Monthly Archives: August 2013

First gentleman of scent… Chandler Burr Talks… to The Perfumed Dandy

Chandler Burr

Author, campaigner, critic and curator, there is no more tireless advocate for perfumery to be regarded as the ‘olfactory art’ than Chandler Burr.

His 2003 work ‘The Emperor of Scent’ charted the origins of Luca Turin’s theories on the functioning of human sense of smell. In his 2005 article for The New Yorker he followed Jean-Claude Ellena’s year-long creation, in Paris and Grasse, of ‘Un Jardin sur le Nil’ for Hermes.

Out of the piece grew his next book ‘The Perfect Scent: A Year Inside the Perfume Industry in Paris & New York’, which captures not only Ellena’s creative process but also the actress Sarah Jessica Parker’s involvement in the first perfume to bear her name ‘Lovely’.

Between 2006 and 2010 Chandler served as The New York Times’ perfume critic, a move the paper’s style editor commented placed its coverage on a par with “the way it does movies, books, and theater.”.

Chandler left ‘The Times’ in 2010 to take up his current position as ‘Curator of the Department of Olfactory Art’ at the Museum of Arts and Design (MAD) in New York City.

His first curatorial presentation in the role: The Art of Scent 1889-2012′, displayed twelve significant fragrances that in some way altered the development of the form, from Aime Guerlain’s Jicky in 1889 to Daniela Andrier’s Untitled created in 2010, placing the perfumes in the context of some of the major artistic movements of the period.


Running from November 2012 to March this year it was, according to MAD, “the first major museum exhibition to recognize scent as a major medium of artistic creation”.

With the catalogue of ‘The Art of Scent’, complimented by samples of the dozen featured scents, still available and the second season of his Untitled Series’ on Open Sky just about to begin, The Perfumed Dandy was delighted to have the opportunity to catch up with Chandler Burr: first gentleman of scent.

You once wrote  “You have to, I think, start out understanding that there is no such thing as a ‘masculine’ or ‘feminine” fragrance’ . Is it too strong to say that the ‘gendering’ of fragrances is a sort of fraud perpetrated by marketeers, persuading people that certain smells belong to men and others to women?

Fraud is too strong a word to my mind. It’s purely a marketing tactic, and it’s an extremely effective one. It works amazingly well.

It gives (I’ve said this so many times, but) straight English-speaking men the psycho-emotional permission they need to wear scent. And that’s important.


I wondered in particular whether in your view the ‘marketing trick’ of creating ‘pour homme’ had, as well as giving Anglo Saxon men the permission to wear scent  also put some notes or accords artificially ‘off limits’ to them?

Absolutely, though not so much accords as materials or tropes.

No roses for men, no florals in general, and no sugary candyfloss.

Just as women can wear pants and ties, the marketing puts virtually nothing off limits for women except for the metallic lavender deodorant trope. Otherwise, whatever women want. From the marketers’ point of view, women aren’t the problem.

In the ‘Untitled Series’ you strip away the publicity, the gloss and glamour, associated with fragrances allowing us to experience them ‘naked’. What are the distractions of the ‘selling’ process that prevent one appreciating a scent as intended?

Take as the analogy the art market, specifically painting. Painters are, if they’re successful (but even the promising debutants) represented by galleries, who market them, talk about them. They create excitement about them. They place them with prestigious clients. They manufacture artists’ reputations, and artists like Murakami and Hirst and so on, sell by their brands.

But ultimately the paintings stand on their own. Perfumes must as well.

The perfume brands are merely acting as the gallerist representatives. In many cases the representation is necessary to present the work correctly to the maximum number of potential clients . We switch here from the painting-perfume analogy (given that with paintings there are usually either one or a limited series) to film-perfume analogy, as both are made in hundreds to millions of copies, and the representation of the works needs to apply to the nature of the artistic medium.

I think in both films and works of olfactory art the representation frequently obscures if not hurts the work. But there’s no perfect system.

‘Celebrity fragrances’ seem to be the opposite of the anonymity of the ‘Untitled Series’: perfumes that exist by dint of association with the  famous. Yet, as you point out in ‘The Perfect Scent’ this needn’t lead to an awful fragrance. In the book, Sarah Jessica Parker’s commitment to creating ‘Lovely’  is made absolutely apparent. Is it this involvement that’s the secret to getting a ‘celebuscent’ right?

