22
mai

 

eau-de-parfum-calandre-paco-rabanne-0576

In 1969 Paco Rabanne  wanted to launch its first perfume. The brief gave to the perfumers was decadent and provocative : during a walkway in front of the sea, a couple make love on the bonnet of a Jaguar. Perfumers had to imagine the smells of the bodies and metal add to the smells of the nature around the couple.

The result is  a perfectly balanced, sparkling fragrance of crisp herbals, classic floral and powdery woods.

Calandre de Paco Rabanne : parfum de 1969


L’histoire de Calandre correspondait bien à l’idée de liberté évoquée par l’année 1969. Pour le lancement de son premier parfum le brief de Paco Rabanne aux parfumeurs était de créer un parfum qui retranscrirait l’odeur d’un couple faisant l’amour sur le capot d’une Jaguar, l’été ,au bord de la Méditerrannée.

Calandre fut le premier parfum à introduire une note de synthèse métallique : mélange d’amer et de crémeux. Renouvelant le genre floral aldéhydé , il y introduit le muguet en vedette aux côtés de l’ylang-ylang, du jasmin, du chèvrefeuille et du gardénia. Cette nouvelle note verte, aldéhydé et incisive donne son côté métallique à Calandre. Son fond est boisé, poudré par l’iris et se remarque une note vétiver très douce, due à l’acétate de vétyvérile et au santal de mysore.

  • Share/Save/Bookmark
20
mai

 

A veritable plant bomb, it gives a strong, green note, gustative and woody, which adds much naturalness in perfumes.

Egypt, the Nile delta…

violettedemarsodorante

Heat, the soil enriched by the mythical river over thousands of years, intensive irrigation and filtered shadow, it is the ideal life for the leaf of the violet.

It appreciates these surroundings so much that it unfolds in long green ribbons under the friendly shade of the date palms. Its other particular favourite spot is just a stone’s throw from Grasse, at Tourette-sur-Loup where it spreads over terraces, this time under the shade of the olives, when they still exist! The violet leaf loves the Mediterranean climate.

In the subtle play of light and shade, green waves of thousands of heart-shaped leaves display their delicate veins on a background of chlorophyll. So tightly packed, almost asphyxiating, they form a shield protection the shy, fragile, buds of the future flowers.

An image of timidity and innocence and yet the strong perfume characterised by the violet is not so reserved. Nor its social image. Born in the grass, it has adorned bishops and archbishops. Black, the color of mourning the world over, violet became the royal black, what social climbing! The nineteenth century was devoted to it : at the opera hundreds of women held a bouquet of violets. Although born in the shade  it loves exposure!

Even more ambiguous is that it is intimately linked with seduction and the games of transient loves. A beautiful destiny for a flower which appears so modest and discreet, which in the world of lovers is only surpassed by the rose.

In perfumery too, its destiny has been less successful than its great rival. But it had master trump. The leaf…To begin with only the flower was used in perfumery. The first plantation around Grasse date from 1867. The perfume was extracted by “enfleurage”. Fresh, iridescent, powdered, it was the incarnation of femininity for generations of women. At the end of the last century, the appearance of extraction solvents allowed the leaf to be used as well. Thus, until the 40’s perfume was extracted from both the flower and the leaf. Today we do not use the perfume for the flowers. The yield from extraction is so poor that it has become more profitable to regenarate it with synthetic products.

Also the leaf rests alone in its ability to liberate its own special scent. And what a scent! Nothing synthetic is able to match it.

With galbanum it provides one of the only two natural green tints used in perfumery. A concentration of plant power unique in the perfume makers’ palette. Paradoxically it becomes mild when blended, friendly, benign, and conciliatory with other raw materials. In short, it is unquestionably diplomatic. In perfumes, the concentration of chlorophyll that it releases adds an evergreen crispness, naturally spontaneous, energising… A veritable plant bomb!

A green ambassador, it gives a very good illustration of olfactory modernity and ecological conciliation… And if the flower is only a virtual representation, the leaf, in a context of thirst for nature and true emotions, exhibits a very promising future…

Discover our BLANC VIOLETTE

blanc-violette

La feuille de violette, ambassadrice du végétal

Egypte, delta du Nil… Chaleur, sol enrichi pendant des millénaires par le fleuve mythique, irrigation intensive et ombre tamisée, c’est l’idéal de vie de la feuille de violette. Elle apprécie tellement cette ambiance qu’elle se déroule en longs rubans verts sous l’ombre amicale des dattiers. Son autre lieu de villégiature privilégié reste à quelques pas de Grasse, plus précisément à Tourette-sur-Loup où elle s’étale en terrasses, cette fois-ci à l’ombre des oliviers, lorsqu’il en existe encore! La feuille de violette affectionne les climats méditerranéens.

Dans les jeux subtils, d’ombre et de lumière, des vagues vertes de milliers de feuilles en forme de coeur affichent des nervures délicates sur une robe chlorophylle. Serrées les unes contre les autres jusqu’à l’asphyxie et formant un bouclier, elles cachent, timides et fragiles, les boutons des futures fleurs.

Une image de timidité et d’innocence, et pourtant le parfum puissant et typé de la violette n’est pas vraiment réservé. Son image sociale non plus. Née dans l’herbe, elle a couvert de sa livrée évêques et archevêques. Le noir est le deuil de tout le monde, la couleur de la violette est devenue le noir des rois, bel exemple d’ascension! Le XIXe siècle l’a consacrée : à l’Opéra, des centaines de femmes avaient un bouquet de ces précieuses violettes à la main. Née à l’ombre, elle est de celles qui aiment la lumière!

Plus ambiguë encore, elle est aussi intimement liée à la séduction amoureuse et aux jeux plus ou moins impossibles des amours passagères. Beau destin pour une fleur d’apparence modeste et pudique qui, sur le terrain amoureux, n’a été supplantée que par la rose.

En parfumerie aussi son destin a été moins heureux que celui de sa grande rivale. Mais elle avait un autre atout maître. La feuille…Au commencement, seule la fleur était utilisée en parfumerie. Les premières plantations dans la région de Grasse remontent à 1867. Le parfum était extrait par enfleurage. Frais, irisé, poudré, il a incarné la féminité pour des générations de femmes. A la fin du siècle dernier, l’apparition des solvants d’extraction a permis de traiter également la feuille. On a ainsi extrait le parfum des fleurs et des feuilles jusque dans les années quarante. Aujourd’hui  on ne capture plus le parfum des fleurs de violette. Il est devenu plus avantageux de le reconstituer avec des produits de synthèse.

