ballets Russes, it was
further evidence that the world has
gone Coco mad.
Chanel's visionary creative
director, Karl Lagerfeld key to its
eternal modernity - has designed a
series of outfits for the production
at Sadler's Wells in June, including
a tulle dress studded with camellias
(Coco Chanel's favourite flower).
You can't step out of doors
without encountering Chanel's face
on billboards all iconic bobbed
hair, high cheekbones and porce-
lain skin. Two rival films about her
life are set to open.
Coco Avant Chanel, starring
French actress Audrey Tautou,
looks at her early life. Later this
month, Coco Chanel & Igor
Stravinsky, with rising French star
Anna Mouglalis as Coco, will take
the prestigious closing slot at
Cannes.
On top of this, Tautou is the
new face of Chanel No 5. The
advert, which first screened last
week (directed by Jean-Pierre
Jeunet, who worked with Tautou on
Amlie), is set on the Orient
Express and features a romance
between two travellers.
And this autumn HarperCollins
publishes a new biography, simply
titled Coco Chanel, by Justine
Picardie.
So why does she haunt us still?
Rake-thin, cigarette eternally in
hand, Chanel embodied modernist
chic.
She gave us a look both con-
temporary and classic suntans, fake
772
next. But obviously she had a rags
to riches story, so there's a
Cinderella element. She was an
orphan, went to a free school and a
convent, and basically by a mixture
of luck and hard work, she made it.
"But mixed in with the fairytale
there's a tragic element. She was in
love with several men who died on
her; the love of her life married an
aristocrat, because she wasn't high-
born enough. The Duke of
Westminster she was in love with
him but she wouldn't give up her
work.
"So she was an independent
woman, a trailblazer but the
tragedy is she never married even
though she was desperate to have
children. And then there's her art-
work. To produce classics in one
genre is astonishing, in terms of her
clothes and her black and white
designs, but to do it as well with
perfume, is doubly amazing. She
was a tremendously shrewd busi-
nesswoman but she was also a gen-
uine artist."
Liz Walker, fashion consultant
for Marie Claire, agrees: "She was
immensely stylish. There was also
something a bit naughty about her.
"Her life was quite exciting -
living at the Ritz, the jewels, the
fabulous houses. But she was a
visionary. If you look back at pic-
tures, it was amazing how early she
wore trousers, while people around
her were in Edwardian clothes."
In 1969 her life become a
Broadway musical Coco. Chanel
was delighted to discover she
would be played by a Hepburn; less
so when she found out it wasn't
clotheshorse Audrey but Katharine.
Chanel died aged 87 at the Ritz, and
was buried in Switzerland but her
style lives on in a new generation of
Chanel-maniacs.
Fashion icons such as Ines de la
Fressange and Lady Amanda
Harlech have proved you can wear
a Chanel jacket with jeans, while
actresses from Catherine Deneuve
and Keira Knightley to Tautou
queue up to be the face of Chanel
No 5.
But will fashion's grande dame
be embraced by the children of the
Noughties? I should Coco.
Coco Chanel & Igor Stravinsky
closes Cannes on 24 May.
Liz Walker will be discussing the
life of Coco Chanel at a Searcy's
Club lunch at 30 Pavilion Road,
SW1 on 28 May (tickets 49.50,
including lunch. Call 0207 823
9212)
In 1913, Chanel introduced
women's sportswear at her new
boutique in Deauville. She ushered
in a "new breed" of self-confident
women who played sport, drove
and went to nightclubs.
"I gave women a sense of free-
dom; I gave them back their bodies:
bodies that were drenched in sweat,
due to fashion's finery, lace,
corsets, underclothes, padding,"
she boasted.
She designed costumes for the
Ballet Russes and launched her fra-
grance, Chanel No. 5, in 1921 (the
first to have a designer's name
attached to it). But Mademoiselle
(as she was known to her staff)
could be tough and quite cold.
"Fashion design was seen as a
second-class artform," says
Greenhalgh. "She wasn't seen as
part of high society, she was seen as
a dressmaker. Her life was one long
determined effort to prove she was
someone to be reckoned with."
In 1954, after a period of exile
following Second World War, Coco
returned to Paris and to a different
fashion audience. The French
papers panned her new collection.
But the Americans loved those
quilted bags and little black dress-
es.
She reinvented the classic
Chanel suit and enjoyed a huge
resurgence, helped by Jackie
Kennedy's patronage.
773
Cologne is an alcohol-water based
perfume solution containing a 3%
perfume compound, which is dif-
ferent from the Men's Cologne, typ-
ically with 5%-8% perfume com-
pound.
Eau de Toilette:
Alcohol- or water-based perfume
solution containing 6%-15% per-
fume compound.
Eau de Parfum:
Alcohol-based perfume solution
containing 15%-25% perfume
compound.
Parfum:
Alcohol-based perfume solution
containing 20%-50% perfume
compound.
A rule of thumb is that the higher
the perfume compound, the
stronger and the more long-wearing
it is. Of course, the price goes up
along with strength. So, as far as
making fragrance choices goes, one
normally might decide between an
EDT and an EDP based on either
the price tag or lasting power.
However, with fragrances being
fragrances, it's not always that sim-
ple. Keep in mind that some scents
have great variations in the formu-
las found in these different
strengths.
Luca Turin, the gold standard for
fragrance reviewers, claims in his
book "Perfumes: The Guide" (co-
written by Tania Sanchez) that in
the legendary Chanel No. 5 there is
an unexpected example of how the
variation in each formula affects
the composition. In this case, that
variation makes the EDT (from the
50's) a noticbly different fragrance
from the EDP (an 80's structure)
and, strangely, more similar to the
original Parfum (still the classic
1921 formula).
Of Chanel No.5 Eue de Parfum,
Turin states that "after the nice
aldehydic start and floral heart,
there are whiffs of polysantal.
There seems to be no point in buy-
ing this if you want the real thing".
Ouch! This is where fragrances get
personal. I, myself, am on Team
Often consumers are baffled by the
array of terminology used by the
fragrance industry. What does the
acronym EDP stand for? What does
the word "cologne" actually mean?
How are they different from one
another?
One of the fundamental things to
learn in the fragrance world is the
differences in potency among the
various formulas. It's not as rigidly
defined as, say, the alcohol indus-
try. The alcohol industry is regulat-
ed by US Bureau of Alcohol,
Tobacco, Firearms and Explosives
(ATF) and the Alcohol and Tobacco
Tax and Trade Bureau (TTB).
In the cosmetics industry, of which
fragrances are a category, the
Federal Trade Commission (FTC)
controls advertising while the Food
and Drug Administration (FDA)
controls ingredients. However, no
board or governing body actually
controls the definitions of fragrance
definitions by virtue of strength.
Instead, this is carved out of tradi-
tion and here is a rough guideline:
Eau de Cologne: Women's Eau de
774
EDP. Personally, I love the intense-
ly aldehydic smell of the EDP and
the way it lingers hours later and
still smells the same.
I agree with Turin that it is different
from the EDT and I like it better. So
be careful how you shop! The price
tag may affect your buying decision
but in the end it's how the fragrance
works on your skin that matters. Be
certain that you are selecting your
signature scent in the right strength
for your personal chemistry and it
will truly be yours.
Are you on Team EDT or Team
EDP?
Chanel No. 5 can be found in
departments stores throughout the
Metro DC area in Eau de Toilette,
Eau de Parfum, and Parfum,
$ 50.00 - $ 260.00.
775
anyone?), a fairly important event
that both films tactfully ignore.
Whats problematic about
Kounens script (written in collabo-
ration with Chris Greenhalgh,
whose book "Coco & Igor" was the
basis for the movie) is that by lim-
iting events to the affair but never
providing much in terms of back-
ground, development or meaning-
ful dialogue, the film makes it diffi-
cult to invest in all the goings-on in
and out of the bedroom. The fact
that both characters (but especially
Chanel) are depicted as first-rate
jerks who like to belittle their
friends and colleagues doesnt
make caring about them any easier.
The film nonetheless kicks off
with a promising, tour-de-force
sequence set during the 1913 Paris
premiere of Stravinskys legendary
modernist ballet, "Le Sacre du
printemps," which is considered
one of the great artistic scandales of
the 20th century. Captured in
swooping, chiaroscuro crane shots
by d.p. David Ungaro and niftily
cut together by editor Anny
Danche, the coverage glides from
A
WILD BUNCH DISTRIBUTION (
in France ) / Sony Pictures
Classics ( in U.S. ) release of a
Eurowide Film Production produc-
tion, in association with Hexagon
Pictures, Cinemage 3, with partici-
pation of Canal Plus, TPS Star,
Wild Bunch.
International sales:
Wild Bunch, Paris.) Produced
by Claudie Ossard, Chris Bolzli.
Co-producer, Veronika Zonabend.
Directed by Jan Kounen.
Screenplay, Kounen, Carol de
Boutiny, Chris Greenhalgh, based
on the book "Coco & Igor" by
Greenhalgh.
With:
Mads Mikkelsen, Anna
Mouglalis, Elena Morozova,
Natcha Lindinger, Grigori
Manoukov, Rasha Bukvic, Nicolas
Vaude, Anatole Taubman, Eric
Desmarestz, Clara Guelblum,
Maxime Danielou, Sophie Hasson,
Nikita Ponomarenko.
As its title promises, Gallic bio-
drama "Coco Chanel & Igor
Stravinsky" delivers an impressive
combo of sights and sounds in its
depiction of the brief, tumultuous
affair the two artists had in the
early 1920s. However, on a dramat-
ic level, Dutch-born helmer Jan
Kounens hyper-stylized, emotion-
ally vacuous film is like a pair of
designer pants that look great but
dont fit, or a rare vinyl recording
that keeps skipping at the best
parts. Coming in the wake of the
more genuine "Coco Before
Chanel," Cannes closer should
offer fewer returns for Sony
Classics, which acquired both titles
for U.S. release.
Kicking off where Anne
Fontaines film left off, but focus-
ing on an even shorter timeframe
during which Chanel (Anna
Mouglalis) became Stravinskys
(Mads Mikkelsen) artistic benefac-
tor as well as his lover, pic offers a
darker second chapter to the
designers long biography. All
thats missing to complete the trilo-
gy is a controversial account of her
affair with an SS officer and ties to
the Nazi regime ("Coco & Hitler,"
776
backstage to stage to the increas-
ingly rowdy audience, until the pro-
duction finishes with the lights on
and lots of unhappy customers.
Chanel is glimpsed admiring
the hijinks from her seat, and the
action soon cuts to seven years
later, when she runs into Stravinsky
at a flapper party and proposes to
set him up at her country estate for
financial reasons, though her true
intentions seem rather obvious. The
hiccup is that the musician also has
four pleasant children nd a loving,
ailing wife, Catherine (Elena
Morozova), who, like the audience,
spots the affair coming like a 10-
ton truck.
When that moment arrives, and
occupies the latter two-thirds of the
movie, the narrative grows both
repetitive and conventional, oscil-
lating between sex scenes, jealous-
wife scenes and uninspired scenes
in which an "inspired" Stravinsky
composes his "Symphonies for
Wind Instruments" and "Five Easy
Pieces" and Chanel develops her
infamous No. 5 perfume. While the
two never have much to discuss,
their lovemaking is handled with
much gloss and little inventiveness,
especially in a scene that has them
doing it, uh, on the composers
piano bench.
Given very little to work with
beyond visual cues, the thesps
function like powerful eye candy
with no distinctive flavor.
Mouglalis ("Nightcap"), an actual
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report inaccuracies in review cred-
its, please click here. We do not
currently list below-the-line credits,
although we hope to include them
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Your assistance is appreciated.
Chanel model since 2002, portrays
the designer (perhaps accurately) as
fashions first queen of mean, but
overdoes her scowl to annoying
effect. Mikkelsen ("Casino
Royale"), who looks here like a
younger, beefed-up Christopher
Walken, gives Stravinsky an
imposing physical presence that
makes it hard to believe hes a
musical genius.
Despite his dramatic failings,
Kounen ("99 Francs,"
"Doberman") does provide plenty
of robust visuals that are set to both
the composers awesome oeuvre
and to strong additional music by
Gabriel Yared. Handsome produc-
tion design by Marie-Helene
Sulmoni includes somber art-deco
interiors that convey the films
sense of stylized claustrophobia.
Camera:
(color, Panavision widescreen),
David Ungaro; editor, Anny
Danche; music, Gabriel Yared; pro-
duction designer, Marie-Helene
Sulmoni; costume designer,
Chattoune & Fab; sound (Dolby
Digital SRD), Vincent Tulli,
Raphael Sohier, Loic Prian; visual
effects supervisor, Rodolphe
Chabrier; choreography,
Dominique Brun; assistant director,
Dominique Delany; casting, Gigi
Akoka. Reviewed at Cannes Film
Festival (closer, noncompeting),
May 23, 2009. Running time: 118
MIN.
777
sensuality and passion evoked by
Chanel No.5 are an ideal fusion
mirrored by the passion and attrac-
tion between the two characters.
In New York, department store
Saks Fifth Avenue partnered with
Chanel in this promotion, and from
May 5 - 10, seventeen window
dressings inspired by the film fea-
tured selections from the brand's
ready-to-wear collection.
For a preview of the short film,
visit the chanel web site.
From Dream to Reality on the
Orient-Express: The journey from
Paris to Istanbul aboard the Venice
Simplon-Orient-Express costs from
4,570 (approximately US$6,958)
per person with only one departure
each year. This year the journey
begins on August 28th. Regular
journeys from London via Paris to
Venice and vice versa are scheduled
from March to November. Prices
are from 1,550 (approximately
US$2,360) per person. For more
information on the Venice
Simplon-Orient-Express, please
visit our web site.
Chanel has joined forces with the
Venice Simplon-Orient-Express
(VSOE), filming its latest commer-
cial, which debuted on May 5th, for
the classic perfume No.5 aboard the
venerable luxury train.
In the film, acclaimed French
director Jean-Pierre Jeunet brings
to life the romantic and seductive
meeting of a man (model Travis
Davenporte) and a woman (French
actress Audrey Tautou, the newly
appointed face of Chanel No.5)
while aboard the VSOE.
Davenporte's character falls in love
with Tautou's character and her
intoxicating scent during the jour-
ney...but he never dares approach
her. Arriving in Istanbul - the final
destination of the VSOE - the two
lose sight of each other, only to be
reunited by the unforgettable fra-
grance of Chanel No.5.
"I was always drawn to the
mystery and intrigue of trains: the
re-launch of Chanel No.5 was the
ideal occasion to create a meeting
suspended in time," says Jeunet.
The sophisticated and opulent set-
ting of the VSOE mixed with the
778
//edition.cnn.com/2009/SHOWBIZ/Movies/05/27/coc
F
OR "COCO AVANT CHANEL"
director Anne Fontaine, there
was only one actress who could
play Coco Chanel in her biopic
about the legendary couturier
French actress Audrey Tautou.
In "Coco Avant Chanel,"
French actress Audrey Tautou
plays Coco Chanel, founder of the
iconic Parisien haute couture
house, Chanel.
Already uncannily similar in
looks, Tautou's strong performance
breathes life into Gabrielle "Coco"
Chanel, the fiery designer who
would found iconic Parisian haute
couture house, Chanel.
From the way she holds her
cigarette to Coco's famously sharp
gaze, Tautou is a dead-ringer for
the young Coco.
"She is perfect for the part,"
Fontaine told CNN. "She has this
determination and authority."
"Coco" charts the couturier's
early life an almost fairytale jour-
ney from orphaned cabaret per-
former in Moulins to the 20th
Century's foremost fashion design-
er.
Fontaine, who also wrote the
script for "Coco," says the film
would have been impossible with-
out Tautou: "For me, it was the
beginning of the story to have a
good interpretation of Coco if not, I
wouldn't have written the script."
But, while Tautou's unmistak-
able similarity to Coco Chanel
made her an obvious choice for the
role, the striking actress says she
wasn't interested in doing a "birth
to death" biopic of the designer.
"It seemed to me that the peri-
od when Coco was building herself
and asserting her personality is the
most interesting in her life," says
Tautou who rose to international
prominence in quirky 2001 drama,
"Amelie."
It was Fontaine's vision that
finally convinced the 32 year-old
London, England actress to take on the role: "When
Anne explained how she intended
to treat the subject, I immediately
agreed," Tautou told CNN.
"She knew she was predestined
for this role," says Fontaine. "She
has this 'little black bull' side to her,
a grace, finesse, and an irrefutable
charisma."
"Coco" focuses on the years
Chanel spent living with wealthy
socialite, Etienne Balsan. Balsan,
played brilliantly by Benoit
Poelvoorde, introduces her to the
Parisian high society and fashion --
lavishness the wide-eyed Chanel
rapidly acclimatized to.
"Chanel looked at everything.
Her culture was not one of knowl-
edge, but a culture of observa-
tions," says Fontaine.
It was during this time Coco's
own style and creativity began to
blossom partly in disgust at the
unnecessary extravagance of
upper-class style during the gaudy
years of the late Belle Epoque in
France.
779
Designers of the time projected
their image of the ideal woman
onto the corsets and elaborate hats
they created for them to wear. Coco
rejected that ideal, opting to build a
style based solely on herself, liber-
ating the female body from the con-
stricting style of the time.
"She's the beginning of the
modern woman," said Fontaine.
Unlike other recent film forays
into the fashion world, "Coco
Before Chanel" is less about the
clothes and accessories and more
about the intellectual and philo-
sophical evolution of one of fash-
ion's greatest minds.
Don't Miss
"Coco" stops short of telling the
story of Chanel's darker years in
Nazi-occupied Paris during WW2,
when she took up residence at the
Ritz Hotel and was criticized for
her affair with Hans Gunther von
Dincklage, a Nazi officer.
It is one of two films about the
iconic couturier's early life this
year. The other, "Coco Chanel &
Igor Stravinsky," a lavish, part-fact,
part-fiction portrayal of Chanel's
brief affair with the avant garde
composer directed by Dutch-born
Jan Kounen was the closing night
film at this year's Cannes Film
Festival.
Fontaine also had to add an ele-
ment of fiction to her telling of
"The portrayal was not in the
costume, not in the superficial side
of the character, but in [my] inner
self," says Tautou. "In the last part
[of the film], I was completely her."
Fontaine and Tautou both
acknowledge the biggest challenge
of making "Coco Before Chanel"
was doing justice to one of the most
well-known and influential women
of the 20th Century.
"The most difficult thing when
you speak about somebody who's
so known, so legendary, is to be
true to her," said Fontaine.
Chanel's early years, taking liber-
ties with the script to get some of
Chanel's most iconic designs into
the film.
The blue-striped mariner's
sweater Tautou wears in one scene
didn't actually come into being
until the 1930s, and the quilted
sewing pouch, which in the film,
prompts the idea for Chanel's
world-famous bag was not the true
inspiration.
Fontaine also includes the death
of Chanel's great love, the British
industrialist Boy Capel (played by
Alessandro Nivola), which took
place in the years after those shown
in the film, because of the huge
impact his death had on the design-
er.
"It was the most important love
of her whole life," the 49 year-old
Luxembourg-born director told
CNN. "When he's dead, when he
disappears, something breaks and
she only has the work."
That Chanel never married has
been attributed to her heartbreak
over Capel's tragic death in a car
accident. Indeed, Coco herself once
said, "I lost everything with the loss
of Capel."
Tautou's portrayal of Chanel's
broken heart in the scenes around
Capel's death may be her finest. It
is almost as if the actress becomes
the young Coco Chanel.
780
wear to bed?" Her answer: "Just a
few drops of No.5."
This special endorsement for-
ever linked Marilyn's sexy image
with the sophisticated scent. In an
entirely unofficial and unplanned
way, she became the first iconic
face of the fragrance so much so,
that she popped up in a No.5 advert
filmed in theearly Nineties.
No.5 has been officially adver-
tised with a series of very different
women. Among them were the
sporty-looking young American
actress Ali McGraw - the star of the
classic weepie Love Story - and
original supermodels Suzy Parker,
Jean Shrimpton, LaurenHutton and
Cheryl Tiegs.
In the Seventies, Chanel began
to hire actresses to front ever more
impressive ad campaigns.
The cool blonde beauty
Catherine Deneuve, one of the
biggest names in French cinema,
appeared in a series of simple ads in
which she spoke straight to the
camera, while caressing a super-
T
he most romantic and seduc-
tive film of the year is not a
blockbuster or a period drama it's
the new, minute-long advert for the
most famous perfume in the world,
Chanel No.5.
Iconic Perfume Stays on Top
With French Actress Audrey
Tautou Thelatest Star to
Promote
the Brand
And it stars the latest face of
No.5 Audrey Tautou, the doe- eyed
actress who beguiled audiences
when she played the lead role in the
award-winning 2001 film Amelie.
Set on an elegant, oldfashioned
night train to Istanbul, the film is
exquisite, Tautou and her male lead
are both gorgeous, and they're
bathed in amber light thanks to the
director, JeanPierre Jeunet, who
has directed the actress twice
before.
It's every inch a minimaster-
piece, and a fitting way to intro-
duce Tautou, 32, as the new muse
for Chanel.
Tautou follows a long line of
stars who have represented No.5,
whether in poster campaigns or in
TV and cinema adverts.
But then, it should hardly be
surprising that Chanel No.5 has so
many big names on its roster, as its
history stretches back to 1921,
when it was the very first perfume
created by Coco Chanel, the most
talked-about designer in Paris.
Initially produced just for
Coco's own use and for her to give
as a present to her best customers,
No.5 was soon in such demand that
the company Parfums Chanel had
to be set up to produce and sell the
perfume.
No.5 was popular from the out-
set but it received an unexpected
publicity boost in 1954 when
Marilyn Monroe, who had just hit
the big time with the film How To
Marry A Millionaire, innocently
mentioned that No.5 was her
favourite fragrance.
In an interview with a reporter,
Monroe was asked: "What do you
781
sized bottle of No.5. "You don't
have to ask for it," she purredsug-
gestively in one ad. "He knows
what you want: Chanel."
In another, she said: "Chanel.
It's one of the pleasures of
being a woman." Carole Bouquet,
the elegant brunette who was best-
known internationally as having
been a Bond girl in ForYour Eyes
Only - and who recently played the
ex-wife of Carrie's Russian
boyfriend in the final episodes of
Sex and the City - took over as the
faceof No.5 in the late Eighties.
Her TV and cinema ads were
much more Hollywood.With the
catchphrase "Share the fantasy",
the Bouquet ads were all about
wealth and tapped into the greed
and excesses of the era.
In one particularl ad, an orches-
tra rises from the sea to play for the
No.5-wearing woman and, in
another, she strode through the
desert wearing her shoulder-padded
Chanel tweed suit.
Bouquet's ads were directed by
Ridley Scott, the director of such
Hollywood blockbusters as Alien
and Blade Runner. Subsequent
Chanel No.5 ads have also been
directed by leading filmmakers and
had more of a cinematic feel.
Twenty-year-old Canadian
swimming sensation and model
EstellaWarren became the
Chanel No.5 was Gabrielle "Coco"
Chanel herself she even appeared in
the print ads for the perfume in the
late 1930s.
The great lady remained loyal
to No.5 for the rest of her life,
despite having other fragrances at
her disposal. Every morning, when
she was leaving the suite at the Ritz
Hotel where she lived, her maid
would phone over to her headquar-
ters on the nearbyrue Cambon to
alert the staff to her imminent
arrival.
There, a sales girl would scoosh
No.5 around the staircase, so that
Chanel would walk into a haze of
her signature perfume.
With Tautou as both the face of
No. 5 and the star of Coco Avant
Chanel, it seems as if the history of
the perfume's ad campaigns has
come full circle...
To see the Chanel No.5 advert
and for behind-the-scenes footage,
go to the chanel web site. Chanel
No.5 eau de parfum costs from
pounds 39, and eau de toilette costs
from pounds 43.
youngest-ever face of No.5 in 1999.
Her two ad films were directed by
hot French director Luc Besson and
were pure fantasy: she plays a Little
Red Riding Hood character
whoswipes a bottle of No.5 from a
vault while being pursued by guard
dogs. When Nicole Kidman
became the face of No.5 in 2004,
Chanel built anticipation about the
advertising campaign to fever pitch
since it had hired Kidman's Moulin
Rouge director, Baz Luhrmann, to
create the ad film.
The story of a star who runs
away from her fame, and falls in
love while hiding out, it looked
beautiful and had a wonderful
soundtrack (arranged by Glasgow's
own Craig Armstrong), but it was
let down by Kidman's irritating per-
sonality and a dodgyscript.
Like the KidmanLuhrmann
film, the new one is directed by its
star's regular collaborator,
JeanPierre Jeunet, who worked
with Tautou in both Amelie, the
film which made her a star, and the
haunting romance AVery Long
Engagement.
It's fitting that Tautou is the
new face of No.5 - and especially
that it's happening this year because
she will also be seen all over the
world playing Coco Chanel herself
in the movie Coco Avant Chanel,
which comes to Britain at the end
of July.
And, really, the truest face of
782
She transformed the interiors of
the 18th-century building into Art
Deco style. The porte-cochre dis-
appeared, boiseries were removed
or hidden behind walls of mirrors.
She created a very modernist
decor, shocking at the time, says
Clermont-Tonnerre. On the ground
floor, French interior designer Jean-
Michel Frank decorated the couture
accessories boutique the first of its
kind selling handbags, shoes,
gloves, hats, scarves and costume
jewelry. The staircase, embellished
with a new wrought iron railing, led
to the mirrored couture salon, a true
galerie des glaces on the floor
above. The next floor up became
the private apartment where one
wall was covered with a ravishing
burlap fabric she had painted in
gilded lead to give an effect like her
flecked tweeds, Clermont-
Tonnerre explains. It was the most
expensive thing to restore in 1983
when Karl Lagerfeld took over the
couture. Above is Mademoiselles
studio, where Lagerfeld designs
today. The top three floors housed
the workrooms of more than 100
petites mains (seamstresses), also
M
ADEMOISELLE CHANEL, BORN
GABRIELLE, but indelibly
nicknamed Coco, strode across the
fashion stage of the 20th century as
no other, a veritable colossus of
invention and reinvention.
This year she is striding across
the screen in two new films: In
Coco Before Chanel, to be released
in the US in the fall, Audrey
Tautou, the gamine French actress
and new image of Chanel No 5,
recreates the designers early
career.
Premiered at the Cannes Film
Festival last month, Coco Chanel
and Igor Stravinsky, with Anna
Mouglalis and Mads Mikkelsen,
supposes a love affair between the
couturire and the famed compos-
er.
The Chanel couture revolution
elegant, fluid clothes that liberated
the feminine form lives on into the
21st century, updated, sometimes
brilliantly, by designer Karl
Lagerfeld. The more private
Chanel lifestyle played a back-
ground role, traced mainly through
famous photos of the designer at
home.
But a visit to the elegant private
apartment she established on the
Rue Cambon in the 1930s reveals
that here among the dazzling
Coromandel screens are the senti-
mental keys to what counted most
for this extraordinary woman the
men she loved, the artists she
revered, the friends who influenced
her taste.
How Chanel, whose couture
proclaimed her devotion to sophis-
ticated minimalism, accumulated
this decorative splendor is much of
a mystery, says Chanel external
relations director Marie-Louise de
Clermont-Tonnerre.
The couturire bought the
building at 31 rue Cambon in 1920,
moving up the street from her orig-
inal Chanel Modes shop at no. 21.
By then she was rich and famous;
her debt to her lover and business
partner Arthur Boy Capel had
been repaid as her fashion business
flourished during the First World
War.
783
still in place.
But, still recovering from
Capels death in a car crash in 1919,
the designer didnt move in quite
yet. Instead, she took a suburban
villa, Bel Respiro, just outside Paris
in Garches, which author and
Chanel confidante Edmonde
Charles-Roux describes in her
book, LIrrgulire, ou Mon
Itinraire Chanel. She had her
villa stuccoed in beige and its shut-
ters lacquered in black two hues
that made the entire neighborhood
frown. But two very Chanel hues
that remained lifetime favorites.
Then she surprised the neigh-
bors even more by filling the villa
with her artistic friends Jean
Cocteau, Igor Stravinsky, poet
Pierre Reverdy, painter Juan Gris.
From the moment she made money,
Chanel befriended, and often
financed, a coterie of artists. After
the Russian Revolution, when the
impoverished Stravinsky fled to
Paris, Chanel lent Bel Respiro to
the composer, his wife and four
children, and they stayed for three
years. After she met Serge
Diaghilev in Venice, she gave him a
check beyond his wildest dreams
for the Ballets Russes production of
Stravinskys The Rite of Spring in
1920, and she swore him to secrecy
in an encounter that, as Charles-
Roux reports, was only revealed 50
years later.
Meanwhile, she decided to
move back to town, into the ground
Place Vendme, where she lived
first with, and then without, her
then lover, the Duke of
Westminster. When she moved to a
simple bedroom suite in the
Cambon wing, she installed her
collections across the street in this
apartment. We know she was here
by 1937, says Clermont-Tonnerre,
showing the photo of the designer
in little black dress and pearls
perusing a rare Indian book on her
renowned sofa of tan suede with its
quilted cushions. This contempo-
rary element is set into the baroque
fantasy of gilded mirrors, a crystal
and rose quartz chandelier, a grace-
ful pair of 19th-century Japanese
bronze deer and the omnipresent
Coromandel screens in a very mod-
ern mix.
When she discovered
Coromandel screens, she claimed
they made her faint with happi-
ness, and she put them every-
where, but often treated them like
wallpaper. In the petit salon, she cut
two doors leading into a bathroom
into one of the most beautiful
screens of her collection, inset with
motifs of fans.
She entertained a lot here, but
only a few guests at a time, four or
six at the most, says Clermont-
Tonnerre of the dining room.
Venetian mirrors, like the black-
amoors in the entre, perhaps recall
her trip to that city with the Serts to
lift the gloom after Boy died.
Fantastical consoles supported by
caryatids representing goddesses or
and soaring first floors of a fabu-
lous townhouse built in 1719 for
the Rohan-Montbazon family at 29
rue du Faubourg Saint Honor. As
Charles-Roux recounts, Gabrielle
instinctively gravitated toward
the baroque taste of the Serts (her
best woman friend, Misia, the beau-
tiful muse of an haute artistic
milieu, and her talented decora-
tor/painter husband, Jos Maria).
She was initiated by them, and dis-
covered through them the main
components of a decor she patient-
ly made her own. Her scheme pos-
sessed as much gold as at Misias,
just as much crystal, but more black
accents
Filling these high-ceilinged
rooms whose gilded panels she
wished to camouflage, Chanel
began what became her celebrated
collection of lacquered Chinese
Coromandel screens. They sur-
rounded the piano, itself the magnet
for friends from Diaghilev and his
Ballets Russes to Picasso who often
stayed here. When she thumbed her
nose at the Great Depression in
November 1932 with an exhibition
of real diamond jewelry displayed
here (the ticket receipts were donat-
ed to charity), the New Yorker
described the scene, among the
Coromandel screens and rose-
quartz chandeliers which have
made Chanels home famous, if not
for its simplicity.
Living in nomadic luxury, she
took some of this decor to the Ritz,
to a grand suite overlooking the
784
the seasons were bought at the auc-
tion of the possessions of another
famous muse, Marchesa Luisa
Casati, in 1932.
Rather than clients, she invited
friends: Cocteau, the Serts,
Salvador and Gala Dal, Luchino
Visconti who brought Romy
Schneider, Cristobal Balenciaga,
Hubert de Givenchy, Marlene
Dietrich, Jeanne Moreau and
Marie-Hlne de Rothschild among
others. And although she
adored artists, she never collected
their works. Paintings?
Drawings? queried Charles-Roux,
no signed objects, not one por-
trait and not a single painting by a
master.
The only exceptions are a
minute oil painting of a spear of
wheat by Dal and a pair of
andirons she commissioned from
sculptor Jacques Lipchitz in 1921
to go with a Louis XV rocaille fire-
place. Lipchitz abandoned his
Cubist lines to sculpt a sinuous
shell form of a woman lying on a
sofa. Both works still decorate the
apartment today.
But collect Chanel did.
Objects, yes. A perfect jungle of
them. As mysterious as possible,
objects seen nowhere else, the
author writes. In the apartment,
they beckon from every surface and
they all have tales to tell, or perhaps
mysteries to conceal.
There are camels and frogs, but
as determinedly as she had rein-
vented fashion.
Today, the apartment is used for
fashion soires and the rare lunch,
as well as the backdrop for photo
shoots. It continues to inspire
Lagerfelds Chanel collections: the
Baroque dresses in 1987; the 2006
couture coats and tunics embroi-
dered with Coromandel motifs,
requiring from 800 to 950 hours of
Lesage embroidery. Another
beloved trinket, the tiny gilded and
jeweled birdcage enclosing two
lovebirds, became the inspiration
for Jean-Paul Goudes 1992 adver-
tising film introducing Vanessa
Paradis as the new muse for the
perfume Coco.
If these possessions changed in
value and significance, one
remained very, very important,
says Clermont-Tonnerre, the
Russian icon Stravinsky gave her to
thank her when he and his family
left Bel Respiro in 1925. As pho-
tos prove, she always kept it close
to her. In photos of the Ritz suite,
it sits on the mantelpiece; here it is
placed above her 18th-century
desk. And when she died, as
Charles-Roux wrote, it was on her
bedside table. Perhaps the love
affair isnt supposition after all.
the lions in marble, wood or gilded
bronze that prowl tabletops or man-
tels are easy reads. Chanel, born
August 19, is a Leo, the lion her
astrological sign. Her long lost
love, Boy Capel, gave her the
Buddha; designer and illustrator
Paul Iribe, another fianc swept off
by death he collapsed on the tennis
court of La Pausa, her home in the
south of France provided the
bronze and crystal chandelier in the
petit salon.
Many of the rare books that
once filled the bookcase belonged
to another suitor, Pierre Reverdy.
As for Hugh Grosvenor, the 2nd
Duke of Westminster, he was per-
haps the raison dtre for her col-
lection of objects with wheat motifs
a symbol of fecundity because she
wanted to have a child (and heir for
the duke), suggests Clermont-
Tonnerre. Along with Dals stalk, a
gueridon table by Chanel costume
jewelry designer Robert Goossens
boasts a wheat sheaf base and real
wheat and sculpted wheat stand by
the salon fireplace. A slim bronze
cast of a hand by Diego Giacometti
was a gift from writer Claude
Delay, whose hand it is. Delay, who
wrote Chanel Solitaire, published
the book about her friend only after
the designers death, as did
Charles-Roux. Another friend,
Louise de Vilmorin, simply aban-
doned her own attempt to tell the
story with even the barest trace of
verisimilitude in her Mmoires de
Coco. Once famous, Mademoiselle
Chanel simply reinvented her past
785
and earned the hatred of many for
her links to the occupying Nazis
during World War II.
Coco Before Chanel (Coco Avant
Chanel), which explores the cou-
turier's early life and the men who
influenced it, is out this month,
starring Audrey Tautou.
Tautou (of Amelie fame) is the
image of Chanel, from her tiny
frame to the arch of her eyebrows,
the black button eyes and the steel
that clearly lies at her core.
And she has grown to admire
Chanel, seeing her as a pioneer.
She said: "What makes her excep-
tional is that she was a woman of
the moment.
"She was a woman who was intelli-
gent, strong, courageous, but espe-
cially a woman who wanted to be
free and independent. At the time
that was an idea no one knew could
exist.
"She refused to let herself be closed
off by social conventions and she
was almost a rebel.
"She was a feminist ahead of her
time and that's why in fashion, she
freed women through her talent. "
Chanel was one of the key influ-
ences of the flapper movement,
when women emerging from the
restraints of World War I had a taste
for liberation.
They had the vote and they wanted
to not only drink, smoke, and have
sex but also to dress for themselves
rather than pander to the tastes of
men.
Chanel said: "Fashion is not some-
thing that exists in dresses only.
Fashion is in the sky, in the street,
fashion has to do with ideas, the
way we live, what is happening."
The biggest change she introduced
was to was to make clothes more
masculine and more comfortable.
She used male motifs such as sailor
outfits and mechanic's dungarees as
inspirations for her fashions.
http://www.dailyrecord.co.uk/news/editors-
When a woman today pulls on a
pair of trousers or wears a suit jack-
et, she can thank Coco Chanel that
she's not trussed up in a corset.
Mademoiselle Chanel was the fash-
ion goddess who helped to deliver
women from the evil of restrictive
clothes and she is as relevant today
as she ever was.
She famously declared: "I gave
women a sense of freedom; I gave
them back their bodies: bodies that
were drenched in sweat due to fash-
ion's finery, lace, corsets, under-
clothes, padding."
The exquisite pieces which carry
the legendary double C logo adorn
the pampered bodies of the rich but
modern women, regardless of
wealth, share in Coco's legacy.
This year, two films and a book are
set to spark an explosion of interest
in the person who lay behind the
icon.
Chanel was a woman who went
from rags to riches and achieved
international fame. But she was
also condemned for anti-Semitism
786
She said: "Luxury must be comfort-
able, otherwise it is not luxury."
In Chanel's famous words, she "let
go of the waistline" and came up
with a style that has endured.
It is believed she came up with the
flapper look when she put on an
oversized man's sweater and tied
the waist with a scarf.
After being seen in it in public, she
sold 10 of the outfits.
The trademark of her fashions was
simplicity but the woman herself
was complex.
Tautou said: "She was full of con-
tradictions.
"And she told so many lies about
her past, huge, enormous lies, so
that you can only understand her
life little by little."
Chanel's first lie was about her
upbringing - claiming that her
father had gone off to America to
make his fortune and she was
brought up by a couple of spinster
aunts.
She once said: "I invented my life
because I didn't like my life."
She was born Gabrielle Bonheur
Chanel on August 19 1883 to trav-
elling salesman Albert Chanel and
Jeanne Devolle, who died of TB
when her daughter was very young.
Tautou says: "If she married him,
she would have gone to England,
lived with him and had a whole
other different life.
"She would have fallen prey to love
and given up her dream of inde-
pendence."
Instead, Coco persisted in her
dreams and blossomed from seam-
stress to respected fashion designer.
Her friends included Cocteau,
Picasso and Chaplin and she had a
series of influential lovers.
The other film out this year focuses
on her relationship with the com-
poser Igor Stravinsky.
Starring Chanel model Anna
Mouglalis as Coco, it tells how she
took the composer and his sick wife
to live with her when they lost
everything in the Russian
Revolution.
That much is fact but the Chanel
fashion house, who have endorsed
the film, admit there is no way of
knowing the truth about whether
they had a romance.
However, many of her affairs were
welldocumented, including one
with a Nazi officer during World
War II, which was to tarnish her
reputation for many years to come.
She always said that she sobbed
when the German occupied France
but like many others, Chanel sim-
ply wanted to survive the war.
Albert went off to work, abandon-
ing Gabrielle for the next seven
years in an orphanage - where nuns
taught her to sew.
When she turned 18, she left the
orphanage and took up work for a
local tailor.
It was while she was working there
that Coco, who got her nickname
during a brief career as a cabaret
singer, met and had an affair with
playboy millionaire tienne
Balsan, who showered her with
luxuries.
Balsan helped her enormously and
he gave her the confidence to move
to Paris, where his former best
friend Arthur Edward "Boy" Capel,
an English playboy and industrial-
ist stole her heart.
Their affair lasted for nine years
until the end of World War I and
Capel helped finance her first shop.
Although she was beautiful, talent-
ed and graceful, Coco was not con-
sidered marriage material for a man
of his wealth and when he took an
English aristocrat as his wife, it left
her crushed.
She continued to be his mistress
after he married but was again dev-
astated when he died in 1919.
If Capel had married her, the face
of fashion could have been very
different.
787
She shut down her fashion business
and began a love affair up with
Hans Gunther von Dincklage, a
German officer.
The relationship protected her enor-
mously and afforded her permis-
sion to reside in her beloved Ritz
Hotel, where the Nazi elite them-
selves stayed.
She fled France at the end of the
war after being arrested and
released, heading for Switzerland
before she could be subjected to
formal charges and public humilia-
tion.
Women who had slept with Nazis
were labelled collaborators, their
hair was shaved and they were
ostracised.
In 1954, when Chanel returned to
Paris, many still refused to forgive
her.
But to the author Justine Picardie
whose bo Coco Chanel is out in the
autumn, none of this necessarily
made Chanel a Nazi.
She said: "What is clear is that she
wept on the day the Germans
invaded Paris, and immediately
closed her couture house.
"Thereafter, like other friends and
contemporaries, she found ways of
accommodating the occupation,
proving, as she did throughout her
life, to be a great survivor.
the rain boots."
This did not sit well with Chanel
fashion designer, Karl Lagerfeld.
He responded: "I didn't even know
we made rain boots. After that, I
don't have to be nice."
He went on to say that he would
have suggested Spanish star
Penlope Cruz as a better actress
for the film.
And he also took a swipe at veteran
actress ShirleyMacLaine, who
played an elderly Chanel in an
American cable television special.
He griped: "She should have lost
30lb.
"Chanel was never fat, not even in
her eighties."
The new films are sure to have
women everywhere trying yet again
to recreate the "Chanel look".
Lagerfeld has made the label more
successful than ever and is respon-
sible for keeping it a must-have,
among the fashion-conscious, rich
and famous.
Wild child starlet Lindsay Lohan is
said to be obsessed with the label
and is forever being photographed
weighed down with big black
Chanel carrier bags.
At one point she even suggested
she was going to be a new model
"She was operating in a world of
double-dealings, double-crossings,
and double agents. Perhaps the
smartest career move Chanel ever
made was the launch of her own
perfume.
"She came out with her first signa-
ture fragrance, Chanel No. 5, in
1921.
The name was said to have been
chosen because it was her lucky
number - and because the scent was
the fifth sample she tried.
She was a superstitious woman and
in her elegant apartment in Paris,
the number five is worked into
everything from furniture to chan-
daliers.