In my experience the answer could be getting the participation of the celebrity, but only if the celebrity has good taste. Big if.

The other variables are getting a talented artist, giving them sufficient money to create something great, and having a creative director with vision, talent, and patience.

With these three you can take the celebrity out of the equation completely. And even with the celebrity you probably need them.

And there are other variables: for example the celebrity having an agent smart and tenacious enough to sell their client’s license to a serious licensee that’s truly invested in creating something great for them.

Even with all this, everything can go wrong at any point.

Oh, I forgot: you need the marketers to represent the scent correctly…

Interviewed on Scents Memory, you set out your view that ‘olfactory appreciation’ should be a mainstream subject, like musicology or art history. I wondered if you’d ever given thought to what a course might look like… would it be chronological, chart out the major movements or concentrate on the ‘canonical artists’ perhaps?

I’ve in fact given those future courses a lot of thought, in part because I love to teach.

I was an English teacher for 10-12 year olds in rural Japan for a year and fell in love with them, which is what led to my (finally) adopting two boys from Colombia in late 2011.

The courses will be fascinating. I love courses in art, both the visual arts and music, and courses in scent would be extraordinarily interesting.

You’ve named the two fundamental intellectual and aesthetic structures of art history classes, or rather the one structure, as I think they are two sides of the same approach: chronological via the major stylistic movements and study of the canonical artists.

Blake Gopnik

The art critic Blake Gopnik (right), who did a profile of me when ‘The Art of Scent’ opened, made me think about something I find very important and, at the same time (and I both like and admire Blake; he’s a serious, brilliant thinker about art) provided a virtually paradigmatic example of the incomprehension of olfactory art that will face the early professors teaching the medium.

It’s the same reaction as that of students and the public when departments of art history began teaching photographs, which art historians had only recently recognized as works of art. Here’s Blake approaching olfactory art for the first time:

“After several hours of smelling [a range of perfumes], and for all Burr’s proselytizing, the range of experience on offer still seems smaller than in some other art forms. It’s as though all of visual art were limited to the kind of expressionist abstraction that’s all about emotion and vague hints at the world—to paintings that buy into the old-fashioned sensual model that still rules the aesthetics of perfume. But of course fine art can be full of content as well. Artists can draw or paint or snap pictures—or make films and videos and installations—that talk, directly and with force, about almost anything that humans can think about. Artists can go for the wildly scatological or the emphatically political; they can craft experiences that work below the belt or speak to our most abstract mental capacities; they can please, but they can also enrage or disgust. Whereas most perfumers make expensive stuff that smells more or less like perfume.”

He perceives all perfume as abstract. And as vague. And to Blake it all smells like… “perfume”… and the definition of perfume is “expensive stuff”.

To him, there is no difference between Antoine Lie’s technically masterful and brilliantly figurative ‘Wonderwood’, which more beautifully and more viscerally captures wood than any of Blake’s visual mediums could ever hope to, and Lie’s ‘Sécretions Magnifiques’,  more scatological and political than any video or installation could hope to be.

As for the visual arts’ power to speak to “our most abstract mental capacities” or to enrage and disgust? Please. The absolute incomprehension of new artistic mediums—and ironically Blake is a huge champion of other new mediums—will simply recede with time, education, and being faced with works of art that are, by all these measurements, as great as, and indeed in some ways much greater than, any others.

Where Blake made me rethink my curatorial approach in ‘The Art of Scent’ was by challenging me with his very different intellectual and aesthetic framework for perceiving, experiencing, and valuing art.

Blake finds the (my) traditional art historical framework as extremely limited; it starts (I start) with the era and its politics, styles and values, only then looks at the artists within that culture and time, and finally analyses their art as generated by their era.

“Why does art have to come from an era?” he asked me recently on the steps of his brownstone in the West 40s. “I find it much more interesting and productive to engage with art as progenitor, as instigator, not merely reflection, of an era. Art forms”.

It turns the traditional way in which I approach art on its head.

