Nina Ricci Farouche- The Lost Perfumes

I was well into adulthood the first time I visited Paris, so growing up, my idea of what is "French" was more than a little simplistic*. My parents favorite music: Yves Montand, Edith Piaf and Jacques Brel, subtitled movies with neverending dialogs (I didn't get it until being introduced to Eric Rohmer's films), fabulous desserts and Nina Ricci perfumes.

Why Nina Ricci? I'm not entirely sure. Chanel No. 5 was probably too global and universal and Miss Dior wasn't that far behind it. Nina Ricci was a more exotic name and embodied something I couldn't quite identify. White gloves? Hats? It doesn't make much sense considering I grew up in the 70s and 80s, and these images were already on the vintage side back then. My mother didn't wear any Nina Ricci perfume, though she received them as gifts a couple of times because her first name is Nina.

Farouche, an 1974 release is pretty much my childhood idea of a French perfume. An Aldehdyc floral with some spicy carnation and what I can now identify as an oakmoss base, but a relatively tame one. It's not a diva kind of chypre and it doesn't hang out in smoke-filled bars. Farouche keeps the pearls and gloves on from start to finish and doesn't let me in on its secrets, if it has any.

Farouche is pretty but aloof. It doesn't seem to belong in the 70s- consider other 1974 releases like Cristalle or Sisley Eau de Campagne. It would probably have done better a decade earlier, but then again, maybe its kind of tame prettiness was never meant to be a big hit. After all, if you compare it to Caleche (original formula), a quite iconic aldehydic floral chypre from the 60s, Farouche has absolutely no chance.

Nina Ricci perfumes are no longer what they used to be. The house changed hands and is currently in the business of churning out fruity-florals. Farouche has all but disappeared, though it can be occasionally found online. A few sellers still have the gorgeous Lalique bottle priced around $375, but I was lucky enough to find a sealed and still in paper gift wrap small (regular)bottle of the parfum sold for pennies, which is what I reviewed here.

*With endless apologies to my French readers.

Photo of Farouche in the Lalique bottle by Leora Long
Grace Coddington (yes, that Grace Coddington) in a Nina Ricci suit by photographer John French, 1965
Nina Ricci coats and hats from 1961 by Mark Shaw

Nina Ricci Farouche- The Lost Perfumes

I was well into adulthood the first time I visited Paris, so growing up, my idea of what is "French" was more than a little simplistic*. My parents favorite music: Yves Montand, Edith Piaf and Jacques Brel, subtitled movies with neverending dialogs (I didn't get it until being introduced to Eric Rohmer's films), fabulous desserts and Nina Ricci perfumes.

Why Nina Ricci? I'm not entirely sure. Chanel No. 5 was probably too global and universal and Miss Dior wasn't that far behind it. Nina Ricci was a more exotic name and embodied something I couldn't quite identify. White gloves? Hats? It doesn't make much sense considering I grew up in the 70s and 80s, and these images were already on the vintage side back then. My mother didn't wear any Nina Ricci perfume, though she received them as gifts a couple of times because her first name is Nina.

Farouche, an 1974 release is pretty much my childhood idea of a French perfume. An Aldehdyc floral with some spicy carnation and what I can now identify as an oakmoss base, but a relatively tame one. It's not a diva kind of chypre and it doesn't hang out in smoke-filled bars. Farouche keeps the pearls and gloves on from start to finish and doesn't let me in on its secrets, if it has any.

Farouche is pretty but aloof. It doesn't seem to belong in the 70s- consider other 1974 releases like Cristalle or Sisley Eau de Campagne. It would probably have done better a decade earlier, but then again, maybe its kind of tame prettiness was never meant to be a big hit. After all, if you compare it to Caleche (original formula), a quite iconic aldehydic floral chypre from the 60s, Farouche has absolutely no chance.

Nina Ricci perfumes are no longer what they used to be. The house changed hands and is currently in the business of churning out fruity-florals. Farouche has all but disappeared, though it can be occasionally found online. A few sellers still have the gorgeous Lalique bottle priced around $375, but I was lucky enough to find a sealed and still in paper gift wrap small (regular)bottle of the parfum sold for pennies, which is what I reviewed here.

*With endless apologies to my French readers.

