Anthology of A Café in Space: The Anaïs Nin Literary Journal is here!

Not only are we celebrating Anaïs Nin’s 116th birthday, which occurs on February 21, 2019, but also the publication of A Café in Space: The Anaïs Nin Literary Journal, Anthology 2003-2018.

Anaïs Nin was born in Neuilly-sur-Seine on February 21, 1903. A Café in Space was born 100 years later, 15 volumes of which were published annually. The legacy of the journal is captured in a one-of-a-kind anthology, some 400 pages of the best representative work collected over the 15 years of its existence.

The authors’ list is quite impressive:

Anaïs Nin
Henry Miller (Nin’s former lover)
Alfred Perlès (Miller’s best friend)
Hugh Guiler (Nin’s “east coast” husband)
Joaquín Nin (Nin’s father)
Rupert Pole (Nin’s “west coast” husband)
Joaquín Nin-Culmell (Nin’s younger brother)
Eduardo Sánchez (Nin’s cousin)
John Ferrone (Nin’s editor)
Lanny Baldwin (Nin’s 1940s love interest)
John W. Bagnole (Miller scholar)
Simon Dubois Boucheraud (Nin scholar)
Sarah B. Burghauser (Nin scholar)
Ruth Charnock (Nin scholar)
Béatrice Commengé (Nin’s French translator)
James M. Decker (Miller scholar)
Lynette Felber (Nin/Miller scholar)
Janet Fitch (American novelist)
Lana Fox (erotic writer)
Benjamin Franklin V (Nin scholar)
Kennedy Gammage (poet and Durrell scholar)
David Green (Durrell scholar)
Anita Jarczok (Nin scholar)
Dawn Kaczmar (English scholar)
Jane Eblen Keller (Durrell/Nin scholar)
Harry Kiakis (friend of Miller)
Richard Pine (Durrell scholar)
Eduardo Pineda (historian)
Bruce Redwine (Durrell scholar)
Steven Reigns (Nin scholar)
Chrissi Sepe (novelist)
Colette Standish (visual artist)
Yuko Yaguchi (Nin scholar and Japanese translator)

This talented and diverse group of contributors best represents  A Café in Space and offers insight into Nin, Miller, Durrell, and other contemporaries, including Rebecca West, Evelyn Hinz, Helba Huara and Luis Buñuel.

Never-before-published photographs of Anaïs Nin adorn the covers of the anthology, and several rare photos are included in the contents.

Articles include diary entries by Nin and her correspondence with many of her contemporaries and family members, revealing details of events previously unknown to the public, including a series of letters to and from her father during the incest period. There are offerings by some of the world’s most highly regarded Nin, Miller and Durrell scholars on far-ranging but always relevant topics, including Nin’s rise to fame, how she is regarded in the media, her history of readership in Japan, how she influenced some of today’s writers, the story behind Nin biographies, thoughtful looks at today’s studies on Nin, Miller and Durrell, and accounts of visits to some of the most iconic locations frequented by the “three musketeers” in France. Short fiction, art and poetry reflect Nin’s influence on today’s writers, and there are book reviews on studies of each of the “musketeers.”

This anthology is a grand adieu from the only Nin-dedicated literary journal in print today and will give the reader much to savor, something to dip into whenever the spirit is moved, or perhaps to binge on to satisfy the hunger for material on one of the most important writers of the twentieth century, whose influence reaches well into the twenty-first.

To purchase the print version of the Café in Space anthology, click here.

To purchase a digital version, click here.

CafeVol16-ANTHOLOGY-1

Anaïs Nin Podcast 34: How A Café in Space was born

In 2003, 100 years after the birth of Anaïs Nin, the first volume of the only current literary journal dedicated to Nin was born too. It came on the heels of the demise of ANAIS: An International Journal after its editor, Gunther Stuhlmann, died in 2002, before he was able to produce a special centennial issue the following year.

