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Yves Saint Laurent launched Cinéma in 2004, an eau de parfum signed by Jacques Cavallier as a tribute to the seventh art. The house now describes it as an amber floral: a mandarin essence, almond blossom and white flower accords lit up by peony, and an ambery, musky base, in a bottle inspired by Line Vautrin.

Launch year
2004
Gender
Women
Olfactory family
Oriental
Secondary family
Floral
Concentration
Eau de Parfum

Published · Updated

Cinéma

Where to buy

Yves Saint Laurent launched Cinéma in 2004, a women’s eau de parfum composed by Jacques Cavallier. According to Milano Finanza, the house was returning to its roots after Nu, the first women’s fragrance of the Tom Ford era, whose sales had disappointed. It presents the fragrance as a tribute to the seventh art.

A trophy for a star

The house describes a woman who pleases and loves to please, aware of her power, who moves through life as if under the spotlights, elegant and self-assured. The bottle, it says, is a trophy for a star, and the fragrance reveals the star in every woman.

Summer editions

The line has seen seasonal editions: Cinéma Festival d’Été in 2006 and 2007, and Cinéma Scénario d’Été in 2008, a limited-edition eau de toilette with lime and ylang-ylang, according to Now Smell This.

What the house says today

Its current description speaks of a radiant amber floral fragrance that embodies the magnetism of a captivating woman, glowing from within, and of a freshness warmed by amber and musk. The eau de parfum is still sold, notably in an 80 milliliter bottle.

Olfactory pyramid

  1. Top notesThe first minutes
  2. Heart notesThe heart of the perfume
  3. Base notesWhat lingers

What critics say

Victoria of Bois de Jasmin gave it four stars in 2011: lost among the floral orientals of 2004, Cinéma seemed to her seven years later a refined amber mimosa, elegant and understated, that deserves a second chance.

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The advertising

A retro glamour signed Mondino

In 2004, Jean-Baptiste Mondino shot the photographs and the film for Cinéma, in a retro atmosphere that broke with the nudes of the Tom Ford era.

For Cinéma, according to Milano Finanza, Yves Saint Laurent changed tack: after the nude campaigns of the Tom Ford era and the disappointing sales of Nu, the models got dressed again. Steven Meisel and Mario Sorrenti gave way to Jean-Baptiste Mondino, who also directed the film.

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