Tip of the Nose : You Be For Men, My Scent
Does perfume really have a gender? Not remotely likely, says the purist, and donât come telling me that virility smells like those pine-shaped car deodorant thingies. Everybody knows that real men smell of lavender.
This article is actually a rewrite of my response to this post, which my dying aging computer ate right before I thought about saving three hours worth of work. Iâm not entirely sure what burning frustration and bitter regret are supposed to smell like, but if someone wishes to bottle it, they may as well name it Parfum de Hel.
On a side note, one of the participants to the earlier conversation had me blocked for some previous reasonâprobably unrelated to perfume discourseâso I could not reblog the initial post; nor am I willing, out of politeness, to simply caption the discussion. Therefore, here is the original post, and following is the segment I will more precisely address:
Also, maybe I hate the mainstream cotton candy uwu line for women but donât want to smell like a fucking frat house trying to deo away the smell of vomit on the carpet. You know what I want to smell like? White musk, and leather, and cedar, and sandalwood, and old parchment, and vetiver, and various teas, and juniper, and citrus, and cypress, and cashmere wood, and maybe in the summer like orange blossom and jasmine or fresia. These notes, while mostly present in womenâs perfumes, usually are combined with overbearing fruity or flowery tones that make it smell like an aging late 17th century courtesanâs drawers, or âorientalâ scents that make the whole thing reek like a 1920âs opium den. (Seriously, I have walked into a perfume shop, asked to be shown something fresh, woodsy and clean, and had Gabrielle shoved under my nose, which smells like rosewater-flavoured Turkish delight.)
Let women smell of non-jellybean scents, you cowards.
That being said, I have found all but two scents for men (to date) that donât smell absolutely abrasive. (Iâm suspecting the cheap synthetic ambergris.) 99.9% of the stuff directed at men smell as if I had one of those scrubbing metal wire thingies shoved up my throat. So no, I donât want to shop at the menâs section, I want to be given the opportunity to find a scent that doesnât say 80âs cartoon for girls and/or I read palms for a living.
There are many things to address in this fertile, if angry, intervention, and like often Iâm starting by the end and by making a remark that has little to do with the subject at hand: I donât think, my darling Tatty, that the âabrasiveâ harbinger of olfactory doom you perceive in most âmasculineâ fragrances would be synthetic ambergris, cheap or other. All ambergris today is synthetic, to begin withâwell, not all, but natural ambergris is so terrifyingly expensive that weâve got to forgive perfumers for furnishing us with only an approximation. Ambergris is extremely rare a substance; think around âŹ10,000 per kilogram, in the lower estimation. Back in 2016, a nearly two-kilo block found by a man who was walking his dog on a Lancashire beach sold for ÂŁ50,000⊠People have become millionaires over ambergris, although most of the time one only finds small quantities of it at once.
  Now this ambergris is a very curious substance, and so important as an article of commerce, that in 1791 a certain Nantucket-born Captain Coffin was examined at the bar of the English House of Commons on that subject. For at that time, and indeed until a comparatively late day, the precise origin of ambergris remained, like amber itself, a problem to the learned. Though the word ambergris is but the French compound for gray amber, yet the two substances are quite distinct. For amber, though at times found on the sea-coast, is also dug up in some far inland soils, whereas ambergris is never found except upon the sea. Besides, amber is a hard, transparent, brittle, odourless substance, used for mouth-pieces to pipes, for beads and ornaments; but ambergris is soft, waxy, and so highly fragrant and spicy, that it is largely used in perfumery, in pastiles, precious candles, hair-powders, and pomatum. The Turks use it in cooking, and also carry it to Mecca, for the same purpose that frankincense is carried to St. Peterâs in Rome. Some wine-merchants drop a few grains into claret, to flavour it.
 Who would think, then, that such fine ladies and gentlemen should regale themselves with an essence found in the inglorious bowels of a sick whale! Yet so it is.
