Ode by Guerlain: fragrance review and history

He locked the door behind him and came over and sat on her bed and put one hand firmly on the little hill that was her left breast. "Now listen, Tracy" he began, meaning to ask her at least one or two questions, find out something about this wonderful girl who did hysterical things like gambling without the money to meet her debts, driving like a potential suicide, hinting that she had had enough of life. But the girl reached up a swift hand that smelt of Guerlain's Ode and put it across his lips. "I said 'no conversation'. Take off those clothes. Make love to me. You are handsome and strong. I want to remember what it can be like. Do anything you like. And tell me what you like and what you would like from me. Be rough with me. Treat me like the lowest whore in creation. Forget everything else. No questions. Take me.”

If the above piece of prose is nudging you into an abyss of sensual surrender (and a little sideways feministic complaining as well), it's all because Ian Flemming knew a thing or two about perfumes and their secret language. Coming aboard chapter 4 in his novela "On Her Majesty's Secret Service", Ode is making an appearence as the feminine wile that seals the sentimental trap for James Bond: the one time in the old series when he falls in love.

Much like Liù is Guerlain's warmer interpretation of the aldehydic vision of Chanel's No.5, Ode is the Reconquista of the floral territory of classical luxury held by Patou's Joy. Yet it is also taking a page off the book of Arpège by Lanvin, another aldehydic floral, merging the two into an abstract creation that smells like a woman; like a woman very much of the era of its creation, I should clarify.
Jacques Guerlain created Ode, his last perfume, in 1955 with the assistance of his grandson Jean-Paul (aged 18 years at the time), heir to the family vault of formulae, passing the baton to catapult the house into the modern times: it was only a few years later that Jean Paul would write his own history with the fresh tonic Vétiver and the delicate caress of Chant d'Arômes.
Putting on Ode in extrait de parfum and contemplaing its time-frame however never fails to make me wonder how those milliners (Chanel began as one) and dressmakers played such a major part in the consciousness of even old and traditional perfumery houses such as Guerlain! And also how the platonic ~rather than the literal~ idea of flowers as transfigured into a feminine fragrance stood as the semiotics of how a woman was supposed to smell like in those times. After the roaring 1920s and 1930s with their strange and brave revolutions such as Guerlain's own Djedi , Mitsouko or Shalimar , the emancipated dukey Tabac Blond by Caron or Cuir de Russie by Chanel and the shocking evocations of Piguet's Bandit during the war, the mould would slowly fall back into traditional femininity as women eased their way out of the laboring workforce and into the homely caregivers or obedient secretaries. In 1955 a floral perfume should be more than the summation of its parts (Chanel's dictum that no woman wanted to smell like a rose bed had caught on firmly) yet also less of the animalics and sophisticated bombastics of the garçonnes' era.

Ode stands as a luminous floral in the Guerlain galaxy focusing on the luxurious rose and jasmine accord that is the pillar of classical French perfumery, yet it infuses it with gentle musk and a bit of the Guerlain vanilla which gives a warm, round feel. The rose is slightly more accentuated than jasmine to my sensibility, but perhaps this has to do with my desire to immerse myself in the indolic aroma of jasmine that makes me experience this as a void. Despite the passionate prose by Ian Flemming, Ode by Guerlain is subdued and elegant through an overture of aldehydes that nod to Arpège and a creamy, slightly powdery base of delicate iris and musks. Toned down compared to both its antecedants, it is gentle and retro feminine and it makes me feel that it wouldn't be hugely popular with today's sensibilities. In extrait de parfum it stays close to the skin as an invitation for further evaluation.

The original bottle of Ode, much like Liù, was inspired by the imposing American skyscrapers. It featured a curvilinear flacon design, partly frosted, and it was crowned with a rosebud stopper. The flacon was manufatured by both Bacarrat and Pochet et du Courval (the different manufacturer can be traced via the acid stamps on the bottom of the bottles) at different times. The design proved to be so successful that it hosted Vol de Nuit, Shalimar and Mitsouko as well in the early and mid 1950s.

Although Ode should have already been the next installment in the legacy collection Il était une fois after Véga in 2005 and Sous le Vent in 2006, no news of an upcoming launch have been issued more than a year after the supposed launch (summer of 2007) and the collection remains thus mangled. Along with Kadine (1911) and Cachet Jaune (1937) they were re-issued in 2005 for demonstration purposes for the celebration of the Paris flagship store renovation, where you can catch a whiff of those long-defunct perfumes being vaporised in the air inside the infamous "microwave oven" contraptions. Let us hope that Ode will join the legacy collection at some point and not remain a memory of things irrevocably past.

Notes for Ode: rose, jasmine, woods, musk

Pics of Ode ads through Toute en parfum and Parfum de pub.

Halloween Flights

Along with the good people at Hermès who sent me this, I am wishing you all a most happy, spooky Halloween.

Champaca Absolute by Tom Ford: fragrance review of a new Private Blend

Champaca Absolute by Tom Ford~men and big florals

~by guest writer Mike Perez

When I started exploring niche perfumery, I stumbled upon a bottle of Guerilla 1 by Comme des Garcons, window shopping in Miami Beach. G1 is a mixture of champaca flower notes, fruits and spices and smells like the inside of a butcher shop (no lie). I assumed this strange accord was the champaca flower that I’d never smelled before, but its meaty (almost surgical and metallic) smell is more likely a blending of champaca with a lot of other notes, to achieve this effect.

Tom Ford announced that his newest Private Blend scent (the Private Blend range currently includes 12 scents) is to be released soon (fall 2008) and it is named Champaca Absolute. The name is a ‘reference’ to champaca absolute, a perfumer’s term for the liquid extraction of the flower. There are a few ways to extract the fragrance from the flower: CO2; concrete and absolute. Like many florals, the extraction process can vary the scent profile of the flower. Champaca Absolute then, makes reference to this ‘pure’ form of the champaca flower essence. I haven’t smelled champaca absolute. But from hunting through the internet for a scent profile I came up with this: Champaca is related to the star anise family and it’s smell has been compared to magnolia; it is slightly less peach-y than magnolia with a bit of spice; many compare it to a white flower such as orange blossom, but admit that it has its own unique scent profile; it has a distinct tea note (*). It seems I thought I knew what champaca flower notes smelled like - but based upon these descriptions, I did not.

Champaca Absolute begins with a soft fermented plum note, very wine-like in a hazy sort of tannic effect. Immediately the champaca notes appear and blossom on my skin.

Whoa! The first time I wore CA I got nervous because it is very big floral. I was heading to my office that morning and I was slightly uncomfortable with arriving there with a strong floral presence all around me. For a second I felt as if I was wearing a pair of women’s sunglasses and I caught a glimpse of myself in a mirror. Colognoisseurs(**), you know exactly what I’m talking about!

But once the floral notes warmed on my skin (no civet or indolic properties are apparent to my nose, rather it’s a clean and distilled floral note) I relaxed into wearing it. It is amazing how much champaca smells like tea. Tommy Girl by Tommy Hilfiger utilizes a tea note to good effect, but the tea accord in CA is tenacious and not delicate. It mixes beautifully with the spicy floral profile of champaca and this ‘spicy tickle’ in my nose reminds me of sniffing a carnation - and lasts the entire duration, all the way to the base notes.

The base notes are smooth and dry, in a soft chypre style - with a light sprinkling of fruity warmth to it. I’m reminded of Gucci by Gucci, another woman’s fragrance that I personally cannot wear- due to its ‘feminine’ dry down.