Photo of Farouche in the Lalique bottle by Leora Long
Grace Coddington (yes, that Grace Coddington) in a Nina Ricci suit by photographer John French, 1965
Nina Ricci coats and hats from 1961 by Mark Shaw

Nina Ricci Farouche- The Lost Perfumes

I was well into adulthood the first time I visited Paris, so growing up, my idea of what is "French" was more than a little simplistic*. My parents favorite music: Yves Montand, Edith Piaf and Jacques Brel, subtitled movies with neverending dialogs (I didn't get it until being introduced to Eric Rohmer's films), fabulous desserts and Nina Ricci perfumes.

Why Nina Ricci? I'm not entirely sure. Chanel No. 5 was probably too global and universal and Miss Dior wasn't that far behind it. Nina Ricci was a more exotic name and embodied something I couldn't quite identify. White gloves? Hats? It doesn't make much sense considering I grew up in the 70s and 80s, and these images were already on the vintage side back then. My mother didn't wear any Nina Ricci perfume, though she received them as gifts a couple of times because her first name is Nina.

Farouche, an 1974 release is pretty much my childhood idea of a French perfume. An Aldehdyc floral with some spicy carnation and what I can now identify as an oakmoss base, but a relatively tame one. It's not a diva kind of chypre and it doesn't hang out in smoke-filled bars. Farouche keeps the pearls and gloves on from start to finish and doesn't let me in on its secrets, if it has any.

Farouche is pretty but aloof. It doesn't seem to belong in the 70s- consider other 1974 releases like Cristalle or Sisley Eau de Campagne. It would probably have done better a decade earlier, but then again, maybe its kind of tame prettiness was never meant to be a big hit. After all, if you compare it to Caleche (original formula), a quite iconic aldehydic floral chypre from the 60s, Farouche has absolutely no chance.

Nina Ricci perfumes are no longer what they used to be. The house changed hands and is currently in the business of churning out fruity-florals. Farouche has all but disappeared, though it can be occasionally found online. A few sellers still have the gorgeous Lalique bottle priced around $375, but I was lucky enough to find a sealed and still in paper gift wrap small (regular)bottle of the parfum sold for pennies, which is what I reviewed here.

*With endless apologies to my French readers.

Photo of Farouche in the Lalique bottle by Leora Long
Grace Coddington (yes, that Grace Coddington) in a Nina Ricci suit by photographer John French, 1965
Nina Ricci coats and hats from 1961 by Mark Shaw

YSL Rouge Volupté #22 Exquisite Plum

You don't need me to tell you that plum is big this fall. It's everywhere, from makeup to boots, and personally- I'm very happy about it. Plum lipsticks come in every shape and texture, from the sheerest to vampy opaque. I have several reviews coming, but decided to begin with one of the boldest options, YSL Rouge Volupté #22 Exquisite Plum. This is the star of the YSL fall makeup collection and it's impossible to ignore.

Exquisite Plum is dark, creamy and offers full coverage. This is a sexy, after dark color that commands attention and dresses up your outfit. It applies easily wears beautifully, just make sure to exfoliate your lips and use a liner. The texture is rich and moisturizing, it keeps the lips feeling soft without compromising the lasting power. Actually, this Rouge Volupté mostly survived dinner, though I reapplied to restore its shine.

Bottom line: Gorgeous (if you dare).

YSL Rouge Volupté #22 Exquisite Plum ($34) is available from any YSL counter. I hope they now have testers, because when I bought it a few weeks ago, my local Saks didn't have any and the SA said they were not allowed to make one. Is it better for their business to have customers return the product rather than just "waste" one as a tester?

Photos: mine

YSL Rouge Volupté #22 Exquisite Plum

You don't need me to tell you that plum is big this fall. It's everywhere, from makeup to boots, and personally- I'm very happy about it. Plum lipsticks come in every shape and texture, from the sheerest to vampy opaque. I have several reviews coming, but decided to begin with one of the boldest options, YSL Rouge Volupté #22 Exquisite Plum. This is the star of the YSL fall makeup collection and it's impossible to ignore.

Exquisite Plum is dark, creamy and offers full coverage. This is a sexy, after dark color that commands attention and dresses up your outfit. It applies easily wears beautifully, just make sure to exfoliate your lips and use a liner. The texture is rich and moisturizing, it keeps the lips feeling soft without compromising the lasting power. Actually, this Rouge Volupté mostly survived dinner, though I reapplied to restore its shine.

