Youth Dew Gets A(nother) Face Lift

Recently, I've been exchanging emails with Elena over at Perfume Shrine about a series of mysteries revolving around Youth Dew and its somewhat unknown related iterations, all of which were released during a little blip on the Lauder screen in the mid seventies. It's been fun playing detectives - the fragrances have come and gone, so it's all harmless mystery. Things get a little more serious, I learned, when a more established fragrance is forced into what is considered by its die hard fans a weird sort of early retirement. I'm speaking of the latest Youth Dew reformulation, but I'll get to that.

In 1977, Estee Lauder released Soft Youth Dew, a flanker to her flagship fragrance. At least, I think she did. Pick a day, any day, and run a search on Ebay for Soft Youth Dew. All you're ever likely to find are half ounce gift with purchase bottles. It's almost as if the fragrance was put on a giveaway trial run and quickly considered ill-advised, without ever actually being put on sale. Stranger still, when I did find something other than a half ounce bottle of Soft Youth Dew, it was a vintage tester bottle. The juice in that tester bottle smells very little like the Soft Youth Dew contained in the half ounce bottles, several of which I've smelled. It's much closer to Youth Dew proper, with a hand extending firmly toward Cinnabar.

Cinnabar was released a year after Soft Youth Dew, and the bottle it comes in hasn't changed much over the years. What has changed is the cap, and the name. Soon after the appearance of Soft Youth Dew, Cinnabar was introduced under the title "Cinnabar, Soft Youth Dew Fragrance". The cap for the earliest spray bottles of Cinnabar is identical, except in color, to the cap on my Soft Youth Dew tester bottle. Viewing these together was the first time I'd thought about a direct, explicit connection between Youth Dew and Cinnabar. When you remove Cinnabar's cap, you see that the bottle looks very much like the original bath oil and cologne flacons for Youth Dew. Many people have commented on a connection between the fragrances, but that has always been a perceived connection, based on ingredients and standards of classification. Those earliest bottles for Soft Youth Dew and Cinnabar, as well as the commingling of their names, makes their intrinsic connection crystal clear.

Also clear: Lauder had no apparent problem with a connection being made. Either way, she would succeed: Cinnabar might, on the one hand, trade on the success and lineage of Youth Dew; on the other, it might break new ground as something quite different, for those who didn't really fancy Youth Dew much. Soft Youth Dew disappeared. Youth Dew and Cinnabar prevailed, the latter presenting some formidable competition for Opium, a similar oriental released the year before.

Elena pointed out to me the possibility or probability that Lauder and Yves Saint Laurent might have been in competition over the choice of Opium's inro style tasseled bottle. Had Lauder won, the strategy for Cinnabar's marketing might have been different. Opium, of course, won, but Lauder clearly next bested Yves, choosing a name for her oriental which embodied inro without having to shape itself as one. There was a bit of been there done that to Lauder's decision in packaging Cinnabar anyway. For years she'd been presenting solids of her fragrances in decorative compartments one could attach to a dangling chain. Essentially, as Elena pointed out, the inro-themed idea was first hers. Besides which: While Opium was a provocative name, Cinnabar was a richly evocative one, whose associations reverberated in the consumer's imagination, as opposed perhaps to simply scandalizing or titillating it.

Soft Youth Dew and Cinnabar/Soft Youth Dew Fragrance weren't the first times an Estee Lauder fragrance appeared and disappeared in short order. Soft Youth Dew competed with Lauder's own trio of fragrances: Pavilion, Celadon, and White Linen, one of which will sound very familiar to you, two of which you've possibly never heard. It wasn't the last time the Youth Dew franchise was openly toyed around with, either: years later, Youth Dew Amber Nude was there, then not.

In between all these up front conceptual tinkerings have been behind closed doors tweaks and adjustments - and not just of Youth Dew but of all the Lauder scents. Almost everyone realizes that Youth Dew has changed at least a little over the years. The animalics it originally contained had long since been removed a year ago or less (or more), when the fragrance changed more than ever before. Until this latest change, Youth Dew die hards remained content(-ish). The juice remained that nice dark balsamic brown. Its oils pooled luxuriantly on the skin. Its smell contained a thousand childhoods, and motherhoods, a menagerie of memories and remembered moods.

Want to see a shit-storm? Visit the Lauder page and peruse the customer reviews for Youth Dew. Notice that around this time last year, the objections began. They haven't stopped since. "This is not my Youth Dew," wrote YouthDewGirl, age 55-64, El Cajon, California. "I do not know what Estee Lauder has done to this fragrance but it is terrible now... Bring the old Youth Dew back again!"

"The new generation will never know what they have missed," according to Mother01, age 55-64, Elkton. "They will try the new version and move on, because it is nothing special now. The original scent was used by four generations of women in my family."

You get the picture. So do they. This litany of objections, as several note in the "reviews", demonstrates how savvy the loyal consumer is. The Lauder lady at the counter will tell them nothing has changed, just as I was told yesterday at the mall, but the longtime Lauder buyer smells rat. In a sense, Elena and I have been, in the last few weeks, enacting our own version of this online commiseration, comparing our impressions and theories about Soft Youth Dew and Cinnabar and their relationship to Youth Dew original, testing personal perceptions against those of a peer.

For us, it's innocent sleuthing. To the Youth Dew Loyalist, changes to the formula are a far less entertaining affair. For the Lauder brand, this breach of contract with the consumer is serious business indeed, and if the reviewers honor their word, the company will realize they only thought they knew what a slump in sales truly meant. Reading these reviews I thought, don't mess with loyalty. Then too, I thought that anyone who's ever gotten into an argument with a woman of a certain age should know better than to try to pull the rug out from under one. Tell her you're selling insurance out of Cambodia and need to dip into her pension, maybe, but messing with her fragrance is folly.

Still, I thought, how bad could it be? So I went and smelled it.

I don't think it is bad. In fact, I like it. It's a fine fragrance, better than most, on its own terms. The problem is that Youth Dew can't be separated from its own terms: that's a lesson Lauder might have learned herself with early Cinnabar and Soft Youth Dew, and it's a lesson Tom Ford must have surely learned the hard way with Amber Nude. As the Lauder sales associate told me yesterday, the biggest obstacle for Amber Nude was the fact that no one seemed to be able to figure out it wasn't meant to REPLACE Youth Dew. Thus the constant refrain: What happened to my Youth Dew? Hard to sell a flanker when it sits between the original and its loyalist.