CA wears very close to my skin, which I was thrilled with, since if it was stronger it might’ve made me uncomfortable. Mr. Ford clearly had women in mind, when he created CA. It’s the most unabashedly floral of all of the Private Blend scents (even more than the high-definition, indolic Velvet Gardenia).

But still, men (besides Tom Ford himself) will wear this scent, I am sure of it. My advice: Apply lightly and give it a few minutes to settle on your skin. Then put on your sunglasses and stand tall when you walk out the front door. :)

Official Notes: not yet available, to be updated.

* Thanks to Ayala Sender and the vital information on champaca absolute on her Smelly Blog ** Term for a male ‘perfumista’ – created by Quarry (Basenotes member)


ON THE PRESS NEWS: In addition to Champaca Absolute two other Private Blend scents, Italian Cypress (exclusive to Tom Ford boutique in Milan) and Arabian Wood (exclusive to Kuwait) will join the regular lineup within six months of their exclusive debuts.

Pic courtesy of anna.vedeneeva/flickr

Halloween Discounts!

This sounded rather good and festive and I decided to post it:

A Ghoulishly Good Discount for Halloween on The Posh Peasant, the online decanter service.
For Halloween Weekend*
20% off EVERYTHING
By using discount code: HALLOWEEN

*Sale begins Friday, October 31 and ends at the stroke of midnight Sunday, November 2nd

New York Times' TimesTalks: "A Brief History of Perfume" with Chandler Burr

Perfumes are classic holiday gifts. But perfume is also one the world's great art forms. Discover both aspects of scent in this fascinating interactive guided tour of some of the world's fragrance masterpieces, led by Chandler Burr, fragrance critic for The New York Times Style Magazine and author of "The Perfect Scent: A Year Inside the Perfume Industry in Paris & New York." You will smell masterpieces of scent art both classic and new for men and women. Discussion followed by book sale and signing.
What's this all about, you ask. Simple: Chandler Burr mailed me with info on an upcoming New York Times Talk which looks like serious fun.

"I'm going to be giving one of the New York Times' TimesTalks on Dec 8 at 6:30pm, in the beautiful new presentation/ performance space in the Times building. The subject "A Brief History of Perfume." The details, including the ticket purchase page on the Times site, are in the below announcement that The Times just issued. The tickets are already half sold, and it's still October, so we do expect to sell out. Many of the brands have already bought blocks of tickets, and that's wonderful, but I'd love for individuals to get a chance to see the show as well."

Don't you just love it when the humble perfumephile is included and not just the usual suspects from the industry and media?

The event is a critical interactive tour of perfume masterpieces and The Art History of Perfume: 1889 to 2008 held on Monday Dec 8th at 6:30 - 8:30PM at the 400-seat TimesCenter Stage via the West 41st Street entry of the new Times tower (620 8th Avenue). Google map can be seen here.
Subway
A,C,E,1,2,3,N,Q,R,W,7,S to 42nd Street – Times Square
Bus
M6, M7, M10, M16, M20, M27, M42 and M104 buses all stop within 4 blocks of TheTimesCenter
Doors open 30 minutes prior to event start time.

You can order your tickets here (price: $30) and see the NYT Talks site here. For questions related to tickets, call 1.888.NYT.1870 and dial 1 for the TicketWeb operators

Liu by Guerlain: fragrance review (vintage vs re-issue)

The Princess Turandot presents her first riddle: "What is born each night and dies each dawn?" Prince Calàf correctly replies "Hope." Unnerved, she presents her second riddle: "What flickers red and warm like a flame, but is not fire?" He thinks a bit: "Blood". Turandot is shaken and angry so she presents her third riddle: "What is like ice, but burns like fire?" He suddenly cries out victoriously and announces "Turandot!"

Guerlain has often been inspired by dramatic stories and exotic places in the onomastics of their illustrious line and Liù takes its pride of place among them. Named after the heroine Liù in Puccini's opera Turandot, it's inspired by the juxtaposition of two different characters who make a jarring comparison: Princess Turandot is cold and cruel, elegant but prideful, not believing in love yet finally conquered by it; her maid Liù on the other hand is kind, pitiful and gentle but also passionate, and although she has true love in her heart for her lord, Prince Calàf, she willingly sacrifices herself for the sake of it. Connected by a man, they provide a stunning portrait of antithetical pieces of the same puzzle ~a women's heart and the passions that rock it. That duality of woman must have been a never-ending source of inspiration for Guerlain, as it is reprised in another fragrance: the 1979 fiery Nahéma (sisters with her opposite Mahané) from the 1001 Nights tale.

Originally created in 1929 by Jacques Guerlain, Liù is a floral aldehydic of tasteful elegance and delicately sensual seduction that puzzles with its impersonating skills. In many ways it acts as the mirror image of the world-famous No.5 by Chanel, but with an added sheen of warm comfort and minus some of the sexpot wiles of the latter. One story wants it to have been created for Rose Fitzerald Kennedy who loved the smell of Chanel's No.5, yet considered wearing it an anathema due to her husband having had an affair with Gabrielle Chanel (although it's his affair with Gloria Swanson during his Hollywood reign between 1926-1929 that is documented). Therefore Guerlain was contacted and they made a fragrance inspired by her prefered scent especially for her. The fact is that Rose kept her favourite fragrance a secret all her life; it was only after her death that it was revealed it was her signature scent. Another story , perhaps more plausible and comparable to that of Chant d’Arômes, has Jacques Guerlain furious at his wife liking and wearing the fragrance of the rival house, Chanel No.5, prompting him in hopes of diverting her from wearing the products of his competitors to create his own interpretation of aldehydes over white flowers on a musky base ~Liù, poured inside an Art-Deco bottle, a masterpiece of geometric artistry, tucked in a box that echoed the architectural design of the bottle.

Whichever of those versions is correct, the fact remains that the two perfumes smell remarkably close, especially in their initial stages. The aldehydes that provide that tingling and soapy/waxy impression are immediately apparent along with a very fresh bergamot and citrusy overture. The fragrance then segues into plush decedent jasmine of an intense femininity. Once it settles on skin however, Liù becomes its own. Musk or sandalwood are not unmistakably obvious as they are in No.5. Rose is very much woven into the fabric of the scent to peak out just enough; it only hints at the velours, sensuously powdery quality which is intensified through the iris and vanillic notes. This version of powdery is detached from the talcum-animalic-vanilla of vintage Shalimar and is more reminiscent of a gentle lady who has freshly powdered her nose to enjoy an afternoon tea with other ladies in the Club, surrounded by bushes in fragrant bloom. There is also the hint of some dried fruit, a whisper in the wind, the culinary touch that is so ingrained in the Guerlain tradition. The Guerlinade base reveals subtly earthy iris, comforting tonka bean and resinous vanilla, finishing it off in a soft-focus lens style that is timelessly elegant while at the same time very much in tempo with the era when aldehydic florals reigned: the 1950s and 1960s. The whole is even close to another Jacques Guerlain creation of the 1930s, Véga, but it's less woody or unconventionaly feminine than the latter.

In the vintage extrait de parfum concentration I have deliciously melding on my skin the darkish vanilla softens the aldehydes, rendering it quite sultry and not too sweet or soapy. Once upon a time, even a luxurious Hair Oil existed which must have been the dream of many a long-tressed lady such as myself and I would love to have been able to try it. In the Eau de Toilette on the other hand the aldehydes are more pronounced, making it more diffusive. In the current Eau de Parfum the similarity with the newer batches of Chanel No.5 are very evident, accounting for a soapy nuance which projects and lasts very well.

