Le Labo

I’ve never had a confident understanding of the currents and obsessions in the fragrance business. In fact, my knowledge verges on the comic. I spent a couple of years as a teenager imbued with the misguided idea that perfumes had to be strong to be good and proceeded to buy with an irresistible enthusiasm anything which featured in fashion magazines at the time: Anaïs Anaïs, Loulou, Poison, Opium (this is the moment when my quest for olfactory satisfaction should have gone back to basics) and a personal favourite even today the 1981 creation Giorgio Beverly Hills. At the age of 15, after having amassed a small collection of grossly expensive bottles, I suddenly came across an exotic new concept while talking to a “cool” older friend: these powerful eighties scents would not transform me into a supermodel or Vic in La Boum, it would not bring wild teenage love. Finding my way uncertainly through a world of heady and provocative smells was brought to an abrupt end. I decided to not let my young mind be corrupted by clever marketing ploys any longer and went back to basics. The smell of soap and a clean teeshirt.
The fragrance clichés of the eighties put me off building an intimate relationship with a scent for a long time. I have nothing against stereotypes but the formula used in those days was almost too predictable and theatrical. And School is now a memorable landscape of l’Eau d’Issey. Did anyone not wear it?
My renewed love for perfumes has been very gradual. Funnily enough, Giorgio Beverly Hills has been the only constant remaining from the learning years. Despite being very heavy, used in extremely small quantities it is delicious. All you need is a vague soupçon of the stuff. About 12 years ago I discovered l’Eau d’Hadrien by Annick Goutal and Route du Thé by Barneys New York. Two extraordinarily beautiful smells which I have not ceased to wear. Fierce opposites to those intoxicatingly bad 80’s references listed above. Four years ago, I also fell in love with Annick Goutal’s Noël. It’s only available as a room spray but that has not stopped me from wearing it as a perfume (I don’t apply it directly to the skin but on clothes).
The perfume business, like anything driven by fashion, is cyclical and it seems to be the turn of more niche names to be successful. I don’t quite comprehend the fragrance industry and I’m fiercely loyal to the few smells I’ve now been wearing for years but I recently discovered Le Labo and everything in my olfactory life has been changing again. The simple unadorned displays and subtle bottles immediately seduced me. The sense of authenticity created by the brand’s environment surprised me and made an impact. Convinced that I would remain indifferent to the fragrances (now that I have my own distinctive smell since the disastrous eighties) I proceeded to open bottles. The third I tested was called Bergamote 22. Well, guess what happened… I had overlooked the potency of a smell. It was an emotional and enthralling feeling. I don’t know how to describe it. It was like the smoky-voiced seduction of a jazz singer. It was love. I bought my first bottle from Liberty and it’s been my latest greatest hit for more than a year.
I recently attended a Le Labo workshop held by the wonderfully charismatic Edouard Roschi, one of the founders, who accurately captured and described the extraordinarily difficult world of fragrances. Despite the lucidity of his words and scientific explanations I realised that a deep understanding is not what I was looking for. I don’t want to philosophise about smells. I like the mystery and irrational unconscious reactions to perfumes. I think I’m genuinely happy in my ignorance and inability to recognise certain notes. I like a purely instinctive response!

A huge thank you to Gaëlle, Edouard Roschi and Mélanie

Picture taken by me

Minkie

When it comes to photography, I’m obsessed. My ideas used to fit firmly within theoretical fashion contexts and trends but for the past five years or so I secretly put my full appreciation of this art into practice. With mixed results at times, I’ll admit!
So, this blog might be changing before your eyes: more of my own pictures and perhaps a little bit less writing.











Photos: me
Model: Beautiful Sally, one of my best friends, thank you for playing the game with such aplomb!
All dresses by Minkie

Sally is also the face behind Minkie, a brand focused on producing collections of extremely pretty and romantic limited edition dresses with a hint of the seventies. The philosophy behind the label is to offer unique pieces to girls who love vintage inspired prints. Her signature look is ultra feminine combined with a love of details such as lace panels, fringing, delicate embroidery, embellishments, pleats or bodycon proportions.
For purchase enquiries: minkielimited@mac.com

Photos: me
Model: Emily at Nevs
Styling: Natalie-Anne Hasseck

Emilie en couleurs

Photos: me
Model: Emily at Nevs
Styling: Natalie-Anne Hasseck
A huge thank you to Feathers for all the clothes!

Azzedine Alaïa

I love Azzedine Alaïa. With a passion. While it may be a little dangerous to speak so fervently about a designer, this is only fashion after all, there is no doubt that for as long as I can remember Alaïa’s own rigorous design language and unconditional commitment to his art has captured my interest. I won’t make the mistake of presenting his career in some sort of chronological order. This would be entirely unsatisfying. And I’m also acutely aware that a blog post is too short to really give you the full measure of the man. No surprise, then, that this is just a few words based on personal experience.
Alaïa’s magic just gripped me from the start: the first time I saw my mother wear one of his audaciously modern dresses in the early 80s, looking radiant and womanly, growing up and invariably looking at his clothes with curiosity and enthusiasm, admiring his incredible integrity in a fashion industry under pressure to constantly “globalize” and experiment with high street collaborations, his ability to remain faithful to his principles. I see him as a talent that plays a central role in the history of fashion. I find it disconcerting and almost perverse that critics frequently overlook him. He is the unsung hero of couture. Undaunted by the stresses and burdens of the industry, he has taken a risk to produce something unique. Far removed from trends and “universal fashion”, which prescribes the import/export of an internationally adaptable kind of prêt à porter, Alaïa has continued to firmly believe in his ethics throughout his career. True, not everything has been a success and not everything stood the test of time; but, had it not been for his daring risk-taking and absolute control over his company the situation might have been different and fashion might have lost one of its greatest names.
You could think that working at his own pace with uninhibited abandon and staying independent might be detrimental to his ambition and success but this is no miscalculation on his part and he somehow manages to broaden his repertoire with beautiful, timeless and fresh pieces. This is testament to his talent and just proves that what other designers might consider limiting or restricting can actually bear fruit in some situations.
If, like me, you’re a fan of Azzedine Alaïa, I would strongly recommend reading this article by the great Cathy Horyn.

Photo: TFS

Marie Claire December 2010

Huge thank you to the wonderful and magical Ellen Burney!