I came to the investigation of perfume with emotional baggage (don’t we all?): Chanel No. 5 is the scent of my mother. I cannot smell it without thinking of her – the person who is my mother, and my mother who is a person, by which I suppose I mean both the individual and the role.
Sometime in my teens, it began to feel odd to me to call my mother “Mama,” since all my friends said “Mom” instead. So I changed. But in my early childhood, “Mama” she was, and Mama wore Chanel No. 5 eau de cologne. She’d grown up in a very frugal household, and my father was also quite a frugal person, and like many others of her generation, perfume was only for special occasions, and if she was wearing pantyhose, the perfume would follow. I remember watching her get ready for some social event – a concert, probably, or perhaps a Christmas dinner for my dad’s office – and as soon as she’d gotten dressed and put on her shoes, it was time for perfume. She’d dab some from the bottle onto the base of her neck, her wrists, and behind each ear. I always asked to sniff the bottle, and I always recoiled from the bright-lights and bug spray smell that came from it. It was hard for me to understand that that nasty smell would turn into a floral, intensely powdery, very feminine scent on Mama’s skin.
Eventually that bottle of No. 5 ran dry. It was replaced, briefly and unsatisfyingly, by Anais Anais, and then later by Coty L’Effleur, and still later by Elizabeth Arden’s 5th Avenue, all of which are strongly floral and containing at least some element of bathtime, either soap and/or powder.
As a young woman looking for a scent to call mine, I automatically crossed No. 5 off my list. I’d pick up a bottle in a department store from time to time, sniff, and think, “Nope, too powdery and cold. And anyway, that’s Mom’s perfume.” As recently as last year, I was still thinking, “Oh, I can’t wear No. 5. It’s too powdery. It smells like my mother.” And that was my mindset: Chanel No. 5 is a classic, an icon, a lovely scent that resembles the cold marble perfection of a Michelangelo statue, giving off Don’t Touch Me vibes. Uh-uh, not for me, not this girl, no way no how.
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And then… dum dum DUM… the ebay auction. I was looking for a bottle of parfum to give Mom, since the miniature bottle of Eau Premiere I had found for her was perfectly pleasant, but somehow not as nice on Mom as it was on me (more on that in a few days.) Then, too, the perfume blogs were full of outrage over the IFRA restrictions on fragrance ingredients like jasmine and oakmoss (both of which are components of No. 5), and how awful it was that many classics were going to be reformulated, if they hadn’t been already, and how it might be time to go hunt up vintage bottles of this and that on ebay…
So I bit. I started watching auctions for “vintage No. 5 parfum.” Bid on a few and lost. Bid on a few and got horrified at the prices. Read many many blog comments saying, “Watch out for fake Chanel perfume on ebay!” and “Beware of ebay sellers filling an old parfum bottle with new cologne!” Checked on the price of a new bottle (eek! $155 for half an ounce). Bid on an old, opened-and-slightly-used 1-ounce bottle of parfum… watched over the auction like a mother hen her chicks… and it was mine, for
$33 including shipping.
The bottle arrived. I opened it, deeply suspicious – how could it be such a pale color, when we know that jasmine scents tend to go orange with age, and the box was clearly so 1950’s? – and was surprised not to be knocked over by the aldehydes. They were there, but quite muted. “Cologne,” I sighed out loud. “Cheaters.” Ah, well – it was recognizably No. 5, and even if it was cologne, it was worth
something, right? I smeared two healthy dabs onto my wrists and went to eat lunch, musing that aldehydes are weird molecules, smelling as they do of soap, candle wax, and glacier ice.
Half an hour later, I became aware that I was moving in a cloud of gorgeousness, and my mouth dropped open. This wasn't cologne, this
was No. 5 parfum, the Grand Dame of Classic Perfumery. This was No. 5 as I had never smelled it: intensely floral, seamlessly blended, with a sort of golden glow that made me think of angels. I wandered about the house kicking myself because I could have been smelling like
this, instead of all those drugstore fragrances,
all my life! Still later, as the florals began to subside into a base dominated by real sandalwood and a glowing musk, I was astonished at the way the scent seemed dry and cool, yet at the same time rich and smooth. This was a drydown in the grand old-fashioned style, seemingly composed of nearly every base note in the perfumer’s lexicon. Amazing. Amazingly beautiful. Women should indeed smell like this, I thought.
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I have now worn No. 5 extrait de parfum from five different bottles, four vintage and one modern (thanks to Daisy and Belle de Sud, my swapper friends), and every one of these bottles is different, although clearly recognizable as No. 5. I’m sure that most of the differences can be attributable to age and storage conditions, but it’s so strange that the scents are now so divergent from each other. One has loads of aldehydes and a musky drydown; one has wonky topnotes that smell a bit of floor polish and a heart that seems heavy on rose; one is mostly jasmine, iris, and sandalwood, very powdery; one is the bottle I just described – glorious – and one is a modern bottle, which seems to be all there, in the proper proportions, and is crisply edged as a brand-new hundred-dollar bill.
What I like best about No. 5 is its versatility. It seems weightless and ageless; it is unaffected by weather or by events of the day. It could be worn as easily to a fried-chicken picnic as to a symphony concert, and as easily in winter as in summer. Then, too, it seems to smell of money and class: both expensive and beautiful. I even like the fact that it’s fairly ubiquitous among a certain age group, and nearly everyone has smelled it enough to identify it, therefore making it an ideal mask of sorts. If I feel the need to hide my vulnerable, emotional self behind a competent costume, No. 5 is perfect for that. I’m not saying it’s absolutely perfection, mind you, or even that it is the pinnacle of the perfumer’s art. But for what it is – cool, elegantly lovely, and aloof – it is wonderful.
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And I’m struck again by the fact that my mother, who’s always preferred tailored to frilly, classic to trendy, plain to fancy, has great taste in scent. I still can’t smell No. 5, in whatever incarnation, without thinking of her. I always smile. For early scent memories, for hugs and kisses, for peanut butter and apple sandwiches, for not killing me outright after I walked nonchalantly across the top bar of the swingset, for homemade dresses and baths and haircuts, for teaching me manners and for the millions of things you've done for me... many thanks, Mom. I love you.
Listed notes for No. 5:
Top: aldehydes, bergamot, lemon, neroli, ylang-ylang
Heart: jasmine, rose, lily of the valley, iris
Base: vetiver, sandalwood, vanilla, amber, patchouli, oakmoss, musk
No.5 was composed in 1921 by Ernest Beaux, the fifth of nine options created for Coco Chanel to choose from. It may be an apocryphal story, but M. Beaux commented that he was inspired by the smell of snow. (Indeed, having been close to an actual glacier in New Zealand, I can understand the reference.)
Images, from top to bottom: Chanel No. 5 parfum, from chanel.com
1973 Catherine Deneuve photo Chanel No. 5 pefume ad #2 by 237 at ebay
1959 Elegant Woman Chanel No. 5 perfume ad, from magicelectron at ebay
Mom at my sister's wedding in 2002
For Christmas, Mom will be getting part of my favorite vintage bottle – I can’t bear to give it up entirely! – and perhaps a bottle of her own. (Sssh, don’t tell her.)
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