While it took me a bit to rethink this (the meaning of a “school” can be deeply changed with this approach), I agree, as I think we all would, that Drakkar Noir was less an astonishingly important reflection of the rapidly growing influence of the post-war industrial and technological impact on our lives than it was an actual generator of the way we approached industry, its products, and its effects.

Our era generated this work of art. But arguably this work of art even more profoundly remade us.

On the role of artists, the catalogue for ‘The Art of Scent’ lists the fragrance followed by the artist who created it, the house that commissioned the scent reduced to simply having ‘lent’ it to the exhibition. Will it be the norm one day to talk of Oliver Cresp’s Angel or Bernard Chant’s Aromatics Elixir without mentioning Thierry Mugler or Estee Lauder?

Up to the 1950s, stars moved on screens, speaking lines, and the movies were merely the contexts in which we watched them.

After the mid-1950s’ New Wave Cinema and the auteur theory of director François Truffaut and The Village Voice critic Andrew Sarris, we spoke of works of art and we spoke of films.

The movies still exist. They’re commercial, and we go to see George Clooney’s handsome face, cf ‘The Ides of March’. But films also exist now, and we go to see the artistic creations of director Terrence Malick. (These can be great works of art: ‘The Tree of Life’, or disasters: ‘To The Wonder’.)

In the future, we will buy perfumes because of the brand Michael Kors or because they star Beyoncé. And we will buy works of art because Olivier Cresp and Bernard Chant made them. See under: auteur theory.

An exhibition at a major institution like MAD must have been a vindication of your work for perfume to be regarded an art form. When the moment came to select the fragrances, did you feel the hand of history on your shoulder? Did you know instantly what you would choose?

It damn well was a vindication and, of course, at the same time a challenge to everything I’d ever proposed for the past five years in The [New York] Times.

The list of works changed constantly over a year, maybe year and a half. It drove me crazy. The selection of works in the next exhibition probably will as well. That’s the job.

In Britain we have a radio programme, ‘Desert Island Discs’, on which the guest is asked to imagine themselves stranded alone with only eight pieces of music to keep them company. A fellow blogger has started asking people from the world of perfume which eight scents they would take… would all of yours come from the selection you made for the show? 

I love ‘Desert Island Discs’.

To answer the question, my own eight would not, by any means, all come from ‘The Art of Scent’.

Remember that my curatorial criterion there was specific: “works of olfactory art that had fundamentally advanced the state of the art either aesthetically or technically.” That’s completely different from “scents I love to wear just to smell them”. ‘Vetyverio’, a work Diptyque commissioned from the artist Olivier Pescheux, does not meet the criterion of fundamentally advancing the state of the art. It is a work I just love, one that I fall into whenever I can.

On the ‘perfumes that got away’, I can’t help noticing that there’s a long gap between Jicky in 1889 and L’Interdit in 1957 in terms of the fragrances you chose for the exhibition. To borrow your art historical theme, why no Post-Impressionist or Cubist scents? Were those seventy odd years really that fallow?

There are fewer works at the start of the period covered by ‘The Art of Scent’ (1889 to 2012) because there were far more technological and aesthetic changes and thus new schools arising in the second half of this period than in the first.

Moreover not all schools are represented, or equally represented in an important way, in all mediums. Schools are often important in one medium in one period and in another medium in a completely different period.

There may be no more famous example of the Ashcan School than George Bellows’ ‘Both Members of This Club’ (1909), it’s an extraordinary painting, beautiful violence and ugliness, and it would be extremely interesting to compare and contrast its aesthetics with a work of olfactory art from any period, but it wasn’t necessary for me to put the school in ‘The Art of Scent’. And I didn’t.

I’ve noticed that a lot of your reference points relate to the visual arts, do you feel perfume is particularly connected to painting or sculpture, more so than say music or literature?

Not at all. It may be more analogous to music in a majority of ways. Maybe I just feel painting is more accessible? I’ll have to spread out the mediums more. Actually I feel like I use architectural references a lot.

You’ve mentioned before that ‘The Art of Scent’ might tour in the future, and in the meantime we have the catalogue, but in your ideal world would you like to see a major museum create a permanent suite of ‘perfume galleries’? Is there an institution that you would like to lead the way?

