“I love you Italy”

We have to stop pitying ourselves, moaning the whole time, underrating Italy’s wonders.
We are a strange people, combining genius with rulelessness, artfulness and skill, and amidst all the beauty that surrounds us. We are Italians, we are made that way.

Let’s look sharp and open our eyes, we are in a recession and it won’t be over quickly, but one of our best qualities is our ability to reinvent ourselves.
Up with our heads, out with our pride, “I love you Italy”… it’s even written on the pack.

A fine declaration of love that expressed by Collistar with a capsule collection designed by Antonio Marras and featuring nuances inspired by Italy and its symbolic places; one only needs cities like Venice, Milan, Verona, Rome and Syracuse to suggest the palette of reds, shades, glosses and earths.

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At a graphic level, the lead thread that unites the entire project is the typical sign of the Sardinian designer, this time in the shape of the silhouette of a woman’s face, elegant, essential, poetic and that seems to be inspired on the timeless profiles of the great Modigliani.collistar_bazzani12_web

Interesting the seamless  integration between design (the woman’s eye) and brand, Collistar’s “c” symbol that, along with the use of ruby red – Marras’ signature color – to paint the woman’s mouth, represents the solid but discreet union between two brands that epitomize the beauty of Made in Italy.

Bio-design: the “beehive” bottle

To celebrate the launch of its new honey whiskey, Dewar’s had 80,000 bees create an enlarged copy of the bottle. Under the supervision of an expert beekeeper, the tireless worker bees built the hive following the shape of the mould. The work was completed in around six weeks. An incredible result of the coalition between nature and technology.
When Dewar’s decided to create a sculpture for the launch of Highlander Honey Whiskey, it exasperated the concept of 3-D printing using the ability of the bees and gave shape to an apparently impossible project, the “3-B Printing Project”. But how can you direct a swarm of bees to build a hive in the shape you want?  3bees_WEB 3bees2_dewar_webThe Ebeling Group (that can boast a reputation for solving the most incredible projects) and master beekeeper Robin Theron were able to come up with the answer. Aboveall the Ebeling team created a 3-D model (press-moulded in the traditional manner) that could be used by the bees as a base on which to build their cells and closed it in a transparent hull, just slightly bigger than the same, so as to reproduce the real space in which the bees move in the hives; this also enabled a perfect view of the “work in progress”. Entry and exit paths for the bees were then created to enable them to search for pollen and, lastly, thousands of worker bees were introduced.
The entire process took around six weeks, requiring two entire colonies of bees, the first of which was completely removed before the second was introduced; aboveall, to avoid the honeycomb filling up with honey and other eggs being laid, the queen bee was kept isolated for a given period. The bees moved around freely and to film them as they landed on the flowers and tools, everyone wore protective masks and overalls. Once the honeycomb had been created, the plastic hull was carefully removed and the end result was surprising and scenic: a splendid bottle-shaped hive.

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To be fair and correct one has to cite the Slovak artist Tomáš Gabzdil Libertíny
, clearly the source of inspiration of the agency Sid Lee – that followed the campaign for the launch of the new Dewar’s whiskey. Libertíny’s work, carried out in 2007 using a very similar technique, used 40,000 bees and was called “slow prototyping

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To find out more read  Slovakian Honeycomb Vase Designer Claims Dewar’s Whiskey Campaign Exploits His Work | Inhabitat – Sustainable Design Innovation, Eco Architecture, Green Building

Poste Italiane reworks its parcel design

Poste Italiane too bears witness to the fact that the container is evermore important, having recently brought out a 100,000 piece, limited edition, highly special “collectors” pack. An Artist’s Pack, that recounts, in the style of Giuseppe Stampone, a trip across Italy by way of the most significant monuments, personalities, myths and symbols of the “Bel Paese”.
Artist’s pack is a project  by SPIRITO DUE born out of an idea by Valentina Ciarallo and Maria Chiara Russo with the objective of turning the classic yellow Poste Italiane pack into a work of art and to increase young people’s and the general public’s contact with contemporary art.

A public art project hence where the public, called upon to vote for their favorite pack, becomes protagonist along with the artists.