Just before she was due home, her
servants would always spray the
stairs to her apartment with the fra-
grance.
The perfume the first to have a
designer's name attached to it
remains a classic and successive
beauties have fronted its advertis-
ing campaigns, including Nicole
Kidman and now Audrey Tautou.
The latter has caused some contro-
versy with the house of Chanel
itself by not being quite as gushing
about the label they might have
liked.
When the actress was asked if she
wears a lot of Chanel, she replied:
"Sometimes. This morning, I wore
788
for the house until Lagerfeld
laughed off the idea, saying "silly
girls" could never represent Chanel,
only sophisticated women such as
Nicole Kidman.
Chanel herself said that " a fashion
that does not reach the streets is not
a fashion" and her influence is all
over the high street even 38 years
after her death.
From the "little black dress" to nau-
tical wear, padded bags and pearls,
the clothes and accessories she
championed are elegant and beauti-
ful but above all, they are timeless.
She was the only fashion designer
to be named in TIME Magazine's
100 most influential people of the
20th century.
Until her death in 1971 at the age of
87, Chanel remained unmarried and
single-minded and influential.
And to the most part, France
remained proud of its daughter. In
December, the Paris Mint struck
Coco Chanel limited edition gold
and silver coins to honour the 125th
anniversary of her birth.
The coins bear an image of Chanel,
chosen by Lagerfeld, wearing one
of her famous hats and her leg-
endary pearls.
Chanel once said: "How many
cares one loses when one decides
not to be something but to be some-
one."
And regardless of controversy,
Coco Chanel was most certainly
someone.
789
wardrobe: jersey skirts and dresses,
a scarf, a blouse, pleated skirts, cot-
ton cardigans, pullovers with high
collars, wool suits, sports jackets or
blazer-coats, a little black dress,
strapless dresses, raincoats
Everyone has heard of the rid-
ing trousers anecdote. Coco was a
passionate horseback rider and
since women wore dresses at that
time, they would sit on the side
with their legs together. This is why
Coco has designed riding trousers
for women, so that they could ride
in a normal position. Coco always
thought women and men were
equal, which made her think of all
the revolutionary ideas no woman
dared doing before.
We bring you Coco Chanel`s most
famous quotes:
1. In order to be irreplaceable one
must always be different.
2. Fashion is not something that
exists in dresses only. Fashion is in
the sky, in the street, fashion has to
do with ideas, the way we live,
what is happening.
C
OCO CHANEL IS SURELY ONE OF
THE MOST INFLUENTIAL and
innovative fashion designers of all
time. She has left an non-erasable
mark with her famous little black
dress and Chanel No5 fragrance,
while the classic style she promot-
ed, of simple and elegant design,
has influenced fashion of the 20th
century. Christian Dior said she
revolutionarised fashion with a
black sweater and white pearls.
Read the pearls of wisdom
from the first lady of style
Coco Chanel, whose revolu-
tionary ideas have forever
altered the face of fashion.
Gabrielle Bonheur Chanel got
her nickname Coco, meaning dear
or lovely, during her brief enter-
taining career at the start of the
1900s in a little provincial town at
the La Rotonda cabaret, where she
performed Qui qu'a vu Coco dans
le Trocadero.-.-Vogue-.-
Circa 1910, Coco started mak-
ing and selling hats. Motivated
with her success, she soon started
designing clothes, which breathed
comfort and simplicity. Chanel was
a respectable fashion home by
1929, hiring 300 employees. The
first perfume launched on the mar-
ket by a designer was her Chanel
No5 fragrance.
How riding trousers were creat-
ed due to gender equality
Chanel managed to liberate
women of uncomfortable corsets,
presenting everyday, practical
clothes which women did not wear
as shackles. She drew inspiration
from the materials from the clean
lines of men`s fashion. She was the
first designer to introduce black
and her little black dress (which
could be worn in daytime, as well
as night-time, depending on fash-
ion accessories) became a trade-
mark and an enduring fashion stan-
dard.
The Chanel look has survived
all changes and fashion impera-
tives. Becoming an uncompromis-
ing visionary, she invented
women`s fashion of the twentieth
century. Her innovations were the
basic elements of a woman`s
790
Coco had a nose for business;
she took it very seriously. The
designer would tear up the seams at
the last minute before a fashion
show and sow on the parts she
removed. She would also lie on the
floor of her studio to make sure
every rim was perfect and sowed
according to her strict specifica-
tions.
3. Nature gives you the face you
have at twenty. Life shapes the face
you have at thirty. But at fifty, you
get the face you deserve.
4. Fashion fades, only style remains
the same
5. Where should one use per-
fume?, a young woman asked.
Wherever one wants to be kissed,
I said.
6. Dress shabbily, they notice the
dress. Dress impeccably, they
notice the woman."
7. I don`t understand how a woman
herself up a little if only out of
politeness. And then, you never
know, maybe that`s the day she has
a date with destiny. And it`s best to
be as pretty as possible for destiny.
8. If a man talks bad about all
women, it usually means he was
burned by one woman.
9. Some people think luxury is the
the opposite of vulgarity. Luxury
must be comfortable, otherwise it is
not luxury.
10. A woman who doesn`t wear
perfume has no future.
791
ing.
Inspired by her memories of
the nuns who had raised her, and
by servants' uniforms, she decided
to make black more chic by
adding white at the neck and the
cuffs.
Designs for life... Audrey
Tautou as Coco in new film
`A rebel by nature, she
delighted in the idea of the rich
and fashionable dressing in styles
similar to their staff.
In 1926, the year she intro-
duced the world to the little black
dress, she said: "Women think
about all colours except for the
absence of colour.
"I have already said that black
has it all. White too. Their beauty
is absolute."
She had picked up the nick-
name Coco while singing in local
nightclubs aged 18, where her
favourite song was about a miss-
ing dog called Who's Seen Coco
S
HE HAS BEEN DESCRIBED AS THE
WOMAN WHO INVENTED MODERN
FASHION. French style icon
Gabrielle "Coco" Chanel is still the
golden girl of the world of couture
more than 35 years after her death
aged 87.
Now a new film, Coco Before
Chanel starring Amelie actress
Audrey Tautou and out next week -
delves into her humble beginnings
before she created her iconic brand.
The Chanel logo, two over-
lapped mirrored Cs, instantly con-
jures up images of style, sophisti-
cation and elegance.
A-listers including Kylie
Minogue, Penelope Cruz and
Nicole Kidman are huge fans.
Lily Allen and Nicola Roberts
love Chanel's quilted handbags,
Kate Moss and Victoria Beckham
are wild for the signature trimmed
tweed jackets, and Kelly
Osbourne and Alexa Chung put
their best feet forward in the
label's quilted two-tone ballet
pumps.
Designed decades ago, the
sell-out classics continue to
spawn millions of High Street
copies.
Yet the woman behind the
style empire could not have had a
less glamorous start in life.
Born in Saumur, western
France, in 1883, Gabrielle was the
second illegitimate daughter of
peasant couple Albert Chanel and
Jeanne Devolle.
Jeanne died when Coco was
12 and Albert, a travelling sales-
man, abandoned her along with
her two sisters and three brothers.
Gabrielle was sent to an
orphanage run by strict nuns. She
hated her years there yet they
were to inspire her signature
monochrome look.
When she started out as a
designer, almost every family in
France and Britain was mourning
the loss of a loved one in the First
World War. Most women lived in
black, which Gabrielle found bor-
792
In The Trocadero?
It would stay with her forever,
even becoming the name of one of
her fashion house's bestselling
perfumes.
It was through her singing that
Coco met millionaire socialite and
heir Etienne Balsan, who lifted
her into the world of the upper
classes to which she so desperate-
ly wanted to belong.
Wearing her own distinctive
styles, Coco stood out from the
other ladies in Balsan's group and
caught the eye of the man who
was to become the love of her life,
wealthy English polo player
Arthur "Boy" Capel.
He financed her first boutique
in Paris's Rue de Cambon in 1910.
As business boomed she
opened three more shops in quick
succession, in the chic coastal
resorts of Deauville, Biarritz and
Cannes.
Her success was meteoric and
she soon paid back Boy every
penny he had lent her. The
American fashion press was crazy
about Coco's daringly simple style
and she became a hit on both sides
of the Atlantic.
Her first perfume Chanel No5,
launched in 1921, became the sig-
nature of Fifties Hollywood siren
Marilyn Monroe, who, when
barbed wit inspired in most
women. Coco was not just a fash-
ion trailblazer, but a tough busi-
nesswoman. She believed her job
above everything was simply to
sell clothes.
And, unlike most other
designers, she was happy when
she saw cheap copies of her
clothes on the streets of Paris.
She once said: "I do not like
when people speak of the Chanel
fashion. Chanel is, above all, a
style. Fashion passes, style
remains."
Coco dedicated her life to the
pursuit of style before retiring in
1939 as war broke out across
Europe.
Yet she never lost her love for
clothes and, 15 years later in
1954, aged 71, she returned with a
fashion show that catapulted her
back into the spotlight.
She went on to design the
trimmed tweed suit, 2.55 handbag
in quilted leather, the camellia
emblem and the two-tone shoes.
In 1971 Coco Chanel died at
Paris's Ritz hotel, where she had
lived for more than three decades.
The little girl abandoned by
her family left behind a legacy
that continues to inspire the fash-
ion world. Yet she remained
unsurprised by her phenomenal
asked what she wore to bed
replied: "Why, Chanel No5, of
course."
Such a provocative answer
must have delighted Coco, who
was constantly pushing bound-
aries.
She was one of the first
designers to adapt typically mas-
culine clothing for women's fash-
ion, using elements from each of
her lovers' wardrobes.
From Boy Capel she drew
inspiration for ladies' trousers,
pyjamas, straw boater hats and
jackets.
A romance with Russian
Grand Duke Dmitra Pavlovich
ignited her passion for Russian-
style blouses, embroidery and fur-
lined coats.
And a love affair with the sec-
ond Duke of Westminster, Hugh
Grosvenor, led to the famous
tweed jackets, sailing jumpers,
gold buttons and white cuffs.
Most are still statement pieces
of the Chanel house, now led by
design director Karl Lagerfeld.
Despite her busy love life,
rumours that Coco was gay were
fuelled by her refusal to comment
on her affairs with a string of
high-profile men.
Such claims seem even more
unlikely given the terror that her
793
rise to the top.
As Coco once said: "If you're
born without wings, do everything
you can to grow some."
794
Making millions not to mention
all but banishing the corset forever
would provide plenty of material to
fill a good movie or three, but Coco
was even bigger than that. She
arguably did more to revolutionize
the look (and the smell) of the mod-
ern woman than anyone this side of
Amelia Bloomer. "Before Chanel,"
says Marie Louise de Clermont
Tonnerre, Chanel's head of interna-
tional public relations, "women
who wore red lipstick, had suntans,
and wore fake jewels were peasants
or whores." If France had an all-
female Mount Rushmore, Chanel
would almost certainly be on it. "If
you were to say who are the four
French iconic historical figures, I
would say Piaf, Marie Antoinette,
Joan of Arc, and Coco Chanel,"
says Greenhalgh. "The films of the
other three have been successful,
interesting cinema experiences, so I
think Chanel was the next obvious
one."
Quantcast
Except in the case of Chanel,
something seems to have been lost
in translation. For all her accom-
T
HERE IS A WONDERFULLY SUB-
TLE (if historically inaccurate)
scene in the new biopic Coco
Before Chanel in which the 20-
something, not-yet-a-fashion-
doyenne is asked by her lover
"Boy" Capel to attend a summer
ball with him in Deauville.
Chanel agrees, but zut alors!
she has the same problem that has
afflicted every woman since Eve:
she has nothing to wear. The couple
heads to the local atelier, where
Chanel picks out black fabric and
demands there be no corset. "But it
will be shapeless," the woman tells
her dismissively. "Do as I say,"
Chanel abruptly answers back. Of
course, at the ball all eyes are on
the petite woman (played exquis-
itely by Audrey Tautou) dancing
the night away in voil! a Little
Black Dress. Never mind that
Chanel really created the LBD
when she was closer to 40, and
long after Capel had been killed in
a car accident. Almost a century
after its real birthday in 1925, the
Little Black Dress is still the stan-
dard cocktail-party uniform for
women the world over.
You might say that Chanel's life
was tailor-made for a movie,
except that would be underselling
her. Coco Before Chanel is actually
the third Chanel biopic in the past
year. Coco Chanel & Igor
Stravinsky, starring Anna
Mouglalis as the young Coco,
closed the Cannes festival in May.
In Lifetime's Coco Chanel,Shirley
MacLaine played the older Chanel
with so much scene-chewing gusto
that she somehow completely swal-
lowed her French accent.
Fortunately, there's plenty in
Chanel's biography to go around.
The illegitimate daughter of a
nomadic peddler, raised in an
orphanage from the age of 12,
Chanel went on to become a multi-
millionaire. She was the first
woman to start a cosmetics line and
the first to have a perfume named
after her she always said that No. 5
was lucky (and she was apparently
right). "She led this Cinderella life
that appeals to a narrative in all of
us," says Chris Greenhalgh, the
author of Coco and Igor, which was
the basis for the film at Cannes.
795
plishments as a businesswoman
and a feminist, these movies focus
almost exclusively on her rise from
the French gutter to the glittery
heights of fashion. Onscreen, Coco
is forever young; even MacLaine's
mature version got considerably
less screen time than Barbora
Bobulova, who played the young
Chanel. That's understandable;
Chanel's person-al story is pretty
irresistible. Gabrielle Chanel (she
made a living early on as a caf
singer; the songs "Ko Ko Ri Ko"
and "Qui qu'a vu Coco" were two
of her signatures) was her own
greatest creation. She was friends
with Picasso and Cocteau (and
frenemies with Colette). Her lovers
included Nazi officer Hans Gunther
von Dincklage, Stravinsky
(allegedly), and the Second Duke
of Westminster her use of tweed,
unheard of in ladies' fashion at the
time, was inspired by fishing trips
she took to Scotland with the duke.
"From a mysterious background,
glamorous lovers from an English
duke to a Russian count, and above
all an enduring symbol of feminist
fashion," says Suzy Menkes, fash-
ion editor at The International
Herald Tribune, "she pulled herself
up by her own shoe straps to found
a fashion house that gave women
liberty from corsets and female
frou."
Lively, fascinating but hardly
the woman in full. Is it PC to point
out that recent movies made about
equally successful, creative men
(Ray Charles, Jackson Pollock)
script: "Merde." Of course Hepburn
said it in English, but you get the
idea. The Coco Chanel story didn't
always have to be perfumed.
didn't let their love lives overshad-
ow the focus on their successes?
"Do any of these movies really cap-
ture Gabrielle Chanel as a creative
force?" complains Menkes. "It's all
about hats, lovers, and jewels and
pretty pictures, while the tough and
resilient spirit never really comes
across." You can feel that discon-
nect most strongly in a scene at the
end of Coco Before Chanel (which
is debuting now in Europe and next
month in the United States). Chanel
has made it to the top, and she is sit-
ting none too subtly atop the spiral
staircase of her atelier, running a
fashion show. Her frothy, elegant
demeanor has been replaced by a
cold and remote woman watching
the models parade in front of her
like a general examining her troops.
The message seems to be that
the successful, powerful Chanel
was off-putting and officious,
rather than the interesting, complex
woman she really was. "If you
know Chanel only through these
films," says Clermont-Tonnerre,
"you do not know anything about
her." Tautou is perfectly lovely in
the role, but, like all the other
Chanels, she plays her like Audrey
Hepburn, when the actual woman
was cut more from Katharine
Hepburn's cloth. In fact, Katharine
Hepburn played Chanel in 1969, in
her only Broadway musical. The
highlight of the show often came at
the top of Act II, when Chanel plots
a comeback. As the curtain went
up, Hepburn's first word was one
that she herself inserted into the
796
is reported to have failed.)
So, we have Coco and Igor,
which focuses on one of her many
romantic relationships: the affair
with composer Igor Stravinsky,
which took place in the 1920s. And
we have Coco Avant Chanel which,
despite a coda that shows Chanel as
the queen bee of the fashion scene,
ends just as the couturiere is on the
brink of her breakthrough in Paris,
in the early 1920s. Given that Coco
Chanel was born in 1883, it covers
less than half of her 87 years. But
this was undoubtedly the period
that shaped the woman Chanel
became.
The arrestingly beautiful
Audrey Tautou, the star of Amelie
and also, by sheer coincidence, of
the brand-new advertising cam-
paign for Chanel No 5, agrees that
the elderly Chanel who impressed
interviewers with her straight-talk-
ing, no-nonsense manner and
unsentimental airs was the product
of the period covered by Coco
Avant Chanel. "Life hardened her
she toughened up," Tautou says.
This, after all, was when Chanel
N
O OTHER SINGLE NAME IS AS
SYN-ONYMOUS with style as
that of Chanel. Not only did
Gabrielle "Coco" Chanel revolu-
tionise the way women dress, but
she also created both a bag (the
quilted 2.55) and a perfume (No 5)
which have become iconic.
The distinctive looks the little
black dress, the tweed skirt suit and
the pearls that she honed over sev-
eral decades are as popular now as
they were in her heyday. To women
the world over, the interlocked Cs
of the Chanel logo is a symbol of
quality based on a true fashion
Icon.
Given her long, colourful life
and enduring, worldwide influence,
it isn't a surprise that Coco Chanel,
who died in July 1971, should be
the subject of a veritable raft of
projects though why they should be
happening simultaneously is per-
haps more difficult to fathom.
A new biography, by esteemed
style writer Justine Picardie, is due
out in the autumn; a TV mini-series
starring Shirley MacLaine aired in
the United States late last year, and
not one, but two French movies
have recently been made: Coco and
Igor, which closed the Cannes Film
Festival last month, and Coco
Avant Chanel, which opens here on
Friday. By further coincidence,
each film has a "face" of Chanel as
its star: Anna Mouglalis (who rep-
resents Allure Sensuelle) and
Audrey Tautou (No 5) respectively.
There are even rumours about fur-
ther biographical films, including a
Hollywood one with Demi Moore's
name attached to it.
But it's not just Coco Chanel's
longevity and influence or those of
her brand that explain the prolifer-
ation of portraits of her; it's also the
fact that she had so many very dif-
ferent chapters in her story: her
years at the epicentre of Parisian
culture and society, the Occupation
when she took a Nazi as her lover,
her post-war exile in Switzerland,
her eventual comeback after some-
how escaping charges for collabo-
ration. One, definitive, biopic
would be hard-pushed to do justice
to her richly textured, densely peo-
pled life. (The mini-series tried but
797
had to deal with the realisation that
her background, first of all as an
illegitimate child raised in an
orphanage and then as a lowly
seamstress and cabaret singer,
would prevent her from being com-
pletely accepted by high society.
Aristocrats could fall in love
with her and welcome her into their
homes, but they would only ever
have her as a mistress or lover;
never as a wife. Even Arthur "Boy"
Capel, the young Englishman, who
as Coco Avant Chanel suggests was
the love of her life, chose to marry
someone from his own background
rather than Chanel, the girl he real-
ly loved. His sudden death, in 1919,
was as Edmonde Charles-Roux, the
author of the book on which Coco
Avant Chanel was loosely based,
points out the second time she had
mourned him, since she was
already grieving for the future she
had hoped they would have as a
married couple.
Of course, Chanel's personality
and much of her private life during
her formative years can only be
hypothesised since she never wrote
her memoirs, and the writer who
was to be her official biographer
gave up in frustration because she
wouldn't admit even the most read-
ily verified facts, such as her time
in the orphanage.
And yet it's not as if she had
begun to believe her own story, as
can happen when people tell the
same lies over and over: she freely
With her bobbed, and slightly
wavy dark hair, light skin, defined
cheekbones and tiny frame, Tautou
is very convincing as the young
Chanel and even in the later scenes,
where, playing older than her own
age (she's 32), she fixes hems with
a Gitane tentatively dangling from
the edge of her lips and has her
dainty fingers adorned with heavy
gold rings, she couldn't be playing
anyone else. There's a steely core to
Chanel the writer Colette described
her as a "little black bull" that her
potentially sparrow-like figure
would have belied, had she not
decked herself out in the armour of
such traditionally masculine accou-
trements as trousers, tweeds and
sailor's hats.
Nevertheless, Tautou insists: "I
didn't try to mimic her, but I did try
to get close to her in some ways."
One way was to study television
interviews with her and to read
whatever she could, and another
was to spend time surrounded by
souvenirs of her subject's life.
Many of the clues to the kind of
woman Coco Chanel was lie in the
apartment that was her base for
more than three decades. It's not
often you get the chance to walk in
the footsteps of an icon, to sit
where she sat and to soak up the
atmosphere of the place where she
created history, but occasionally the
Chanel company will grant visits to
the flat on rue Cambon, an unpre-
possessing street easily missed
among the maze of narrow roads
confessed to making up her past. "I
invented my life because I didn't
like my life," was one of her many
memorable quotes.
The gamine Tautou, who was
intrigued by what lay behind the
"facade" of the tough old bird that
Chanel, in her later years, seemed
to be, says: "By focusing on her
early years, we could show some-
thing of her vulnerability, because
she always said that one constant
through her life was loneliness."
The problem with the film
showing only the early chapters of
Chanel's life is that, although it
introduces us to a quietly deter-
mined, slightly introverted yet
eccentric and forward-thinking
young woman, it doesn't point out
the extremely interesting and
important fact that Chanel was so
desperate to be accepted that she
erased her past, or that she was a
fickle character who moved with
the "in" crowd: so much so that
when the Germans moved in and
occupied Paris, she took up with
them.
Tautou, who in another coinci-
dence, hails from the same part of
rural France as her subject the
Auvergne believes that what she
has in common with Chanel are "a
strong spirit, intelligence and
pride". But there's also an uncanny
physical resemblance that director
Anne Fontaine believed was an
essential requirement when she was
casting.
798
that run between the Madeleine and
the Place Vendome. There is no
better way to try to understand the
multi-faceted, contradictory per-
sonality of Coco Chanel than to see
how she lived.
What's particularly striking
about the apartment from which she
ruled the fashion world from 1935
until 1971 is that it is in total stylis-
tic contrast with the streamlined,
signature Chanel look. Whereas the
"public" areas of 31 rue Cambon
the glistening ground floor bou-
tique and the airy, and recently
refurbished (by Karl Lagerfeld),
first-floor fitting room/salon are
full of clean lines, simple shapes
and decorated in a typical Chanel
palette of beige, black and white,
the upstairs apartment is home to
heavy antique furniture and intri-
cately patterned antique Chinese
screens. The plain mirrors down-
stairs are nothing like the ornate gilt
mirrors that proliferate in the apart-
ment.
And yet, so many staples of the
Chanel repertoire originated here:
the gold chain belts and bag straps,
the baroque necklaces, brooches
and cuffs; even the iconic 2.55 bag
can be traced back to the interior
design. It was inspired not, as Coco
Avant Chanel suggests, by the little
wallet in which the young Coco
kept her sewing needles, but by the
"wet sand"-coloured settee in her
living room.
Chanel came from an era when
said to myself that it was very
strange."
In the apartment there aren't so
many 5-related items but Chanel's
zealous superstition, no doubt the
result of such an unsettled early
life, is represented in just about
every corner. On one wall there's a
small painting (the single most
valuable item in the property it's by
Salvador Dali) of wheat, which, in
France is a symbol of luck and of
fertility as well as being the slang
word for "money". It's a symbol
which along with lions, camels and
deer (invariably in pairs) crops up
throughout the apartment, and the
Chanel historians believe it relates
to the fact that, like many self-made
people, Chanel was keenly aware
that she had come from nothing,
and had no family to bail her out if
she ran into difficulties.
Other knick-knacks and orna-
ments in the apartment testify to
Chanel's reputation as someone
who, at one point, was rumoured to
change lovers every three weeks.
Among the mementoes of a colour-
ful love life that spanned several
decades (Chanel never married and
was a strikingly attractive, youth-
ful-looking woman well into her
fifties) are a Russian crucifix given
to her by Stravinsky and a hand-
some cigarette box offered by the
Duke of Westminster.
Given Chanel's hectic love life,
you'd imagine that the boudoir
must have many a tale to tell. But
it was possible to invent a past for
oneself without having to worry too
much about snoopers discovering
the truth, and she took full advan-
tage of that fact. Although her sto-
ries about coming from a well-to-
do, old family were known to be
fictitious long before she died, she
clung to them defiantly: on the
mantlepiece in her dining room,
there's a marble bust of a rather
stern and unattractive-looking man.
She claimed he was an ancestor; we
now know he wasn't, and that she
bought the bust in an antiques shop
along with many of the opulent
pieces of furniture that she
undoubtedly tried to pass off as
heirlooms.
Everywhere you turn in the
apartment there are reminders of
one of Coco Chanel's key personal-
ity traits: her superstition. It's no
coincidence that her most famous
perfume was named after her lucky
number many of her creations, her
constellation jewellery for example
bear some reference to the number
five. (Or that when the company
released its sumptuous new adver-
tising film for the fragrance earlier
this summer, it was on 5 May.)
Even Audrey Tautou has begun
thinking this way, saying: "The day
it was announced that I was the new
face of Chanel No 5, which was
also on 5 May, I was in New York.
The number of my hotel room was
555. Nobody had requested that
room for me I just went into the
room that I'd been allocated. And I
799
one of the biggest surprises about
the apartment is that there is no
bedroom: in the 1930s, and then
after her return to Paris following
her post-war exile in Switzerland,
she had a suite at the Ritz where she
slept and had her romantic trysts.
Each morning, she would nip out
the hotel's service entrance (where
Dodi and Princess Diana were
caught on that famous CCTV
footage) on the rue Cambon and
cross the road to number 31, where
a specially designated assistant
would have liberally sprayed No 5
around the staircase so that Chanel
would walk into a haze of her sig-
nature perfume.
As much as it reflects many
aspects of the complex personality
of Chanel, the apartment is also just
another facade behind which the
private, real Coco hid. And as long
as the air of mystery and mystique
lingers around the woman whom
Tautou sums up as "unusual and
exceptional", interest in her life,
and not just her legacy, will remain
strong.
Coco Avant Chanel opens on
Friday; Coco and Ivor is scheduled
for release later this year. Coco
Chanel by Justine Picardie will by
published by HarperCollins in
October.
800
There have been musicals, most
incongruously a Broadway one
starring Katharine Hepburn, whose
bony frame and patrician outspoke-
ness appealed to Chanel, but failed
to engage with audiences. In the
autumn, another book will add to
the Chanel canon.
Written by Justine Picardie, a
former features editor at Vogue, it
tantalisingly promises hitherto
undiscovered details of her eventful
life. In the meantime, there is Coco
Before Chanel, the first of several
promised Chanel biopics, this one
with Audrey Tautou as a physically
at least convincing Gabrielle.
Actually Anne Fontaine, the
writer and director of Coco Before
Chanel, stressed that she didnt
want to produce a standard biopic.
Since most biopics are plodding,
one can sympathise. Presumably
thats why Fontaine focuses on a
relatively small chunk of Chanels
long (1883 to 1971) and extraordi-
narily eventful life the years before
she became Chanel the celebrity,
grand couturier, socialite and one of
the 20th centurys first successful
businesswomen.
So what we get is little
Gabrielle in a moodily chiaroscuro
convent-orphanage where her itin-
erant market trader father had
dumped her and her sister (the
nuns habits imbued her with an
enduring love of black minimal-
ism); Chanel as an ambitious but
not notably talented showgirl (her
soubriquet Coco came from a
vaudeville song about a lost dog)
whose day job was working as a
seamstress in Moulins, a garrison
town in the middle of France;
Chanel as the mistress of tienne
Balsan, a local toff who opens a
door on to a gentler, more refined
life.
No wonder Chanel refused to
be shaken off after hed had his
way with her, following Balsan
back to his chteau and staying
there long after the two-day invita-
tion he had reluctantly issued
expired. Balsan made her hide out
of sight (as she later did with her
brothers) when his fashionable
friends visited.
"She made up things. Thats the
not entirely encouraging opener to
Axel Madsons 1990 biography of
Gabrielle Chanel.
As a new film about the style icon
opens, the Times Fashion Editor
assesses how she sustained a
career that spanned the bustle to
the miniskirt
She was so vigilant about kick-
ing over her peasant tracks that she
paid off her brothers to disappear
and went to her grave lumbered
with a tombstone that referred to
her as Gabrielle Chasnel, since
retrieving and correcting the mis-
spelling legally on her birth certifi-
cate would have revealed that she
was born in the poorhouse.
Perhaps embellishing her histo-
ry had become a reflex. Maybe she
regarded the truth as a bourgeois
banal convention.
Not that Chanels exhaustive
self-invention has ever deterred the
biographers. Madsons is one of
numerous Chanel biographies, and
also one of the most readable.
801
At Balsans Chanel learnt to
ride horses like a man, eschewing
the uncomfortable precariousness
of the side-saddle (cue a life-long
passion for androgynous, equestri-
an tailoring); to despise the
overblown, elaborately garnished
clothes of fin de sicle society with
their constricting whalebone corset
and feather-smothered, headache-
inducing picture hats. How can
you think in one of those? she
inquires of one of Balsans ex-mis-
tresses.
Cue Chanels uncorseted, bone-
simple sack-dresses and unadorned
boaters. She learnt, too, how to
hold her own with the smart set,
and that she needed to be independ-
ent (Balsan, having initially viewed
her as a rather embarrassing leech,
came to admire, adore and eventu-
ally propose to her).
But independence was a way
off. In the meantime, the surest
route for a poor but pretty girl
intent on making her way was to
sleep with men. Chanel was too
modern to become a grande hori-
zontale (the wonderful French
euphemism for high-class kept
women); too classy to be an out-
and-out hooker. She settled for
something in between.
While still with Balsan, she met
Arthur (Boy) Capel, a charming
Englishman who came from a
wealthy coal-mining family and
spoke fluent French and, for a
while, she probably slept with both.
Boy is killed in a motoring acci-
dent, in 1919, we dont get to see
the boucl suits, the little black
dresses, the suntans, the fake pearls
and all the other wardrobe revolu-
tionising stuff that came in the
1920s. Mind you, Chanel is wear-
ing piped satin pyjamas when she
waves Boy off on that fatal journey
youll want a pair.
Theres an odd little scene at
the end where an aged Chanel,
perched on the famous staircase in
her salon on the Rue Cambon,
watches a procession of contempo-
rary models waft past her in the
labels greatest hits (many of them
designed by her successor, Karl
Lagerfeld) but you need some fash-
ion knowledge to pick up on this.
Arguably the film is more interest-
ed in Chanel the plucky, ultimately
tragic, little anti-Edwardian than it
is in Chanel the great symbol of
20th-century modernism.
After Boy, though grief strick-
en, she began an affair with
Stravinsky. Her business, which
had begun as an unassuming
millinery shop, went from strength
to strength. Her witty, sometimes
coruscating aphorisms, impeccable,
utterly original sense of chic turned
her into a celebrity. A stint in
Hollywood where Sam Goldwyn
paid her, in the depths of the
Depression, $1 million a year to
make each of his stars Ina Claire,
Greta Garbo, Gloria Swanson look
like a lady (whereas, The New York
Times dryly observed, most
Boy, however, was the one who
became the love of her life, even
though he married a wealthy socie-
ty Englishwoman halfway through
their love affair. Boy, according to
the film, sparks an infatuation with
jersey. I can only get those in
England, he remonstrated with
her, half-amused, half-exasperated,
as she cuts up another of his shirts
to make one of her increasingly
commented upon, understated
dresses.
Another time Boy whisks her
off to a chic coastal resort probably
Deauville where, thanks to Boys
money, in 1915 she was to open the
second of her shops for a romantic
tryst. Cue scene on the beach with
Chanel looking almost comically
under-dressed in one of her ankle-
length, checked shift dresses while
the grandes horizontales have to be
practically wheeled along the sand
in their galleon-like costumes. Cue
next scene where Chanel and Boy
watch the fishermen in their Breton
stripy T-shirts hauling in the morn-
ing catch. And lo, another Chanel
trope is born.
If the films fashion-history
interludes sound heavy handed
thats because they often are.
Fontaine says that she didnt want
to make a film about fashion, and
its true for a film about one of the
most stylish women of the last cen-
tury, the clothes, give or take the
odd breathtaking black evening
gown, are a little on the dour side.
By ending the film shortly after
802
Hollywood costume designers
made them look like two ladies)
turned her into a very wealthy
woman. She was at the heart of an
artistic coterie (Cocteau, Diaghilev
and Picasso were all friends) and,
unprecedented for a seamstress,
courted by society. A long affair
with Bendor, the Duke of
Westminster, had the gossip pages
speculating that she would become
the next Duchess of Westminster.
She would have too, probably, if
she had been able to have a child.
Bendor was certainly keen one
night, having waved off all the
other guests from his yacht, he had
the anchor raised and sailed off
with Chanel while a 40-strong
orchestra serenaded her. But now in
her forties and with a possible
botched abortion or two behind her,
motherhood to her eternal chagrin
was not to be.
Through Bendor she ascended
the summit of society, learnt fluent
English and more importantly in
light of what later happened
befriended Winston Churchill and
his wife Clemmie. By the time the
Second World War broke out,
Chanel had peaked. Elsa
Schiaparelli, her great rival and
espouser of everything she
despised, was fashions new
lodestar. The deal Chanel had
struck with the Wertheimer family
in the 1920s to sell perfume under
her name left her feeling, as she put
it, screwed. In turn, they referred to
her as that bloody woman and
had an in-house lawyer to deal
was in disgrace and spent the rest of
the decade with Von Dinklage in
Switzerland.
Her comeback in 1951, wasnt
an unadulterated success either.
Diors New Look in 1947 had
changed everything, not least
womens taste for Chanels brand
of luxurious, understated sports-
wear. Admirers with long memo-
ries were hopeful that Chanel, who
had been off the fashion scene for
15 years, would bring about anoth-
er style revolution akin to the one
that shed ignited during the First
World War. What she gave them
was a refined version of what shed
already done. It was a slow burn.
But if the reaction to her comeback
show was a politely muted indiffer-
ence, within 12 months her styles
were being copied around the
world. This time she pioneered a
form of ready-to-wear selling pat-
terns of her couture pieces to
American department stores that
allowed them to be made for more
accessible prices in the US.
None of this is told in Coco
Before Chanel perhaps because the
film was made with the collabora-
tion of the house of Chanel,
Fontaine was wary of going near
the Nazi stuff. So it only partially
shows how pivotal a part Chanel
played in the liberation of women.
This was a woman who spanned
one era that included the tail-end of
the bustle and another in which the
miniskirt came and went. In
between she elegantly cleared a
exclusively with the writs that she
issued against them. A strike in
1936 (by then she employed 3,000
workers) had embittered her (even
though she was notoriously stingy
with her models and seamstresses
she expected them to be as dedicat-
ed as she was) and in 1940 she
closed the door of her salon. At
least I did that, she would say
later, when accused of collaborat-
ing with the Nazis. Schiaparelli,
meanwhile, carried on selling cou-
ture throughout the war along with
Lanvin, Vionnet and the rest of the
Parisdesigners. And the
Wertheimers, despite being Jewish,
managed to transfer their business,
for the duration of the war, to an
Aryan (not Chanel) and carried on
making money selling flacons of
Chanel No 5 to the Nazis (who,
when the scent ran out, bought the
display bottles).
None of Chanels rivals howev-
er to public knowledge had an
affair with an SS officer. Hans
Gunther von Dinklages mother
was English, as Chanel would later
point out in mitigation. And she
was nearly 60 when their affair
began. At that age do you expect
me to check a potential lovers
passport? In Chanels mind there
was nothing treacherous about their
affair: indeed, incredibly, at one
point she was dispatched to broker
peace talks with her old friend
Churchill. She failed. After the war
she was arrested, released and nar-
rowly escaped being tarred and
feathered. No doubt about it, she
803
path for women to succeed vertical-
ly, not just as horizontales. Fontaine
didnt want to make a film about
fashion. Instead shes made one
about a love affair. For once, the
fashion would have been more
interesting.
Coco Before Chanel is released on
July 31
804
the scenes legends of the famous
fragrance are almost as glamorous
as the scent itself.
N
EWS & TRENDS Legendary fra-
grance Chanel N5 has been
the signature scent of well-heeled
women since 1921.
According to Coco, wear per-
fume where you want to be kissed.
The scent represents Chanel, in its
modern-shaped bottle an opulent,
yet mysterious scent that builds on
the multitude of legends that have
grown around the most famous per-
fume in the world.
As the first designer perfume,
Chanel N5 utilizes black and
white, elements that Chanel played
with all through her career as a
fashion designer. On the Web site,
you can watch Chanel master per-
fume as he walks through the histo-
ry of the legendary fragrance, and
explains how it came to be, from
the design of the bottle, to the large
amount of jasmine flowers and spe-
cial use of aldehydes used to create
the luxurious scent.
The endurance of Chanel N5
is attributed to the fact that each
woman who wears it adds a bit of
herself to the scent, allowing
Chanel No. 5 to withstand the test
of time.
Chanel N5 has been a part of
pop culture from Marilyn Monroe
who claimed to wear nothing but
two drops of Chanel N5 to bed to
artist Andy Warhol, who immortal-
ized the iconic perfume bottle in
his art.
The latest woman to wear
Chanel N5 is French actress
Audrey Tatou. In a new film, by
director Jean-Pierre Jeunet, Audrey
catches an old-fashioned sleeper
train and finds love. Her male
counterpart seeks her out through
her signature scent as the train bar-
rels to her final destination. Once
she arrives, the couple finally
meets and embraces as he is
attracted by her scent.
Audrey was chosen because
she is so able to convey emotion,
without ever saying a word. Under
the careful direction of Jean-Pierre,
the range of emotions invoked by
Chanel N5 comes alive.
The film itself and the behind
805
Loire in 1883, not 1893 as she
sometimes claimed. Gabrielle liked
to say that her father was a busi-
nessman who left to seek his for-
tune in America. Albert Chanel
was, in fact, a peddler who aban-
doned his family.
When her mother died,
Gabrielle was 12 years old and she
and her two sisters were placed in
an orphanage. At 18, she moved to
a convent where she was employed
as a seamstress, a skill which would
eventually make her one of the
most influential women of the 20th
century.
She initially tried to make her
fortune as a music hall singer in a
theatre in Vichy frequented by
army officers and other wealthy
young men. It was here that she
acquired her nickname and the first
of the two lovers who would help
her achieve fame and fortune.
There are several versions of the
origin of her nickname. The most
plausible is that, while she was a
singer, her most popular act was a
brainless song called "Qui qu'a vu
Coco dans l'Trocadero".
I
T IS DIFFICULT TO DISAPPROVE
completely of the woman who
invented the little black dress. And
trousers for women. And sports-
wear as a fashion statement. And
the sun tan. But there were many
shadows in the long life of
Gabrielle "Coco" Chanel. Not all of
them are revealed in the French
bio-pic of her early life which
opens in Britain this Friday.
A biopic of 'Mademoiselle'
Chanel is set to be one of the
movie hits of the summer.
John Lichfield reports on an
icon who prospered in
German-occupied France
"Mademoiselle" Chanel was a
public figure for more than half a
century but she was also a compul-
sively secretive woman. She had
much to be secretive about, includ-
ing her flirtation and, in the case of
one senior German officer, her love
affair with the Nazis.
The understated Chanel style
twice transformed the world of
fashion, once in the 1920s and then
again in the 1950s. "There is noth-
ing so beautiful as emptiness," she
said. But her advocacy of simplici-
ty and sombre colours (and espe-
cially black) was also, it appears, a
cloak for her own personal tastes
and especially her taste for secrecy.
For many years
"Mademoiselle" Chanel had a flat
over her "workshop" in the Rue
Cambon in Paris, where she spent
every afternoon alone before
returning to her suite in the nearby
Ritz Hotel. When she died in 1971,
aged 87, her private retreat turned
out to be a riot of violent colour
and Rococo sophistication, things
that the public "Mademoiselle"
Chanel claimed to despise. It was
as though Pablo Picasso (a close
friend) had been caught out with a
secret stash of sentimental, 19th-
century watercolours.
The movie Coco before
Chanel, starring Audrey Tautou as
the great woman, sidesteps most of
this biographical untidiness by fol-
lowing only Gabrielle Chanel's
early life.
She was born in Saumur on the
806
The young Coco was a beauti-
ful, slender woman, not unlike
Audrey Tautou in looks. She had
several lovers, culminating in a
semi-official appointment as the
second mistress of Etienne Balsan,
a wealthy young man who bred
horses. Although the relationship
did not last long, it introduced her
to high society and led to a long,
sincere and very successful roman-
tic and business partnership with an
Englishman living in France,
Arthur "Boy" Capel. Although
Capel refused to marry her, he
remained faithful, in his way, until
his death in 1919.
He and Balsan helped to set her
up, originally, in a hat-making busi-
ness. She also became celebrated in
the wealthy horse-racing world
before the 1914 - 18 war for her
revolutionary style of dress: no
coloured silk and frills and, flowery
hats but a slender, schoolgirl look
in whites and blacks and, unthink-
ably, trousers or jodhpurs.
In 1910, Boy Capel loaned her
the money to set up her first fashion
salon in the heart of Paris. Her
"new silhouette" designs for
women taking ideas and materials
from menswear and sportswear for
the first time boomed in the anti-
establishment mood after the war.
The "flapper look" of the independ-
ent young women of the 1920s,
including the slender figure and
short hair, was mostly a Coco look.
Traditionalists accused her of
had their heads shaved and were
paraded through the streets for
alleged "collaboration horizontale"
with the Germans. They were most-
ly poor women or prostitutes. Few
rich women were attacked. Partly
through pulling strings with friends
in the British royalty and aristocra-
cy, Coco avoided both official and
unofficial punishment and fled, in
disgrace, to Switzerland.