If the Met, the Louvre, the Tate, the Fondazione Prada, the Mori, the Hammar, or any others of this calibre, were to create permanent collections of works of olfactory art, it would be terrific. It’s a project for the future. At the moment I’m working on my next exhibition.

Are you in a position to say anything more about that next exhibition?

I’m not unfortunately. I’ve proposed four completely different exhibitions, and we’re looking at all of them at the moment.

Well dear readers, it was worth a try… we shall have to wait to discover what Chandler and MAD have in store for us with the second of their scented exhibitions.

For now I would like to extend my wholehearted thanks to Chandler for being such a fascinating interviewee and taking the time to answer my questions.

Yours ever

The Perfumed Dandy.

The Perfumed Dandy

Post Script…

To learn more about Chandler and his various projects, including where to buy ‘The Art of Scent’ catalogue and join the ‘Untitled Series’ simply click on any of the links in the article, there’s also that intriguing profile of Chandler by the art critic Blake Gopnik, that’s worth a peek.

My conversation with Chandler is one of a series with a number of bloggers organised by the inimitable Lanier of Scents Memory. Do look out for the others in the project which will be appearing over the weeks ahead at:

Australian Perfume Junkies:

Smelly Thoughts:

Another Perfume Blog:


What Men Should Smell Like:

The Scented Hound:

The Fragrant Man:

Oh and do take the time to check out ‘Desert Island Sniffs’ over at the wonderful abode of The Candy Perfume Boy.


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The Isles are alive with the smell of… Caldey Island Lavender The Last of The Summer Scents III

Long before this simple, eloquent, exquisite near soliflore scent became something approaching sought after, it was the stuff of childhood memories for The Dandy.

Years (too many years) ahead of its being spoken of as the finest lavender perfume in the world, it was a cherished reminder of innocent seaside times and strange, solitary figures living out to sea.

Caldey Island sits in the North Atlantic just a few miles off shore from the town of Tenby.

Tenby itself is the nearest place temperamentally, not only in the county of Pembrokeshire but perhaps in the country as a whole, to the lost coastal resorts of the nineteenth and early twentieth century.

It is a place of picture post card beauty and impish fun.

With its two glorious sandy beaches, one to the south: a vast lick of sand extending gradually to the sea; the other to the north, backed by short cliffs and enclosing a deep harbour at high tide; its pastel painted B&Bs (our equivalent of Italian Pensiones); it’s old town walls; tumble down castle; cobble streets; amusement arcades and ice cream parlours, Tenby is the epitome of what was once ‘The Great British Seaside’, oddities and all.

These peculiarities included until the 1980s a tiny zoo in an abandoned army fortress wedged on a island dividing the bays, a place that once supplied the town with the noise of wild animals to go with the crashing of waves.

And to this day, most pertinently to our perfume ready palattes, there is the other great curiosity: the little Island of Caldey, its Abbey and Monastery.

One of the British Isles ‘Holy Islands’ Caldey is part of a tradition dating back to Celtic times, a landmark of early Christianity at the North Western fringes of Europe.

From the sixth century right through to the Dissolution of the Monasteries in 1536 various orders of monks flourished here, the most successful being the Benedictines who established a Priory in the 12th century.

Indeed it was an order of Anglican Benedictines that re-established the settlement in 1910 commissioning the architect John Coates Carter to create a collection of buildings in the Arts and Crafts style widely believed to be the most complete surviving to this day.

Sadly, the Bendictines second tenure was not to prove so successful, perhaps it was to do with Anglicanism’s difficult relationship with the monastic life. No matter the cause, funds soon dried up and the order was forced to sell in 1929.

In another part of the world, or at a another time it’s possible that this fairytale structure might have become a rich man’s folly… a San Simeon, Hearst Castle or Vizcaya transported to the North Atlantic.

But, happily, it was not to be… the holiness of the place endured as it had done before.

An order of Cistercians, Trappists from Belgium, took over the Island and brought with them their ideals of the nobility of manual labour and self sufficiency, their near silence and skills in the art of creating luxuries out of patient endeavour.

