The New York Times perfume criticyes, you read that rightfollows the creation of two industry-defining perfumes. While Burr (The Emperor of Scent, 2003, etc.) approaches his beat with healthy skepticism, he's also capable of flowery language, describing a perfume as smelling "like early evening on an island where it is always summer." It's this mixture of hard-nosed business writing and flights of olfactory fancy that makes the text improbably exhilarating. Split between the twin capitals of fashion, and therefore of the perfume industry, Burr's account tracks the development of two new scents, each a high-stakes crapshoot. The New York fragrance was celebrity-driven. To create Sarah Jessica Parker Lovely, the actress spent an impressive amount of time with beauty-product manufacturer Coty's corporate perfumers trying to create a scent that would not only capture her essence (don't laugh: they actually seem to have done it) but would survive in an increasingly volatile $31-billion market. Un Jardin sur le Nil, the more traditionally designed Parisian fragrance, was revolutionary in its own way. Seeking a higher profile in the lucrative perfume market, Hermes hired Jean-Claude Ell
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