She relaunched her Paris fash-
ion house in 1954 driven by her
hatred of Christian Dior and the
"New Look". She accused him of
restoring the 19th-century ideal of
women as pretty objects for the
comfort of men. A woman sitting
down in a Dior dress, she said,
looked like "an old armchair".
Her business and influence
boomed once again, the pink suit
worn by Jackie Kennedy in Dallas
on the day of her husband's assassi-
nation in 1963 was a Chanel cre-
ation. But most of her post-war cus-
tomers and admirers were foreign.
The French never quite forgave
"Mademoiselle" Coco, the woman
who preached simplicity, for living
an elaborately luxurious war in the
arms of a German officer.
"luxurious miserabilism", but she
expressed in fashion the ideas of
the modern movement. The secret
of her success was, she said,
"always to remove and to pluck,
never to add. The greatest beauty is
the freedom of the body".
Coco Chanel became such an
icon that everything she did was
copied. Until the 1920s, pale skins
for women had been the vogue.
When she returned accidentally
sun-tanned from a holiday beside
(of all places) the North Sea, the
fashion changed. She was the first
clothes designer to launch her own
perfumes, including Chanel No 5 in
1921. Much of the investment, and
the profits, for her perfume busi-
ness belonged to a pair of Jewish
entrepreneurs called the
Wertheimer brothers. During the
Second World War one of several
shadows on her reputation
"Mademoiselle" Chanel tried to use
the anti-Semitic laws of the Vichy
government to claim the business
for herself.
When the Germans entered
Paris in June 1940, Coco closed her
fashion house and moved into the
Ritz. She had a comfortable war in
the arms of a convinced Nazi and
intelligence officer, Hans Gunther
von Dincklage. She was even
involved in a hare-brained attempt
to negotiate a separate British-
German peace in 1943.
When France was liberated in
1944, hundreds of French women
807
tional star by founding her epony-
mous fashion label.
The film focuses on the early years
of Gabrielle Chanel, who was nick-
named Coco during her failed
attempt to launch a singing career.
It has already been widely criticised
for ignoring Chanel's passionate
affair with Hans Gunther von
Dincklage during the wartime
occupation of Paris.
Chanel's alleged anti-Semitism and
homophobia have also been under-
played, critics have said. Asked if
she had reservations about taking
on the role of a national icon,
Tautou said: 'It's not scary, but it's
more of a responsibility.
'I didn't want to betray her. I want-
ed to have a sense of her character,
her personality. 'It was more inter-
esting to get as deep as possible in
her sensitivity and creation, rather
than just giving the main clich of
her life.'
Tautou shot to fame in Amlie in
2001 and is now widely recognised
as one of France's finest actresses,
having already made the break into
Hollywood, starring in films like
the Da Vinci Code in 2006. She has
also made her mark in the fashion
work, replacing Nicole Kidman as
the face of Chanel No 5, Coco
Chanel's classic perfume.
Chanel was 87 when she died in
1971.
http://www.telegraph.co.uk/news/newstopics/celebri-
Tautou, who plays Chanel in a new
biopic, included collaboration with
the Nazis and rumoured anti-
Semitism among the designer's
moral failings.
The designer has been accused of
collaboration with the Nazis during
the Second World War when she
lived at the Paris Ritz hotel with a
German lover.
Chanel was also notoriously anti-
Jewish and disliked homosexuals.
"She was a liar, so it's difficult to
know who she was before she
became famous and had some suc-
cess," Tautou told Sky News in an
interview.
"She didn't want to talk about her
youth, I don't know why, maybe she
was ashamed or maybe she didn't
want people to feel pity for her
because she came from a poor fam-
ily."
Coco Before Chanel, the new film
starring Tatou, tells the story of
how Chanel rose from a country
orphanage to become an interna-
808
sense, costume isnt so much a side
attraction as one of the starring
players, basking in the spotlight of
centre-stage. And so to help bring
the period clothes of Chanels era to
life, director Anna Fontaine turned
to Catherine Leterrier, two-time
winner of the Csar Awards,
Frances prestigious national film
prizes. With 25 years of top experi-
ence including work on fashion
favourite Prt--Porter, Leterrier
wasnt fazed by the challenge, in
contrast she and her wardrobe team
were thrilled at the prospect. My
whole team, from lead hand down
to trainee, was highly motivated
and everyone found it awe inspiring
to be making the costumes for Coco
Chanel, she enthuses. Its like
doing Molire when you are an
actor, for us, Chanel is mythical!
Exploring deeper into this
myth, Leterriers work began in a
manner much the same as for any
other period film she explains
research. We did research from
real garments in museums, flea
markets, vintage shops or private
collections and research from paint-
ing and photos. Yet despite this
great dedication to authentic detail,
Coco Before Chanel is a drama not
a documentary and so certain subtle
liberties are taken. There are
tweaks to the timeline, for example
the striped mariners sweater,
which was famously snapped on
Coco in the 1930s is brought into
the action earlier than biographical
facts suggest. Similarly Cocos cre-
ative processes behind certain
items, such as the quilt bag, are
imagined for dramatic effect.
Where Cocos actual inspira-
tions are known, such as her preoc-
cupation with black coming as a
result of her overwhelming grief at
the death of Arthur Boy Capel
(played by Alessandro Nivola), the
undisputed love of her life, they are
charted, playing their part in the
birth of a fashion philosophy that
would change haute couture forev-
er. One that evolved along with the
woman behind it.
Chanel was always at odds with
societys styles. Born in a poor-
house, her roots were modest and
this poverty is evident in her dress.
At first, she appears as a little
She likes dresses with no corsets,
hats with no feathers thats my
Coco! gushes tienne Balsan, a
rich French playboy and lover of
Coco Chanel in Coco Before
Chanel, the new biopic charting the
rags to riches tale of the French
fashion pioneer played by Audrey
Tautou.
Audrey Tautou stars as the
French fashion icon that
defined chic for a whole gener-
ation
And he was right to marvel at
her offbeat sense of style, which,
during her early years stood her
apart from wealthy Parisian society,
but would evolve into one of the
most successful and celebrated
fashion empires ever bringing us
such timeless treasures as quilted
handbags, oversized pearl neck-
laces, the little black dress and the
iconic fragrance, Chanel No5.
Introducing the original haute cou-
ture rebel.
With a film based on a fashion
designer, the building of their
empire and their own quirky dress
809
peasant girl, unpolished with a bee-
hive hairstyle, describes Fontaine
and later, once accepted into more
moneyed company, she continues
to flout the fashions. While other
women are embracing their femi-
ninity, flaunting their womanly
curves in bust-enhancing corsets,
vivid colours and frothy decora-
tions, Chanel is androgynous in
masculine suits with squared shoul-
ders and boater hats, clean unfussy
lines and little colour.
Fontaine continues: She was
different. Chanel turned this differ-
ence into a fundamental asset In
the scene at the hippodrome or the
beach in Deauville, we noticed the
total opposition of the style of
Chanel with the dresses of those
women and their elaborate head-
dresses, all the frills and corsets
that cut them in half! They had a
decorative posture, whereas Chanel
was concerned with the existence
of the individual.
Of course, this period of isolation
didnt last and the one-time fashion
misfit metamorphosed into an unri-
valled trendsetter, becoming what
Fontaine calls the incarnation of
French chic. Cue the sharp skirt
suits and pearls the Chanel myth
beloved by subsequent generations
including Leterrier.
With so many years and so
many styles to represent, the cos-
tumer and her team had their work
cut out in creating the assorted
wardrobes. Theres no stocking up
Particularly for the final
sequence, she adds, where it was
unthinkable not to have dresses by
the Chanel label.
And according to the director,
Lagerfeld didnt look to influence
or control the artistic direction of
the films fashions, though he was
outspoken on the choice of Tautou
for the role, hugely confident in the
Amelie stars ability to portray
Chanel. When Karl saw pictures
of Audrey Tautou, he told me she
was the only true Chanel, recalls
the director.
And surely there can be no higher
praise.
at the high street when working on
a period drama, nor could they cut
any corners these clothes had to
look worthy of the great designer
herself. They had to be up to the
exacting standards of haute cou-
ture, says Leterrier.
To plough through the task,
they set-up a temporary workshop
enlisting among the many special-
ists milliners Stephen Jones and
Pippa Cleator to help produce the
approximately 800 hats needed. For
accessories, they cast their net far
and wide as the designer remem-
bers: I hunted down the cotton
braids, silk ribbons, buttons and
other period accessories at flea
markets and antiques dealers. I
even found a platinum and diamond
necklace that had belonged to
Mademoiselle Chanel at the Louvre
des Antiquaires [home to 250
antique and jewellery galleries]. In
the film, this magnificent piece
adorns Audrey Tautous graceful
neck in the restaurant scene where
she appears in a black sequined
evening dress.
But there remained a final
source of costumes the house of
Chanel itself. Now under the steady
stewardship of Karl Lagerfeld, the
filmmakers were granted the use of
authentic outfits and jewellery from
the Chanel Conservatory which are
modelled by Tautou in the closing
catwalk scene. This collaboration
provided the ultimate seal of
approval and was indispensable
in the words of Fontaine.
810
farmer says.
Mr Mul, who works with his
brother Marius, employs at least 70
people every year to help pick the
five hectares of flowers, all by
hand, during the three-month har-
vest that starts in August. Many of
them are members of his family.
"Our children work with us, each
generation is involved, and we have
a regular group of people who help
with the harvest each year," he said.
Chanel safeguarded the crop
two decades ago, at a time when
exotic jasmine was flourishing in
more far-flung climes. "We're
between 20 and 30 times more
expensive than the jasmine pro-
duced in Egypt or India," Mr Mul
said.
"We live in a privileged micro-
climate on the Cte d'Azur, where
it's not too hot in summer, which
means our jasmine is of an excep-
tional quality. The optimum is for
the temperature at night to remain
above 18 degrees, and to never rise
above 28 degrees in the sun."
C
HANEL WILL ONLY ALLOW THE
VERY BEST JASMINE to make its
signature No 5 perfume, and that
has come from the same fields in
Provence for the last 88 years.
Genevive Roberts finds out how
the farmers stay on the scent
BENZYL ACETATE, HEDIONE, DI
HYDRO ISO JASMONATE, etc.
It is hard to imagine what
might connect a crinkle-faced
farmer in Provence to either
Marilyn Monroe or Audrey Tautou.
The clue is in the explosion of
white flowers around him. Every
August Joseph Mul and his work-
ers fan out across the fields in this
far south-eastern corner of France
to hand-pick the delicate petals of
jasmine that go into the world's
most famous perfume: Chanel No.
5.
The 70-year-old is the fifth
generation of his family to work for
the perfume house. The farm has
been involved with the signature
No. 5 scent a bottle of which is sold
every 55 seconds since its incep-
tion in 1921. Indeed the olfactory
combination is so unique that the
Chanel formula actually specifies
the precise origin of the white
flowers used.
"It's the most expensive jas-
mine in the world," the farmer
explains. "It's a sweeter scent, less
aggressive and softer than exotic
jasmine. It would be a different
perfume if the flowers were culti-
vated elsewhere."
The glamourous starlets who
daub their neck and wrists with the
perfume, and the hordes who pile
through the revolving doors of
Parisian department stores such as
Galeries Lafayette and Printemps,
are a world removed from the fam-
ily-run jasmine harvest based on
the town of Grasse.
"The process cannot be mecha-
nised," Mr Mul insists. So it is a
painstaking endeavour. The plant
flourishes at night, and each morn-
ing, the harvesters rise to start pick-
ing the crop at 6am, piling the
petals in wicker baskets.
"One person picks half a kilo of
flowers an hour by hand," the
811
He is clearly passionate about
his work. He recounts the story of
how the world-famous scent, worn
in bed by Monroe and now being
advertised by the French actress
Tautou, got its name. Coco Chanel
commissioned perfumer Ernest
Beaux to create six scents for her to
choose from in 1921, and she liked
number five, also her lucky num-
ber, which was rich in may rose and
jasmine for its middle notes.
Once the jasmine flowers in
Grasse have been picked, they have
to be quickly treated. "We immedi-
ately put them in contact with the
extraction solvent hexane. If they're
left for any time, the scent starts to
decay," explains Jean-Franois
Vieille, who has spent the last two
decades turning the crop into a
caramel-coloured solid, known as
concrete, that can be easily trans-
ported.
"During the harvest, we work
for as many hours as it takes. But
we don't count hours; the flowers
need harvesting every day. I do the
best I can to produce a high-quality
ingredient: we must take care
because we work for a high-quality
perfumery," he said. One kilogram
of petals means picking around
8,000 raw flowers, and 350 kilos
are needed to make one kilo of con-
crete, worth between 9,000 and
10,000 ( 8,600 ). "When the lor-
ries transport the concrete to Paris
for Chanel, we do not tell them
what is inside," Mr Vieille said.
"Fortunately, we have never lost a
the precaution of growing 20 per
cent more flowers than needed, just
in case the crop is attacked.
"We have never lost a harvest,"
he said, reassuringly. "And the con-
ditions this year were optimal."
lorry."
This year, some perfume enthu-
siasts had feared that new regula-
tions from the International
Fragrance Association (IFRA),
which come into effect next
January, would spell the end of
Chanel No. 5. The use of natural
jasmine will, for the first time, be
restricted in all perfumes to 0.7 per
cent of the finished product, to
ensure that wearers have no allergic
reaction to the flower.
The Paris-based fragrance his-
torian Octavian Sever Coifan wrote
on her blog that this would "repre-
sent the end of Chanel No. 5 leg-
end."
But Jean-Pierre Houri, head of
the IFRA, was categorical in his
denial.
"Chanel No. 5 will be unaffect-
ed by the IFRA restrictions." And a
spokesperson for Chanel said that
"Evidently when the new standards
were issued we immediately
checked the percentages in our fin-
ished products and in none of our
fragrances is the recommended
level exceeded."
Back in Grasse, the scent capi-
tal of the world where the air is
infused with the town's 600m a
year perfume industry, workers are
equally unfazed. The only thing
worrying Mr Mul is the fungus
attacking the roots of the flower.
But he is quick to add that they take
812
Since most biopics are plodding,
one can sympathise. Presumably
thats why Fontaine focuses on a
relatively small chunk of Chanels
long (1883 to 1971) and extraordi-
narily eventful life the years before
she became Chanel the celebrity,
grand couturier, socialite and one of
the 20th centurys first successful
businesswomen.
So what we get in this slice of
Chanels life is among other guises
Chanel as the mistress of tienne
Balsan, a local toff who opens a
door on to a gentler, more refined
life.
No wonder Chanel refused to
be shaken off after hed had his
way with her, following Balsan
back to his chteau and staying
there long after the two-day invita-
tion he had reluctantly issued
expired. Balsan made her hide out
of sight (as she later did with her
brothers) when his fashionable
friends visited.
The surest route for a poor but
pretty girl intent on making her way
was to sleep with men. Chanel was
too modern to become a grande
horizontale (the wonderful French
euphemism for high-class, kept
women); too classy to be an out-
and-out hooker. She settled for
something in between.
While still with Balsan, she met
Arthur (Boy) Capel, a charming
Englishman who came from a
wealthy coal-mining family and
spoke fluent French and, for a
while, she probably slept with both.
Capel, however, was the one
who became the love of her life,
even though he married a wealthy
society Englishwoman halfway
through their love affair.
Another time Capel whisks her
off to a chic coastal resort probably
Deauville where, thanks to Capels
money, she was to open the second
of her shops in 1915 for a romantic
tryst. Cue scene on the beach with
Chanel looking almost comically
under-dressed in one of her ankle-
length, checked shift dresses while
the grandes horizontales have to be
practically wheeled along the sand
in their galleon-like costumes. And
Lisa Armstrong looks at what the
new Chanel biopic neglects to tell
you, and how the icons men helped
her ascend the summit of society.
She made up things. Thats
the not entirely encouraging opener
to Axel Madsons 1990 biography
of Gabrielle Chanel.
She was so vigilant about kicking
over her peasant tracks that she
paid off her brothers to disappear.
Not that Chanels exhaustive
self- invention has ever deterred the
biographers. Madsons is one of
numerous Chanel biographies. In
late 2009, another book will add to
the Chanel canon, this time by
Justine Picardie, a former features
editor at Vogue. In the meantime,
there is Coco Avant Chanel (Coco
Before Chanel), the first of several
promised Chanel biopics, this one
with Audrey Tautou as a physically
at least convincing Gabrielle.
Actually Anne Fontaine, the
writer and director of Coco Avant
Chanel, stressed that she didnt
want to produce a standard biopic.
813
lo, another Chanel trope is born.
Arguably the film is more inter-
ested in Chanel the plucky, ulti-
mately tragic, little anti-Edwardian
than it is in Chanel the great symbol
of 20th- century modernism.
Later in her life she began an
affair with Igor Stravinsky. Her
business, which had begun as an
unassuming millinery shop, went
from strength to strength. A stint in
Hollywood where Sam Goldwyn
paid her, in the depths of the
Depression, 1-million a year to
make each of his stars Ina Claire,
Greta Garbo, Gloria Swanson look
like a lady turned her into a very
wealthy woman. She was at the
heart of an artistic coterie (Cocteau
and Picasso were all friends) and,
unprecedented for a seamstress.
A long affair with Bendor, the
Duke of Westminster, had the gos-
sip pages speculating that she
would become the next Duchess of
Westminster. Bendor was certainly
keen one night, having waved off
all the other guests from his yacht,
he had the anchor raised and sailed
off with Chanel while a 40-strong
orchestra serenaded her.
Through Bendor she ascended
the summit of society, learnt fluent
English and befriended Winston
Churchill and his wife Clemmie.
By the time the Second World War
broke out, Chanel had peaked. The
deal Chanel had struck with the
Wertheimer family in the 20s to
sell perfume under her name left
Her comeback in 1951 wasnt
an unadulterated success either.
Admirers with long memories were
hopeful that Chanel, who had been
off the fashion scene for 15 years,
would bring about another style
revolution akin to the one that shed
ignited during the First World War.
What she gave them was a refined
version of what shed already done.
It was a slow burn. But if the reac-
tion to her comeback show was a
politely muted indifference, within
12 months her styles were being
copied around the world. This time
she pioneered a form of ready-to-
wear styles selling patterns of her
couture pieces to American depart-
ment stores that allowed them to be
made for more accessible prices in
the US.
None of this is told in Coco
Avant Chanel perhaps because the
film was made with the collabora-
tion of the house of Chanel,
Fontaine was wary of going near
the Nazi stuff. And it only partially
shows how pivotal a part Chanel
played in the liberation of women.
This was a woman who
spanned one era that included the
tail-end of the bustle and another in
which the miniskirt came and went.
In between she elegantly cleared a
path for women to succeed vertical-
ly not just as horizontales.
her feeling, as she put it, screwed,
however. In turn, they referred to
her as that bloody woman and
had an in-house lawyer to deal
exclusively with the writs that she
issued against them.
A strike in 1936 (by then she
employed 3000 workers) had
embittered her and in 1940 she
closed the door of her salon.
At least I did that, she would
say later, when accused of collabo-
rating with the Nazis. Despite being
Jewish, the Wertheimers managed
to transfer their business for the
duration of the war to an Aryan and
carried on making money selling
flacons of Chanel No 5 to the Nazis
(who, when the scent ran out,
bought the display bottles).
Chanel was nearly 60 when her
affair with the SS officer Hans
Gunther von Dinklage began. His
mother was English, as Chanel
would later point out in mitigation.
At that age do you expect me to
check a potential lovers passport?
In Chanels mind there was nothing
treacherous about their affair:
indeed, incredibly, at one point she
was dispatched to broker peace
talks with her old friend Churchill.
She failed.
After the war, she was arrested,
released and narrowly escaped
being tarred and feathered. No
doubt about it, she was in disgrace
and spent the rest of the decade
with Von Dinklage in Switzerland.
814
K
EIRA KNIGHTLEY IS TOPLESS in
a tasteful way, naturally. The
gamin Keira Knightley is not top-
less in some tawdry magazine to be
poured over by adolescent boys at
school and men in Welsh caravan
parks.
Keira Knightley is no tart. Her
topless shots are demure, and only
hint at light bondage and her avail-
ability to be squired over a pile of
David Beckhams jumpers or the
prow of a pirate ship.
The men in the pictures are on
higher things. The woman with the
camera a madame of the artes.
Keiras primary sexual charac-
teristics are being used to sell
Chanel perfume. What more noble
cause than that?
815
them slightly larger and youll get
approval' and I was like, "OK, fine.
I honestly don't give a shit".
Well, either way, we think she
looks just swell!
Keira Knightley is hot to trot in top-
less new Chanel ad
Keira Knightley has dared to bare
in a raunchy new ad campaign for
Chanel.
The 24-year-old actress peeled off
her top and maintains her modesty
with a strategically placed pair of
braces in a new campaign for
Chanels Coco Mademoiselle per-
fume.
The Pirates of the Caribbean star
once before admitted that her bust
had been given a little boost in a set
of movie pics, and the buxom new
ad may beg the question of whether
she received any help in the cleav-
age department again.
When Keira posed for posters of for
her King Arthur movie in 2004, she
revealed her bust had been digitally
altered.
She told a US magazine: Those
things certainly werent mine.
We had an interesting discussion
when they said, "We want to make
816
semi-official appointment as the
second mistress of Etienne Balsan,
a wealthy young man who bred
horses. Although the relationship
did not last long, it introduced her
to high society and led to a long,
sincere and very successful roman-
tic and business partnership with an
Englishman living in France,
Arthur "Boy" Capel.
He and Balsan helped to set her
up, originally, in a hat-making busi-
ness. She also became celebrated in
the wealthy horse-racing world
before the 1914-18 war for her rev-
olutionary style of dress: no
coloured silk and frills and flowery
hats but a slender, schoolgirl look
in whites and blacks and, unthink-
ably, trousers or jodhpurs.
In 1910, Capel loaned her the
money to set up her first fashion
salon in the heart of Paris. Her
"new silhouette" designs for
women boomed in the anti-estab-
lishment mood after the war.
Traditionalists accused her of
"luxurious miserabilism", but she
expressed in fashion the ideas of
I
T'S DIFFICULT TO DISAPPROVE
COMPLETELY of the woman who
invented the little black dress. And
trousers for women. And sports-
wear as a fashion statement. And
the sun tan. But there were many
shadows in the long life of
Gabrielle "Coco" Chanel. Not all of
them are revealed in the French
biopic of her early life which
opened last week.
"Mademoiselle" Chanel was a
public figure for more than half a
century but she was also a compul-
sively secretive woman. She had
much to be secretive about, includ-
ing her flirtation - and, in the case
of one senior German officer, her
love affair - with the Nazis.
For many years Chanel had a
flat over her "workshop" in the Rue
Cambon in Paris, where she spent
every afternoon alone before
returning to her suite in the nearby
Ritz Hotel. When she died in 1971,
aged 87, her private retreat turned
out to be a riot of violent colour
and Rococo sophistication, things
that the public Chanel claimed to
despise.
The movie Coco before
Chanel, starring Audrey Tautou as
the great woman, sidesteps most of
this biographical untidiness by fol-
lowing only Chanel's early life.
She was born in Saumur on the
Loire in 1883, not 1893 as she
sometimes claimed. She liked to
say her father was a businessman
who left to seek his fortune in
America. Albert Chanel was, in
fact, a peddler who abandoned his
family.
When her mother died, Chanel
was 12 years old and she and her
two sisters were placed in an
orphanage. At 18, she moved to a
convent where she was employed
as a seamstress.
She initially tried to make her
fortune as a music hall singer in a
theatre in Vichy frequented by
army officers and other wealthy
young men.
The young Chanel was a beau-
tiful, slender woman, not unlike
Audrey Tautou in looks. She had
several lovers, culminating in a
817
the modern movement.
She was the first clothes
designer to launch her own per-
fumes, including Chanel No 5 in
1921. Much of the investment, and
the profits, for her perfume busi-
ness belonged to a pair of Jewish
entrepreneurs called the
Wertheimer brothers. During World
War 2 Chanel tried to use the anti-
Semitic laws of the Vichy govern-
ment to claim the business for her-
self.
When the Germans entered
Paris in June 1940, Chanel closed
her fashion house and moved into
the Ritz. She had a comfortable war
in the arms of convinced Nazi and
intelligence officer Hans Gunther
von Dincklage.
When France was liberated in
1944, hundreds of French women
had their heads shaved and were
paraded through the streets for
alleged "collaboration horizontale"
with the Germans. They were most-
ly poor women or prostitutes. Few
rich women were attacked. Partly
through pulling strings with friends
in the British royalty and aristocra-
cy, Coco avoided both official and
unofficial punishment and fled, in
disgrace, to Switzerland.
She relaunched her Paris fash-
ion house in 1954 driven by her
hatred of Christian Dior and the
"New Look". She accused him of
restoring the 19th-century ideal of
women as pretty objects for the
comfort of men. A woman sitting
down in a Dior dress, she said,
looked like "an old armchair".
Her business and influence
boomed once again, the pink suit
worn by Jackie Kennedy in Dallas
on the day of her husband's assassi-
nation in 1963 was a Chanel cre-
ation. But most of her post-war cus-
tomers and admirers were foreign.
The French never quite forgave
"Mademoiselle" Coco, the woman
who preached simplicity, for living
an elaborately luxurious war in the
arms of a German officer. - The
Independent on Sunday
818
with Chanel. I didnt try to copy
her mannerisms or anything. Being
born in the same month and in the
same region of France is about all
we have in common.
The film has come in for some
heavy criticism overseas for omit-
ting the controversial aspects of
Chanels life (one of her lovers,
with whom she lived in a swank
Paris hotel, was a Nazi spy in occu-
pied France and Chanel herself was
arrested for being a collaborator but
war crimes charges were mysteri-
ously dropped). She was also
allegedly anti-Semetic and homo-
phobic.
However, Tautou dodged all
that, emphasizing that she just
wanted to portray Chanel as a
young woman and show how her
early poverty might have shaped
her creativity. It was hard to find
out much about her early life. There
are very few records of her having
spoken about it, she said.
The actress, who naturally wore
Chanel during her official functions
in Japan, said she likes the simple
F
RENCH FASHION DESIGNER
GABRIELLE COCO CHANEL is
in vogue this year. The iconic
designer of the little black dress,
who died in 1971 at the age of 87,
has so far been the subject of two
films this year. First, Shirley
MacLaine played the older Chanel
in the American production Coco
Chanel, and now French actress
Audrey Tautou portrays the
younger version in the French-lan-
guage film Coco avant Chanel
(Coco before Chanel).
Tautou, 33, is a fitting choice
since she will also be the new face
for the perfume Chanel No. 5, tak-
ing over from Nicole Kidman in a
series of international ad cam-
paigns starting in November.
Making her 4th visit to Japan,
the tall and slender Tautou said she
learned some unexpected things
about Chanel when she doing
research. What surprised me most
of all was that she never had any
interest in becoming a designer
when she was young. She had aspi-
rations to become a singer and
dancer. She saw that as her way out
of poverty.
Directed by Anne Fontaine
(The Girl From Monaco) and
based on a book by Edmonde
Charles-Roux, Coco avant
Chanel looks at the events that
shaped Chanels life early on. After
being orphaned, she worked as a
seamstress while singing at night.
Eventually, she clawed her way up
in French society thanks to some
opportune relationships with high-
ly-placed men. There is no doubt
that she was ahead of her time,
said Tautou. Her independence
and fierce spirit were like a beacon
for women to come.
Tautou, who shot to fame in
France in the 2001 film Le fab-
uleux destin dAmelie Poulain, is
perhaps best known to English-
speaking audiences for her co-star-
ring role with Tom Hanks in The
Da Vinci Code (2006). She said
she likes playing strong-willed
characters, but added that she real-
ly didnt have much in common
Tokyo -
819
and elegant hallmarks of the
designers creations. Millions of
women owe Coco Chanel a lot of
thanks for liberating them from
corsets and padding, she said.
The Chanel story will continue
in January with yet another film,
Coco Chanel and Igor
Stravinsky, which looks at the
rumored affair between the two
luminaries. Her life had so many
interesting episodes. I dont think
anyone knows how much is true or
not, but her influence on the way
women dress, even today, is unde-
niable, Tautou said.
Coco avant Chanel opens in
Japan on Sept 18.
820
Beaux's first perfume (name
unknown) was released in 1907 but
his first large success came in 1912
with his Bouquet de Napoleon, an
eau de cologne that commemorated
the centennial of the battle of
Borodino, Napoleon's last but very
bloody victory in Russia. The fol-
lowing year (1913) Beaux is said to
have produced his Bouquet de
Catherine, to celebrate the ter-
centennial of the Romanov
dynasty. Some sources confuse this
almost unknown fragrance with
Brocard's The Empress's Favorite
Bouquet which today is known as
Red Moscow. Beaux speaks of the
success of Bouquet de Napoleon in
a 1946 lecture but makes no men-
tion of the Bouquet de Catherine.
In 1914, with the outbreak of
war, Beaux again found himself in
the military. Beaux appears to have
served in combat but after Russia
left the War in 1917 and the fight
with Germany ended in 1918,
Lieutenant Beaux served as a
counter intelligence officer in the
multinational force that attempted
to support the White Russian army
in their effort to overthrow the
Bolsheviks and thus restore the
monarchy. Beaux, fluent in
Russian, was to Arkhangel'sk and
served at the prison on Mud'yug
Island where Bolsheviks captured
by the White Russian and Allied
armies were held. While survivors
of the camp were left with different
impressions of Beaux, there was
agreement that he was always ele-
gant in his appearance. For his
service between 1914 and 1919, he
received medals from Britian,
France and Imperial Russia.
In 1918 Beaux received word
that he should not return to
Moscow. In 1919, with his military
service ended, Beaux was reunited
with wife, son, friends, relatives
and Rallet co-workers in France.
Rallet, which had been purchased
by Chiris in 1898, had set up oper-
ations at La Bocca, near Cannes.
Again Beaux has his own perfume
laboratory.
At La Bocca, Beaux was some-
thing of a celebrity to the younger
French perfumers. These compan-
ions included Henri Robert, Henri
Almeras, and Vincent Roubert.
Ernest Beaux was born on
December 8, 1881, in the village of
Suschevo "in Vedernikova's house"
in Moscow, near the factory and
offices of A. Rallet & Co. where his
French father, Edouard Beaux, was
employed as chief perfumer and
member of Rallet's board of direc-
tors.
After finishing his secondary
education in 1898, Ernest Beaux
joined Rallet as a lab assistant in
the soap works. Two years later he
took a leave of absence for military
service in France.
When Beaux returned to
Moscow in 1902, he was assigned
to Rallet's perfumery division,
working under Rallet's technical
director, A. Lemercier. Lemercier, a
modern, original thinker, encour-
aged Beaux to explore new trends
in perfumery and perfumery mate-
rials as well as new social and cul-
tural trends.
In 1907 Beaux was elevated to
the position of technical director
and became a member of Rallet's
board of directors.
821
Henri Robert's father, Joseph
Robert, was Chiris's technical
director.
In his 1946 lecture, Beaux men-
tions his military service in lands
above the arctic circle "where the
rivers and lakes release a note of
incredibly freshness". He commit-
ted this note to memory.
But even before 1914, Beaux
had been experimenting with alde-
hydes, inspired in part by
Houbigant's 1912 Quelques Fleurs,
in which Houbigant perfumer,
Robert Bienaim, successfully
made use of aldehyde C-12 MNA.
It is believe that Beaux's Bouquet
de Catherine was an effort to make
use of these new materials.
Although we do not know the exact
year of its rebirth, Bouquet de
Catherine evolved into Rallet Le
No.1, first marketed by Rallet and
later by Coty after Coty acquired
Rallet in 1929.
During the years 1919 to 1920,
no doubt working from his Bouquet
de Catherine experiments Beaux
developed a number of fragrances,
including those that would become
Chanel No.5 and Chanel No.22. In
1920, Beaux and Gabrielle "Coco"
Chanel were introduced by Grand
Duke Dimitri Pavlovitch. Dimitri
had been exiled from Russia before
the 1917 Bolshevik revolution for
his role in the assassination of
Rasputin and now, in France, had
become Chanel's lover in an affair
that lasted for about a year. Dimitri
resent his friend Eugene Charabot
in Paris.
In 1924, the year Ernest
Wertheimer went into a perfume
marketing partnership with Coco
Chanel, Beaux was hired by Paul
and Pierre Wertheimer to be the
technical director of both Parfums
Chanel and Bourjois, the
Wertheimer's existing perfume and
cosmetics business which already
had achieved international distribu-
tion, including outlets in the United
States.
During the 1930's, Chanel and
Bourjois released a number of fra-
grances in which Ernest Beaux, no
doubt, had a hand. But in a rare
1953 interview, Pierre Wertheimer
explained to Time magazine that
companies such as Chanel and
Bourjois could each only afford to
promote a single fragrance, and this
fragrance would provide them with
the bulk of their business. To pro-
mote more than a single fragrance
was simply too expensive. For
Chanel, No.5 was "the" fragrance;
for Bourjois it was Soir de Paris.
Although New York based
Henri Robert became Chanel's
chief perfume in 1954, Beaux
remained with the company until
the year before his death when he
was "let go." He died in his Paris
apartment in 1961. His funeral was
held in the south of France in the
Parish of Notre Dame de Graz de
Passy. It is said that the church was
decorated with roses.
knew of Rallet and, quite likely,
knew Beaux either personally or by
reputation from their Moscow days.
In response to her request for a
perfume, Beaux according to his
own words presented her with two
series of bottles, the first numbered
1 through 5, and the second, 20
through 24. According to Beaux'
report of the meeting, she chose the
bottle numbered "5" and, when
asked what she would call it, told
Beaux that she would call it
"Number Five" which she did.
Between 1920 and 1922, Beaux
produced a number of fragrances
for Chanel, some no more than
experiments. These deliveries were
in small quantitites from his own
lab at La Bocca. No.5 and No.22
and the ones that are remembered.
Beaux lacked the capacity to manu-
facture these fragrances in larger
quantities and Chanel lacked the
ability to sell more than a handful
of bottles.
In 1922, Beaux's laboratory at
La Bocca became a favorite "tourist
destination" for diplomats during
the Conference of Cannes at which
Germany reparations from the First
World War were negotiated.
Visitors to Beaux's laboratory
included British Prime Minister,
David Lloyd George, French
Premier, Aristide Briand, and Louis
Loucheur (who Time magazine
later referred to as "the symbol of
the reputable French profiteer.") In
the same year Beaux agreed to rep-
822
But did Beaux create his last
classic in 1936? Beaux, by all
accounts, worked every day and
constantly experimented with ideas
for perfume. During the 1940's,
when Chanel had stopped offering
new collections, a series of per-
fumes appeared under the name
"Mademoiselle Chanel". While
offering these fragrances violated
her agreement with the
Wertheimers, their existance and
Chanel's attempts to ship them to
the United States became a bit of a
game she played with Pierre
Wertheimer, who, she believed,
was not giving her a large enough
share of the profits on "her" fra-
grances.
A recent analysis of Chanel's
Mademoiselle Chanel No. 1 (see
"From Rallet No.1 to Chanel No.5
versus Mademoiselle Chanel
No.1", Perfumer & Flavorist,
October, 2007) has shown it's kin-
ship to Chanel's No.5. Beaux is on
record as having praised the fra-
grance and thus distanced himself
from it, but this recent analysis has
uncovered Beaux's "signature" in
this fragrance making it unlikely
that anyone but Beaux could have
created it. A reconstitution of
Mademoiselle Chanel No.1 which
exhibits a total lack of the aldehy-
des for which Beaux was famous
but makes heavy use of another
material that was new in the 1940s
has shown it to be an exquisite fra-
grance, on the level of Beaux's best
work. Of course we may never
know the truth about this fragance
that quickly disappeared after
Pierre Wertheimer negotiated a new
agreement with Gabriel Chanel.
823
He added: Its rather ironic that
one of the films thats on is Coco
Before Chanel, a film about the
early years of MASTER PERFUMER
COCO CHANEL famous for creating
the whiffy Chanel No.5.
Ian Hoey, manager at the Cameo,
said that the pong had been plagu-
ing the cinema for nearly a month
before they finally found the source
drains in a neighbouring building.
He said: Weve had signs up
depending on how many people are
going in, its not always possible to
tell everyone individually.
A few people have declined to go
in or asked for refunds but the
majority of the audience have
stayed here.
Staff finally discovered that the
source the problem is the drains in
the next building along.
Workers at the Cameo one of the
oldest cinemas in Scotland are cur-
rently battling the nasty niff and
have closed one of the smaller
screens while the fight goes on.
He added: Its actually a split in a
cast-iron downpipe through the
wall of one of our auditoriums.
Its not in our premises and its not
sewage its sink drainage.
But its taken us several weeks,
with the help of various contrac-
tors, to work out what the problem
was.
Its been a nightmare Ive learned
all sorts of things about how pun-
gent the smell of stake water could
be.
Managers have promised punters a
much more pleasant ambience by
the end of the week.
The Cameo is one of the oldest cin-
emas in Scotland, dating back to
before the First World War in 1914,
when it was called the Kings
Cinema.
See more of our pictures at our
Flickr site and videos at our dedi-
cated channel, Deadline TV.
A cinema is asking customers to
smell their auditorium before they
buy tickets because of a terrible
stench.
The famous Cameo cinema in
Edinburgh has been plagued with a
vile smelling pong for nearly a
month.
It has been so bad it left some
movie-goers feeling a bit queasy.
There was even fears that a body
may have been stashed away some-
where in the historic building.
Movie buff Brian McGlone was
visiting at the weekend but changed
his mind after being invited to have
a sniff before buying a ticket.He
said: We were hoping to see a film
on Saturday, and it was explained
to us when we bought the tickets
that we could go in and see if we
liked the smell first because theyve
got problems with the drains.
They said some people were going
in, but I said I dont think we fancy
that especially since my wife has
asthma.
824
movie is already a great advantage
to express how difficult it was to be
of the weaker sex at that time. The
intelligence of Anne Fontaine, her
finesse, her global vision of the
character and the story have been of
utmost importance in her direction
of the film.
Audrey Tautou is a fascinating
actress and we really appreciated
her time. Heres more of what she
had to tell us about Coco Before
Chanel:
Q: This film focuses on Coco
Chanel before she became a famous
fashion designer. Was it challeng-
ing to find information about the
early beginnings of her life?
Audrey Tautou: Because of the part
of her life that was chosen to be
depicted in this film, there was
actually not a lot of information out
there. And also, what she said about
this period was often full of lies and
she wanted to hide a lot of the facts.
So, one of the instrumental pieces
was the biography written by
Edmonde Charles-Roux who had
done an exhaustive investigation
M
OVIESONLINE SAT DOWN
RECENTLY with French
actress Audrey Tautou (The Da
Vinci Code, Amelie) to talk about
her new movie, Coco Before
Chanel.
Coco Before Chanel is the
story of Gabrielle "Coco" Chanel,
who began her life as a headstrong
orphan, and through an extraordi-
nary journey became the legendary
couturier who embodied the mod-
ern woman and became a timeless
symbol of success, freedom and
style. The film portrays the forma-
tive years of Chanel's life, the years
Chanel spent discovering and
inventing herself.
Coco Before Chanel is directed
by Anne Fontaine (La Fille de
Monaco/ The Girl From Monaco)
from a screenplay by Anne
Fontaine and Camille Fontaine,
with the collaboration of
Christopher Hampton (Dangerous
Liaisons), loosely based on
L'irrgulire (Chanel and Her
World: Friends, Fashion, and
Fame) by Edmonde Charles-Roux.
More than 40 biographies have
been written about this extraordi-
nary fashion designer and her leg-
endary life. Chanels experience in
the 20th century was full of audac-
ity, love, turmoil and allure, and her
story reads like a lesson on life, a
novel bursting with adventure.
Tautou was likewise fascinated
by Chanel, and though the prospect
of the role had long been hovering
around her, she was captivated by
Fontaines vision. I was secretly
hoping to get an offer with a partic-
ular point of view because the
modernity of this character her
spirit, and the position she gave
women fascinates me, says
Tautou. In addition, when Anne
Fontaine explained how she intend-
ed to treat the subject, I immediate-
ly agreed.
Anne has allowed me to
develop the nature of Chanel by
searching different aspects of this
role, by shading the emotions,
being fragile and sweet and, at the
same time, commanding and
proud, the actress continues. The
fact that a woman directs this
825
for 5 years to get to the bottom of
who Coco Chanel was in this peri-
od. And then, there were other
books that Audrey read about this
period and she could tell from the
different books who believed in the
lies that Coco spread about herself
and who didnt. And, in the case of
Edmonde who wrote the definitive
biography, she dispelled many of
the lies that Coco herself was trying
to set out.
Q: Audrey, since you were playing
an actual person, how did you
approach this role compared to
roles that are fictional?
Audrey Tautou: Yes, playing some-
body who has a celebrity quotient
or people know about adds extra
pressure because in the publics
mind they already have preconcep-
tions or they think they know that
person. But, based on the research
that Audrey did, both watching
videos and seeing a lot of photo-
graphs and also reading the novels,
it informed the way she wanted to
interpret this person and that actual-
ly gave her a lot of freedom to
inject her own self, her own colors,
into this character.
Q: Do you feel more liberated
working with fictional characters
than with this real character?
Audrey Tautou: I dont feel liberat-
ed or constrained in the way that
you asked the question and theres
actually some comfort in playing
somebody who has, you know,
special view toward fashion and
can you talk about that?
Audrey Tautou: I would say that
she breaks the rules in fashion
because she also breaks the rules as
a woman. Behave yourself. So, I
think clothes for her were not
superficial. It was the expression of
her spirit. Thats the reason why her
style is still so present, you know,
today and so fashionable. You
know, I would say its not about
Chanels style is almost not about
fashion. Thats why, you know, its
so unfashionable. I do not personal-
ly like to follow fads in fashion or
things change and where your per-
sonality isnt really expressed. You
know, you accept whatever the new
fad is just because thats the thing
of the moment. Thats not what I
gravitate to. I prefer the clothing,
and I do like clothing, but it is more
just a personal expression but not
following something.