Bottom line: Gorgeous (if you dare).

YSL Rouge Volupté #22 Exquisite Plum ($34) is available from any YSL counter. I hope they now have testers, because when I bought it a few weeks ago, my local Saks didn't have any and the SA said they were not allowed to make one. Is it better for their business to have customers return the product rather than just "waste" one as a tester?

Photos: mine

YSL Rouge Volupté #22 Exquisite Plum

You don't need me to tell you that plum is big this fall. It's everywhere, from makeup to boots, and personally- I'm very happy about it. Plum lipsticks come in every shape and texture, from the sheerest to vampy opaque. I have several reviews coming, but decided to begin with one of the boldest options, YSL Rouge Volupté #22 Exquisite Plum. This is the star of the YSL fall makeup collection and it's impossible to ignore.

Exquisite Plum is dark, creamy and offers full coverage. This is a sexy, after dark color that commands attention and dresses up your outfit. It applies easily wears beautifully, just make sure to exfoliate your lips and use a liner. The texture is rich and moisturizing, it keeps the lips feeling soft without compromising the lasting power. Actually, this Rouge Volupté mostly survived dinner, though I reapplied to restore its shine.

Bottom line: Gorgeous (if you dare).

YSL Rouge Volupté #22 Exquisite Plum ($34) is available from any YSL counter. I hope they now have testers, because when I bought it a few weeks ago, my local Saks didn't have any and the SA said they were not allowed to make one. Is it better for their business to have customers return the product rather than just "waste" one as a tester?

Photos: mine

Watching "The September Issue". Can Vogue Be Saved?

I watched The September Issue this afternoon. It was fun, interesting, and even the husband who accompanied me didn't look tortured afterwards. If you've suffered through the informative but badly written Front Row, Anna Wintour's biography by Jerry Oppenheimer, or (the even worse) The devil Wears Prada, you're already familiar with Anna Wintour's special charm and probably have a general idea how a Vogue issue is produced. But watching it on screen is much more powerful, and it cements the shock and awe at the power, creativity and egos involved.

The movie gives some screen time to the intentional and unintentional hilarity of André Leon Talley, but the real star is neither André The Giant nor Cruella de Wintour. Grace Coddington, Vogue's long-suffering creative director, steals the show. She's inspired, artistic, knowledgable and utterly charming. She embodies everything I've ever loved about Vogue, even before her (and Wintour's) days in the magazine. We get to see her in action, watch her creative process and her struggles. While I have no choice but respect Anna Wintour's skill and achievements, it's Coddington who commands admiration for her work and personality. We want to strangle Wintour on her behalf and cheer when she ends up getting her way in the end.

The movie comes out at a time Vogue (and the entire publishing industry) is at the lowest point it's been in years. The September 2009 issue is no longer "the biggest one ever". Subscriptions, circulation and ad revenues are falling; magazines and newspapers are shutting down. It's a new world and the old media is having a hard time adjusting. You, my reader, being here is part of that. After all, blogs like this one came to be because the Beauty section of the magazines didn't deliver. Consumers want easy access, immediate information, honest reviews and the ability react, interact and participate in the process.

Can Vogue be saved?

I think the answer to that is yes. Probably because I strongly believe that it should be saved. Vogue has so much value as part of our culture and art. I've been a Vogue reader for most of my life, have always admired the work of Grace Mirabella and Diana Vreeland and would like to see the magazine emerge from Wintour's reign of terror and become better. It's an important resource that should be preserved and allowed to thrive, but it needs to adjust. I would like to see it step up, embrace the social media and engage its loyal readers and subscribers in ways that would enforce the magazine's relevance.

How do you feel about it? Do you think Vogue can be saved? How would you like to see the magazine evolve?

Photo of Grace Coddington and Anna Wintour from the NY Daily News

Watching "The September Issue". Can Vogue Be Saved?

I watched The September Issue this afternoon. It was fun, interesting, and even the husband who accompanied me didn't look tortured afterwards. If you've suffered through the informative but badly written Front Row, Anna Wintour's biography by Jerry Oppenheimer, or (the even worse) The devil Wears Prada, you're already familiar with Anna Wintour's special charm and probably have a general idea how a Vogue issue is produced. But watching it on screen is much more powerful, and it cements the shock and awe at the power, creativity and egos involved.