Elsewhere in the world Trappists would become associated most closely with brewing, but here they are makers of chocolate, cheese, shortbread and, most supremely, scent.

The early years of very few children of my generation in Wales would have been complete without some kind of trip to Tenby.

Weather it be an end-of-term school excursion, summer vacation or Bank Holiday expedition, in all probability at different times all three, the journey was made.

And once, at least once, the call of the ocean would prove too much and the brave little boats that make the crossing to Caldey would be boarded and the partial pilgrimage undertaken.

The aim always was to catch a glimpse of the reclusive holy men, who go about their business mainly out of sight, ministering to those on retreat and tending their gardens and island-sized industries.

Of course, if they proved elusive there was always the produce to be sampled.

Most children wanted the chocolate, most grown ups the shortbread. Cheese was as yet unfashionable.

Though I could, just about, be bought off by the above, even then it was the perfume I was really after.

Both my grandfathers had gardens replete with nature’s bounty, floral and vegetal, but neither, for some reason I still don’t fully understand, neither had any lavender. Perhaps it was too continental, not decorative enough, un-useful.

Whatever the reason, the effect was to render the plant somehow magical, existing as it did only invisibly, inside the lavender bags that relatives would sow by hand and present to my grandmother as gifts, only for the perfumed pockets to find their way into my bed, to nestle under my pillow.

Lavender was a vision on the side of packets of talcum powder and special soaps for summer holidays, a line drawing on labels glued to purple jelly bubble baths or creamy lilac-coloured body lotions.

Lavender was an enigma.

Cadley Island was where lavender became real.

Not that I remember great fields of it there, like those I would see later in Provence at the Abbaye de Senanque. Indeed, I don’t believe they have them, not on that scale anyway.

No, Caldey was where the great purple aromatic would become abstractly alive.

It was the scent of lavender that would speak to my infant heart.

And it had that heart in an instant.

From the moment of entering the Island’s perfume shop doubling as a Post Office, I was head over heals, in a passion with the smell.

It was the beginning of a life long affair, a love that would take me to the South of France, Suffolk, Spain, and scent shops just about everywhere in search of a perfume as pure and wonderful as that first spray in the shadow of the Abbey.

But the simple fact is, there isn’t one.

Like an Yves Klein painting that defines the colour blue by being exclusively it, so Caldey Island’s lavender inhabits the scent completely.

It is a different kind of lavender, an absolute in the essential sense.

Perhaps the note should have its own name: “International Caldey Lavender”.

The Dandy came away that day with a tiny vial of what we used to call ‘lavender water’ and an ivory-coloured comb for my dark straight as a poker hair.

In my room back at the powder blue painted B&B I caressed my new-bought treasures and promised to keep them forever.

I still have the comb and the ‘lavender water’ still has my heart.

Yours ever

The Perfumed Dandy.

The Perfumed Dandy


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All the fun of the fair… Last of the Summer Scents Part II An Essay in Fragrances and Photographs


A public holiday in London today… the last one of the Summer.

The last one in fact until Winter is with us and we celebrate Christmas.

So what better way to go out than with a bang, a whoop, a scream, a whirl and a whoosh of steam?

The whoosh in fact of Carter’s Steam Fair which took up it’s customary place on ‘the East End’s lungs’: Victoria Park today.

Do enjoy the colours, and a few perfumed proposals, some serious, some just fragrant fun… just like the fair itself.

The Swing Carousel


The Spitfire


The Motorcycle Carousel


The Dodgems


Ice Cream Van


The Octopus


Candy Floss?


The Shooting Gallery


The Motorcar Carousel


Cuddly Toy Prizes


The Coconut Shy


The Grand Carousel


So there we have it… a few scented snaps.

I wonder whether all the connections are evident?

Perhaps some are a little puzzling.

But then The Dandy does like a riddle…

“Why is a raven like a writing desk?”

Yours ever

The Perfumed Dandy.

The Perfumed Dandy


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An architect’s cocktail… Pink Vetiver by Jo Loves The Last of the Summer Scents

Architects surely are the most suave and self assured of artists.

In their uniform of rimless glasses, impeccably ironed white shirts and indigo jeans they are, any place, an understated yet indisputable presence.