â Herman Melville, Moby Dick (1922), chapter XCII, âAmbergrisâ.
In perfumery, ambergris is distilled into an alcohol-based solution known as âpure amberâ which, when exposed to air and sunlight, can be separated into several derivatives, notably terpenes and steroids. In fact, ambergris is mainly constituted from ambrein (25â45%) and epicoprosterol (30â40%). Ambrein is progressively degraded by sea water, sunlight and air into several compounds which are chiefly responsible for its smell, notably ambroxide and ambrinol. Modern perfumery uses ambroxide as a substitute for natural ambergris, which is easily synthesised from⊠a type of sage plant! To be exact, from sclareol, a fragrant chemical compound found in clary sage (Salvia sclarea). Sclareol kills cancer (yes.), and also it smells really good, with a sweet, balsamic scent very reminiscent indeed of the most important notes of natural ambergris.
Ambergris is essentially mucus naturally produced by certain sperm whales (it is believed that less than 5% of the species produces ambergris, possibly the largest of them, which prey on bigger animals) to protect their intestinal tract from lesions caused by the passing of sharp objects, chiefly undigested squid beaks: eventually, the whale excretes this soft, blackish, pungent concretion which is going to drift for a long while before landing on the shore, where itâll spend maybe years drying out and hardening under the sun and the air. The colour lightens to a golden grey, and the smell gradually sweetens to a salty musk with whiffs of honey, tobacco and leatherâdepending on the block, the notes will vary in proportions and in potency.
Almost needless to say, then, that the number of perfumes using authentic ambergris isnât especially high. Conversely, synthetic ambroxide is a beloved template of the modern perfumerâs palette, one of the reasons being that it helps stabilise scents very well. So popular, in fact, that specialists speak of 40% of the perfumes created in the last thirty years using it! Ambroxide was first synthesised in 1950, by Max Stoll for Geneva-based Firmenich SA. That means that AimĂ© Guerlain had to use natural ambergris when he created the masterpiece Jicky in 1889 (the oldest perfume in the world to be sold without interruption since its creation), even though Jicky was amongst the very first perfumes to use synthetic ingredients! Most notably, Jicky pioneered a great use of several synthetic molecules, chief of which vanillin, the synthetic vanilla which had been discovered in 1874 by German chemist Ferdinand Tiemann. (The first perfume using synthetic ingredient was Houbigantâs FougĂšre Royale in 1882, using coumarin, one of the key molecules of tonka beans.)
According to the legend of Jicky, it was composed by AimĂ© Guerlain (one of founder Pierre Guerlainâs two sons, and the second generationâs in-house perfumer, whilst Gabriel was the manager; then came Gabrielâs own sons, master perfumer Jacques and manager Pierre. The last family perfumer was Jacquesâ grandson Jean-Paul, who retired heirless in 1994, after which the company was sold to soulless, tentacular multinational LVMH, much to the dismay of Guerlain aficionados all over the world) ... in memory of a broken heart he suffered in his youth as he came back to France after studying in England without his lady love, the lovely âJickyâ. Though mostly advertised to a female clientĂšle, Jicky shocked many a respectable woman of the time by its daring use of sensual animal musks (ambergris, musk, castoreum, and the devilishly sexual civet) at the heart of its balms, spices and aromatic flowers, most especially lavender, luxurious iris, sultry sandalwood and hot leather... Until the 1910s, when womenâs press began recommending it, Jicky was quite the sensation amongst... English dandies... and Marcel Proust, of course. (In 1925, for the International Exhibition of Decorative Arts, Jacques Guerlain presented a twist on Jicky, in which he had removed lavender and woods but added bergamot and, especially, a massive dose of ethylvanillin [three times more potent than vanillin!]: Shalimar was born.)