The movie gives some screen time to the intentional and unintentional hilarity of André Leon Talley, but the real star is neither André The Giant nor Cruella de Wintour. Grace Coddington, Vogue's long-suffering creative director, steals the show. She's inspired, artistic, knowledgable and utterly charming. She embodies everything I've ever loved about Vogue, even before her (and Wintour's) days in the magazine. We get to see her in action, watch her creative process and her struggles. While I have no choice but respect Anna Wintour's skill and achievements, it's Coddington who commands admiration for her work and personality. We want to strangle Wintour on her behalf and cheer when she ends up getting her way in the end.

The movie comes out at a time Vogue (and the entire publishing industry) is at the lowest point it's been in years. The September 2009 issue is no longer "the biggest one ever". Subscriptions, circulation and ad revenues are falling; magazines and newspapers are shutting down. It's a new world and the old media is having a hard time adjusting. You, my reader, being here is part of that. After all, blogs like this one came to be because the Beauty section of the magazines didn't deliver. Consumers want easy access, immediate information, honest reviews and the ability react, interact and participate in the process.

Can Vogue be saved?

I think the answer to that is yes. Probably because I strongly believe that it should be saved. Vogue has so much value as part of our culture and art. I've been a Vogue reader for most of my life, have always admired the work of Grace Mirabella and Diana Vreeland and would like to see the magazine emerge from Wintour's reign of terror and become better. It's an important resource that should be preserved and allowed to thrive, but it needs to adjust. I would like to see it step up, embrace the social media and engage its loyal readers and subscribers in ways that would enforce the magazine's relevance.

How do you feel about it? Do you think Vogue can be saved? How would you like to see the magazine evolve?

Photo of Grace Coddington and Anna Wintour from the NY Daily News

Watching "The September Issue". Can Vogue Be Saved?

I watched The September Issue this afternoon. It was fun, interesting, and even the husband who accompanied me didn't look tortured afterwards. If you've suffered through the informative but badly written Front Row, Anna Wintour's biography by Jerry Oppenheimer, or (the even worse) The devil Wears Prada, you're already familiar with Anna Wintour's special charm and probably have a general idea how a Vogue issue is produced. But watching it on screen is much more powerful, and it cements the shock and awe at the power, creativity and egos involved.

The movie gives some screen time to the intentional and unintentional hilarity of André Leon Talley, but the real star is neither André The Giant nor Cruella de Wintour. Grace Coddington, Vogue's long-suffering creative director, steals the show. She's inspired, artistic, knowledgable and utterly charming. She embodies everything I've ever loved about Vogue, even before her (and Wintour's) days in the magazine. We get to see her in action, watch her creative process and her struggles. While I have no choice but respect Anna Wintour's skill and achievements, it's Coddington who commands admiration for her work and personality. We want to strangle Wintour on her behalf and cheer when she ends up getting her way in the end.

The movie comes out at a time Vogue (and the entire publishing industry) is at the lowest point it's been in years. The September 2009 issue is no longer "the biggest one ever". Subscriptions, circulation and ad revenues are falling; magazines and newspapers are shutting down. It's a new world and the old media is having a hard time adjusting. You, my reader, being here is part of that. After all, blogs like this one came to be because the Beauty section of the magazines didn't deliver. Consumers want easy access, immediate information, honest reviews and the ability react, interact and participate in the process.

Can Vogue be saved?

I think the answer to that is yes. Probably because I strongly believe that it should be saved. Vogue has so much value as part of our culture and art. I've been a Vogue reader for most of my life, have always admired the work of Grace Mirabella and Diana Vreeland and would like to see the magazine emerge from Wintour's reign of terror and become better. It's an important resource that should be preserved and allowed to thrive, but it needs to adjust. I would like to see it step up, embrace the social media and engage its loyal readers and subscribers in ways that would enforce the magazine's relevance.

How do you feel about it? Do you think Vogue can be saved? How would you like to see the magazine evolve?

Photo of Grace Coddington and Anna Wintour from the NY Daily News

Dior Creme de Gloss

Dior offers so many lip products it's not so easy to keep them straight. Still, Crème de Gloss deserves a lot more attention and hype, as it just might be the best Dior lip gloss.

