Among all fragrance families, CHYPRE is likely the one that has undergone the most changes over time, whether due to restrictions on raw materials or shifting tastes. Some argue that modern chypres – compensating for the now-limited use of oakmoss with a heavier dose of patchouli and the addition of gourmand elements – bear little resemblance to the original concept. In this two-part series, we’ll explore both the classics, which more closely reflect the genre’s founder, Coty’s Chypre, and contemporary versions with their gourmand leanings. Despite the changes, chypres retain their reputation as the most sophisticated fragrance family, cherished across generations.
See also: Chypres, A Brief History | Part 2: New Tastes & Shapes
Although some argue that chypres have existed since the time of the Crusades, as early as the 12th century as bird-shaped incenses used to perfume the air, brought from the Byzantine Empire, or that the style was already represented by Guerlain’s Chypre de Paris (1909) and Chypre d’Orsay (1912), Coty’s Chypre (1917), is widely regarded as the true founder of this olfactory family. Coty’s brilliance lay in creating a distinctive and harmonious blend of bergamot oil (refreshing, sparkling, spicy), labdanum resinoid (warm, balsamic, leathery), and oakmoss absolute (dark, inky, earthy), enhanced by extracts of patchouli, jasmine, rose, orris, civet, musk, herbs, spices, and various resins. Coty’s inspiration is said to have been the island of Cyprus, the birthplace of Aphrodite – according to Greek mythology, the goddess of love, beauty, desire, and procreation. However, many other theories surround the mysterious origins of the chypre family…
In 1919, Jacques Guerlain created Mitsouko, a refined reinterpretation of Coty’s Chypre, making it more alluring, particularly through the addition of the novel Gamma Undecalactone, also known as Aldehyde C-14, which mimics the aroma of peach. This molecule was later skillfully used by perfumer Edmond Roudnitska, combined with the newly invented Prunol base (plum), in the composition of Femme Rochas (1944) – another major reference in fruity chypres. The fruity chypre subfamily became very popular at the turn of the new millennium (to be explored in Part 2 of this series), although with a different structure, primarily due to both heavy restrictions on the use of oakmoss, which is rich in atranol, an allergenic substance, and the rise of the gourmand wave led by Mugler’s Angel (1992).
The next prominent figure in the chypre family was Miss Dior, launched in 1947 by Christian Dior as part of his revolutionary “New Look” concept – a milestone in women’s fashion. Alongside Carven’s Ma Griffe (1946), Miss Dior sparked the trend of green (floral) chypres, which solidified in the 1960s and 1970s – an era marked by the pursuit of peace, freedom, and a love for nature. Iconic examples include Yves Saint Laurent’s Y (1964), Dioressence (1969), Givenchy III (1970), Clinique’s Aromatics Elixir (1971), Chanel N°19 (1971), Estée Lauder’s Aliage (1972), Jean Couturier’s Coriandre (1973), and Halston (1974). Miss Dior has been reformulated several times, but the maison has kept the original in its portfolio under the name Miss Dior Originale.
Green chypres were preceded by woody chypres, more geared toward a male audience, which emerged in the 1950s during the “vetiver craze.” Examples include Chanel’s Pour Monsieur (1955), Carven’s Vétiver (1957), Givenchy’s Vétyver (1959), and Guerlain’s Vétiver (1959). Before these, leathery chypres – which relied on the inclusion of birch tar oil, Isobutyl Quinoline and/or castoreum – had already made their mark, such as Caron’s Tabac Blond (1919), Knize Ten (1925), Chanel’s Cuir de Russie (1927), and Robert Piguet’s Bandit (1944). Other iconic representatives of leather-based chypres include Grès’ Cabochard (1959), Aramis (1964), Chanel’s Antaeus (1981), and Hermès’ Bel Ami (1986).
The 1980s witnessed the rise of the so-called “shoulder-pad chypres,” a nod to the era’s bold and extravagant aesthetic, which also reflected in perfumery. These were chypres that blended powerful florals with spicy and animalic accords, sometimes contrasted with clean and bright aldehydes. Iconic examples include Lancôme’s Magie Noire (1978), Ungaro’s Diva (1983), Paloma Picasso (1984), Givenchy’s Ysatis (1984), Paco Rabanne’s La Nuit (1985), Fendi (1987), and Estée Lauder’s Knowing (1988).
In the following decade, Yves Saint Laurent’s Champagne (1993), later renamed Yvresse, Gucci Rush (1999), Mauboussin (2000), and Badgley Mischka (2006) stood out with their peach accord, contributing to the upcoming trend of fruity chypres.
EXAMPLES OF CLASSIC CHYPRES
Here are other examples of chypres and respective “extra” notes that enhance their shared classic chypre accord.
Robert Piguet’s Bandit, 1944 (aldehydes, galbanum, artemisia, carnation, leather, civet)
Sisley’s Eau du Soir, 1990 (grapefruit, orange, juniper, black pepper, carnation)
Roja Parfums’ Diaghilev, 2010 (peach, ylang-ylang, cumin, cloves, civet)
MDCI Parfums’ Chypre Palatin, 2012 (aldehydes, galbanum, plum, tolu balsam, castoreum)
Oriza L. Legrand’s Chypre Mousse, 1914/2013 (fennel, mint, fern, mushroom, soil tincture)
Bogue’s Maai, 2014 (aldehydes, tuberose, civet)
Papillon’s Salome, 2015 (cumin, carnation, tobacco, hyrax, castoreum)
Rogue’s Chypre-Siam, 2017 (kaffir lime, basil, ylang-ylang, civet)
Le Labo’s Mouche de Chêne 30, 2017 (pink pepper, West indian Bay, cinnamon)
Ex Nihilo’s French Affair, 2017 (vetiver, angelica, litchi, violet leaf)
See also: Chypres, A Brief History | Part 2: New Tastes & Shapes
(text by Daniel Barros)