Paul Herron, a frequent contributor to ANAIS, was devastated by the loss of his friend and mentor, not to mention the fact that a huge void in Nin studies had suddenly opened up. Only a few months later, Herron attended a Lawrence Durrell conference in Ottawa, Canada, where he was approached by another of his mentors, Roger Jackson, the Miller publisher who inspired him to produce Anaïs Nin: A Book of Mirrors (1996), and encouraged him to think about filling the gap in Nin scholarship himself. At first, the idea intimidated him because of his deep respect for Stuhlmann’s work, something he felt was untouchable. But certain travels and events soon changed his mind, some of which is revealed here for the first time.

Recorded on the eve of the publication of the Café in Space anthology (2003-2018), this podcast is Paul Herron’s story of how it all began.

Run time: 16:38

To listen to the podcast in iTunes, click here.

To listen without iTunes, click here.

To order a print copy of the Café in Space anthology, click here.

To order a digital copy, click here.

CafeVol16-ANTHOLOGY-1

Recent publications by or about Anaïs Nin: A handy guide

It’s easy to get lost in Anaïs Nin’s literary ocean without a guide, so we have created a list ofrecent publications by Nin or about her, in a relatively chronological reverse order, along with a few faves.

cafe152018: A Café in Space: The Anaïs Nin Literary Journal, Vol. 15. Contains original pieces by Anaïs Nin and Rupert Pole; essays by several renowned scholars and writers; rare photographs; interviews with Nin notables including one of the characters of Collages, Nobuko Albery.

 

lostworld2017: Anaïs Nin’s Lost World: Paris in Words and Pictures, 1924-1939 by Britt Arenander. A guidebook to the Paris of Anaïs Nin and Henry Miller, with complete historical documentation and more than fifty photographs of the literary duo’s favorite haunts, both then and now.

 

trapeze2017: Trapeze: The Unexpurgated Diary of Anaïs Nin, 1947-1955. The long-awaited diary that chronicles the beginning of Nin’s “double” life with husband Hugh Guiler in New York and lover Rupert Pole in California. A complete rendering of the rigors, both physical and psychological, of a bicoastal affair with two very different men.

 

cafe142017: A Café in Space: The Anaïs Nin Literary Journal, Vol. 14. Excerpts from Nin’s unpublished correspondence and much more.

 

 

auletris2016: Auletris: Erotica, a long-lost collection of Nin erotica consisting of two main stories: “Life in Provincetown” and “Marcel,” much of which had never been published before.

 

 

Other favorites include:

miragesMirages: The Unexpurgated Diary of Anaïs Nin, 1939-1947. The first new Nin diary in seventeen years, Mirages is the record of Nin’s arrival in New York from Paris at the dawn of war and her mighty struggles as a woman and writer adapting to a harsher world. Features Henry Miller, Gonzalo More, Gore Vidal, and finally Rupert Pole.

 

quotableThe Quotable Anaïs Nin, a thematic collection of 365 of Nin’s famous (and occasionally obscure) quotations, with citations. You will note the poem “Risk” does not appear here, since it has been mistakenly attributed to Nin for decades. For verified quotes with sources, this is the book you need.

 

portableThe Portable Anaïs Nin, a sampling of all genres of Nin’s writing, in chronological order with comments by renowned Nin scholar Benjamin Franklin V. Highly recommended for first-time Nin readers or anyone who wants a complete collection in one book.

Visualizing Anaïs Nin’s and Henry Miller’s relationships

The 1930s was a volatile decade for Anaïs Nin. At its dawn, she was a sheltered housewife and aspiring writer with nearly no grand life experiences. At its end, she was the author of three highly-regarded Paris publications (D. H. Lawrence: An Unprofessional Study; The House of Incest; The Winter of Artifice), and the lover of many men, including Henry Miller, Gonzalo More, Otto Rank, René Allendy, and her own father, Joaquín Nin. Arguably, it was her meeting of Henry Miller in late 1931 that served as the catalyst for much of her transformation as a woman and as an artist.

