Vogue 125 is a fragrance released by Japanese fashion house Comme des Garcçons in 2017. The fragrance was created by Comme des Garçons Parfum’s Creative Director Christian Astuguevieille to commemorate the 125th anniversary of Vogue magazine.
Vogue 125 is described as “modern and timelesss.”
THE INTERESTING BITS OF VOGUE HISTORY (and the fragrance inspirations)
The first issue of Vogue was published in the U.S. in 1892. It was a New York society magazine for the American bourgeoisie — both women AND MEN. There were columns specifically devoted to men’s interests and men’s fashion. There were also articles about the New York social scene.
CONDÉ NAST
In 1909, Vogue was acquired by Condé Nast Publishers. Condé Nast was an actual person (not just a travel magazine), and buying Vogue was his first solo publishing venture. He changed Vogue into a women’s magazine focusing on fashion, beauty, and culture. Nast transformed Vogue into the world’s premier fashion magazine. Some of his other magazines were Vanity Fair, House & Garden, and Glamour.
Vogue‘s fragrance memory of Condé Nast – lily of the valley – the flowers he kept in his dressing room.
In 1916, during WWI, it became impossible to deliver issues of Vogue from New York to Europe. A second printing location for Vogue was started in England. This allowed Vogue to become even more popular in Europe. In 1920, the first issue of French Vogue was released.
In July, 1932, Vogue published its first-ever issue with a photograph on the cover. Previously all of the cover art had been drawings.
VOGUE PHOTOGRAPHERS
Since the first photo cover, some of the world’s best photographers have been Vogue contributors. A few of the many photographers whose iconic photos appeared in Vogue were Helmut Newton, Irving Penn, Richard Avedon, Peter Lindbergh, and Annie Leibovitz.
Irving Penn worked at Vogue as a photographer for an incredible 66 years. He created 165 Vogue covers, more than any other photographer. His first and last photos for Vogue were of food (shellfish in August 1943, and bananas in August 2009). One of his most memorable contributions were the nine special Christmas issue flower portfolios, which ran between 1967 and 1971.
Vogue‘s fragrance memory of Irving Penn – peonies – from his 1968 flower portfolio
DIANA VREELAND – THE GENIUS FASHION EDITOR
Diana Vreeland turned American Vogue into a magazine for the modern, emancipated, sexy woman of the new era. She is a fascinating character. In 1946, she wrote that “the bikini is the most important thing since the atom bomb.” She began her career as a columnist for Harper’s Bazaar, and worked her way up to fashion editor. She joined Vogue in 1962 and served as editor-in-chief from 1963 to 1971. Some of her notable achievements include discovering Lauren Bacall and Edie Sedgwick, serving as personal fashion adviser to Jacquline Kennedy, and organizing 12 fashion exhibitions for the New York Metropolitan Museum of Art.
Diana Vreeland’s New York apartment was decorated exclusively in red by Billy Baldwin. She told him “I want this place to look like a garden, but a garden in hell.”
When Vreeland died in 1989, legendary fashion photographer Richard Avedon said that “she was and remains the only genius fashion editor.”
Vogue’s fragrance memory of Diana Vreeland – whiskey and a peanut butter sandwich – her preferred lunch.
ANNA WINTOUR, A.K.A. “NUCLEAR WINTOUR”
Anna Wintour became Chief Editor of Vogue in 1988. Under Wintour, Vogue became the premier fashion magazine of the entire world, not just reporting fashion trends, but creating them. Under her leadership, Vogue became refocused on fashion and regained its edge.
Anna is one of the most powerful people in fashion, and has been called “the unofficial mayoress” of New York City. She is known to be aloof, demanding, and intimidating. The novel (and movie) The Devil Wears Prada was rumored to have been inspired by her, as was the documentary The September Issue. The unauthorized biography Front Row: The Cool Life and Hot Times of Vogue’s Editor in Chief by Jerry Oppenheimer is also about her.
Whether her reputation as the nastiest woman in fashion is deserved or not, the credit for Vogue’s preeminence certainly belongs to her. Previous editor Grace Mirabella had let the magazine become stagnant and text-heavy, focusing more on lifestyle than fashion. Competitor magazine Elle was gaining readership, while Vogue was stagnant. Anna revitalized Vogue by cleaning house and changing direction. When she took over, she described Vogue‘s new target audience to the Telegraph:
“I want Vogue to be pacy, sharp, and sexy, I’m not interested in the super-rich or infinitely leisured.
I want our readers to be energetic, executive women, with money of their own and a wide range of interests.
There is a new kind of woman out there. She’s interested in business and money. She doesn’t have time to shop anymore. She wants to know what and why and where and how.”
Under Anna’s leadership, Vogue has become synonymous with both fashion and with bold, independent, progressive women.
Vogue‘s fragrance memory of Anna Wintour – Chanel No. 5 – her favorite perfume.
VOGUE 125 FRAGRANCE REVIEW
Vogue 125 opens with a pop of something synthetic and unusual. This is supposed to be an “instant camera note”, to smell like the Polaroid film that was used for test shoots. As someone who grew up in the 1980’s and loved the smell of Polaroids and the inside of a 35mm film canisters, I would have loved to relive that smell, although I’m not sure I would want to wear it. However, the “instant camera note” in Vogue 125 is not that distinct. I detect something synthetic, and my imagination allows me to connect the dots. But if I smelled this accord in the wild, I would never make the connection to film.
The instant camera note is very short-lived, lasting about 5 minutes. What emerges after that is a lily of the valley and peony fragrance, loaded with acetyl furan. It smells sweet and burnt, like a perfumed lady smoking Virginia Slims. There is something watery and indistinct about the florals that reminds me of the glossy magazine pages, scented by the perfumed inserts and strips. Neither sweet nor powdery, they are just there, neither thrilling nor offending.
Vogue 125 is a perfectly wearable fragrance. Its red lacquered bottle desigend by Vogue Art Director Aurélie Pellissier-Roman looks iconic and collectible. But there is nothing bold, groundbreaking, or fashion-forward about it. And, to me, that makes it un-Vogue-like, and a disappointment.
A collaboration between Vogue and Comme des Garçons had so much promise, but the result is ordinary and forgettable. Vogue‘s Senior Beauty Editor Laura Regensdorf said that the fragrance has a “freshly-washed chemise” effect. I can’t argue with that assessment, I’m just not sure that it’s what Vogue Girls should want to smell like.
I was expecting something trailblazing and trendsetting, sexy and powerful, like Vogue. By that criteria, Vogue 125 misses the mark entirely. It’s demure, and unadventurous. In this age of Molecule 01 and Not a Perfume, one could make the argument that a combination of watery florals and weird aromachemical “notes” is a modern perfume. But is it timeless? I hope not.
When someone creates Anna Wintour in a bottle, I’ll be a customer. As much as I love Vogue, and Comme des Garçons, I’m going to have to pass on Vogue 125. It is a perfectly nice fragrance, pretty, and very safe for work. UNLESS you work at Vogue — then you should be wearing something more interesting, darling!
Vogue 125 has low-moderate sillage, and lasted about 6 hours on my skin. Manufacturer’s listed notes are instant film, tobacco leaf, powdery lily-of-the-valley, fresh ink, subtle woods, and Saffiano leather. Vogue 125 is an EdP and sells for $150 per 100mL. For more information, see totokaelo.com.