Notes for Liù:
Top: aldehydes, bergamot, neroli
Heart: jasmine, May rose, iris
Base: woody notes, vanilla, amber

Liù was discontinued after Rose Kennedy's death and briefly reissued in 2005 by Jean Paul Guerlain in the Eau de Toilette concentration only, and then discontinued again with no explanation. Soon afterwards however it entered Les Parisiennes line, the exclusive line-up at Boutique Guerlain, in Eau de Parfum concentration and double the price, where it remains to this day (hopefully for good!). The re-issue of Liù in Eau de Parfum can be found in the big bee bottles at the Guerlain boutiques and at Bergdorf Goodman. The vintage parfum makes sporadic appearences on Ebay.

Pictures courtesy of Okadi, La Myrrhe, Sarah's Perfumes and Ebay.

Fleur de Feu by Guerlain: fragrance review of a rare vintage beauty

If you ever come in contact with volcanic earth you will discover that despite the sulphurous yellow emanations it is exceptionally fertile. Stationed as I am in the land of numerous volcanos silenced for years but always at the ready to burst forth their bituminous menace, I can better appreciate the inspiration behind Fleur de Feu by Guerlain: the fragile yet sturdy beauty of flowers that rise their head on an island volcano.
Created by Jaques Guerlain in 1948 (according to Le Portail des Antiquaires, while others attribute a 1949 date), Fleur de Feu, which means "fiery flower", was the first Guerlain perfume to celebrate the optimism felt after the end of WWII. Guerlain had only produced the legendary Dawamesk during those difficult years (in 1942 actually), so they were eager to turn a new leaf. Much like Christian Dior had written in his autobiography referring to Miss Dior ("Europe was tired of letting off bombs, all it wanted now was to let off firewords!"), the festivity and joie de vivre inherent in that primal force of nature, fire, has inspired perfumers with connotations of radiance, warmth and passion and Fleur de Feu was masterminded as Jacques Guerlain's generous gift to women.

Fleur de Feu is quite rare since it's been discontinued for decades and it's even rarer in extrait de parfum (pure parfum) which I am now going to review, but like I mentioned before a thesaurus (with the original Greek meaning of treasure-trove) of vintage Guerlain fragrances has ended in my lap inspiring me to write and appreciate the tastes of a bygone era: When women displayed a different interpretation of their feminine wiles and when sexuality was revealed in shapes that accentuated the female form.

The scent of Fleur de Feu is warm and inviting, a floral almost quasi-gourmand with the plush carnation heart that will be reprised in Atuana in 1952. It shares the rich note that appears in the scorching peppery whiplash of the admirable vintage Poivre by Caron at a time when the perfumer's base Dianthine (first devised in 1902 by Chuit & Naef -its formula now owned by Firmenich, same as with Cyclosia and Iralia) was supremely popular. After all, the original L'Origan by Coty also featured it.
Although Fleur de Feu bears the epithet of "fiery" however, the composition here smothers it with decadent flowers of which a rich jasmine and ylang ylang can be very clearly detected, as well as powdery tonalities of iris and vanilla, so characteristic of the Guerlinade accord (supposedly the base that appears like a signature in every vintage and several modern Guerlain fragrances). There seems to be a little benzoin wamth that paired with the butterscotch-like vanilla and a hint of tobacco flower (I might be hallucinating however as to the latter note) might allude to the delights of leisure at home, at a time when women were expected to be efficient homemakers with a roast in the oven and a bavaroise in the fridge, while simultaneously bursting out of their hourglass curvaceous attire. The slight shift in focus from the optimism of l'après guerre to the bombshell ideal of the 1950s can be witnessed in the retro print advertisements for Fleur de Feu: from the romanticism of the young woman holding a bouquet of flowers to the excited bust of a red-faced Maenad. The parfum concentration is seamless with little progression, a very feminine purring composition that radiates with warmth and stays poised on my skin melding with its intimate effluvium for hours on end.

The art deco ribbed bottle with a pedestral for Fleur de Feu was made by Bacarrat around 1948 (according to Roja Dove), breaking with the more rococo tradition and introducing simpler shapes. It was designed to resemble the gigantic American skyscrapers of that time, same as with Ode later on, according to Dulcinea Northon Smith's research. It's interesting to note that this was also the inspiration behind the old blue bottle of Je Reviens by Worth; such was the impact of the brave steel and glass architecture on the pulse of culture, at a time when everything seemed possible and affluence was slowly building!

In the beginning of 2008 Guerlain decided to use the copyrighted name on their makeup collections, much like they did with the lamentably discontinued Parure fragrance: Fleur de Feu nowadays denotes the '08 spring collection of eyeshadow palettes and Kiss Kiss Gloss limited editions. Which probably means that it won't be any time soon we see the re-issue of the glorious fragrance...

If you are persistent you might find some on Ebay or at least some Eau de Cologne concentration from the 50s/60s at Sarah's Perfumes or Eau de Toilette at The Perfumed Court.

Pics: Ad illustrations "Jeune femme avec bouquet de fleurs" for Guerlain's Fleur de Feu by Darcy 1949 and illustration by Darcy 1951, courtesy of Parfum de Pub and Vintage Perfume Publications respectively. Bottle pic uploaded by orchid74 on MUA, with many thanks.

Announcement of Winner and Upcoming Surprises

The Vetiver Draw created lots of interest in comments and private emails and I thank each and every one of you for your questions which keep me on my toes, your interesting comparisons and your overall participation. However much like in Highlander, there can be only one, and this time it is Scentself! Please mail me (using the address in profile at your right) with your info so I can send the delightful sample trio your way.

As for the rest, up next in Perfume Shrine along with other surprises we will tackle some very rare, collectible vintage Guerlain fragrances which have come my way thanks to Orchid74, a discerning collector. And for your delectation there will be another lucky draw with a very special vintage prize!
Stay tuned!

Insolence Eau de Parfum by Guerlain: fragrance review and comparison

If the description "Godzilla floral" doesn't scare the horses, perhaps the addendum "Guerlain decided this thing should not even try to be classy and has embraced it as the most deliciously vulgar perfume on the market today" could. But before making hasty assumptions that the above words of Luca Turin are meant derogatorily (they're not), wait for it: Insolence in Eau de Parfum, much like the previous Eau de Toilette incarnation, is seriously good and reminiscent of the Guerlain lineage in all its violets glory. Even if it's wearing a lilac dress illuminated in neon, it doesn't brush shoulders with the highlighter pens of Gaultier's latest, Ma Dame. Which is a good thing.

Guerlain would want us to think it's "created for an eccentric and chic woman, who thrives for perfection". Insolence Eau de Parfum is certainly eccentric if eccentricity can be defined in etymological terms: έκκεντρος from which it derives means "out of center" in Greek. Insolence Eau de Parfum therefore arrives as a skewed, even more intense, intoxicating brew in a purple-coloured twin of the Serge Mansau dishes-in-the-kitchen-sink bottle for the Eau de Toilette, itself no shy violet! Maurice Roucel has been working on violets intently lately, masterminding the earthy intrigue of the unisex Dans tes Bras for Frédéric Malle, full of salicylates and Cashmeran to give diffusion and emollience to what would have been the harsh nail-polish remover and hairspray accord that he first used in the Eau de Toilette version of Insolence.
Violets, often married with roses, as in the embulient romantic Paris by Yves Saint Laurent, have provided the intriguing conspirator in perfumes of variable constituents and antithetical moods over the years: the feminine playfulness in tutus in Malle's Lipstick Rose and Drôle de Rose for L'artisan Parfumeur, the magical realism element in Alice in Wonderland by Konstantin Mihov's Parfums d'Imperfiction, or the astrigent leather and tweeds of Balmain's Jolie Madame. And in the case of the Guerlain house violets have been a sine qua non: from the brief inclusion in the cassie and heliotropin wonder Après L'Ondée to the delectable pastilles resting on amber in Guet Apens/Attrape Coeur and Vol de Nuit Évasion all the way to their makeup product Météorites; in turn lending its star-struck name to a violet-infused potion of limited edition that mimics that softly powdery feel of their pastel-coloured spheres of delight. When Insolence Eau de Toilette first came on the market a few years ago it had elements of the above and L'Heure Bleue (or Farnésiana?) as well, making me pronounce it the first step in the right direction for the Guerlain mainstream line in a long time.