But as the decade wore on, some of the relationships died while others bloomed; hers with Miller persisted, but by 1937 Nin was becoming increasingly aware of stark contrast in their relationships with others, and with each other. Nin became annoyed with Miller’s friends, some of whom she called “white trash”; at the time Miller was at the head of a group of “disciples” that included Alfred Perlès, Michael Fraenkel, David Edgar and Abe Rattner, none of whom Nin had any respect for. She sometimes referred to them as “minor Henrys” or a pack of dogs. Nin represented the fundamental difference in her and Miller’s approach to relationships by drawing two diagrams.

About Nin’s relationships, she said: “Woman sits in the center and brings the vaster peripheral into the center. I bring the Tibet, Lao-tze—philosophy—creation as represented by Henry. I go out little to the periphery.” At her core lie Nin’s relationships with Miller, Gonzalo and Lawrence and Nancy Durrell. On the periphery lie “[Conrad] Moricand, [Jean] Cateret, [her near-amorous friend] Elena or others who personally I don’t feel: they could die, I would not mind: Stuart Gilbert, Charpentier, Svalberg, Laura, Dorrey.”

RelationshipsAN

About Henry, Nin says: “Henry lives in the periphery—he seeks the fragments. I say this diminishes the intensity, makes for collective writing (Max, newspaper types, all kinds of types.”

RelationshipsHM

The core is blank; the periphery consists of: “Brassai, [Abe] Rattner, [David] Edgar, all sorts and kinds of other friends of whom he says: they could die I would not care.”

Nin says: “I say to Henry: ‘I swing into your rhythm not to sit alone in the center—as all women do—lamenting. It is not natural to me, but necessary.’ Henry does not understand this. He denies the reality of all this—but says at the end: ‘Man’s impersonal world masks the personal.’ […] He says, ‘We are friends.’ I say: ‘We are not friends. We are exaggerated men and women—we represent others only exaggeratedly.’”

Get the final issue of A Café in Space: The Anaïs Nin Literary Journal, Volume 15 (2018) here

Order the new edition of Anaïs Nin’s Lost World: Paris in Words and Pictures, 1924-1939 here.

Listen to episode 31 of The Anaïs Nin Podcast, in which Steven Reigns discusses the mystery surrounding Evelyn Hinz, the woman Nin chose as her “official” biographer. With iTunes; Without iTunes

Podcast 31: Evelyn Hinz, Anaïs Nin’s “official” biographer with Steven Reigns

Mystery has surrounded the never-produced biography that Canadian scholar Evelyn Hinz was appointed by Anaïs Nin to do for decades. Why did it never appear? Why was a single page never shown? And where is it today? Did it ever exist? Los Angeles poet and educator—and Nin aficionado—Steven Reigns wanted to know, so some years after Hinz’s death, he approached her widower, John Teunissen, who graciously granted Steven an interview in which he answered his questions and also dropped a bombshell in the process. There were plenty of politics, bad blood, intrigue and some radical decisions made by both Teunissen and The Anaïs Nin Trust that few know about.

HinzTeun
Steven Reigns’ interview appears in Volume 15 of A Café in Space: The Anaïs Nin Literary Journal and is a must-read for anyone–scholars, readers and fans alike–with an interest in Anaïs Nin and her biographers.

Run time: 42 minutes

To listen with iTunes, click here.

To listen without iTunes, click here.

To order a print copy of Vol. 15 of A Café in Space, click here.

To order a digital copy of Vol. 15, click here.

 

Steven Reigns is a Los Angeles-based poet, educator, and was appointed the first City Poet of West Hollywood. He organized three of the largest Anaïs Nin events in the past twenty years, one being “Anaïs Nin @ 105” at the Hammer Museum in 2008 and most recently he co-produced “The Allure of Anaïs Nin” at Antioch University Santa Barbara. He has published dozens of chapbooks, poetry collections, and edited four anthologies.  He holds a BA in Creative Writing from USF, a Master of Clinical Psychology from Antioch University, and is an eleven-time recipient of LA City’s Department of Cultural Affairs’ Artist in Residency Grant program. He edited My Life is Poetry, featuring his students in the first-ever autobiographical poetry workshop for LGBT seniors, and has taught writing workshops around the country to LGBT youth and people living with HIV. Visit him at www.stevenreigns.com.