The feelings for and against Youth Dew are strong enough that no side really wants to see something slightly different. Take it or leave it, yes. Six or half a dozen, not so much. "Everything that made Estee Lauder's original fragrance so unforgettable is still here," read the ads for Soft Youth Dew. "It's all just a little s-o-f-t-e-r." Apparently, not soft enough, or too soft altogether when it comes to lovers and haters of the original.

The newest Youth Dew is more leathery to me. It still comes in the Body Satinee, the cream, the dusting powder, the bath oil, the deodorant (head scratcher, that one). All are arguably just as penetrating as Youth Dew's ever been, in any concentration. The oil won't be pooling, but the fragrance sticks around. No more cola colored contents. No more deep, dark, recesses of the earth balsamic structure. It can hardly be said that this Youth Dew is younger, or hipper, less stately than Youth Dews past, so it's hard to believe the changes have been an effort to win new consumers. It's a woody oriental, with less floral decadence than it once, even recently, had. Stealth woody orientals aren't selling like hotcakes, last time I checked.

This version, in fact, reminds me more of an exercise like Amber Nude and Soft Youth Dew than it does a reformulation. In effect, in all but name, a flanker. In some ways it reminds me of the reformulated Magie Noire's relationship to its original. It remains, however dark and oriental, surface bound somehow, lacking that weird vintage resonance. Still, for me, if not for the Lauder website reviewer, it's unmistakably Youth Dew - and latest Youth Dew's version of surface is still far deeper than the majority of contemporary fragrances.

It's interesting to consider what Lauder, still living, might have made of all this - let alone to ponder whether she would have allowed it in the first place. I like to think she learned some kind of lesson with Soft Youth Dew and Cinnabar, though I don't know just what that would be. In truth, her handling of those two related fragrances, however superficially confusing, was done intelligently enough that no existing fragrance was compromised, no established name muddled. It's hard to imagine Estee, who spent so many years building her empire, woman by woman, relationship by relationship, countenancing this kind of maneuver, which amounts to betrayal in the eyes of many of those women. Better to have let Youth Dew die, she might have thought.

Which is exactly what the ladies on Lauder's website are saying.

(Pictured: the changing face of Youth Dew - from Youth Dew to Cinnabar and everywhere in between. Top photo: Cinnabar, Soft Youth Dew Fragrance. Second down: Tester bottle for Soft Youth Dew. Third down: Early bottle for Cinnabar. Fourth down: Early Youth Dew cologne bottle. Fifth down: Magazine ad for Soft Youth Dew. Sixth down: A hybrid Cinnabar/Youth Dew/Soft Youth Dew bottle, with Youth Dew's silhouette, Soft Youth Dew's name, and Cinnabar's branding.)

Sixteen Candles: Jake Ryan (Gloria Vanderbilt, Estee Lauder Cinnabar, Aramis JHL)

This week, Abigail and I and a couple of friends are using characters from the films of John Hughes to talk about some of the perfumes we remember from high school and the eighties. First up: Jake Ryan, the guy who made such a lasting impression that still, all these years later, he inspires pangs of dreamy infatuation in women my age all over the country (see above photo of unknown internet user and her, um, date) and plenty of men, too. Trust me.

Jake was like no other guy I'd seen on screen before: sensitive, drop dead good-looking, sleepy-eyed, quiet, relatively smart, and far more interested in the odd girl out than the prom queen. There was something sad about Jake, too; something melancholy. It seemed like he was trapped by circumstances beyond his control, which made his determination to do the unexpected something close to heroic. It was the first time I'd seen the most popular kid at school depicted as such an underdog.

In case you aren't familiar with the character and the film, we're talking about Sixteen Candles here, which came out in 1984. The movie is set in fictional Shermer, Illinois, where another Hughes character, Ferris Bueller, also resides. Molly Ringwald plays Samantha, whose birthday is the sixteenth in question. No one remembers--not mother, father, siblings, paternal grandparents, maternal grandparents--mainly because her older sister is getting married that weekend. Everyone's in town visiting, and in the chaos of preparing for that happy event, Samantha gets pushed to the periphery.

It's nothing she isn't used to. Most of the movie deals with life at high school, where Samantha is equally ignored. She's crushing hard on Jake Ryan, one of the most popular seniors. She worships him for afar. As it turns out, he's not quite as far away as she thinks. Jake is crushing hard on her, too, only it takes a while for her to put this all together. The movie roots for her, and for getting them together. If these two can end up together, high school can't be all that bad. Before that can happen, various mishaps and complications ensue. A geek and a foreign exchange student add to the mixed signals and misunderstandings. Oh--and Jake has a girlfriend, Caroline. There's that to be straightened out first, too.

Michael Schoeffling, the actor who portrayed Jake Ryan, had been a model. He'd done GQ covers, among other things. Many of the people who saw Sixteen Candles at the time of its release were used to admiring him from afar, like Samantha. After acting in a handful of movies he retired with the girl he was dating during the filming of Sixteen Candles. They're still married, and live outside the public eye. It was almost like Schoeffling understood the audience's need to keep him preserved in memory the way he was in Sixteen Candles. In reality, he probably got sick of the bullshit of the business. But that's in keeping with Jake Ryan, too, who seemed equally frustrated by the rules of high school.

The following imagines a parallel universe in which Jake attempts to figure out a.) what perfume Samantha wears, and b.) what it is about said perfume that drives him crazy:

"The skinny geek with the braces swears on his mother's Tupperware collection that the perfume Samantha wears is Cinnabar. According to him, she got it at the mall. He seems to know a lot about her--at least he says he does--but he says she gave him her panties, too, and I highly doubt that.

I wanted to be sure--not about the panties but the Cinnabar--so I sort of grilled him, and he went straight as a rod, then he got all bent out of shape. He was pretty indignant.

'Don't you trust me?' he wanted to know.

