They do pieces on 'scent wardrobing' as if it had never been done before when actually it's the 400th rehash. They send their people on canned, prefabricated press trips paid for by the brands to visit the same fields of roses that were shown to them the previous year.
Unfortunately most editors at the 'beauty books' demand mind-blowingly superficial writing. If you will bear with me, here is one more: The "works of art" here is key to understanding his approach, and to his quarrel with the ways in which brands, consumers and the media approach the subject of perfume. And you will have two completely different works of art. Or what a musical work sounds like by saying "D minor." It doesn’t tell you anything about the work. Q: By saying it has lots of reds and blues?Įxactly. Using notes is an incredibly impoverished way of “understanding what a scent smells like." It is the equivalent of understanding a painting by. I've blathered on about that before so won't belabor the point here suffice it to say that two fragrances with those same notes - rose, mint, herbs - might be entirely different animals. Unbeknownst to Burr, Etat Libre d'Orange did post a few of the fragrance notes online (rose, mint, herbs), but they were removed shortly after, and I can vouch for the fact that they were not all that helpful.Īnd indeed, that's often how it is with fragrance notes. The "You" is You or Someone Like You, Burr's new fragrance under the auspices of French niche line Etat Libre d'Orange, and named for Burr's first novel. The "Caroline" is perfumer Caroline Sabas.
That's Chandler Burr, who is familiar to perfumistas as the author of Emperor of Scent and The Perfect Scent, as the New York Times' perfume critic from 2006 through 2010, and as a "curator of olfactory art". If you need to know what's in it, "You" is probably not for you. And the raw materials Caroline used are irrelevant.
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