Q: Would you be interested in con-
tinuing with Cocos life? I think it
would have been interesting to see
a sequel of what happened after
because she had massive success
and quite a few lovers.
Audrey Tautou: If youre interested
in the rest of her life, its in part
because this film explored the mys-
tery of who she was and she lived
80 plus years. It would have been
too reductive to try to cover every
chapter in her life. Its true that she
had such a rich life that you could
make 10 movies about her because
whos existed and has a psychology
thats already there. But, where I
worked was on the border, that
frontier between interpreting the
character and finding, exploring
this part of her life that not a lot of
people knew about, and then, the
other side, the mimtisme, or the
imitation, but trying to recreate the
part that was the public. So, its
really the work on that border
between the fictional and then the
persona that people knew about.
Q: What was it about Anne
Fontaines vision that attracted you
to the project and resonated with
you?
Audrey Tautou: I think the attrac-
tion was that the film actually was
focusing on a short period of her
life and not a sprawling epic biog-
raphy and that this was a study of
that character at that point in time
and the fact that Anne Fontaine is a
woman and, as the director, she had
a very keen perception of the psy-
chology of the character and she
had an understanding of what it
means to function in a mans world
and to advance and to make break-
throughs in that and the fact that
she. This is not a movie about
clothing. This is a movie about
somebody who is advancing and
that the fashion is part of that jour-
ney, but its not the end in and of
itself.
Q: She had a really special vision
and she broke the rules of fashion at
that time. Do you personally have a
826
she had an amazing love life, very
Romanesque, full of hope and
tragedies, and men were very
important for her and she creates so
many amazing things, you know,
not only about the style but if I talk
about the perfume and Chanel No.
5, its amazing. Everything was
revolutionary. Today it seems so
normal and modern. Its really not
old fashioned today. But, at that
time, it was just completely new for
many, many things. So, Chanel is
such an interesting and unique per-
sonality that I think thats the rea-
son why, for me, this character
deserved to be treated deeply, you
know.
Q: Are there other elements of her
life that you would have loved to
make a part of this movie or per-
haps would like to explore in a
sequel?
Audrey Tautou: Well, I think that I
am interested in - Im very moved
by the very final chapter of Coco
Chanel when she was at the end of
her life. For so many decades, she
was ahead of the times and there is
a part towards the end where socie-
ty not only caught up with her but
then surpassed her and she
changed. She lived in incredible
solitude at the end after having a
life full of people and lovers. She
lived in a deep solitude although
she still worked and she was func-
tional and she always kept the sense
of the repartee, the joy of the verbal
joust and a sense of humor. The last
little thing, which is the way she
wanted to keep .control of her life,
and an anecdote which is true, and
she said, because she was living in
the Ritz at the end of her life, and
she saw the receptionist of the hotel
that she knew and she said, Im
going to die in 7 minutes and she
died 8 minutes after.
Q: That is control.
Audrey Tautou: Thats amazing,
yeah.
Q: Audrey, youve worked with
male directors and now youve
worked with Anne Fontaine, did
you see any difference particularly
where your characters are strong
female characters in your films?
Audrey Tautou: No, I dont really
see any difference, in fact, you
know. I have no idea also because I
dont really like to analyze my
work and my relationship with a
director. I dont like to have dis-
tance with the part Im playing or,
you know, the project Im on or the
story we are telling. When Im
involved, I dont look at it objec-
tively or from a distance. But,
again, I really think that it was very
essential when treating such a char-
acter that it be directed by a
woman. You know, Chanel was so
feminine and special that a man can
understand her but a woman can
feel her.
Coco Before Chanel opens in
theaters on September 25th.
827
Her 1954 comeback was engi-
neered not so much for fashion's
sake as to revive the Chanel brand's
profile in order to drive lagging
perfume sales.
Chanel's private apartment on
rue Cambon in Paris is preserved,
its ornate Coromandel screens still
in place, as something of a
sideshow attraction. Even Chanel's
off-hand remarks have, with the
passage of time, become grand pro-
nouncements as burnished and
repeated as Nietzsche's aphorisms.
"Some people think luxury is the
the opposite of vulgarity."
"Elegance is refusal." "Luxury
must be comfortable, otherwise it is
not luxury." "A woman who doesn't
wear perfume has no future."
Ah yes, perfume.
Launched in 1921 in a crisply
plain bottle, Chanel No. 5 is at first
whiff pretty awful stuff. Strong and
harsh (like the woman herself) with
sharp aldehyde notes that soften
into florals only if you wait patient-
ly enough, yet it's still the world's
I
S THERE SUCH A THING AS CHANEL
FATIGUE? Since her death nearly
30 years ago, Gabrielle "Coco"
Chanel has become a public
domain icon as much as Marilyn,
Audrey and Jackie O.
I know, because in my teens I
had an obsessive phase over the
French designer and memorized
every available tidbit about her (her
life, not her brand). Today, Chanel
is everywhere, yet on evidence,
very little remains of that woman
except a pastiche of symbols and a
scrap of tweed.
Chanel, the original French
paradox. She wore her brows as
angular slashes but adorned her
emancipated bob with a coquettish
ribbon bow. She was single, a fem-
inist, yet the fashion Modernist was
financially supported by men. She
threw aside Edwardian propriety
and excess and ushered in an era of
luxe austerity with casual, body-
skimming, corset-free dresses of
knitted jersey. Her mousy grey and
sober little black dresses flew in the
face of Belle Epoque opulence and
archrival Paul Poiret sniffed they
were "le misrabilisme de luxe."
(She charged a fortune for them,
clever girl.) She was a living
rebuke of the adornments that
turned women into mere decoration
yet wore long ropes of real and
fake pearls, the wit of good junk
mixed with the good stuff.
Anyone can drip in double Cs,
though the impeccable cut of a sim-
ple black dress is much harder to
achieve. What would Coco the
iconoclast make of the ridiculous
concept cars, travelling art installa-
tions and so-called "luxury" skis
and bicycles festooned with the
branded shorthand of "Chanel?"
The endless interlocking Cs, num-
ber 5s, quilted leather and her per-
sonal emblem, the camellia blos-
som (from her one true love Boy
Capel, who first wore a white
camellia blossom in his lapel at the
Deauville casino). Even the com-
pany's cheek rouge is painstakingly
sculpted to look like the signature
boucl tweed. Who knows, perhaps
Coco would have loved the cynical
genius of Karl Lagerfeld. Like
Madonna, she was driven, a sur-
vivor and master of reinvention:
828
top-selling scent. During my
Chanel obsession years, I wore its
sibling Coco, a heady oriental that
was way too grown-up for even my
precocious 14-year-old self.
Today? The blockbuster Coco
Mademoiselle has overtaken sales
of the original Coco. Instead of
haughty brunettes like model Ins
de la Fressange, the ads now pander
to the junior set with the blond star-
let of the moment (most recently,
Keira Knightley). The juice itself?
Watered down with sugary notes
and tinted bubblegum pink.
Pretty and pink is not the
inscrutable Horst Chanel I fell for,
or the stern woman of the Cecil
Beaton portraits. It's her apple-
cheeked impersonator Audrey
Tautou who, instead of diffidence
and steely determination, merely
sulks, scowls and smokes her way
through Coco avant Chanel.
Woefully miscast in Anne
Fontaine's tepid biopic, Tautou is
indolent and peevish. She dresses
the part of garonne, sure, but has
none of Chanel's mystique or brittle
charm. It's like expecting Meg
Ryan to be a good Bette Davis. It's
beautiful to look at though, espe-
cially because Coco's well-worn
cotton shirts and mannish tweed
suits contrast nicely with the cour-
tesans who wear "too much of
everything." Next to her purity of
design, they're as ridiculous as
macaroons trussed in taffeta. Right
there onscreen is why Chanel's
close friend and memoirist Paul
Morand so aptly called her 19th-
century style's "exterminating
angel."
In April, after a lifetime of star-
ing at her pictures in those Coco
ads of the '80s, I finally met model
Ins de la Fressange in person. It's
uncanny that she shares both
Chanel's coal-black eyes and
intense, unflinching gaze. Coco
avant Chanel had just opened in
France. What did she think? I
asked. The one-time Chanel muse's
answer was unnuanced, something
between a snort and a harrumph.
And in that moment, the Chanel of
my teen dreams was alive again.
The Coco of Karen Korbo's The
Gospel According to Coco Chanel,
or The Collection, Gioia Diliberto's
not-so-flattering historical novel
about Chanel's couture ateliers after
the First World War. The Coco of
that story is headstrong, demanding
and shrill. She's a nasty bitch in a
fabulous dress.
Now there's a woman I'd like to
see a movie about.
Coco avant Chanel is playing in
Montreal and opens in Toronto on
Friday.
829
the designer at home.
But a visit to the elegant private
apartment she established on the
Rue Cambon in the 1930s reveals
that here among the dazzling
Coromandel screens are the senti-
mental keys to what counted most
for this extraordinary woman the
men she loved, the artists she
revered, the friends who influenced
her taste.
How Chanel, whose couture pro-
claimed her devotion to sophisticat-
ed minimalism, accumulated this
decorative splendor is much of a
mystery, says Chanel external rela-
tions director Marie-Louise de
Clermont-Tonnerre.
The couturire bought the building
at 31 rue Cambon in 1920, moving
up the street from her original
Chanel Modes shop at no. 21. By
then she was rich and famous; her
debt to her lover and business part-
ner Arthur Boy Capel had been
repaid as her fashion business
flourished during the First World
War.
She transformed the interiors of the
18th-century building into Art
Deco style. The porte-cochre dis-
appeared, boiseries were removed
or hidden behind walls of mirrors.
She created a very modernist
decor, shocking at the time, says
Clermont-Tonnerre. On the ground
floor, French interior designer Jean-
Michel Frank decorated the couture
accessories boutique the first of its
kindselling handbags, shoes,
gloves, hats, scarves and costume
jewelry. The staircase, embellished
with a new wrought iron railing, led
to the mirrored couture salon, a true
galerie des glaces on the floor
above. The next floor up became
the private apartment where one
wall was covered with a ravishing
burlap fabric she had painted in
gilded lead to give an effect like her
flecked tweeds, Clermont-
Tonnerre explains. It was the most
expensive thing to restore in 1983
when Karl Lagerfeld took over the
couture. Above is Mademoiselles
studio, where Lagerfeld designs
today. The top three floors housed
the workrooms of more than 100
petites mains (seamstresses), also
still in place.
Mademoiselle Chanel, born
Gabrielle, but indelibly nicknamed
Coco, strode across the fashion
stage of the 20th century as no
other, a veritable colossus of inven-
tion and reinvention. This year she
is striding across the screen in two
new films: In Coco Before Chanel,
released in the US last week,
Audrey Tautou, the gamine French
actress and new image of Chanel
No 5, recreates the designers early
career. Premiered at the Cannes
Film Festival last spring, Coco
Anna Mouglalis and Mads
Mikkelsen, supposes a love affair
between the couturire and the
famed composer.
Mademoiselle Chanel in her suite at
the Hotel Ritz, 1937, with the
Stravinsky icon on the mantelpiece
The Chanel couture revolution ele-
gant, fluid clothes that liberated the
feminine form lives on into the 21st
century, updated, sometimes bril-
liantly, by designer Karl Lagerfeld.
The more private Chanel lifestyle
played a background role, traced
mainly through famous photos of
830
But, still recovering from Capels
death in a car crash in 1919, the
designer didnt move in quite yet.
Instead, she took a suburban villa,
Bel Respiro, just outside Paris in
Garches, which author and Chanel
confidante Edmonde Charles-Roux
describes in her book, LIrrgulire,
ou Mon Itinraire Chanel. She had
her villa stuccoed in beige and its
shutters lacquered in black two
hues that made the entire neighbor-
hood frown. But two very Chanel
hues that remained lifetime
favorites.
Then she surprised the neighbors
even more by filling the villa with
her artistic friends Jean Cocteau,
Igor Stravinsky, poet Pierre
Reverdy, painter Juan Gris. From
the moment she made money,
Chanel befriended, and often
financed, a coterie of artists. After
the Russian Revolution, when the
impoverished Stravinsky fled to
Paris, Chanel lent Bel Respiro to
the composer, his wife and four
children, and they stayed for three
years. After she met Serge
Diaghilev in Venice, she gave him a
check beyond his wildest dreams
for the Ballets Russes production of
Stravinskys The Rite of Spring in
1920, and she swore him to secrecy
in an encounter that, as Charles-
Roux reports, was only revealed 50
years later.
Meanwhile, she decided to move
back to town, into the ground and
soaring first floors of a fabulous
townhouse built in 1719 for the
lover, the Duke of Westminster.
When she moved to a simple bed-
room suite in the Cambon wing,
she installed her collections across
the street in this apartment.
We know she was here by 1937,
says Clermont-Tonnerre, showing
the photo of the designer in little
black dress and pearls perusing a
rare Indian book on her renowned
sofa of tan suede with its quilted
cushions. This contemporary ele-
ment is set into the baroque fantasy
of gilded mirrors, a crystal and rose
quartz chandelier, a graceful pair of
19th-century Japanese bronze deer
and the omnipresent Coromandel
screens in a very modern mix.
When she discovered Coromandel
screens, she claimed they made her
faint with happiness, and she put
them everywhere, but often treated
them like wallpaper. In the petit
salon, she cut two doors leading
into a bathroom into one of the
most beautiful screens of her col-
lection, inset with motifs of fans.
She entertained a lot here, but only
a few guests at a time, four or six at
the most, says Clermont-Tonnerre
of the dining room. Venetian mir-
rors, like the blackamoors in the
entre, perhaps recall her trip to
that city with the Serts to lift the
gloom after Boy died. Fantastical
consoles supported by caryatids
representing goddesses or the sea-
sons were bought at the auction of
the possessions of another famous
muse, Marchesa Luisa Casati, in
Rohan-Montbazon family at 29 rue
du Faubourg Saint Honor. As
Charles-Roux recounts, Gabrielle
instinctively gravitated
towardthe baroque taste of the
Serts (her best woman friend,
Misia, the beautiful muse of an
haute artistic milieu, and her talent-
ed decorator/painter husband, Jos
Maria). [She was] initiated by
them, and discovered through them
the main components of a decor she
patiently made her own. Her
scheme possessed as much gold as
at Misias, just as much crystal, but
more black accents
Filling these high-ceilinged rooms
whose gilded panels she wished to
camouflage, Chanel began what
became her celebrated collection of
lacquered Chinese Coromandel
screens. They surrounded the
piano, itself the magnet for friends
from Diaghilev and his Ballets
Russes to Picasso who often stayed
here. When she thumbed her nose
at the Great Depression in
November 1932 with an exhibition
of real diamond jewelry displayed
here (the ticket receipts were donat-
ed to charity), the New Yorker
described the scene, among the
Coromandel screens and rose-
quartz chandeliers which have
made Chanels home famous, if not
for its simplicity.
Living in nomadic luxury, she took
some of this decor to the Ritz, to a
grand suite overlooking the Place
Vendme, where she lived first
with, and then without, her then
831
1932.
Rather than clients, she invited
friends: Cocteau, the Serts,
Salvador and Gala Dal, Luchino
Visconti who brought Romy
Schneider, Cristobal Balenciaga,
Hubert de Givenchy, Marlene
Dietrich, Jeanne Moreau and
Marie-Hlne de Rothschild among
others.
And although she adored artists,
she never collected their works.
Paintings? Drawings? queried
Charles-Roux, no signed
objects, not one portrait and not a
single painting by a master.
The only exceptions are a minute
oil painting of a spear of wheat by
Dal and a pair of andirons she
commissioned from sculptor
Jacques Lipchitz in 1921 to go with
a Louis XV rocaille fireplace.
Lipchitz abandoned his Cubist lines
to sculpt a sinuous shell form of a
woman lying on a sofa. Both works
still decorate the apartment today.
But collect Chanel did. Objects,
yes. A perfect jungle of them. As
mysterious as possible, objects seen
nowhere else, the author writes. In
the apartment, they beckon from
every surface and they all have
tales to tell, or perhaps mysteries to
conceal.
There are camels and frogs, but the
lions in marble, wood or gilded
bronze that prowl tabletops or man-
as determinedly as she had rein-
vented fashion.
Today, the apartment is used for
fashion soires and the rare lunch,
as well as the backdrop for photo
shoots. It continues to inspire
Lagerfelds Chanel collections: the
Baroque dresses in 1987; the 2006
couture coats and tunics embroi-
dered with Coromandel motifs,
requiring from 800 to 950 hours of
Lesage embroidery. Another
beloved trinket, the tiny gilded and
jeweled birdcage enclosing two
lovebirds, became the inspiration
for Jean-Paul Goudes 1992 adver-
tising film introducing Vanessa
Paradis as the new muse for the
perfume Coco.
If these possessions changed in
value and significance, one
remained very, very important,
says Clermont-Tonnerre, the
Russian icon Stravinsky gave her to
thank her when he and his family
left Bel Respiro in 1925. As pho-
tos prove, she always kept it close
to her. In photos of the Ritz suite,
it sits on the mantelpiece; here it is
placed above her 18th-century
desk. And when she died, as
Charles-Roux wrote, it was on her
bedside table. Perhaps the love
affair isnt supposition after all.
Originally published in the June
2009 issue of France Today.
tels are easy reads. Chanel, born
August 19, is a Leo, the lion her
astrological sign. Her long lost
love, Boy Capel, gave her the
Buddha; designer and illustrator
Paul Iribe, another fianc swept off
by death he collapsed on the tennis
court of La Pausa, her home in the
south of France provided the
bronze and crystal chandelier in the
petit salon.
Many of the rare books that once
filled the bookcase belonged to
another suitor, Pierre Reverdy. As
for Hugh Grosvenor, the 2nd Duke
of Westminster, he was perhaps the
raison dtre for her collection of
objects with wheat motifs a sym-
bol of fecundity because she want-
ed to have a child (and heir for the
duke), suggests Clermont-
Tonnerre. Along with Dals stalk, a
gueridon table by Chanel costume
jewelry designer Robert Goossens
boasts a wheat sheaf base and real
wheat and sculpted wheat stand by
the salon fireplace.
A slim bronze cast of a hand by
Diego Giacometti was a gift from
writer Claude Delay, whose hand it
is. Delay, who wrote Chanel
Solitaire, published the book about
her friend only after the designers
death, as did Charles-Roux.
Another friend, Louise de
Vilmorin, simply abandoned her
own attempt to tell the story with
even the barest trace of verisimili-
tude in her Mmoires de Coco.
Once famous, Mademoiselle
Chanel simply reinvented her past
832
tures and books, books, books. The
flat seems quirky, scholarly and
cosy, but Polge denies any striving
for effect in his decoration. 'I like
inventive, odd and interesting
things, and if theyre all beautiful
theyll go together, no matter what
era they come from, he says. Its
usually a recipe for decorating dis-
aster, but he has pulled it off tri-
umphantly.
Under the curving staircase that
leads up to his bedroom and study
is an extraordinary juxtaposition to
prove his point: a wildly theatrical
sofa and chair designed by Vietti in
the 1950s, with deeply buttoned
seats and scrolling serpentine arms
covered in coral fabric, stands next
to a 19th-century Italian marble
funerary bust, a mirror from the set
of the 1997 film Quadrille, an ori-
ental rug and a witty screen
designed for Polge by the illustrator
Pierre Le-Tan, depicting perfume
and perfumery, with noses floating
among clouds of scent.
Polge arrived in the world of
scent by chance. At the end of his
degree in English and literature at
the university of Aix-en-Provence,
and unsure what he wanted to do
next, he answered an advertisement
by an American perfumery firm
and got the job because he could
speak English. There followed an
apprenticeship in the laboratory of
a perfumer in Grasse, then some
years in New York and Paris creat-
ing scents, among them the classic
Rive Gauche in 1969. Then came
the call to the house of Chanel in
1978. Polge believes that almost
anyone can be trained to be a 'nose
if they start early enough, but few
could invent a perfume. 'That is a
question of creativity, he says.
'Many people can play the piano,
but there is only one Alfred
Brendel.
Polge has been the maestro at
Chanel for more than 30 years,
inventing such glorious scents as
Coco Mademoiselle, and he feels
the hand of history on his shoulder.
'With No 5, which Mlle Chanel [he
always refers to her in this way]
created in 1921, a style of perfume
was established for the house of
Chanel.
http://www.ameinfo.com/208377.html
When Jacques Polge was a boy his
mother would take him every year
to spend the long summer holidays
with a friend in Grasse, the centre
of the French perfume industry.
Polge, who is the master perfumer,
the 'nose, of Chanel perfumes, can
still remember how wonderful it
was. 'From Cannes to Grasse to
Nice was all fields of flowers:
roses, violets, orange-blossom and
especially jasmine you could smell
the jasmine the moment you
reached Grasse, he says. 'You were
surrounded by flowers.
Sophisticated and yet quirkily
individual, this Paris flat has
much in common with the fra-
grances its owner a legendary
perfumer has created over
the past 30 years. Elfreda
Pownall goes for a nose
Polge is standing in his
maisonette on the Left Bank in
Paris reminiscing, though these
days he is surrounded by beautiful
things of a different kind: paintings
and drawings from Vuillard to
Cecil Beaton, plasterwork lamps
and marble busts, shells and sculp-
833
It is my mission to reflect the
style she created, to enhance it, to
make it live today. And no expense
or trouble is spared. 'In 1921 Mlle
Chanel had to use jasmine from
Grasse for No 5, the only place they
grew it in industrial quantities and
where they had the expertise: every
petal must be picked by hand.
Jasmine grown elsewhere nowa-
days its grown in Calabria, Egypt
and India has its own characteris-
tics, but they are slightly different
from the jasmine in Grasse and, to
keep the perfume authentic, as she
first made it, we continue to have
ours grown there.
Polges latest creation, Beige, is
based on the honey-tinged scent of
hawthorn blossom, an old-fash-
ioned flower whose time he thinks
has come. He got further inspira-
tion from Prousts work A lombre
des jeunes filles en fleurs, where
glistening hedges of hawthorn play
a central role, and, in the packed
bookcases of his flat, there is a first
edition of the book. Many of his
books are about the artists whose
works he collects, mainly those
from the 1930s and 1940s. 'Its an
era I love, though some of its artists
have been a bit neglected, unjustly I
feel people such as Bb Brard,
Michaud, Giacometti, Jean Hugo
but it means I can still afford to buy
their work. Not like the furniture of
that era Jean-Michel Frank is now
so expensive. That is less true of
the work of the little-known firm of
Audoux-Minet, whose trademark
rope-bound table and chairs furnish
Polges dining-room.
They were made in the Cte
dAzur in the 1930s. 'Picasso had
lots of their rope chairs, he says.
'And I love them for being so sim-
ple and unpretentious.
In his work, as in his decora-
tion, Polge takes a simple ingredi-
ent that is perfect in its own way
(hawthorn blossom, a seaside chair)
and transforms it into something
elegant and memorable by choos-
ing other objects or scents that will
bring out its essence. And his
favourite among the scents he has
created? 'It is always the one I am
working on at the moment. The
best perfume is always the next
one.
834
Jeunet: I think I said something
like: Im pretty sure youre going
to tell me to shove it, but Ill try my
luck anyway.
Tautou: And then he went straight
into the technical details: Were
going to take the whole crew, itll
be fun, everyone will be there ...
were going to travel, well be
going to Istanbul, itll be great ...
Jeunet: At last we had this opportu-
nity to produce the final episode in
our trilogy, it was something wed
been talking about for a while. And
it is a real movie, its the world of
film-making, its not really just an
ad. Its a film, and so it was a great
opportunity.
Jean-Pierre, why did you feel that
Audrey, and not someone else,
should be the Chanel N5 woman?
For an actress to take on this type of
role, where there is no dialogue,
there has to be a real intensity in her
eyes. It is very difficult to get
across emotions and intentions
through nothing but the look in
peoples eyes and in a very short
T
HE MAKING OF THE CHANEL N5
short film is an epic by adver-
tising standards as it took a month
to complete.
When Chanel took over the
number five, it forever changed its
status from being a mere numerical
figure to an iconic legend. The fra-
grance Chanel N5 created by
renowned perfumer Ernest Beaux,
made its debut in 1921 and till
today, is still touted as a womans
fragrance that smells like woman.
Tautou and director Jean-Pierre
Jeunet in a discussion during the
filming of the ad for Chanel.
In a recent extravagant adver-
tising splash, Audrey Tautou was
announced as Chanels latest muse
for N5, taking over Nicole
Kidmans role. The newest short
film from Chanel Train de Nuit
depicts a mysterious ride on the
Orient Express where a handsome
stranger becomes addicted to
Tautous scent at the first whiff. A
combination of fate and chance
leads to a romantic destiny in a
chapel (reminiscent of The Da
Vinci Code).
Following the films Amelie
and The Long Engagement, this is
the third collaboration between
Tautou and director Jean-Pierre
Jeunet. The star seemed the obvi-
ous choice for the role as she por-
trayed a young Coco Chanel in the
biopic Coco Avant Chanel as well,
which was released in the United
States in April this year.
Both the director and actress
talk about the making of the short
film and what transpired behind the
scenes, in an interview transcript
provided by Chanel.
Star quality: Tautou portrayed a
young Coco Chanel in Coco Avant
Chanel Audrey, how did you feel
when you found out that Jean-
Pierre Jeunet would be directing
the film for this fragrance the fra-
grance for which you are now the
ambassador?
Tautou: It all happened at once. It
was Jean-Pierre who phoned me to
talk about it.
835
space of time. I havent worked on
advertisements much its a very dif-
ferent approach from the one you
would take with feature films. A
characters gaze has to be much
stronger, much more intense than
usual.
The iconic Chanel N5 fragrance.
Jean-Pierre, how has Audrey pro-
gressed? You knew her when she
was just starting out.
Jeunet: Yes, I knew her when she
had just begun acting. And I found
her even more professional her
comments, the way she behaved I
could see it with The Da Vinci
Code, Stephen Frears. Everything
that she did between the two proj-
ects, everything that she has done
since. She had taken her profes-
sionalism to an even higher level.
She has a lot more confidence in
herself.
Tautou: Its because we know each
other so well, we understand each
other. We dont need to use many
words to know what the other per-
son is thinking. There has always
been something special about our
relationship we always agree and
we feel the same way about the
work we are doing.
Did you work together on the char-
acter of the N5 Woman? Were you
consulted, Audrey?
Jeunet: No, I said to her: I think
that with a small role like that, its
Tautou: I was surprised by the way
in which Jean-Pierre succeeded in
capturing sensuality on film.
Jeunet: I was going to say the same
thing. I was surprised by her sensu-
ality, even though Id already seen
it in A Very Long Engagement, but
only in brief moments, and here we
had to go much further. When you
make an advertisement, theres a lot
of filming. It wasnt that easy, and
yet she was extraordinary. It was a
real pleasure but also a nightmare
when we were doing the editing
work. We had to choose which tiny
shots we wanted to use, and the
choice was hard, since there were
so many wonderful ones.
In the film, there are no words. Is
that an additional challenge?
Jeunet: Its not much of a problem
for me, I enjoy doing long visual
sequences.
What was the best moment for you?
Jeunet: There was a wonderful
moment on the Bosphorus
(Istanbul), with the sun setting in
the background. I had my crew
with us and they all had these big
smiles on their faces. We were all
so happy to be working together
again, after such a long time.
Tautou: That was the best moment
for me too: seeing everyone again,
being with the crew, the atmos-
phere when we were filming, being
in Istanbul. It was a luxurious and
up to you to do what you want with
it. So Ill leave you to it but you
have to have, somewhere in your
mind, an idea of where this woman
is at in her personal life, so that it
isnt just about making faces in
front of a camera.
I didnt ask her what she had in
mind, I dont even want to know if
she did have something in mind,
but I think it was important to make
the suggestion.
Audrey, what did you have in
mind?
Tautou: Well you know, the thing
that I found the most tricky with
this project is that I had to be or at
least this is how I saw things some-
where between the person that I am
and the character that is revealed in
a very short time frame. To a cer-
tain extent, I gave in to chance and,
most importantly, believed in the
vision of Jean-Pierre, the world he
was creating, and the reasons why I
was there with him.
Jeunet: I immediately told her that
the approach, the pace, would be a
little different from when you work
on a feature film, since the shots are
very short, of course, in advertis-
ing. You have to condense the
scene, and overplay things to a cer-
tain extent.
Did you surprise each other? Did
you learn new things about each
other?
836
enriching adventure in many differ-
ent ways.
Jeunet: There was an unforgettable
moment, when a member of our
team saved the life of a Turk who
had fallen into the water, at the port.
How long were you filming?
Jeunet: We took our time. Three
weeks of filming and almost an
entire week just to work on the light
effects.
Do you have a favourite shot?
Tautou: I think what most
impressed me was the emotional
power of this short film. There was
never a time when I felt like I was
shooting an advertisement. I always
felt like I was telling a story and not
making an ad. Ah yes, there is a
shot that I love, I thought the idea
was really great and I realised that
after the filming. Its the shot when
Im in the train cabin, with all the
lights going past the windows, and
the reflection of the bottle moving
around me on the cabin walls. I
thought to myself that lots of direc-
tors are going to be put out because,
once again, it was Jean-Pierre who
had the idea!
Jeunet: I really liked the missed
encounter moments, when one
door opens just as another closes,
because weve all experienced situ-
ations like that. Everyone is per-
fectly familiar with that kind of sit-
uation. Even I can remember
missed opportunities that we still
talk about years later, saying: You
should have gone for it, its such a
shame. And it leaves you with
regrets. This film covers that sub-
ject, and its something that every-
one understands.
Tell me about this handsome guy.
Tautou: Travis Davenport, the
young man I worked with, is not an
actor, and I find him remarkable in
this film. Its quite an achievement
to get across an emotion and not
only for a non-actor, but also in this
kind of context and its a real suc-
cess.
Jeunet: We were looking for a
young man who had a slightly fem-
inine side to him and who would be
capable of showing sincerity. It was
essential that people would not get
the impression that he was looking
for a one-night stand, but was real-
ly looking for the woman of his
life. He captured all of that, he was
really excellent.
837
C
hanel N5s first appearance in
a commercial was in 1953.
Then, in 1969, under the impulse of
Chanels artistic director Jacques
Helleu, the first scripted TV film
for N5 was shot by Richard
Avedon in New York.
This was the beginning of
Chanels long-standing tradition of
exclusive film-quality commer-
cials. Actress Nicole Kidman
reportedly earned US$12mil
(RM42mil) for her three-minute
Chanel N5 advert in 2004
In the 1980s, Ridley Scott pro-
duced his version featuring wide
open spaces and pared-down archi-
tecture. In 1993, Bettina Rheims
turned to Carole Bouquet to front
the fragrance. Other film directors
that have worked on N5 include
Jean-Paul Goude, Gerard Corbiau,
Luc Besson, Baz Lurhmann and
now, Jean-Pierre Jeunet.
In conjunction with her success
in the film industry, Nicole Kidman
became the face of Chanel N5 in
2004. She starred in a campaign for
television and print ads with
Rodrigo Santoro, directed by
Moulin Rouge! director Luhrmann
to promote the fragrance during the
holiday season.
The three-minute commercial
produced for Chanel N5 was said
to have made Kidman the record-
holder for the most money paid per
minute to an actor after she report-
edly earned US$12mil (RM42mil)
for the three-minute advert.
Other muses for the fragrance
in the early years included Candice
Bergen, Suzy Parker, Ali McGraw,
Lauren Hutton, Jean Shrimpton,
Cheryl Tiegs, Catherine Deneuve
and Estella Warren.
The fragrance boasts ylang
ylang, neroli, aldehydes in its top
notes while may rose and jasmine
from Grasse form the middle notes,
which eventually rest on a base of
sandalwood, bourbon vetiver and
bourbon vanilla.
Estella Warren was the face of
Chanel N5 in 1999.
Through the years, the scent
has been reinvented a few times
and since the original Parfum by
Ernest Beaux in 1921, there was the
Eau de toilette by Ernest Beaux
(1924), Eau de parfum by Jacques
Polge (1986) and Eau Premiere by
Jacques Polge (2004).
The N5 flacon was considered
a 20th century icon and added to
the permanent collection at the
New York Museum of Modern Art
in 1959.
Of course, the most memorable
fragrance story would have to be
when actress Marilyn Monroe was
asked by a journalist in 1954 what
she wore to bed, and she replied,
Just a few drops of N5 ...
838
hall they recently left.
While living with Balsan, Coco
attracts the attention of one of his
business partners, the Englishman
Arthur Capel (Alessandro Nivola),
known as Boy. Coco and Boy fall
for each other (notably the only
time she does not see her own cir-
cumstances clearly), but if you
think that romance will go any-
where I have a bridge to sell you:
Boy is marrying for money which
means Coco is out of luck. But first
he loaned Coco the money to set up
a shop in Paris and thus set her on
the path to becoming a world-
famous designer.
As an outsider Coco can see
how ridiculous the contemporary
conventions of womens fashions
are: corsets restrict your breathing,
layers of cloth hide your figure,
huge hats to weigh down your head
and everywhere there is an excess
of decoration which destroys any
natural beauty you may possess.
Her first success is a simple
straw hat which the actress (and
former mistress of Balsan)
G
ABRIELLE COCO CHANEL, the
woman who gave us the little
black dress and designer perfume,
didnt come from the most promis-
ing of origins.
The story of Chanels life
before she became famous is
told in Anne Fontaines film
Coco Before Chanel.
Born in a poorhouse in 1883
and deposited in an orphanage after
the death of her mother, she learned
to take care of herself from an early
age. France offered few opportuni-
ties for a girl with no money and no
family, so Chanel capitalized on
what she did have; beauty, determi-
nation and a sharply critical eye.
The story of Chanels life
before she became famous is told
in Anne Fontaines film Coco
Before Chanel. It begins with
Gabrielle (Lisa Cohen as a child,
Audrey Tautou as a young adult)
and her sister Adrienne (Ins
Bessalem, then Marie Gillain)
being unceremoniously dumped at
the orphanage. Through the pain
and hurt we can also see that the
young Gabrielles attention is
drawn to the stitching on the nuns
wimples. Jump ahead a few years
and Gabrielle and Adrienne are
performing in a music hall: a song
about a lost dog named Coco pro-
vides Gabrielle with the nickname
she will use for the rest of her life.
Socializing with the patrons is
part of the job and Coco attracts the
attention of the wealthy and cynical
tienne Balsan (Benot Poelvoorde
in a complex performance).
Realizing that the road out of
poverty requires attaching herself
to a man of means, Coco shows up
uninvited at Balsans country estate
and refuses to leave, virtually
demanding to be taken in as his
mistress. Adrienne has a similar
arrangement except that she
believes, at least at first, that the
major who supports her is also
going to marry her. Both sisters
realize that its far better to be kept
by one man, even if he hides you
out of sight and lets you know that
he can dump you back on the street
any time he feels like it, than to ply
your trade to anyone and everyone
as do the prostitutes in the music
839
Emilienne dAlenon (Emmanuelle
Devos in a generous performance)
wears to great effect on stage.
Coco also adapts mens cloth-
ing to suit herself, foreshadowing
the simplicity and elegance which
remain the leading characteristics
of the Chanel line. The film ends
with a montage of Cocos rise to
fame, concluding with a stunning
scene of a seemingly infinite parade
of models descending a mirrored
staircase. Its a perfect demonstra-
tion of what could be the guiding
principle of Chanels life: its not
where you start that counts but
where you finish. The fact that this
scene is almost a direct quote from
the 1969 musical Coco doesnt
lessen its power.
The script (adapted by Anne
and Camille Fontaine from the
biography by Edmonde Charles-
Roux) adheres closely to biopic
conventions but is brought alive by
the magnetic performance of
Tautou with strong support particu-
larly from Poelvoorde and Devos.
Coco Before Chanel is also beauti-
ful to look at: production design by
Olivier Radot, cinematography by
Christophe Beaucarne, and cos-
tume design by Catherine Leterrier
beautifully evoke turn-of-the-cen-
tury France.
As viewed by director Anne
Fontaine Coco Chanel is not a lov-
able character: shes hard as nails,
frequently rude and always looking
out for number one. But what
would you expect given her cir-
cumstances? Without that tough-
ness she never would have been
able to share her gifts with the
world.
840
The top 25 women's perfumes
according to survey-takers were
ranked as follows:
1. Chanel No 5 by Chanel
2. Be Delicious by DKNY
3. Ghost by Ghost
4. Eternity for Women by Calvin
Klein
5. Hugo Woman by Hugo
6. Classique by Jean Paul Gaultier
7. Cool Water Women by Davidoff
8. Angel by Thierry Mugler
9. Anais Anais by Cacharel
10. Obsession by Calvin Klein
11. Touch of Pink by Lacoste
12. DKNY Delicious Night
13. Miss Dior Cherie by Christian
Dior
14. 212 Sexy for Women by
F
or single women, Chanel No. 5
is the sweet smell of success.
The iconic Chanel No. 5 perfume
was rated the most seductive scent
by women, followed by perfumes
from DKNY and Ghost.
According to a survey of 3,000
women reported in London's Daily
Mail, Cocos creation came out
tops when it came to getting a date
and then getting beyond it to
boyfriend status.
One in ten women even
claimed they met Mr. Right while
wearing the iconic perfume.
Be Delicious by DKNY, close-
ly followed by Ghost by Ghost,
were credited as the next most
seductive scents in the poll carried
out for Superdrug, a British beauty
chain, according to the Daily Mail.
While 85% of the women
reported they've been compliment-
ed by a guy on their perfume, two
thirds said a complete stranger
remarked on how nice they
smelled.
Many of the women claim to
have scored as many as six differ-
ent dates on account of their per-
fume. A quarter of the women say
they've been asked out by a new
man, defined as a guy they didnt
know, while wearing fragrance.
That may explain why 82%
state that wearing perfume is an
absolute must when heading out for
an evening's pleasure with a man.
More than half believe it's para-
mount for a woman to have trade-
mark scent. Oddly, only 37%
always buy the same perfume. A
small disconnect there?
Still a majority, 57%, are con-
vinced that the right fragrance
helps them to pull in men and 22%
use their favorite perfume as a
"secret weapon," wearing it only on
dates.
Then there is the unfortunate 23%
who've been told their perfume
stinks.
That hurts.
841
Carolina Herrera
15. Diamonds by Emporio Armani
16. Cerutti by 1881
17. Classic She by Emporio
Armani
18. Daisy by Marc Jacobs
19. Pure Poison for Women by
Christian Dior
20. Prada by Prada
842
ful actress.
In a way though, Tautou is fine
for the role of Chanel or at least this
depiction of her. Chanel is a blank
canvas on which Balsan and Capel
and fate create art. Its like a varia-
tion on Henry Higgins transform-
ing of Eliza Doolittle into a high
society woman in My Fair Lady.
But both stories also suggest a
woman waiting just beneath the
surface and wanting to be trans-
formed, a woman Tautou never
sees.
The movie is visually splendid
with the kind of pastoral scenes of
the easy life that always make me
wish Id been so privileged and that
always leave me wondering what
these people who sit around all day
reading books of philosophy do to
pay the rent. The movie makes
country lakes look especially intox-
icating.
Tautou may not be the most
expressive actress around, but she
does have her moments during the
final minutes. Theres an emotional
moment conveyed as much by the
A
LL THOSE YEARS OF BUYING
CHANEL NO. 5 for my mom
and never once did I give a thought
to there being a woman behind the
perfume or a story behind the
woman. Coco Before Chanel imag-
ines what that story might have
been.
As the title suggests, the movie
relates how Gabrielle Coco
Chanel (Audrey Tautou of Amlie
and The Da Vinci Code) overcame
her life as an orphan and how she
earned her nickname Coco while
working as a somewhat sleazy
nightclub singer.
From there, we see how she
rode the broad shoulders of several
of societys best men straight up to
the top of the staircase, reached
out, and grasped the prize. She
became the fashion icon we now
know. But it wasnt without some
heartache and tragedy.
A liaison with Baron Balsan
(Benot Poelvoorde), a fatherly fig-
ure, allows her initial entre into
French society as well as a chance
to develop her penchant for design-
ing increasingly popular and decid-
edly non-frilly hats. But it was her
passionately reckless romance with
English businessman Arthur Boy
Capel (Alessandro Nivola) that
most sent her down a one-way
melancholy path.
Capels nickname is as descrip-
tive as Chanels is aloof. Hes a liv-
ing, breathing manifestation of the
bad boy archetype a boyish, irre-
sponsible, and deliriously irre-
sistible man. He sweeps her off to
places that seem fantastical to her
orphan eyes and he makes love to
her in one place after another with
abandon. Hes a memorable rogue,
the best thing in the movie.
Ive never been terribly enam-
ored with Tautou. When surround-
ed by all of the fancy visual flour-
ishes of Amlie, she managed to
effectively obscure that shes a
pretty-faced nothing. The Da Vinci
Code then exposed her limited
range for all to see. Tautou tries to
cover the emotional emptiness by
chain-smoking and it almost
works. Ive always loved the sight
of smoke swirling around a beauti-
843
camera as by Tautou that, of course,
is inevitable when a young woman
is drawn too close to a bad boys
flame.
And then there is the ending,
one of the best Ive seen in a great
while. Placed atop a staircase for all
eyes to admire, the new Coco
Chanel sits, her transformation
applauded by characters within the
movie. (Not much applause in the
theater when I saw it though. There
were only two of us.)
Its a closing image that made
me really curious to see Coco After
Chanel which I understand has
something to do with Igor
Stravinsky. Hopefully though, it
will be without Tautou.
844
We see preparations backstage, we
sense the tension, we watch the
dancers on stage and the violent
reaction of the audience. Kounen
wanted to give that night weight.
There were, he says, things that
really happened, such as a duel, that
didn't make their way into the
movie. He filmed this, he says, but
couldn't include it. It looked too
extreme, too unbelievable.