For Insolence Eau de Parfum the composition is resting atop the familiar sweet violets with subtle iris accents and enough of the red fruits tartness of the previous Eau de Toilette to which Roucel allegedly added tuberose, orange blossoms and peppery greens. You would be hard pressed to seperate them however and there is a gourmand quality which according to Albert might hark all the way back to Angel. The initial impression is even sweeter and more powdery on top rather than at the base compared with the Eau de Toilette, linear and without the initial flou and Aqua-Net note of the latter, which I admit I was not opposed myself. Constrasted, the two come off as sisters, but with the younger being more sensual and exhibitionist, the older a little more neurotically appealing and with the powdery progression reversed. Both are fronted by Hillary Swank in the print ads.

Summarising the Eau de Parfum is more approachable if you're into big, loud, sweet florals, quite close to Météorites indeed, with a liquorice flavour woven into the body of the fragrance resulting in a sci-fi rococo. Exceptionally long lasting too, wittily compared to the half life of uranium, therefore judicious use with the spray is highly recommended.
Although it was another fragrance that has been tagged as "a violet hit by a meteorite" recently, Insolence Eau de Parfum gives me the impression it has been circling eccentric orbits around a black-hole-sun since forever.

The sizes and prices for Insolence Eau de Parfum start from 52 Euro for 30 ml, 75 Euro (50 ml) to 105 Euro (100 ml). Available in the US as well by the end of the year.

Guerlain Insolence editions include: Insolence EDT, Insolence EDP, My Insolence.

Pic of Insolence Eau de Parfum advertisement via Fragrantica

Vetiver Tonka by Hermes: fragrance review and lucky draw

To bean or not to bean? The answer at Hermès is there is no bean counting in their pursuit for true luxury, but when it comes to perfumery, they go tonka bean all the way! What's the point of my word-play? That the delectable raw material of tonka beans has been utilised in the most delicious way paired with earthy vetiver in their mouthwatering fragrance Vétiver Tonka. Composed by in-house perfumer Jean Claude Ellena in 2004 as part of the original quartet for Hermès's exclusive collection for their boutiques, the Hermessences, Vétiver Tonka was meant to interpret the sensation of wool. (the other Hermessences also capture the drape of various fabrics). "Comfortable, fresh, affirmed" is how they chose to describe it themselves and I couldn't agree more.

Subtly edible notes with cigar-flavoured accents are folded into a classy amalgam by the genius light hand of a conjurer: Jean Claude Ellena's strongest suit. The warm smokiness that alludes to pouches of rich tobacco is an element that I am sorely missing in the current batches of the classic Vétiver by Guerlain where it was providing an inviting hug after the grassy delights, but happily the coumarin-rich smell of tonka beans remains intact. Guerlain's version is of course overall much more citrusy, vetiver in itself possessing an hesperidic facet that is often used as a springboard in composing masculine colognes around it. Jean Claude merely hints at that aspect of the exotic grass seguing on to "cleaner" notes that almost instantenously get the smothering treatment of an artistic flou via hazy notes, much like the flour part of his Bois Farine for L'artisan parfumeur.

Vétiver Tonka encompasses the tempered note of vetiver that re-appeared in Terre d'Hermès two years later ~also by Ellena. He seems to love the material, using the Haitian vetiver essential oil, vetiverol as well as vetyveryl acetate. Ever since Déclaration, a spicy masterpiece in my opinion, he has been using all those beloved materials in various incarnations, all the way to the specifically ordered vetiver extraction he procured for the intriguing and perplexing Un Jardin après la Mousson. That said, lovers of strong, dank, almost musty vetiver should rather look for it in Route de Vetiver by Maitre Parfumer et Gantier or Vétiver Extraordinaire by F.Malle.

The violet-like note of alpha isomethyl-ionone (which is sniffable in another Hermessence too, Paprika Brasil, where it takes almost an iris nuance) is the humorous touch that Jean Claude tricks us with: he did the same thing pairing beta ionone (also reminiscent of violets) with hedione to come up with the scent of tea in Bulgari's Eau parfumée au Thé Vert.
The dominant force however is tonka bean , which has a hay/caramel vanilla-ish scent, very soothing, very creamy. Smelling it from the bottle or on a blotter at first it seems a bit clashing ~to be excpected since the two elements are so antithetical on first reading, but on skin it is predominantly sweetish, velvety soft and nutty-oily, which I find sublimely comforting. The naturally dry and woody smell of vetiver as well as a slight bitterness inherent in tonka beans provide a counterpoint to the sweet float of the vanillic base, so the whole is perfectly balanced between dryness and comfort; which sets it one step ahead of the equally mouthwatering but much more gourmand Ambre Narguilé from the same line and for me personally makes it more wearable in warmer weather than the denser Vétiver Oriental by Serge Lutens. This charming duet dances in situ for hours with little change, but boredom never enters the equation as the combined efforts sing at an unheard of before frequency. Additionally there is an interplay of cool and warm facets which makes for stimulating results making Vétiver Tonka suitable for every climate and every season. It lasts very well for an eau de toilette, perhaps more than any other in the collection, is perfectly unisex and has moderate, elegant sillage.

So to answer my introductory word-play, I have been for the bean in a most decisive way ever since I first tried it: Reader, I have spent most of last summer in it!

For one lucky reader interested in a sample triad of the last three niche vetivers reviewed (Malle, Lutens, Hermes), plase state your interest in the comments.
Draw will run throughout the weekend.
Notes for Vétiver Tonka : bergamot, neroli, lily of the valley, cereal notes, dried fruit, tonka bean, vetiver, tobacco, sandalwood.

Vétiver Tonka by Hermès (2004) forms part of the Hermessences exclusive collection, sold at their boutiques in spartan bottle with leather-covered caps. It comes in either 100ml/2.4oz or a set of 4x15ml/0.5oz travel set sprayers. (There is also the option of getting it in a set of pre-selected 15ml travel sprayers along with 3 other Hermessences for the uniform price of 150 euros).

For a comprehensive analysis of vetiver fragrances click Vetiver Series.

Pic of Ralph Fiennes courtesy of Evy Nef at photobucket. Bottle pic through Fragrantica.

Vetiver Oriental by Serge Lutens: fragrance review

Sporadically one comes across a perfume composition that is perplexing yet enthralling like a chameleon actor who manages to marry opposites, hiding a little cruelty under a suave façade.
Serge Lutens has made history in producing influencial "chef d'oeuvres". His Vétiver Oriental, although not extrapolating the oriental zenith that other fragrances in his line accomplish in a more assured way, such as El Attarine , Arabie or Douce Amère, is stunning nevertheless. The reason is as much aesthetic as it is intellectual: I cannot shake the impression that the task of scaling down, of attenuating the formula to the richness and sumptuousness of the material's roots is an algebric challenge, a piano étude aimed at perfecting a specific agilité that is not in tune with the Lutensian way of usual opulence.
And yet...and yet the result speaks in hushed, nocturnal voices of a decadent drawl; a few chiseled citrusy consonants, a little rubbery-smoky with the rosiness of gaiac wood, surprisingly sweet-spoken licorice-like (deriving from lots of anisaldehyde) with the earthy bitter edge of dry cocoa and loads and loads of polished woods, almost laminated. The natural earthiness of vetiver is heavily flanked by this strange bittersweet idea which was accordingly used in tandem with patchouli in Bornéo 1834 to magnificent results. The quiet plush of balsams and resins (perhaps Peru balsam?) and animalic-like ladbanum elements bring the recollection of warm skin not stripped of its natural oils through the use of perfumes and deodorants, a tad salty. There are some common elements with Le Baiser du Dragon by Cartier which uses vetiver in an orientalised composition of amaretto hints and a tropical white flower in order to cut through the sweetness.