Of course, I said. Of course. I just want to be sure. I want to be sure that's the one she wears. You're sure it's called Cinnabar?

'What do you want with her perfume,' he said, a little suspicious. 'Don't you think that's...I don't know...kind of...creepy?'

This from the guy who stole her underwear. Spoken like a true panty fiend, I said.

Later, I went to the mall to smell it, the Cinnabar, and I'm pretty sure he's right. I can't tell you what it does to me. She comes up to me in the hall and I freeze; I go numb. Samantha. It's the most amazing thing ever. It's so serious. It's so heavy. It's some seriously heavy stuff, that Cinnabar. It smells like experience--not, like, slutty experience--I don't mean like that. But maturity. Like she's all grown up. The rest of them are children.

When I asked the lady at the counter to let me smell it, she asked me how long my mother's been wearing the stuff. I told her it isn't my mother, it's my girlfriend, and she got a very confused look on her face.

'How OLD are you?' she said. She had her glasses perched on her head and raised her eyebrows so high she nearly knocked them off.

My girlfriend is a freshman in high school, I said. She's almost sixteen years old.

Her glasses really did fall then, and she said she'd never heard of a girl wearing anything as...sophisticated as Cinnabar. She said sophisticated like somebody'd used her counter for a bathroom.

My girlfriend isn't like any other girl, I said.

Which isn't exactly true, given that my girlfriend is actually Caroline, not Samantha.

Caroline isn't like most girls either. The problem is, she's exactly like all her friends. They dress alike and talk alike and feather their hair all alike, and I think if I heard them coming up from behind I wouldn't be able to tell the difference. Caroline wears that perfume with the swan on it. It's got that weird looking lady in the commercials, the jeans lady. She looks like your mom trying to act like your sister, which totally creeps me out. She's got a smile like the joker from Batman. A white face and a big smile that splits her face in half, and she sells those jeans like if everybody doesn't have at least three pairs in two years she'll jump out the window with a lit piece of dynamite clenched between her teeth.

The stuff smells okay but it's everywhere. Vanderbilt! That's what it's called. It's the perfect name for a rich girl's perfume, the kind of girl whose daddy wears Rockefeller after shave. Caroline's friends spray it in their books, their bags, their hair. She gets in the car when we go on a date and it's unbelievable how much she puts on. If I want to kiss her I feel like I have to break through a wall of stink. Not that I want to kiss her much anymore. She mostly WANTS me to kiss her, and of course she expects me to make the first move. She sits over there in the passenger seat winking at me and I try to figure out if I can drive without passing out at the wheel. Vanderbilt. It smells like flowers in the shape of a big mallet. The big mallet is whacking you over the head.

Samantha isn't like that at all. You have to get right up close to her. You smell the Cinnabar where you'd want to kiss her. It smells of cinnamon--like the name. So soft. It's like a blanket. Spices. Deep and dark and rust colored, just like the cap. Just like her hair. It's weird, because Cinnabar is technically so much stronger than the swan stuff, but she knows just where to put it and just how much to put. It should be a shout, but it's a whisper. It's something whispering in your ear.


I think Caroline knows something. And I feel bad. Maybe she sees me watching Samantha. I try to be careful. I can't help myself. Samantha draws me in.

My dad tells me we're incredibly lucky, for Shermer, for Illinois, for America, for anywhere, we're lucky. I'm lucky to have such a pretty girlfriend. I'm lucky to be popular. I'm lucky I have both of my legs and wasn't born disadvantaged. I feel guilty a lot of the time, because I am thankful, but I'm also miserable. We were riding in the Rolls and we passed somebody in a pinto, and he turns to me, my dad, and he says, "always remember how lucky you are." He says stuff like that like he feels bad for what we have that other people don't have, but if he knew I was watching Samantha all the time he would tell me to remember where I come from and where she comes from and how sometimes people aren't meant to get too close. In other words, I'm lucky, but don't press my luck.

I figure he wouldn't know his head from his ass, so what can he tell me about keeping the proper distance?

I don't like who I am. I don't mean I don't like myself, exactly. I mean that if my life is driving around in my dad's Rolls talking about people from at least several yards away, if that's where I'm going, I'm going to be seriously unhappy. I can feel the weight of that forcing me down. So I'm lucky, but the luck is so heavy it's crushing me. I'm not that person, the guy my dad wants me to become. I'm not sure who I am, yet, but I can tell, looking at Samantha, being with her, that the decision is mine. I can be happy and close or I can keep my distance and be lucky for the rest of my life.

I went over to the cologne section while I was at the mall. I smelled everything they had. I don't know how close I can keep getting to Samantha without people raising their eyebrows so high their glasses fall off their heads, but maybe our smells can reach out to each other. I wanted to pick out something that seemed like the best possible answer to the question Cinnabar is asking. I wanted something Samantha could smell and use to read my mind. Something she could smell and use to see that guy I want to be.

Here's what I picture, with this perfect cologne. I'll spray it where I want to be kissed. I'll stand at my locker, across the hall from Samantha's locker. I'll stand there with the cologne on, waiting. I'll stand there until she smells it. I found the perfect thing. It's called JHL. It smells like we were kissing, me and Cinnabar, and Cinnabar rubbed off on my stubble. JHL is saying something about cinnamon, too. It's saying something like, 'Please get closer.' It's a code. Cinnabar needs JHL and JHL needs Cinnabar; they need each other, to figure the code out. Once they get closer, they'll put it all together.

The geek said I wasted my money. He rolled his eyes and huffed and puffed and postured and clicked his tongue like he was disappointed in me. He said I didn't need to spend half that much. What was I thinking!? I said it was money well spent. I said I would have paid more, much more, if that's what it took. I would have traded in my dad's Rolls, that worthless heap. What else is it good for but keeping a distance? The geek rolled his eyes some more, halfway off his face, and called me a sap. He said I still have a long way to go. Such a long, long way to go. Stick close, he said: look and learn. Lesson number one: he showed me HIS cologne. He got it from his father. Jovan makes the stuff. It's called Sex Appeal for Men and it smells like arm pit.

No wonder he has to lie about girl's panties."