Aussi la feuille reste-t-elle seule à libérer son esprit parfumé. Et quel parfum! Aucune note de synthèse n’a réussi à l’égaler.

Avec le galbanum, elle fournit une des deux seules notes vertes utilisées en parfumerie. Un concentré de puissance végétale unique dans la palette du parfumeur. Paradoxalement elle sait aussi se faire douce dans les formulations, aimable, souriante, conciliante avec les autres matières premières. Bref elle arbore des qualités de diplomatie indiscutables. Dans les parfums le concentré de chlorophylle qu’elle délivre ajoute une fraicheur persistante, une naturalité spontanée et beaucoup d’énergie. Une vraie bombe végétale !

Ambassadrice des notes vertes, elle présente une très jolie illustration de modernité olfactive et de pacification écologique…Et si la fleur n’est plus qu’une représentation virtuelle, dans un contexte de soif de nature et d’émotions vraies, affiche un futur très prometteur…

Pourquoi ne pas redécouvrir à l’occasion notre BLANC VIOLETTE


  • Share/Save/Bookmark
18
mai

19090882_w434_h_q80

CANNES, France - Ang Lee views his 1970s drama “The Ice Storm” as a representation of the disillusionment of the ’60s, the hangover of Woodstock.

Now director Lee has gone back in time a few years to capture the party that led to the hangover. “Taking Woodstock,” Lee’s Cannes Film Festival entry, presents a loving glimpse of the behind-the-scenes hijinks that resulted in the gloriously sloppy music fest.

Set in 1973, 1997’s “The Ice Storm” was a portrait of suburban families unraveling amid adultery, casual drug use and the backdrop of the Watergate scandal. “Taking Woodstock” shows the summer-long buildup to the 1969 rock ‘n’ roll gathering that lured half a million free spirits to a rainy, muddy patch of farmland.

Woodstock “has a symbolic meaning to me. It’s the innocence of a young generation departing from the old establishment and trying to find a more refreshing way, more fair way, to live with everybody else,” Lee said Saturday before the Cannes premiere of “Taking Woodstock.”

“It was dirty, filthy. It was actually a mess,” said Lee, a best-director Academy Award winner for “Brokeback Mountain.”

“But you have to give those kids, those half a million kids credit, that actually, they had three days of peace and music. Nothing violent happened. I think that’s something. I don’t know if we can pull that off today.”

Based on the memoir by Elliot Tiber, “Taking Woodstock” is the story of a dutiful son (Demetri Martin) who views the upcoming rock festival as a means to save his parents’ seedy Catskills motel from foreclosure. After Woodstock organizers lose their permit to stage the event in a nearby town, Elliot brokers a deal with the promoters to stage the event on the dairy farm of his neighbor Max Yasgur (Eugene Levy) in Bethel, New York.

Taking Woodstock Ang Lee- Trailer

“Taking Woodstock” also features Emile Hirsch, Liev Schreiber, Imelda Staunton and Henry Goodman.

It’s Lee’s lightest film since the mid-1990s, when he made the romances “Sense and Sensibility,” “Eat Drink Man Woman” and “The Wedding Banquet.”

The project landed on Lee’s desk by chance while he was promoting his last film, the dark World War II-era spy thriller “Lust, Caution.” Tiber was the guest following Lee on a San Francisco TV talk show. The two talked a bit and Tiber gave Lee a copy of his book.

“I was yearning to do a comedy-slash-drama again without cynicism,” Lee said. “It took me a long way to get there. I thought after 13 years, I sort of earned the right to do it, just be relaxed, be happy and at peace with myself and everybody else.”

With a 1960s-soaked soundtrack featuring The Band, Canned Heat, Joan Baez, Richie Havens and Country Joe and the Fish, “Taking Woodstock” is awash in period detail, from Volkswagen Love Bugs to hippie hair and sideburns to a vintage Slinky toy commercial on TV.

Lee ran a hippie camp to teach the extras the right way to behave and carry themselves. The filmmakers said their hardest task was getting the extras to look like ’60s youths.

Screenwriter James Schamus — who heads Focus Features, which is releasing “Taking Woodstock,” and who won the 1997 screenplay prize at Cannes for “The Ice Storm” — said there’s a different look to today’s young people, with their passion for fitness and disdain for pubic hair.

Said Schamus: “When you think about it, a generation of people who weren’t fat, who weren’t staring at themselves in the mirror all the time, and not shaving everything off down there, it captures the difference of 40 years right there.”

taking_woodstock_haut1

Le nouveau film de Ang Lee : Taking Woodstock

Après six tragédies consécutives, le cinéaste Ang Lee voulait tourner une comédie et “Taking Woodstock”, en compétition à Cannes, lui a permis d’évoquer “sans cynisme” l’innocence d’une jeunesse en quête de paix et d’amour.

“J’ai fait six tragédies à la suite. Je voulais tourner une comédie avec du drame mais sans cynisme. Je voulais faire ce film à ce point de ma carrière”, a rappelé Ang Lee, 54 ans, lors d’une conférence de presse.

Le cinéaste taïwanais, qui vit aux Etats-Unis mais tourne alternativement dans ce pays et en Asie, habitait encore à Taïwan au moment de Woodstock (1969) mais il avait suivi ce concert au long cours à la télévision.

“Woodstock symbolise l’innocence d’une jeune génération qui cherche une façon de faire plus équitable pour vivre avec d’autres êtres humains, d’autres cultures, d’autres races et comment vivre en paix avec la nature et avec l’ensemble de la vie (…) Ils ont semé des germes que nous prenons sérieusement maintenant”, a-t-il souligné.

“Evidemment, je présente Woodstock de façon parfaite. Je sais qu’en fait que c’était un bourbier, que c’était très sale mais il fallait donner (aux participants à Woodstock, ndlr) le crédit d’avoir vécu trois jours de paix et de musique. Je ne sais pas si l’on pourrait faire la même chose aujourd’hui”, a ajouté Ang Lee.