After a preselection among 12 contemporary artists invited to take part in the project (Andrea Aquilanti, Arthur Duff, Flavio Favelli, Giuseppe Pietroniro, Giuseppe Stampone, goldiechiari, Hitnes, Marco Raparelli, Mauro Di Silvestre, Miltos Manetas, Silvia Camporesi and Vedovamazzei), October last the six finalist d’auteur packs were directly voted by the public on the website  www.leavventuredipaco.com.

The most-voted-for container was that of Giuseppe Stampone entitled “L’ABC del Bel Paese”. The artist from Abbruzzo thus commented his victory:«Taking part in a project of this type is more important than any museum exhibition. Today works “suffer” if they  solely remain in the art circuit, which is why one of the artist’s main objectives is to enable largescale fruition of contemporary art».

Silvia Camporesi
Silvia Camporesi

Runner up, just a few votes behind, Silvia Camporesi’s pack that exploits an image freely drawn from the final scene of Antonioni’s film Zabriskie Point: a colored explosion of clothes and objects and hence of human stories, the type that any pack or parcel traveling the world around might conceal.

 

 

 

 

Marco Raparelli
Marco Raparelli
Hitnes
Hitnes
Mauro Di Silvestre
Mauro Di Silvestre
Arthur Duff
Arthur Duff

 

Olfactory replicants of memories

Calvi, 1972. A summer stroll along the Ocean shore.
Santa Monica,1994. Wafts of creamy and captivating sweetness.
Paris, 2011. Flower market.
Florence, 2003. A lazy Sunday morning.
Oxfordshire, 1986. Promenade in the gardens.
Brooklyn, 2013. Evening at the Jazz Club.
Six fragrances (and relative packaging) designed to evoke the most intense memories: this the contemporary vintage of Margiela.
The perfumes of the Maison Martin Margiela’s Replica collection have been conceived to capture thoughts and emotions; created by perfumier Jaques Cavallier, they have been devised to instantly evoke memories, images and impressions experienced by most of us, like the Lazy Sunday Morning, that with its chord of white musk smells of clean washing and linen sheets, or like the Promenade in the Garden, a flowery perfume inspired by a stroll in the gardens or again Jazz Club, the first of the series dedicated to Man, a cocktail of rum, vetiver and tobacco leaves.

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The fragrances are sealed in a flacon shaped like the laboratory vials of yesterday’s pharmacists, and are accompanied by a cotton label, bearing the where/how/when of the fragrance: all the technical and poetic information needed to best savour the atmosphere trapped in the bottle.
The same indications also appear on the cardboard case, which also bears a photograph, a snapshot of a particular instance, that which determines the story behind every perfume.
The Replica projects also encompasses the #smellslikememories exhibition, a collection of photographic works of artists from all around the world, that have put their own sensorial and olfactory memories down on film and that now continues on a digital platform replicafragrances.tumblr.com.

For anyone wishing to join in, the organizers’ are desperately seeking olfactory (and photographic) memories.

La Belle Haleine

What do Chanel No. 5 and the history of art have in common? Can a bottle of perfume be considered a sculpture? Is the most expensive Eau de Voilette in the world a play on words? A bizarre journey through the paradoxes of the art of perfume and perfumes of art. 

Marco Senaldi

How can a perfume become a work of art? How can something invisible like an aroma become the subject of an object made for the eyes? The archetype is with all likelihood Chanel No. 5, wrongly considered a “classic”, when in fact it was a revolutionary artifact, born not by chance during the “roaring twenties” (1921) from the creativity of Coco Chanel, a friend of artists like Picasso, Claudel and Stravinsky, which only later became a must have, an indispensable point of reference even for those who have never bought or worn it.

It’s no coincidence that during the 80s, a decade in which certain fashions that had originated during the mythical Jazz Age were taken up and revisited, the Chanel image made a huge comeback: the high priest of this consumer neo-iconophilia, Andy Warhol, followed the suggestion of the Feldman Fine Arts gallery to create a series of prints dedicated to modern myths, and he didn’t forget to include No. 5.

The sober, rational bottle in Deco style, in its Warhol version, takes on a new dimension: made transparent and almost evanescent, a pure profile standing out in unreal, almost television colors (Warhol claimed that the idea of saturated color screen prints came to him while watching static television), the series of Warhol prints sublimates the object beyond its meaning as a consumption product: a spectral image of itself, the enormous Chanel incarnates a myth always beyond our ability to consume it, eternally desirable and eternally indestructible, a sort of – to paraphrase Oscar Wilde – “icon without enigma”.

