{"id":38270,"date":"2023-03-08T16:40:34","date_gmt":"2023-03-08T15:40:34","guid":{"rendered":"https:\/\/mag.bynez.com\/?p=38270"},"modified":"2023-03-17T20:12:47","modified_gmt":"2023-03-17T19:12:47","slug":"the-gender-of-scent","status":"publish","type":"post","link":"https:\/\/mag.bynez.com\/en\/reports\/odor-di-femina-en\/the-gender-of-scent\/","title":{"rendered":"The gender of scent"},"content":{"rendered":"    <div id=\"chapo-block_9f357485892c013eb7a34928f05a9906\" class=\"chapo\">\r\n        <blockquote class=\"chapo-blockquote\">\r\n            <span class=\"chapo-text\">Feminine by definition but androgynous in essence, scent has been playing a game of smoke and mirrors with sexual identity ever since the birth of \t<em>Jicky<\/em>. From eau de Cologne to <em>CK One<\/em> by way of Thierry Mugler and Jean Paul Gaultier\u2019s postmodern twists on stereotypes, fragrances have often blurred the boundaries between masculine and feminine notes. In fact, in its subversion of cultural conventions, scent may well be the subtlest expression of gender fluidity. \r\nOn the occasion of International Women&#8217;s Day, we invite you to rediscover an article by Denyse Beaulieu originally published in <a href=\"https:\/\/shop.bynez.com\/boutique\/nez-the-olfactory-magazine\/nez-the-olfactory-magazine-03-the-sex-of-scent\/\">Nez, the Olfactory Magazine &#8211; #03 &#8211; The Sex of Scent<\/a>.<\/span>\r\n        <\/blockquote>\r\n        <style type=\"text\/css\">\r\n            #chapo-block_9f357485892c013eb7a34928f05a9906 {\r\n                background: ;\r\n                color: ;\r\n            }\r\n        <\/style>\r\n    <\/div>\r\n    \n\n\n<p>\u201cIs it for men or for women?\u201d It\u2019s the question you\u2019ll most often hear from someone smelling an unidentified fragrance. And that someone is usually a man, as though the very idea of wafting a scent conceived for the distaff side was deeply unsettling. And justifiably so. Perfume is insidious, mendacious, seductive; a mixture of secret ingredients blending artfulness and artifice. It is therefore, in the binary imagery of the West, feminine by definition; the polar opposite of wine, a noble product rooted in a terroir, authentic (<em>in vino veritas<\/em>) and hence, masculine. In the same way, fragrance notes are split evenly down the aisles of the virtual Sephora store. Gentlemen are allocated aromatic herbs, combustible spices and solid woods: clean, substantial, salubrious stuff. The ladies get the yielding, tender flesh of fruit and flowers: frail, moist, perishable materials. Since most people rely on gut feeling to assess fragrance, this gender divide is seldom questioned. It may even seem ordained by nature. Of course, should you go nosing around the Middle-East, you\u2019d find that both sexes happily wear rose and oud: gendering scent is a cultural operation. And even in Western countries, it\u2019s a fairly recent phenomenon.<\/p>\n\n\n\n<p><strong>An epicene creature<\/strong><\/p>\n\n\n\n<p>Who was <em>Jicky<\/em> (1899) intended for? Aim\u00e9 Guerlain is said to have named it after some lost English love. Or was it his nephew Jacques\u2019 nickname? Not that itwould have mattered much at the time: in the dawning days of modern perfumery, catalogues didn\u2019t specify whether a product was meant for men or women. But <em>Jicky<\/em>\u2019s ambiguity became a bit of an issue. Perhaps because the name stood for nothing in particular. Nor did its smell, unusually potent for the era since its formula was one of the first to feature synthetic ingredients. An epicene creature that smelled of clean linen (lavender), feral funk (civet), tarts (flowers) and sweets (vanillin and coumarin), <em>Jicky<\/em> somehow went against the grain. Perhaps unsurprisingly, the gender-queer juice gets name-dropped in Truman Capote\u2019s <em>Answered Prayers<\/em>: he smells it on the famously bisexual French novelist Colette, who informs him that Proust wore it, or so she was told by Jean Cocteau (\u201cBut then he is not <em>too<\/em> reliable,\u201d Colette adds).