Le cinéaste était venu à Cannes pour la première fois en compétition 1997 avec son film “Ice storm”. Son dernier long-métrage présenté au festival cannois, avant “Taking Woodstock”, était “Tigre et dragon”, en 2000.

Ang Lee a reçu deux Lions d’or à la Mostra de Venise pour “Lust, caution” (2007) et “Le secret de Brokeback mountain” (2005). Il a également été primé comme meilleur réalisateur pour ce dernier film aux Oscars.

taking_woodstock_31

  • Share/Save/Bookmark
15
mai

Avant le week-end ou pour profiter des beaux jours de mai, voici des informations sur le festival des jardins de Chaumont sur Loire. J’aime beaucoup ce lieu et ce festival, très poétique, qui incite à la rêverie au milieu de créations artistiques naturelles…

 

les-jardins-de-chaumont-sur-loire1

 

18 EME EDITION DU FESTIVAL INTERNATIONAL DES

JARDINS DE CHAUMONT-SUR-LOIRE

THEME DE L’ANNEE 2009 : JARDINS DE COULEUR

Qu’elle soit abordée selon des considérations philosophiques, symboliques ou scientifiques, éclatante ou subtile, la couleur est un élément incontournable du jardin.

Au jardin comme dans la peinture, l’homme s’efforce de comprendre et de maîtriser la couleur. Il cherche à faire naître des harmonies, des contrastes, des équilibres, conjuguant inlassablement leurs faisceaux de radiations.

En 2009, le Festival international des jardins montre que la palette végétale utilisée par les artistes et les paysagistes offre une infinie diversité d’associations chromatiques, dont les  vertus et l’énergie influent indéniablement sur les sens et l’esprit.

Contrepoint  tonique  à  la  grisaille  des  vies  et  des  villes,  usant  des  codes  secrets  des couleurs, cette nouvelle édition proposera des jardins sensibles, tout en nuances, jouant avec mille significations cachées, qu’ils soient monochromes, camaïeux subtils ou jardins de couleurs franches. L’on verra aussi que, grâce aux plantes tinctoriales, le monde végétal est à l’origine de bien des couleurs et des pigments dont usent les hommes, en général, et les artistes, en particulier.

Rouges intenses, bleus profonds, blancs ou noirs, les jardins de Chaumont surprendront par leurs propositions audacieuses ou insolites.

La  présidence  du  jury  du  Festival  2009  a  été  confiée  à  Michel  Pastoureau,  historien médiéviste  et  spécialiste  incontesté  de  la  couleur,  auteur  mondialement  reconnu  de nombreux ouvrages sur le sujet. Vingt jardins ont été sélectionnés par le jury, parmi près de 300 propositions venues du monde entier.

Carte verte a également été donnée à plusieurs personnalités :

- Patrick Blanc, qui effectue son retour à Chaumont-sur-Loire,

- Eric Borja et Simon Crouzet, qui interviendront dans le parc du château,

- Michel Racine et Béatrice Saurel qui réinventeront le chemin d’ombre du sentier

des fers sauvages,

- le peintre  Christophe Cuzin, spécialiste de la couleur,

- Christophe Robin, fou de jardins et coloriste exceptionnel

- Frédéric Pautz qui métamorphosera la serre de la Ferme.

Si les jardins de 2009 rayonneront de leurs couleurs, ils nous apporteront également de la lumière. Nouveauté absolue de 2009, les jardins du Festival pourront en effet être visités la nuit, à la lueur de diodes électroluminescentes.

Informations pratiques :

Domaine de Chaumont-sur-Loire  Sandrine Mahaut

41150 Chaumont-sur-Loire

T. 02 54 20 99 22

http://www.domaine-chaumont.fr/index.php

3

18TH INTERNATIONAL GARDEN FESTIVAL OF CHAUMONT-SUR-LOIRE

April 29 to October 18, 2009

2009 THEME: GARDENS OF COLOUR

Colour, bright or subtle, is essential in any garden, whether it is dealt with from a philosophical, religious, symbolic or scientific point of view.

In gardens, as in paintings, humankind endeavours to understand and to master colour in an attempt to bring about harmonies, balancing colours by uniting their arrays and radiation.

In 2009 the International Garden Festival will demonstrate that the vegetative palette used by the artists  and  landscape  architects  creates  an  infinite  diversity  of  chromatic  associations,  whose virtues and energy have an undeniable effect on the senses and the mind.

In stark contrast to the dull monotones of life and cities, through the use of secret codes of colour, this  latest  edition  proposes  attuned  gardens  of  all  shades,  subtle,  even-tempered  or  strongly coloured designs that play on thousands of hidden significations. We will see that it is because of tinctorial plants that the vegetal world is at the origin of many colours and pigments used by man in general and artists in particular.

Intense reds, deep blues, white or black, the gardens at Chaumont are surprising, daring and original proposals.

Michel  Pastoureau,  medievalist  historian,  irrefutable  specialist  and  author  on  the subject  of colour has been entrusted with the presidency of the 2009 Festival jury. Twenty gardens have been selected from almost 300 international proposals.

The offer of a, “Carte blanche”, or free hand has been extended to several personalities:

- Patrick Blanc, returning to Chaumont-sur-Loire with a new and exciting project,

- Eric Borja and Simon Crouzet, will intervene in the landscaped château grounds,

- Michel Racine et Béatrice Saurel will reinvent the “sentiers des fers sauvages”, shaded woodland walk,

- The painter, Christophe Cuzin, specialist in colours

- Exceptional colourist and garden enthusiast, Christophe Robin

The gardens will not only radiate colours. Designs from the 2009 edition of the Festival will also shower us with light. An absolute first for the International Garden Festival in 2009, the gardens will gleam with light emitting diodes allowing for nocturnal visits.

