Introducing La Nuit Trésor by Lancôme

Twenty five years ago, Lancôme introduced Trésor, a beloved fragrance inspired by the enduring power of love. Translated as “treasure,”Trésor was created to embody life’s most precious moments. Grounded in the rose, the enduring symbol of love, beauty, and femininity, this unmistakable floral experience has become a priceless member of the maison Lancôme family of fragrances.


Inspired by the original Trésor, new La Nuit Trésor captures the essence of a black crystal rose swathed in black vanilla.


Over the intervening years, the Trésor fragrance family evolved with new additions—Trésor Midnight Rose, Trésor in Love, and most recently, Trésor Lumineuse. Now, in honor of the scent’s quarter century anniversary, celebrated perfumers Amandine Marie and Christophe Raynaud have re-imagined the legendary fragrance as a modern aphrodisiac, La Nuit Trésor, formulated to envelop wearers in the sensual, addictive mystique of night. Inspired by the original Trésor, new La Nuit Trésor captures the essence of a black crystal rose swathed in black vanilla.

Starting with a crystalline rose—the essence of Trésor—the perfumers has envisioned a new 21st century love potion. Adding a heady dose of luxurious vanilla leather, the result, much like love itself, is an addictive universal experience designed for women of all ages. A mysterious adornment whose power grows petal by petal, its creators treated the rose like a diamond set in a case of wild vanilla leather. Like a gem, they refined each of the flower’s fragrance facets to create sparkling contrasts and bright edges, elevating the composition to set smooth sensual notes against sharp green facets reminiscent of a rose’s thorns. With a 24-hour hold, designed for the most sublime diffusion, La Nuit Trésor can be worn from day into night.

In this all new interpretation of the enduring beauty of Trésor, La Nuit Trésor takes the classically recognizable composition and gives it a unique new signature. Irresistible and precious, this irresistibly sensual scent represents a delicious yet refined masterpiece of mouth-watering desire and include:

  • Rose Oxide: The queen of flowers and symbol of absolute love, the rose beats at the heart of every Trésor creation. This newest composition is full of glittering vibrancy reminiscent of a starry night sky.
  • Vanilla Tahitensis Orchid: Perfumery’s own black gold. Prized as the most luxurious of all vanillas, this bewitching, noble ingredient brings the reinvented classic scent into the heady realm of night.
  • Praline: Intensified to perfumery’s highest dose, this addictive element creates mouth-watering gourmand appeal.
  • Natural Incense: Often used in the most luxurious niche perfumes, this sensual note creates a halo of mystery to add to the intoxicating nigh-time effect.
  • Lychee Accord: Perfectly blended to deliver an effusively luminous, refreshingly zesty note.
  • Chypre Blend: Created from Papyrus—a little known ingredient that evokes the Trésor original classic leather facet—alongside Patchouli to deliver a refined, modern, new signature element. 
  • Sandalwood Accord: A vibrant wooded accord articulated with musk and rich, modern wood notes like derambren, cedramber, and boisambrene.

Inspired by luxury glass-making and high-end jewelry, the Trésor bottle has evolved with time while still retaining its essential structure. With La Nuit Trésor, Lancôme has heightened the traditional pyramid shape to a fine point, leaving the gleaming bottle and its luminous violet contents to rest alluringly to one side.

La Nuit Trésor  Eau De Parfum, Available exclusively at Dillard’s and on Lancô, 1 oz. ($62), 1.7 oz. ($80), 2.5 oz. ($100)

Le Nuit Trésor Body Lotion, Available exclusively at Dillard’s and on Lancô, 6.7 oz. ($46)

Le Nuit Trésor Shower Gel, Available exclusively at Dillard’s and on Lancô, 6.7 oz ($46)

Georg Baselitz: Drinkers and Orange Eaters at Skarstedt Upper East Side

Skarstedt UES will present a comprehensive exhibition of work by renowned German artist Georg Baselitz at their 79th Street gallery, which will feature 12 paintings from both his Drinkers and Orange Eaters series’, dating from 1981-82. The exhibition brings together paintings from public and private collections to demonstrate the breadth of Baselitz’s creativity during this two-year period. The Drinkers and Orange Eaters remain some of Baselitz’s most expressive and vividly colorful works.

Georg Baselitz Orangenesser, 1982 oil on canvas 57 1/2 x 44 4/5 inches (146 x 114 cm.)

Georg Baselitz, Orangenesser, 1982, oil on canvas
57 1/2 x 44 4/5 inches (146 x 114 cm.)

