When it comes to discussions of the greatest perfumes ever Shiseido Nombre Noir has been claimed to be one of the top five fragrances of all-time. It is a funny thing though just like it is with Citizen Kane as it relates to being the best movie of all-time neither of these would be in my top ten all-time. I’m not even sure they make my top 25 all-time. In both cases I admire the budding auteurs Serge Lutens and Orson Welles and their precocious creations but neither resonates with me. I prefer Mr Welles’ second film The Magnificent Ambersons. When it comes to Shiseido I think 1976’s Inoui is a better perfume than Nombre Noir.
The mid 1970’s was a watershed moment for perfume and the way it was sold. Michael Edwards traces the tipping point to 1973’s Revlon Charlie as the moment perfume was marketed to this new demographic of the working woman. It also changed the perfume buying experience as these trailblazing women didn’t want to wait for a man to gift them with a perfume they wanted to go out and find one themselves. As the sales for Charlie took off many of the other perfume lines wanted to join in. In 1976 Shiseido released Inoui with the advertising line, “It’s not her that’s beautiful; it’s how she lives her life that’s beautiful”. Even on the Shiseido website they admit it was designed to “target the contemporary career woman”. What did Shiseido think this thoroughly modern woman wanted? A green balsamic chypre.
I have never been able to determine who the perfumer is behind Inoui. Serge Lutens had not arrived by 1976. It was supposedly created by a joint effort between the American, Italian and Japanese staffs of Shiseido. If this was a team effort I really would have liked to overhear the conversations as each mod was passed around to finally arrive at Inoui.
Inoui is a fantastic green fragrance and its beauty is in the uncompromising way it develops from a galbanum heavy opening into a pine heart to finish on an oakmoss and civet base. It is a near perfect green perfume.
Inoui starts with the galbanum, juniper, and a bit of cypress. There is a green accord that adds texture to the galbanum and just when all of this green might be a little much an imaginative use of peach turns it into a softer sweeter beginning. The pine grows right down the middle of Inoui oozing sap and throwing off green facets as it strengthens. A bit of green cardamom and thyme add spice to the pine. Then just like the peach in the top notes jasmine adds softness and sweetness before we hit the big chypre finish. Myrrh adds its opulent resinous quality and then oakmoss and civet bring Inoui to a close on a feral green accord.
Inoui in the eau de parfum version has 10-12 hour longevity and very close sillage as would befit that career woman it was marketed to.
Inoui was a failure as it was pulled off shelves in less than ten years. It was never able to find traction with those early career women as they clearly wanted the florals of Charlie over the anti-floral green of Inoui. Was it ahead of its time? I don’t think so I actually think it is quite a good example of the kind of perfume making going on in the late 1970’s. I think it was a case of not finding the right target demographic to market it to.
Inoui can be found on eBay but people are catching on and its price has been rising steadily over the last few years.
Finally I want to end on a personal note. My discovery of Inoui was through one of those people that make our perfume community so wonderful. Linda Beth Ross and I would spend random hours on Facebook chatting about old vintage perfumes and after a discussion of how much I like green perfumes she sent me a sample of Inoui. Earlier this year she passed away after a long battle with cancer and every time I wear, or think, about Inoui I also remember my friend in fragrance.
Disclosure; this review is based on a bottle of Eau de Parfum I purchased.