Crème de Gloss is a hybrid: something between a liquid lipstick and lip gloss. The coverage and pigment intensity are lipstick-like, but the texture is super light, moisturizing and glossy. Amazingly enough, it's not sticky. Unlike most liquid lipsticks, there are no goop and migration issues- Crème de Gloss stays where you put it (and application is easy and accurate. The slanted sponge wand is perfect for this texture) and never tries to meet your teeth. It feels great on the lips and the moisture holds up nicely, though the staying power is similar to any light gloss and requires reapplying after your first cup of tea.

The color range is impressive and full of great shades. The one I picked from Sephora is Creamy Burgundy (735) which actually looked darker at the store, so when I opened it at home I wondered if I made a mistake. The color looked a bit too warm and I wasn't sure I liked it. Until I put it on. Creamy Burgundy is a medium red that makes my face come alive. It's incredibly flattering and doesn't compete for attention with the rest of my makeup. It would be appropriate for day/office on most, unless you're extremely fair and keep red lip colors for evening only.

Creamy Burgundy has a luminous finish- somewhere between pearly and shimmery. It's delicate- not glittery or porn star-frosted. Other colors have a satin finish and I'm planning to check Plum Elixir and Creamy Rose next time I'm at the Dior counter.

Dior Crème de Gloss ($26) is available from most decent department stores and Sephora.

Photos: Mine

Dior Creme de Gloss

Dior offers so many lip products it's not so easy to keep them straight. Still, Crème de Gloss deserves a lot more attention and hype, as it just might be the best Dior lip gloss.

Crème de Gloss is a hybrid: something between a liquid lipstick and lip gloss. The coverage and pigment intensity are lipstick-like, but the texture is super light, moisturizing and glossy. Amazingly enough, it's not sticky. Unlike most liquid lipsticks, there are no goop and migration issues- Crème de Gloss stays where you put it (and application is easy and accurate. The slanted sponge wand is perfect for this texture) and never tries to meet your teeth. It feels great on the lips and the moisture holds up nicely, though the staying power is similar to any light gloss and requires reapplying after your first cup of tea.

The color range is impressive and full of great shades. The one I picked from Sephora is Creamy Burgundy (735) which actually looked darker at the store, so when I opened it at home I wondered if I made a mistake. The color looked a bit too warm and I wasn't sure I liked it. Until I put it on. Creamy Burgundy is a medium red that makes my face come alive. It's incredibly flattering and doesn't compete for attention with the rest of my makeup. It would be appropriate for day/office on most, unless you're extremely fair and keep red lip colors for evening only.

Creamy Burgundy has a luminous finish- somewhere between pearly and shimmery. It's delicate- not glittery or porn star-frosted. Other colors have a satin finish and I'm planning to check Plum Elixir and Creamy Rose next time I'm at the Dior counter.

Dior Crème de Gloss ($26) is available from most decent department stores and Sephora.

Photos: Mine

Dior Creme de Gloss

Dior offers so many lip products it's not so easy to keep them straight. Still, Crème de Gloss deserves a lot more attention and hype, as it just might be the best Dior lip gloss.

Crème de Gloss is a hybrid: something between a liquid lipstick and lip gloss. The coverage and pigment intensity are lipstick-like, but the texture is super light, moisturizing and glossy. Amazingly enough, it's not sticky. Unlike most liquid lipsticks, there are no goop and migration issues- Crème de Gloss stays where you put it (and application is easy and accurate. The slanted sponge wand is perfect for this texture) and never tries to meet your teeth. It feels great on the lips and the moisture holds up nicely, though the staying power is similar to any light gloss and requires reapplying after your first cup of tea.

The color range is impressive and full of great shades. The one I picked from Sephora is Creamy Burgundy (735) which actually looked darker at the store, so when I opened it at home I wondered if I made a mistake. The color looked a bit too warm and I wasn't sure I liked it. Until I put it on. Creamy Burgundy is a medium red that makes my face come alive. It's incredibly flattering and doesn't compete for attention with the rest of my makeup. It would be appropriate for day/office on most, unless you're extremely fair and keep red lip colors for evening only.

Creamy Burgundy has a luminous finish- somewhere between pearly and shimmery. It's delicate- not glittery or porn star-frosted. Other colors have a satin finish and I'm planning to check Plum Elixir and Creamy Rose next time I'm at the Dior counter.

Dior Crème de Gloss ($26) is available from most decent department stores and Sephora.