However if the onomatopœia is anything to go by, Serge Lutens and his trusty cohort Christopher Sheldrake, fooled us into believing this is a vetiver-sounding fragrance: it is not and therein lies its strength or weakness. Contrary to the painful pureness of Vétiver Extraordinaire by Frédéric Malle, Vétiver Oriental goes for the trajectory of the root, inviting a Guess Who? game like the late Theresa Duncan used to say; veering into the quasi-gourmand makes it a fabulous amuse-guele but somehow too much as a main course. Nevertheless, this is the time of year when it naturally shines its golden viscosity: the crisp weather brings out all its velvety attributes while its exceptional lasting power and moderate sillage are welcome comforts.

My friend Gaia wrote:"What I'm getting is a feeling of a dark jungle, exotic and wild. As it unfolds its beauty, you also sense the danger that lurks just behind, tempting you to go in deeper". If Vetiver Oriental is indeed a lion in the jungle, then it is the emaciated Scar with his almond shaped green eyes lowly roaring in silvery tones "a shining new era is tiptoeing nearer; just listen to teacher".

Notes for Vetiver Oriental: sap, musk, sandalwood, Iris Pallida, undergrowth notes, amber, chocolate, rockrose labdanum, vetiver, gaiac wood, mosses.

Vetiver Oriental is a Palais Royal Paris exclusive created in 2002 contained in the characteristic bell-shaped jars. It was released for export for a limited time only for winter 2004 in the refined, sparse rectangular bottle. It has now reverted back to exclusive status.

For a comprehensive analysis of vetiver fragrances click Vetiver Series.

Jeremy Irons pic via Getty images, bottle pic via Les Salons du Palais Royal

Vetiver Extraordinaire by Frederic Malle: fragrance review

If in vetiver veritas you pledge your allegiance, look no further. The whooping percentage of pure unadulterated vetiver essence in Vétiver Extraordinaire for Editions des Parfums Frédéric Malle goes for indubitably maximum overload for hardcore vetiver fans: you'd be hard-pressed to find one that contains more Haïtain vetiver out there (an alleged 25%) or is less devoid of the oily decorations of other contenstants.
Luca Turin praised perfumer Dominique Ropion's work here by saying that "lead-pencil cedar notes and a touch of lemon [...] act as makeup to hollow the cheeks of perfumery vetiver and give it back some of the striking bone structure of the starting material". I will go further and say that Vétiver Extraordinaire with its raw, wet cobblestones intensity recalls craggy faces of gaunt figures in chain-mail armor, shaded and revealed alternatively by a bright white light before they suddenly strike with a gigantic sword out of a dense dank forest.

The background story on its 2002 creation is caprivating: Frédéric Malle and Dominique Ropion had collaborated at Roure Bertrand Dupont in the past where Ropion had created an unusual exotic woody accord that Malle remembered fondly. When Ropion received a new extraction of vetiver that highlighted the qualitative nuances of the material in an unprecedented way, Malle had the idea to combine it with the old unfinished woody base and thus after extensive twinkering, the finished modern classic emerged. Ropion is well known for his style of overornate, dense, baroque signature, as evidenced in Ysatis or Amarige by Givenchy but also the intriguing Une Fleur de Cassie also for Frédéric Malle and it seems fitting that he achieved the painful intensity of extreme accuracy by addition instead of substraction using "a new essence of Vetiver, stripped of its bitter edge, which he matches with five woody notes to play up the scent's various facets".

Compared with soapy or citrusy vetivers like Vétiver by Guerlain or sweet, licorice-like vetivers such as Vétiver Oriental by Lutens, Vétiver Extraordinaire seems like a challenge: It lacks the light smoky refinement of Chanel's Sycomore, the nutty flou of Vetiver Tonka by Hermès or the spicy sexiness of Tauer's Vetiver Dance, elements which all contribute to easier acceptance. It should therefore be approached only when searching for something bitterly wet yet with a peppery, fresh herbaceous and earthy scent that will draw out a little savagery misleadingly dressed in bohemian clothing. The rooty, cardboard opening emphasizes the more difficult aspects of the genre but the overall character makes it delightfully panseasonal. The lasting power is excellent and the sillage moderate. Perhaps the closest to it is Encre Noire by Lalique which utilizes the same concept minus the foresty mossy tones, so those who have no access to the former, might find a pleasing alternative in the latter suggestion.


Notes for Vetiver Extraordinaire:Bergamot, Bigarade Orange, Pink pepper, Nutmeg, Floralozone*, Haïtain vetyver, Sandalwood, cedarwood, Oak moss, Myrrh, Cashmeran, Musketone**, Tonalide**.

Available in 10ml, 50ml and 100ml spray bottles and as shower gel at Barneys, Les Senteurs, and directly from Frédéric Malle boutiques and their site.

For a comprehensive analysis of vetiver fragrances click Vetiver Series.

*Florazone is a synthetic ozone muguet note patented by IFF with a fresh aldehydic floral profile reminiscent of ocean breezes.
**Musketone and Tonalide are synthesized musk variants.

Photograph of Hugh Laurie by Justin Stephens(Corbis). Bottle pic through F.Malle

Roadster by Cartier: fragrance review

by guest writer Mike Perez

I have been a fan of fragrances with mint, for quite some time now. Mint is prominently featured in many men’s fragrances and I think it’s a ‘love or hate’ note. Either one enjoys the bracing, vivified effect from this sharp, pungent herb – or it negatively conjures up olfactory images of aperitifs, mouthwashes and toothpaste.

Roadster, the new men’s fragrance from Cartier (by perfumer Mathilde Laurent [Shalimar Light and Cologne du 68 by Guerlain]), marketed as a mineral fougère - mixes notes of bergamot and mint with vetiver, patchouli, cashmere wood, cistus labdanum and vanilla. I’m not sure if Cartier (or the men out there Cartier is trying to sell to) fully understands the mineral fougère categorization. Nonetheless Roadster, smells wonderful.

The top notes are dominated by a soft, yet instantly recognizable ‘green’ diffusion of galbanum. I admire this entry (being a fan of ‘green’ fougères like the classic country cologne Devin by Aramis) and can appreciate the oh-so-smooth transition to the next herbal explosion of mint. Mint is tricky (sharpen it too much in a lackluster scent and it radiates menthol), but this mint is subdued, slightly cool to the back of the nose when sniffed and slightly foamy. I’m reminded of the smell I taste, when swallowing mint infused bottled water (such as Metromint).

Unlike some mint fragrances that tingle and cool my skin when applied (Booster by Lacoste by the masterful Jean Kerleo; the limited edition Feuille Verte by Creed; Eau d’Orange Verte Refreshing Body Gel by Hermes) – Roadster’s cooling properties happen only in my nose. It eschews the typical ‘sport’ vibe of mint and uses it in a more sophisticated, modern version of ‘fresh’. This makes sense, since Cartier chose to release this scent right before autumn and the arrival of cooler weather (when a cooling mint fragrance wouldn’t be appropriate).