Podcast 28: A brief history of journals dedicated to Anaïs Nin

Until after Anaïs Nin published her blockbuster Diary of Anaïs Nin in 1966, there had been very few critical studies of her work. One notable exception was Oliver Evans’ article “Anaïs Nin and the Discovery of Inner Space” in the Fall 1962 issue of Prairie Schooner. His book-length analysis didn’t appear until 1968, but soon thereafter, scholars such as Richard Centing, Benjamin Franklin V, Duane Schneider, Philip K. Jason, and Evelyn Hinz began to take Nin’s work seriously and wrote about it.

Centing and Franklin were the co-founders and co-editors of the first periodical dedicated to Nin, which they called Under the Sign of Pisces: Anaïs Nin and her Circle, a quarterly that debuted at the beginning of 1970.

Inaugural issue of Under the Sign of Pisces

Inaugural issue of Under the Sign of Pisces

 

Nin was a tough critic of those who critiqued her work; Oliver Evans was a victim of her dissatisfaction, as was, eventually, Benjamin Franklin V. Franklin says that he was “fired” by Centing in 1973 at the bequest of Nin. The reasons are explained in Episode 28 of The Anaïs Nin Podcast.

Pisces had a long run, ending in 1981, after which the void was filled by Gunther Stuhlmann’s ANAIS: An International Journal. The story behind how this journal came to be and lasted for 19 annual issues is related by Paul Herron, who knew Stuhlmann personally, and who was inspired to create the most recent Nin journal, A Café in Space.

Herron details how Café came to be, who has been in its pages, how by pure luck he was able to include Janet Fitch (White Oleander) in the first annual volume, and attempts to explain why volume 15 (2018) will be the last.

Run time: 22 minutes

To listen to the podcast with iTunes, click here.

To listen without iTunes, click here.

To view past issues of A Café in Space, click here.

To find out how to submit work to Volume 15, click here.

Final Annual Volume of A Café in Space Announced

Sky Blue Press has announced that the upcoming Volume 15 of A Café in Space: The Anaïs Nin Literary Journal will be the final annual issue.

Café began in 2003 as part of the celebration of Anaïs Nin’s centennial, and it was unsure that a second volume would ever be published. However, the response to Vol. 1 was so great, that Vol. 2 was released the following year; it has been an annual event every year since, with a collection of dozens of excerpts from Nin’s unpublished diaries and contributions from more than 100 writers, scholars, poets and artists from around the world.

CafeVol14-Cover-Draft-1In preparation for this final volume, Sky Blue Press is seeking submissions now.

Academic/non-academic articles concerning Nin and her circle (Henry Miller, Lawrence Durrell, Antonin Artaud, Marcel Proust, Jean Genet, Henri Michaux, Djuna Barnes, James Leo Herlihy, et al.) are especially valuable; we also consider short fiction, poetry, art, photography, travel memoir if they are somehow Nin-related or inspired.

Sky Blue Press asks that responses and proposals be sent to skybluepress @ skybluepress.com. They will require copy by the end of the year so that the Feb. 21, 2018 deadline can be met.

An anthology of the best of Vols. 1-15 will be released in 2019.

To see or purchase Vols. 1-14, click here.

Anais Nin Podcast 26: Trapeze: The Unexpurgated Diary of Anais Nin, 1947-1955

In this episode, Paul Herron, editor of Sky Blue Press, discusses the editing process of the new Anaïs Nin diary, Trapeze, which has just been officially released.

