Constantin Mikhailovich “Kot” Weriguine (1899–1982) was a distinguished Franco-Russian perfumer, best remembered for his contributions to Chanel and Bourjois. Born into an aristocratic family in Saint Petersburg, he was the son of a Russian hussar officer—a cavalryman belonging to an elite regiment known for its bold and highly skilled riders. His early education took place in the Crimean city of Yalta, a cultural and intellectual hub of the Russian elite, but his life was soon shaped by the political upheaval of World War I and the Russian Revolution.
As a young man, Weriguine followed in his father's military footsteps, joining the Horse Artillery of the Imperial Guard, an esteemed unit that provided highly mobile firepower in battle. During the Russian Civil War, he witnessed firsthand the collapse of the Russian Empire as the Bolsheviks seized power, forcing many members of the nobility, including himself, to flee. In the aftermath of the revolution, he escaped to Constantinople (modern-day Istanbul, Turkey), which had become a refuge for thousands of displaced Russians. From there, he made his way to Pančevo, a small town in what was then the Kingdom of Serbs, Croats, and Slovenes (modern-day Serbia), before ultimately securing a visa to France, where he would build his career in the world of perfumery.
Once in France, Constantin "Kot" Weriguine pursued a formal education in chemistry at Lille Catholic University, equipping himself with the scientific foundation that would later shape his approach to perfumery. His technical knowledge, combined with a keen artistic sensibility, allowed him to transition seamlessly into the world of fragrance creation. His first significant step in the industry came when he secured an internship at Parfums de Luzy, a respected fragrance house known for its high-quality perfumes and cosmetics. Here, he trained under Claude Fraysse, an esteemed perfumer whose expertise and mentorship helped refine Weriguine's burgeoning skills.
Parfums de Luzy was established in 1917 at 5 rue Ybry, Neuilly (Seine) by Progalia SA. In addition to crafting fine perfumes and toilet waters, the company also specialized in cosmetics, with notable products such as Crème de Luzy, a luxurious face cream launched in 1925, and a line of highly regarded face powders and rouges. However, despite its dedication to quality and its heavy investment in advertising and packaging, Parfums de Luzy struggled financially. The company failed to turn a profit and was eventually liquidated in 1925. Following its closure, Claude Fraysse continued his career by creating a series of fragrances for the renowned furriers Weil, including Chinchilla Royal, Hermine, Une Fleur pour Fourrure, and Zibeline in 1927, followed by Antilope in 1928.
Despite the sudden dissolution of his training ground, Weriguine’s talent and technical proficiency did not go unnoticed. In 1926, he was hired by Chanel and Bourjois, two interlinked perfume houses owned by the Wertheimer family. This appointment placed him in the esteemed position of assistant to the legendary Ernest Beaux, the creator of Chanel No. 5. At Chanel and Bourjois, Weriguine honed his craft under Beaux’s guidance, immersing himself in the development of sophisticated fragrances that would contribute to the legacy of both houses. His time at these companies marked the beginning of a prolific career, establishing him as a key figure in 20th-century perfumery.
Weriguine’s influence played a pivotal role in refining the compositions of several iconic Chanel fragrances alongside Ernest Beaux. Among these was Bois des Îles (1926), an aldehydic floral woody fragrance for women. This scent exudes an air of sophistication, opening with a crisp aldehydic top note that lends an airy brightness before unveiling a heart of rare, precious florals. The fragrance’s true character, however, emerges in its base, where the richness of sandalwood dominates, lending a creamy, velvety warmth. It has been reported that the formulation contained an impressive 50% sandalwood oil, emphasizing the perfume’s opulence and depth. This lavish use of natural materials contributed to Bois des Îles’ lasting legacy as a benchmark in woody feminine fragrances, blending classic refinement with an exotic, almost meditative warmth.
Another masterpiece that Weriguine contributed to was Cuir de Russie (1924), an opulent leather scent that captured the elegance and grandeur of the Russian aristocracy. Classified as a leathery tobacco fragrance for women, it possesses a bold, refined character. The scent begins with a dry, fresh top note, immediately setting a tone of understated luxury. The heart introduces a blend of dry woody and floral accords, lending a subtly powdery and sophisticated nuance before melting into a sumptuous base. The leathery, balsamic drydown evokes the scent of fine saddlery, polished wood, and the lingering aroma of a gentleman’s smoking room, reinforcing its aristocratic inspiration. For the American market, the fragrance was aptly renamed Russia Leather, underscoring its origins and the olfactory homage it paid to the supple, perfumed leathers historically tanned with birch bark in imperial Russia.
During his time at Bourjois, Weriguine was credited with the creation of Mais Oui (1938), a refined floral fragrance that became a classic of its era. His collaboration with Beaux resulted in the development of several iconic fragrances, including Bourjois' Soir de Paris (1928), a rich floral-aldehydic scent with a deep blue bottle that became immensely popular worldwide that became well-known in the United States as Evening in Paris.
Weriguine’s career was interrupted by the onset of World War II. As France fell under Nazi occupation, he was forcibly conscripted into the Service du Travail Obligatoire (STO), a mandatory labor program that sent French citizens and residents to work in German factories. He was sent to a chemical plant in Munich, where he was required to contribute to the German war effort under harsh conditions. Following the liberation of France, Weriguine returned to his previous position at Chanel and Bourjois, resuming his work in perfume creation.
In 1954, he became the assistant to Henri Robert, a perfumer of great talent who would later create Chanel No. 19. Weriguine worked alongside him until 1962, when he was abruptly dismissed from both Chanel and Bourjois. Unwilling to accept this dismissal without a fight, he pursued legal action against the companies and successfully won damages. After parting ways with Chanel and Bourjois, he continued his career at Rhône-Poulenc, a major French chemical and pharmaceutical company, where he applied his expertise in fragrance chemistry.
