Twenty years ago, when we first created the perfumes, we overdosed on certain ingredients and increased their dosage. It’s a joy in the house of flowers, even for men and women.Īnd then there is modernity. Kim Jones’ show “Jardin” capsule is also about flowers, so a relationship to the garden is very important. All these flowers are classic ones from the 18th century and were used by royalty. You have the Iris in Bois D’Argent, the lavender in Eau Noire, and the orange blossom in Eau Blanche. In each perfume, a flower is a key ingredient. They take on the idea of tradition versus modernity, which is very Dior-like. ![]() ![]() When you look at these three perfumes together, what unites them for you? They have never been together before this new launch. The idea was to relaunch and duplicate the existing and missing perfumes in the same coffret. My idea was to reassemble all these scents because these scents were the first steps and the pillars of the Collection Priveé. It's a kind of re-edition that respects the original model – like what we did with The Trilogy. In French, we call them repetition patrimonial. But without the alcohol, water-based fragrances tend to fade quickly, making them extremely ephemeral, hard to formulate, and slightly laborious: You often have to shake them before spritzing to combine the water phase and the oil phase, and in the absence of a chemical stabilizer they can feel tacky on skin.You may know that some dresses designed by Christian Dior for haute couture are still available to buy for sale. Maintaining her neroli’s incredibly fresh, just-picked scent-sweet but green, with a zingy kick that can temper stickier jasmine-is part of the appeal of Parfum d’eau, in which water, which is less volatile than alcohol, is blended with essential oils (neroli, magnolia, jasmine sambac, and a hint of rose), helping to preserve their integrity while creating a milky emulsion. About 1,750 pounds of flower petals yields just a quarter gallon of oil. “I sell exclusively to them,” Archer says, picking the last of the flowers from a monthlong harvest. Courtesy of Parfums Christian DiorĪbout 600 miles south of Paris, in the lush hillside just outside of Cap d’Antibes, Christelle Archer-a sales director turned flower farmer-tends to a 100-year-old bitter orange tree grove as part of an effort to increase transparency and focus on local growers for proprietary ingredients, Dior partnered with Archer in 2017 and began using her neroli oil last year. The original J’adore bottle has been reimagined in opalescent white glass for the neroli-tinged Parfum d’eau. Now, almost 25 years later, the fragrance that helped change the perfume industry is poised for another dose of disruption. “When John started, he didn’t speak French, so he would just say, ‘Oh, J’adore, j’adore, j’adore!’ when he liked something,” Bourdelier recalls. “Galliano was integral to the creation of J’adore,” Bourdelier says of the white-floral fragrance, which began production in 1996, the same year the British-born couturier took over design duty. One of John Galliano’s Maasai-style gold chokers from fall 1997, the inspiration for the fragrance’s gold-wire-wrapped flacon, is displayed close by. That’s the exact temperature needed to preserve the brand’s first suite of refillable lipsticks (from 1953) the first production run of its cult-favorite cuticle savior, Creme Abricot (1962) and different iterations of the iconic J’adore bottle, derived from Monsieur Dior’s 1949 cyclone dress and rendered here in glass prototypes with factory-cut Baccarat necks. It’s 18 degrees Celsius, about 65 degrees Fahrenheit, Frederic Bourdelier, director of brand culture and heritage at Parfums Christian Dior, confirms. When you step into the cosmetics vault at the Christian Dior archives in Paris, just a few blocks from the impressive Avenue Montaigne flagship and gallery that the French house reopened this past March, there are two things you notice right away: the black-walled, marble-floored space is pristine-and slightly chilly on a mid-May morning.
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