Aramis Devin: Another Country

I've always loved Devin, but it's so close to Aliage, and the lasting power is so inferior to its older sister, that I've opted out of buying it. Now that Aramis has re-released many of its forgotten classics, some of which were discontinued, I've revisited, and I see my error. If you told me one of my favorite movies was being remade, I imagine I wouldn't be that interested. If you told me the director was making a sequel on the same themes with some of the same actors, I'd pre-order my ticket.

I don't know that Bernard Chant, the nose behind Devin, had anything to do with Aliage. I assume he did, though I've seen Francis Camail listed as the Perfumer. I don't contest that, though the earliest credit I can find for Camail is Eau d'Hadrien (with Annick Goutal). That was in 1981. An Estee Lauder fragrance, Aliage came out in 1972. It certainly bears the woody-herbaceous imprint of Chant, but so does Aramis 900, and I don't know that he did that either.

Devin (1977) was the second fragrance release from Aramis, an Estee Lauder offshoot devoted to male grooming products. Chant inaugurated the Aramis line, in 1966, with Aramis Cologne. Aramis was Chant's Cabochard, her cheeks slapped with citrus aftershave. Aramis and Estee Lauder fragrances are curious in their approach to gender. Azuree, released about five years after Aramis, is its androgynous counterpart. It's as if the man who was Aramis, after dressing in female drag, then put a suit on top of his gown. Aramis 900 is strikingly similar to Aromatics Elixir, a fragrance Chant orchestrated for Clinique. JHL (1982) puts big boy pants on Youth Dew and Cinnabar, classic Lauder feminines, monogramming them with Mr. Lauder's initials.

Aliage was somewhat butch to begin with. It was promoted as a Sport Fragrance, though I'm hard-pressed to come up with a sport women were playing back in 72 which might have lent itself to such a powerful onslaught of resins, woods, camphor and jasmine, a combined effect nearly nuclear in strength. The chrome and glass bottle, with its seventies type, recalls the indoor tennis courts of my youth: curvy modular surfaces, corrugated metals and amber glass.

I picture women in short tennis skirts, hair fixed to their foreheads by sweat, but the ad for Aliage shows a fancy lady perched on the back of an open station wagon, holding what appears to be a polo stick. She's dressed in a herringbone pantsuit, a tweed overcoat slung over her shoulders. Her shirt looks like something a man would wear. I'm not sure a man would fancy her beret, but its jaunty angle doesn't exactly broadcast the girl next door, or anywhere nearby. The look is finished off with leather gloves and ankle boots. A flannel blanket hangs over the tailgate, on top of which: a picnic basket, phallic bread loaf and wine bottle poking out the top. Because ads of this sort are market tested to within an inch of their lives, I take it no room was left for accident here. The message seems to be very much about women's lib and a spirit of emancipation which begins with a mindset and extends into lifestyle.

Interesting that Devin should take such a different approach. While its advertising campaign mirrored that of Aliage in key ways (the outdoors, fresh air, green backdrop) it was practically unconscious by comparison. It was billed as a "country cologne: a rich, sophisticated fragrance that captures the relaxed, unhurried attitude of the country life." I'm not exactly sure what the country life looks like, but Devin seemed determined to articulate it. I've tracked down three adverts for Devin. All show a scruffy male in a decidedly contemplative mood. The setting might best be described as elbow-patch rural. Surrounded by trees, open country roads, and grassy fields, the model seems to be far away (mentally and physically) from the sporting life. Taken together, Devin and Aliage indicate a pretty blatant reversal of roles. While women navigate the playing field, men go out to pasture.

Aliage never loses its bluster. It's a wind that never stops blowing. In effect, it remains active, whereas Devin is passive. Aldehydes make the top notes (orange, artemisia, lavender, bergamot, galbanum, and lemon) shimmer like sunlight through overhanging tree branches. But Devin isn't bright like Aliage, which remains piquant. The middle notes are dense and moody: carnation, cinnamon, jasmine, caraway and pine tree needles. Compare this to the middle notes of Aliage: pine tree, jasmine, caraway, Brazilian rosewood. In Devin, the mixture feels velvety, the lambswool collar of a knit sweater rubbing against your face. The effect is partly cloudy, and none of the ads depicts a sunny setting. Carnation and cinnamon add a spicy, simmering quality. Someone's cooking in the kitchen, somewhere in the distance, but it isn't a woman.

The dry down of Devin is mellower still. The basenotes read like a litany of library aromas: labdanum, leather, amber, patchouli, musk, oakmoss, cedar. Aliage subtracts the leathers and languor, livening things up with vetiver and myrrh. Devin doesn't really remind me of the outdoors, whatever the intent. I see a domestic, if equally solitary, scene; a dark glass of tawny port, leather arm chairs, heavy drapes, vintage books, wood paneled walls, a burgundy Persian rug. It isn't entirely insular. The window provides a view, and is cracked, but only just so. Looks like it might rain. The woman of the house is out there with her polo stick, oblivious to the forecast.

Christmas Smells: A Purely Biased List of Favorites, PART ONE

I'm not one for seasonal strictures--I'm dressed in white as I type this--and when it comes to fragrances, I find that I wear the ones I love all across the calendar. Still, scent is associative, and no time evokes specific memories around smell more than Christmas.

The fragrances I love to rediscover during this holiday aren't always the usual suspects; certainly not often the flankers intended to conjure a fantasy feast of gingerbread and fruitcake. My favorites scatter the elements of Christmas like a cubist painting, approaching the subject from a variety of angles simultaneously. They parcel Christmas out into bits and pieces of sensory memory, rendering them with photographic detail. Theoretically, I'd have to wear these fragrances all at once to get the bigger picture. In reality, they only work separately, one at a time, demonstrating how complex and textured the memories surrounding holidays are. Forty Christmas seasons have accrued a dense system of overlapping triggers. The following are the tip of the icicle.

New Haarlem (Bond No. 9)

There are several good coffee-centered scents in my cabinet (Ava Luxe Cafe Noir and A*Men Pure Coffee, to name a few). New Haarlem is something of a curiosity among them. While the coffee note is unmistakable, it tends to be much more impressionistic, depicting not just the steaming cup but the mood of the breakfast table conversation. As it wears, New Haarlem becomes slightly spicy, with interesting undertones of amber.