Photos: Mine

Lindsay Lohan At 23

Lindsay Lohan celebrated her 23rd birthday last month. This is what she looked like when hosting a party at the Revolve flagship store in West Hollywood last night.

Sad.


Photo: Socialite Life

Lindsay Lohan At 23

Lindsay Lohan celebrated her 23rd birthday last month. This is what she looked like when hosting a party at the Revolve flagship store in West Hollywood last night.

Sad.


Photo: Socialite Life

Lindsay Lohan At 23

Lindsay Lohan celebrated her 23rd birthday last month. This is what she looked like when hosting a party at the Revolve flagship store in West Hollywood last night.

Sad.


Photo: Socialite Life

Beautiful Compacts and Makeup Palettes

As the competition for our hearts, faces and charge cards becomes more fierce, it's no longer enough to simply launch pretty makeup items and coordinated collections. Many companies are putting a lot of effort into creating stunning compacts and embossed pans. The new palettes catch our eyes with textures and patterns the like of which haven't been seen until now.

It used to be the domain of the top brands- after all, Chantecaille has been doing it for several years, with flowers, butterflies and animals embossed in their face, eye and lip compacts. Last year, Lancome made an attempt with their Elephant bronzer, but in that case the execution was somewhat lacking and the actual product didn't look as good as in the stock photo. This season many more brands are offering elaborate products, and so far, everything I've seen looks gorgeous and is worthy of a holiday gift status.

Perhaps the most unique in this bunch is actually the Cargo Runway Palette. It's big, bold, and the patterns of the blush and the bronzer are unlike anything else on the market. It looks even better in person (review coming as soon as I can talk myself into dipping my brushes in the colors).

Click on the image above to see and drool.

Beautiful Compacts and Makeup Palettes

As the competition for our hearts, faces and charge cards becomes more fierce, it's no longer enough to simply launch pretty makeup items and coordinated collections. Many companies are putting a lot of effort into creating stunning compacts and embossed pans. The new palettes catch our eyes with textures and patterns the like of which haven't been seen until now.

It used to be the domain of the top brands- after all, Chantecaille has been doing it for several years, with flowers, butterflies and animals embossed in their face, eye and lip compacts. Last year, Lancome made an attempt with their Elephant bronzer, but in that case the execution was somewhat lacking and the actual product didn't look as good as in the stock photo. This season many more brands are offering elaborate products, and so far, everything I've seen looks gorgeous and is worthy of a holiday gift status.

Perhaps the most unique in this bunch is actually the Cargo Runway Palette. It's big, bold, and the patterns of the blush and the bronzer are unlike anything else on the market. It looks even better in person (review coming as soon as I can talk myself into dipping my brushes in the colors).

Click on the image above to see and drool.

Beautiful Compacts and Makeup Palettes

As the competition for our hearts, faces and charge cards becomes more fierce, it's no longer enough to simply launch pretty makeup items and coordinated collections. Many companies are putting a lot of effort into creating stunning compacts and embossed pans. The new palettes catch our eyes with textures and patterns the like of which haven't been seen until now.

It used to be the domain of the top brands- after all, Chantecaille has been doing it for several years, with flowers, butterflies and animals embossed in their face, eye and lip compacts. Last year, Lancome made an attempt with their Elephant bronzer, but in that case the execution was somewhat lacking and the actual product didn't look as good as in the stock photo. This season many more brands are offering elaborate products, and so far, everything I've seen looks gorgeous and is worthy of a holiday gift status.

Perhaps the most unique in this bunch is actually the Cargo Runway Palette. It's big, bold, and the patterns of the blush and the bronzer are unlike anything else on the market. It looks even better in person (review coming as soon as I can talk myself into dipping my brushes in the colors).

Click on the image above to see and drool.

Valentino Eau de Parfum (2009 Edition)

I had a bottle of the original Valentino that I got as a gift and used to wear in the very early 90s. I finished the bottle but never repurchased because it had absolutely no staying power (hence going through it in less than a year). I don't remember much about it, except that it was a sheer aldehydic floral with quite a bit of green, a lovely hyacinth note and a sweet drydown. From digging online, I realize that the 1986 version was a re-launch (and probably a reformulation) of a 1978 chypre, which sounds a lot more interesting with its oakmoss and civet base. As far as I know, both came in the ribbed bottle and the Valentino-red box (I still remember how beautiful and shiny it was).