The base notes are slightly woody (very faint) and sweetly vanilla prominent. Ms. Laurent’s past work for Guerlain shows in the dry down. Complex, blended, subtle whiffs of the fragrance combine with the mint, vanilla and woods in a very unique accord: a fresh baked, delicate vanilla and cream pastry with a steaming hot cup of herbal mint tea. I found myself catching whiffs of myself all afternoon when I first tested this – inwardly smiling.

The Roadster bottle (held horizontally on its side), mimics the hand dial of the Roadster watch by Cartier (which itself mimics the design of a roadster automobile). Heavy, clear glass and polished chrome cap. It’s worth noting that the bottle is VERY heavy. It feels solid in your hands. Perhaps too heavy, for easy application of the scent (held vertically). But…wrapped up in a gift box – it’s solid and substantial weight would make a great gift (who isn’t intrigued by a small, heavy, wrapped present?)

Roadster by Cartier is available in 100 ml. and 50 ml. (Eau de Toilette) for $100 and $75 (although I have seen the 100 ml online - discounted at $73). Visit the extremely slick (and slow loading Flash based) website here: roadster.cartier.com

Notes for Cartier Roadster: bergamot, mint, vetiver, patchouli, cashmere woods*, cistus labdanum, vanilla

Watch the interesting video with Cartier perfumer Mathilde Laurent talking about Roadster and the Cartier fragrance line!

*Cashmere woods or Cashmeran is a IFF patented, complex aromachemical that provides a beautiful, velours note with diffuse nuances of earthy-wood and spicy notes (pine, patchouli), fruits and flowers (heliotrope, red fruits, apples and jasmine) and is softly musky-vanillic. It's featured in Ysatis, Amarige, Michael, Lacroix Rouge, Perles de Lalique, Dans tes Bras and many more.

Pic of Henry Cavill courtesy of Jocasta/Photobucket, chosen by helg. Clip originally uploaded by Primeprojects on Youtube. Bottle pic courtesy of Cartier and of Roadster watch courtesy of jomashop.

Sienna Musk by Sonoma Scent Studio: fragrance review

If like me you find yourself sighing with contentment at the first crisp days of autumn seeing the leaves turn into fiery rusty shades as if passionately burning from within, then you know of the inner exaltation one feels from the intense and clear clarion to action that spices signal. The new Sienna Musk by Sonoma Scent Studio is warm and spicy like you're waking up in a retreat in the mountains on a glorious sunny yet pleasantly cool morning and dynamic as if the world seems full of possibilities: the dies is yet to carpe and the credula postero is extending to far beyond. Recalling the homonymous limonite clay used for producing oil paint pigments, Sienna Musk invites us into an impressionistic painting of luminous yellows and golden browns shot through with the fiery timbre of reddish hues.
Sometimes there is indeed a psychological effect in fragrance and it is acting in an Ayuverdic manner: bringing a lift, taking us into a better place, stirring energy levels and gently pushing our bottom out of the door to get things accomplished. Or perhaps it has a special psychoacoustic resonance: you almost hear the spirited energy in certain fragrances and differentiate them by their approaching vibrations.

Sienna Musk is just like that. Built to be a warm scent that envelops you in the first crisp days of autumn but also well into winter, it recalls culinary spices in a wooden kitchen table ready for the picking and woods that look radiantly red under the rays of the afternoon sun and fill you with optimism and the indulgunt feeling of savouring every day to the maximum. The perfumer, Laurie Erickson, divulges: "I wanted this fragrance to be a cozy, gently gourmand scent featuring warm spices and woods. I added soft mandarin because it works well with the spices and because mandarin and clementine are my favorite citrus oils. One of my main goals with this type of scent is to achieve the right balance of sweetness, which is difficult because that balance varies greatly from person to person. Sienna Musk opens with a burst of sweet spices and mandarin, and then the creamy woods and musks emerge".

Although the notes might remind you of her previous Bois Épicés Légère this fragrance is less sweet and has softer woods and more musk, going for a soft-focus effect. The blending of the spice notes is wonderful in that they are clearly identifiable, yet they also fuse into each other, creating harmony. Ginger is not too pronounced and therefore the scent melds on my finicky skin with no sour undertones. Nutmeg, the dried kernel of Myristica fragrancs also included in the new Secret Obsession, is a wonderful spice full of its own timbre; paired with cardamom their unison gives a slight Middle-Eastern flavour to an essentially New World harmony. Mandarin essential oil (just one member of the varied citrus family and their nuanced scents)is a fresh, uplifting top to middle note which perfumers can extend the longevity of by combining it with other carefully selected oils. It works great with spices, as evidenced here: sunning them, making them open up. The backdrop of smoothness provided by a blend of synthesized musks gives a clean, downy-soft feeling that lasts comfortingly very long extending it into carpe noctem. Sienna Musk makes me physically happy and gives me a much needed boost during these frantically busy days and I am putting a bottle of it on my wishlist as we speak.

Sonoma Scent Studio Sienna Musk is available in 15ml/0.5oz or 30ml/10z Eau de Parfum (great size options low on the commitment) and samples are also sold online.

Notes for Sienna Musk: mandarin, nutmeg, cardamom, ginger, clove, musk, cedar, cypress, sandalwood.

Other recent launches from Sonoma Scent Studio include Wood Violet and Vintage Rose and Laurie intimated that she is working to perfect Gardenia Musk before holiday time (Gardenia Musk will be a demure gardenia for those scared of the loud note: a feminine floral musk with jasmine, soft and creamy gardenia, green notes, subtle peach, silky skin musks, and light cedar).

Available at Sonoma Scent Studio online

Pic of red tree courtesy of hollis.nh.us, bottle via Sonoma Scent Studio.

More Chances to Develop Your Olfactory Skills

We had previously announced workshops by Cinquième Sens, a French-based company offering tutorials for people interested in developing their olfactory skills. After a great session in September, Cinquieme Sens is back in New York City with more dates to allow beauty professionals to develop strong sensory skills and a command of the language of scents. Recommended also to anyone who wants to acquire a strong command of the Art of perfumery.

The programme spans 2 days of Introduction to the techniques of perfumery and the language of scents:
November 18th and 19th, 2008
December 16th and 17th, 2008
Seminars will take place at 274 Madison Avenue, Suite 1804 New York , NY 10016
Space is very limited, so call 212 686 4123 to reserve your seat.

Hidden Gems: Little Pleasures from Two Sides of the Globe

Some wonderful things in this life are well-known: Veuve Cliquot champagne, the Nutcracker suite, Mercedes Benz S-class and Gregory Peck. The again there are those little things that while not essentially secretive they float with little collective wow as much as they trully deserve it.

The Non Blonde (from New York) and yours truly decided to sit down and reveal some of the "secret" things that makes us tick. Things of a local but also international colour to take you away from your everyday existence into the cosmos of a friend city-trekker and which we hope will inspire you to seek them out this autumn.