Ambre Fetiche (Annick Goutal)

Ambre Fetiche is a deeply resonant mixture of resins and leather (birch tar, maybe?). It lasts and lasts, and lasts some more. This is a slowly collapsing, intermittently crackling pile of resinous logs left burning in the fireplace, viewed through the frosted glow of nighttime windowpanes.

Nuit de Noel (Caron)

Christmas is the smell of things stewing, simmering, and roasting. So what's with all the marzipan? Nuit de Noel is that rare seasonal fragrance, which bypasses sweet tooth for smoked savory and mixed nuts. That would be wood smoke and hazelnuts, and mingling somewhere within is the combined effect of all the settled-in perfumes worn by the women of the house.

L'eau (Diptyque)

The pomander hanging over the dinner table, distributing the aroma of clove, fir branch, orange oil, cinnamon, and dried rose in all directions. Approaching religious experience, it manages to insert the mood of Christmas Eve cathedral (those vast, vaulted ceilings and a Christmas tree the size of Rockefeller Center) into the dining room.

Wrappings (Clinique)

While not technically a seasonal release, Wrappings is sold only at Christmas. You get a 30 ml bottle with perhaps an equally modest tube of lotion. Forget the lotion, and buy the gift for yourself. This stuff is Ormonde Jayne Woman writ in neon the colors of pine tree and holly berry. Where Woman is warm, sleepy-eyed, and twilit, Wrappings is blinding bright and bracing cold. Woman is a solitary walk along a forest trail. Wrappings is a party in the snow. Mace, artemisia, cedar, and moss go the expected places. What veers Wrappings down an unknown path is the steep cocktail of cyclamen, jasmine, rose, carnation, and orris, electrified by aldehydes. The overall effect is as exhilarating as a snowball fight deep in the woods.

Minuit de Messe (Etro)

I get confused when people go on about this one's gothic prowess, as if it were all dungeon stone and incense smoke. It must be my chemistry, or my nose. Messe has always been user-friendly for me, a mellow, resinous incense. There's a wonderful zest of citrus up top, which takes its time leaving. Upon its departure, frankincense and amber move to the center of the picture. Truly a midnight mass, materializing a dim cathedral full of well-dressed men, women and children, all buzzing with barely contained, drowsy excitement under a veneer of respectably somber supplication.

Gaultier2

There's too much dissonance in there to dismiss this as a sweet-shop essay on all things cake and cookie. "Woodsy notes" are listed in the pyramid, along with amber, musk, and an admittedly ubiquitous vanilla. This doesn't begin to get at the weird play of contrasts in Gaultier2. It's a dividing fragrance. Some find it saccharine. I find it has just the right touch of Barbasol. There's enough five o'clock shadow and tobacco in there to complicate the picture. One of the few fragrances to remind me of the men hanging out on the periphery of the Christmas festivities. Simultaneously robust and laid-back.

Anne Pliska (Anne Pliska)

Somewhere between Shalimar's citrus petrol and Obsession's electric spice, Anne Pliska's signature scent strikes the perfect balance between edible and inedible on the oriental continuum. Abundantly tranquil, like a half-recalled moment of a forgotten Christmas day, where the chatter of family and the steady rustle of gift wrap evolved into a quiet, subtle hum, clearing your mind to unnoticed pleasures, scents from the kitchen you hadn't been able to smell through all the noise.

Agent Provocateur (Agent Provocateur)

Roses are really the last thing the holidays bring to mind, yet despite all its comparisons to rose chypres past, Agent Provocateur manages to evoke the season in a way none of its predecessors did. It's probably the saffron up top, the cedar down below, and the vetiver somewhere in between, which situate the florals in the sweet but boozy territory of spiced rum cake, an aroma ascertained through elaborate plumes of cigarette smoke.

Cinnabar (Estee Lauder)

Truly a classic. Woozier then upright Opium, this oriental has dipped into the punch bowl with a little more abandon. You can smell the fermented fruit on its breath, and its fuzzy state of mind is palpable from the other side of the room.

Noel au Balcon

I get pretty weary of the slams directed at Etat Libre D'Orange. The more time I spend with this line, the more I appreciate its artistry and quality. Even it's most ostensibly mainstream (i.e. throwaway) fragrances, like Don't Get Me Wrong, Baby (I Don't Swallow), offer riches worth revisiting. The sense of humor is refreshing and conversational. Why is it that we can laugh at the unintentionally silly and overblown ad copy of estimable houses like Guerlain, while faulting Etat for its open sense of the ridiculous? Why is it we don't bat an eye at horsey Hilary Swank writhing in the cosmos for Insolence, but decry the squirting penis of Secretions Magnifiques, as though the latter weren't the subliminal thrust of the former laid bare? In an industry which serves no higher goal than the bottom line, releasing only what has been test-marketed to death, what exactly is the beef with a house whose nerve is prodigious enough to push boundaries in the form of a fragrance like Secretions Magnifiques? I find it hard to take Etat's detractors seriously.

Noel au Balcon is a subtle inversion in some ways of the seasonal release. Key word release here, as indicated by the stuffed corset of the perfume's accompanying illustration. Noel au Balcon takes the dense cakey comfort food of Five O'Clock au Gingembre and turns it on its nose with perfectly judged touches of cistus and red pepper. It truly evolves on the skin, from sweet to salty, maintaining an interesting floral backbone throughout. Apply it before you meet the family. It will linger until you leave with mandatory leftovers. It has far more gravity than its brethren.

Une Rose

The only other Christmas rose for me. This one is straightforwardly rose, but its wine dregs hint at that half dark, half jolly place the right kind of holiday party can take you. This is rose as high drama--moody, like the emotional baggage you bring to the Christmas table, a state of mind where a butter knife can look like more of a weapon than you ever had cause to notice before. A scent like Une Rose makes all the trivial resentments and longings teased out by the holidays seem as majestic and impertinent as classic opera performed in combat boots.