<br>In 1904, echoing Plato\u2019s myth, Jacques Guerlain (aka God) split his uncle\u2019s original androgyne, giving birth to a couple: <em>Voilette de madame<\/em> and <em>Mouchoir de monsieur<\/em>. Was the latter the first fragrance explicitly intended for the stronger sex? Its powdery, rosy lavender accords don\u2019t feel especially hairy-chested. In fact, they practically make <em>Jicky<\/em> smell butch. But our reading of fragrance notes derives from cultural context, and Aim\u00e9 Guerlain\u2019s <em>Belle Epoque<\/em> androgyne was assigned a gender in hindsight, in the wake of its most illustrious descendent: <em>Shalimar<\/em> (it is said that Jacques Guerlain conceived the second by pouring ethyl-\u00advanillin into the first). Though <em>Jicky<\/em> was initially seen as more of a masculine scent because of its lavender note, women in the 1920s, \u201cbeing more receptive to the vanillin aspect because of a new amber oriental trend [&#8230;] tended to categorize <em>Jicky<\/em> in the same family as Shalimar\u201d, writes Maryl\u00e8ne Delbourg-Delphis in <em>Perfumer &amp; Flavorist<\/em> (June-July 1985). And <em>Shalimar<\/em>, which Jean-Paul Guerlain likened to \u201can evening gown with a sumptuous d\u00e9colletage\u201d, is undeniably feminine. Isn\u2019t it a relief to know at last where you are sticking your nose?<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"530\" src=\"https:\/\/mag.bynez.com\/wp-content\/uploads\/2023\/03\/Jicky-Ad-via-Heritage-Guerlain-1024x530.jpg\" alt=\"\" class=\"wp-image-38268\" srcset=\"https:\/\/mag.bynez.com\/wp-content\/uploads\/2023\/03\/Jicky-Ad-via-Heritage-Guerlain-1024x530.jpg 1024w, https:\/\/mag.bynez.com\/wp-content\/uploads\/2023\/03\/Jicky-Ad-via-Heritage-Guerlain-300x155.jpg 300w, https:\/\/mag.bynez.com\/wp-content\/uploads\/2023\/03\/Jicky-Ad-via-Heritage-Guerlain-768x397.jpg 768w, https:\/\/mag.bynez.com\/wp-content\/uploads\/2023\/03\/Jicky-Ad-via-Heritage-Guerlain.jpg 1137w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Old advertisment for <em>Jicky<\/em>, <em>\u00a9<\/em> Guerlain H\u00e9ritage<\/figcaption><\/figure>\n<\/div>\n\n\n<p><strong>For the Gar\u00e7onne<\/strong><\/p>\n\n\n\n<p>But you never do, do you? Just as it seemed to have picked sides by merging with (exclusively feminine) haute couture, perfume went on a gender bender. In 1919, the survivors of the First World War had barely climbed out of the trenches clutching handkerchiefs soaked in Caron\u2019s mawkish <em>N\u2019aimez que moi<\/em> (\u201cLove no one but me\u201d), when they were hit with a snootful of the same house\u2019s Le <em>Tabac blond<\/em>. Was it for men or for women? Neither. Inspired by Virginian tobacco cigarettes plucked from the lips of American doughboys, its author Ernest Daltroff was the first to offer a \u201cmasculine\u201d note to women who smoked, the bob-haired Gar\u00e7onnes, or flappers (the scent was actually more of a leather). The pioneering Daltroff would also be the first to pitch a masculine fragrance as \u201ca fragrance perfume of youth and beauty\u201d. Spiking wholesome lavender with sexy vanilla, <em>Pour un homme<\/em> (1934) drove the point home by featuring the statue of a Greek ephebe in its adverts.<br>Meanwhile, Gabrielle Chanel had taken her cue from Daltroff. An exquisite seismograph of the zeitgeist, she gave the Gar\u00e7onnes the olfactory emblem of their emancipation by stripping down her own <em>N\u00b05<\/em> and sheathing it in Russian leather with <em>Cuir de Russie<\/em> (1924). In appropriating a note associated with virile pursuits (hunting, driving, flying), Chanel repeated what she\u2019d done when she hijacked male sartorial codes. In a 1936 document in the Chanel archives, possibly intended for sales staff, the <em>Cuir de Russie <\/em>woman is described as \u201ca tall, slender brunette whose moves are confident [&#8230;] an opium cigarette between her lips, a bottle of whisky at hand\u201d. Judging from the names they gave them, from <em>Scandal<\/em> (Lanvin, 1933) to <em>Cabochard<\/em> (meaning \u201cheadstrong\u201d, Gr\u00e8s, 1959) by way of <em>R\u00e9volte<\/em> (Lanc\u00f4me, 1936) or <em>Bandit<\/em> (Robert Piguet, 1944), fragrance houses were keenly aware of the transgressive charge of leather on a woman\u2019s skin.