Georg Baselitz was born in Deutschbaselitz, Germany, in 1938. He attended the Hochschule für bildende und angewandte Kunste in East Berlin in 1956 and the West Berlin school from 1957 – 1963. In 1965, he was awarded a scholarship for a year’s residential study at the Villa Romana in Florence. Very early in his career, Baselitz emerged as a pioneer of German Neo-Expressionism, rebelling against the dominance of abstract painting, proposing in its place a very personal, expressive figurative art rooted in the art brut movement. In his early works, he concentrated on several figure types, including heroes, rebels, and shepherds. From 1969 on, Baselitz painted his subjects upside-down. He adopted this method to stress the artifice of painting. The artist is also well known for his sculpture and printmaking. Drawing upon a varied collection of influences outside of mainstream Modernism, including art of the Mannerist period, African sculptures, imagery rooted in the Art Brut, as well as the Existentialist art and literature of Dada and Surrealism, Baselitz developed a distinct artistic language.


At the time these works were painted, Baselitz found himself surrounded by the new images of a younger artistic generation taking up German Expressionism as a spontaneous experience, practiced using clowns and checked patterns. Baselitz’s use of vibrant reds and yellows—even a harlequin motif—lends a theatrical quality to his work, while the depiction of glassware and fruit adds a playful element of celebration and bacchanalia.

Georg Baselitz Ohne Titel (B. fur Larry-Remix) (26.VII.06), Untitled (B. for Larry-Remix), 2006 feather pen and watercolor on paper 22 3/8 x 15 1/4 inches (56.8 x 38.7 cm.)

Georg Baselitz, Ohne Titel (B. fur Larry-Remix) (26.VII.06), Untitled (B. for Larry-Remix), 2006
feather pen and watercolor on paper
22 3/8 x 15 1/4 inches (56.8 x 38.7 cm.)

In these two figurative series’, Baselitz reacts to the work of his German Expressionist predecessors — Ernst Ludwig Kirchner and Emil Nolde, among others—paying homage to his artistic forefathers while simultaneously establishing distance from them. Championed as a leading exponent of German Neo-Expressionist painting, Baselitz displays a newfound freedom from ideological pressures with his Drinkers and Orange Eaters. Baselitz explains, “The ’80s helped me to rearrange everything; I was able to set up a whole range of ideas and experiences anew, which meant I was able to break everything down so I could make something out of it again.”(1)

Furthermore, Baselitz’s impulsive, tactile method of working creates a dynamic and almost animated surface, composed of fractured imagery. Thickly applied paint forms the rudimentary features of his figures, while his forceful handling of the medium emphasizes individual brushstrokes. Baselitz described his painting style for the Orange Eaters as “boxing with both hands, so to speak.”(2) He uses form, style, and color to shatter traditional assumptions—turning his subjects on their heads in order to impart meaning. Baselitz deliberately rendered his figures upside-down on the canvas, defying conventional visual interpretation. This inverted orientation frees his work from connotation without entering the realm of pure abstraction. Beyond the human form, Baselitz’s Drinkers and Orange

Georg Baselitz 6 Schöne, 4 hässliche Porträts: Schönes Porträt 2  (6 Beautiful, 4 Ugly Portraits: Beautiful Portrait 2), 1987-1988 oil on board

Georg Baselitz
6 Schöne, 4 hässliche Porträts: Schönes Porträt 2
(6 Beautiful, 4 Ugly Portraits: Beautiful Portrait 2), 1987-1988
oil on board

Eaters represent a critical time in history and an evolving ideology of liberation.

Baselitz’s work has been widely exhibited throughout the United States and Europe. Major retrospectives of his work have been held at the Whitechapel Art Gallery, London (1983; which later traveled to Stedelijk Museum, Amsterdam, and Kunsthalle Basel); Centre Pompidou, Paris (1993); Solomon R. Guggenheim Museum, New York (1995; traveled to Los Angeles County Museum of Art, Hirshhorn Museum and Sculpture Garden, Washington, DC, and Neue Nationalgalerie, Berlin); Musée d’Art Moderne de la Ville de Paris (1996 and 2011); and Royal Academy of Arts, London (2007). Baselitz has represented Germany at the Venice Biennale (1980) and participated in Documenta 5 and 7 in Kassel, Germany (1972 and 1982). Georg Baselitz lives and works in Basel (Switzerland), at the Ammersee (Bavaria, Germany) and in Imperia (Italian Riviera).

Skarstedt is working closely with the artist on this seminal presentation, as well as a detailed catalogue published on the occasion of the exhibition. Georg Baselitz: Drinkers and Orange Eaters will be on view at Skarstedt (20 East 79th Street) from May 11 through June 26, 2015.