1876 (aka Mata Hari): Histoires de Parfums

Some time in the last year, the Histoires de Parfums line, one of my favorites, reformulated several of their fragrances, which makes discussing them more than a little challenging now. Adding to the frustration, older and newer versions are often equally interesting, sometimes equally good, but for the most part entirely different perfumes. Reading about them online, one should always try to keep in mind the transition point and whether the fragrance at hand made the cut unchanged.

For my money, I'd start with Noir Patchouli (unchanged) and 1740 (also unchanged). Inspired by the Marquis de Sade, 1740 is unbelievably good. Though it seems slightly familiar at first sniff (as if it had been around for centuries), there's nothing remotely like it, not just in terms of smell but longevity, quality, and projection. At one time I believed Sonoma Scent Studio's Tabac Aurea to be very similar. They do have common motifs, but 1740 is darker and denser, and ultimately an entirely different beast. 1740 is a slightly woody tobacco and supple leather fragrance, one of the richest scents I own, and the best (i.e. most judicious) use of immortelle I've come across in a so-called masculine. Noir Patchouli is essentially a milked rose patchouli. No one ever mentions the rose--even the notes indicate only "floral bouquet"--but for me it's a fascinating update of fragrances like Aramis 900 and Aromatics Elixir, presided over by the feel of a unisex rose chypre.

1876 (Mata Hari) does list rose in its pyramid, but I smell less of it there than in Noir Patchouli. Regardless, I'd had my eye on 1876 for a long time. I'd received a sample pack from Histoires when I purchased 1740. All of the scents were nice--1969 being another standout--but 1876 attracted me most. The bottles are about 200 bucks: no more than the Chanel Exclusifs, but, at two ounces less, a lot more expensive than almost everything else. When an online merchant liquidated its old Histoires formulations, selling them dirt cheap, I bought a few, 1876 among them. The original version is a lot more openly fruity floral, with a weird off note I like very much, but it has nothing on the reformulation, which has some of the caustic, singed allure of Ava Luxe's now apparently discontinued Midnight Violet.

The notes of the newer 1876 vary depending where you look. I've seen: bergamot, orange, litchi, rose, iris, violet, caraway, cinnamon, carnation, vetiver, guaic wood, and sandalwood. But the notes listed on the bottle, surely the most reliable source, include cumin and white musks, and say nothing of violet. 1876 is a well blended fragrance, and picking out these individual elements isn't easy, but I do discern the carnation, the cinnamon, and a subtle interplay of orange and rose. Perhaps because of the carnation, 1876 reminds me of orientals like Opium and Cinnabar. Despite the orange and bergamot, it lacks the dense, dewy fruitiness of those classics.

It doesn't lack their forcefulness, and it won't be something anyone who dislikes that kind of bombast will find very appealing, I suspect. The charm of 1969's friendly succulence will not be lost on such a person, making that his go-to Histoires fragrance. Though I prefer 1876 and typically can't get enough bombast, I sometimes wish 1876 had the lasting power of 1740 and Noir Patchouli. For something named after showy, boastful Mata Hari, it starts whispering too soon, and I get impatient with it, wishing it would back up its initial come on. 1876 sticks around but becomes pretty mellow a little earlier than I'd like. You come over for a party and the only other person partying has brought out the bong and enjoyed it a lot more than makes for good company, zoning out there next to you.

I'm guessing that some of the fragrance's medicinal buzz is from the iris, but I could be wrong. This vaguely camphoric element places 1876 in a different arena than the orientals mentioned above, giving it heat, an ongoing frisson they lack. It's probably inevitable that this will start to resemble the candied sweetness of red hots on most people, given the cinnamon, but that isn't an entirely unwelcome development, contributing, along with the orange, just the faintest touch of the gourmand.

For those who don't know, Mata Hari was an exotic dancer of Dutch descent who pretended to be far more exotic, trading on a vogue for all things oriental by cultivating a fictitious past steeped in Asian culture and training. A contemporary of Isadora Duncan, she was known for her sequined costumes and a trademark routine which involved what seemed to amount to glorified striptease. Typically, her performances ended in rather ornate brassieres and jewel-dripping headdresses. She was a courtesan, mixing company with various military brass during the first world war. One of these men seems to have made her a spy in service of the Germans, though there's some debate about the veracity of that reputation. Some suspect she wasn't a spy at all; but a scapegoat. In any case, her sexual encounters made her privy to top secret information. Her name is synonymous with sexual intrigue and the term femme fatale. She was tried and executed by firing squad at the age of 41.

Floral but spicy, bold but soft, the sexy orient impostor 1876 manages to conjure associations which are perfectly in keeping with her mythos. Like Mata Hari herself (see above picture) it's a masculine disguised as a feminine.

Well Hello, Sunshine: Alahine (Teo Cabanel)

Smelling Alahine for the first time was a unique moment for me. I can't remember the last time I responded so emotionally to a perfume, when the clinical part of my mind was so swiftly bypassed, the more associative part so thoroughly ignited. Alahine is that rare fragrance for me, managing to meet my expectations without sacrificing the element of surprise.

What you do expect, from the raves on various blogs and boards, is an amber oriental. What catches you off guard is the mercurial development of the thing. Alahine goes through so many stages that at various points throughout the day I imagined I must be smelling something else I couldn't remember putting on. It has the complexity of (and more than a little resemblance to) vintage Bal a Versailles. They share a balsamic warmth, though Alahine remains sunnier. Bal a Versailles, if sunny at all, is constantly threatened by clouds. It retreats into a darkened room, becoming more insular. Alahine has its own drama, but it's a drama played out in the open, in broad daylight. The colors give away these differences, the one lucidly gold, the other a more inscrutable reddish brown. For me, Alahine is the untroubled person Bal a Versailles once was.

Granted, it's a setting sun, a rich, sulfurous gold. Out the gate, it seems to me more aldehyde than amber. The florals are hazed, one of those gorgeous old soft-focus photos, the light flaring in star shapes, the flowers amorphous arrangements of color. Those florals pop, but with the kind of impressionistic fuzz you find in Cinnabar. It's a fantastic opening, and I would be happy dwelling indefinitely there. It does last a while. Gradually, things go even softer, becoming what some have characterized as powdery. I don't get that so much. There are far more powdered fragrances. What Alahine becomes is more humid, muskier, than that. Hours on, it's working magic across the skin, shifting the subject from flowers to to field.

