When I got my first job in 1984, I wanted to upgrade my wardrobe. One piece of clothing I always wanted was a great fitting blazer. I wanted that male version of a little black dress which I could wear on any occasion. When I went shopping, I found a Hugo Boss version which was just what I was looking for. That blazer traveled everywhere with me for years until the lining began to fall apart. It was as much a part of my wardrobe as my current Hawaiian shirt and fedora are now.
This was also the early moments of the expansion of my perfume collection. I was in Macy’s one day in the mid 1980’s waiting for something. I was killing time at the men’s fragrance counter. The sales associate brought over a new one called Boss Number One. When I sniffed it, I realized this was in line with the scents I was trending towards in those days. I felt it had to be the cologne which would go with my blazer. Back in 1986-ish I just like the way it smelled. I now know a little more about why I liked it so much.
One of those reasons is it was perfumer Pierre Wargnye’s second perfume after the amazing success of Drakkar Noir. I was never one of those who gravitated towards that even though I recognized its quality. There were too many people wearing it I wanted something different. Boss Number One was a more nuanced style of fougere over his first one. He would add in a lot of grace notes through a central axis of herbs, honey, and tobacco.
The top accord seems to be the perfume version of one of those spice blends. I can pick out rosemary, cardamom, sage, and nutmeg most prominently. There are others on the edges, but it is those which form a green opening. A thread of rose winds its way though which is followed by the sweetness of honey. There is a lot of honey here and it is in the amount where on some people it will smell urine-like. On me it is all slightly animalic sweetness. The tobacco waiting to join it makes a satisfying duet. In my old bottle, a real chypre accord of patchouli, oakmoss, and vetiver form the foundation. For this review I got a small current tester, and it is here where the chypre has been mostly replaced with a cedar, patchouli, and vetiver accord which is an acceptable substitute.
Boss Number One has 12-14 hour longevity and average sillage.
Almost as much as my Hugo Boss blazer my bottle of Boss Number One was in my travel bag. That’s because it was as versatile as my jacket.
Disclosure: this review is based on my original bottle and a newer one purchased this year.
After this past year’s buying spree of niche brands Le Labo and Frederic Malle it is hard to imagine a time when Estee Lauder was not a powerhouse company. That time was the mid 1980’s as the brand labored to understand the shifting beauty demographic. They were having so much trouble figuring out what a 1980’s woman wanted they thought they might enter the masculine perfume sector of the market. They were no better prepared for that either.
In 1987 creative directors Evelyn Lauder and Karen Khoury hired perfumer Pierre Wargnye to compose Metropolis. The marketing was all geared to the “greed is good” generation. Metropolis wasn’t about getting the girl. It was about getting the money that would get you the girl. Metropolis was all about “the irresistible possibility of success”. M. Wargnye was on a creative roll having created 1982’s Guy Laroche Drakkar Noir and followed that up with 1985’s Boss Number One. He had created two memorable takes on fougeres and Metropolis was going to go in a slightly different direction. The problem with Metropolis was the timing and the promotion. By the time Metropolis reached the department store in 1987 the concept of conspicuous consumption was beginning its eventual death spiral. The tastes of men were turning to fresher aquatics as Davidoff Cool Water would make a splash months after the release of Metropolis. In the most confounding move Estee Lauder hired Liza Minnellli to be the exclusive spokesperson for Metropolis for a year for the then unheard of $1 million. She was in a disastrous television commercial where she was filmed around New York City while singing “City Lights” before delivering the tag line, “Wear it and you own the world”. As Metropolis was rolled out in November of 1987 she made in-store appearances which were less about the fragrance and more about her signing autographs, for exactly one hour at each store. So there it is Metropolis was a casualty of shifting priorities, shifting tastes, and shifting societal priorities. Whew! It would be gone by 1992.
When I bought my bottle during that November of 1987 I fell in love with it right away. I was wearing Calvin Klein Obsession for Men and Metropolis offered something completely different. M Wargnye would take liberties with his successful fougeres and make Metropolis more woody shrouded in greens and leather.
Metropolis opens upon an herbal and lavender pairing. The best lavender has a significant herbal character. I didn’t know this at the time but I do now. The more I’ve learned the more I appreciate the top notes as M. Wargnye adds sage and basil to pull out the herbalness of the lavender. It allowed Metropolis to have a safe floral character that a man would wear. The heart is a fantastic spiced and incense affair. Cinnamon, bay leaves, and clove mix with incense. If there was a “money” accord in Metropolis it was this. The base notes are a leather accord of vetiver, patchouli, and oakmoss combined with sandalwood and amber.
Metropolis has 14-16 hour longevity and powerhouse level sillage.
Metropolis is not one of these highly sought after discontinued perfumes and you can find it for very reasonable prices. I think it is a better perfume than either of M. Wargnye’s more well-known creations. I still wear Metropolis to work a couple times a year. While it may not make me feel like Gordon Gekko, thankfully, it does make me smell pretty damn good.
Disclosure: This review is based on a bottle I purchased.