<\/p>\n\n\n\n<p><strong>Bisexual scents<\/strong><\/p>\n\n\n\n<p>Conceived during the German occupation by Germaine Cellier, the first female nose to show up on the radar, the aforementioned Bandit is apt to throw every gender setting out of gear. What? Was that bouquet, carelessly stuck in an earth-filled ashtray, the kind of stuff they sold to Lauren Bacall\u2019s contemporaries? But Cellier was prescient. When she paired up <em>Bandit<\/em>\u2019s film noir dame with the technicolour diva of <em>Fracas<\/em> in 1948, she prefigured the sexual dimorphism that would overtake the perfume industry three decades later. Though Cellier\u2019s hysterical tuberose produced no offspring for a quarter century, during the Reagan Era it would go on to spawn a brood of florals so outrageously femme that they would veer into drag queen territory \u2013 <em>Giorgio Beverly Hills<\/em> (1981) didn\u2019t even bother to take a female stage name. As for <em>Bandit<\/em>, it\u2019s as though it had acted as a place-\u00adholder for masculine perfumery, almost nonexistent at the time it came out. Bernard Chant used it as a template for the female <em>Cabochard<\/em>, which inspired, in turn, his male <em>Aramis<\/em> (1965) for Est\u00e9e Lauder\u2019s brand of the same name. The transition was such a success that Chant repeated it with Clinique\u2019s <em>Aromatics Elixir<\/em> (1972), repurposed for men the following year as <em>Aramis 900 Herbal<\/em> (according to the perfumer Michel Almairac, it was the very same oil). Clearly, from the 1950s to the 1970s, bi-sexual scents didn\u2019t put noses out of joint. Infact, from the liberation of France (<em>Vent vert<\/em>, Balmain, 1947, another Cellier) to Women\u2019s Lib (<em>Calandre<\/em>, Paco Rabanne, 1969; <em>N\u00b019<\/em>, Chanel, 1971), modern femininity usually translated into the androgynous verve of green notes. It wasn\u2019t until the late 1970s that the olfactory polarity prefigured by the Bandit-Fracas couple took hold, as increasingly costly global launches demanded clear, blaring messages that could be understood from Texas to Singapore. Women were offered symphonic florals, such as <em>Poison<\/em> (Dior, 1985), <em>Ysatis<\/em> (Givenchy, 1984), <em>Oscar<\/em> (Oscar de la Renta, 1977). Men got aromatic foug\u00e8res such as <em>Drakkar noir<\/em> (Guy Laroche, 1982) and <em>Azzaro pour homme<\/em> (1978). But though they seem to reflect stereotypes, Michel Almairac is quick to point out: \u201cIf these fragrances were successful, it\u2019s because they had a strong identity. At the time, they were very innovative.\u201d<\/p>\n\n\n\n<p><strong>Gender-free waters<\/strong><\/p>\n\n\n\n<p>Meanwhile, ever since the 18th century, eau de Cologne had been following a course that touched both sides of the gender divide but embraced neither, providing a safe olfactory haven from the turmoil of successive sexual revolutions. In 1927, Jean Patou launched a citrus scent, <em>Le Sien<\/em> (meaning both \u201cHis\u201d or \u201cHers\u201d in French) for female athletes, who he was the first to dress with sportswear. \u201cSport is a field where men and women are equal\u201d, stated the advert of the time. \u201cA sportswoman needs a masculine perfume\u201d, it went on, while granting that <em>Le Sien<\/em> was \u201calso suitable for men\u201d. In the 1960s, although Dior marketed <em>Eau sauvage<\/em> (1966) to men, Edmond Roudnitska conceived it as a unisex fragrance. \u201cIts discreet yet long-lasting floral freshness is the very symbol of youth\u201d, he wrote, and youth got the message: both sexes wore it to a man. The hugely successful <em>\u00d4<\/em> de Lanc\u00f4me (1969) and <em>Eau de Rochas<\/em> (1970) would express a similar urge to break free from the clich\u00e9s of seduction. \u201cDon\u2019t forget that women make the success of men\u2019s fragrances,\u201d Michel Almairac explains. \u201cNot because they choose them for their husbands or boyfriends, but because they wear them.\u201d And he knows whereof he speaks, since the masterful masculine floral he co-authored for Dior with Jean-Louis Sieuzac, <em>Fahrenheit<\/em> (1988), is one of the scents women love to filch. Calvin Klein\u2019s <em>CK One<\/em> (1994) picked up where the Swinging Sixties eaux left off. Conceived as a reaction to the sexual hyperbole of the gaudy 1980s, it offered a pitch-perfect contemporary translation of the eau de Cologne\u2019s universal appeal. Sold under the slogan \u201cA fragrance for everyone\u201d, Alberto Morillas\u2019 composition was fronted by lesbian-chic model Jenny Shimizu, heading a tribe reconciling gender identities, sexual preferences and\/or ethnicities in every gradient and combination around the most consensual of smells: a clean tee-shirt.