By a twist of fate, or rather history, more or less in the same years, a surviving proponent of the historic avant-guarde, Salvador Dalì (who among other things, with his theatrical gestures and eccentric muses like Amanda Lear, was the secret master of Warhol’s extravagant style) also designed his own personal perfume.

Since then, Dalì Perfume, established in 1983, contained in a bottle shaped like stylized lips with a nose stopper, as if it were a fragment of an ancient statue, also became a classic in its own right. This perfume is proposed as a small collectible: the container is almost a sculpture, and the mark of the Catalonian genius is absolutely unmistakable. The full red lips are a citation of a citation: they can’t but recall the famous lips-shaped couch of the 1930s – in its turn inspired by the lips of Mae West, the famous American pin-up model and actress. But the whole ensemble creates a typical double image à la Dalì: its silhouette carries the gaze behind the negative image of the face to which mouth and nose should belong, with an extraordinary hypnotic effect.

But the fascination of artists with the world of perfume, for the allusions it reveals, for the forms with which such an impalpable thing wraps itself concretely, can be traced almost to the same years in which Coco was creating No. 5 as a work of art. Famous, for example, is the assisted ready-made Eau de Voilette, signed, again in 1921, by Marcel Duchamp, who in order to make it used an authentic Rigaud perfume bottle, remaking the label and then inserting it into a purple velvet case.
On the label can be made out the face of Duchamp, in a portrait by Man Ray, showing him as his feminine alter ego Rrose Sélavy (the label features the initials “R.S.”).
Even the title itself is a head-scratcher: in lieu of Eau de Toilette, as one would expect, it is an Eau which isn’t even “de Violette”, as one might expect in reference to the essential oil – but “de Voilette”, as if it were a typo (this is all an obscure reference to the poem by Rimbaud Les Voyelles, in which the “O” is from the “viola”).

Even more obscure is the meaning of the play on words beneath the image of Duchamp: Belle Haleine, which recalls “Belle Héléne”, but with a significant alteration: “de longue haleine” in French means “of long breath” but for Duchamp, who was passionate about impalpable things, which he defined as “infrathin” (“inframince”), the air, breath, smoke, perfume, etc., etc., these were artistic dimensions as undervalued as they were essential, to the point that, to one interviewer who asked him what he did for a living, he responded: “I’m a breather, isn’t that enough?”.

Maybe thanks to these (typically Duchampian) streaks of genius, maybe because only one exemplar of these modified readymades has survived – the fact is that Eau de Voilette has become the most expensive perfume of all time: and we believe, if it’s true that this last copy (which once belonged to Yves Saint-Laurent) has been auctioned at Christie’s for the “small sum” of 8.9 million euro.

Such a fascinating story could not leave indifferent younger generations of artists. Italy’s own Francesco Vezzoli has been seduced by Duchamp (or maybe by Rrose Sélavy?). Ninety years later, in 2009, Vezzoli decided to re-propose an art-perfume inspired by Duchamp’s Eau, but to call it (in a highly postmodern concession) Greed.

In practice, the bottle is still the same one as Duchamp’s, but in place of Rrose appears Francesco/a, himself also vaguely effeminate. The remarkable thing, however, is that Vezzoli has commissioned a video spot as if for the launch of a real perfume, or even better: the short is signed by none other than Roman Polanski, who directs Nathalie Portman and Michelle Williams. How to say: what counts now, everybody knows, is no longer the perfume itself, but the perfume’s “scent”, its disembodied media experience, cloaked with the unmistakable aroma of glamour given off by glories both old and new like the Hollywood they originate from. To sum up, the next step to the Warholian glorification of merchandise: the glorification of the imaginary.

Does the story end here? Not by a long shot. To make a contemporary artist, some say, means to move the peg of the impossible always one notch higher up. One would be tempted to say that that is what another Italian artist, Luca Vitone, managed to do at Venice’s 2013 Biennale.