But then, after a scene that he pre-
pared for as if he were shooting the
D-Day landings, everything
changes. The film becomes a cham-
ber piece. We go from ''all that
craziness to three people in a
house''.
Coco Chanel was one of the figures
from Paris society who attended
that Rite of Spring performance: we
see her, at the beginning of the film,
preparing. But it wasn't until 1920,
when she had become a rich, suc-
cessful entrepreneur in her own
right, that she and Stravinsky met.
And by that point, things were very
different for him. He was penniless,
desperate to find ways to support
his wife and children, and to find
the time to compose.
Chanel decided to become his
patron, inviting him and wife,
Katya, and their children, to stay at
her villa in the country. He was
inspired to write and he and Chanel
became lovers. The patronage is
historical fact, and it is generally
accepted that they had a sexual
relationship, although there is a
degree of speculation involved in
the movie's account. The book that
it is based on, by English author
and screenwriter Christopher
Greenhalgh, is not a biography, but
a novel.
Mads Mikkelsen, the Danish actor
who plays Stravinsky, was already
attached to the project when
Kounen came on board. Mikkelsen
doesn't speak French or Russian
(the two languages he speaks in the
film) and he couldn't play the piano
(although this isn't obvious in the
movie).
His presence, the director said, was
one of the reasons for deciding to
do the film.
Its my action movie, director Jan
Kounen tells me. To prepare for
shooting the scenes we are dis-
cussing, he watched a battle
sequence from Lawrence of Arabia.
What he was getting ready to film,
however, wasn't combat, at least
not in any traditional sense. It was
the performance of a ballet. No
ordinary ballet, however. It was the
opening night of The Rite of
Spring, in Paris, May 29, 1913, an
extraordinary cultural moment of
chaos and confrontation.
Nijinsky's ballet, with music by
Stravinsky, provoked a riot. There
were boos, walk-outs, howls of
protest, some cries of support. The
noise from the audience became so
loud that it drowned out the orches-
tra, and Nijinsky had to stand in the
wings beating time for the dancers.
The background to all this demon-
strative passion is still debated. But
its significance is inscribed into his-
tory: it's a founding moment of
modernism.
The events of that night occupy the
first 20 minutes of of Kounen's
Coco Chanel and Igor Stravinsky.
845
Kounen had a hand, however, in
choosing French actress Anna
Mouglalis to play Coco Chanel. It
was her strength that made her right
for the role, he says, the impact of
her rich, deep voice.
Mouglalis, daughter of a Greek
father and a French mother, had no
thoughts, growing up, of becoming
an actress: she came from Brittany
to Paris to study literature. A
chance encounter on the Metro with
a playwright and stage director led
her, in a roundabout way, towards
acting school.
She appeared in Chantal Akerman's
The Captive, then had a break-
through role in Claude Chabrol's
Nightcap, with Isabelle Huppert
and Jacques Dutronc, playing a
young pianist involved in a compli-
cated story of identity. She also
worked with directors Arnaud
Desplechin and Philippe
Grandrieux, and made several films
in Italy.
She already had a connection with
Chanel. In 2002, she was chosen as
the face of a Chanel scent, Allure,
and she's still associated with its
promotions. Yet as far as she's con-
cerned, the figure she is playing is
not a legend but an iconoclast.
''She's a punk,'' Mouglalis says. ''An
anarchist.'' And she's cheerfully
sceptical about how much we can
know about the facts of her sub-
ject's life.
There was plenty of material for
of the entrepreneurial self.
Alongside the books, memoirs and
biographies, we've recently had
Coco Avant Chanel, with Audrey
Tautou, a TV mini-series with
Shirley MacLaine, and several
respectful documentaries. But there
is, of course, much more to be told
about Chanel.
There is a dark aspect to the way
she lived her life in Paris during
World War II, a tale of collabora-
tion (and more) that has been stu-
diously avoided so far. It would
make, to say the least, quite a story.
Coco Chanel and Igor Stravinsky
opens on April 15.
Mouglalis when she began more
extensive research for the role.
''Even people who only met her for
five minutes wrote a book about
her.'' But what struck Mouglalis,
reading biographies, was the extent
of the contradictions, most of
which came from Chanel's own
accounts. She mythologised her
past ''in a crazy way. Every book
has a different story about her
childhood.
''She's like an actress, she created a
character, herself.'' And in the '20s,
when Mouglalis is playing her, ''she
became the person she wanted to
be''. So playing the role involved
looking for emotional rather than
historical truths.
For example, the film presents a
fictionalised account of the origins
of one of her most famous and prof-
itable creations, Chanel No 5. But
to Mouglalis, what's important is a
sense of what the perfume might
have meant to its maker it could
have been an elixir against death.
''She wanted a persistent scent.
There were so many absences in
her life; her mother, her sister, [her
lover] Boy Capel. She wanted the
scent to stay, to be very present, to
fight absence.''
And, somehow, this doesn't feel
like the last time we'll see Chanel
on screen. There seems to be a
ceaseless appetite for the story of
her inventions and reinventions.
She is emblematic of a certain view
846
Midway through, Coco is
involved in a tragic love affair with
the dashing and lovable Arthur
Boy Capel (Alessandro Nivola),
one of Balsans associates.
Along the way, Cocos talent
for fashion becomes apparent, from
crafting tasteful straw hats to cut-
ting up mens clothes to give it fem-
inine simplicity. With a modernist
and less-is-more approach, she cre-
ates a new statement in fashion dur-
ing a time when women over-
dressed in conspicuous self-indul-
gence. Her designs would be cham-
pioned by Emilienne dAlenon
(Emmanuelle Devos), a famous
stage actress and another of
Balsan's conquests.
Although Coco never meets her
prince charming, she perseveres
and finally has an opportunity to
move to Paris, where she sets up
what will grow into one of Frances
greatest fashion houses.
Set early in the 19th Century,
Fontaine crafts a lush and detailed
environment for the drama. With an
elegant title, the rags-to-riches
F
orget about drooling over her
original and elegant creations.
The only consolation is a little
glimpse of Coco Chanels visually
enchanting genius at the end of this
105-minute French film, director
Anne Fontaines first period biopic.
Directed by Anne Fontaine
Starring:
Audrey Tautou, Marie Gillain,
Benoit Poelvoorde, Emmanuelle
Devos and Alessandro Nivola
Based on the novel by French
Vogues former editor, Edmonde
Charles-Roux, which was pub-
lished in the mid-1970s, the film
chronicles the early life of this
iconic fashion designer.
Ironically, her start is devoid of
any glamour or glitz. Together with
her older sister Adrienne, they
were sent to an orphanage at a
monastery after their mother died.
The sensitive Gabrielle Chanel
longs to see her salesman father
again but to no avail. Life is hard.
She later works as a lowly seam-
stress, who also sings with her sis-
ter in a nightclub, where she gets
the nickname Coco after a song
that she frequently performs.
After her sister takes off with
her lover, Coco is left to pursue her
dream as a singer, a plan that quick-
ly goes bust. Still, her moody
charm attracts the attention of
wealthy but crude racehorse owner
Etienne Balsan (Benoit
Poelvoorde), who inadvertently
becomes her sugar daddy, exposing
her to the high society lifestyle that
she would come to abhor.
Audrey Tautou, who plays the
titular character, is perfect as the
troubled future icon. Her big black
haunting eyes and subtle perform-
ance convey strong emotions.
Mostly stoic and moody, it is sur-
prising at how sweet and beautiful
Tautou can be when she smiles.
Vulnerable and tender, yet
gutsy and determined, Tautou gives
a convincing performance as a
woman who endures the painful
realities of life, driven only by her
steely inner strength to live.
847
biopic has witty dialogue, a strong
feminist statement and a love trian-
gle setting that doesnt employ typ-
ical clichs. It's worth watching.
In French with English subti-
tles. Visit my web site for more
details on screenings of other films
during the French Art & Film
Festival
848
Pic courtesy of Chanel
Polge, before the interview, had
taken me on a short tour of the lab
facilities. The place looked neat
and functional, but fragrance lin-
gered in the air. I was allowed to
test out their perfume bank where
various essential oils were
arranged. As I didnt have any cof-
fee beans at hand to neutralise the
smell after each sniff, pretty soon I
couldnt tell the difference between
them.
Chanel is one of only three brands
in the world (the other two are Dior
and Hermes) that has a dedicated
person to create its fragrances.
Polge is the third master perfumer,
after Ernest Beaux (who created the
legendary N5) and Henri Robert
(of N19 and Pour Monsieur fame).
He can be credited with many suc-
cesses Coco, Coco Mademoiselle
and Allure (including Allure
Homme) to name but a few. Some
call him one of the greatest per-
fume composers in the world!
Surely the nose has been accost-
ed by all kinds of smells and odours
during his long career with Chanel.
How does the 67-year-old Polge
remember them all?
When you start, you have to train
your nose and your memory, and
thats really the base of it. You have
to find a way of remembering.
When I started out, I had difficulty
remembering the smell of vetiver.
One day, I made a connection with
the smell of vetiver with that from
the days of my youth spent with my
grandparents in a farm in the South
of France. In the autumn, they
would burn the leaves of the pla-
tane (plane) tree, he explains.
When it rained these fires would
give out a smell similar to vetiver.
There are no rules, everyone has to
find his own way of remembering
smells. For me it was by associat-
ing them with my own memories.
In a previous interview in GQ,
Polge said that while he has not
kept count, he probably can identi-
fy 3,000 different types of odours.
And in another interview, he admit-
ted that he loves the scent of vanil-
la, dislikes the cloying scent of
The scent of a man, that is Jacques
Polge, Chanels famous perfumer.
Heres a bit of irony. The man who
is tasked with creating fragrances
for the luxury House of Chanel
since 1978, does not use perfumes.
Jacques Polge said this in a matter-
of-fact way at his office at the
Chanel laboratories in Paris last
October.
I dont use perfume as Im afraid it
will interfere with the work I do. At
the same time, I do smell of per-
fume because I usually work in an
environment that is loaded with fra-
grances, said the distinguished
nose of Chanel.
He has an impressive command of
English so no translator was neces-
sary. But, you do get the impression
that he is translating what he wants
to say in English from French in his
mind.
Unique ability: Jacques Polge, the
nose of Chanel sniffing a paper
blotter tabs (mouillettes) to test a
fragrance.
849
tuberoses and hates the pungent
odour of cheese (one can only
imagine what he has to put up with,
when dining at French restaurants).
He told me he loves the smell of air.
But, he doesnt try to always deci-
pher what he smells. I live a life
like everybody else. For instance,
when I go on vacation, I like going
to the mountains because theres a
quality of air that you dont find in
Paris.
Unfortunately, sometimes certain
smells assail you whether you like
it or not. He particularly detests the
smell of sweat. (I made a mental
note of that and was thankful that I
has earlier liberally doused myself
with Allure before the interview!)
Polge grew up in the South of
France near Avignon and often vis-
ited Grasse in the summer. In a
Vanity Fair interview, he said he
grew up smelling the fragrance of
flowers.
Of course, my surroundings as a
child led me to perfumery. We are
all influenced by our childhood. Its
unconscious and instinctive, he
said.
After obtaning an arts degree in
Aix-en-Provence, Polge went to
Grasse to learn his trade in the
school run by the Master Jean
Carles. The first thing he had to do
was recognise different smells and
the various properties attached to
them. Some are very pleasant but
a precise idea I might end up with
something really different. There
are no precise rules but then, its
also not about mixing products by
chance, he added.
Polge confessed that he does get
exhausted with all that sniffing
around. But the difference
between me and people who are not
noses is that when I am exhausted,
the distinction is greater. So when I
get tired, I stop and move on to
something else.
It appears the base oils for the fra-
grances tend to be the same. Polge
explained that perfumers normally
have two options to find new
scents. One is to take the common
products and distil them in such a
way that something unique is creat-
ed. The other is to have scientists
analyse various raw materials in the
hope of discovering something
new.
For example, before the last World
War, we only knew six constituents
of jasmine but now, we know more
than 200, he said.
While its important to keep search-
ing for new material, he said that
its equally important to keep all the
traditional raw materials. For
example, in the beginning of the
year theres bergamot, mandarin,
lemon and orange. Chanel has its
own production of rosa centifolia
(the French rose) in Grasse. The oil
of the rose comes mainly from
Bulgaria and Turkey. These are the
disappear very quickly, others are
moderately pleasant at the start but
they last very long. Once you have
done that for all the raw materials
then you will be able to make a
compound that is pleasant at the
start.
The start is important as most peo-
ple base their decision to purchase a
perfume by how it smells in the
beginning.
I remember trying to imitate the
very famous perfumes to examine
how they are made. That helps you
train your sense of aesthetic. When
I started out, I tried to imitate
Chanel N5 and it was very diffi-
cult. Now, of course, I know why,
said Polge, who after all, is now the
custodian of Chanels fragrance
secrets. What I like about per-
fumes is that its a form of poetry.
When you wear a fragrance, then
you see it and you use words and
images (to describe it). That, to me,
is poetic.
Polge takes what the noses present
to him and gives it a twist so that it
reflects the Chanel brand and fash-
ion as perfume follows fashion.
When one creates a fragrance, he
said, it has to start with an idea and
the idea is a smell. Various assays
are done to try and reach that fra-
grance.
Sometimes, I dont succeed and
sometimes, along the way I find
another scent that I didnt think of
before. Sometimes, despite having
850
base for many fragrances, and
hence, very important to the indus-
try.
Whats even more important (and a
favourite of his) is N5, not only for
Chanel but all perfumers over the
world. It is the first couturier per-
fume and the perfume from where
everything started.
Among his own creations, he is
particularly fond of Coco
Mademoiselle (2001) which was
hugely successful and goste pour
Homme (1990) which didnt do as
well.
When I joined Chanel, I decided
to recreate some of the fragrances
that Mademoiselle (Coco) Chanel
had created, One of them was Bois
des les, and found quite a lot of
sandalwood in the formula.
Sandalwood as the main character-
istic has never been used in a mens
fragrance, he explained.
Apparently, English-speaking men
were put off by the name because it
implied they were egoists.
The down-to-earth Polge is surely
no egoist himself. When asked
what he hoped his legacy would be,
he was surprised. Never thought
of that. Well, I hope its not too
pompous to hope that the perfumes
I create will survive me.
When asked what he thought the
scent of such a man like him should
be, he laughed and replied: The
scent of liberty, which is probably
the scent of the wind in the forest!
851
scents
Chanel # 5
From 59 ( 020 7493 3836 )
Marilyn Monroes favourite scent
and still the worlds best-selling
perfume.
In 1921, Gabrielle Coco Chanel
wanted a perfume that would define
how women should smell. Perfume
designer Ernest Beaux was given
the task and, as the legend goes, on
his fifth attempt Coco Chanel
approved the scent, so it became
No 5.
And from this scent was born the
idea of applying perfume to the
wrists, behind the ears and the
neck, as Coco Chanel believed
women should wear perfume where
they would be kissed.
Classic fragrances are making a
comeback, with sales of -perfumes
that evoke nostalgic memories
increasing by up to 50 per cent in
the past year. Why do perfumes
from our past have such a powerful
effect on us?
Roja Dove the ( THE PROFESSOR OF
PERFUME ) explains: When we dis-
cover a scent we truly love, it will
have large numbers of - ingredients
within it that have positive, feel-
good associations. The scent itself
then becomes an odour which also
has positive associations, making
us feel safe, secure, happy and
well.
As a new exhibition which cele-
brates the past, present and future
of perfumery opens today in
Harrods, we take the perfumed path
down memory lane to bring you the
top 20 classic scents.
Perfumed path down memory lane:
We bring you the top 20 classic
scents
Perfumed path down memory lane:
We bring you the top 20 classic
852
and give new interpretations of
masculinity in this era.
That masculinity, according to
Polge, refers to a man who is all
about being free, is determined,
who defies conventions, assumes
his choices and is driven by action.
A man in control of his destiny,
who doesnt let others dictate his
behaviour, he exclaims.
Chanel has engaged the services of
no less a director than Martin
Scorcese (the celebrated director of
opuses such as Raging Bull, Taxi
Driver, Goodfellas and New York,
New York).
Up and coming French actor
Gaspard Ulliel features in the com-
mercial shot in New York.
Bleu is about mixing the traditional
with new ingredients. This is repre-
sented by a new olfactory family,
the woody aromatic which has
never been represented in any of
Chanels mens fragrances until
now. Woody notes are Polges
favourite for mens fragrances: san-
dalwood, vetiver and cedar.
It also introduces three new notes -
bitter grapefruit notes; modern dry
cedar that is the result of new
research; and a ginger note that is
quite unique to Chanel.
The top notes are a citrus accord of
orange and lemon, followed by
bursts of peppermint, pink pepper,
nutmeg and vetiver. The middle
notes are headed by dry cedar
notes, grapefruit and labdanum.
The base notes are sandalwood,
frankincense and ginger.
Defying convention: Martin
Scorcese (left) directing French
actor Gaspard Ulliel in the Bleu TV
commercial.
Pics courtesy of Chanel
Polge sees Bleu as being different
because for him, mens fragrances
these days have frills which is
oriental or slightly floral, whereas
this is direct and pure.
Bleu de Chanel EDT spray is priced
at RM178 (50ml) and RM250
What is the scent of masculinity?
Jacques Polge, Chanels master
perfumer attempts to answer this in
his latest creation - Bleu de Chanel
the first mens scent since Allure
Homme dition Blanche two years
ago.
Polge said in an interview with
StarTwo late last year that whenev-
er he creates a fragrance for men or
women he asks this question: How
much of the womens (scent) am I
going to incorporate in a mens fra-
grance and vice versa?
He said that in the early days of
perfumery there was a clear and big
difference between mens and
womens perfumes but this distinc-
tion has blurred somewhat in recent
times. Every brand has a gender
association and while Chanel as a
group is quite feminine, the mens
fragrance has become quite impor-
tant. Men were afraid of fra-
grances because it was thought to
be feminine. Now men are more
comfortable but are still looking for
masculine fragrances.
Polge fashioned Bleu to represent
853
(100ml). Theres also an after-
shave lotion (RM174) and deodor-
ant spray (RM90). Available at
Chanels boutique in 1 Utama,
Petaling Jaya and Chanel counters
nationwide.
854
Chanel's legendary in-house per-
fumer or "nose"for 32 years.
A Chanel executive once told
me that of all the fragrances you've
created at Chanel, Egoste is your
favorite. Is that true?
Yes, it's true, it's my favorite. It
was so new and singular and still is.
How did the adventure start?
What happened was, I found an
old formula by Ernest Beaux ( cre-
ator of N5 ) of a women's fra-
grance called Bois des Iles, which
is exclusively sold in Chanel stores.
There was a high content of sandal-
wood in it. We were used to such
scents as fougres in men's fra-
grances, but sandalwood had never
been used as the main note in a
male perfume. Egoste is built
around that. There is also some
ambrette seed in it.
What about the name? Egoste,
which means selfish in English, is
perhaps not the easiest way to mar-
ket a fragrance.
In our industry, we always use
code names while working on fra-
grances. For example, I have a bot-
tle here named Carla. It has nothing
to do with Mrs. Sarkozy. It is a new
variety of lavender. So at the time,
in the eighties, I was working on a
men's fragrance that we called
Black Wood. Chanel's then-CEO
had said that if we were to launch a
men's fragrance, we should also
launch a menswear line. Ultimately,
they dropped the menswear idea, so
he decided to cancel the fragrance.
But some of us really liked it, so we
said, We're still going to launch it.
Only, it will be exclusively avail-
able in our flagship stores. We
called it Bois Noir.
It still wasn't called Egoste?
No. But when you put fra-
grances in stores, there is always a
fan base. And people loved Bois
Noir. There really was a buzz
around this perfume. So we decided
to launch it for a wider audience.
The marketing people said Bois
Noir wasn't a good name, so they
chose Egoste instead. There was
this beautiful photography maga-
T
HERE HAS BEEN, perhaps, no
better launch of a men's
cologne than Chanel's landmark
Egoste in 1990.
Not only were its gender-bend-
ing scent and provocative name
immediately, and forever, etched in
our collective memory ( particular-
ly in France ), but who could forget
Jean Paul Goude's gorgeously camp
TV commercial, with its over-the-
top Prokoviev soundtrack and hys-
terical women shouting from bal-
conies?
Citing the 17th-century French
playwright Pierre Corneille, this is
what they so plaintively, melodra-
matically cried out ( translated ):
"Egoste, where are you? Stop
hiding, selfish man! Watch my ire!
I will be implacable! O anger! O
despair! You betrayed my love.
Have I lived simply to know this
infamy? Show yourself! Egoste!"
As the fragrance marks its 20th
anniversary this year, we wanted to
know more about its genesis and its
genius creator, Jacques Polge,
855
zine called Egoste, which was
done by Nicole Wisniak. We called
her and bought the rights to use the
name for the fragrance.
Then there was the fabulous
commercial.
Yes. Jean Paul Goude made this
very strong commercial, which
played a major role in the fra-
grance's fame. Yet, despite all the
exposure, the fragrance didn't sell
that well, especially in America.
We had expected more success with
it. So we launched Egoste
Platinum in 1994, which was a
more classic scent, and it was a
much bigger hit. But I am still very
glad we did Egoste. I think it's
important for a brand to have a fra-
grance that shakes things up. You
know, the men's market is very par-
ticular. I know we went far with
Egoste, but I like it. It was good for
Chanel. Brands today maybe don't
have the courage that they used to.
You once said fragrances were
divided into two groups, those for
cleanliness and those for sex.
Where does Egoste lie?
Definitely in the sex part.
Egoste is about seduction. I have a
funny anecdote about sex and
smells. An American woman once
asked me if French people took
showers before or after sex. I
answered, After, of course.
( Laughs ).
Speaking of America, you've said
couturiers. Now everything is dif-
ferent, but I think a lot of houses are
catching up with that tradition
again.
Americans have changed the fra-
grance business, making it more
sanitized?
Yes, indeed. You know, I started
my career in the United States.
Perfumes were then made of both
good-smelling and bad-smelling
ingredients. But the bad-smelling
ingredients, when used in a certain
way, brought something sensual
and interesting to the final scent.
The first time I arrived at work,
they told me, You want to work
here? Then smell this. They made
me smell chives. With American
puritanism, all these kinds of fra-
grances disappeared.
What is the inspiration behind
Bleu, your new men's fragrance,
which has just hit stores?
Bleu is the opposite of Egoste.
Egoste was inspired by a woman's
fragrance, whereas there is nothing
feminine about Bleu. I wanted to do
something very direct. You know,
men's fragrances are still very
linked with shaving. When I find
myself in planes, at some point I
always see those business men
coming from the bathroom
smelling of aftershave. So Bleu is
spicy, woody, and dry. There is no
fantasy.
In the decades you've been a per-
fumer, what changes have you
noticed?
There used to be this special
relationship between perfumers and
856
marchland, or merchant, on
Gabrielle's birth certificate. They
were not yet married but already
had one daughter, Julia, born less
than a year previously.
Gabrielle Bonheur, a nun in the
hospice where Chanel was born,
was made her godmother, and so,
according to Chanel, 'I was bap-
tised Gabrielle Bonheur Chanel'.
Gabrielle she stayed throughout her
childhood Coco was a creation that
came later although she invented a
story that is revealing in its
untruths: 'My father used to call me
"Little Coco" until something better
should come along,' she told
Marcel Haedrich (editor-in-chief of
Marie-Claire). 'He didn't like [the
name] "Gabrielle" at all; it hadn't
been his choice.' At times Gabrielle
declared Coco to be an 'awful'
name; and yet she was proud of its
recognition throughout the world,
evidence of her indisputable pres-
ence.
Her mother figures only as a shad-
owy invalid in Gabrielle's memo-
ries. Chanel was to claim that her
mother died of tuberculosis, which
was not necessarily an accurate
diagnosis of what killed Jeanne;
poverty, pregnancy and pneumonia
were as likely to blame. In Chanel's
account to Delay, the family lived
in a large enough house for the chil-
dren - two boys and three girls - to
be kept in isolation from their sick
mother. In fact, they were crowded
with her into one room in the rail-
way town of Brive-la-Gaillarde, on
the main line from Paris to
Toulouse.
After their mother's death Albert
took the children to Aubazine, and
there he abandoned them. Her
brothers were left with a peasant
family and the three girls were
handed over to the nuns who ran an
orphanage within the abbey walls.
Chanel lived here until she was 18,
as did her sisters. One of them,
Julia, fell pregnant here in mysteri-
ous circumstances; a nominal
father was found to give the baby
boy a name on his birth certificate
he was registered as Andr Palasse
but when Julia died the boy was left
an orphan.
'Those on whom legends are built
are their legends,' declared Coco
Chanel to her friend Paul Morand,
one of several writers to whom she
tried, and failed, to tell the story of
her life. 'People's lives are an enig-
ma,' she said to another friend,
Claude Delay, not long before her
death.
Part I
'I don't like the family,' she also told
Delay. 'You're born in it, not of it. I
don't know anything more terrify-
ing than the family.' And so she cir-
cled around and about it, telling and
retelling the narrative of her youth,
remaking history just as she remade
the sleeves of a jacket, unfastening
its seams and cutting its threads,
and then sewing it back together
again.
The official record shows that her
mother, Eugnie, gave birth to
Gabrielle on 19 August 1883 in the
poorhouse in Saumur, a market
town on the river Loire. Eugnie
(known as Jeanne) was 20, Chanel's
father Henri-Albert (known as
Albert) was 28, and listed as a
857
Chanel seldom referred to her elder
sister; on the occasions she did, her
remarks were contradictory. 'She
only loved the convent,' she told
Delay, yet also claimed that Julia
had loved her husband, that she
killed herself by slitting her wrists
when she discovered that he had a
mistress. Whatever the true circum-
stances of Andr's birth, Chanel
took on her six-year-old nephew
and brought him up as her own (she
chose not to keep him in Paris with
her, but sent him to be educated at
an English boarding school).
People used to speculate about
Andr's origins, as they still do.
Even now, if you talk to the elderly
lady who lives in a house across the
road from the abbey, you might
hear another story, that the baby
was Gabrielle's, not Julia's. 'That's
what I heard,' she says, 'but who
knows if it is true?'
When Gabrielle turned 18 she left
the nuns at Aubazine, who kept on
only those girls with a religious
vocation to join the order's novi-
tiate. She was sent to the Notre
Dame school in Moulins, a reli-
gious institution run by canonesses
where her aunt Adrienne only a
year older than her was already
being educated. At the school she
was given further instruction in
how to sew, which had already
formed a substantial part of her
education at Aubazine.
The Mother Superior at Notre
Dame found employment for
amusing.' She did, however, men-
tion the name of a cavalry officer,
Etienne Balsan, who around this
time was to become her lover.
There are many mysteries in the
myth of Coco Chanel, but few more
perplexing than her years with
Etienne Balsan at Royallieu, a for-
mer abbey in Compigne where he
kept a racing stable. Balsan never
gave away her secrets, however
often he was questioned in later
life, when Chanel was far more
famous than him. In the drama of
Chanel's life, Balsan has been cast
as a rich playboy, the rou who
introduced the little orphaned
seamstress into the decadent world
of the Belle poque, deflowering
her in an unsentimental education.
While there may be some truth in
this portrait, Chanel also used
Balsan as a stepping stone from
Moulins to Paris.
The two of them continued to be
friends until his death in 1953, and
if their initial sexual relationship
had been characterised by his infi-
delities, Balsan nevertheless dis-
played a lifelong loyalty to Chanel.
He remained unmarried, apparently
unrepentant and unfailingly dis-
creet.
It was while at Royallieu that
Chanel met Boy Capel. His name
was Arthur Capel, but his friends
called him Boy. Boy's origins were
swathed in romance, and he came
to Paris amid murmured specula-
tion that he was connected in some
Adrienne and Gabrielle as shop
assistants and seamstresses in a
draper's store on the rue de
l'Horloge, which sold trousseaux
and mourning clothes to the local
gentry, as well as layettes for new-
born babies. The girls shared an
attic bedroom above the shop, and
also worked at the weekends for a
nearby tailor, altering breeches for
cavalry officers. It was there that
Gabrielle and Adrienne were spot-
ted by half a dozen men, who start-
ed taking them out to La Rotonde, a
pavilion in a park in Moulins,
where concerts were held for audi-
ences from the local barracks.
They were rowdy affairs a combi-
nation of music hall and soldiers'
saloon - but Gabrielle was deter-
mined to start singing on stage, and
eventually found a regular slot. She
had only two songs in her reper-
toire: 'Ko Ko Ri Ko' (its refrain was
the French version of 'cock-a-doo-
dle-doo') and 'Qui qu'a vu Coco? ',
a ditty about a girl who had lost her
dog. Soon the audience greeted her
with barnyard cockerel calls, and
christened her with the name of the
lost dog. Thus Gabrielle became
Coco.
Chanel never talked about this
episode of her life, other than to
deny it to Paul Morand, dismissing
it as foolish legend, along with the
other stories in circulation: 'that I
have come up from goodness
knows where; from the music hall,
the opera or the brothel; I'm sorry,
for that would have been more
858
mysterious way to the British aris-
tocracy through the Capell family;
or that he was the illegitimate son
of a rich French father, possibly a
Jewish financier. The more prosaic
version is that he was exactly who
he said he was: the son of Arthur
and Bertha Capel, raised with two
sisters in a prosperous Catholic
family whose money came from
coalminers in the north of England.
Capel was also an accomplished
playboy and polo player, sharing an
enthusiasm for fast horses and pret-
ty women with his friend Etienne
Balsan.
It was 1909, and Chanel was 26,
just under two years younger than
Capel; though she told Claude
Delay that Boy called her 'my dear
child' when she declared that she
was leaving Balsan for him. She
held out the letter she had written to
Balsan to explain her decision - 'My
dear Etienne, I shall never be able
to repay the kindness and comfort
you've given me while I've been
with you.' Boy wouldn't listen to
her, wouldn't allow her to leave, but
she followed him, and dashed on to
the train with her suitcase. Three
days later Balsan arrived in Paris;
jealousy had made him realise that
he loved her after all.
Many years later, confiding in
Marcel Haedrich, Chanel said that
she went on seeing Etienne Balsan
after she left Royallieu, and he con-
tinued to declare his love for her.
'We lunched and dined together,
Etienne, Boy and I. Occasionally
the society ladies or the cocottes or
couturiers. (Paul Poiret, whose
fame at the time was such that he
dubbed himself the King of
Fashion, said of Chanel's early days
as a milliner, 'We ought to have
been on guard against that boyish
head. It was going to give us every
kind of shock, and produce, out of
its little conjuror's hat, gowns
and coiffures and jewels and bou-
tiques ').
Chanel's business was growing, and
she began to sell clothes, as well as
hats. But for all the outward suc-
cess of her designs - and the impec-
cable surface that she presented to
the outside world - inside some-
thing was troubling her. 'I often
fainted,' she told Haedrich. 'I had
too much emotion, too much
excitement, I lived too intensely.
My nerves couldn't stand it.' When
she worked, she said, her health
recovered; and although she never
admitted it, the House of Chanel
seemed to give her more stability -
a sense of where she stood in the
world - than she gained from Boy
Capel.
Hence the story she often told of
her distress at discovering that
Capel had deposited bank securities
as a guarantee for her business and
overdrafts, and that the money she
believed she was making had not
yet repaid her debt.
On the evening he told her this,
they had been on their way to din-
ner in Saint-Germain; she immedi-
Etienne talked about killing him-
self, and I wept. I wept so! "You
aren't going to let Etienne kill him-
self," I said to myself. "You'll set
them both free. Go throw yourself
into the Seine!"' Other, less torrid
versions give more emphasis to
Etienne and Boy's financial discus-
sions about who should pay what to
keep Chanel.
Eventually, after protracted negoti-
ations, Balsan and Capel agreed to
share the cost of setting her up in
business to sell the hats that she
was already making for herself, and
for her friends (and their girl-
friends). Capel covered the running
costs; Balsan provided the Paris
premises.
Coco dressed like a young convent
girl or a schoolboy, and made hats
that were stripped of embellish-
ments, of the frills and furbelows
that she dismissed as weighing a
woman down, and being too cum-
bersome to let her think straight.
They weren't entirely original at
first, she bought simple straw
boaters from the Galeries Lafayette
department store, and then trimmed
them with ribbon but they were
chic. 'Nothing makes a woman look
older than obvious expensiveness,
ornateness, complication,' she said
to Claude Delay in old age, still
wearing the little straw hats of her
youth. 'I still dress as I always did,
like a schoolgirl.' And in doing so,
Coco began to edge her way to the
centre of attention, elbowing past
her rivals and competitors, whether
859
ately insisted that they return to the
apartment they now shared in Paris.
'I felt sick,' she told Morand.
'Impossible to eat I began to hate
this well-brought-up man who was
paying for me. I threw my handbag
straight at his face and I fled.' The
following morning, she told
Morand, she went back to rue
Cambon at dawn. '"Angle," I said to
my head seamstress, "I am not here
to have fun, or to spend money like
water. I am here to make a for-
tune."'
A year later Chanel was earning
sufficient money to have no more
need of Capel's financial support,
and she rejoiced in her independ-
ence. Her clothes looked simple
sleek and fluid, designed to be
worn without corsets and with
insouciance - and she sometimes
gave the impression that her suc-
cess as a designer had come as eas-
ily as slipping on a cardigan.
The rewards were considerable, for
her work, like her clothes, liberated
Chanel from other constrictions. 'I
was my own master, and I depend-
ed on myself alone,' she told
Morand. 'Boy Capel was well
aware that he didn't control me: "I
thought I'd given you a plaything, I
gave you freedom," he once said to
me in a melancholy voice.'
Even so, the House of Chanel still
linked them together; for in some
unspoken way they had set it up as
partners. There was no business
contract to bind them together, just
with I trimmed it bit by bit. Finally,
I wore it short.' When people asked
her why, she answered, 'Because it
annoys me. And everyone went
into raptures, saying I looked like
"a young boy, a little shepherd".
(That was beginning to become a
compliment, for a woman.)'
Chanel gave a different, and more
detailed version of that radical hair-
cut to Claude Delay. Her story
started with a trip to the opera with
friends. She was dressing for the
evening. 'I'd never been to the
Opera before. I had a white dress
made by my own modistes. My
hair, which came down below my
waist, was done up round my head
in three braids - all that mass set
straight upon that thin body.' She
had so much hair, she said, that it
was 'crushing me to death'; but fate
intervened, and gave her freedom.
'There was a gas burner in the bath-
room. I turned on the hot tap to
wash my hands again, the water
wasn't hot, so I fiddled with the
pilot-light and the whole thing
exploded. My white dress was cov-
ered in soot, my hair - the less said,
the better. I only had to wash my
face again - I didn't use make-up. In
those days only the cocottes used
make-up and were elegant. The
women of the bourgeoisie weren't
groomed - and they wore hats that
flopped all over the place, with
birds' nests and butterflies.'
But nothing was going to stop her
from going out that night, not even
her burned hair. 'I took a pair of
as there was no marriage certifi-
cate, but it nevertheless joined
them, as the double C logo seems to
suggest; Chanel and Capel; over-
lapping, but also facing away from
each other.
A few months before the end of the
war in July 1918, an aristocratic
beauty named Diana Wyndham
wrote a letter to her friend Duff
Cooper, from Beaufort Castle in
Scotland. 'Dearest Duff,' she wrote,
'Lots of things have happened since
I saw you - I've been ill, we've near-
ly lost the war, and I think I'm
going to marry Capel after all - so
next time I see you, you'll be stay-
ing with me in my luxurious apart-
ment in the avenue du Bois.' If
Diana was not yet pregnant with
Capel's child when she wrote to
Duff Cooper, she would have been
soon afterwards, given the birth of
her first baby the following April.
In later life Chanel did not discuss
her lover's marriage to Diana; in
fact, she barely acknowledged that
it had taken place. She already
knew that he had other women,
other mistresses, and perhaps she
understood that nothing would
come of his earlier promises that
she would be his wife.
While Arthur Capel had been
searching for an aristocratic wife,
Chanel made herself look like a
boy: breastless and hipless and
shorn of the conventions of wom-
anhood. 'In 1917 I slashed my thick
hair,' she said to Morand; 'to begin
860
scissors and cut one braid off. The
hair sprang out at once all round my
face. In those days I had hair like
sable.' Undaunted, she cut off the
second braid, and then told her
maid to cut off the third; the girl
began to cry, but Chanel didn't care
or, at least, she said she didn't care
about the loss of her hair, or of the
soot-stained white dress. 'I slipped
on a black dress I had, crossed over
in front what a marvellous thing,
youth and caught in at the waist,
with a sort of minaret on top.' With
bobbed hair and little black dress
Chanel was neither slave girl nor
wife, but something of her own
making. Everyone at the opera was
looking at her, she told Delay.
'When I got back that evening the
maid had washed my hair and my
braids were waiting for me in the
bathroom like three dead bodies.'
Thereafter, whenever designing a
new fashion collection, she cut off
her own hair.
On the wild western edge of
Scotland, not far from Cape Wrath,
a river runs through heather-cov-
ered hillsides, towards the dark
waters of Loch Stack. It is as
remote a place as any in Europe.
Comprising over 100,000 acres, the
Reay Forest estate was leased by
the 1st Duke of Westminster in
1866 from his father-in-law, the
Duke of Sutherland, and bought
outright in 1920 by his heir, the 2nd
Duke of Westminster (known as
Bendor, after his grandfather's
ed through marriage, for after the
death of Winston's father, Lord
Randolph Churchill, his mother had
married Bendor's brother-in-law,
George Cornwallis-West, in 1900.
Thus Churchill had been a frequent
visitor to Bendor's houses on the
Sutherland estate - Stack Lodge,
beside the River Laxford, and
Lochmore, a granite mansion over-
looking the loch - and it was from
Stack that he wrote to his wife,
Clemmie, in early October 1927:
'Coco is here in place of Violet. She
fishes from morn till night, & in 2
months has killed 50 salmon. She is
vy agreeable - really a gt & strong
being fit to rule a man or an
Empire. Bennie vy well & I think
extremely happy to be mated with
an equal - her ability balancing his
power.'
Coco Chanel had first met the Duke
in Monte Carlo at the end of 1923.
Over 6ft tall, heavily set, and
weather-beaten from sailing and
shooting, but still handsome at 44,
Bendor was hugely attractive to
women, without being particularly
sophisticated. He was the richest
man in Britain, with an income
reputed to be a guinea a minute.
Chanel's lover at the time was the
Grand Duke Dmitri, who was
dependent on her financial support.
But as was clear from her very first
dinner with Westminster, her sub-
stantial wealth was entirely
eclipsed by his. For here was a
man, like Boy Capel before him,
Derby-winning stallion).
On a summer's afternoon, the pale-
grey sky reflected in the quiet pools
of the River Laxford, it seems unas-
sailably distant from Paris. But in
the fishing records of the Reay
estate office, there are leather-
bound volumes containing pages
that mark the visits of
Mademoiselle Chanel to the river,
and her considerable success as a
fisherwoman. The first date her
name appears is 27 May 1925;
according to the records, she caught
a 9lb salmon in the Duke's pool. A
few days later, on 1 June,
Mademoiselle Chanel had landed a
bigger fish over 12 lb, and half a
pound heavier than the salmon
caught that day by her host. As the
summer progressed, so did
Mademoiselle's fishing skills; she
was on the River Laxford and Loch
Stack throughout June, July and
August, reeling in salmon and sea
trout.
Two years later, in 1927, after
Chanel had enjoyed a third summer
of fishing with the Duke of
Westminster on the Laxford,
Winston Churchill joined them for
a week at the end of September.
Churchill's friendship with Bendor
(whom he called Bennie) was long-
standing, and they had remained
close throughout the Duke's two
marriages (to Shelagh Cornwallis-
West, from whom he had separated
in 1913, and Violet Nelson, his wife
from 1920 to 1924). Indeed,
Churchill and the Duke were relat-
861
who could provide her with
absolute financial security, even if
she chose not to accept it, yet
whose fidelity could never be guar-
anteed.
Chanel's hesitation, for several
months, before embarking upon an
affair with the Duke is suggestive,
among other things, of her uncer-
tainty when faced with this com-
plex equation of loss and gain, or
the unanswerable question of
whether love, like money, could be
counted upon. In the end, she told
Claude Delay, she favoured
Westminster over Dmitri 'I chose
the one who protected me best' but
she could never fully trust either.
There were good reasons not to do
so both men were incorrigible
womanisers and yet perhaps there
was something in their lack of com-
mitment that was familiar to her.
By the spring of 1924, Coco and
Bendor were an item: he was seen
at rehearsals for Le Train blue, the
Ballets Russes production for
which she had designed the cos-
tumes; and she joined him for cruis-
es aboard his yacht, the Flying
Cloud.
At Eaton, his estate in Cheshire, she
slipped into the role of chatelaine
with the same ease as she wore her
silk fringed evening gowns, in sap-
phire blue or black, designed so as
not to crease when they were
packed for travelling. She rode and
hunted at Eaton and accompanied
Bendor to the races; and after he
Europeans, nor did she invent its
associated fashions. But as was
often the case in her career as a
designer, she was quick to distil its
essence, absorbing it into her own
style, and selling it to customers
eager for her clothes.
Salvador Dal and his wife were
frequent visitors, as was Churchill,
although he holidayed at the villa
more often after its sale to Emery
Reeves, his literary agent, in 1953.
But the angry sound of arguments
between the Duke and Chanel
began to disturb the peace of La
Pausa, waking up the other guests
in the night; and when she joined
him on the Flying Cloud the rows
continued, always about his infi-
delities and her humiliation. Once,
when Bendor tried to make amends
for an affair that Chanel had dis-
covered by giving her a large emer-
ald, she accepted it from him, and
then, without a word, let it slip from
her hands overboard into the sea.