General information

Domaine de Chaumont-sur-Loire

41150 Chaumont-sur-Loire - France

Tel. +33 2 54 20 99 22

http://www.domaine-chaumont.fr/index.php

4

 

 

  • Share/Save/Bookmark
15
mai
Musk is the name originally given to a substance with a penetrating odor obtained from a gland of the male musk deer, which is situated between its stomach and genitals. The substance has been used as a popular perfume fixative since ancient times and is one of the most expensive animal products in the world. The name, originated from Sanskrit muá¹£ká meaning “testicle,” has come to encompass a wide variety of substances with somewhat similar odors although many of them are quite different in their chemical structures. They include glandular secretions from animals other than the musk deer, numerous plants emitting similar fragrances, and artificial substances with similar odors.

The musk deer belongs to the family Moschidae and lives in Pakistan, India, Tibet, China, Siberia and Mongolia. To obtain the musk, the deer is killed and its gland, also called “musk pod”, is removed. It is dried either in the sun, on a hot stone, or by immersion in hot oil. Upon drying, the reddish-brown paste turns into a black granular material called “musk grain”, which is used for alcoholic solutions. The aroma of the tincture becomes more intense during storage and gives a pleasant odor only after it is considerably diluted. No other natural substance has such a complex aroma associated with so many contradictory descriptions; however, it is usually described abstractly as animalic, earthy and woody or something akin to the odor of baby’s skin.

Good musk is of a dark purplish color, dry, smooth and unctuous to the touch, and bitter in taste. It dissolves in boiling water to the extent of about one-half; alcohol takes up one-third of the substance, and ether and chloroform dissolve still less. The grain of musk will distinctly scent millions of cubic feet of air without any appreciable loss of weight, and its scent is not only more penetrating but more persistent than that of any other known substance. In addition to its odoriferous principle, it contains ammonia, cholesterol, fatty matter, a bitter resinous substance, and other animal principles.

The best quality is Tonkin musk from Tibet and China, followed by Assam and Nepal musk, while Carbadine musk from Russian and Chinese Himalayan regions are considered inferior. Obtaining one kilogram (2.2 lb) of musk grains requires between thirty and fifty deer, making musk tinctures highly expensive. At the beginning of the 19th century, Tonkin musk grains cost about twice their weight in gold.

Musk has been a key constituent in many perfumes since its discovery, being held to give a perfume long-lasting power as a fixative. Despite its high price, musk tinctures were used in perfumery until 1979, when musk deers were protected as an endangered species by the Convention on the International Trade in Endangered Species of Wild Flora and Fauna (CITES). Today the trade quantity of the natural musk is controlled by CITES but illegal poaching and trading continues. An illegal shipment of 700 kilograms (1,500 lb) of Chinese musk from the musk deer was seized in Japan in 1987, an amount corresponding to approximately 100,000 deer killed. Until the late 19th century, natural musk was used extensively in perfumery until economic and ethical motives led to the adoption of synthetic musk, which is used almost exclusively. The organic compound primarily responsible for the characteristic odor of musk is muscone.

Modern use of natural musk pods is limited to Traditional Chinese medicine

Castoreum is the name given to the exudate from the castor sacs of the mature North American Beaver Castor canadensis and the European Beaver, Castor fiber. Within the zoological realm, castoreum is the yellowish secretion of the castor sac in combination with the beaver’s urine, used during scent marking of territory. Both male and female beavers possess a pair of castor sacs and a pair of anal glands located in two cavities under the skin between the pelvis and the base of the tail. The castor sacs are not true glands (endocrine or exocrine) on a cellular level, hence references to these structures as preputial glands or castor glands are misnomers.
Today, it is used in trapping, as a tincture in some perfumes, or touted as an aphrodisiac.

In perfume-making, the term castoreum is more liberally applied to denote the resinoid extract resulting from the dried and alcohol tinctured beaver castor. The dried beaver castor sacs are generally aged for two or more years to mellow and for their raw harshness to dissipate. In perfumery, castoreum has largely been used as an animalic note suggesting leather, compounded with other ingredients including top, middle, and base notes as a composition. Some classic perfumes incorporating castor are Emeraude, Coty Chanel Cuir de Russie, Magie Noire, Lancôme Caractère, Hechter Madame, Carven, Givenchy III, Shalimar, and many “leather” themed compositions.  Twenty four compounds known to be constituents of beaver castoreum were individually screened for pheremonal activity. These are the phenols 4-ethylphenol and 1,2-dihydroxybenzene and the ketones acetophenone and 3-hydroxyacetophenone. Five additional compounds noted are 4-methyl-1,2-dihydroxybenzene, 4-methoxyacetophenone, 5-methoxysalicylic acid, salicylaldehyde, and 3-hydroxybenzoic acid.

The civet produces a musk (also called civet) highly valued as a fragrance and stabilizing agent for perfume. Both male and female civets produce the strong-smelling secretion, which is produced by the civet’s perineal glands. It is harvested by either killing the animal and removing the glands, or by scraping the secretions from the glands of a live animal. The latter is the preferred method today.
Ambergris occurs as a biliary secretion of the intestines of the sperm whale, and can be found floating upon the sea, or in the sand near the coast. It is also sometimes found in the abdomens of whales. Because giant squids’ beaks have been found embedded within lumps of ambergris, scientists have theorized that the whale’s intestine produces the substance as a means of easing the passage of hard, sharp objects that the whale might have inadvertently eaten.Ambergris can be found in the Atlantic Ocean; on the coasts of Brazil and Madagascar; and on the coast of Africa, of the East Indies, The Maldives, mainland China, Japan, India, Australia, New Zealand and the Molucca islands. Most commercially collected ambergris comes from the Bahama Islands and Providence Island in the Caribbean. Ambergris has a peculiar sweet, earthy odor. The principal  use of ambergris was as a fixative in perfumery, though it has now been largely displaced by synthetics.

Animal rights groups, such as the World Society for the Protection of Animals, express concern that harvesting musk is cruel to animals. Between these ethical concerns and the availability of synthetic substitutes, the practice of raising civets for musk is dying out. Chanel  claims that natural civet has been replaced with a synthetic substitute since 1998.

Ambergris ( or grey amber) is a solid, waxy, flammable substance of a dull gray or blackish color produced in the digestive system of sperm whales.

L’ambre gris

A ne pas confondre avec l’ambre jaune, cette résine fossile à couleur de miel dont on fait des bijoux. Rien à voir non plus avec l’ambrette, graine originaire du Brésil, qui est bien un ingrédient de parfumerie, mais sans rapport avec l’ambre gris.