<\/p>\n\n\n\n<p><strong>Sexual reassignment<\/strong><\/p>\n\n\n\n<p>Confronted with the vexing question of the gender of scent, Jean Paul Gaultier took the radically opposite tack with <em>Classique<\/em> (1993, composed by Jacques Cavallier) and <em>Le M\u00e2le<\/em> (1995, Francis Kurkdjian). Rather than bypassing stereotypes by slipping under them like Calvin Klein had, Gaultier famously turned underwear into outerwear. The strumpet\u2019s pink corset and the sailor\u2019s striped top, cultural ready-mades appropriated as emblems by the couturier, were matched with two olfactory ready-mades. <em>Classique<\/em>\u2019s rice powder accord and <em>Le M\u00e2le<\/em>\u2019s barbershop note may well have been the first openly claimed, ironic quotes of cosmetic notes in fine fragrance. Gaultier\u2019s take on gender theory was playful enough no to spook mainstream consumers. Descended from <em>Brut<\/em> by Faberg\u00e9 (\u201cIf he has any doubts about himself, give him something else\u201d, said the 1970 advert), <em>Le M\u00e2le<\/em>\u2019s screaming queen of a foug\u00e8re can also be worn with a straight face.<br>Thierry Mugler\u2019s <em>Angel<\/em> (1992) also plays on the gender binary, but it inscribes it within the same heavenly body, sticking a patchouli beard over <em>Angel<\/em>\u2019s cotton-candy rack, in Conchita Wurst style. Olivier Cresp had introduced his huge woody note to offset the sweetness of the candy-apple and praline accord. From there, wood wiggled its way into the women\u2019s side of the aisle in the wake of <em>Angel<\/em>, but also <em>F\u00e9minit\u00e9 du bois<\/em>. Launched the same year by Shiseido, this \u201cfemininity of wood\u201d spilled the beans on the note\u2019s sexual reassignment. A descendant of Rochas\u2019 <em>Femme<\/em> whose spices and dried fruit it reprises (Pierre Bourdon, who co-authored it, was Edmond Roudnitska\u2019s student), it would become the template of Serge Lutens\u2019 style, which would in turn be the matrix of niche perfumery.<\/p>\n\n\n\n<p><strong>Equal in rut<\/strong><\/p>\n\n\n\n<p>Born in the late 1970s as a backlash against the rising dominance of marketing in the industry, niche perfumery has, for the most part, refused to assign a gender to its products. Rather than an expression of male or female personas, its pioneers (L\u2019Artisan Parfumeur, Diptyque) conceived perfume as a figurative note, a landscape, a travel memory; diverted from a mirror that sends back no reflection, the wearer\u2019s gaze can turn to the olfactory form. Perfume becomes an aesthetic object, fostering a non-prescriptive approach that induces the wearer to produce her own interpretation. The erosion of gender differences by niche perfumery can also be perceived in mainstream perfumery, via the very \u201cmasculine\u201d, dry ambery-woody notes that have seeped into feminine fragrances, or, conversely, the caramel notes incorporated into masculine scents like <em>One Million<\/em>. \u201cIncreasingly, we appropriate the smells of everyday life,\u201d observes Michel Almairac. \u201cWe\u2019re shifting towards fragrances that can be used by both sexes.\u201d Conversely, niche perfumery seems to be shifting back to gendering \u2013 or, at least, toying with the notion. In a postmodern echo to the founding heterosexual pair, <em>Mouchoir de monsieur<\/em> and <em>Voilette de madame<\/em>, but also to Jean Paul Gaultier\u2019s playful retromania, Arquiste\u2019s <em>\u00c9l <\/em>and <em>Ella<\/em> conjure the disco era in Acapulco with a virid chypre for her, and a foug\u00e8re on steroids for him. Both reprise styles typical of the time, but Rodrigo Flores-Roux introduces a further twist by rubbing these his\u2019n\u2019hers parfums trouv\u00e9s against the same animalic notes, thus reintroducing \u2013 from behind, as it were \u2013 the smell of sex in the matter of gender. And proclaiming men and women to be equal in rut.