By the end of 1929 it was clear that
Bendor was determined to find a
new wife who could bear him a
son. At 46, Chanel still looked
remarkably youthful it is likely that
the Duke believed her to be
younger than she was and their
affair was not yet over. But Bendor
took little time in proposing to a
young Englishwoman, Loelia
Ponsonby. They were engaged just
before Christmas, and married in
February 1930; not that this got in
the way of his seasonal visit to the
bought another Scottish mansion,
Rosehall, in 1926, she decorated it
with her usual style.
As it happened, Chanel was also
incorporating something of
Scotland into her new designs. At
Lochmore, she borrowed Bendor's
clothes, making his tweeds her
own, and wearing them with a
panache not usually associated with
traditional sporting garb. Having
adopted the Duke's wardrobe, she
then started sourcing fabrics from a
Scottish tweed mill, and turning
them into her characteristically soft
little jackets and suits. Something
of the same process occurred dur-
ing her stays in Eaton, where she
was inspired by the striped waist-
coats of Bendor's liveried footmen
and butlers, transforming them into
what became known to readers of
Vogue and Harper's Bazaar as
'Chanel's English Look', which also
included the loose woollen cardi-
gans that she herself wore with the
yards of real pearls that the Duke
gave to her, a new rope for every
birthday, and many others besides.
If the Duke of Westminster reigned
over Eaton and Lochmore, and set
the course of journeys aboard his
yachts, there was one place that
Chanel could call her own, where
he would be her guest. La Pausa
was entirely her creation, a graceful
villa on the French Riviera.
Chanel was by no means the first to
arrive in the Riviera colony of
bohemian Americans and
862
Riviera.
Lobelia's subsequent memoir,
Grace and Favour, described how
he set off for France the morning
after their engagement, to spend
Christmas in Monte Carlo: 'I had a
dreadful suspicion that a particular-
ly elegant French lady would be
meeting him there.' The following
month Loelia was given no choice
but to be presented by the Duke to
Chanel in Paris, as if by way of
inspection. On their way to her
apartment, Bendor stopped to buy a
present at Van Cleef & Arpels:
'when he came out he patted his
pocket and said, "Not for you."
'At that time Mademoiselle Chanel
was at the height of her fame, her
quiet, neat, uncomplicated clothes
being considered the epitome of all
that was most chic. She was wear-
ing a dark blue suit and a white
blouse with very light stockings
(light stockings were one of her
credos). Described in this way she
sounds as if she looked like a high-
school girl, but the effect was of
extreme sophistication.'
More than 30 years after this alarm-
ing introduction, Loelia still
recalled the dazzle of Chanel's jew-
els. 'When I saw her she was hung
with every kind of necklace and
bracelet, which rattled as she
moved. Her sitting-room was luxu-
rious and lavish and she sat in a
large armchair, a pair of tall
Coromandel screens making an
effective backcloth. I perched,
( Harper Collins, 25 ).
Part II
In the tangle of tales told about
Coco Chanel one accusation is
invariably repeated. Chanel was a
Nazi collaborator, whose wartime
affair with a German officer leaves
her reputation blemished, and the
legacy of her visionary designs for-
ever stained.
The truth is less clear-cut than that.
That Chanel's wartime record is
imperfect is a reflection both of her
own inconsistencies, and the incon-
sistent recording of them. But her
conduct should also be seen in the
context of an era of French history
marked by widespread chaos, con-
fusion and uncertainty, as well as
terrible tragedy. To acknowledge
this is not to act as an apologist for
Chanel; and she herself would have
been enraged at the very idea, for
she declared that she had done
nothing wrong in her relationship
with a German.
His name was Hans Gunther von
Dincklage, and he was 13 years
younger than Chanel. She was not
blind to the age difference she was
58 when their affair began as was
implicit in her famous reply,
recorded by Cecil Beaton, to the
question of whether she had been
involved with a German. 'Really,
sir, a woman of my age cannot be
expected to look at his passport if
she has a chance of a lover.' Von
Dincklage was known to his friends
rather at a disadvantage, on a stool
at her feet feeling that I was being
looked over to see whether I was a
suitable bride for her old admirer
and I very much doubted whether I,
or my tweed suit, passed the test .
Frantically searching around for
something to say, I mentioned that
Mrs George Keppel had given me a
Chanel necklace as a Christmas
present. At once I was made to
describe it. No, said Mademoiselle
Chanel. It had certainly not come
from her. She would never dream
of having anything like that on sale.
And the conversation dropped with
a bang.'
Poor Loelia, whose marriage was
doomed from the start, and whose
honeymoon on the Flying Cloud
was as miserable as her meeting
with Chanel. 'I think I can claim to
be the worst sailor in the world,'
confessed Loelia.
As for Chanel, she kept as hard and
lovely a look on her face as a Scott
Fitzgerald heroine, displaying a
brittle fortitude while she lost her
beloved Bendor to another woman.
But two days after the Duke's wed-
ding to Loelia, he came to see Coco
in Paris, and then, at last, she cried.
Next week:
The second extract from 'Coco
Chanel:
The Legend and the Life', by
Justine Picardie
863
as Spatz, the German for sparrow.
He was a tall, blond, distinguished-
looking attach to the German
embassy in Paris.
Born in Hanover on 15 December
1896, Spatz had arrived in Paris in
1928, where he gained a reputation
as a suave playboy. After divorcing
his wife in 1935, he had several
affairs with smart, rich Parisians,
and at some point encountered
Mademoiselle Chanel on a social
basis, for she claimed to have
already known him 'for years'
before the start of their affair. As
for his professional activities in
Paris: to some observers Spatz was
simply an affable, occasionally
frivolous diplomat; to others, a
German spy.
If Spatz's record is ambiguous, then
Coco Chanel's is even more baf-
fling. The police archives in Paris
contain a large dossier on her, dat-
ing back to the 1920s, when she
first became a target of suspicion.
The intelligence on her was often
wildly inaccurate almost comically
so, at times yet also offers the occa-
sional nugget of information.
At the beginning of 1929, Chanel
came under scrutiny, possibly
because of her friendship with Vera
Arkwright, a well-connected
Englishwoman previously
employed at rue Cambon as fixer
and facilitator, who had introduced
Coco to the Duke of Westminster in
1923. Vera and her second husband
Colonel Alberto Lombardi were
That long-standing friendship was
to be of considerable significance
to Chanel in the Second World War,
as were Vera's relationships with
Churchill and Chanel. Both women
were to call on Churchill for help,
as well as offering their own help to
him, which he was unlikely to have
required. All three of them were
linked, in different ways, by their
affection for the Duke of
Westminster.
Inevitably, there were times when
politics overrode friendship;
though Churchill was skilled at
navigating the hazardous ground
that divided the two. In September
1939, for example, when the Duke
of Westminster made a statement
opposing the war against Germany,
Churchill wrote to him expressing
the gravest concern. 'I am sure that
pursuance of this line would lead
you into measureless odium and
vexation.' Churchill did not refer
directly to Westminster's member-
ship of The Link (a right-wing, pro-
German movement), or to his repu-
tation for anti-Semitism, but he did
succeed in bringing him back into
line, so that the Duke's patriotism
and loyalty were never again ques-
tioned.
Churchill continued to see Chanel
when he visited Paris, and his visits
continued even after the outbreak
of war on 1 September 1939. He
would have known, therefore, of
her decision to close the House of
Chanel, as an immediate conse-
quence of the declaration of war.
under surveillance as suspected
German spies, and by association
Chanel was also the subject of
investigation.
On 26 January 1929, a report was
filed that described Coco as an
'ancienne demimondaine' who had
been welcomed into Parisian socie-
ty, and was now possessed of excel-
lent contacts in the political and
diplomatic world. The police intel-
ligence recorded that she had set up
in business in 1910, with the help
of one of her 'American' friends
(presumably an incorrect interpre-
tation of her former English lover
Boy Capel's nationality) and that
she had been the mistress of the
Grand Duke Dmitri from 1921 until
1924.
On 20 January 1931, the Minister
of the Interior himself sent a confi-
dential letter to the head of the
police service in Paris, ordering a
close and discreet surveillance
operation into the Lombardis and
Chanel. The investigation was to be
conducted with extreme vigilance,
given 'the nationality of the sus-
pects and the nature of their
actions'.
But despite their best efforts, the
police came up with little in the
way of proof of any wrongdoing.
There was also reference, in 1934,
to Chanel's friendship with Winston
Churchill, whom she had met many
times before the war when she was
the lover of the Duke of
Westminster.
864
Chanel's decision to shut down her
business in September was a con-
troversial one. 'This is no time for
fashion,' she declared; an
announcement that seems in retro-
spect acceptable, perhaps even hon-
ourable, yet at the time was seen as
an act of cowardice and betrayal.
Elsa Schiaparelli, on the other
hand, kept her business going. 'I
wonder if people fully realised the
importance as propaganda for
France of the dressmaking business
at this time,' wrote Schiaparelli in
her memoir, Shocking Life ,
describing couture as 'the opposi-
tion of feminine grace to cruelty
and hate'.
Several leading fashion designers
took the same view, including
Molyneux, Lanvin and Lucien
Lelong, the head of the Chambre
Syndicale de la Couture (although
Christian Dior, who worked for
Lelong alongside Pierre Balmain,
observed that the couture houses
remained open 'as much to provide
employment for thousands of
workers as out of patriotic pride').
But nothing withstood the German
invasion of France in May 1940,
and as the soldiers of the Third
Reich approached Paris in early
June, Schiaparelli joined the great
exodus from the city. At the Ritz,
Chanel packed her belongings into
several trunks, which she stored at
the hotel, paid her bill two months
in advance, and left for the
Pyrnes.
defending Chanel from such accu-
sations after her death in 1971.
Yet Spatz was not the only German
that Chanel had dealings with. A
catastrophic error of judgement led
to her becoming embroiled with
another, far more senior Nazi offi-
cer - a relationship that would lead
to a misguided trip to Madrid, the
consequences of which were to
prove markedly compromising.
When Spatz proved unable to get
Chanel's nephew out of the prison-
er-of-war camp, she turned to his
friend Captain Theodor Momm for
help. But at some point in Chanel's
negotiations with Momm, as the
war dragged on through 1943, a
bizarre plan began to take shape:
that she would act as a messenger
to Churchill, and thereby initiate a
peace process.
When Momm went to Berlin with
the proposal in the autumn of 1943,
he found a receptive audience in
Walter Schellenberg, the German
Schellenberg was already searching
for ways of covert negotiation with
the Allies, despite the fact that to do
so was to risk execution by Hitler.
In retrospect, when Schellenberg
was interrogated by the British after
the German defeat, he indicated
that he had hoped Chanel might at
least give Churchill a message that
senior German commanders were
at odds with Hitler, and were seek-
ing an end to the war. His strategy
As the summer passed, however,
Chanel fretted to return, and even-
tually conceived a plan to make the
homeward journey. In Paris, as
soon as she approached the main
entrance of the Ritz, she was con-
fronted by the sight of German sen-
tries at the door and uniformed offi-
cers in the lobby.
The main part of the hotel, includ-
ing her suite overlooking place
Vendme, had been requisitioned
for senior military personnel and
high-ranking Nazis, among them
Marshal Goering. After some nego-
tiation, a small bedroom was found
for Mademoiselle on the top floor
of the rue Cambon wing of the
hotel.
Von Dincklage was not sufficiently
senior to be billeted at the Ritz, and
it may have been elsewhere in the
city that Chanel encountered him
again. But whatever the circum-
stances of that meeting, she sought
his help in the release of her
nephew, Andr, a French soldier
imprisoned in an internment camp.
Spatz was unable to do this but,
nevertheless, Chanel embarked on
a love affair with him at some point
in 1941. Her maid, Germane
Domenger, who worked for Chanel
from 1937 until 1966, was later
outraged by suggestions that this
relationship was tantamount to col-
laboration. 'Mademoiselle refused
to reopen her couture house and
work with the Germans!' she
declared, in a letter she wrote
865
was to send her to Madrid to meet
the British ambassador, Sir Samuel
Hoare, with whom she was already
acquainted. The mission was code-
named Operation Modellhut
('model hat'); and for all the pan-
tomime frothiness of the title, the
participants appear to have
embarked upon it with serious
intent.
When Momm returned to Paris, the
plan began to seem less clear; in
part because Chanel wanted Vera
Lombardi to accompany her to
Madrid to deliver the letter to
Hoare. Vera was now living in
Rome her husband was in hiding in
southern Italy and needed German
authorisation to travel to Paris, and
thence to Madrid. Her version of
subsequent events is at odds with
Chanel's, and it is impossible to be
certain which of them was giving
the more reliable account.
Vera described receiving a letter
from Coco, delivered to her in
Rome by a German officer, in
which she asked Vera to return to
Paris to help her reopen the House
of Chanel. She declined the invita-
tion, and three weeks later was
arrested as a British spy; for this
she blamed Chanel. But Chanel
gave a different version, in which
she had acted as a faithful friend to
Vera, intervening on her behalf to
gain her release from prison in
Rome.
Whatever the correct interpretation
of their motivations, the two
Herr Hans von Dincklage'.
According to Schellenberg, when
he met Chanel along with
Dincklage, Momm and Schieber it
was agreed that 'A certain Frau
Lombardi, a former British subject
of good family then married to an
Italian, should be released from
internment in Italy and sent to
Madrid as an intermediary.' The
report of Schellenberg's interroga-
tion continues: 'Lombardi's task
would be to hand over a letter writ-
ten by Chanel to the British
Embassy officials in Madrid for
onward transmission to Churchill.
Dincklage was to act as a link
between Lombardi in Madrid,
Chanel in Paris and Schellenberg in
Berlin.
'Accordingly a week later
Lombardi was freed and sent by air
to Madrid. On her arrival in that
city, however, instead of carrying
out the part that had been assigned
to her she denounced all and sundry
as German agents to the British
authorities ... In view of this obvi-
ous failure, contact was immediate-
ly dropped with Chanel and
Lombardi and Schellenberg does
not know whether any communica-
tion was subsequently handed to
Churchill through this woman.'
Malcolm Muggeridge, who had
arrived in Paris as a British intelli-
gence officer on the day of its
Liberation in 1944, recalled subse-
quently having dinner with Chanel
in her private apartment, and
women travelled to the British
Embassy in Madrid together; once
there, Vera was refused permission
to leave Madrid and return to Italy.
Her claims that she was a loyal
British subject, and that Chanel was
an enemy spy, seem not to have
been given much credence by the
British Embassy staff in Madrid,
nor by Churchill's staff in London.
And when one examines the letter
that Chanel wrote to Churchill from
Madrid, it appears to be nothing
more sinister than a straightforward
appeal on Vera's behalf, to allow
her to return home to Italy. Nor did
it further the cause of Operation
Modellhut, which was abandoned
without ever really getting started.
The other account of these events is
that of Schellenberg himself, as
transcribed in the final Allied report
of his prolonged interrogation after
the war. If one is to believe
Schellenberg, Chanel did not travel
to Madrid but to Berlin. She was
originally brought to his attention,
he said, through Theodor Momm
and one of Albert Speer's func-
tionaries, SS-reopen Walter
Schieber. 'This woman was referred
to as a person who knew Churchill
sufficiently to undertake political
negotiations with him, as an enemy
of Russia and as desirous of helping
France and Germany whose des-
tinies she believed to be closely
linked together.' On Schellenberg's
instructions, Chanel was 'brought to
Berlin and she arrived in that city
accompanied by a friend, a certain
866
observed her with some fascina-
tion, in an encounter that was a
curious combination of social visit
and intelligence gathering for MI6.
He had been taken to rue Cambon
'by an old friend of hers, F, who had
appeared in Paris, covered in gold
braid, as a member of one of the
numerous liaison missions which
by now were roosting there'. His
first impression of Chanel 'was of
someone tiny and frail, who, if one
puffed at her too hard, might easily
just disintegrate '
Yet as the evening progressed, he
realised that for all the fragility of
her appearance, Chanel was well
able to defend herself. She gave no
impression of uneasiness at the
presence of an MI6 officer in her
salon, and 'towards F she adopted
an attitude of old familiarity, as
though to say: "Don't imagine, my
dear F, that your being dressed up
in all that gold braid impresses me
at all. I know you!"
'Nor had she, as a matter of fact,
any cause for serious anxiety, hav-
ing successfully withstood the first
puration assault [purges of collab-
orators] at the time of Liberation by
one of those majestically simple
strokes which made Napoleon so
successful a general; she just put an
announcement in the window of her
emporium that scent was free for
GIs, who thereupon queued up to
get their bottles of Chanel No 5,
and would have been outraged if
the French police had touched a
bouquet of white flowers in the
photograph that her great-aunt kept
pinned by her dressing-table at the
Ritz.
Now, Gabrielle Labrunie lives
alone, but Mademoiselle is all
around her. In her bedroom, there is
a photograph of Chanel as a young
woman, before she had cut her hair
off; the long dark locks pinned up
on her graceful head. In the living-
room are rows of bookshelves filled
with Chanel's first editions and her
furniture still stands solid on the
floor.
Gabrielle leads me along a corridor,
to a simple room with a wooden
wardrobe on one wall. She opens
its door, gestures inside, and says,
'These are her clothes. You can try
them on if you like.'
I put on a cream jacket trimmed
with black braid, its narrowly cut
sleeves elongating the arms, flatter-
ing the curve of the body, yet com-
fortable enough for me to raise my
hands above my head. Then there is
a fur-collared jacket in a pale natu-
ral-coloured wool, just as
Mademoiselle recommended to
others, but lined with a Japanese
silk print, its black calligraphy
unintelligible to my Western eyes,
yet perfectly proportioned, repeated
in minute detail over and over
again.
I slide my hands into the pockets
'The pockets are meant to be used,'
Gabrielle reminds me, 'just like the
hair of her head.
'Having thus gained a breathing
space, she proceeded to look for
help gauche et droite , and not in
vain, thereby managing to avoid
making even a token appearance
among the gilded company on a
collaborationist charge.' After
wards, Muggeridge tried to draft
some sort of report on Chanel, but
realised that there was nothing to
say, except that he was sure 'the
puration mills, however small they
might grind, would never grind her
as indeed, proved to be the case'.
You could search forever for the
whole truth about Gabrielle Chanel,
and never find the last of the miss-
ing pieces; for when she cut up her
history, she scattered it all around,
losing some details, hiding others,
covering her trail. Sometimes, you
feel you might just catch up with
her: in her apartment at rue
Cambon; or in her upstairs studio,
where Karl Lagerfeld now reigns,
although her name is still on the
door, as if barring anyone else from
entering. The sign is just as she left
it: 'Mademoiselle Priv'.
There is a manor house in the
French countryside, an hour or so
by train beyond Paris, where
Chanel's great-niece, Gabrielle
Palasse-Labrunie lives; a quiet
place, hidden behind high walls and
solid gates. Madame Labrunie is in
her eighties now, but her face still
contains clear traces of the girl she
once was; the young girl carrying a
867
buttonholes, never a button without
a buttonhole, everything has its
purpose' and find a pair of ivory-
coloured gloves inside. I take them
out, and a faint scent emerges.
'Chanel No 5,' says Gabrielle, with
a smile. 'Her gloves, her perfume
still here.'
I wish I could tell you that her scent
still lingers in her rooms at the Ritz,
but that would not be the truth. I
was not sleeping in the Coco
Chanel suite that overlooks the
place Vendme its gilded grandeur
a reminder of Chanel's pre-war
years at the hotel, when the Duke of
Westminster visited her here, as did
Churchill and the Prince of Wales
but in the accommodation that she
inhabited after the German inva-
sion of Paris, and where she chose
to remain in peacetime, a modest
bedroom on the sixth floor.
Here she lay, night after night,
alone as she grew older, albeit
beneath the same roof as others; the
Ritz a kind of secular monastery
where the rich found refuge in the
consolations of its quiet order;
although Chanel's rest was often
disturbed. In this bedroom I spoke
to her friend Claude Delay who
described to me what had taken
place within these walls.
'I often found her alone,' said Delay,
'sitting at her dressing-table, gazing
down into the garden, looking at
the chestnut trees. She was still so
slender, thin as a girl in her white
pyjamas. "One shouldn't live
though it was a Saturday, furiously
racing against the clock to finish
her latest couture collection. The
following morning, she was forced
to remain at rest; even the formida-
ble Chanel could not insist that her
employees go to work on a Sunday.
Claude Delay came to visit her at
the Ritz at one o'clock, where she
found her sitting at her dressing-
table again, applying her make-up,
carefully drawing on her dark eye-
brows and red lipstick, examining
her reflection in the mirror.
They lunched together downstairs
at Chanel's usual table and then,
long after the room had emptied,
the two women finally left for an
afternoon drive. By the time the car
brought them back to the Ritz, the
sun had disappeared, and a full
moon was rising. Delay said good-
bye, and, as Chanel disappeared
through the door of the Ritz, she
called out that she would be work-
ing again at rue Cambon, as usual,
the next day.
Mademoiselle Chanel took the lift
back to her bedroom on the sixth
floor, where her maid Cline was
waiting for her. She was tired, she
said to Cline, and lay down on her
bed, still fully clothed, not wanting
her maid to undress her. At about
8.30pm, she suddenly cried out to
Cline that she couldn't breathe,
asking her to open the window. The
maid rushed to her mistress's bed-
side, trying to help her, as Chanel
was struggling to give herself her
injection. Cline broke the phial of
alone," she'd say. "It's a mistake. I
used to think I had to make my life
on my own, but I was wrong."'
Mademoiselle Chanel was still
attended by a retinue: a butler,
Franois Mironnet; a maid, Cline,
whom she called Jeanne (her moth-
er's name); a secretary, Lilou
Grumbach. Sometimes Franois
took off his white gloves and sat
down beside her to eat, to keep her
company; or played cards with
Lilou in the room adjacent to
Mademoiselle, while she was
falling asleep.
But she always came back to her
quiet white bedroom at the Ritz;
and when the day ended, when
there was no one left for her to talk
to, she would take her scissors from
their place on the bedside table, cut
her pills from their foil covering,
and then give herself her nightly
injection of Sedol, a form of mor-
phine that she had relied upon for
many years to help her sleep.
Yet the sleep it brought was not that
of dreamless oblivion. In the dark-
ness Chanel was troubled by night-
mares, unbidden terrors, sleepwalk-
ing; sometimes she would rise from
her bed, take her scissors from the
bedside table, and sit in front of the
mirror of her dressing-table, cutting
at her pyjamas, jabbing and slash-
ing at the cloth.
On the day before her death, 9
January 1971, Mademoiselle
Chanel was still working, even
868
drugs, and then Mademoiselle
pushed the syringe into her hip.
'You see,' she said to Cline, 'this is
how one dies.'
The next morning, Chanel's body
lay in her white bedroom at the
Ritz; her maid had dressed her in a
white suit and blouse, and tucked
her hands beneath the linen sheets.
'She looked very small,' says Delay,
'almost like a little girl taking her
first communion.'
The funeral service was at L'Eglise
de la Madeleine, the grandest
church close to rue Cambon. Her
coffin was set beneath the statue of
Mary Magdalene, and covered with
white flowers camellias, gardenias,
orchids, azaleas; some formed into
a cross, others in the shape of scis-
sors except for a single wreath of
red roses.
Yves Saint Laurent came to pay his
respects, as did his fellow couturi-
ers, Balmain, Balenciaga,
Courrges. So many of her friends
and lovers were dead but Jeanne
Moreau was at the church along
with Salvador Dal and all of her
models, a long line of them, wear-
ing immaculate couture.
Two weeks later, the same models
appeared in Mademoiselle's last
couture show, in ivory tweed suits
and white evening dresses; many of
those in the audience found their
eyes drawn to the steps at the top of
the mirrored staircase, where
Mademoiselle used to sit, hidden
from view; still hidden from them
now.
Published on 16 September, it is
available from Telegraph Books
(0844 871 1515; books.telegraph.
co.uk ) at 23 plus 1.25 p&p
869
Chanel for now. And even if we
are flattered by such tributes to our
fame as Chanel-issime, Chanel-
ed, Chanels, and Chanel-ized,
Please dont. Our lawyers positive-
ly detest them. We take our trade-
mark seriously.
Merci,
Chanel, Inc.
Chanel is one of the few fashion
brands that can truly be called icon-
ic. If I write that a jacket looks
Chanel-esque you know exactly
what Im talking about. However, I
could get into legal trouble if I
write that. Yep.
I spoke to Anne Sterba, who is one
of the attorneys at the intellectual
property firm Rothwell, Figg, Ernst
& Manbeck. (They are the firm that
recently represented Valentino dur-
ing that 16-year marathon trade-
mark case.) She has never worked
with or represented Chanel, but
offered her take on the ad.
She said that Chanel or any other
trademarked name cant be turned
into an adjective. To do so would
require the permission of the com-
pany. They own the name. You
cant use it in any kind of descrip-
tive manner at all.
I asked Anne about writing some-
thing like: Designer X showed a
collection of jackets that looked a
lot like Chanels 2004 collection.
She said that even that is a gray
area. Like Kleenex and Xerox,
Chanel is trying to prevent their
name from becoming generic.
So why the ad? They are policing
their brand, Anne told me. They
have to do it, because if they end up
in court with a trademark issue and
they cant prove to a judge that
theyve been trying to protect their
brand, they will lose credibility.
So this ad is apparently a part of
that process of protecting the trade-
mark. She also mentioned that
while start-ups and newer designers
might want that exposure, because
any press is good, it can hurt the
perceived quality of more estab-
lished brands.
So with this in mind, the jackets I
We are in the middle of fashion
month and reams and gigabytes
have been written about the various
collections that stomped down run-
ways. Apparently Chanel has got
its interlocking-C embossed undies
in a bunch about writers and editors
using its name as a descriptor for
other designers collections. So the
company took out an entire back
page ad in WWD yesterday to tell
us all off entreat us:
A note of information and entreaty
to fashion editors, advertisers,
copywriters and other well-inten-
tioned mis-users of our Chanel
name:
Chanel was a designer, an extraor-
dinary woman who made a timeless
contribution to fashion. Chanel is a
perfume. Chanel is modern ele-
gance in couture, ready-to-wear,
accessories, watches and fine jew-
elry. Chanel is our registered trade-
mark for fragrance, cosmetics,
clothing, accessories and other
lovely things. Although our style is
justly famous, a jacket is not a
Chanel jacket unless it is ours, and
somebody elses cardigans are not
870
saw in the windows of several dif-
ferent stores today were merely
tweedy and boxy, with embellished
hems and plackets. They reminded
me of no particular brand at all.
871
lawyers positively detest them. We
take our trademark seriously.
The ad was prompted by various
writers reports of collections
exhibited during New Yorks fash-
ion week, which used variations on
the Chanel moniker to describe
other designers collections.
According to Anne Sterba, an intel-
lectual property lawyer at
Rothwell, Figg, Ernst & Manbeck,
Chanel is trying to prevent their
name from becoming generic.
Sterba told Cheryl Wischhover at
Fashionista that Chanels ad
exhibits active policing of their
brand, which could prove essential
if they end up in court with a
trademark issue because it would
allow them to show a judge that
theyve been trying to actively pro-
tect their brand, and that would
give them additional credibility.
Although, one has to wonder, was
the full page ad in cheaper/more
efficient/more effective than send-
ing out a slew of cease and desist
letters which Chanel has done in
the past? I would be curious to find
out if Chanel supplemented its
advertisement with cease and desist
letters to the seemingly numerous
well-intentioned misusers target-
ed by the ad. In addition, is the
public ad addressed to the fashion
industry at-large likely to create a
backlash against the brand by ruf-
fling fashion industry reporters
feathers? Or is the Chanel brand so
iconic that it can withstand any ad-
related ill-will?
Chanel took out a full back page
advertisement in a magazine
recently to dissuade further mis-
use of the Chanel name. Womens
Wear Daily, a trade journal for the
fashion industry, has been referred
to as the bible of fashion. It has a
circulation of over 50,000. The ad
by Chanel reads:
A note of information and entreaty
to fashion editors, advertisers,
copywriters and other well-inten-
tioned mis-users of our Chanel
name: Chanel was a designer, and
extraordinary woman who made a
timeless contribution to fashion.
Chanel is a perfume. Chanel is
modern elegance in couture, ready-
to-wear, accessories, watches and
fine jewelry. Chanel is our regis-
tered trademark for fragrance, cos-
metics, clothing, accessories, and
other lovely things. Although our
style is justly famous, a jacket is
not a Chanel jacket unless it is
ours, and somebody elses cardi-
gans are not Chanel for now. And
even if we are flattered by such
tributes to our fame as Chanel-
issime, Chanel-ed, Chanels, and
Chanel-ized, Please dont. Our
872
Following this sensory tour through
an imaginary orchard is the founda-
tion of woody elements. Cedar, nut-
meg, and sandal wood give the
scent heart and warmth, grounding
the fragrance and exerting overall
masculinity. This careful play on
citrus and woody is completed with
exotic patchouli and frankincense.
Adventurous
The modern gentleman, unlike
those in past decades, is less con-
fined by the norms of society he is
adventurous, a traveler, a breaker of
rules even while maintaining his
integrity and inherent sophistica-
tion.
The folks at Chanel want Bleu to fit
a younger crowd drawn to the
brands history of quality. It was
created to appeal to their exciting
and varied lifestyles, whether min-
gling with society in urban hot
spots or partaking in an adventur-
ous escape to the Far East.
Like its predecessor, Allure, Bleu
maintains a strong masculine and
angular quality in its packaging a
square-like glass flacon but with
shades of slate gray and midnight
blue reminiscent of a sleek urban
skyscraper.
The darkness and glossiness of the
bottle is a something new for the
brand, which has often favored
more traditionally elegant shapes
and appearances. The bottles con-
temporary design is topped off with
a functional and novel magnetic
cap.
Free hand
Chanel gave Scorsese a free hand
when it came to directing the film.
The ad shows French actor and ris-
ing international star Gaspard
Ulliel chasing a beautiful blonde
down a city street and losing her as
she runs into a train station.
Then, cut to Ulliel in a press con-
ference in a blue light filled glass
conference hall. Hes seated in
front of journalists who seem to
want to know the answer to one
question, but the man cant seem to
focus. He is distracted by the mem-
ory of that woman, being on a train
Chanels latest mens fragrance,
Bleu de Chanel, is the brands first
fragrance since 2004s Allure
Homme Sport and its first major
master brand since 1990s Egoiste.
Its launch, therefore, is an event not
only for the prestigious brand, but
also for an industry hungry for
more men-centric luxuries. No less
than master director Martin
Scorsese has lent his cinematic
genius to the visually stunning
commercial that supports Bleu de
Chanels introduction to the mar-
ket.
The best way to describe this new
masculine scent is modern, hand-
some and effortless. While many of
the classic mens offerings from
this timeless brand has been geared
towards a more genteel and formal
sensibility, Bleu is decidedly
younger and fresh.
Chanel house nose Jacques Polge
starts the mix with citrus top notes.
The smell conjures images of
orange and lemon trees and is
accompanied by the zesty inclusion
of grapefruit and pink peppers.
873
with her, finding her at a caf, tak-
ing her photos, walking in on her in
the tub.
He is surprised to see the blonde in
the crowd. He leans over and
announces to the throng, Im not
going to be the man Im expected to
be anymore. He stand us abruptly,
the walls around him collapse and
he walks away from the scene as a
voiceover declares: Be
Unexpected.
The story is essentially about strug-
gling to break out of a routine, to
move beyond lifes series of events
and to attain freedom. What is com-
mendable is the distinct flair and
signature markings of Scorsese as
well as the consistency of the color
blue throughout the short film.
Its not every day that you see such
an accomplished filmmaker collab-
orating with a high fashion brand, a
feeling shared by the films star.
Scorsese is a director whom Ive
admired for a long time, Ulliel is
quoted as saying. I see him as one
of the great masters of contempo-
rary filmmaking. Throughout the
five days of work, he overflowed
with energy and enthusiasm and
achieved something that truly
stands out from other fragrance
commercials.
The French luxury house is no
stranger to Tinseltown. In 2004 Baz
Luhrman, directed his Moulin
Rouge muse Nicole Kidman in a
mini-film/commercial for the icon-
ic Chanel No.5 perfume, while
2009 saw another accomplished
actress, Audrey Tautou, starring in
a commercial by Amelie director
Jean-Pierre Jeunet.
874
propagated a mode of dress that
provided comfort with dignity; an
important distinction. And she did
so while quipping, "I know women.
Give them chains. Women adore
chains." Ms. Picardie points out
that she probably wasn't just refer-
ring to the strap of the iconic
Chanel bag design. The author is at
her best in the analysis of these
throw-away lines, picking up every
discarded clue and using it sugges-
tively.
Coco Chanel: The Legend and the
Life
By Justine Picardie
( Harper Collins, 343 pages, 25 )
The headquarters of Chanel
stands today at 31 Rue Cambon,
underneath Coco's apartment,
which remains exactly as she left it.
She is alluring biography-fodder
because she left so many trinkets of
clues behind and so little in the way
of believable back story to tie them
all together. Ms. Picardie's book
adds a bit more cohesion to the
remnants that Coco left, but also
contributes to the confession that,
"You could search forever for the
whole truth about Chanel, and
never find the last of the missing
pieces; for when she cut up her his-
tory, she scattered it all around, los-
ing some details, hiding others,
covering her trail." Ms. Picardie's is
a very chic shrug of acceptance.
Before she was Coco, she was
Gabrielle and was born on Aug. 18,
1883, in a poorhouse in Saumur.
But she changed her name and
scratched the birth date out of the
passports that she used in her life to
travel to Scotland, to Switzerland,
to Germany, to Hollywood. When
she came to tell the story of her
childhood, to friends and biogra-
phers Paul Morad and Claude
Delay, she lied.
Ms. Picardie travels to where
Chanel really spent her childhood;
not with two wicked aunts, but in
an abbey in Aubazine. On the floor
of the abbey, Ms. Picardie finds
mosaics of five-pointed stars,
which, with other symbols in the
building, become imbued with
theosophical significance through-
French Vogue celebrated its 90th
anniversary last month. A celebra-
tory issue of the magazine featured
birthday cards from the world's
largest fashion houses. One, a
sketch by Chanel art director Karl
Lagerfeld, showed him (dark glass-
es, long white pony tail) fore-
grounded by Mademoiselle herself,
Coco Chanel (hair bobbed, hands
deep in pockets).
Almost 30 years after her death
and a full century since she opened
a milliner's shop on 21 Rue
Cambon in Paris Coco Chanel
remains very much in the fore-
ground of consciousness for the
global brand that bears her name. It
is a business based, even today,
upon the propagation of her image.
The darker facets of this
process are subtly and carefully
revealed by Justine Picardie in
"Coco Chanel: The Legend and the
Life." This biography leaves you
with the knowledge that, yes,
Chanel took women out of corsets
and put them into clothes that
allowed freedom of movement. But
there's more to it than that. She also
875
out the book and are noticed time
and again in Chanel's designs. Can
it really be coincidence, Ms.
Picardie invites us to ask, that the
stars have five points, that Chanel's
star sign was the fifth in the zodiac,
and the perfume was called No. 5?
Yes, it can, as Ms. Picardie con-
cedes. "If Gabrielle Chanel
believed in magic it was more like-
ly to be of her own making." There
is nothing cryptic or mystical about
Chanel's success, during her own
lifetime or since. Within Ms.
Picardie's book are the hard facts;
Chanel had an eye for what was
needed, was unstinting and, she had
the Wertheimer brothers.
Of all the relationships that
Justine Picardie outlines with great
clarity in the biography including
with Etienne Balsan and Boy
Capel, (as portrayed in the recent
film "Coco avant Chanel"), with
the composer Igor Stravinsky
(recent film title: "Coco Chanel and
Igor Stravinsky") the Duke of
Westminster (hence the interlocked
Cs that decorate some lampposts in
Mayfair) and Hans Gunther von
Dincklage (as pointed to in the
rumors, here defused, of Chanel's
Nazi collaboration) she makes the
point that Chanel's most important,
and most scandalous, relationship
was with one Pierre Wertheimer.
The Wertheimers owned
Bourjois, the large cosmetic com-
pany that took on the production of
the Chanel No. 5 perfume in the
ture in which to this day lipstick
and perfume sales fund expensive
couture houses come recession and
depression.
Chanel No. 5 will be 90 years
old next year, making it slightly
younger than Vogue. But where
Vogue would be without the per-
fume adverts, without Chanel's
axiomatic instructions as to what is
stylish, without her as Marie Dmitri
put it "attitude of sublime contempt
for the public taste," a taste that she
nonetheless "catered for . . . assidu-
ously," is unfathomable. It is a
question that can only be answered
with a very chic shrug of accept-
ance.
1920s. In a financial deal that
Chanel never seemed to have for-
given herself for, she ended up with
a 10% stake in the perfume that
bore her name, against the
Wertheimers' 70%. When the
Wertheimers, who were Jewish,
fled Paris in 1940 they left the busi-
ness with a friend who they hoped
would protect it against German
requisition. In doing so they pre-
vented Chanel from using the anti-
Jewish laws of the German
Occupation to declare the company
abandoned and claim it entirely for
herself. She tried nonetheless,
which was "a strategy that proved
unsuccessful and gravely tarnished
her reputation."
Ms. Picardie contends that this had
more to do with Chanel's desire for
financial justice than anti-
Semitism, an argument that she car-
ries through to the tale's happy end-
ing. Eventually, after the war, they
struck a deal in which the
Wertheimers underwrote Chanel (it
is still under their private owner-
ship today), making her "unassail-
ably rich." Ms. Picardie notes that
"Wertheimer was far more loyal to
Chanel than any of her lovers." And
this biography revels in the irony
that, "Although she had not taken
his name, he took hers."
Chanel No. 5 and the subse-
quent perfumes that took on various
forms of her name and image,
proved to be the fashion house's
financial insurance. Other design-
ers followed suit, creating a struc-
876
letages of Marilyn Monroe, Jackie
Kennedy, Nicole Kidman and
Scarlett Johansson. Even Marlon
Brando was reportedly a wearer of
the women's fragrance.
"It's a kind of Frankenstein myth,"
Mazzeo told The Post. "It's a story
of what happens when someone
creates something that becomes so
big that it defines her life."
It's nothing to sneeze at. Chanel No.
5 at $ 400 an ounce is more than a
just a luxury item, it has represent-
ed a way of life for 90 years.
"Perfume, it's the most important
thing," Coco Chanel insisted.
Smells had always been important
to Chanel, who was a charity-case
orphan in a small French village.
The gardens, the incense-filled
churches and hand-made tallow
soap all inspired her.
When she had moved up the social
ladder from cabaret girl to clothing
designer, she drew on these ele-
ments to create the most revered
perfume of all time.
With the help of perfumer Ernest
Beaux, Chanel combined the
"high" aroma of roses, associated
with the well-to-do, and the "low"
smell of jasmine, linked to brothels.
Chanel said she sought to make a
"perfume like nothing else. A
woman's perfume, with the scent of
a woman."
In 1920, she achieved her goal,
making the most expensive per-
fume of its time, blending flowers
from Grasse, France, where a
pound of jasmine now goes for
$33,000.
But it's the secret ingredient that
made it truly special. Beaux added
recently discovered synthetic mole-
cules called aldehydes, now used in
detergents and room fresheners.
The "clean" air smell gave the per-
fume its je ne sais quoi.
Less than a decade later, Chanel
sold 90 percent of her stake in the
perfume, a decision that would
haunt her until death.
But the story of Chanel's success
Chanel No. 5, the perfume synony-
mous with Francophile luxury and
celebrity decadence, was not
always oo la la! from France.
While World War II raged in
Europe, the perfume factory was
moved to, of all places, New Jersey,
according to a new book, "The
Secret History of Chanel No. 5."
It was a horrifying turn of events
for designer Coco Chanel. Her chic
cologne was being made in the
Garden State, although the materi-
als were smuggled in from France.
"It is monstrous," Chanel had
sniffed, according to the book's
author, Tilar Mazzeo. "They pro-
duced it in Hoboken!"
It didn't last long. After the war, the
Jersey-accented perfume returned
to France, where production contin-
ues to this day.
Mazzeo unravels the mystery
behind the world's most engaging
scent, tracing its inception to its
creator's humble origins and chron-
icling its rise to fame on the dcol-
877
took a dark turn. While the per-
fume's new owners moved produc-
tion to America to escape the
Nazis, she became a German sym-
pathizer, shacking up with an SS
officer during the French occupa-
tion.
By then, the perfume's legend over-
shadowed its creator's politics.
Chanel No. 5 had become some-
thing intangible, a scent for a real
woman.
878
was summoned by the French
Interior Forces to answer questions.
Which of the two, Grosvenor or
Churchill, stepped in on her behalf
has never been clarified but Coco
was soon back at home (in the Ritz
Hotel), having been saved the
ignominy of having her head
shaved and being paraded naked
through the streets of Paris along
with the other 'les collaborations
horizontals'.
"It has generally been assumed that
Churchill somehow intervened on
Chanel's behalf," writes her new
biographer Justine Picardie,
"although a lurid conspiracy theory
has also circulated that links her
release to the British royal family,
purportedly to prevent revelations
of the Duke and Duchess of
Windsor's unsavoury Nazi connec-
tions".
When later asked if she had been
involved with a German, Chanel
replied: "Really, sir, a woman of
my age cannot be expected to look
at his passport if she has a chance
of a lover." The author reflects that
"perhaps she was unable to see her
German lover without obscuring
something of the truth, closing her
eyes to his past, as well as his pass-
port; just as she had been apparent-
ly blind to previous episodes in her
own life".
And of these, there were many.
Gabrielle Bonheur Chanel was
born illegitimate in 1883 in a poor-
house in rural France and after her
mother's death, while she was still a
child, her father abandoned her in a
convent. Resonances from the
orphanage later curiously featured
in La Pausa, her uber stylish home
at Roquebrune on the Riviera.
Details from the nun's habits
cropped up in her designs, in partic-
ular, collars, cuffs and the use of
monochrome black and cream.