Ce dernier est une création exclusive du cachalot qui, à force de manger trop de poulpes, se créé des embarras digestifs et finit par rejeter en mer une humble concrétion intestinale dite “ambre gris”. Plus légère que l’eau, cette matière flotte durant des jours au gré des courants pour finir par échouer sur une plage. une fois récolté, l’ambre est mis à sécher plusieurs mois jusqu’à ce que son odeur, plutôt nauséabonde, laisse place à une délicate senteur iodée. cet ingrédient d’une finesse remarquable, très prisé des parfumeurs, est utilisé comme fixateur dans les parfums d’excellente qualité. Mais on y a recours avec parcimonie : ce produit de hasard, qui échappe à tout circuit de production est très couteux.

Lorsqu’on parle d’interdire les matières animales, c’est donc une bêtise par rapport à l’ambre gris, qui est une secrétion rejettée par l’animal. Au contraire protéger ces animaux pour continuer à récolter leur précieux ambre sur les plages serait une meilleure solution.

Le castoréum

Le castor russe, qui se nourrit de poissons, produit un castoréum de piètre qualité. Celui du castor canadien, en revanche, dégage une senteur subtile d’encre et de cuir. Cette substance huileuse, avec laquelle le castor graisse sa peau, est produite par une paire de glandes internes. On”récolte”donc le castoréum en janvier au moment où les trappeurs canadiens chassent l’animal, grand déprédateur forestier qui est nuisible pour le biotope en trop grand nombre. En parfumerie ce produit exalte les senteurs et participe aux fragrances orientales ou chyprées. Cependant il est de moins en moins utilisé à cause d’une mauvaise opinion publique.

La civette

Cette sorte de chat sauvage d’Ethiopie utilise une sécrétion d’odeur puissante pour marquer son territoire. Or, par chance pour la civette!, cette substance provient d’une poche extérieure. Si bien qu’il lui arrive de la  perdre dans les broussailles, auquel cas il n’y a qu’à la ramasser. La civette est également élevée dans les fermes éthiopiennes (qui permettent de créer de l’emploi dans ses régions) où sa précieuse sécrétion est ainsi prélevée. De cet excellent fixateur Jacques Guerlain disait : “Si je ne devais plus utiliser qu’un seul produit animale ce serait la civette”, qui en effet est présente dans Shalimar et Jicky.

Le musc

Rareté des raretés, le musc qui a toujours été un produit couteux est devenu aujourd’hui inacessible. Le petit chevrotin porte-musc, qui broute l’artémise parfumée des prairies de l’Himalaya, est désormais protégé. La chasse est limitée et le chevrotin mâle refuse de “fabriquer” du musc en captivité. Du coup, pour produire les exhalaisons sensuelles de sa poche abdominale, on a de plus en plus recours au “musc moderne”, notes animales de synthèse.

Protection des espèces et contrebande

Aujourd’hui certains pays, comme la Grande-Bretagne, refusent d’intégrer des produits animaux à leur compositions et n’emploient que des muscs de synthèse. Il n’empêche que le musc, très utilisé en Asie, continue de faire l’objet d’un commerce extrêmement lucratif: la vakeur d’un kilo de musc brut est d’environ 70 000 euros. Par ailleurs, les réglementations très sévères stimulent la contrebande. Avec deux poches de musc, un tibétain peut vivre pendant un an!

  • Share/Save/Bookmark
14
mai

 

couv

Imaginez un personnage, appelons-le monsieur Eme, qui ne vit que par, pour et grâce à son parfum. . Monsieur Eme est aujourd’hui à la retraite, après avoir mené une vie d’espion. Disons que notre héros est un James Bond un peu particulier. De ses aventures géopolitiques, nous ne saurons rien. Mais de ses conquêtes féminines, nous en saurons un peu plus. Notamment la clé de son succès  : son parfum. Selon lui, les femmes qui ont partagé  sa vie  retiennent de lui son odeur si particulière.Jour maudit donc, que celui où Monsieur Eme, dandy et séducteur incomparable, découvre que son parfum, Musc, qu’il utilise depuis quarante ans, n’est plus tout à fait la même. Un groupe international a racheté la marque et modifié la composition du produit. Or, pour Monsieur Eme, Musc était l’arôme magique, la touche essentielle, le secret ultime de sa capacité à séduire…monsieur Eme est désespéré. Et se lance ainsi dans une quête éperdue de tous les flacons disponibles de l’ancienne version, pour satisfaire sa consommation personnelle jusqu’à la fin présumée de son espérance de vie. Mais lorsqu’il comprend que sa collecte ne durera que pour trois ans de consommation, que tout recours est impossible, monsieur Eme opte pour une solution radicale. 

Avec cette rêverie sur le vieillissement et sur l’idée fixe, Percy Kemp, écrivain d’origine britannique et d’expression française, impose un ton singulier, fait d’impassibilité apparente, d’humour retenu et de gravité secrète.

  • Share/Save/Bookmark
12
mai

I am found of the rose right now so I would like to propose you two little beauty formulas with this amazing flower.

The Rose Water

*500g  of  damas rose petals

*1L of pure water

1. Boil water. When the water is boiling, put out of the fire and dip the rose petals in hot water.

2.Infuse during 3/4 days and seep

3.Put it in a bottle and keep it in a cool place

Unlike the real rose water obtained by distillation, this water is short lasting and you must keep it in your fridge. This rose water can be use as a facial tonic after make-up removal.

Face Lotion

*5g of almond powder

*66.5fl oz of orange blossom water

*66.5 fl oz of rose water

*5 drops of  benzoin rinse

1.Mix all the ingredients and put them into a bottle

2.Let it soak during 15 days

3. Seep it with a paper filter  and put into a bottle

This facial tonic is great foir oily skins after make-up removal.

le-poilu

 

Bonjour,

En ce moment je développe une passion dévorante et inexplicable pour les roses, je vais donc vous proposer aujourd’hui les recettes de deux potions de grand-mère à la rose.

L’eau de Rose

*500g de pétales de roses de Damas

*1 L d’eau distillée

1.Faites chauffer l’eau. Dès qu’elle bout, éteignez le feu et plongez les pétales de roses dans le liquide chaud.

