For Coco Noir, I thought of Coco and of Coco Mademoiselle too, because it’s also part of the history. I wanted to continue exploring an entire esthetic range of CHANEL perfumery, a range that distinguishes itself from the Florals, one that is illustrated by Bois-des-Iles and Cuir de Russie. I took it up with Coco. It’s what I like to call the CHANEL Coromandel culture, what you see and feel in her apartment. The night vision of the ‘Orient that starts and ends in Venice’ imposed itself upon me and that is where I wanted to go.” perfumer Jacques Polge. In 1984, there was Coco, that sumptuous blend of wood, resins, flowers, spices, and fruit. A treasure trove of splendors and an endless source of discovery and sensual delight. Then, in 2001, came Coco Mademoiselle, a breath of air that lightens this cornucopia of fragrance, in which everything is simplified and accelerated in a radiant burst of fruit and flower. And today there is Coco Noir, a great nocturnal Baroque. Another journey in the wake of a Gabrielle who fully embraced the dazzle of black and Venice, incorporating them not only into her creations but into her life.