Coco had a knack of airbrushing
out the unhappy and less edifying
parts of her earlier life when she
had achieved success as a couturier
later on. When she was 18 she left
the nuns and started working in
Moulins as a cabaret singer. She
became the mistress of the roue
Etienne Balsan, who introduced her
to an English playboy, Boy Capel,
www.independent.ie/entertainment/books/review-coco-chanel-the-legend-and-the-life-
Coco Chanel's racy early life and
her success as a couturier in Paris
equipped her with an enviable little
black book, bulging at the seams
with the names of rich and famous.
Some were merely clients, but
many others were former lovers,
quite a few of whom were married.
She also had affairs with a number
of high-profile men.
Two names stand out, the Duke of
Westminster Hugh Grosvenor, who
she was once tipped to marry, and
British prime minister Winston
Churchill, connections which may
have saved her skin in the aftermath
of the Second World War.
During the war, Chanel, who was
then in her late 50s, had taken a
Nazi lover. Hans Gunther von
Dincklage, who was 13 years her
junior, was reportedly under the
direct orders of the Reich Ministry
of Propaganda, using a press
attache post in Paris as cover. There
was also a theory that he was a dou-
ble agent, secretly working against
the Nazis.
In post-Liberation Paris, Chanel
879
who was her lover and muse. She
was soon cutting up his polo
clothes and turning them into her
androgynous style.
With his backing, she was soon on
her way as a designer. By 1919, the
year he was killed in a car crash,
she had her own maison. After
being a kept woman in the
provinces with Etienne Balsan, she
had now moved into a rich, royal
circle and her world was peopled
by exotics like Salvador Dali,
Picasso, Cocteau, Diaghilev and
another lover, Grand Duke Dmitri,
cousin of the Russian tsar. She was
back being a mistress again, a role
she clearly had no moral problems
with as evidenced by her series of
relationships.
Chanel's clothes mirrored her own
lifestyle, replacing corsets with
loose trousers and offering a
sophisticated liberation, independ-
ence and freedom to women. She
replaced ornate evening gowns
with her famous little black dress;
she popularised costume jewellery,
monochrome dressing and her sig-
nature collarless, edge-to-edge
jacket. She was a huge success as
well as becoming a celebrity. But
the fallout from the war years effec-
tively brought her career to a skid-
ding halt.
Coco closed down her business two
hours after war was declared. "This
is not the time for fashion," she
declared. When she attempted a
comeback collection in February
ary fashion designs forever
stained".
However, the author argues that
Chanel's "conduct should also be
seen in the context of an era of
French history marked by a wide-
spread sense of chaos, confusion
and uncertainty, as well as terrible
tragedy".
"To acknowledge this is not to act
as an apologist for Chanel," argues
Picardie who, in a flight of purple
prose, paints a picture of Coco and
her Nazi lover speaking English
together in an "act of solidarity, as
if they were setting themselves
apart from German-occupied Paris
in their own neutral territory" in her
apartment in Rue Cambon.
Frequently photographed standing
at the top of her mirrored staircase,
the series of narrow mirrors under-
line to me the tragic, fractured qual-
ity of Chanel's life, something that
Mademoiselle admitted at the end:
"One shouldn't live alone, it's a
mistake. I used to think I had to
make my life on my own, but I was
wrong."
For a woman who revolutionised
how women dress and looked to
men's wardrobes for many of her
innovative ideas, the 20th century
icon missed out on the simple
pleasures that most women take for
granted, a loving, faithful partner
and children.
As a business woman, she was
1954, she chose the fifth day of the
month her lucky number but it did-
n't do anything to soften the harsh-
ness with which she was judged.
The clothes were ridiculed along
with her Swiss facelift and, to make
matters worse, rival Christian Dior
was making waves.
It was the world of celebrity that
turned the tables for Chanel in the
US, where she was hailed as the
face behind the most famous per-
fume in the world Marilyn Monroe
famously said the only thing she
wore in bed was Chanel No 5.
Revenue from the perfume bank
rolled the clothing collections and
her reputation as a designer recov-
ered.
She was, of course, famous for her
Chanel suits. The most famous was
probably the vivid pink suit Jackie
Kennedy wore in Dallas in 1963 on
the day President John F Kennedy
was shot beside her in the car. She
didn't remove it for a day and a
night, forcing the world to see the
horror of what had been done. It is
now in storage, still caked in the
blood of her husband.
Picardie acknowledges that in the
tangle of tales told about Coco the
gossip and speculation and rumours
that have spread from newsprint to
the internet the accusation that is
repeated most often is that "Chanel
was a Nazi collaborator, whose
wartime affair with a German offi-
cer leaves her reputation blem-
ished, and the legacy of her vision-
880
razor sharp but her private life
revealed a very vulnerable woman
who used sleeping tablets and mor-
phine as her last defence against the
night.
881
tors: Chanel No. 5 is a masterpiece
of composition. Part of it is that it's
really a great perfume. One of the
five great perfumes of 20th century.
Did her celebrity affect the per-
fume's success?
She had very little to do with the
business after 1924. The decision to
sell it through the U.S. Army dur-
ing the Second World War changed
it. In that moment of deprivation
and cultural trauma for Europe and
America, Chanel No. 5 becomes a
symbol of a better time. It was
transformed into an icon at that
moment.
Coco Chanel is often depicted as a
cunning, complicated woman. How
do you view her?
When you write a biography, you
either fall in love with the person or
you don't. I would have to say,
truthfully, I am a bit distressed by
her opportunism at moments. She is
clearly a brilliant designer and
savvy, cunning entrepreneur, but
there were moments when she was
a very hard woman.
Why is she idolized?
For the modern woman, she's part
of what liberated women's fashion.
Until the 1930s, women wearing
trousers were considered scan-
dalous. Chanel targeted a sexy,
feminine and liberated woman who
could wear a jersey dress and fake
pearls and trousers and be femi-
nine. That resonates still.
You write about the allergen con-
troversy surrounding perfume.
Should perfumes and oils be regu-
lated?
No, the reality is if you're sensitive
to natural jasmine, there's an easy
solution: Don't spray perfume on
your skin. Spray it on your cloth-
ing. We're talking about regulating
natural rose oil and natural jasmine
oil. If you're that sensitive, maybe
you just don't want to wear perfume
at all.
Why is understanding luxury
important for culture?
We buy luxury products because
they allow us to tell a story not
Sampling champagnes and sniffing
perfumes may seem like pastimes
of the idle rich, but for luxe histori-
an Tilar J. Mazzeo, it's all in the
name of research. The bestselling
author of "The Widow Clicquot"
releases her second biography of an
icon this month. "The Secret of
Chanel No. 5" ($26, Harper)
reveals closely-kept secrets, mar-
keting blunders and serendipitous
events that made No. 5 the best-
selling perfume in the world.
Why write a biography about
Chanel No. 5?
There's a fabulous story of the
woman, but there's a really interest-
ing story behind the perfume itself.
I wanted it to be a great beach or
train read about a product that is
one of the most famous luxury
icons in history. It's also about a
successful entrepreneur.
Tilar J. MazzeoWhy is it so mythi-
cal?
I did a lot of research on perfume
for the book, and every perfumer
I've talked to agrees, even competi-
882
about who we are but about who we
want to be. At their most basic
level, they're aspirational. But
they're also a way of dreaming out
loud to each other.
Next book?
I just started a new one entitled
"The Ritz at War." It's on the histo-
ry of the Ritz Hotel in Paris during
the German Occupation.
What is your scent?
Chanel No. 5 Eau Premiere. I wear
the updated lighter version and the
Eau Premiere boutique line.
Why doesnt someone write a book
about the actual person who created
the worlds most famous scent?
883
has seemed almost invulnerable to
any force that might damage its
world-wide popularity. Though its
cachet has gone up and down over
the years, it remains hugely popu-
lar. Les Parfums Chanel doesn't
reveal sales figures, but Ms.
Mazzeo says that a bottle sells
somewhere in the world every 30
seconds, with annual revenue esti-
mated at $100 million.
What accounts for the continuing
fascination with a product that is
nine decades old? Ms. Mazzeo
explains with a combination of
engaging historical detail and at
times overwrought drama.
Orphaned at an early age, Coco
Chanel grew up in the convent
abbey called Aubazine in south-
western France. Ms. Mazzeo con-
tends that the abbey's scents, aes-
thetic minimalism and even its
numerical patterns the place teemed
with five-pointed stars and penta-
gon shapes, the author says made a
lifelong impression on the young
girl.
Chanel's entry into business began
in 1909 when she set up a millinery
shop in Paris. The boutique was a
success, prompting her to open a
seaside store in Deauville, where
she introduced a sportswear line in
1913 that bore the hallmarks of a
style simple and chic that would
turn the Chanel brand into an inter-
national fashion powerhouse.
A few years later, upset by a break-
up with her wealthy British
boyfriend, Arthur "Boy" Capel, and
his subsequent death in an automo-
bile accident, Chanel focused her
energies on establishing a perfume
line. Ms. Mazzeo says, in a typical-
ly feverish passage: "The perfume
she would create had everything to
do with the complicated story of
her sensuality, with the heart-break-
ing loss of Boy in his car crash, and
with everything that had come
before. In crafting this scent, she
would return to her emotional
ground zero."
Chanel was introduced to perfumer
Ernest Beaux, who had worked in
Moscow for the fragrance house A.
Rallet & Co. While there, he had
created a scent that was intended to
celebrate Catherine the Great. But
The title of Tilar J. Mazzeo's "The
Secret of Chanel No. 5" suggests
that there is some hidden truth
behind one of the most famous fra-
grances in the world. There may be,
for all we know. There is certainly a
lot of Chanel lore that is unfamiliar
to most of us.
The perfume's formula, for
instance, was not entirely original.
It was based on a fragrance made in
1914 to honor Russian royalty.
More surprising is the fact that, for
part of World War II, this paragon
of French fragrance was produced
in Hoboken, N.J. Most off-putting,
though, is the news that the per-
fume's creator who would see
Chanel No. 5 turned into a cultural
totem in the U.S. by G.I.'s who
brought it home from Paris as a
fancy gift for their wives and girl-
friends spent the Occupation holed
up at the Paris Ritz with a German
officer as her lover.
Gabrielle "Coco" Chanel's affinity
for the Germans she made two trips
to Berlin during the war did nothing
to dent the perfume's appeal. Since
its launch in 1921, Chanel No. 5
884
the timing, Ms. Mazzeo notes, was
not right: "A perfume named after a
German-born empress of Russia
was doomed in 1914."
By Tilar J. Mazzeo
Harper, 281 pages, $25.99
Working with Chanel, Beaux used
his Catherine the Great formula to
capture the qualities that Chanel
was looking for in her product: It
would have to be seductive and
expensive, she said, and "a modern
work of art and an abstraction." A
perfume based on the scent of a
particular flower which at the time
had the power to define its wearer
as a respectable woman (rose) or a
showgirl (jasmine) would not do. "I
want to give women an artificial
perfume," Chanel once said. "Yes, I
do mean artificial, like a dress,
something that has been made. I
don't want a rose or a lily of the val-
ley, I want a perfume that is a com-
position."
The composition she and Beaux
arrived at had strong notes of rose
and jasmine, balanced by what was,
in the 1920s, a new fragrance tech-
nology: aldehydes. Ms. Mazzeo
neatly explains that aldehydes are
"molecules with a very particular
kind of arrangement among their
oxygen, hydrogen and carbon
atoms, and they are a stage in the
natural process that happens when
exposure turns an alcohol to an
acid." Aldehydes provide a "clean"
scent and intensify other fra-
Chanel, who retained a 10% inter-
est, was seeking a world-wide mar-
ket for the perfume. That goal was
attained, but Chanel came to bitter-
ly regret the decision. At times over
the following decades she tried and
failed to win back the company,
even resorting to disparaging the
perfume. By the time of her death
in 1971 at age 87 she had reached a
settlement with the owners.
Corporate squabbles aside, Chanel
No. 5 has endured. Remarkably lit-
tle about it has changed since 1921.
And if its history tells us anything,
little will.
grances.
Chanel's perfume was not the first
to use aldehydes, but it was the first
to use them in large portions. The
innovation led to a new category of
fragrance, the floral-aldehydics,
that combine the scent of flowers
and aldehydes.
The story of how Coco Chanel
decided what to name the perfume
has been often told: Beaux suppos-
edly presented her with 10 vials of
fragrance, and she chose the fifth
one. But in Ms. Matteo's telling,
Chanel picked the fifth vial and
called her perfume Chanel No. 5
because, if we believe the purple
prose, the "special talisman" held
all manner of significance for her.
Even Boy Capel regarded five as
his "magic number," according to
the author.
The fragrance was an immediate
success. Changes to the formula
"have been only minor and only
when absolutely required," writes
Ms. Mazzeo, as when a type of
chemically unstable musk used in
the perfume was banned in the
1980s.
By then, Chanel No. 5 had long
been unconnected to the Chanel
business interests: Coco Chanel
sold Les Parfums Chanel an enter-
prise separate from her fashion
house in 1924 to French industrial-
ists Paul and Pierre Wertheimer,
who had a large perfume manufac-
turing and distribution operation.
885
The Secret of Chanel No. 5: The
Intimate History of the World's
Most Famous Perfume
By Tilar Mazzeo
Hardcover, 304 pages
Harper
List Price: $25.99
Read An Excerpt
The Smell Of Clean
"There are two things about the
convent that are very, very impor-
tant for her, I think," Mazzeo says.
"Because it's Cistercian, and the
Cistercians believed in the symbol-
ism of numbers, the number five
was all around her."
Mazzeo says that mystical belief in
numbers was at the root of Chanel's
obsession with the number five, a
number that she considered lucky
all her life.
And more important, the convent
gave young Coco Chanel a deep
appreciation for the simple scent of
cleanliness, of fresh laundry and
scrubbed skin.
"I think that also was a register of
cleanliness that really influenced
her interest in scent," says Mazzeo.
When Chanel set out to invent her
perfume, she was living as a kept
woman with a succession of rich
lovers. By the conventions of the
day, that meant heavy, exotic scents
like jasmine and musk.
"If you wore jasmine, you were a
racy lady," says Mazzeo. "What a
respectable young lady would wear
would be rose or violet."
But Chanel thought women should-
n't smell like flowers; they should
smell like women. So she designed
a scent that married sensual jasmine
and musk with new fragrance
chemicals called aldehydes that
created the clean laundry smell she
remembered from the convent.
The combination was revolutionary
at the time and it remains a best-
seller even now, 90 years after
Coco Chanel first put the tester bot-
The Chanel boutique, at 31 Rue
Cambon in the heart of Paris, is a
glittering shrine to fashion and fra-
grance. And that fragrance, of
course, is Chanel No. 5, the world's
most famous perfume.
Supposedly, someone somewhere
in the world buys a bottle every 30
seconds. Marilyn Monroe notori-
ously claimed to wear nothing to
bed but a few drops of Chanel No.
5.
Cultural historian Tilar Mazzeo has
written a new book about this leg-
endary scent, The Secret of Chanel
No. 5: The Intimate History of the
World's Most Famous Perfume.
The world knows Coco Chanel as
the inventor of the little black dress,
the embodiment of style and luxu-
ry. But Mazzeo tells NPR's Jacki
Lyden that you can find the earliest
inspirations for her perfume in her
unlikely childhood. Chanel was
abandoned by her parents at an aus-
tere medieval convent in south-
western France.
The Secret of Chanel No. 5
886
tle to her nose.
Excerpt: 'The Secret Of Chanel No.
5'
Tilar Mazzeo
One: Aubazine And The Secret
Code Of Scent
For the better part a century, the
scent of Chanel No. 5 has been a
sultry whisper that says we are in
the presence of something rich and
sensuous. It's the quiet rustle of ele-
gant self-indulgence, the scent of a
world that is splendidly and beauti-
fully opulent. And, at nearly four
hundred dollars an ounce, it's no
wonder Chanel No. 5 suggests
nothing in our minds so much as
the idea of luxury.
It's a powerful association. Chanel
No. 5 is sumptuous. In fact, the
story of this famous scent is the tale
of how a singular perfume captured
precisely the fast-living and care-
free spirit of the young and the rich
in the Roaring Twenties and of how
it went on to capture the world's
imagination and desires. Chanel
No. 5, from the moment of its first
great heyday, was the scent of beau-
tiful extravagance.
The originas of the perfume and its
creator, however, could no have
been more different from all of this.
Indeed, part of the complexity of
telling Chanel No. 5's history is the
great divide between how we think
of this iconic perfume and the place
make their way in the world as best
they could. Albert loaded his three
daughters into a wagon without
explanation and abandoned them at
an orphanage in a rural hillside
town in Correze, at a convent abbey
known as Aubazine.
It was there that the girl who would
become known around the world
simply as Coco grew up a charity-
case orphan. It was a profound
desertion, and the wounds of loss
and abandonment were themes that
would become as entwined in the
story of Chanel No. 5 as they were
in Coco's. They formed an emo-
tional register that would shape the
history of the world's most famous
perfume and Coco Chanel's often
complicated relationship to it.
Today, the abbey at Aubazine
remains much as it was during her
hard and lonely girlhood. Indeed, it
remains much as it was during the
twelfth century, when the saint
Etienne d'Obazine as his name was
rendered in the original Latin
founded it. During their time at the
orphanage, Coco Chanel and the
other girls were assigned to read
and reread the story of his exempla-
ry life, and the unrelenting dullness
of his good deeds is crushing.
The saintly Etienne, however, had a
keen sense of aesthetics at a
moment when Western culture's
ideas about beauty and proportion
were in radical transition. He and
the monks who followed him to this
wilderness in a remote corner of
where it began. Chanel No. 5 calls
to mind all that is rich and lovely.
It's surprising to think that it started
in a place that was the antithesis of
what would later come to define it.
The truth is that the fragrance that
epitomizes all those worldly pleas-
ures began with miserable impov-
erishment and amid the most stag-
gering kinds of losses.
Gabrielle Chanel's peasant roots
went deep into the earth of provin-
cial southwestern France, and, in
1895, her mother, Jeanne Chanel
worn out by work and childbirth
succumbed to the tuberculosis that
had slowly destroyed her. The dis-
ease spread quickly in the wet and
cold conditions of the rural
provinces, and in the nineteenth
century it was called "consump-
tion" for a reason. It ate away at the
health of its victems from the
inside, corrupting the lungs hope-
lessly and painfully. Gabrielle
named after the nun who delivered
her and her four surviving brothers
and sisters had watched it all. She
was just twelve years old at the
time of her mother's death.
Her father, Albert, was an itinerant
peddler, and perhaps he simply had
no idea how to care for five young
children. Perhaps he didn't particu-
larly care. He had about him a rak-
ish charm and a lifelong knack for
dodging responsibility. Whatever
the case, in the span of only a few
weeks, the young Gabrielle would
also lose her second parent. The
boys were sent out to work and to
887
southwestern France were mem-
bers of a new and rapidly growing
Cistercian clerical order, which
prized nothing no much as a life
and an art of elemental simplicity.
Etienne's isolated retreat from the
world at Aubazine was and remains
a space of echoing austere
grandeur.
The road from the valley that winds
up to Aubazine is steep and narrow,
and the forests slant down sharply
into long ravines. At the summit,
there is nothing more than a small
village, with a cluster of low stone
buildings, a few shops, and quiet
houses overshadowed by the loom-
ing presence of one of France's
great medieval abbeys. By middle
of the nineteenth century, it had
been transformed from a monastery
into a convent orphanage for girls.
For the children who lived there, it
was a youth of hard work and strict
discipline and, fortunately for the
future prospects of the young
Gabrielle, much of it focused on
clothing. There was nothing luxuri-
ous about it, however. Days were
spent washing laundry and mend-
ing, and it was here that she
learned, of course, to sew.
Coco Chanel once later said that
fashion was architecture, and the
architecture she meant was based
on this convent home, with its bru-
tally clean lines and the stark beau-
ty of simple contrasts. The connec-
tion has never been fully explored
in any of the books have been writ-
ten on Coco Chanel's revolutionary
fashions. Perhaps the first person to
recognize Aubazine's profound
importance was Coco Chanel's
Roux, who was one of the few peo-
ple to know the story of this lonely
childhood. She mentions it in pass-
ing. Thinking of Aubazine and
Gabrielle's longing for a certain
kind of starkness, Charles-Roux
always believed that:
Whenever [Coco] began yearn-
ing for austerity, for the ultimate in
cleanliness, for faces scrubbed with
yellow soap; or waxed nostalgic for
all things white, simple and clear,
for linen piled high in cupboards,
whitewashed walls one had to
understand that she was speaking in
a secret code, and that every work
she uttered meant only one word.
Aubazine.
It was at the heart of Coco Chanel's
aesthetics her obsession with purity
and minimalism. It would shape the
dresses she designed and the way
she lived. It would shape Chanel
No. 5, her great olfactory creation,
no less profoundly.
Excerpted from The Secret of
Chanel No. 5: The Intimate History
of the World's Most Famous
Perfume by Tilar Mazzeo.
Copyright 2010 by Tilar Mazzeo.
Excerpted by permission of Harper.
888
Chanel reported. We pretended we
didnt notice.
Mazzeo calls her book an unau-
thorized biography of a scent, but
in fact it is a biography of Coco
Chanel as seen through the prism of
her famous square flacon.
Mazzeos 2008 book The Widow
Clicquot concentrated on another
French luxury liquid, Veuve
Clicquot, and its maker. Here she
explores interconnections between
designer and perfume, teasing out
the relationship with -delicacy.
Chanels story has itself become a
commodity: young Gabrielle, an
orphan, becomes Coco of the
cabarets, a mistress to wealthy men
and, soon enough, the intrepid hat-
maker who conquers the fashion
world. (If Mazzeos book has a
fault, it is a failure to digress more
richly into Chanels role in fash-
ion.) At Aubazine, the convent-
orphanage where Chanel spent her
childhood (she was left there by her
father after her mother died of
tuberculosis), she was immersed in
an austerity that would guide her
aesthetic, and absorbed the scents
of fresh linens and soapy children
that would seep into No. 5. Later,
while living among the louche
demimondaines, she admired the
grand courtesan milienne
dAlenon, who, unlike her peers,
smelled like a lady, which is to say
scrubbed. Chanels signature per-
fume had to be lush and opulent
and sexy, Mazzeo writes, but it
also had to smell clean.
Perfume aficionados suspect that it
was Chanels lover Dmitri
Pavlovich a cousin to Czar
Nicholas II living in exile in France
after conspiring to assassinate
Rasputin who introduced her to the
perfumer Beaux in 1920. Beauxs
Rallet No. 1 was a Romanov fami-
ly favorite, and for Chanel he creat-
ed a revamped version. The fifth
sample, No. 5, was the one she had
waited for: a perfume like nothing
else, she said, a womans per-
fume, with the scent of a woman.
No. 5 succeeded despite a bum-
bling marketing plan, tough compe-
tition and a protracted legal battle
between Chanel and the brothers
Pierre and Paul Wertheimer, the
industrialists who handled manu-
Each 30-milliliter bottle of Chanel
No. 5 is packed with the essence of
a thousand jasmine flowers, the fra-
grance of a dozen May roses from
Grasse and a heaping dose of alde-
hydes, the molecules that early on
gave the scent its modern edge. But
as Tilar J. Mazzeo points out in
The Secret of Chanel No. 5, these
are only a few of the many ingredi-
ents that turned a perfume into a
20th-century obsession. Into the
brew went Coco Chanels warm
memories of tallow soap and her
anguish over lost love, as well as
the perfumer Ernest Beauxs nos-
talgia for imperial Russia and the
Arctic breezes of the White Sea.
The result: alchemical magic and
unprecedented sales that have led
industry insiders to refer to No. 5 as
le monstre the monster.
No. 5, now priced at about $260 an
ounce, has been an item of fashion
and fetish since its debut in 1921,
when in a bit of stealth marketing
Chanel invited her friends to dinner
in Cannes and spritzed the perfume
into the atmosphere around them.
All the women who passed by our
table stopped and sniffed the air,
889
facturing and distribution of No. 5
and to whom she sold a majority of
her perfume business in 1924. It
was a decision she would regret.
When Germany invaded France in
1940, the Wertheimers, who were
Jewish, fled to New York, where
Este Lauder helped set them up; a
daring employee returned to occu-
pied France and smuggled out
enough jasmine and rose extracts to
produce No. 5 in large quantities.
As for Chanel, her wartime activi-
ties included an attempt to claim
the Wertheimers French business
as abandoned, a request the
Vichy government denied.
Still, Chanel wouldnt let No. 5 go.
From Switzerland, she publicly
declaimed its poor quality and cre-
ated a competing line under the
name Mademoiselle Chanel. It is
monstrous, she said of the
Wertheimers No. 5. They pro-
duced it in Hoboken! Rather than
take her to court, Pierre Wertheimer
eventually brokered a settlement
persuading Chanel to sign over all
rights to her business, and her
name, in exchange for a hefty annu-
al income and the promise that hed
pay for anything she wanted forev-
er. By Mazzeos lights, Chanel, late
in her life, resumed living as a kept
woman.
By then, though, No. 5 was beyond
taint from politics or scandalous
association. At American military
commissaries, G.I.s had snapped
up the Wertheimers No. 5, while in
Paris, German soldiers had lined up
in front of Chanels shop for the
French version. The perfume repre-
sented prewar decadence, glamour
and good times in a bottle.
I couldnt bring back an awful
lot, one wartime nurse wrote home
to America. But no matter. She
landed the eras ultimate souvenir:
Chanel, you know, the perfume.
Jessica Kerwin Jenkins is the
author of Encyclopedia of the
Exquisite: An Anecdotal History of
Elegant Delights. She writes for
Vogue.
890
directed Pride and prejudice back
in 2005, a film in which Keira was
the leading actress. Shot in Paris,
the campaign tries to skillfully
combine the sophistication and ele-
gance the brand is well known for
and a subtle hint of adventure
Seeing Keira on a motorbike is cer-
tainly the distinctive element that
adds a touch of uniqueness to the
campaign. With an undeniable retro
allure, the photo can undoubtedly
be considered a link between the
past and the present by highlighting
the various faces that femininity
can take nowadays and appealing to
a wide range of preferences. With
tasteful sexy touches and an under-
stated sense of refinement, the pho-
tos manage to be intense and mem-
orable.
The new ad campaign will be
released surprisingly soon, on the
23rd of March to be more exact.
However, the luxury brand repre-
sentatives have decided that the
official fragrance release will only
take place on the first of April. The
iconic fragrance, which can easily
become one's signature perfume,
balances sensuality and classiness
in an ideal manner, being extreme-
ly versatile and alluring.
Citrus notes, bergamot, jasmine,
patchouli, white musk, vanilla and
vetiver Haiti make up the incredible
bouquet of scents that contribute to
the immense popularity of the fra-
grance. The high quality of the fra-
grance and the constant strive for
perfection still remain evident even
after 10 years of being on the mar-
ket.
The Chanel Coco Mademoiselle
brand has already launched the
photos for the latest ad campaign.
Keira Knightley looks absolutely
spectacular in the latest ads for the
Coco Mademoiselle fragrance.
Keira Knightley is a true veteran of
the Chanel Coco Mademoiselle
brand. Her elegance, refinement
and fabulous sense of style have put
her on the spotlight time and time
again, making her perfectly suited
to represent the brand.
The beloved actress, who has been
one of the brand ambassadors since
2006, managed to conquer the
attention of the viewers around the
world every single time with her
undeniable charm and alluring per-
sonality ever since.
For the 2011 ad campaign for the
Coco Mademoiselle fragance, the
brand has taken inspiration from
the 2007 campaign, revamping the
photos and making them look a lot
more interesting.
This campaign was directed by
none other than Joe Wright, who
891
http://blogs.forward.com/sisterhood-blog/136335/
In her new book, The Secret of
Chanel No. 5: The Intimate History
of the Worlds Most Famous
Perfume, Tilar Mazzeo reveals the
complicated and often scandalous
history of the worlds bestselling
perfume. Mazzeo looks at the psy-
chology and physiology of scent,
how Coco Chanels personal expe-
riences made their way into the fra-
grance, and the perfumes unlikely
success during WWII, when pro-
duction was moved to New Jersey,
thanks to a deal with the Jewish
Wertheimer family. The Sisterhood
spoke recently with Mazzeo about
her book, how the famous fra-
grance paved the way for the
celebrity scent boom of the last
decade, and Chanels not so subtle
Jewish problem.
Elissa Strauss: Why did you decide
to write this book?
Tilar Mazzeo: This book grew out
of my interest in wine actually. In
many ways theres a similarity
between wine and perfume, and I
began wondering, what makes a
great perfume? And of course that
led me to Chanel No. 5, which is
one of the masterpieces of modern
perfume history.
In what ways did Chanel No. 5
pave the way for the celebrity fra-
grance boom of the last decade?
As one of the first celebrities to
have a signature perfume, Coco
Chanel started the fashion that
Jennifer Aniston or Britney Spears
are continuing. She went to [per-
fumer] Ernest Beaux and asked him
to develop a scent, and thats what
film and TV stars today still do at
[fragrance houses] like IFF or
Givaudan.
The idea behind a signature scent, I
suppose, is that its part of how we
participate in the fashion image of
our favorite celebrities. In the
1920s and 1930s, the daring new
scents were more musky and
avowedly sexy. In the United States
today, the fashion is for clean
scents. Perhaps we can deduce
from this that womens sexuality
today has moved away from the
old-fashioned Hollywood volup-
tuousness of the 1940s and 1950s
toward a fresher and lighter image
of women.
What do you think of Chanel being
labeled as anti-Semitic? In what
ways has that impacted her legacy?
The business history behind Chanel
No. 5 is a fascinating story. She
gave control of the perfume to a
group of investors as early as 1924,
and she spent much of the next 30
years trying to wrest it back from
them when she realized how much
money there was to be made.
Unfortunately, some of her tactics
did make cynical use of the fact that
these investors were Jewish.
French culture as a whole was quite
anti-Semitic during this period, and
I think its fair to say that Coco
Chanel had the prejudices of her
historical moment. It affected how
she talked about her partners and
some of her actions during the
Second World War. And of course
it wasnt just French culture that
had this sort of prejudice either.
Certainly, after the Second World
War her reputation was at a low
point as a result of some of her
decisions. In the end, however, the
892
Jewish investors quietly triumphed.
One of the original families still
owns Chanel today.
What fragrance do you wear and
why?
I wear different perfumes, although
Chanel No. 5 is a favorite. I also
particularly like Mitsouko and
(hardly a deluxe confession) that
old German eau de cologne 4711.
But I wear scents just because I like
them. And there has been some
very interesting recent scientific
research on why we like the scents
we do actually. Scientists believe
that we like scents that highlight
whats called our MHC basically
the scent of our immune systems
so that we can attract sexual part-
ners with complementary genetics.
Its not very romantic! But scent is
one of the ways we fall in love with
each other, and that makes having a
signature scent (or a few of them) a
powerful thing. And the good news
is that if you just choose a scent you
really like, you pretty much cant
go wrong.
And what do you think the future of
Chanel No. 5 looks like?
Chanel No. 5 has an astonishing
ability to remain current, so I sus-
pect it will continue to be the
worlds most famous scent for a
long time to come.
893
Keira Knightley, Chanel ad,
YouTube grab The snapper tries to
kiss Keira Knightley but she stops
him (YouTube)
He said the commercial started as a
'story about the male gaze, but
becomes about the female gaze.
The idea is the artifice of projected
sexuality.'
Asked why Keira was so great to
film, he replied: 'It's like being
asked why you love your wife, and
it's rather bland to say she's talented
and beautiful and bold, because it's
such a subjective thing.
'On a purely superficial level, she
just gets more beautiful which is
very fair on the rest of us as we all
get to admire her.'
Knightley has fronted the
Mademoiselle fragrance ads since
2007 after replacing Kate Moss.
This is just another fragrance tease
courtesy of a desperate industry
searching for new ideas. Keep
recycling the same old fragrances
over and over.
Boy what some folks would do for
a fat pay check.
Madam Coco would be real proud.
The 25-year-old actress can be seen
zipping around the streets of Paris
on a sleek motorbike dressed in a
skin-tight beige jumpsuit.
Temperatures start to rise when she
arrives at a studio for a photo shoot
and starts posing for the hunky
snapper.
As Keira starts to unzip, the pho-
tographer shoos his assistants out of
the room and rushes to help the
actress undress.
Keira Knightley, Chanel ad,
YouTube grab Things start to hot
up between Keira Knightley and a
handsome photographer (YouTube)
She then performs a sexy striptease
and writhes around on a bed cov-
ered by just a white sheet.
But just as things really start to heat
up, Keira escapes out of the win-
dow and takes off on her bike.
Knightley teamed up with her Pride
and Prejudice director Joe Wright
to shoot the ad in the French capi-
tal.
894
taste for the baroque and the Orient.
Like the Coromandel screens she
collected and the glitter of gold that
brought her good luck, Coco took
this splendour and turned it into
extreme elegance. Coco has
enjoyed decades of success, with
women still today naming it as one
of their timeless favourites.
In the 1990s, new ingredients trans-
formed the perfumery landscape.
Unprecedented technologies were
used to make fragrances lighter.
This vast unexplored territory
inspired Jacques Polge to revisit the
formula of Coco. It is another facet
of Gabrielle that determined the
formula he created in 2001.
Nonchanant. Headstrong, Free.
Coco Mademoiselle is born. And
now a new advertising campaign
for this popular perfume and Keira
Knightly as the face of Coco
Mademoiselle.
The Chanel range of products is
available from leading perfumeries.
Sole distributors: Alfred Gera &
Sons Ltd. Tel: 21446205.
She scoffed at rules and norms,
constraints and conventions, habits
and traditions. These were simply
shackles that kept the spirit from
roaming free, corsets that prevented
the body from expressing itself,
diktats that dried up creativity, ref-
erences that drained the life out of
talent and constricted frames that
broke ones momentum
As early as the 1920s, Coco Chanel
made an impact with her short hair,
white collar, jersey outfits, short-
ened skirts and black-tipped shoes.
Coco Chanel broke free of the past.
She innovated. She created a style.
Her style. One that has now, para-
doxically, become timeless. Never
again transformed into forever-
more. Timeless minimal style,
comfortable luxury, all that is nec-
essary with none of the superfluous
as well as the insolence of good
taste. Mademoiselle was born and
then her fragrances. Coco
Mademoiselle is one of them.
In 1984, an olfactory revolution is
born. Drenched in spices and
Ylang-Ylang, the fragrance Coco
was inspired by Gabrielle Chanels
895
One of the primal instincts in man
is the sense of smell. They say that
during pre-historic times, most
males chose their mates using their
sense of smell. Today, almost
everyone both male and female
uses perfume. Scents evoke moods,
memories and transports you to dif-
ferent places. Each scent tells a
story. The right scent can enchant
you, enhance your personality,
leave a lingering memory or leave a
part of you when you walk by.
How many times have you remem-
bered a loved one by smelling their
shirt or the pillow they have slept
on? Everyone has a signature scent
perfume. If used in the right
amount, it enhances your natural
scent and helps bring out your
pheromones in order to attract the
opposite sex. Just think of your
loved one. Close your eyes and
think of his scent its something
you never forget. So much so that
when a loved one passes away we
always remember his or her scent.
It is said that even as far back as
ancient Roman times, gladiators
oiled themselves down with scent-
fume is synthetic.
In the early 20th century, perfume
democratized of luxury brands. In
the middle market, almost every-
body can own a piece of luxury
when they buy a bottle of luxury
fragrance. One can walk into any
Chanel boutique and buy Chanel#5
but not everyone can afford to buy
a Chanel suit or bag. A bottle of
perfume can make the consumer
part of the luxury clientele even
when they are only shelling out as
much as $100.
In the early 1930s, after the depres-
sion, the popularity of eau de toi-
lette rose to new heights. With only
six to 12 percent extract in each
bottle, the product became even
more affordable. Today, almost all
luxury perfumes are synthetic
reducing the costs to a fraction of
what they used to be. To charge a
higher retail price, some fragrances
even have the word Partum on the
label in order to distinguish it from
the Eau de toilette fragrances.
However, heavy marketing is cru-
cial in selling a fragrance. One can
spend 25 milliion in marketing and
ed oils before each battle. Cleopatra
used to soak the sails of her cedar
barges in perfume oil in order to
surround herself with scent she
sailed to her destination. Her aim
was to enchant and enhance her
presence in Rome. During the time
of Louis the XIV, he had his ser-
vants douse scents on the wings of
doves with scent and had the doves
fly around the palace Versailles to
spread the scents across the whole
room. The King also used gallons
of perfume when he did his daily
ablutions.
Today, perfume is a $15 billion
industry with Chanel starting the
whole trend in luxury designer fra-
grance. Chanels success is due to
Chanel #5 a scent named because it
was the fifth scent she chose when
she collaborated with her perfumer.
Chanel #5 is one of the few fra-
grances that still uses a high per-
centage of natural extracts. Extracts
are the oils and scents extracted
from flowers. To make a small cake
of pure extract it takes 4,000 roses.
Today only one or two places in
France still make extract from natu-
ral ingredients. Now almost all per-
896
get the same amount in sales.
The financial success of perfume
has even led to the rise of celebrity
perfumes, which came into the
market like a giant explosion. They
are like army guerrillas who come
in fast and strong, make like ban-
dits and slowly disappear into
oblivion. Take the example of
Sarah Jessica Parkers Lovely by
Coty and J.Los Glow by Coty.
They burst into the market using
the celebs as endorsers and backed
it up with heavy advertisements and
marketing point of sale materials in
drug stores and department stores.
The result is a quick sale amounting
to several millions of dollars.
The fragrance industry has become
a very big industry and I, for one,
am glad that synthetics are being
used to create the scent of flowers.
After all, if 4000 roses can just
make one cake of extract, man
could make a mess of the entire
eco-system if an industry this huge
depletes all the flowers. Where
would all the bees go? No bees no
honey and the cycle continues.
With synthetic fragrances, at least
we can continue choosing fra-
grances without depleting all the
flowers on earth.
897
And the second version the real,
unexpurgated story is actually far
more thrilling than anything a com-
panys official history can come up
with.
According to Chanels official his-
tory, Coco Chanel was a great
designer who changed the way that
women dressed and who invented
Chanel No. 5
First of all, the house of Chanel was
not built on the foundation of
Cocos clothes for many years in
the middle, there were no Chanel
fashions at all. It was built on a sin-
gle fragrance: No. 5. And secondly,
Coco did not create the fragrance
and did not even own the rights to it
for most of her life.
What is true is that Coco did have a
colourful youth (as the movies tell
us) and that she was a successful
designer with a boutique that
catered to rich women on the Rue
Cambon in Paris. By 1919, couturi-
ers (there was no ready-to-wear in
that era) were launching their own
fragrances. The trend had been set
by Paul Poiret who launched a line
called Parfums de Rosine in 1911.
And such perfume houses as
Bourjois (whose Evening In Paris
was big in India as late as the
Seventies) and Coty were selling
fragrances and making billions.
Sensing the gap in the market,
Coco commissioned Ernest Beaux,
a top perfumer of that age, to design
a fragrance for her. Beaux drew on
successful perfumes (especially
one called Rallet No. 1) to create
ten variations on a theme that he
presented to Coco. She chose the
fifth sample, which she thought
was especially significant because
the number five had a Theosophical
connection. (Oddly enough, she
was into Theosophy at that stage of
her life.)
She named the fragrance No. 5 and
sold it at her boutique from 1921 to
1924. It was successful but produc-
tion was small. Thats when Coco
sold away her rights to the fra-
grance yes, thats right: from 1924
onwards, Chanel No. 5 has been
owned by somebody else, and
never by Coco Chanel or her
descendants.
http://www.hindustantimes.com/The-scent-of-
There are two versions of the Coco
Chanel story. The first is the ver-
sion we know so well since it rep-
resents the official history of the
fashion house, has became the sub-
ject of movies and is the way the
story is told in most articles about
the house, or about the lady herself.
According to this version, Coco
Chanel was a great designer who
changed the way that women
dressed, who invented Chanel No.
5, which has been, for several
decades, the worlds best selling
and most famous fragrance, and
whose house continues to the pres-
ent day, selling the sort of clothes it
has always sold, even though Karl
Lagerfeld took over as designer
after Coco died.
Elements of this version are accu-
rate. Coco was an amazingly influ-
ential designer. Chanel No. 5 is a
great fragrance. And everything
Chanel does today from clothes to
accessories to fragrances is done
to the highest standards of quality
and creativity.
But there are gaps in this version.
898
That somebody was the
Wertheimer family, the owners of
Bourjois, then among Frances
most successful fragrance compa-
nies. The Wertheimers gave Coco a
10 per cent stake in Parfums
Chanel, the company they created
to make No. 5. She could keep her
boutiques and her couture business
and she could sell fragrances from
her shops (even sourcing them from
outside Parfums Chanel.) But when
it came to No. 5, that was 90 per
cent owned by other people.
Today, that arrangement would not
be so unusual. Most fragrances are
created by a handful of Big Boy
fragrance companies and owned by
such multinationals as P&G or
Unilever. The designer whose name
is on the bottle usually gets no more
than a licence fee. But the arrange-
ment between the Wertheimers and
Chanel created that precedent way
back in 1924 when such deals were
unknown.
It also made explicit a fundamental
difference between couture and fra-
grance. The couture business would
always be small because of its high
prices. (Even today, how many
women can afford Chanel couture?)
But fragrance, though upmarket,
could be a mass business. So, the
money was in perfume not in cou-
ture.
Christopher Sheldrake, second in
command to Polge, says that
Chanel treats its perfume ingredi-
ents with a lot of respect
hand, found production facilities in
Hoboken, New Jersey and started
manufacturing No. 5 in the US. To
Cocos annoyance, the perfume
continued to sell well in the US
where the real money was.
Then, the war ended. The Germans
lost and surrendered. And the
Wertheimers were back in France.