2. Laissez infuser 3 à 4 jours et filtrez.

3. Mettez en flacon et conservez au frais.

Contrairement à la véritable eau de rose obtenue par distillation, cette eau ne se conserve pas longtemps et il faut la mettre au réfrigérateur. Elle  peut également servir de tonique après le démaquillage.

Une lotion pour le visage

* 5 g d’amandes en poudre

* 200 cl d’eau de fleur d’oranger

*200 cl d’eau de rose

*5 gouttes de teinture de benjoin

1.Mélangez tous les ingrédients et versez dans un flacon.

2.Laissez macérer pendant 15 jours.

3.Filtrez avec un filtre en papier et mettez en flacon.

Vous utiliserez cette lotion, plutôt réservée aux peaux grasses, comme tonique après le démaquillage.

  • Share/Save/Bookmark
07
mai

 

Chic, rich, secret

rosa-damascena-bifera1

It was in the form of a variety of the briar rose that roses first appeared, some forty million years ago. The Rose Damascena, coming from a cross between the Rose Gallica, cultivated between Mesopotamia and Palestine and the Rose Phoenica or Pheonician, also cultivated in the Near East. The Rose Damascena is also called “the Damask Rose”, the crusaders having discovered it in Damascus.

Few civilizations or religions have resisted it charms for long. In the Far East only the lotus equals it. Admired by the Greeks, Romans, Persians, Chinese and Mongols…the rose has a long history of seduction.

One of its greatest devotees was probably Nero who had it everywhere. During a festival near Naples, he sent four millions sesterces in its honour: rose water gushed from the fountains, the ground and cushions were strewn with petals, they rained down from the ceilings as they had the reputation of dispelling alcoholic fumes…The guests wore them as head-dresses and garlands and at the end of the orgies, rose cake were served.

The flower of all the excesses of antiquity , it was then taken up by the church in the fourth century A.D when it became associated with the worship of the Virgin Mary…and when it then started to acquire an irreproachably good reputation.

But we owe it to the Arabs for its propagation as a perfume rose. They introduced it in the valley of dadès in Morrocco, in Bulgaria, and when forced out of this country, in Turkey. Even today, these three countries remain the principal producers of roses for the perfume industry.

In Grasse, it is the sublime Rose Centifolia which has survived. The unique climate and soil makes this an exceptional plant, without parallel, but today only anecdotal in terms of quantity.

And now let us head for the Anatolian plateau where numerous Turkish families cultivate the roses in the Isparta region.  A characteristic landscape, wild and austere, dotted with fields of roses and cherry trees. A beautiful blend of colours and odours!

In Turkey they are grown domestically. Picking is prickly, as this beauty does not give itself up easily.

It is fierce , its thorns are small but numerous. it seems that it has retained its distant origins in its wild character.

The fairly high bushes are not sparing in their blossoms and every morning during several weeks the roses offer themselves to the pickers.

The sacks, swollen with the harvest are then taken to the collectors who supply the factories where they are distilled or extracted. A lot of flowers are needed to produce rosewater, essential oils, concrete and absolute. For one kilogram of absolute, the perfume maker’s true diamond, one needs 750kg of flowers. And the essential oil obtained by distillation needs even more…

The olfactory sophistication of the rose is indeed impressive. Its chemical make up is complex and renders it inimitable, no less than 300 compounds and only traces of some, but which nevertheless have a specific effect on its fragrances. It offers to the creativity of noses the possibility of infinite transformations. Each time it gives different tonalities, whether the harmony is floral, woody, amber, spiced…It is the incontestable queen of the palette of the perfume maker, his muse.

Either in strenght or finesse, the rose possesses a universal olfactory language. Quintessence of feminity, it embodies chic elegance and always a secret aspect…Never revealing itself, the thorns for protection and this gift of disguise to cloud the issue.

An exception perhaps with patchouli. Together they form the perfect couple. It cats as an illumination and only whith it does the rose reveal its true nature.

Scented plants too have their great love stories…

You can smell an amazing spicy rose in our perfume 1876, Mata hari.

mata_hari_13

 

C’est sous la forme d’une variété d’églantine que les roses sont apparues sur terre, il y a quelques quarante millions d’années. La rose Damascena provient d’un croisement entre la rose Gallica , cultivée très anciennement entre la Mésopotamie et la Palestine, et la rose Phoenica ou phénicienne, également cultivée au Proche-Orient. La rose Damascena est appelée aussi “Rose de Damas”, les croisés l’ayant découverte dans cette ville.

Peu de civilisations ou de religions purent résister longtemps à son charme. En Extrême-Orient, elle n’a d’égal que le lotus. Adulée par les Grecs, les Romains, les Perses, les Chinois, les Mongols…, la rose a une longue carrière de séductrice.

Un de ses plus grands adorateurs fut probablement Néron, qui en arrosait tous ses appartements. Lors d’une fête près de Naples, il dépensa en son honneur quatre millions de sesterces : l’eau de rose jaillissait des fontaines; le sol, les coussins étaient jonchés de pétales de roses, il en pleuvait des plafonds, car elle avait la réputation de dissiper les vapeurs d’alcool…Les convives portaient les fleurs en couronne et en colliers, et à la fin des orgies on servait des gâteaux de roses.

Fleur de tous les excès dans l’Antiquité, elle a été récupérée au IVe siècle après Jésus-Christ par l’Eglise qui l’associa au culte de la Vierge Marie…et lui rebatit ainsi une réputation irréprochable.

Mais c’est aux Arabes que l’on doit la propagation de la rose au parfum. Ils l’auraient introduite dans la vallée de Dadès au Maroc, en Bulgarie, puis chassés de ce pays, en Turquie. Actuellement ces trois pays restent les principaux producteurs de roses à destination de la parfumerie.

A Grasse, il subsiste bien sûr la sublime Rose Centifolia. Le climat et son terroir unique font de cette rose un cru exceptionnel, sans équivalent, mais aujourd’hui anecdotique en termes de quantité.

Cap sur le plateau anatolien où de nombreuses familles turques cultivent des roses dans la région d’Isparta. Paysages de caractère, sauvages et austères, émaillés de champs de roses, ils hébergent aussi des cerisiers. Belle symbiose de couleurs et d’odeurs!

