The Scent of Empires
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Оглавление
Karl Schlögel. The Scent of Empires
CONTENTS
Guide
List of Illustrations
Pages
The Scent of Empires. Chanel No. 5 and Red Moscow
Dedication
Extracurricular activity
Notes
The scent of the empire, or how Le Bouquet de Catherine from 1913 led to Chanel No. 5 and the Soviet perfume Red Moscow after the Russian Revolution
Notes
Scentscapes: Proust’s madeleine and historiography
Notes
When ‘the weakest link breaks in the imperialist chain’ (Lenin): the world of scents and the olfactory revolution
Notes
Departure from thebelle époqueand clothes for the New Woman: Chanel’s and Lamanova’s double revolution
Notes
Chanel’s Russian connection
Notes
French connection in Moscow? The ‘fatherland of workers’ and traces of Mikhail Bulgakov
Notes
Auguste Michel’s incomplete project: a Palace of Soviets perfume
Notes
The seductive scent of power: Coco Chanel and Polina Zhemchuzhina-Molotova – two careers in the twentieth century
Notes
From another world: the smoke of the crematoria and the smell of Kolyma
Notes
After the war: man cannot live on bread alone – the New Look and Stilyagi
Notes
Excursus: thegrande dameof German film Olga Chekhova, cosmetics and the dream of eternal youth
Notes
How One World smells
Notes
Not only theBlack Square: Malevich’s perfume bottle
Notes
Bibliography
Index. A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
R
S
T
U
V
W
Y
Z
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Отрывок из книги
Karl Schlögel
Translated by Jessica Spengler
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Much about the perfume is shrouded in uncertainty, including how Chanel No. 5 developed from this point onwards. This has to do with the nature of an industry that relies on secrecy, as demonstrated not least by Patrick Süskind’s novel Perfume. But its composition alone does not explain the stupendous success of Chanel No. 5. Many other things had to happen for this to be possible, as we will see. Chanel No. 5 is the product of what Karl Lagerfeld refers to as the ‘Russian connection’ in his homage to Coco Chanel, meaning it is more than just the sum of Chanel, Beaux and Grand Duke Dmitri Pavlovich.11 Ernest Beaux used his original Russian creation as a starting point, but he went on to develop a clearer, bolder fragrance.
It captured the scents of Moscow and Saint Petersburg and Dmitri’s gilded childhood. It was the exquisite freshness of the Arctic remembered during the last days of a fading empire. Above all, for Coco Chanel, here was an entire catalogue of the senses – the scents of crisp linen and warm skin, the odors of Aubazine and Royallieu, and all those memories of Boy and Émilienne. It was truly her signature perfume. Like her, it even had a past that was obscure and complicated.12
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