Invited to the Italy Pavilion, he opted for an extreme choice: to bring a work of art “that’s not there”. In dialog (this is the curatorial concept) with the photography of the great Luigi Ghirri, Vitone thought to play his part without descending to the plane of the visible, but rather the olfactory. Thus, he installed in the space an odor, which “at first you like, then becomes unpleasant, then sticks in your throat, then makes you want to swallow” as he explained himself. An odor that recalls another, this time anything but glamour: the odor of eternit. Thus, although impalpable, Vitone’s work speaks to one of the most tragic events in recent history, and in order to achieve this effect, the artist had to turn to the “nose” Maria Candida Gentile, showing that even a perfume can inspire thoughts and carry the mind far, far away…

 

Boxes (d’artiste) and bubbles

Founded in 1729, Ruinart is the oldest champagne producer in the world.
The first to use ancient caves carved out of the stone beneath the city of Reims in order to age its wines. The first to store its bottles, starting in the 18th century, in wooden crates and the first to reinstate the traditional champagne bottle.

With these things in mind, the Dutch designer Piet Hein Eek created the wooden crates for Ruinart’s Blanc de Blancs.
And naturally his Nordic style is very “eco-chic”.


In order to avoid unnecessary waste and optimize transport while minimizing the solution’s environmental impact, the designer conceived and built a trapezoidal chest whose profile has been appropriately refashioned, with a series of minimal touches, against the physical space occupied by the bottle.

What results is a truncated pyramidal crate which, – in addition to serving as a designer packaging – with its shape reminiscent of the keystone in an arch, as if it were a recurring architectural feature (or a piece of “Lego”), can be stacked in a very compact manner and used to create grandiose scenic installations.


In line with Eek’s typical approach, the wood used in the crates is recycled, but in order to better reflect the colors of Blanc de Blancs an essence of pine was patiently selected in hues of pale gray, white and cream and then treated on the surface with lacquers to make a precious finish. Each case has been handmade in the studios of Piet Hein Eek, in Geldrop, near Eindhoven, and has been signed and numbered to make it a unique item, like the bottle it contains.

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From Puglia with love

Olive oil, tarallucci and stamps are the ingredients of a 100% Made in Italy project. Born out of a passion for design, typography and good food, Typuglia is a young brand proposing artistically “dressed” Apulian gastronomic delights.

The mind behind the project, Leonardo Di Renzo, a lover of his native land, as well as typography, and a creative by profession, had the good intuition to promote and distribute the best products of his region, adorning them with fine packaging duly designed in order to communicate the values still inherent in these local products: artisanship, quality ingredients, manual skill, inspiration and good taste, but also new ones such as sustainability and ethics.

What drove all this is a passion for typography and a desire to rediscover its ancient techniques and the manual skill that was being lost among digital desktops.

Di Renzo and his partners are now in the process of selecting taralli, pasta, sauces and extra virgin olive oil from local concerns working in the traditional manner. Then, with the inspiration of the creatives, they will conceive and execute all the packaging (by hand, one by one, as if these too were each a piece of homemade gastronomy) – from a handmade and hand painted terracotta jar to a recyclable and reusable honeycomb carton with a jewel case or lamp (just by following the simple instructions contained within the packaging), from hand-printed and – numbered labels to mini-bags containing real olive leaves – and finally they move on to sales and distribution.

The target market is well-defined, Di Renzo and co. referring to them as the “gourmet designers”, demanding, capricious, perfectionist and insatiable: those who meander with curiosity through the bookshops of museums and art galleries, frequent bistros, peak through the racks of wine shops and delis to satisfy refined desires. Just like them.

 

Action!: Roughs and Rouges

Young fashion promises “clad” the official make-up collection of the Venice Film Show amidst the red carpet, photocalls and première nights.

ciack_laguna_01Lagune Extase is the limited edition by L’Oréal Paris – for the sixth time sponsor and official make-up provider of the Venice Film Show – dedicated to the 2013 edition of the event. A collection of lipsticks, mascaras and nail varnishes with packaging signed by four emerging and gifted fashion designers, chosen for the occasion by Vogue Italia.

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Angelos Bratis, Barbara Casasola, Marta Ferri and Stella Jean hence got the task of interpreting four looks inspired by the main engagements of stars at the Film Show and “clad” the make-up flacons with design roughs of their unique and exclusive creations.
For the “Red Carpet”, Barbara Casasola thought up a contemporary and sensual siren’s look to be worn with bright red lipstick and white fingernails.
For the “Première Night” in turn, Angelo Bratis proposed a lunar woman, elegant, almost ethereal, contrasting with the sunny and merry image of Stella Jean – whose style, extremely personal, reflects her Creole heredity – proffered in the look devised for the “Social Party”.