En Turquie, la culture est familiale. Sa cueillette est piquante, car la belle ne se laisse pas facilement capturer. Ses épines sont petites mais nombreuses. Il semble bien qu’elle ait conservé de ses origines lointaines un caractère encore sauvage.

Les buissons, assez hauts, ne sont pas avares de fleurs et chaque matin, pendant plusieurs semaines, les roses s’offrent aux ceuilleurs.

Les sacs gonflés par la récolte sont ensuite apportés aux collecteurs qui fourniront les usines où elles sont distillées ou extraites. Pour obtenir une eau de rose, huile essentielle, concrète  et absolu, il faut beaucoup de fleurs, 750 kilogrammes pour un seul kilogramme d’absolu, véritable diamant du parfumeur. Et l’huile essentielle obtenue par distillation en exige encore davantage.

La sophistication olfactive de la rose est en effet impressionnante.  Sa chimie est complexe et la rend inimitable, pas moins de 300 composants dont certains à l’état de traces, mais qui ont pourtant une incidence déterminante sur sa fragrance. Elle offre à la créativité des nez des possibilités de transformations infinies. Elle donne à chaque fois des tonalités différentes, que les accords soient floraux, boisés, ambrés, épicés…C’est la reine incontestée de la palette du parfumeur, sa muse.

Toute en puissance et en finesse, la rose possède un langage olfactif universel. Quintessence de la féminité, elle incarne le chic et l’élégance, et toujours cette part de secret…Ne jamais se dévoiler, des épines pour se protéger et ce don de se grimer à l’infini pour brouiller les pistes.

Une exception peut-être avec le patchouli. Avec lui, elle forme un couple parfait. Il agit sur elle comme un révélateur et, avec lui seulement, elle nous livre sa vraie nature.

Retrouvez une sublime rose épicée dans notre parfum 1876  Mata Hari.

1876-mata-hari


  • Share/Save/Bookmark
01
mai

 

easy_rider5b45d

Easy Rider is a 1969 American road movie written by Peter Fonda, Dennis Hopper and Terry Southern and directed by Hopper, about two bikers who travel through the American Southwest and South. It stars Fonda, Hopper, and Jack Nicholson and was produced by Fonda. Easy Rider helped spark the New Hollywood phase of filmmaking during the late sixties.

As a landmark counterculture film  and a “touchstone for a generation” that “captured the national imagination”, Easy Rider explores the societal landscape, issues, and tensions in the United States during the 1960s, such as the rise and fall of the hippie movement, drug use, and communal lifestyle.

The protagonists are two bikers: Wyatt, nicknamed ‘Captain America’ (Fonda), and Billy (Hopper). Fonda and Hopper have said that these characters’ names refer to Wyatt Earp and Billy the Kid. Wyatt dresses in American flag-adorned leather, while Billy dresses in Native American-style buckskin pants and shirts and a bushman hat.

After smuggling drugs from Mexico to Los Angeles, Wyatt and Billy sell their contraband to a man (played by Phil Spector) in a Rolls-Royce. With the money from the sale stuffed into the Stars&Stripes-adorned fuel tank of Wyatt’s California style chopper, they ride eastward in an attempt to reach New Orleans, Louisiana in time for Mardi Gras.

During their trip they pick up a hitch-hiker (Luke Askew) and agree to take him to his commune. An odd part to the commune scene is that here are studio sets of Native American tipis in the background as they go up the canyon for swimming, obviously a faux pas. They stay for a few days. Life in the commune appears to be hard, with hippies from the city finding it difficult to grow their own crops. One of the children seen in the commune is played by Fonda’s four-year-old daughter Bridget. At one point the bikers witness a prayer for blessing of the new crop, as put by a communard: A chance “to make a stand,” and to plant “simple food, for a simple taste.” The commune is also host to a traveling theater group that “sings for its supper” (performs for food). The notion of “free love” appears to be practiced, with two women seemingly sharing the affections of the hitch-hiking communard, and who then turn their attention to Wyatt and Billy. As Wyatt and Billy leave, the hitch-hiker (known only as “Stranger on highway” in the credits) gives Wyatt some LSD for him to share with “the right people.”

While jokingly riding along with a parade in a small town, the pair are arrested by the local authorities for “parading without a permit.” In jail, they befriend alcoholic ACLU lawyer George Hanson (played by Jack Nicholson). George helps them get out of jail and decides to travel with Wyatt and Billy. As they camp that night, Wyatt and Billy introduce George to marijuana. As an alcoholic and a square, George is reluctant to try the marijuana (”It leads to harder stuff”), but he quickly relents.

 While attempting to eat in a Louisiana restaurant, the trio’s appearance attracts the attention of the locals. The local high school girls in the restaurant want to meet the men and ride with them, but the local men and police officer make menacing remarks. One of the men even states, “They won’t even make the parish line.” Wyatt, Billy and George leave without eating and make camp outside of town. The events of the day cause George to comment: “This used to be a hell of a good country. I can’t understand what’s gone wrong with it.”

In the middle of the night, the local men return and brutally beat the trio while they sleep. Wyatt and Billy suffer minor injuries, but George is killed by a machete strike to the neck. Wyatt and Billy wrap George up in his sleeping bag, gather his belongings, and vow to return the items to his parents.

They continue to New Orleans and find the brothel which had been recommended by George. Taking two prostitutes, Karen (Karen Black) and Mary (Toni Basil), with them, Wyatt and Billy decide to go outside where the Mardi Gras is going on. They wander the parade-filled streets of New Orleans. They end up in a cemetery, where all four ingest LSD. They all experience a psychedelic bad trip infused with Catholic prayer, represented through quick edits, sound effects and over-exposed film.

In the end, though Billy remains oblivious, Wyatt declares: “You know Billy, we blew it.” Wyatt realizes that their search for freedom, while financially successful, was a spiritual failure. The next morning, the two are continuing their trip to Florida (where they hope to retire wealthy) when two rednecks in a pickup truck spot them, and decide to “scare the hell out of them” with their shotgun. As they pull alongside Billy and insult him, Billy sticks his middle finger up at them. In response, one of the men fires the shotgun at Billy and seriously wounds him, perhaps by accident. Wyatt immediately turns around to see his friend crashed and bleeding on the side of the road. As Wyatt goes for help, one of the rednecks fires at him as he speeds by the pickup. The shot hits the gas tank of Wyatt’s bike, causing it to explode. The explosion not only kills Wyatt, but also destroys the money - which was what they had staked their life on. From the flaming bike on the side of the road, the camera ascends towards the sky, and the duo’s journey “looking for America” ends once and for all.


