Fille d'Eve (1952)
by Nina Ricci

(A review of perfectly preserved, temperature and light controlled vintage extract from the mid Seventies)An interesting gesture on the part of Marc Lakique himself was chosing to encase this comp in an apple, perfectly fitted out with a cunning glass ground stopper in the form of a leaf, as the very first thing the wearer is reminded of upon application is a crisp, green apple. The colour code, thouhg, would suggest it is one of those rosy brown ones. Further irony: The name implies it to be a rich, dark, blood red, which, ironically was used for "Farouche." Fille d'Eve: Girl of Eve. Girl, Daughter. Upon first whiff on litmus, this extract breathes a rush of Spring: The kind of "First Hint" that can be detected as early as mid March, when it is clear that the worst part of the grisly, dark days of Winter are finally slinking away to mercifully hide for another six months. There is, by all outward appearances, no "perfumey" quality to Fille d'Eve, a Germaine Cellier comp: One of two masterworks orchestrated for Nina Ricci, the other being Coeur-Joie. In spite of the fact that Germaine's "patte" was always somewhat strange, often groundbreaking, this one does not announce itself by a blasting fanfare of presence, as do some of her others, Bandit, Vent Vert....Clearly, Germaine Cellier had in mind to channel the inimitable quiet hush that is the Hallmark of Nina Ricci, who in the XXe Century produced some of the worlds greatest, and finest, perfumes, with a standard rivaled only by Jean Patou. On litmus, this extract begins slowly, all daffodils in bud, paperwhites, cool, chilling wind, but within ten to fifteen minutes begins to heat up: The Birth of an Early Spring Day, which promises to bring a thaw. References are difficult to summon. At first whiff I was reminded of Chamade, but only for an instant, as this has nothing of a Guerlain. As it warms, Patou's "Caline" is harkened, though very distinctly lacking the boozy depth that every Patou, save for Joy, seems to have in spades. The warmth that announces the unfolding of delicate spring blossoms and pale, linden yellow leaves quickly becomes stable, and no dark, resinous base can be intuited, save for a slight pepperiness that does emerge, though no more harsh than that which emanates from a perfect, full blown carnation.
The singular qualities found only in the great Nina Ricci comps are intrinsic to this scent: Very obvious, in fact: One of these, perhaps the most remarkable, is the capacity to forever maintain softness, and never become heavy or overbearing. For a perfume destined to be held captive in a masterful work of crystal, in spite of being powerfully equipped with an abstract apple note, Fille d'Eve seems unwilling to be called "Fruity." The small amount of obvious fruit that could be found here would smack of the pineapple accord that is so obvious in Patou's "Colony," yet, again, remains so expertly woven within the context of a scent that it is, very clearly a fragrance distinct unto itself, which as I can thus far surmise has no peers: Fille d'Eve is Green, but it is not. It is a Green Floral, but it is not. It is a Green Chypre but it is not. It seems to refuse to behave within the context of perfumery, and instead maneuvers more in the realm of Nature itself. A built in aroma of skin that develops ever so discretely, for instance, could scarcely be called "Leather," or "Musk," and quietly blooms somewhere within the heart. Nothing about this scent can be analyzed or mapped out by any means typical to the art of perfumery: A phenomenon at which Germaine Cellier excelled, and in fact, owned. Though now settled in to the rich, luxurious middle notes, Fille d'Eve still blows as gently as a soft breeze through the delicate, budding leaves of naissant Spring, when flowers and fruits are budding, but have not, as of yet, become full blown, all the while carrying upon it a very faint lyric: Nina Ricci. Nina Ricci. But, as with all classic Nina Ricci comps, Fille d'Eve never speaks in any tone other than than a lilting whisper. The only obvious thing about Fille d'Eve is that it poses no questions as to the gender of its creator: This is a chic woman's decent, designed by a tall, beautiful, quirky and impeccably chic woman: Germaine Cellier had legendary style: Signature? Among many, her cigarettes misted with Bandit extract, a scent she was known to devise exclusively to this end, and a maid attendant to her at all times, including in public.

30th January, 2012. (Last Edited: 5th February, 2012.)

This is probably, without a doubt, one of the greatest fragrances ever created. It is such a perfectly balanced scent and has so many facets, well it is almost hard to categorize it.
It does fall into a chypre/floral family, but it seems to be so unlike the well known creations in both that it almost needs a new family created for it.
It has such sweetness, softness and femininity, yet it also is very strong willed and recognizable, with a fabulous tenacity. It has warmth, softness and an exotic quality yet it does not have anything in it, exactly, that would bring about this quality. It is just the masterful blending of ingredients, many of which will probably never be used again, that give it such a fabulous persona.

Definitely an unique scent that would not be liked, nor loved, by many. But a true work of art, and pretty close to perfection.

30th November, 2010.

Fille d'Eve, of course discontinuated, is an incredibly beautiful chypre, with a very strong personnality, because it has been created by Germaine Cellier, who made also Fracas and Bandit, for example. The chypre note is here mixed with a strong and strange costus note (costus is nowadays forbidden), which is somewhere between the plaster and the goat!!! A must try for all the vintage fans, and for anyone who is a little bit curious!

10th April, 2010.

HI
I have just my grand'ma bottle(cristal apple)and just a "smell"
Iam found of parfume and in love with
vintage juice and bottle!!!!
I'm french and I dont speek fluent English!!!but I read all about perfumes
HI from Paris!!!

3rd February, 2007.