As the title of the diary suggests, this is the story of how Nin was able to pull off what was—and still is—the seemingly impossible feat of maintaining two men, two homes, two lives on opposite sides of the continent without either man knowing about the other. The idea that Nin’s husband, Hugh Guiler, know about Nin’s lover, Rupert Pole, is debunked. With the help of loyal friends, including Guiler’s maid, and countless fabrications, explanations, fictional employers and assignments, she was able to spend about half the year, on and off, with each man and live within two completely opposing worlds. New York was the center of art world and internationalism, high-energy, and Nin moved in vast social circles, living what she called a “big life” with Guiler. In California, she was with Pole, a forest ranger, in a cabin at the foot of the mountains in Sierra Madre, a sleepy town disconnected from the rest of the world, in the middle of nature, and the pace was almost impossibly slow. Each man had his attributes that Nin found irresistible, and yet each man’s negative traits drove Nin mad, even to the point where she found herself not going TO each man, but FLEEING from each. And yet, it was a lifestyle she maintained for the rest of her life, and a story that is only now exposed to the public in full, in Nin’s own words.

ruperthelmet

Rupert Pole, 1950s

Herron also discusses the back-stories of Trapeze, including the fact that Nin was increasingly excluded from the American literary world, and her work was chastised by friend and foe alike to the point where she was ready to give up on her writing career altogether.

Also discussed is one of the major supporting characters in Nin’s life at the time—James (Jim) Leo Herilhy, who would later achieve fame with his novels, including Midnight Cowboy. Herlihy not only supported Nin’s writing at the very time when no one else did, he also know Guiler and Pole well enough to give Nin objective and honest feedback on her relationships with them in his eloquent correspondence to her, which is quoted in this podcast.

Run time: 18 minutes

To listen with iTunes, click here.

To listen without iTunes, click here.

This podcast is sponsored by Trapeze, which can be ordered as follows:

To order the hardcover edition at a discounted price, click here.

To order a Kindle app edition, click here.

Richard Centing, co-founder of first Anais Nin periodical, has passed

Richard Centing, of the Ohio State University Libraries, an early Anais Nin supporter, passed away in January of this year, I just learned.

Along with Benjamin Franklin V, Centing produced the first Nin periodical, Under the Sign of Pisces, beginning in 1970 and running until 1981, after which Centing published a similar publication, Seahorse. These publications were what Anais Nin called “a café in space,” where readers and writers could “gather” in their pages.

The longevity of Centing’s periodicals was one of the driving forces behind the decision made by Rupert Pole and Gunther Stuhlmann to produce the annual ANAIS: An International Journal, which ran an amazing 19 issues until Stuhlmann’s death in 2002. A Café in Space: The Anais Nin Literary Journal has carried on the tradition ever since. But it all began with Richard Centing’s idea some 47 years ago.

Richard was the very first Nin scholar I met, back in 1996, in Columbus. He kindly gave me the “grand tour” of the library’s Nin-related holdings, and presented me with many gifts, including a poster promoting Nin’s novels published by Swallow Press, which hangs in my office. He was the first scholar to encourage me with my first project, Anais Nin: A Book of Mirrors. After I showed him the manuscript, he said to me: “This is important work,” which went a long way in validating my efforts. Not only did he contribute an article and photographs to the anthology, he guided me in promoting it after it was printed. I remember him as a kind and generous man.

To read Richard Centing’s obituary, click here.

RC&AN&BFV

Richard Centing (l), Anais Nin, Benjamin Franklin V

Podcast 25: Anaïs Nin’s Sense of Style with Gwendolyn Michel

We often discuss Anaïs Nin’s writing, her love life, her life choices, but we rarely delve into her incredible, creative sense of style—her clothing, her interior designs, even what perfumes she wore. This podcast aims to rectify this. Today I speak with Gwendolyn Michel, PhD candidate and recipient of the Stella Blum Research Grant from the Costume Society of America about how Anaïs Nin’s creativity was far-reaching. When you think about the scope of it, it’s really incredible. Not only did she dress exotically, she oftentimes designed her own clothing, which was occasionally plagiarized by various couturiers. She designed furniture and interior schemes that awed those who experienced them—her apartment at 47 blvd Suchet in Paris and her fabled Louveciennes house are but two examples.