They regained control of Parfums
Chanel while Coco, her reputation
in tatters, went into exile in
Switzerland (in which countrys
banks, she had stashed away some
of her wartime profits from selling
No. 5 in Axis countries.) The
Chanel clothing house closed down
and Chanel No. 5 became the sole
Chanel product in the world.
(Though Coco did try and sell Red
Label fragrances briefly from exile
in Switzerland).
For some reason, the Wertheimers
forgave her. In 1953, she came back
to France, her wartime collabora-
tion having receded from memory.
She tried to make up with the
Wertheimers who, in a rare show of
generosity, proposed a new deal.
Now, they wouldnt just own
Parfums Chanel. They would own
the Chanel name itself. Coco could
come back to Paris and re-open her
clothing business but the
Wertheimers would own it. In
return, they would take care of all
her expenses (including a suite at
the Ritz) and pay her around a mil-
lion dollars a year (around $ 25 mil-
lion in todays money). It was an
The Wertheimers took No. 5 to the
US market and turned it into a
craze. In the years between the
World Wars, it became among the
best known scents in the States, a
little slice of French high fashion
glamour that the American middle
classes could afford. Chanels
clothing business, in contrast,
remained small. Even with just 10
per cent of Parfums Chanel, Coco
made much more money from fra-
grance than from her clothes.
Not surprisingly, she began to feel
that she had struck a bad deal.
Relations between the Wertheimers
and Coco had reached an all-time
low when the Second World War
broke out.
You dont see much reference to the
role of Chanel during World War II
in company-sponsored histories
and thats with good reason. The
Wertheimers, who were Jewish,
had to flee France after the German
occupation or risk being shipped
off to concentration camps. Coco,
on the other hand, happily slept
with the enemy literally.
As the Wertheimers fled for their
lives, Coco took a German officer
as a lover, moved into the Ritz
Hotel and tried to take over
Parfums Chanel, claiming that it
had been abandoned by Jews. She
continued to make Chanel No. 5
and sold it throughout Germany
and Axis areas.
The Wertheimers, on the other
899
astonishing deal and it endured till
Coco died in 1971.
Even then, Chanel remained largely
the house that No. 5 built. It was
not till the 1980s that Karl
Lagerfeld joined and boosted the
sales of the houses ready-to-wear,
thus helping create the Chanel we
know today. And Jacques Polge
who took over as head perfumer in
1978, launched such mega-success-
ful fragrances as Coco and Allure
which account for the perfume divi-
sions vast profits, though of
course, No. 5 is still the best-seller.
Jacques Polge, who took over as
head perfumer at Chanel in 1978,
launched such mega-successful fra-
grances as Coco and Allure
Given this background and given
that the Wertheimers now own all
of Chanel (it is privately owned),
they could bear a grudge against
Coco for the appalling way she
treated them. Instead, the House of
Chanel worships Coco. Visitors are
taken on reverential tours of her flat
at Rue Cambon (above her original
shop), marketers search for Chanel
references for not just the clothes
but also the fragrances, most of
which have names with links to
Coco. Nothing negative or even
mildly critical about the lady is ever
officially tolerated.
Contrast this with say, Dior, where
nobody ever mentions Christian
Dior himself or Givenchy where
even though Hubert de Givenchy is
did a deal with jasmine growers
promising to buy their entire pro-
duction. Today 99 per cent of all
the jasmine grown in Grasse goes
into just one scent: No. 5.
On the other hand, most fragrances
these days smell so little like the
originals (tried smelling Miss Dior
lately?) that you wonder if the
accountants have made perfumers
cut costs and throw in cheap ingre-
dients. At Chanel, says Sheldrake,
the cost of making the fragrance
has actually gone up (affecting
profit margins) but the management
will not compromise on ingredi-
ents.
I wont spend too much time trying
to describe the smell of No. 5
because I find it hard to put smells
into words. You have probably
smelt it already. If not, it is easy to
find at perfume counters. You may
have heard that it was the first fra-
grance to use synthetic aldehydes
but this is an over simplification
and Ill deal with aldehydes some
other time. But you should be able
to smell the rose and the jasmine in
your first whiff of No. 5.
Top perfumer ernest beaux created
ten variations on a theme for coco
chanel. she chose the fifth sample
While there is only one No. 5, there
are variations of the fragrance, all
sold under the same name. The
original, as invented by Ernest
Beaux, was a perfume (ie. one of
those small, concentrated thingies).
alive, he is airbrushed out of the
picture. You could say it is a mar-
keting ploy but given that burying
the memory of the founders has not
hurt Dior and many other houses, I
always wonder why the
Wertheimers insist on worshipping
Cocos memory.
To their credit, they also honour the
inventor of No. 5. To this day, they
will include laudatory references to
Ernest Beaux and praise the genius
of his vision. (No other house does
this. Eau Sauvage, Diorella and
Diorissimo were all created by the
great Edmond Roudnitska but he is
hardly ever mentioned by Dior).
I asked Christopher Sheldrake, who
is now second-in-command to
Jacques Polge at Chanels perfume
division, why No. 5 has remained
such a huge success for so many
decades. Sheldrakes view is that
apart from the fact that it is a great
fragrance, part of the reason for its
success is that Chanel treats its
ingredients with so much respect.
At the heart of Chanel No. 5 is
French jasmine. This is a jasmine
that grows in Grasse in the south of
France and is quite different from
our Indian jasmine. When the
Wertheimers fled to America dur-
ing World War II, they sent a man
to smuggle out the jasmine from
Grasse because they knew they
could not make No. 5 without it.
More recently, when a flood of
cheap jasmine from elsewhere put
the Grasse version in peril, Chanel
900
Chanel prides itself on making the
perfume pretty much as it was
made in 1924.
But the smell most of us think of
when No. 5 is mentioned is not the
perfume. It could be the Eau de
Toilette, which came out soon after
the perfume (an Eau de Toilette is
the stuff you spray from the bottle
around 10 per cent concentration of
perfume oil) and is the classic smell
of No. 5, at least in the public imag-
ination. To the untrained nose, it
smells a lot like the perfume but
anybody with fragrance experience
can tell that it is subtly different.
In the 1980s, when there was a
fashion for big in-your-face fra-
grances, Chanel decided to update
No. 5. Nothing Jacques Polge does
is ever in-your-face but the Eau de
Parfum (another spray - 15 per cent
perfume oil) has more sandalwood
and may, I, daresay appeal to Indian
sensibilities more.
The Eau Premiere, which is the
most recent version, is also a
Jacques Polge creation. In the
1920s, Beaux did not have access
to many of the ingredients and mol-
ecules that are now available. Polge
sat down and asked himself, what
would Beaux have done with his
original idea if he had access to
todays ingredients?
Eau Premiere is the result of that
thought. It is still recognisably No.
5 but is to my nose at least a little
crisper. It does not have the sandal-
wood heaviness of the 1980s refor-
mulation and it smells less old-
fashionedly flowery to me. There is
a citrusy edginess to it (perhaps
from all the modern molecules) and
it smells most like the modern fra-
grances Polge and Sheldrake have
created for the Exclusifs range.
If you want classic No. 5, go for the
EDT. If you want people to ask
what you are wearing, use the EDP.
And if you want to smell modern
and (dreadful word!) slightly fresh,
try the Eau Premiere.
But if you wear fragrance, then you
must own at least one bottle of No.
5. It is the greatest perfume ever
invented (though not necessarily
the best) and it deserves your
respect.
901
Now she wanted to create a scent
that could describe the new, mod-
ern woman she epitomised.
But Chanel's background was trou-
bled and complex, and it was some-
thing that seeped into her trademark
fragrance.
She was the daughter of a market-
stall holder and a laundry woman in
rural France, but when her mother
died she was sent to a Cistercian
convent at Aubazine where she
spent her teenage years.
Cleanliness
Coco Chanel Coco Chanel wanted
to create a fresh, clean smell
The smell of soap and freshly
scrubbed skin was something that
stuck with her for years after.
She was fastidiously clean and later
when she worked among the mis-
tresses of the rich she complained
about the way they smelled, stink-
ing of musk and body odour.
When she decided to commission a
perfume for her best clients - a new
trend among fashion houses - it was
important that it imbue this fresh-
ness.
But she had trouble finding a per-
fumer who could achieve this.
"The grail in perfumerie has always
been to create very fresh fragrances
that last," says Frederic Malle, per-
fume editor and professional
"nose".
"In those days the only way to cre-
ate fresh fragrances was to use cit-
rus such as lemon, bergamot and
orange. These things are very fresh
and very charming but they don't
last on the skin."
At the time, chemists had already
isolated chemicals called aldehydes
which could artificially create these
smell.
But they were extraordinarily pow-
erful so perfumers were hesitant to
use them.
During the late summer of 1920
Chanel went on holiday on the Cote
In 1921, a clever French business-
woman and belle of the Parisian
social elite created a scent that rev-
olutionised the way women smell.
Ninety years later Chanel No 5 is
arguably still the world's most icon-
ic perfume.
With a healthy disregard for social
etiquette and a retinue of friends
and admirers among the city's
"racy" women, couturier Coco
Chanel traversed the boundaries
between lady and mistress.
By the beginning of the twenties
Chanel was already a phenomenon
in French fashion circles.
She had come to Paris as the mis-
tress of the textile baron Etienne
Balsan in 1909 and set up a
millinery boutique under Balsan's
apartment.
By 1921, she had a series of suc-
cessful boutiques in Paris,
Deauville and Biarritz, she owned a
villa in the south of France and
drove around in her own blue Rolls
Royce.
902
d'Azur with her lover the Grand
Duke Dimtri Pavlovich.
There she learned of a perfumer, a
sophisticated and well-read charac-
ter called Ernest Beaux who had
worked for the Russian royal fami-
ly and lived close by in Grasse, the
centre of the perfume industry.
Beaux was a curious and daring
craftsman and took up Chanel's
challenge.
Result of a mistake?
It took him several months to per-
fect a new fragrance but eventually
he came up with 10 samples and
presented them to Chanel.
They were numbered one to five
and 20 to 24. She picked number
five.
It is rumoured that the concoction
was actually the result of a labora-
tory mistake. Beaux's assistant had
added a dose of aldehyde in a quan-
tity never used before.
Tilar Mazzeo, author of The Secret
of Chanel No 5, told the World
Service's Witness programme why
the fragrance grabbed Chanel.
"The interesting thing about alde-
hydes is that one of them smells
like soap.
Chanel No. 5 The Chanel No 5 bot-
tle was designed to resemble a
whisky decanter
"So she could balance in her own
mind, her childhood in a convent
and then this luxurious life as a
mistress."
Chanel later said, "It was what I
was waiting for. A perfume like
nothing else. A woman's perfume,
with the scent of a woman."
The scent, imbued with jasmine,
rose, sandalwood and vanilla, was
an instant success, partly due to
some of Coco's ingenious market-
ing tricks.
She invited Beaux and friends to a
popular upmarket restaurant on the
Riviera to celebrate and decided to
spray the perfume around the table.
Each woman that passed stopped
and asked what the fragrance was
and where it came from.
"For Chanel this was the moment
that confirmed for her that it was
going to be a revolutionary per-
fume," says Mazzeo.
"That was the first moment that
anybody in the public smelled
Chanel No 5 and it literally stopped
them in their tracks.
"That moment consumers were
smelling something they had never
smelled before, it was an interven-
tion in the history of perfume."
903
jacket, shoes, and bag: those came
from Chanel's comeback in the
1950s, after she was already a stun-
ningly famous designer. I was sur-
prised, too, that she didn't sew and
couldn't draw; that she signed away
90% of her business to the compa-
ny that agreed to market her per-
fume, Chanel No. 5 (and spent the
rest of her career suing for restitu-
tion of her rights); and that she died
a lonely, bitter woman. Famous as
she was, she could be paranoid and
cruel. She lied to cover a past of
which she was ashamed; she lied to
cover her own insecurities. Even
though she has the reputation of
being independent and fearless, she
always yearned to find a man to
protect her. Being loved, she said,
was the most important goal a
woman could achieve. Without
love, and without a man, a woman
was nothing. Those ideas don't
sound very liberated, and yet, even
though her ideas about life and love
were widely known throughout her
life, Chanel was someone many
women wanted to
emulate.Certainly, she was a
genius; she had a fine intuition for
what women wanted to wear, an
amazing appreciation for fabric,
and infallible sense of line. But her
genius was not only for fashion.
Chanel was her own most famous
model. Slender and flat-chested,
she looked great in her own designs
in fact, she claimed that she first
tried on all of those designs herself
and women dieted and wore flatten-
ing bras to try to copy her figure an
impossible challenge for women
who were not, and never would be,
petite.She was brilliant at market-
ing herself as a celebrity, and one of
my goals in this biography is to
show how her public the women
who coveted her fashions and per-
fume helped to create her legend.
These women followed her flam-
boyant, and much publicized love
life (among her many lovers, she
was courted by the Duke of
Westminster and a Russian Grand
Duke, and had an affair with
Stravinsky); they saw photos of her
vacationing in Venice and Biarritz
and at fabulous parties in Paris and
London. She was photographed by
some of the most talented artists of
her time like Cecil Beaton and Man
Ray. One of the first print ads for
Chanel No. 5 showed Chanel her-
Before I began my biography of
Coco Chanel, I knew what you
probably know: she was one of the
most famous fashion designers in
the world, who liberated women
from corsets, created the sexy little
black dress, and designed nubby
wool jackets with braid trim and
gold chains. Oh, yes, and those
black tipped beige sling-back shoes
and the quilted bag with chain han-
dle. And, of course, Chanel No. 5.
She was a genius, everyone said
and the model of a self-made, inde-
pendent woman.What I learned
along the way, as I researched the
life of this fascinating and infuriat-
ing woman, surprised me: women
had been liberated from the corset
long before Chanel arrived on the
scene, by the designers Paul Poiret
and Madeleine Vionnet. Many
other designers were creating cloth-
ing in soft jersey, with menswear
inspired lines, at the same time as
Chanel. Her little black dress which
I had pictured as low-cut and body-
skimming had long sleeves, a loose
dropped waistline, and looked like
it should be worn for a board meet-
ing rather than a nightclub in the
Roaring Twenties. And the boxy
904
self, in a gorgeous beaded gown,
standing in her own elegant rooms
at the Ritz in Paris. She appeared in
fashion magazines along with her
famous friends, like Jean Cocteau,
Serge Diaghilev, Salvador Dali, and
a host of dukes and duchesses.
Before there were movie stars,
there was Chanel. And by the time
Gloria Swanson and Ina Claire
became famous, Chanel already
had been the epitome of glamour,
for decades.Today's print ads for
Chanel perfumes, featuring the
lithe and lovely Audrey Tautou per-
fectly capture the image of Chanel
that has persisted since the 1920s,
when she burst on the fashion
scene. She fashioned herself as a
beautiful romantic heroine,
ensconced in luxury, pursued by a
handsome lover. The legend is irre-
sistible even now, and Chanel is the
genius who created it.
905
Who wouldn't like some Chanel?
Like Karl Lagerfeld, the linked Cs
have a cachet unique even to the
image-dependent world of fashion.
Something to do with history and a
certain mademoiselle, I suspect.
This of course makes the clothes,
the bags, the shoes and accessories
out of the reach of most of us but
there is Chanel makeup, with its
beautiful black and white packag-
ing and casings, and there is Chanel
perfume. And, from last Friday,
there is a new Chanel fragrance to
get excited about.
French women are known to
line up for each and every
Chanel perfume release, cre-
ating a Chanel ''wardrobe'' of
their own.
Chanel No. 19 Poudre is a new
interpretation of the iconic No. 19,
the last perfume Gabrielle ''Coco''
Chanel was involved in creating. It
is a clean, sexy modern perfume,
with an enveloping powdery iris
scent enhanced by smooth white
musks. It is a soft, light, velvety
musk, far less ''green'' and zesty
than the original. Chanel No. 19
Chanel perfume release, creating a
Chanel ''wardrobe'' of their own).
Which Chanel perfume has it been
for you? The ubiquitous No. 5? The
2009 version, Eau Premiere? Or do
you like the smartly packaged
makeup? There's nothing like
whipping out a Chanel lipstick for
some instant glamour. Do you like
the fragrances or do you like the
prestige of having a little piece of
Chanel?
Poudre was released worldwide on
Friday because of the date: August
19 is Coco's birthday (1883). The
creator of Chanel fragrances,
Jacques Polge says (in an obvious
translation from the French): I
wanted to underline the importance
of iris at Chanel, while giving a
new facet to No. 19. The desire to
rework the original accord with
other, more contemporary, powdery
notes, came naturally to me. Well
done.
It is the first ''new'' Chanel fra-
grance in two years and this taste of
Chanel comes at $234 for a 100ml
bottle of the eau de parfum and
$184 for a 100ml eau de toilette
(from major department stores
nationally). The original No. 19,
released in 1970, was considered a
daring combination of crisp green
notes and powdery iris. You would
no doubt recognise the square, sim-
ple bottle (the new version is in an
identical bottle) just as you would
be familiar with the scent. In fact I
suspect that it is not just French
women who own a Chanel fra-
grance or two (French women are
known to line up for each and every
s
http://www.smh.com.au/lifestyle/b
906
wartime behavior ultimately decid-
ed to finance her restablishment in
France and eventually agreed to pay
her bills for the rest of her life. To
this day, the family refuses to dis-
cuss Coco Chanel with the media,
but Vaughan still manages to paint
an engrossing portrait of the deal-
ings between the two.
From Paris, Vaughan, who is eighty-
two, elaborated on some of the
questions his book raises. An edited
version of our discussion appears
below.
How did you first become interested
in the life of Coco Chanel?
I didnt at first. Initially, I became
interested in the life of a man named
H. Gregory Thomas, who was a
Wertheimer family agent sent to
Paris before the war broke out to try
and stop Chanel from getting hold
of the rights to Chanel No. 5 under
the Aryan laws. So I was chasing
the story of H. Gregory Thomas,
and, all of a sudden, I fell upon
Coco Chanel. I started digging into
the archives, and I came across all
this material about her. I found one
particular document that described
Chanel as a German agent, and,
from then, I was off and running.
As your title makes clear, the book
emphasizes Coco Chanels wartime
life. Why has this story not received
much attention over the years?
I have no idea. I cant figure it out.
Either people didnt want to know
or chose not to deal with it. Of
course, this story will not please the
Wertheimers, one of the richest fam-
ilies in the world. Other than that, I
have no idea why not.
After the war, Chanel moved to
Switzerland. How was it possible
that she would ever be able to
restablish herself in France, as she
did in the mid-nineteen-fifties?
The simple answer is Wertheimer
money: Chanel was backed by the
Wertheimers. But really there was
also the fact that, by 1954, most
French people didnt give a damn
about who collaborated and who
didnt. De Gaulle had decided that
all Frenchmen had been resisters,
and all this collaboration business
was behind them. And lets not for-
get that Chanel was also tremen-
It has long been known that
Gabrielle Coco Chanel the leg-
endary French designer whose fash-
ion empire bears her name was, dur-
ing the Second World War, the lover
of a Nazi officer named Hans
Gnther von Dincklage. But in
Sleeping with the Enemy: Coco
Chanels Secret War, the veteran
journalist and investigative reporter
Hal Vaughan offers convincing evi-
dence that she was also a Nazi intel-
ligence operative and an incorrigi-
ble anti-Semite.
Drawing on American, German,
French, and British archives,
Vaughan reveals that von Dincklage
and Chanel Abwehr Agent 7124
whose code name was
Westminster went on missions
around Europe to recruit new agents
for the Third Reich. And in what is
perhaps its most fascinating section,
Sleeping with the Enemy sheds
new light on Chanels dealings with
the famously tight-lipped
Wertheimer family, which pur-
chased a large stake of the business
in the nineteen-twenties and con-
trols the entire Chanel empire today.
Remarkably enough, the
Wertheimers despite Chanels
907
dously talented.
After everything Chanel had done to
Paul Wertheimer, why did he ulti-
mately agree to finance the restab-
lishment of her couture house in
1954? And why did he consent to
pay all her expenses large and small
for the rest of her life?
From the point of view of the
Wertheimers, the decision was
extremely logical. What they were
doing is not buying a business but
rather an empire for a lifetime, and
indeed thats what its been. Here
we are in 2011 can you go to any
major city without seeing a Chanel
store? Its the unique mark in the
world today.
Especially in France a nation still
grappling with the legacy of collab-
oration how is it possible that the
Chanel brand today bears almost
none of the stigma assigned to other
brands often associated with Nazi
complicity
The work of Robert Paxton never
quite rubbed off on our memory of
Chanel and for a simple reason. She
is essentially a hard-currency
machine. Chanel is an icon, an idol
in France never mind the details of
her life, her anti-Semitism, her deal-
ings with the Nazis. Interestingly
enough, I should mention that the
French have not bought my book at
least not yet. Its coming out in
America and in Britain and in
Germany. Its been translated in
Portuguese and translated into
Dutch. But the French have yet to
buy the book.
Given Coco Chanels wartime past,
what do you make of the promi-
nence and popularity of the Chanel
brand today? Should anyone still
wear Chanel?
I have no feelings against Chanel.
You cant put someone like Klaus
Barbie and Chanel in the same cate-
gory: she didnt kill anybody; she
didnt torture anybody. Madame
Gabrielle Labrunie Chanels grand-
niece said something to me that I
found fascinating. She said to me:
You know, Mr. Vaughan, these
were very difficult times, and peo-
ple had to do very terrible things to
get along. Chanel was, very simply
put, an enormous opportunist who
did what she had to do to get along.
If, as you say, you have no feelings
against Chanel, what was your
motive in writing this book?
I didnt write this book to haunt
Chanel. It was just a good story. Im
a newsman, and I have been since I
was an apprentice on the New York
Daily News in the nineteen-fifties.
Its just as simple as that.
908
A media report has it that a fra-
grance smell-alike of Coco
Mademoiselle by Chanel called
Suddenly Madame Glamour (you
just need a spritz and you are sud-
denly glamorous) unconventionally
distributed by the Soviet-store-of-
yesteryear-inspired German super-
market Lidl is experiencing a
smashing success. Why? Because
blind test panels have all voted for
the Lidl expression of Coco
Mademoiselle, available for a frac-
tion of the price...
Smell-alikes are a frequent occur-
rence in the fragrance industry and
the mass-market sector can be par-
ticularly welcoming to those
although it also can harbor hidden
gems which were clearly created to
be pillar perfumes for the masses,
in the best sense possible. Knowing
the scale of its reach, a perfumer
will be particularly attentive and
serious about the endeavor.
Can a classic be improved upon by
a mass-market rendition of it is the
intriguing question the reported
success of Suddenly Madame
Glamour poses. One would need to
was founded by John Bailey in
1981, who is quoted in the article.
Lidl Beats Chanel in the Battle of
the Perfumes
experience the scent in actuality in
order to understand the aesthetic
choices that may tip the scale in
favor of a smell-alike. It could be,
for instance, that it is softer, more
skin-like and thus will be evaluated
more positively for that reason. Or
it could be that it is more tenacious.
Meanwhile here is what we can
read,
"Two independent consumer panel
blind tests carried out by the presti-
gious Perfumer's Guild on the Lidl
Suddenly Madame Glamour 3.99
for 50ml EDP (Eau de Parfum)
against Chanel's 61 for 50ml EDP
Coco Mademoiselle yielded amaz-
ing results. 50 women in the first
test voted tremendously for the Lidl
brand with 89% saying they would
prefer to wear it over the Chanel's
brand and a staggering 90% of the
100 women who blind tested the
perfumes in the second round said
they also preferred the Lidl's
brand."
The Perfumer's Guild is apparently
the name of a niche perfumery
rather than that a guild per se. It
909
Chanel No. 19 was Coco Chanels
personal fragrance, said to have
been named in part for the supersti-
tious designers August 19 birth
date, and a few other numerological
reasons. The crisp green floral, cre-
ated by Henri Robert in 1970 and
introduced at market a year or so
later, is mossy and aromatic. On the
occasion of the scents 40th
anniversary, Chanel in-house per-
fumer Jacques Polge has revisited
the original formula and the result
is No. 19 Poudr ($97 for 50ml eau
de toilette, exclusively at The Bay).
Nathalie Atkinson and Dave Lackie
unbottle the reworked myth and
take an honest whiff.
He Says:
Think of this as the seasons anti-
perfume. Its a powdery green with-
out a trace of fruit or floral notes.
Its fresh and interesting. Its a fra-
grance that you wear, not that wears
you. Understated and well-
designed. 3.5 out of 4 noses
She Says:
True to its name this new take has a
much more powdery, dusty feeling
thanks to top quality iris pallida
root. Theres also a little bit of
almond, of bracingly dry and rather
masculine vetiver and then, its
opposite: a touch of plush white
musk. Perfume critic Luca Turin
described the original No. 19 as a
woman haughty and immune to
sweetness; if so, then Poudr is
her gentler sister. By softening
those distinctive spiky edges, shes
more approachable but just that
much less interesting. 3 out of 4
noses
Still scent-curious? Browse the
Sniff Test archives here.
910
archives. The book's central claim is
that she was not merely a passive
collaborator but actually an agent of
the Abwehr German intelligence
agency with her own code name
Westminster, after her former lover
the Duke of Westminster who con-
ducted secret missions to Berlin and
Madrid.
There was already plenty in the
designer's background worthy of
mythmaking. She sang in a cabaret,
where she earned her nickname
"Coco" after performing a song with
the name in the title. She was kept
as a kind of modern-day courtesan
by several aristocratic men who
helped bankroll her business. She
created the perfume that Marilyn
Monroe famously said was the only
thing she wore to bed. She never
married.
Chanel's life from 1941 to 1944 has
always been shrouded in mystery. It
has been well publicized that she
remained in Paris at the Hotel Ritz
during the German occupation and
that she had a long affair with Hans
Gunther von Dincklage, a German
officer described in various books
as a tennis player, playboy and war
profiteer. Vaughan writes that he
was really a "Nazi master spy" who
reported directly to Joseph
Goebbels.
When it comes to Chanel's espi-
onage, the book's smoking gun is a
police document that identifies her
as Agent F-7124. A copy of the doc-
ument is included in the book,
although it is so difficult to read,
one wonders why it was not blown
up larger.
Most "horizontal collaborators"
were imprisoned or executed after
the war ended. Many of them were
paraded naked through the streets,
their hair shaved into swastikas. But
Chanel escaped unscathed, by many
accounts because British Prime
Minister Winston Churchill inter-
vened on her behalf.
Even if the book's central claim is
true, what remains unclear is
Chanel's motivations. Vaughan
makes the suggestion that she was
"fiercely" anti-Semitic, but nowhere
in the book does he provide
irrefutable evidence to back it up.
His account leaves open the possi-
Unlike any other figure in fashion
history, Coco Chanel continues to
hold a fascination decades after her
death. An orphan who scaled the
heights of the French haute couture,
she introduced women to jersey
sportswear and created the little
black dress. She was also a German
spy during World War II, according
to Hal Vaughan's new book,
"Sleeping With the Enemy: Coco
Chanel's Secret War."
The author cites declassified
documents in declaring that
fashion designer Coco Chanel
was a wartime spy for
Germany.
The truth behind Chanel's drug habit
and lesbian affairs, that is.
Sleeping With the Enemy
Coco Chanel's Secret War
Hal Vaughan
Alfred A. Knopf: 280 pps., $27.95
To make his case, Vaughan, a U.S.
journalist and historian, cites newly
declassified documents and French,
American, German and English
911
bility that Chanel was indifferent to
politics and unwilling to give up her
pampered life (she had servants and
a driver, even as much of the rest of
France was struggling) but may not
have been anti-Semitic. Chanel had
a nephew in a German prison camp
and could have cooperated to the
extent that she had to to secure his
release and ensure her comfort
through the war. And Chanel did go
into business with a Jewish family
the Wertheimers before the war, and
that family still owns the company
today, with Karl Lagerfeld at the
helm.
Still, whatever her motivation, it's
curious that she never publicly
addressed her involvement.
(Vaughan writes that she went so far
as to "buy the silence" of those who
knew about her Abwehr activities.
Chanel moved to Switzerland,
joined for some time by Von
Dincklage, before returning to Paris
to stage a fashion comeback in
1954. She died in 1971.
After the book's publication, the
Chanel company defended its name-
sake designer. "She would hardly
have ... counted Jewish people
among her close friends and profes-
sional partners such as the
Rothschild family, the photographer
Irving Penn or the well-known
French writer Joseph Kessel had
these really been her views," a
Chanel spokesman told British
Vogue. "We also know that she and
[Winston] Churchill were close
friends for a long time. She appar-
ently approached him about acting
as an intermediary between the
Allies and the Germans for a peace
settlement known as Operation
Modelhut."
Other than causing a minor stir on
the Internet, the book doesn't appear
to have in any way slowed the $ 3-
billion luxury brand or stopped
women from carrying Chanel's
iconic quilted chain bags.
Those looking for a more complete
portrait of the designer may want to
look elsewhere and they may not
have to wait too long. As a testa-
ment to the designer's enduring cult
of personality nearly 60 books have
been written about her another biog-
raphy, Lisa Chaney's "Coco Chanel:
An Intimate Life" (Penguin) is com-
ing out in November. Using newly
discovered love letters and journals,
the book promises to reveal the
truth.
912
trove of juicy material. Chanel was
a creative genius, her own expertly
polished self-presentation perhaps
the greatest triumph of her brilliant-
ly inventive mind. She was born in
1883 in a hospice for the poor in the
Loire Valley, to unwed parents of
peasant stock and, upon her moth-
ers death, was placed at age 12 in a
convent-orphanage to be raised by
Roman Catholic nuns. This left her
with a lifelong fear of losing every-
thing. The point is nicely captured
by Hal Vaughan in Sleeping With
the Enemy, who quotes her as say-
ing: From my earliest childhood
Ive been certain that they have
taken everything away from me,
that Im dead.
She was put to work as a seamstress
at age 20 and took the name Coco
from a song she liked to sing in a
rowdy cafe patronized by cavalry
officers. One ex-officer, the wealthy
tienne Balsan, installed her in his
chateau, taught her to conduct her-
self with high style on horseback
and, generally, gave her the skills
she needed to make her way up
through society. Balsan also intro-
duced her to Arthur (Boy) Capel, a
friend who soon became Chanels
first great love, and who also, con-
veniently, set her up in a Paris apart-
ment and helped her start her first
business venture, designing sleekly
simple womens hats.
It wasnt long before Chanel took
Jazz Age Paris by storm, liberating
women from their corsets, draping
them in jersey and long strings of
pearls and dousing them with the
scent of modernity, Chanel No. 5.
She caroused with Igor Stravinsky
and Pablo Picasso, designed cos-
tumes for Serge Diaghilev's Ballets
Russes and amused herself with the
cash-poor White Russian aristocra-
cy. As her personal fortunes rose,
she turned her attention to making
serious inroads into British high
society, befriending Winston
Churchill and the Prince of Wales
and becoming, most notably, the
mistress of the Duke of
Westminster, Hugh Richard Arthur
Grosvenor (known as Bendor),
reputedly the wealthiest man in
England.
Bendors and Chanels anti-
-Semitism was vociferous and well
documented; the pro-Nazi sensibili-
ties of the Duke of Windsor and
Gabrielle Chanel better known as
Coco was a wretched human being.
Anti-Semitic, homophobic, social
climbing, opportunistic, ridiculous-
ly snobbish and given to sins of
phrase-making like If blonde, use
blue perfume, she was addicted to
morphine and actively collaborated
with the Germans during the Nazi
occupation of Paris. And yet, her
clean, modern, kinetic designs,
which brought a high-society look
to low-regarded fabrics, revolution-
ized womens fashion, and to this
day have kept her name synony-
mous with the most glorious notions
of French taste and lan.
Sleeping With the Enemy
Coco Chanels Secret War
By Hal Vaughan
Illustrated. 279 pp. Alfred A.
Knopf. $ 27.95.
Exploring the contradictory com-
plexities of this woman, at once so
very awful and so very talented,
should make for fascinating and
enlightening reading. After all,
Chanels life offers biographers a
913
many in his circle have long been
noted, too. All this, it appears, made
the society of the British upper crust
particularly appealing to Chanel. As
Vaughan notes, after she was lured
by a million-dollar fee to spend a
few weeks in Hollywood in 1930
Samuel Goldwyn, he writes, did
his best to keep Jews away from
Chanel she found herself com-
pelled to run straight back to
England, so that she could wash
away her brush with vulgarity in a
bath of nobility.
It wasnt much of a stretch, then, for
Chanel, during wartime, to find her-
self the mistress of the German
intelligence officer Baron Hans
Gnther von Dincklage, a charming
character who had spied on the
French fleet in the late 1920s, and
who found himself pleasingly single
in occupied Paris, having prescient-
ly divorced his half-Jewish German
wife just before the passage of the
Nuremberg Laws. It wasnt any par-
ticular betrayal of her values, or
morals or ideals either, for Chanel to
find herself traveling to Madrid and
Berlin to engage in cloak-and-dag-
ger machinations with her countrys
occupier.
The story of how Coco became
Chanel has been told many times
before over the past half-century,
most recently (and, sad to say, much
more engagingly) in last years
Coco Chanel: The Legend and the
Life, by the British fashion colum-
nist Justine Picardie. The story of
how Chanel metamorphosed from a
mere horizontal collaborator the
contemporary witnesses who were,
undoubtedly, unreliable.
Despite her indisputable collabora-
tionist activities, and after a brief
period of uncertainty during which
she was questioned by a French
judge, Chanel eventually got off
pretty much scot-free after the war,
once again using her wiles to protect
herself most expertly. She tipped off
the poet and anti-Nazi partisan
Pierre Reverdy, a longtime occa-
sional lover, so that he could
arrange the arrest of her wartime
partner in collaboration, Baron
Louis de Vaufreland Piscatory; she
paid off the family of the former
Nazi chief of SS intelligence Gen.
Walter Schellenberg when she heard
that he was preparing to publish his
memoirs. (It was Schellenberg who
had given her the model hat
assignment.) Vaughan could have
done better in providing the context
to the seemingly incomprehensible
ease of Chanels reintegration into
French fashion and society, telling
more, for example, of the wide-
spread desire for forgetting and
moving forward that held sway in
Charles de Gaulle's postwar France.
These weaknesses of authorial voice
and critical judgment run through
Sleeping With the Enemy.
Vaughan, a retired diplomat who
has made his home in Paris, has
allowed his writing to become a bit
too imbued with the reflexive verbal
tics and general vive-la-sduction
silliness of his adopted country.
Sometimes the kitten, sometimes
the vamp, and often the vixen, she
mistress of a Nazi into an actual
German secret agent has been less
well known, though earlier writers
have reported that she had worked
for the Germans. Its here that
Vaughan makes his freshest contri-
bution, using a wealth of materials
gleaned from wartime police files
and intelligence archives, some of
which were only recently declassi-
fied by French and German authori-
ties, to flesh out precisely how and
why she became an agent, and how
she sought to profit from her
German connections during the war.
Vaughan ably charts Chanels clever
opportunism as she works, first, to
free her nephew Andr Palasse from
a German prisoner-of-war camp,
and later seeks to use the Nazis
Aryanization of property laws to
wrest control of her perfume empire
away from the Jewish Wertheimer
brothers. Yet his account of her one
real mission for the Germans a 1943
covert operation code-named
Modellhut (model hat) in which
she was meant to use her contacts to
get a message to Winston Churchill
from the SS stating that a number of
leading Nazis wanted to break with
Adolf Hitler and negotiate a sepa-
rate peace with England emerges
neither clearly nor logically from
his highly detailed telling. Too
many diplomatic documents are
reproduced at too much length.
Contradictions are not clearly sorted
out. Vaughan seems to have felt as
though his rich source materials
could speak for themselves, but they
dont and he doesnt succeed in
lending authority to the accounts of
914
must have melted Bendors knees
is how he captures Chanel in her
40s; beautiful and sexy, her silhou-
ette stunning, he appraises her in
her 50s. (Indeed, his English often
sounds like French the most cloying
sort of breathy French in transla-
tion.) Despite all he knows about
Chanel, Vaughan often appears to be
as beguiled, disarmed and charmed
by Coco as were the men in her life
not to mention the countless women
who have sought over the decades
to cloak themselves in her image.
And like them, he never gets beyond
the self-protecting armor of her
myth.
Judith Warner, a former special cor-
respond-ent for Newsweek in Paris,
is the author, most recently, of
Weve Got Issues: Children and
Parents in the Age of Medication.
915
Chanel have introduced their latest
perfume in Les Exclusifs collec-
tion. As previously mentioned, it is
called Jersey. The fragrance is said
to rest upon key notes of lavender,
vanilla and white musk and to be
evocative of the greenery of the
countryside.
At the same time, its intent suggests
a coup, a bit la Jicky by Guerlain
only in reverse and voluntary this
time a lavender which was
embraced by men and shunned by
women, offered today to be reap-
propriated by both sexes.
"Jersey, a fabric Coco Chanel
prized for its ease and fluidity, freed
women from the constraining fash-
ions of their day. This inspired new
fragrance, with its elegant marriage
of lavender, vanilla and white
musk, recaptures that same spirit of
liberation."
"As light and liberating as the mod-
ern fabric for which it was named
daringly appropriated from
menswear by Coco Chanel for
women's fashions Jersey is the new
fragrance masterpiece from Chanel
Master Perfumer Jacques Polge. An
inspired composition, Jersey is
evocative of a meadow lush with
lavender an essence previously
worn only by men. A tender trail of
Vanilla and Musk brings femininity
to the forefront, and a rare, sophis-
ticated new scent is born."
Prices: $ 110 and $ 210.
916
Jacques Polge, the head perfumer at
Chanel, has unveiled that the
French fashion house is launching
two new perfumes. Speaking with
WWD, Polge revealed Chanel is
reworking the classic Chanel No.
19, named No. 19 Poudre, which
will focus on the more delicate,
lighter aspects in the formula and
introduced the upcoming Chanel
Les Exclusifs Jersey.
Of note, Mademoiselle Coco
Chanels birthday is August 19th.
And which famous place in Paris
inspired Gabrielle Chanel for the
design of the No. 19 Poudre bottle?
The cap represents the distinctive
shape of the Place Vendme in
Paris.
Weve found some new musks
that are very interesting, and were
working a lot at the moment on iris,
which is a very important ingredi-
ent in No. 19 Poudre. We have our
plantations in Grasse, with rose and
jasmine, and were trying to find
new qualitites in those. But were
also trying to reproduce what was
done 40 years ago, that nobody
does anymore, Polge stated.
Chanels No. 19 Poudre and Les
Exclusifs Jersey are said to be
available in stores in fall 2011 or
you can order online.
917
Gabrielle Chanels last scent has
been reinvented; its delicate yet
sophisticated.
Whats in a number? And its not
just any other number either think
N5, and a famous scent comes to
mind. The same goes for N19,
which made its debut in 1970.
The perfume house in question is
Chanel, and if youre wondering
wondering about the randomness of
the numerical sequence, its
because Gabrielle Chanels birth-
day falls on Aug 19.
The iconic Chanel N19 has been
reimagined to suit modern trends.
Created by Henri Robert at the
height of the womens revolution,
N19 is a bold fragrance, a daring
combination of crisp green notes
and powdery iris. Considered the
last fragrant masterpiece from the
rebellious Gabrielle, it was and still
is aimed at women who have a taste
for all things avant-garde and
exceptional.
Then in 1988, it was reimagined by
exactly what she likes, no matter
what.
The development of the fragrance
required considerable technological
means: the latest generation of the
most sophisticated, beautifully soft
and light musks was selected. Iris
absolute, the epicentre of chic, can
be found in all versions of N19,
from the eau de toilette to the new
N19 Poudre.
Of all the iris varieties, the pallida
was chosen by Chanel. Once com-
monly grown in Italy, this variety
has no scent.
The part of the plant used is the rhi-
zome, which holds molecular treas-
ures upon reaching maturity after
three years.
Once harvested, it must be peeled
and then dried to reveal its famous
irones, which give it its olfactory
power.
It takes 13 tonnes of fresh rhizomes
to obtain eight tonnes of dried
roots, ready to be steam-distilled
and transformed into iris butter,
perfumer Jacques Polge as a more
floral EDP compared with its pred-
ecessor.
This year, Polge adds a new chapter
to the N19 story by coming up
with a delicate yet sophisticated
N9 Poudre, a new reworked soft
and lightly musk version. It carries
a light green silky nectar that dif-
fuses grasse neroli and mandarin.
Then iris pallida appears, clinging
to the dry swirls of Haitian vetiver
root, bringing hints of powder cases
and lipstick wax. Iris completes the
picture, enveloped in velvety white
musk and Tonka bean.
I wanted to underline the impor-
tance of iris at Chanel, while giving
a new facet to N19, revealed
Polge in a press statement. The
desire to rework the original accord
with other, more contemporary,
powdery notes, came naturally to
me.
N19 woman:
She draws attention to herself
wherever she goes. There is some-
thing daring about her, and she does
918
then iris absolute. This phenomenal
quantity of rhizomes yields just 1kg
of precious nectar.
Special blooms: The Iris from the
Pallida variety is specially chosen
for Chanel N19.
Ground iris rhizomes were long
used to powder the hair and face,
explains the perfumer. This gave
me the idea of adding another type
of powdery note to the formula and
using the new generation of musk
that is available today. In keeping
with the original composition,
N19 Poudre still has that same
light, velvety feel, a subtle caress
on the skin.
The N19 woman is described as
someone who draws attention to
herself wherever she goes. There is
something daring about her, and
she does exactly what she likes, no
matter what. It is claimed that
women who wear the scent are
loyal fans as it expresses their per-
sonality and vitality.
The bottle is understated and
extremely simple. Square and
abstract, it is identical to its presti-
gious predecessor: the exact oppo-
site of what is expected for a
womens fragrance.
Chanel N19 Poudre is priced at
RM296 (50ml) and RM436
(100ml). Available at all Chanel
counters.
919

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