"This volume showcases the perfumes of Christian Dior against the backdrop of his life--the Belle Epoque of his youth, the "Roaring Twenties" of his young adulthood and the postwar period of his success as a fashion designer and perfumer. From 1946, before his first collection had even been debuted, Dior was interested in perfume, launching the iconic Miss Dior fragrance (along with the perfumer Paul Vacher) in 1947, and later gaining great success with fragrances such as Diorissimo, Eau Sauvage, Poison and J'Adore." -- From Amazon.
This is the story of a genius and a fraud. For more than half a century, Olivier Creed, heir to a French fashion empire but out to conquer an adjacent field by himself, created the most compelling and costly perfumes in the world - scents so successful - artistically and commercially - that the world's largest asset manager bought his small olfactory enterprise for nearly $1 billion in 2020. One could arguably have called him the world's most capable perfumer. Except Olivier Creed never authored the scents for which he has long received acclaim and lucre. Gabe Oppenheim reveals the heretofore untold story behind this supposed-cologne colossus of a man - and the eponymous company that became a social media sensation: That scents were authored by someone else entirely - a brilliant ghostwriter - a hidden, scholarly figure with a great passion for Proust and an unfortunate tendency to doubt the quality of his own compositions. How these two figures met and the arrangement was struck - how they circled each other warily for the next 40 years - how lies, told often enough, became truths - Gabe Oppenheim examines as he journeys into the heart of an industry mystifying and fanciful, enormous and intimate, sensuous and yet so-damn-insubstantial. It's an expedition that takes him to a Creed shop in Dubai and the castle in Normandy where the Ghost resides, having left behind a Parisian world that, in some sense, never acknowledged him. And yet, he's a legend in a certain section of the scented demimonde for a few achievements so innovative he wouldn't yield them even to a charismatic manipulator. Oppenheim explores issues of attribution and artistry, credit and craftsmanship, ingenuity and disingenuousness. "The Ghost Perfumer" is the story of a genius and a fraud. And perhaps the greatest con in the history of luxury retail.
Roger Vivier is one of the 20th-century's great shoe designers. Appointed as shoe designer for Christian Dior in 1953, he designed some of the most influential shoes of the period, from 18th-century style mules to chisel toes, circular diamante heels, wedges, bead-embroidered shoes and African sandals. This is a tribute to the work of the shoe designer, who still produces two collections a year, from fairytale embroidery to transparent plastic, from metallic kid to metal stocking.
The first edition of this unique book established itself as an unparalleled source of information on perfume. Although it is primarily aimed at perfumers and others in the perfume industry, it has also found substantial sales among a wide range of others including aromatherapists, botanists, and many others who wanted to learn more about this faceted subject. The new edition is now aimed squarely at perfumery marketing specialists and others in the industry world-wide and covers in particular the needs of publicity/advertising teams and journalists, together with sales people and consultants at the counters who like to have a wide range of information at their fingertips. Changes include: an expansion of the number of profiles of the perfume houses, and of the 50 or so new perfumes worthy of record which have been launched since the previous edition. There is also increased coverage of the essences and the plants and other material from which they are derived. Coverage of perfume containers is substantially expanded and linked to other parts of the book.
The Perfume Companion is a beautifully illustrated compendium of almost 500 recommended scents. It organizes and explores fragrances in a bid to guide readers toward new favourites. Filled with vibrant descriptions and specially commissioned detailed illustrations that bring the fragrances and their beautiful bottles to life, it is the ideal introduction to the complex world of scent.
Celebrating Dior's floral inspirations in fashion and perfume, this unique volume features a portfolio of rose portraits by acclaimed fashion photographer Nick Knight. For Christian Dior, perfume was "a door opening into a hidden world." His first, Miss Dior, inspired by the lush gardens of his childhood home in Normandy, forged an inextricable link between his fashion and fragrance creations. Other scents were inspired by evenings in southern France, lit with fireflies and scented with jasmine. The rose bowers of his family home in Granville; his old mill country house; and the Château de la Colle Noire near Grasse--where jasmine, tuberose, and May roses reign supreme and are still cultivated--inspired Dior's most memorable creations. Flowers were also at the heart of Dior's fashion, from the women-flowers that inspired the late 1940s New Look to the swishing, blossom-like ball gowns embroidered with lavish floral motifs. They have inspired all of the designers who followed him at the House of Dior, from Yves Saint Laurent to John Galliano, and Raf Simons to Maria Grazia Chiuri. This extraordinary volume blooms with color and inspiration, and includes rose portraits by Nick Knight, previously unpublished archival documents, exquisite details of embroidery and fabrics, perfumes, fashion sketches, and sublime fashion photographs.
Glamour Icons is a collection of the most iconic and spectacular perfume bottle designs of the last century. Written by designer Marc Rosen, the book offers an insight into the history of perfume bottles, their place in society and their inspirations. Th
Advertising has traditionally communicated messages to consumers with strong local and national identities. However, increasingly, products, producers, advertising agencies and media are becoming internationalized. In the development of strategies that appeal to a large multinational consumer base, advertising language takes on new 'multilingual' features. The author explores the role of advertising language in this new globalized environment, from a communicative theory point of view, as well as from a close linguistic analysis of some major advertising campaigns within a multicultural and multilingual marketplace.
Elizabeth Martin explores the impact of globalization on the language of French advertising, showing that English and global imagery play an important role in tailoring global campaigns to the French market, with media companies undeterred by the attempts through legislation to curb language mixing in the media.