Listen as we discuss how these creations came to be and what has happened to them. Anaïs Nin’s clothes are still around, in various hands, each article a treasure. Gwendolyn Michel has done plenty of detective work and has made some fascinating discoveries—for example, did you know what happened to the dress Nin word in Henry Miller’s favorite photograph of her, or where a shawl she wore when she was an artist’s model ended up? Find out here.

Run time: 48 minutes

To listen to the podcast with iTunes, click here.

To listen without iTunes, click here.

This podcast is sponsored by Trapeze: The Unexpurgated Diary of Anaïs Nin, 1947-1955, which can be pre-ordered here.

Below, I have posted images of some of the clothing articles discussed in the podcast. I hope you agree that this is a fascinating topic and should not be overlooked.

Anais Nin at Louveciennes

Anais Nin at Louveciennes

 

Helba Huara and Anais Nin, 1936

Helba Huara and Anais Nin, 1936. Photo: Emile Savitry, courtesy of Sophie Malexis.

 

Anais Nin, 1920s

Anais Nin, 1920s

 

AnaisShawl

Anais Nin’s shawl today

 

Nin's leopard beret

Nin’s leopard beret today

 

Anais&Beret

Anais Nin & her beret, 1955

 

Tassels for Nin's Tahitian grass skirt today

Tassels for Nin’s Tahitian grass skirt today

 

Nin in Tahitian grass skirt, 1967

Nin in Tahitian grass skirt, 1967

Draft of Cacharel’s description of ANAIS ANAIS:

CACHAREL CREE AVEC DIPARCO son PREMIER PARFUM ANAIS ANAIS

INVENTE POUR LA FEMME CONTEMPORAINE SUR UN THEME FLEURI
CONSTRUIT AUTOUR DE LA FRAGRANCE DU LYS AVEC UN BOUQUET DES ARÔMES LES PLUS VOLUPTUEUX
SEPTEMERE 1978
ANAIS ANAIS UN FLEURI “INSPIRÉ” ?

“Je ne veux vivre que pour l’extase”. Anaïs Nin. Journal. Tome I.

Ailleurs, cette femme ardente déclarait : “J’ai le pouvoir de brûler comme une flamme”.

En son hommage – et pour toutes les femmes qu’elle incarnait – Anaïs Anaïs exhale le plus extatique des parfums, celui des pétales du lys fraîchement éclos. Mystérieux lys, orgueilleux et pur dont le parfum enivre pourtant avec les plus sensuels des effluves. Non moins énigmatique sans doute était dans le mythologie Persane la déesse Anaïtis, Immaculée, tantôt vierge, tantôt prostituée. L’essence dominante du lys, accompagnée d’une touche d’éléments fruités, est soutenue qu’un ensemble de notes florales luxuriantes et voluptueuses : jasmin du Maroc, rose de Grasse, iris de Florence, fleur d’oranger, ylang-ylang de la Réunion.

Non moins cosmopolites, quelques senteurs boisées complètent ce bouquet fleuri : vétiver, patchouli de Singapour, mousse de chêne de Yougoslavie…

Anaïs Anaïs enfin se décline sur fond ambré de musc, d’épices et de cuir de Russie.

Inspiré du visage de femme-fleur d’Anaïs Nin – inexplicablement irradié de quelque chose d’asiatique – une illustration florale, délicatement ombrée de pastels estompés, orne tous les emballages d’Anaïs Anaïs.

PRET-A-PORTER… PARFUM-A-PORTER

La femme se réfugie dans son parfum. Hue, elle est encore revêtue des senteurs qu’elle affectionne. Livrée au sommeil, Marylin parait sa nudité de quelques touches d’un parfum… Insupportable trahison pour un couturier : la femme qui suit fidèlement ses créations échappe à sa griffe dans cette ultime parure. Alors, conscient ou non, un désir de totale possession mène un jour ou l’autre tout grand créateur d’un style ã signer son œuvre par un parfum… C’est-à-dire une image olfactive de la femme rêvée.