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Lastly, fashion designer Marta Ferri interpreted the “Photocall” – a moment the stars dedicate to the photographers – with great freshness and just a pinch of romanticism.

The small illustrated bottles speak for themselves: attractive fashion parade souvenirs, they are 3D miniatures that tell the dream of fashion and it was amazing to see how the sinuous figures drawn by the four fashion designers actually came to life on the catwalk.

A further reason for collecting these unique packaging items. Should you still be able to find one.

Absolutely unique

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Absolut Vodka knows how to use packaging as the best of marketing tools, and with great skill it has always managed to communicate various images with the same bottle. But with Absolut Unique and Absolut Originality the Swedish concern has outdone itself, creating four million unique pieces.

Following decades of experience making sure each bottle is exactly the same, Absolut Vodka has turned this practice on its head by declaring that no two bottles should be equal. To make possible what at first appeared a mad dream, an unthinkable gamble, it was necessary to redesign the concern’s entire production process. Coloring machines and robotized arms equipped with spray guns were built, and a special algorithm was developed in order to implement a near infinite sequence of combinations of 35 colors and 51 designs.
Once the rules were set, the machines did the rest, and the Absolut Vodka facility was transformed into an abstract painter’s studio.
In these terms, with the creation of an enormous quantity of bottles, all different and numbered, rather than a limited number with a single design, the philosophy of the collector’s item has been reversed from an agonistic search for rarity to “whichever bottle you find will be unique”.
All that happened just one year ago; as always, tireless in its constant proposal of novelties, Absolut Vodka has just launched Absolut Originality, a new limited edition of “four million unique pieces”, artistically decorated with a refined effect that highlights the crystal of the glass and bestows each bottle with streaks and hints of blue, the symbolic color of Absolut.
A bottle that is always different, created using technology which is cutting-edge but which models itself on the artisanal techniques of the Swedish master glassblowers, as well as the use of drops of cobalt glass in the melted glass heated at 1,100°C. By fusing together, they produce patterns that are always different.
But that’s another story.

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Pump up the Parfum

If you want to be a true and proper pop star and be remembered forever by your fans, you must have your own perfume. Celebrities the liks of Madonna, Lady Gaga, Nici Minaj are relaunching with beauty and packaging becomes a weapon of mass seduction.

Sonia Pedrazzini

On the global image market the celebrity fragrances are a growing phenomenon. Perfumes are no longer the result of passionate research done by timehonored beauty maisons but true and proper objects for branding or for communicating brands now even representing people, or rather “celebrities”: pop stars, film stars, models or socialites, who create their own personal perfume, an object that by offering emotions as well as visual or olfactory sensations, stands as the media essence of the character they represent. Aboveall, in the case of popstar fragrances, the packaging is often exaggerated, even ugly, all the same it is never banal because it incarnates the look, the style, the aesthetic taste of this or that personality, a sort of accessory-fetish to delight fans, to be looked at, touched, smelled.

To consolidate the imagination of the public, the scents of pop stars are always launched on the market accompanied by a story, a video, a song. The advertising campaign is signed by big names of international creativity, photographers and filmmakers who band together to create a perfect product from all points of view, music, video, graphics, design, fashion, and naturally, beauty are interwoven to give body (packaging) to an icon, and in a short time the perfume bottle enters the distribution and viral marketing circuits. An accessible piece of a dream but, aboveall, a true business.
The marriage between the entertainment and the beauty industry is an interesting union as well as a union of interests, and both sides have much to gain, which is why in the future we are likely to see more and more “star-parfumes”.

One of the first celebs with her own fragrance was the singer and actress Cher, who launched Uninhibited in 1987, a perfume with a sumptuous and decadent appearance; Cher made the presentation to the press in a “Cleopatra” dress style and the publicity photo portrayed her as a symbolist Salomè, a sinful Cher alla Franz von Stuck, metaphor of an essence that allows itself to be bottled, but not held back, as the claim announced.

cher

 

After Cher came Elizabeth Taylor’s Passion and White Diamond, of course crafted around the image of a gorgeous Liz and her unfailing passion for jewellery. White Diamond has a very feminine bottle, precious and…brilliant; it enjoyed an enormous commercial success and today is still one of the best-selling perfumes the world over.

