english version time when the focus wasn’t so much on saving energy as it was on finding speed from the comfort of a cocoon. Designers both industrial and from elsewhere were
quickly hired by the big American corporations to design the now iconic aerodynamic curves. These sketches which became models are still the standard. Like the one that the European car manufacturers imported from the United States in 1934: the revolutionary design of the Chrysler Airflow cast aside the square and straight lines for a tapered shape that Peugeot was the first to use in its ranges of horizontal comma-shaped car bodywork. Today cars of all ranges are “dressed” in a way that sets aside the sharp angles of the 1980s, with a return to the reassuring curves of the VW Beetle, Austin and Fiat 500. Right up to the Renault Zoe, the all-electric car that’s as plump as a light bulb, or the Mercedes E Class (with a drag coefficient of 0.24) that sits on the road like an oval pearl. Right up to the Citroën chevron itself which – despite being nearly 100 years old – has lost its sharp angles to become once again the chubby curve that was found on the wings of the legendary Traction 15. Everything is round. Even the wing mirrors, the dials on the dashboard, the covered headlights, and the indicators wrapped up in the bumpers. André Citroën was right: the car was made to be round. Before the hugely famous 2CV, the first of his cars to find commercial success was the Citron, which was as yellow as a… tennis ball.
Perfumes Not such demure bottles
From the fragrant warmth of a madeleine, Marcel Proust extracted the atmosphere of an elegy for lost time. With the same patience, perfumers bring back different times of our lives. With their pluses and minuses...
There is the exhilaration. And the bottle. The history of perfume and eaux de toilette is the history of an alchemy that dates back to early antiquity and often carries subliminal messages. When the essence of beings captures and expresses all their meanings, it matters little “how it is done”, what counts is “what it does”. And so we asked a young woman (aged 38) and a not-so-young man (aged 53) to reflect for Signé Barrière on the fragrances of their memories and their present impressions of perfumes found again or newly discovered. For her: “J'adore - is the word... the aesthetic of the great standards of perfumery for women. And, of course, Dior. But I do feel that the blends of those very great perfume houses sometimes lack modernity. The flowery tones of Issey Miyake and Kenzo are for me fragrances of mood, from day to day. What I like is the loyalty and the rare, bold spirit of perfumes. Chloé and its light ribbon on a gently austere bottle are there in my imagination, once and for all. I couldn’t replace them - and yet... - except for the gentle chic of Elie Saab, so "1930s elegance”. For him: “One perfume stays with me: that of my father, an officer. Guerlain’s Habit Rouge. A presence that I know my mother sometimes wore on evenings when he was away, a discreet drop on each of her fine temples. As for me, I wear Héritage. By the same perfume house... But I acknowledge the major influences of Yves Saint Laurent and Dior. Having said that, I appreciate the modernity of the classics when they make innovations
page 62 to cross the ages. They are unequalled. And therefore original.” For them: “No Vetiver! On the other hand a touch of nostalgia and a special favourite of two ads: the first with the shutters of the façade of a luxury hotel that slam shut on the fragrance of Bois des Îles of Égoïste, a fragrance for men by Chanel in 1990. The second, in 2013, for Guerlain’s Petite Robe Noire that drove Paris wild from the right bank to the left.”
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Le Magazine du Groupe Lucien Barrière Hôtels & Casinos