While the original Valentino perfume tried to keep some sort of connection to the über-fabulous fashion house, the designer and his aesthetics, the 2009 launch of the same name has no such aspirations. The licence holder of Valentino perfumes is no other than Proctor & Gamble (you will have to agree with me that this explains a lot), who chose to go with a very pink juice. From the company's website: Top notes are pomelo, pear blossom and magnolia; middle notes are orange blossom, mimosa and violet leaf; base notes are rice vapour, heliotrope and vanilla-orchid. And if that sounds to you like a royal mess, you'd be right.

Now, I've smelled worse things than Valentino EDP. It isn't vile by any mean, and I can see why some might find it appealing. Basically, it's a very sweet floral, a genre with many fans. The opening is very sweet and quite fruity, but the majority of this scent is a mix of poorly blended orange blossom and mimosa. It gets a bit loud and swallows up anything more subtle that might have been mixed into the juice. I was looking forward to the promised rice vapor (thinking of the lovely rice steam accord by CB I Hate Perfume), but got none. The bad mimosa also killed the promised heliotrope, leaving a generic sticky sweet drydown.

What kills me about the new Valentino (other than the idea that this unconvincing cocktail is supposed to evoke Valentino Garavni), is that this Neiman Marcus exclusive is sold for $80-$100 (depending on size). Under the same roof you can buy Chanel, Goutal, L'Artisan, Aqua di Parma, Jo Malone and others, all are better made. The first bottle of Valentino are already making an appearance at a couple of online discounters, which, frankly, that's where they belong. So while I certainly don't hate this perfume, I resent those who try to convince us this is a high-end luxury fragrance.

Perfume ads: okadi.com. Cranky attitude: my own

Valentino Eau de Parfum (2009 Edition)

I had a bottle of the original Valentino that I got as a gift and used to wear in the very early 90s. I finished the bottle but never repurchased because it had absolutely no staying power (hence going through it in less than a year). I don't remember much about it, except that it was a sheer aldehydic floral with quite a bit of green, a lovely hyacinth note and a sweet drydown. From digging online, I realize that the 1986 version was a re-launch (and probably a reformulation) of a 1978 chypre, which sounds a lot more interesting with its oakmoss and civet base. As far as I know, both came in the ribbed bottle and the Valentino-red box (I still remember how beautiful and shiny it was).


While the original Valentino perfume tried to keep some sort of connection to the über-fabulous fashion house, the designer and his aesthetics, the 2009 launch of the same name has no such aspirations. The licence holder of Valentino perfumes is no other than Proctor & Gamble (you will have to agree with me that this explains a lot), who chose to go with a very pink juice. From the company's website: Top notes are pomelo, pear blossom and magnolia; middle notes are orange blossom, mimosa and violet leaf; base notes are rice vapour, heliotrope and vanilla-orchid. And if that sounds to you like a royal mess, you'd be right.

Now, I've smelled worse things than Valentino EDP. It isn't vile by any mean, and I can see why some might find it appealing. Basically, it's a very sweet floral, a genre with many fans. The opening is very sweet and quite fruity, but the majority of this scent is a mix of poorly blended orange blossom and mimosa. It gets a bit loud and swallows up anything more subtle that might have been mixed into the juice. I was looking forward to the promised rice vapor (thinking of the lovely rice steam accord by CB I Hate Perfume), but got none. The bad mimosa also killed the promised heliotrope, leaving a generic sticky sweet drydown.

What kills me about the new Valentino (other than the idea that this unconvincing cocktail is supposed to evoke Valentino Garavni), is that this Neiman Marcus exclusive is sold for $80-$100 (depending on size). Under the same roof you can buy Chanel, Goutal, L'Artisan, Aqua di Parma, Jo Malone and others, all are better made. The first bottle of Valentino are already making an appearance at a couple of online discounters, which, frankly, that's where they belong. So while I certainly don't hate this perfume, I resent those who try to convince us this is a high-end luxury fragrance.

Perfume ads: okadi.com. Cranky attitude: my own

Valentino Eau de Parfum (2009 Edition)

I had a bottle of the original Valentino that I got as a gift and used to wear in the very early 90s. I finished the bottle but never repurchased because it had absolutely no staying power (hence going through it in less than a year). I don't remember much about it, except that it was a sheer aldehydic floral with quite a bit of green, a lovely hyacinth note and a sweet drydown. From digging online, I realize that the 1986 version was a re-launch (and probably a reformulation) of a 1978 chypre, which sounds a lot more interesting with its oakmoss and civet base. As far as I know, both came in the ribbed bottle and the Valentino-red box (I still remember how beautiful and shiny it was).