Foodstuff and aromatic delights:
Mastic or lentisque, the natural resin of the mastic tree, is one of the local products which I feel few people outside the Mediterranean know about and that's such a shame. Because mastic is medicinally beneficial to so many ailments (soothes the stomach, strengthens the gums, whitens the teeth, refreshes the breath, helps with catarahh), it is also an excellent... aphrodisiac but most importantly its aroma is delicious, unusual and very pliable to so many uses in food, drink and fragrance (Infusion d'Iris by Prada is said to borrow its aromatic note).
Mastiha Shop is the brandname of Mediterra SA company founded by the Chios (the Greek island) Mastic Growers Association. Whenever a foreigner comes to my city I always take them to the Mastiha Shops: a paradise for everything around mastic! The Mastiha site is excellent and you can spend lots of time seeing the products, the shops and reading about how they are collaborating with other Eastern Mediterranean companies such as Al Doucan, Junan Natural Lebanais, Senteurs d'Orient Sarl and Haki Bekir SA. The best part is probably the Recollections section on which there are dots on the map of the whole Mediterranean with customs around mastic for every one on the map (on the Folklore sub-section), tales about travelers and historical references aplenty. Get their gum with rose essence if you can: yum!

Books and films
Jeux interdits (forbidden games), is a novel by François Boyer. The synopsis has a girl of 5 orphaned in an air raid while fleeing a French city with her parents during WWII. She is befriended by a 10 year old peasant boy when cut off from the other refugees and is taken in for a few weeks by his family. The children quickly become friends in the purest and most tender love story of them all in their attempt to assimilate the deaths they both face and the religious rituals surrounding those deaths through the construction of a cemetery for all sorts of animals. However child-like and adult activity often are at cross-purposes till the climactic finale.
The novel got adapted into a 1952 French language film directed by René Clément starring Georges Poujouly, Brigitte Fossey, and Amédée. For once a film respected the book and became according to filmsdefrance.com: "almost unquestionably the most compelling and intensely poignant drama featuring young children ever filmed" . If you have small children or have not forgotten the sensitivity of your childhood, it is highly, highly recommended. Take a box of Kleenex with you too, you will need them. Available through the Criterion Collection. Watch this little montage.

And if you're embracing your cynical, adult side, don't forget the Italian spaghetti western classic from one of my favourite directors of all time, maestro Sergio Leone.
Here is Clint Eastwood, Lee Van Cleef and Eli Wallach in one of the most poignant treatises on war & the individual and the best showdown ever (click to watch): Il Buono, il brutto, il cattivo (The Good, the Bad and the Ugly) from 1966 set to music by Ennio Morricone. "There are two kinds of people in this world, my friend: those with loaded guns and those who dig. You dig!" A masterpiece.

Homage to a tortured soul:
Guillame Depardieu, son of France's greatest living acting legend, died on Monday out of complications of pneumonia according to Google. Gifted in acting himself, with the ill fate of growing up feeling side-tracked by his father's fame, and having to go through the loss of a leg due to a motorcycle accident a few years ago, he had a rough life that ended unjustly. He was 37.
He will always remain in mind fair, young and passionate as he was when he appeared alongside his father in Tous Les Matins du Monde (all the mornings of the world), a 1991 French film by Alain Corneau about the baroque music of Sainte Colombe and Jean Baptiste Lully which I had referenced when talking about O de Lancome and a big-fat-shinning gem of its very own. This is for you, Guillame. Godspeed...

Jewellery:
Another passion of mine, I'm afraid. There are so many things to appreciate in a well-crafted jewel beyond its monetary aspect: the craftmanship, the cultural inspirations behind it, innovative designers making portable art. It makes my day to look at beautiful and inspired jewels and my collection is growing thanks to careful selection and generous gifts.
I tend to prefer vintage pieces with rose-cut diamonds (those grey irregularly-cut stones that resemble hazelnut shreds). Fanourakis is a Greek goldsmith fronted by an admirable woman, Lina Fanourakis, who designs the most ecclectic mix of portable sculpture: small flies become dainty earrings, a corset is shaped into a bracelet, drops of liquid fall off the length of a brooch. Take a look here and if you pass through Ermou St (Hermes street) in Athens, turn on the left before Kapnikarea church so as not to miss their boutique.

Then again there is Rinaldo Gavello: an Italian designer married to a Greek woman and almost a Greek himself now...With boutiques in the glamorous Athens center, Thessaloniki and in always popular Mykonos, he designs the rock-chic pieces with skulls out of the tiniest diamonds and bright enamel that delight my Metallica-loving soul. Take a look at the new Josephine collier, inspired by black gazelle Josephine Baker and prepare to be awed! (click the link to see pic)

Perfume:
One of the fragrances that I have never heard anyone in the perfume communities know is an Italian Eau de Toilette by the French-sounding Jean Louis Gady brandname, christened Musk Oil (it's anyone's guess why they called it thus when it's in fact a spray alcoholic fragrance!) It's my favourite "extra" to include in international packages: there is no one I have sent this to who hasn't spontaneously commented that it is very pleasant and wearable. Warm, sweet but not intensely so, with hints of rose and vanilla, unisex and a proper "perfumey" fragrance rather than a clean musk, it garners compliments from everyone. It's a mystery why it's not widely available.

Another little-sung hero is Sonia Rykiel Woman, not for Men! from one of the more chic and favourite designers: musky, leathery, powdery and with an abstract touch of cosy warmth it's a wonderful, wonderful perfume that is unique, never nauseatingly sweet or heavy and a subtle come-hither. Nota bene, however: all this describes the Eau de Parfum in the bottle with the bronze studs on the cap and the purple accent lettering, not the pink one with the silver studs (the Eau de toilette, which is yet another trite fruity floral).

Demeter's Rain is not exactly what one would call "perfume" and indeed I am not advocating you wear it as a personal fragrance. It's more of a mind-altering mood in a bottle: it is exactly the smell of those baby humidifiers-ionisers which shoot negative ions in the atmosphere to boost energy levels and clear the air. It smells as fresh as the first raindrops from a blue cloud in the autumn sky.

Body indulgences:
The shower gel which I most enjoy during the late summer and autumn months is none other than Felce Azzura (means "blue fern" in Italian) by Paglieri. There is some pungent aromatic and slightly bitter essence like crushed dried herbs gathered on a Greek hill along with a lingering powdery quality about it that never stops having me swooning (a dangerous thing in the shower!). Refreshingly cool in late summer's humidity and unlike any usual citrusy or minty bath product it has an autumnal feel that is a perfect fit for the current season in particular. It also comes as a body powder with the same heavenly smell. And it's relatively inexpensive, making it the perfect everyday indulgence. Once upon a time, as attested by the ad designed by Moltrasio in the 1950's which is clearly inspired by my look-alike, there was also a hair brilliantine. Kill me now!

Hair guilty secret:
I am über-loyal to Elnette hairspray for dry hair ever since I remember using something to hold my stray strands, ever since it was non cool and not fronted by Penelope Cruz and Claudia Shiffer in those nifty ads. Seeing my mother and grandmother using it obvsiouly had a deep and contradictory impact: I wanted to break out of the mold and try "younger" hair stuff, quirky, punky, whatnot. After hundreds of flings with lesser mortals I always return to this one: it brushes off in an instant, does the job well without sticking the hair into barbed-wire and has a nostalgic faint smell that doesn't bother my perfume wearing.

Makeup unsung hero:
Guerlain has my hard-earned Euros on many things; one of the constants however, apart from perfume, is mysteriously enough a highlighter-cum-concealer: Issima Precious Light. A click-pen with a little brush at the edge that delivers the creamiest, most becoming little shot of light for under the eyes, over the brows, at the edges of nose and lips, to give a gentle luminosity to the face to lift it through the darker days of the cooler season. More creamy than the Yves Saint Laurent analogous product and less sticky or thick than the comparable Dior, it is the perfect consistency to blend without tugging. I use Beige Naturel 020 and it doesn't need anything else on top (the sales assistant who insisted my light skin needed the Beige Clair 010 hadn't realised that too white-ish gains a grey-ish pallor over any trace of blue under the eyes...)