The later stages of development are where I get the vanilla, the benzoin, the patchouli. These have the most interesting, extended conversation with each other, sometimes murmuring, sometimes getting a little more excited, projecting what they have to say. Between this and the opening come rolling impressions of rose, jasmine, and (particularly, for me) orange blossom. These aren't so pronounced that you can single them out with any kind of confidence, but you don't exactly want to anyway. Alahine is about this particular harmonious convergence, a sum of its parts in the best possible way. You forget for a second what any of these things smell like by themselves.

I'd also like to point out how sublimely unisex it is. This stuff would smell good on anyone. It seems custom blended for the person who happens to be wearing it the way a period feels inevitable at the end of a well written sentence. Abigail wrote me to say I should give Alahine time, not because I might revise my initial opinion but because it's something that you grow to understand over time. I believe that. After a year, she realized it was her holy grail, and she hadn't really been looking for one. I'd just been thinking the same thing, so I can't imagine where I might be in twelve months.

Abigail's review here.

JHL: The Secret's Not So Secret Anymore

It never occurred to me back when it first came out, but JHL is, as many online have commented, so similar to Youth Dew, Cinnabar, and Opium that it could easily replace any one of them on the shelves and no one would be the wiser. Aramis has just relaunched JHL as part of its Gentleman Collection, along with Havana, Devin, and Aramis 900. I've yet too smell Havana but hear it's somewhere out of this world, too, which is saying I like JHL very much. Then again, I like Youth Dew and Cinnabar. I bought both of them sometime last year and wear them regularly. At first they seemed spectacularly feminine. Then they just seemed like something I would wear. You can find infinite scrolls of copy on those legendary perfumes, so I won't dwell on them. What I'm more interested in, really, is how somebody got away with releasing JHL as a masculine at a time when Kouros and other hairy-chested behemoths ruled the roost.

I'm also fascinated by the fact that I never saw any connection at the time. Did anyone else, or was it just me? How was it possible that Estee Lauder would even venture such a stealth move on the buying public, conflating masculine and feminine right under the consumer's nose, without concern that such a sales strategy would backfire? For as long as I can remember now (okay, a little over a year) I've been championing the erosion of gender categories in fragrance. They seem so arbitrary and bogus, mere marketing tools. Smell is democratic. A man washes his hands in flowery soap and thinks nothing of it, yet, somehow, Aromatics Elixir is beyond the limits of masculinity, no matter that it smells very similar to Aramis for men. We seem to ignore the blurred boundaries between these fragrances across the so-called gender divide as though we've internalized the segregation of scents which technically smell virtually the same.

How many men smelled Youth Dew or Cinnabar on their lady friends (mothers, wives, grandmothers, steadies, strangers) and liked it? Lauder must have done the math. By pouring Youth Dew into a butch bottle with a masculine monogrammed label (ostensibly for her own husband) she allowed men to wear what they'd already been enjoying for years. I imagine Mr. Lauder smelling Estee's neck for the umpteenth time. Oh that smells wonderful, he says. You should try some, says she. Oh no, I couldn't possibly, he guffaws. It's so feminine. I like it on you, dear. What if Estee simply poured Youth Dew or Cinnabar into a new bottle, as a little experiment. Here's a businesswoman who sold more units than the average highest-selling male. I wonder how many times she felt condescended to, as though her province were simply the house-bound lady folk. How many times was she made to feel that in a world of men she wouldn't sell those numbers? How must she have felt, being treated as if her proper place were in the home? It would certainly bolster my desire to make a point--if only for my own personal satisfaction--and I have only a fraction of her ambition and drive.

Which isn't to say adjustments weren't made to the formula. The truth is, there isn't much difference between JHL, Youth Dew, Cinnabar, and Opium--how else would the experiment work, otherwise? But there are subtle adjustments. JHL has the faintest whiff of fir, a certain strain of alpine airiness moving through its structure. Michael Edwards classifies it as "aromatic--rustic", whereas Cinnabar, for instance, is listed as "oriental--spicy". Both have rose, cinnamon, and carnation in their hearts. Both open piquantly with a zesty spritz of orange. JHL replaces Cinnabar's incense with labdanum, adds pimento up top and the fir note instead of jasmine, which makes a far subtler adjustment than you might expect. It might also be that Lauder wanted to show in some way how little distance there is between making a so-called feminine into a so-called masculine. Baby steps, really. It certainly would have shown that knowing a thing or two about women was in some ways knowing as much about men. Was Estee Lauder this avant-garde--the Marcel Duchamp of perfumery and cosmetics? If so, don't count on anyone giving her credit for it, despite the fact that Devin is a dead ringer for Aliage, and Aramis 900 just a hop skip and a jump removed from Tuscany per Donna.

I received a bottle of JHL in grade school, and couldn't have been happier. I liked it better than any cologne I'd ever smelled, and wearing it was vaguely confusing, because I generally had no taste for male fragrances, certainly far less than I do now. For years I'd hung out at my mother's bureau, enjoying her aged bottle of Youth Dew in secret. I could never put it on. I couldn't risk letting anyone smell it on me. I had to absorb the smell mentally and store it in my head. I was so conditioned, so programmed by social codes and mores, that when JHL came along, I had no idea I was finally able to bring my love of Youth Dew out into the open. It was still a secret, even from me.

Dandy of the Day: Crispin Hellion Glover

Some find it easy to dismiss him. He certainly gives them a headstart. To many his name has become synonymous with a litany of those adjectives reserved for the terminally idiosyncratic. Years ago, he took aim at David Letterman's head with his platform shoes and kicked his way out of the mainstream and into the margins. America knew him as the mesmeric goof-for-brains in Back to the Future, and the idea that he might not have been acting, might in fact be a genuine loose canon, made his mainstream audience more than a little uncomfortable.

Crispin Glover is one of the more fascinating actors to come out of the past few decades, mainly because he seems so out of step with the times. After various character roles throughout the eighties and nineties, he came to his own in parts which seemed to have been tailor made for his gifts. Willard, Bartleby, small but atmospheric bits for David Lynch, the Thin Man in Charlie's Angels. Ultimately, he came full circle, reuniting with Robert Zemeckis, the director of Back to the Future, in Beowulf.