Men and women used to wear the very same perfumes. Until the 19th century, really, the market wasnât segmented and there was no such thing as a masculine scent. When the European courts started bathing again and heady perfumes fell out of fashion to the benefit of lighter, tarter, fresher fragrances modelled after the famous Eau de Cologne (1708), women wore them too. The French Jean-Marie Farina who became with his own Eau de Cologne (1809) the official perfumer of the imperial court furnished Empress JosĂ©phine as well. It was for Empress EugĂ©nie, wife of Napoleon III, that Pierre Guerlain created his 1853 Eau de Cologne impĂ©riale in the famous âbee bottleâ (with his 69 bees symbolising the Empire), which earned Guerlain the envied title of âPatented Perfumer of Her Majestyâ.
The real difference in perfume usage that occurred during the 19th century was actually a matter of social marking via the use of perfumes of varied qualities, complexities and prestige: if perfume remained an element of luxury, now the aristocracy wasnât alone in this privilege; moreover, clothes werenât so elaborate and expensive anymore, and social differences were expressed in subtler ways than before the Revolution. In Paris, House Guerlain furnished a more aristocratic clientĂšle, whereas the upper-middle class went to Roger & Gallet (successors to Jean-Marie Farina), Lubin or L.T. Piver; meanwhile, middle-middle and lower-middle classes patroned Bourjois and GellĂ© FrĂšres. The lower-middle class also went to âperfume bazaarsâ that proposed the same products on sale, plus low-quality products.
The first respectable (only) concurrent to French perfumery was actually England, thanks to the well-earned reputation of its barbers, who created their own fragrances, at once discreet, elegant yet tenacious. Those were scents designed to be applied on the skin as tonics in the first place, after an expert shave, and as such they were based on aromatics, chiefly lavender, made from the essence of the delicate English variety: in the beginning 20th century, Frenchmen often wore Yardleyâs 1873 English Lavender, precisely, and it was something of an ubiquitous odour in cosmetic products more specifically destined to men, such as soaps and creams.
It is no wonder, then, that when Ernest Daltroff created the first ever perfume only for men, judiciously titled Pour un homme, in 1934, for House Caron which he co-founded with his brother Raoul in 1904, the fragrance was based on lavender, tenderly joined in matrimony with sweet vanilla and lying on a respectable, tranquil base of an ambre accord (vanilla, benzoin, labdanum, the âorientalâ assembly created by genius François Coty in 1908 Ambre antique, the family namer of ambrĂ©s perfumes) sandalwood and musk. Legend has it that Ernest, who loved lavender, added the vanilla to please Ms. FĂ©licie Wanpouille, Caronâs artistic counsellor, whom Ernest might have loved even more than lavender. She had joined Caron in 1906 and their collaboration produced some of the most beautiful perfumes of the time, and most original: in 1919, they created the first ever leather-scented perfume, Tabac Blond, in 1927, Ernest made En avion as a gift to FĂ©licieâs friend the star aviatrix HĂ©lĂšne Boucher... They also invented the âloose powderâ technique in make-up.
FĂ©licie never left, but Ernest did, along with Raoul, when the Nazis invaded France: the Daltroff brothers were the sons of Jewish Russian immigrants, after all. Since Caron exported a lot of products and had opened a shop on New Yorkâs 5th Avenue, Ernest emigrated to the United States in 1939. He never came back, and died in Canada in 1941. But FĂ©licie Wanpouille stayed, in spite of the Occupation, keeping Caron afloat; 1941 was also the year she got the genius idea, since she couldnât pay the heavy taxes the Nazis imposed on Jewish-made goods, to rename Pour un homme into Pour une femme, a name which it kept until the war ended. To this day, Caron remains one of the very houses to be devoted entirely to perfumeâand free of any multinationalâs influence, for that matter. (Theyâve not, alas! remained free from the clutch of Reformulation, but that is a story for another day.)