Pink Vetiver by Jo Malone is the kind of perfume one can imagine the chicest, most sophisticated members of this blueprint elite deigning to wear.

If other vetivers are martinis: rough, ready, at times smoky and always all about the kick then this delicate, delectable scent is a Pink Gin & Tonic.

Sweet from the Plymouth Gin that has none of London’s dryness, gently spicy from the closely guarded secret stash of precious flavours and ever so slightly medicinal from the long fizzy tonic that gives it body.

Yes, Jo’s Vetiver is an elegant cocktail of the quaffing classes sipped serenely by an artist who works in soaring walls of plate glass and windows apparently suspended in air.




Juniper opens Jo Love’s Pink Vetiver, set off a little by cardamom in the classic gin combination but quickly yielding to a warmer sweet hay version of the note that gives the perfume its name.

There are peppercorns present, but both their hue and the judiciousness of their use mean that they never come to dominate.

Indeed, the subtle composition of this scent means that it is best appreciated as a whole rather than for its constituent parts, just as a building is more than stairways and doorways, architraves and parapets.

The feeling of this fragrance is of the finest suede.

I don’t mean that there is a particularly pronounced hide note, rather that the sensation, the experience of the scent is that of the back of one’s hand brushing gently against napped leather.

Though the moment may be both sublime and fleeting it is in its precise softness quite unforgettable. Perhaps one thinks, these are the beautiful suede brogues, in a male or female style that complete our cocktail sipping architect’s ensemble… Gosh.

One should have explained at the outset.

It’s a ‘Bank Holiday Weekend’ here in London, our quaint way of saying two days off the daily grind made three by dint of a public holiday.

Traditionally, August’s fete is seen as the end of Summer proper, indeed, Scottish children are already back at school, theirs long vacations over for another year.

If we have heat in September, then that will be an ‘Indian Summer’, which is an entirely different thing altogether.

Oh dear, one does go on… the point…

By way of marking the turn of the seasons I thought I’d use this last week of the sweetest time of year to celebrate some scents that have got my attention… I do hope you’ve enjoyed this first one and  will appreciate the other picks over the days to come.

Yours ever

The Perfumed Dandy. The Perfumed Dandy

Post Script

The Dandy received a sample of Pink Vetiver from Jo Loves and it is upon that sample which this review is based.


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A life of mystery… Memoir Woman by Amouage The Perfumed Dandy’s Scent Today 

…And what stories this scent must have to tell!!

With smoke, absinthe, leather and indolic spice, one suspects skulduggery rather than anything ‘nice’.

A perfume pyramid that reads like a Dandy’s whodunnit for notes that delight.

From pink pepper through clove and rose to cunning castoreum this sounds splendid.

I do hope it proves a mystery worth investigating…

Following its selection by your good selves some time ago, The Perfumed Dandy is now re-trying this fragrance fair or foul with the aim of, in due course, providing a report to you on his relations with the perfume by means of a scented letter.

The opportunity remains to choose other perfumes to be placed on The Dandy’s skin when The Hit Parade returns in the autumn.

If you would like to thrust forward a fragrance for future fame simply visit ‘Suggest and old scent or recommend a new one’ and leave your recommendation there.

Have an especially fragrant day!

Yours ever

The Perfumed Dandy.

The Perfumed Dandy


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A bigger splash… Apres l’Ondee by Guerlain The Perfumed Dandy’s Scent Today 


The undisputed queen of the ever so slightly dusty florals.

“Antique, beguiling, beautiful… a classic even amongst classics… an inspiration to parfumeurs to the present day…”

Or do I hear whispers from stage off?

What’s that?

Those awful words…

‘Old Lady’…

The Dandy doesn’t approve of them even though one knows what they’re supposed to mean.

Can it possibly be true?

Following its selection by your good selves some time ago, The Perfumed Dandy is now re-trying this fragrance fair or foul with the aim of, in due course, providing a report to you on his relations with the perfume by means of a scented letter.

The opportunity remains to choose other perfumes to be placed on The Dandy’s skin when The Hit Parade returns in the autumn.

If you would like to thrust forward a fragrance for future fame simply visit ‘Suggest and old scent or recommend a new one’ and leave your recommendation there.