While the original Valentino perfume tried to keep some sort of connection to the über-fabulous fashion house, the designer and his aesthetics, the 2009 launch of the same name has no such aspirations. The licence holder of Valentino perfumes is no other than Proctor & Gamble (you will have to agree with me that this explains a lot), who chose to go with a very pink juice. From the company's website: Top notes are pomelo, pear blossom and magnolia; middle notes are orange blossom, mimosa and violet leaf; base notes are rice vapour, heliotrope and vanilla-orchid. And if that sounds to you like a royal mess, you'd be right.

Now, I've smelled worse things than Valentino EDP. It isn't vile by any mean, and I can see why some might find it appealing. Basically, it's a very sweet floral, a genre with many fans. The opening is very sweet and quite fruity, but the majority of this scent is a mix of poorly blended orange blossom and mimosa. It gets a bit loud and swallows up anything more subtle that might have been mixed into the juice. I was looking forward to the promised rice vapor (thinking of the lovely rice steam accord by CB I Hate Perfume), but got none. The bad mimosa also killed the promised heliotrope, leaving a generic sticky sweet drydown.

What kills me about the new Valentino (other than the idea that this unconvincing cocktail is supposed to evoke Valentino Garavni), is that this Neiman Marcus exclusive is sold for $80-$100 (depending on size). Under the same roof you can buy Chanel, Goutal, L'Artisan, Aqua di Parma, Jo Malone and others, all are better made. The first bottle of Valentino are already making an appearance at a couple of online discounters, which, frankly, that's where they belong. So while I certainly don't hate this perfume, I resent those who try to convince us this is a high-end luxury fragrance.

Perfume ads: okadi.com. Cranky attitude: my own

Fleurs Célestes de Chanel Natural Finish Face Highlighter

Some products have such beautiful presentation it makes one hesitate before dipping a brush and actually using them. Fleurs Célestes de Chanel Natural Finish Face Highlighter is a good example. You just want to keep staring at the colors and the embossed pattern and admire them.



Fleurs Célestes de Chanel is a hybrid is a limited edition finishing powder and highlighter from Chanel's fall 2009 Symphonie Blanche, a collection with a shimmery white theme (there's also an eye shadow quad that looks a bit too transparent for me and a white nail polish). The compact includes three colors- the white shimmery highlighter, a warm pink and a very light bronze. By swiping a powder brush (there's one included with the compact in its own velvet pouch, but I usually prefer a round, full-headed brush for a lighter application), you can determine how much of each color would be applied. The shades combine well and the powder has just enough warm pigment to avoid a chalky look. The shimmer makes it ideal for a glamorous evening look, and you are also supposed to apply some to your décolleté, but I prefer my cleavage to look natural and not twinkle with a pearly shimmer. I'm weird like that.

Fleurs Célestes de Chanel is still available from most Chanel counters at the better department stores, though it seems to be sold out online.

Fleurs Célestes de Chanel Natural Finish Face Highlighter

Some products have such beautiful presentation it makes one hesitate before dipping a brush and actually using them. Fleurs Célestes de Chanel Natural Finish Face Highlighter is a good example. You just want to keep staring at the colors and the embossed pattern and admire them.



Fleurs Célestes de Chanel is a hybrid is a limited edition finishing powder and highlighter from Chanel's fall 2009 Symphonie Blanche, a collection with a shimmery white theme (there's also an eye shadow quad that looks a bit too transparent for me and a white nail polish). The compact includes three colors- the white shimmery highlighter, a warm pink and a very light bronze. By swiping a powder brush (there's one included with the compact in its own velvet pouch, but I usually prefer a round, full-headed brush for a lighter application), you can determine how much of each color would be applied. The shades combine well and the powder has just enough warm pigment to avoid a chalky look. The shimmer makes it ideal for a glamorous evening look, and you are also supposed to apply some to your décolleté, but I prefer my cleavage to look natural and not twinkle with a pearly shimmer. I'm weird like that.

Fleurs Célestes de Chanel is still available from most Chanel counters at the better department stores, though it seems to be sold out online.