In 1965, Weriguine published his memoirs, Souvenirs et Parfums, offering an intimate glimpse into his life, from his aristocratic Russian roots to his experiences in the perfume industry. He retired in 1977 but remained deeply involved in the world of perfumery, serving as vice president of the French Society of Perfumers, a professional organization dedicated to advancing the art and science of fragrance creation.
His legacy endures through his contributions to some of the most renowned fragrances of the 20th century. Several of his most significant works are preserved in their original formulations at the Osmothèque, a prestigious perfume conservatory in Versailles that safeguards historic perfumes for study and appreciation. Through this institution, Weriguine’s artistry continues to be studied by future generations, ensuring that his influence on the world of fragrance is never forgotten.
Contributions at Bourjois:
Weriguine's tenure at Bourjois saw the creation and reformulation of numerous fragrances, each reflecting a unique artistic vision and olfactory narrative. Among these was Ashes of Carnations, originally introduced in 1913 and later reformulated by Weriguine in 1930. A distinguished member of the "Ashes of..." series, this fragrance was a spicy floral composition that highlighted the bold and clove-like facets of carnations, a scent profile that was both timeless and evocative.
Another perfume that received Weriguine’s touch was Para Ti, first launched in 1917. Its name, translating to "For You" in Spanish, indicated its special dedication to Bourjois' Argentine clientele. Reformulated in 1930, this fragrance was celebrated for its delicate yet persistent aroma, embodying an exquisite softness that lingered on the skin. That same year, Weriguine introduced Soir de Paris (Evening in Paris), an aldehydic floral fragrance that would go on to become one of Bourjois’ most iconic scents. It opened with a cool, green aldehydic floral accord, transitioning into a heart of sweet and spicy florals before settling into a warm, powdery base—an elegant composition that captured the romance of Parisian nights.
In 1931, Printemps de Paris (Springtime in Paris) was launched as a daytime counterpart to Soir de Paris. This light floral fragrance evoked the freshness and vitality of spring in the city, with delicate floral notes designed to capture the essence of new beginnings. The following year, Flamme debuted, a name conjuring images of glowing embers and passionate intensity. Classified as a fresh floral oriental, it was distinguished by its dominant geranium note, lending it a "heady" character that exuded warmth and allure.
The year 1934 brought two significant releases—Amok and Chicote. Amok was a fragrance infused with the mystique of the Orient, created primarily for the Central and South American markets. Meanwhile, Chicote was marketed as "the modern man's perfume," its name associated with Pedro Chicote Serrano, the famous Spanish bartender and mixologist. This fragrance was designed to complement the refined tastes of gentlemen, embracing a sophisticated and masculine olfactory profile.
In 1936, Bourjois introduced Kobako, a fragrance with a name derived from the Japanese word for "scented box" or "perfume box." This leathery floral chypre fragrance carried a sense of exoticism, with a complexity that balanced floral, woody, and mossy notes. Two years later, in 1938, Mais Oui was launched. French for "But Yes," it was a floral aldehydic perfume that bore similarities to Chanel No. 5 but distinguished itself with a heavier, woodier composition. It featured Synarome's Animalis base, adding an animalic depth that gave it an even more sensual presence.
As the world edged closer to war, Courage (1939) emerged with a name that resonated deeply during a time of increasing global uncertainty. This spicy floral fragrance featured a prominent carnation note, embodying resilience and audacity. In 1943, Folies Bergère debuted as a green fruity floral oriental, its scent warmed by patchouli and sandalwood, a reflection of the glamour and vibrancy of the famous Parisian cabaret.
In the post-war years, Bourjois continued to introduce new scents under Weriguine’s guidance. Endearing (1946) was a leathery floral semi-oriental fragrance with aldehydes, jasmine, oakmoss, vetiver, and exotic balms. Its rich and peppery aroma was later rebranded as Ramage in 1949 for export markets to circumvent trademark issues. The name Ramage, meaning "birdsong" or "foliage" in French, lent the fragrance a poetic and natural connotation. That same year, Beau Belle ("Beautiful Beauty") was introduced as a fruity chypre with sharp citrus and aldehydes, a bittersweet peach facet, and a green mossy base.
The early 1950s brought a flurry of releases, including Fantasio (1950), On the Wind (1950), Roman Holiday (1951), and French Lace (1951). On the Wind was part of a summer trio alongside Frosty Mist and Spice 'N Ice, offering a gentle wildflower scent meant for warm weather wear. Roman Holiday captured the allure of the Eternal City with its spicy floral composition, while French Lace embodied luxury and refinement as a powdery aldehydic floral with resinous, animalic undertones.
In 1953, Glamour was introduced during a period of post-war elegance and renewed sophistication. This aldehydic floral chypre began with fresh green and fruity notes, developed into a green floral heart, and rested on a mossy, balsamic, and woody chypre base. The addition of a bright orange nuance added a lively contrast to the fragrance’s warm, Provencal-inspired character.
The final years of Weriguine’s time at Bourjois saw the launch of Christmas in July (1954) and Frosty Mist (1955). The latter, part of the same summer trio as On the Wind, was designed to provide a crisp, cooling sensation with its tangy citrus floral blend and pronounced lilac note. This fragrance, like many in Weriguine’s portfolio, showcased his ability to craft olfactory experiences that were as evocative as they were innovative.
Each of these fragrances, whether reimagined classics or entirely new creations, demonstrated Weriguine’s remarkable talent and his profound impact on Bourjois’ legacy. His work not only shaped the olfactory direction of the brand but also cemented its place in fragrance history.
No comments:
Post a Comment