During the test shooting, Hopper, legendary at the time for his drug excesses and paranoia, tyrannized the crew so much that everyone quit. At one point he entered into a physical confrontation with photographer Barry Feinstein, who was one of the camera operators for the shoot. After the turmoil in New Orleans, Hopper and Fonda decided to assemble a proper crew for the rest of the film.

According to Terry Southern’s biographer, Lee Hill, the part of George Hanson had been written for Southern’s friend, actor Rip Torn. When Torn met with Hopper and Fonda at a New York restaurant in early 1968 to discuss the role, Hopper began ranting about the “rednecks” he had encountered on his scouting trip to the South. Torn, a Texan, took exception to some of Hopper’s remarks, and the two almost came to blows, as a result of which Torn withdrew from the project and had to be replaced by Jack Nicholson. In 1994, Hopper was interviewed about Easy Rider by Jay Leno on The Tonight Show, and during the interview, he alleged that Torn had pulled a knife on him during the altercation, prompting Torn to successfully sue Hopper for defamation.

The hippie commune had to be recreated from pictures and shot near Santa Monica, California overlooking Malibu Canyon, since the New Buffalo commune near Taos in Arroyo Hondo, New Mexico did not permit shooting there.

Most of the film is shot outside with natural lighting. While this can be attributed to the film being a road movie, at the time Hopper said all the outdoor shooting was an intentional choice on his part, because “God is a great gaffer.” The production used two five-ton trucks, one for the equipment and one for the motorcycles, with the cast and crew in a motor home. One of the locations was Monument Valley.

The restaurant scenes with Fonda, Hopper and Nicholson were shot in Morganza, Louisiana. The men and girls in that scene were all Morganza locals. In order to incite more vitriolic commentary from the local men, Hopper told them to play the scene as if Billy, Wyatt, and George had raped a girl outside of town. The scene in which both Captain America and Billy were shot was filmed on Highway 105 North just outside of Krotz Spring, Louisiana, and the two men in the scene were Krotz Springs locals.

While shooting the cemetery scene, Hopper tried to convince Fonda to talk to the statue of the Madonna as though it were Fonda’s mother (who had committed suicide when he was 10 years old) and ask her why she left him. Although Fonda was reluctant, he eventually complied. Later on, he used this scene as leverage to persuade Bob Dylan to allow the use of “It’s Alright, Ma (I’m Only Bleeding)”.

Despite being filmed in the first half of 1968, roughly between Mardi Gras and the assassination of Robert F. Kennedy, with production starting on February 22 the film did not have a U.S. premiere until July of 1969, after having won an award at the Cannes film festival in May. The delay was partially due to a protracted editing process. One of Hopper’s proposed cuts was 220 minutes long, inspired by 2001: A Space Odyssey (film). From his extensive use of the “flash-forward” narrative device, wherein scenes from later in the movie are inserted into the current scene, only one flash-forward survives in the final edit, when Wyatt in the New Orleans brothel has a premonition of the final scene. At the request of Bob Rafelson and Bert Schneider, Henry Jaglom was brought in to edit the film into its current form, with Hopper effectively removed from the project. Upon seeing the final cut, Hopper was extremely pleased, claiming that Jaglom had crafted the film the way Hopper had originally intended. Despite the large part he played in shaping the film, Jaglom only received credit as an “Editorial Consultant.”

s08_06b_easyrider

  • Share/Save/Bookmark
30
avr

bob-dylan-psychedelic

Following in the well-worn footsteps of the Beats, the hippies also used cannabis (marijuana), considering it pleasurable and benign. They enlarged their spiritual pharmacopeia to include hallucinogens such as LSD, psilocybin and mescaline. On the East Coast of the United States, Harvard University professors Timothy Leary, Ralph Metzner and Richard Alpert (Ram Dass) advocated psychotropic drugs for psychotherapy, self-exploration, religious and spiritual use. Regarding LSD, Leary said, “Expand your consciousness and find ecstasy and revelation within.

On the West Coast of the United States, Ken Kesey was an important figure in promoting the recreational use of psychotropic drugs, especially LSD, also known as “acid.” By holding what he called “Acid Tests”, and touring the country with his band of Merry Pranksters, Kesey became a magnet for media attention that drew many young people to the fledgling movement. The Grateful Dead (originally billed as “The Warlocks”) played some of their first shows at the Acid Tests, often as high on LSD as their audiences. Kesey and the Pranksters had a “vision of turning on the world. Harder drugs, such as amphetamines and heroin were also used in hippie settings; however, these drugs were often disdained, even among those who used them, because they were recognized as harmful and addictive.

Les psychotropes

Le LSD fut découvert en 1943 dans le laboratoire suisse Sandoz et sera déclaré illégal aux États-Unis le 6 octobre 1966. L’esthétique psychédélique peut être assimilée aux visions provoquées par le LSD. Il provoque en somme, une déformation de votre vision et vous entraine dans un état rêveur où réalité et rêve sont confondus. Le psychologue Timothy Leary, le chimiste Augustus Owsley Stanley III et le romancier Ken Kesey ont parmi d’autres encouragé la consommation de LSD. À cette époque, de l’acide a notamment été distribué gratuitement lors des acid tests des Merry Pranksters.

Il est possible de rattacher de nombreux courants artistiques à la consommation de psychotropes, aussi bien la musique (The Beatles, Pink Floyd, Grateful Dead, The Doors, Jimi Hendrix…) que le dessin et la mode.Outre le LSD, le cannabis était aussi massivement consommé par les hippies, en particulier sous sa forme la plus répandue, la Marijuana (qu’ils appelaient maryjane ou thé).

Pour les hippies, le but de cette consommation de psychotropes est une volonté d’ouverture d’esprit et d’abolition des frontières mentales.

  • Share/Save/Bookmark