In its attempt to reach a younger audience, and to rid that most poetic flower of its timid, knees-clenched legacy, Guerlain audaciously chucked a synthetic neon-violet cannonball at department stores back in 2006. It was a funky, monstrous thing I immediately knew would be a flop (especially given the choice of Hilary Swank for the ad campaign, which to me felt totally ill-matched..)
But I was wrong.
Apparently Insolence has had its fair share of takers, and the scent now has its place assured in the Guerlain mainstream line-up, targeted primarily at a younger audience who will presumably later then grow into the illustrious stable’s grands classiques. Maybe it’s the sense of Guerlain’s Finest Moments re-segued for the modern age (the marzipan of L’Heure Bleue; the powdery iris-violet of Après L’Ondée; the vanilla sexy of Shalimar, cleverly concealed within the caterwauling mix…) but it all felt so totally wrong yet ever so strangely familiar….
On top we have:
pink, purple and red laminated ra-ra skirts of lacquered, lacquered violets (the eau de toilette famously beginning with an indigestible, raucous Indian hair spray note that really takes you by surprise): then, a back-of-your-throat sheen of plastic red fruits: red currants, red apples, and all manner of other synthetic fruits rouges whirly-gigging frantically about the glo-stick violets…..but if you survive the hilarious first ten minutes of Insolence, as you careen about from all the scintillating lacquer that is pinking up the oesophagus, you can actually have a lot of fun with this party-crashing violet
( for me, in truth, part of the very enjoyment of this scent is that opening, as it does what the name suggests: shock, slightly, with its brash impudence. The ‘reformed’ woman of the eau de parfum, for which another perfumer was roped in to apparently smooth things over, and where everything is blended just… so to make this lady smoother and more palatable to a wider mainstream audience, is to me so….. bustily bourgeois: more wearable yes, and more seamless, but with a slight suggestion of feminized lobotomy – though that might be somewhat overstating it.)
In Maurice Roucel’s more ‘vulgar’ original edt, Insolence has a girl’s- night-out vibe: shrill, fun, and very loud in a slightly late eighties/early nineties manner. It gradually dies down, though, to a perfectly nice vanilla-violet perfume with softer, blurrier, gourmand edges, those traditional notes of the Guerlinade base, that really let you know that despite all the ‘acting out’ of the perfume’s foot-stomping opening, THIS IS A GUERLAIN, and that the girl in question fully intends, at a pre-destined age, to follow unquestioningly in the faultlessly chic footsteps of her immaculate, Jardins de Bagatelle wearing maman.