Actors to watch now:
This guy has been steadily gaining a small but dedicated fan club, mainly thanks to his inclusion in the Tudors. I fist spotted him in The Count of Monte Cristo. I don't know why they don't employ him in almost everything!
Opposite physionomy to the virile one above, fabulous acting chops, this one is another gem not to miss: I don't know why they don't employ him in almost everything either! Best thing of all: you never hear about their private lives: wise boys...

Music to listen to this autumn:
Manos Hadjidakis is no unknown in Greek music. He shares demi-God status. Yet not many people abroad who only know Greek music from Zorba the Greek instantly recognise him as immediately as the latter's composer (equally talented Mikis Theodorakis). Here is a clip from Gioconda's Smile, his 1965 instrumental album inspired by his stay in...New York City. Available at Amazon.



I'd love to hear from you about your favorite hidden gems (regional or of a wider scope). Share them in the comments and please don't forget to check out The Non Blonde's for another take.

Art photo on top by Charettevia. Felce Azzura ad via trocadero.com. Jeux Interdits poster via Wikimedia. Clint Eastwood pic from the Clint Eastwood Archive.
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Sex and the Parfum

Osmoz has devoted their monthly feature to sexy perfumes and the advertising that accompanies them. "While porno-chic and glam-trash are so last millennium, the trend has in fact evolved rather than disappearing… And there’s no way around it: sex still sells" Nicolas Olczyk writes. From B-Spot, the latest playful hinting perfume from Benefit and Diesel unveiling a new perfume in an ad stamped 'For women only' as well as sure-bets Agent Provocateur's newest Strip in black and powder-pink undies, with a trail of bewitching amber (you can’t help recognizing the allusion), Intimately Beckham Night for Him and for Her duo and Tom Ford's images there is a trend towards boudoirs, libertine women and elixirs of sensuality. (just remember the Elixirs Charnels/ Carnal Elixirs collection by Guerlain!). Guerlain also claimed that their newest masculine Guerlain Homme is set to reveal the "animal in you": a thirsty one, if one goes by the commercial and the mohito cocktail notes it includes.
Sexy scented items are also booming if the success of the massage candle concept is anything to go by. Agent Provocateur even has a nipple "titilation" product! Lately the new “cosmetiques du plaisir” line YesForLov will be launching L‘Affolante Eau de Draps (eau de Sexy Sheets). The sweet-spicy composition suggests that beds aren’t only for sleeping.

The accompanying Osmoz quizz testing your "fragranista" knowledge is witty and light enough to do from work if you want, with a couple of questions that might make you think back a bit. You can take it here: SEX AND THE PARFUM. Fun!

And if you want to find out what a handful of New Yorkers (men and women) think are sexy scents, watch their video here. It's interesting to contemplate what shapes public opinion and how different men's and women's perceptions are about those things.

Pic of David and Victoria Beckham photographed by Terry Richardson for Intimately Beckham Night courtesy of Osmoz.

Ma Dame by Jean Paul Gaultier: fragrance review

Ma Dame, a spoof on the French word "Madame" which could be translated as "my lady" is Gaultier's latest feminine fragrance. A fresh floral blend of rose, sour orange, grenadine, musk and cedar Ma Dame aims to distill the essence of a modern-day garçonne, or "Une fille au masculin, un garçon au féminin" (a masculine girl, a feminine boy) like the song goes. “Ma Dame is not a Madame,” declared the designer (in the sense of a brothel-keeper or bourgeois lady). He puts the emphasis on the "ma" more than the "dame" part. “She is my muse. She amuses me.” (quote via the Moodie Report). I like word-plays. I like that he used a word-play to explain one, too!

Gaultier also explained he loves the bright pink of highlighters and attempted thus to bottle the imagined "scent" of one of his favourite shades. “It’s almost electric,” Gaultier says to Elle magazine. “The perfect color to make into a fragrance.“ Liking the highlighting almost fuschia shade is nothing ground-breaking, as press releases would like you to think; so do I, as I use it to highlight much more "agressive" art listings that depict ancient warriors and cthonian deities and my tastes run a more conservative gamut than dear Jean Paul's. “I didn’t fit in well with the kids in school,” Gaultier continues the confession to Elle. “While the other boys were playing sports, I was busy sketching!” At this point I am beginning to think that Gaultier and I share some degrees of Kevin Bacon! (something that would have my father in stiches)

The commercial for Ma Dame directed by Jean Baptist Mondino has supermodel du jour Agyness Deyn (also seen in Burberry The Beat commercials) literally tearing up the scene, snipping a long platinum wig, ripping off her sleeves, cutting her pant legs with a scissor (an allusion to the ripping that needs to be done in order to access the bottle inside the carton), all the while dancing to the beat of dj.Miss Kittin ~in a remix of "3rd Sex" by French group Indochine. She ends this on the sweet side with a kiss on the cheek of Gaultier himself.
Supposedly the aim of Ma Dame is to shed the cumbersome ideals of femininity for a rebellious, modern, cutting-edge interpretation. The French catch phrase is: ‘Interdit aux dames’ (NOT for ladies), but they changed it to “For the woman who is unique, unconventional, different” in English. Tag anything with a prohibition and you create intrigue. The rectangular bottle that features in its heart the torso bottle of Gaultier's best-selling Classique (by perfumer Jacques Cavallier) set in relief gives the game away though: we're far off the land of controversy or rebeliousness and the only thing that is ambivalent about this fragrance is the decision quota of its intended clientelle. Seeing the street credence of punky (but perfectly angelically-featured) Agyness Deyn makes one think they're buying into a slice of the wild side and the brand is obviously aware of the public being in the know about Gaultier's edgy reputation (how ironic that it is his jackets cut with scalpel-precision that are the best hidden thing about his line)

Sniffing or spraying Ma Dame is a violent surprise at first: an intense, eye-searing blast of citrusy sweet shampoo latheriness jolts you like the lightsabers used in Star Wars, this time hued Bright Fuschia for the person who teeters between Luke Skywalker and Prince Leia (this is the 00s!). The shade and feel has been described as "lurid pink" by Mrs.Veneering on POL and I couldn't find a more perfect description. The composition by talented, almost in-house* nose Francis Kurkdjian (from the Takasago team) revisits the canned peach-candy orange-pink lotus in hysterics of Classique smothered in vats of vanillic powder and a prolonged white musk drydown that is anodyne more than androgyne; in fact the more they dry-down the more they're indistinguishable to me. Thankfully Ma Dame is not cloying like Classique can be, mostly thanks to a very fresh treatment of alleged cedar which veers on aquatic: it's utterly synthetic-smelling and sanitised like being dressed in futuristic tinfoil which is a new direction that Gaultier ommited to include in his amazingly wonderful costumes for the "Fifth Element". Ma Dame is mischievous and diabolical enough in that it will make you wonder whether this is good or bad which I hope reveals humour behind its creation. To take you out of the dilemma I have one admission to make: it's nothing I would wear myself. Consider yourselves accordingly advised.



Nota bene the creative prowess behind the bottle design: the transparent spray mechanism is invisible!

Official notes for Ma Dame
Top: Orange Zest, Grenadine
Heart: Fresh Rose velvet, floral Notes
Base: Cedar, Musk

Available at major department stores since September, 50ml/1.7oz for $95 of Eau de toilette (also available at 100ml/3.4oz). Matching body products as well.

*taking into consideration he's responsible for Gaultier's Fragile, Gaultier 2, Le Male and Fleur du Male.

Pic of Agyness Deyn and Jean Paul Gaultier via zimbio.com Pic of bottle via Vogue.com