Have an especially fragrant day!


Yours ever

The Perfumed Dandy.

The Perfumed Dandy


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Whip crack away…? Calamity J by Juliet Has A Gun The Perfumed Dandy’s Scent Today 


A chocolate blanket of sweet patchouli…

With a dusting of powdery iris and musk?

Lordy, this doesn’t sound like a recipe for summertime success!

Then again, as Doris and indeed Jane knew only too well, you never can tell!!!

The opportunity remains to choose other perfumes to be placed on The Dandy’s skin when The Hit Parade returns in the autumn.

If you would like to thrust forward a fragrance for future fame simply visit ‘Suggest and old scent or recommend a new one’ and leave your recommendation there.

Have an especially fragrant day!

Yours ever

The Perfumed Dandy.

The Perfumed Dandy

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Any port in a storm…? Escale a Portofino by Dior The Perfumed Dandy’s Scent Today 

IMG_20130819_085719 (1)

A dip in the azure sea of the picturesque coast of Italy?

Or a flush of industrial bathroom detergent?

For such an apparently innocuous sounding scent, this one seems to inspire quite violent reactions.

Well, one shall just have to wait and see what it does on The Dandy!

The opportunity remains to choose other perfumes to be placed on The Dandy’s skin when The Hit Parade returns in the autumn.

If you would like to thrust forward a fragrance for future fame simply visit ‘Suggest and old scent or recommend a new one’ and leave your recommendation there.

Have an especially fragrant day!

The Perfumed Dandy.

The Perfumed Dandy


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The end of the affair… The House of Caron: A Retrospective The Perfumed Dandy’s Scented Letters


Dear Friends

It is with a heavy heart that I write to say our month as visitors in The House of Caron has come to an end.

Never one to dwell on unhappiness though, The Dandy instead prefers to concentrate on jolly memories… a clutch of reviews, a few personal picks, a visit to a beautiful NYC boutique and a flick through the back catalogue of Caron’s advertising campaigns.

So that all these Caron ‘cuttings’ are not lost into the mists of time I have compiled this ‘scrap book’, which also serves by way of a series of links to all the Caron-related material in The Dandy’s archives.

Do scroll down and peruse my delights and if any perfume or piece of writing tempts, simply click on it and you will be taken to the object of your desire.

Happy hunting!

Narcisse Noir (1911)

Tabac Blond (1919)

Nuit de Noel (1922)

Bellodgia (1927)

En Avion (1932)

Fleurs de Rocaille (1934)

Poivre (1954)

Aimez Moi (1996)

Nocturnes (1981)

Montaigne (2007)

Parfum Sacre Intense (2010)

The Advertisements of House of Caron (from 1904)

Some Scented Picks…

Pour Un Homme (1934)

Muguet du Bonheur (1952)

Le 3e Homme (1985)

L’Anarchiste (2000)

And one outing…

The Caron Boutique, New York City (2013)


The Dandy does hope that you’ve enjoyed our little soujourn at 34 Avenue Montaigne as much as I have…

And don’t forget there are a whole host of fragrances that I’ve not tried yet… get a feel for the range at the Caron website and if you feel any are deserving of my attention then Go on! Suggest a new scent or recommend an old one…

In the meantime though, charge your glasses, and raise them high as we say a toast…

“To Caron”

Yours ever

The Perfumed Dandy.

The Perfumed Dandy


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Can you cancan…? 1889 Moulin Rouge by Histoires de Parfums The Perfumed Dandy’s Scent Today 

The lights, the music, the girls…. the legs!!!

High kicking its way through history the Moulin Rouge is the seedy legend on the banks of Montmartre

The smell of greasepaint and powder and spicy cocktails, the faintest hint of illicit absinthe.

Surely this scent has the whole Grand Bal captured and bottled, n’est-ce pas?

The opportunity remains to choose other perfumes to be placed on The Dandy’s skin when The Hit Parade returns in the autumn.

If you would like to thrust forward a fragrance for future fame simply visit ‘Suggest and old scent or recommend a new one’ and leave your recommendation there.

Have an especially fragrant day!

Yours ever

The Perfumed Dandy.

The Perfumed Dandy


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