There are two very good reasons why Tabac Blond bears this name. The first was purely commercial: in 1919, women were beginning to smoke, but they smoked almost exclusively blond tobacco from Virginia, which was considered too feminine for men. The second was that blond tobacco exhales honeyed mossy notes which the perfume evoked tantalisingly alongside the darker leather, the cooler iris and the warmer amber, meaning that it was the perfect perfume to cover the smell of tobacco smoke. Two years later, Molinard released the wonderful Habanita, in a small bottle shaped like a cigarette lighter, as an oil to dab the tip of your cigarette so as to make womenâs clouds suaver (it was released as a proper perfume in 1924, and long advertised as âthe most tenacious perfume in the world!â, not without reason).
It wouldnât be illogical to consider that if there are masculine scent in the first place, itâs probably because femininity went through some drastic changes from the late 19th century onwards, especially as a consequence of the two World Wars. The daring, tobacco-covering orientals which the flappers favoured were a direct reaction to the dreamy flower ideal of the previous decades, notably the artificial immobility of the Victorian woman and her continental equivalents, which the Roaring Twenties more or less exorcised with a call to adventure and independence. Women wore more perfume and more daring perfumes; it was only expected that men would start wearing perfume, real perfume again.
Something really odd happened in the 1980s, but maybe that, too, was to be expected: a kind of paradigm shift occurred in perfumery, as the laundry detergent companies which had become extremely rich and powerful thanks to the combined power of advertisement and mass consumption bought most of the perfume houses, perfume started imitating cosmetics more than the reverse. Once upon a time, the cosmetics industry would copy, or try to, the scents most popular in perfumery, like LâOrĂ©alâs Elnett hairspray famously reprised Chanelâs  Ná” 5â aldehyde overdose. Now, trendy perfume smells like shampoo or body spray.
It seems, nonetheless, like the ancestor of all terrible menâs perfumes that smell like body sprayâthe menâs version, the kind that makes you want to claw your own nose offâwas the otherwise respectable Drakkar Noir by Guy Laroche (1982). So beloved by the public that every hygiene or cosmetic product targeted towards suddenly attempted to smell like it. Drakkar, however, was a good perfume, even if by todayâs standards it would be perfectly unwearable for oneâs entourage (in a vicinity of approximately 30 metres). âPowerhouseâ doesnât begin to describe the type of scent that was popular in the late 80s and early 90s. And then they started using Caloneâą. Like, a lot of it. Have you ever smelled calone? Wait, you have. Youâve hated it. Calone in itself was a great chemical revolution: finally, the possibility for perfumers to imitate the very odour of water! Bring in the marine-like scents! Bring in the marine-like scents... I kinda want to throttle Calvin Klein for Escape (1991). Whatever you do, do not, I repeat, do not approach anything subtitled âSportâ. Itâs worse. Itâs way worse. (These days, calone is used to give a âwatermelonâ aspect to everything, but chiefly summer flankers of denatured classic feminine perfumes. A hint: it smells like shampoo. Everything does.)
You can blame advertisement for convincing men to wear perfume on top of extremely pungent deodorant, too, but me personally, I strongly resent women who think classics are âtoo feminineâ and want to shop at the menâs section of their local perfume supermarket because itâs supposed to be âgender-defyingâ. It really isnât. Thatâs not what equality is about, getting to smelling just as bad as the dudes, it isnât. Even more importantly, perfume is not gendered; marketing is. Skin chemistry varies noticeably from person to person and our hormones do play some role in what we smell like, and therefore in what one perfume will smell like on different people, but apart from that, any sex-based olfactory discrimination is but a marketing ploy to exploit a segmented market so that the members of one household purchase and consume as many differentiated items as possible. Mainstream perfumery these days is mostly hopeless: the Thinking (wo)Man would be well inspired to turn to ânicheâ perfumery, which isnât always that confidential but presents the great advantage of being generally more creative and personal. Websites exist where people exchange ideas and samples and there is a whole alternative market for scents that allow people not to ruin themselves buying a full bottle of certain great fragrances. Overall, it is a nice way to get to wear something that feels like a personal choice.