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From the 2000s onwards there has been a succession of new perfumery and “celeb-creations”: Jennifer Lopez, Britney Spears, David Beckham, Gwen Stefani, Antonio Banderas, Shakira, Bruce Willis, Beyonce, Mariah Carey, Prince, One Direction, Rihanna are just some of the celebrities who have dealt or dallied with the world of fragrances.

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In 2010, as a sign of her passion for cats, the pop singer Katy Perry made Purr (the name was intended to allude to “perfume”, “perfect”, as well as “Perry”) the bottle, sketched out by the performing artist, is in purple glass in the beloved cat shape, with diamond eyes and metal details. To find the right fragrance the distinctive notes of her favourite fragrances were captured and blended together, to constitute her personification contained in the bottle. Given the success, Kate Perry tried again the following year with Meow, yet another cat perfume with an onomatopoeic name, the bottle being the same as that of the previous year, no longer purple but a pearlescent pale pink. In 2013, finally, came the breakthrough, Kate abandoned the cat (and kitten) icon and relaunched as a powerful, seductive woman.
The transformation is symbolized by “Killer Queen“, a new essence which takes its name from the pop-group Queen’s planetary hit written by Freddie Mercury. «Since I was 15 years old – says the singer – Killer Queen has been in my vocabulary. Mercury’s lyrics speaks of the woman I wanted to be, magnetic, powerful, who conquers all and finally, after all this time, that’s just the way I feel» and to express this marvellous sensation, the shape of the bottle is ruby red studded with gold, it is the point of a sceptre that, in the advertising campaign, Queen Katy brandishes with pride.

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One of the most striking pop stars both in life and for the design of his iconic perfume is the American rapper Nicki Minaj, who in 2012 launched “Pink Friday” to express the unique style of his voice through another dimension, that of the sense of smell. The bottle, designed by Lance McGregor, incredibly kitsch and self-referential, is a bust of the same singer with the famous pink wig: impossible to remain indifferent to such abundance and formal semantics, the fatal mix of production technology, sculpture and pop culture.
But it is for this very reason that Nikki’s scent has something magnetic and appealing.
The last one, Minajesty, dated 2013, is no less iconic in terms of force, and the packaging maintains the same concept, the statuary half bust of Minaj but with a new look for the wig, the top and the corset. If this continues you would want to start a collection!

nicki_minaj

 

We cannot conclude without mentioning the scents of the most famous pop stars in the world, those who, along with Michael Jackson, made their image the prime mission of their lives (and not just medial), notably and of course Madonna and Lady Gaga.
Truth or Dare was the first fragrance Madonna put her name to and draws inspiration from an olfactory memory, the smell of gardenia and tuberose that reminds her of her mother. A fragrance that evokes something nostalgic, primitive and mystical in her. With this project, Madonna confirmed her determination to appear ever less the “material girl” and ever more spiritual (of course in the mix typical to her: Catholicism, Judaism and Kabbalah, yoga, Opus Dei). The bottle, designed by Fabien Baron, is white with gold logo and cap, a touch of preciousness that hints at the opulence of certain churches.

madonna

 

Lady Gaga is an extreme experimenter who here too does not deny herself.
Her first fragrance “Fame” (September 2012) represents a step forward in the realm of perfumery. First, the liquid fragrance is a striking black color which, on contact with the skin becomes transparent, the composition of the olfactory bouquet, instead of following the traditional pyramid structure (top notes, heart and bottom), uses an innovatory push-pull structure, in which the various odours simultaneously interact to set off and heighten the characteristics of each note without any dominance or hierarchy.
The bottle was designed in collaboration with photographer Nick Knight and has the appearance of an alien magic potion, the black liquid of the bulb and the top looking like a gold harpoon makes for a mysterious and aggressive object. Just before the commercial launch rumour circulated that the pop star was looking for a perfume aroma of blood and semen, subsequently stating that, although the fragrance was based on the molecular structure of these substances – and in particular on sampling of the molecules of his own blood – that was not the odour (thank goodness for that!). Lady Gaga’s provocations are never gratuitous anyway, and thanks to the powerful commercial launch and advertising campaign shot by Steven Klein, in just one week “Fame” sold 6 million units, becoming one of the best-selling perfumes worldwide.

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