<\/p>\n\n\n\n<p><strong>An invisible skin<\/strong><\/p>\n\n\n\n<p>Philippe Starck has long been haunted by the immaterial, as evinced by his Ghost chairs, his inflatable Le Nuage building in Montpellier or the WAHH spray, which delivers micro-particles in the mouth for a zero-calorie experience of flavour. The designer has now moved on to straight-up designing the air, with three fragrances inspired by skin, as the interface between the self and the elsewhere. But he hasn\u2019t wholly vaporised the notion of gender. He envisions <em>Peau de soie<\/em> (Dominique Ropion) as \u201ca perfume whose femininity wraps around a man\u2019s heart\u201d. And <em>Peau de pierre<\/em> (Daphn\u00e9 Bugey) as \u201ca masculine fragrance that reveals a man\u2019s feminine side\u201d. Skin, after all, is a porous membrane, and genders contaminate one another. Starck\u2019s perfumes translate his belief in the \u201c22 gradients between heterosexuality and homosexuality\u201d observed by scientists. \u201cYet we go on saying that there are men and women, which is ridiculous and totally reductive\u201d he told the Swiss daily <em>Le Temps<\/em> (May 19th 2016). On this point, the composer, conceptual thinker and polymath Brian Eno \u2013 who has been known to dabble in scent \u2013 was already ten strokes ahead on the chessboard back in 1989. A founding member of gender-bending glam rock pioneers Roxy Music, and the inventor of ambient music, which he has described as \u201cbisexual\u201d, Brian Eno dedicated the booklet of his fragrantly-named CD <em>Neroli<\/em> (1993) to the theme of perfume. In an excerpt from an interview he gave to WNYC in September 1989, after the journalist brought up the Proustian flashback, Eno responded: \u201cAnother aspect of perfume that I think is interesting is in redefining sexual roles, gender positions.\u201d Many women wear men\u2019s fragrances, while some men use women\u2019s classics, he explained. \u201cIt\u2019s actually people saying that they\u2019re crossing a certain gender line or saying that the traditional polarity of male and female doesn\u2019t hold up \u2013 there\u2019s a continuum from maleness to femaleness and you can choose your location somewhere along there,\u201d said Eno. An invisible, indefinitely extensible skin, perfume doesn\u2019t need to be \u201ccut\u201d to fit the curves of a body; each formula blends and blurs the boundaries between masculine and feminine note. In this respect, this particular fluid has always been the subtlest expression of gender fluidity.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>This article was originally published in&nbsp;<em><a href=\"https:\/\/shop.bynez.com\/boutique\/nez-the-olfactory-magazine\/nez-the-olfactory-magazine-03-the-sex-of-scent\/\">Nez, the Olfactory Magazine \u2013 #03 \u2013 The Sex of Scent<\/a>.<\/em><\/li>\n<\/ul>\n\n\n\n<p class=\"has-small-font-size\"><em>Main picture : CK One advertisement, Calvin Klein, ann\u00e9es 1990 \u00a9 DR<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Feminine by definition but androgynous in essence, scent has been playing a game of smoke and mirrors with sexual identity ever since the birth of Jicky. On the occasion of International Women\u2019s Day, we invite you to rediscover an article by Denyse Beaulieu originally published in Nez, the Olfactory Magazine \u2013 #03 \u2013 The Sex of Scent.<\/p>\n","protected":false},"author":10000614,"featured_media":38248,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"pmpro_default_level":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"mc4wp_mailchimp_campaign":[],"footnotes":""},"categories":[6900,1415,1416],"tags":[4336,6418,3355,857,709,5299,6220,6592,717,4864,3331,724,5347,4873],"series":[],"ppma_author":[6887],"class_list":["post-38270","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-odor-di-femina-en","category-olfactory-culture","category-perfume","tag-arquiste-en","tag-caron-en","tag-daphne-bugey-en","tag-dominique-ropion-en","tag-gender","tag-jacques-guerlain-en","tag-jean-patou-en","tag-marcel-proust-en","tag-michel-almairac-en","tag-non-classifiee-en-6","tag-olivier-cresp-en","tag-perfume","tag-shalimar-en","tag-thierry-mugler","pmpro-has-access"],"pp_statuses_selecting_workflow":false,"pp_workflow_action":"current","pp_status_selection":"publish","pp_post_mime_type":"","acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The gender of scent - Nez the olfactory cultural movement<\/title>\n<meta name=\"description\" content=\"Feminine by definition but androgynous in essence, scent has been playing a game of smoke and mirrors with sexual identity ever since the birth of Jicky. 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