(CACHEREL-DIPARCO)

Crée en 1958 par Jean CACHAREL, la marque est aujourd’hui du prêt-à-porter. Elle doit semble-t-il son succès à un effort continu pour une meilleure diffusion d’un style unique et de qualité comme les vêtements et accessoires CACHAREL, Anaïs Anaïs tiendra le haut de la gamme parmi les griffes du prêt-à-porter. Créateur d’Eau Jeune, Diparco entend poursuivre une démarche comparable dans le domaine du parfum : la diffusion la plus vaste de la qualité.

ANAIS ANAIS…UN FRAGMENT SOYEUX DE FEMME
Ardente et douce, féminine, raffinée et sensuelle – ainsi se découvre l’auteur du Journal et de Venus Erotica  la jeune Cacharel ?

“Je suis un fragment soyeux de femme” disait-elle. Le femme CACHAREL n’est-elle pas attentive au moelleux d’une étoffe, ã le rare perfection d’une coupe ?

A l’image d’Anaïs Nin – toujours vêtue avec une recherche très personnelle – elle accorde une grande importance au vêtement “inséparable de l’art des relations ou de l’art de vivre”. Comme elle aussi, elle sait que l’accessoire peut “jouer cette note lyrique qui révèle la richesse intérieure de la femme”.

Raffinés, cette femme l’est sans sophistication : le goût du détail lui est naturel et l’harmonie nait spontanément de ses compositions de matières et de couleurs. Elle intègre son élégance ã la vie quotidienne. Passéiste en quelque sorte, son goût des raffinements va de avec une adhésion sans réserve au monde d’aujourd’hui : engagée dans la vie active, la femme CACHAREL est consciente de participer à l’évolution de sa condition.

Elle est la femme contemporaine et en assume les contradictions.

A 30 ans elle porte à tout jamais l’âge de la jeunesse. Comme Anaïs Nin, éternellement adolescente. Comme une autre illustre Anaïs, Mlle Anaïs, née Anaïs Aubert, artiste dramatique (1802-1871), sociétaire au Français dans la première moitié vouée aux emplois d’ingénues par la grâce de son physique miraculeusement juvénile.

EAU DE TOILETTE, EAU DE PARFUM, PARFUM GEL ET SAVON
(Fiche technique de présentation et de prix des différents articles Distribution : toutes les parfumeries, et grands magasins. Comme les vêtements et accessoires CACHAREL, Anaïs Anaïs sera accessible au plus grand nombre. Dans l’univers de prestige, son prix est particulièrement compétitif.

L’EAU DE TOILETTE, Tout le monde connait : on aime s’en asperger le matin. Avec le maquillage, ce rituel constitue l’ultime garant de la beauté quotidienne. La journée peut commencer.

Plus concentrée, L’EAU DE PARFUM réserve ses sortilèges pour les instants privilégiés les fêtes du cœur et des sens, les voluptés secrètes ou partagées. La femme qui porte Anaïs Anaïs manie en experte l’art de se parfumer. Pour exhaler son odorant mystère, elle connait les heures favorables et les endroits propices. Elle a d’ailleurs délibérément choisi son eau de parfum, sans attendre qu’on lui offre. Attentive tout au long de la journée à sa fraîcheur et sa beauté, elle sait raviver quand il le faut la rare fragrance qui l’accompagne, avec une caresse de parfum gel discrètement volée ã son précieux boitier.

Anaïs Anaïs en PARFUM GEL : le geste d’une nouvelle féminité. Sortir un boîtier de son sac, l’ouvrir pour y vérifier dans un miroir sa beauté… Sous l’apparence anodine de ce geste familier se cache une nouvelle complicité entre la femme et son parfum : nonchalamment l’index glisse à la surface brillante du gel pour déposer, derrière l’ore1lle, au creux des seins ou à la naissance du poignet, toute la quintessence d’Anaïs Anaïs.

To learn about the Costume Society of America, click here.

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