He played Grendel, a role which in many ways presented a fascinating inversion of his painfully dweebish turn as Michael J. Fox's young father. Both were outcasts; each made a monster by his inability to fit in or gain control of his impulses or navigate the trecherous signposts of his destiny. Whatever you think of the movie as a whole, you can't say Glover isn't absolutely electrifying in it. During the course of his career he has written books, directed films (first What is It? More recently, It is Fine. Everything is Fine!) and traveled for speaking engagements which play more like vaudeville than book signings and question and answer sessions. Glover has smuggledthe avant garde into mainstream cinema and through mainstream cinema into the American living room.

Like his image, his cologne should be vintage, something from the fragrant yellowed pages of an out-of-print book. At night he might wear Etro's Messe De Minuit, a slightly oily incense recalling the damp stone walls of forgotten cellars and the ghostly suggestion of flowers once worn by the missing. He wouldn't pass up an opportunity to wear Black Phoenix Alchemy Lab's Zombi. Cinnabar, with its dusty cinammon (a crimson velvet pillow for the nose), would be a more arresting choice. Something about its spicy rich hypnotic quality, its fragrant whiff of port wine, slightly turned, seems in perfect keeping with his image.

This Week at the Perfume Counter: In which your roving I Smell Therefore I Am reporter makes the marketplace rounds, nostrils flared

I keep going back to the Estee Lauder counter. Do I want Sensuous? I can't decide. I do and I don't and I might and maybe, don't pressure me. Everyone says it smells great for an Estee Lauder fragrance, but I tend to scratch my head at that, and not because it itches. I continue to be surprised at the House of Lauder: this week, by Beautiful. What an incredible, gooey, tobacco rose. Try to convince me otherwise. The more I smell Bernard Chant's work, the more astonished I am. Azuree, Aliage--even Estee, which many consider some kind of mistake. Is it because I grew up smelling the Lauder line that I love the fragrances so much? My mother had a half-empty/half-full bottle of Youth Dew on her dresser. It still might be there. I loved the gold bow affixed to the elastic band. I loved the smell, which seemed so dated it had pushed back into the future going in the opposite direction. I can't remember who had Estee on her dresser; possibly my paternal grandmother. I stood before her bureau smelling from the open bottle, which she displayed on a gilt, mirrored tray. It smelled fantastic then and smells even better now, with an emotional pull to it from accumulated memories. A brighter, more startling cousin to Chanel 5 and Arpege. Its silver cap seemed perfectly apt to me at the time. There was something chilly about it, like iced flowers.

Friday at the mall, the Lauder counter was unattended. A pretty blond came over to help but didn't know whether they stocked Tuberose Gardenia. She did price Sensuous for me, and told me, as they all do, how fantastic it smells, as if, being a guy, I can't smell a difference between, say, Joy and Ajax. Yes, yes, I said, fantastic, fantastic. After pricing Sensuous for me, she left, explaining that whoever usually worked Lauder was, like, in the bathroom maybe and would be back later, presumably in case I needed someone to tell me how good something else smelled. I left and went across the hall to Perfumania, which sometimes requires a great deal of patience. The staff there works on commission and, I'm told by someone who migrated to Macy's, are encouraged to sell, sell, sell. It isn't enough that you buy a bottle of Posion. You must also buy Ralph Lauren Pure Turquoise, and lotion, and here, what about this, and this other thing, and--hello, where'd you go? Someone at corporate believes there's no hope of a return customer at Perfumania--the client walks in, crazed, buys on impulse, then leaves, forever--so why bother with subtlety?

I'd just smelled Cinnabar and wanted to compare it to Opium. I also wanted to know the difference between the three Opium flankers Perfumania stocks, but I've been down that dead end road before. They have no idea. Better luck on the website, which has no pictures for these and offers no clearer an idea. My favorite saleswoman was there (I call her Gladys). She knows I have a problem and need zero encouragement. I'll be back no matter what happens, again and again and again, often several days in a row. If the whole city evaporated in a strange toxic cloud overnight I would still drive over, out of habit, exiting my car, walking directly to the location of Perfumania, without noticing its conspicuous absence, until I stood on its once-hallowed ground or whatever and looked up and was like, oops, oh yeah, that apocalypse thing. Gladys has her tester strips ready in one hand as I approach, a pen in the other. Hello, Brian, she says. What are you buying today? When I leave, Gladys doesn't say good-bye or come see us again. She says, see you tomorrow.

I couldn't tell the difference between Opium and Cinnabar and figured I'd allowed sufficient time for a bathroom break, so I returned to the Lauder counter. It was still unattended, and the blond was gone now, too, but a rather dour young lady approached me, or rather, waited for me to approach her. Did I imagine a tone of impatience in her voice? I wanted to price Private Collection. My sister used to wear it and it smells so-

Yeah yeah, hold on a second, her demeanor said. She was back there reaching around in the display case like a blind woman, and I thought, dare I guide her? She didn't seem like the type who wanted the raft at her drowning moment, unless she could be made to feel she'd found it and inflated it herself. It's right there, I started to say. Yeah, I know, she snapped. I'm just trying to blah blah blah, as if I'd interrupted a delicate procedure and now she'd have to start all over. Hmm, she practically yawned, once she'd extracted the Private Collection. "We have one pocket size and one larger but the larger is a spray and the pocket is a roll-on so your best bet is to go with the larger." I could plainly see, reading the boxes, that both were spray bottles, but didn't point this out. And how much is the Estee, I asked, once she'd priced the PC. Very cheap, it turned out, as the Lauders usually are. I took one of each. Ringing me up, she entered 3333 instead of 33, and was suddenly humble, as if I might run to the bathroom and report her mistake to the Lauder rep.

Other purchases this week included: Michael for men, Romeo Gigli Sud Est, Magie Noire (the old one), and ENjoy. I should point out that of all the perfume counters I've been to in the last few weeks, with the exception of Memphis Fragrance (which is always friendly), Walgreens was the most helpful. Imagine that.