Showing posts with label animalic. Show all posts
Showing posts with label animalic. Show all posts

Thursday, May 15, 2008

Romancing the Ripe

Widespread is the knowledge of Napoleon's famous erotic line to Josephine, "I will return in three days, don't wash!" (“Je reviens en trois jours; ne te laves pas!"), which inspired even the famous name of a Worth perfume, Je reviens. But little do people realise that he was not the first one to appreciate the ripeness of a female body's natural aroma. It was another French figure who had the historical privilege of uttering a comparable phrase in the throes of erotic passion to his beloved centuries ago: Henry IV of France, who wrote to his mistress Gabrielle d'Estree: "Don't wash my love, I'll be home in eight days".
Interesting to note no doubt that transport as well as beliefs concerning for how long one could sustain themselves without a bath had changed accordingly through the course of more than 2 centuries.
Henry IV of France was reputed to have such a ripe smell himself that his intended, Marie de Medici, keeled over upon meeting him.
But a predecessor, Henry III was also reportedly excited by the animalic essence of the female body: he fell in love with Mary of Cleeves after smelling the odour of her just removed clothing. Of course the circumstances upon which she had removed the clothing and what he saw might also have contributed to his infatuation no doubt.

According to Alain Corbin, social historian and author of The Foul and the Fragrant, Baudelaire was in part responsible for transforming the scented profile of the woman.
"The perfume of bare flesh, intensified by the warmth and moistness of the bed,replaced the veiled scents of the modest body as a sexual stimulus.[...] The woman stopped being a lily; she became a perfume sachet, a bouquet of odors that emanated from the "odorous wood" of her unbound hair, skin, breath, and blood.[...] The atmosphere of the alcove generated desire and unleashed storms of passion".

As we had noted in a previous article on Perfume Shrine named "Glorious Stink", the matter of fragrancing the body or not, the ritual of bathing and the perceptions concerning cleanliness have been at the eye of the turmoil of civilization since antiquity. Fragrance can only be an additional veil upon the essence of the body itself. In the words of poet Rainer Maria Rilke, "you feel how external fragrance stands upon your stronger resistance?"

Henry Miller was even more explicit when he progressed the onomatopoeia of Baudelaire's "muskiness of fur" using its proper name taken from the vernacular:
"With the refinements that come from maturity the smells faded out, to be replaced by only one other distinctly memorable, distinctly pleasurable smell" and he goes on to suggest the female genitals as the source of the ambrosial aroma. "More particularly, the odor that lingers on the fingers after playing with a woman, for if it has not been noticed before, this smell is more enjoyable, perhaps because it already carries the perfume of the past tense".

It is obvious that the natural smell of a sexually mature body held great fascination for men for centuries and it is even more confusing juxtaposing this belief with today's standards of hygiene to the point of the sterile. All in all, the print of a civilization often revolves around the use of soap and water and this is none more apparently ironic than in the examination of sophisticated societies.

Illustration by Steve Murray, courtesy of the National Post.

Thursday, October 25, 2007

Fragrance review: Midnight violet by Ava Luxe




By guest writer Ida Meister


I am such a neophyte, that I feel a disclaimer is in order.
To begin with: it should be noted that I am neither a writer nor a perfumer.
I am simply a woman possessed by a 50 year love affair with fragrance,
who lives for her nose…known to some of you as “chayaruchama”.

Helg most generously offered me the opportunity to write a review for
you all. She had just reviewed the magnificent Madame X{click for review} by Ava Luxe, and her enthusiasm spurred me to sample quite a few of Serena Ava Franco’s works.
I was delighted to discover how gifted Ms. Franco is.

Some fragrances announce their presence with a clarion call- others insinuate their way into a room. Midnight Violet falls into the latter category.
If Madame X is a symphony, then Midnight Violet is an etude, a dark one, by Chopin.

(click to experience what such a glorious thing is!)

Not melancholic in an abysmal sense, but deep, powerful, real,
evocative, and full of feeling.
There is no strident opening, no coyness or girlish blushes, no precocity.
Conversely, Midnight Violet is not a gloomy, dank incense.

Somehow, this unusual perfume manages to be richly hued, with many
layers of depth and nuance without being opaque or heavy.
Midnight Violet opens with a shaft of light, which is heralded by the joyful notes of pink pepper, cinnamon, and galbanum.
This translates into an intensely green, dry spiciness, which then
yields to a richer, denser resinous smoke flavored with orris, the scent
of damp earth and black hemlock.
Cedar and sandalwood- very soft and creamy- ally themselves, joined by a
languid moss, wood balsam, musk and civet.
The addition of these woody and animalic accords endows Midnight Violet
with a harmonious complexity that is very satisfying and possessed of
great warmth.

My impression is of being drawn into the woods at dusk, when the light
is just beginning to falter, and discovering that you are suddenly
surrounded by the approaching night.
The moon can be spied between the branches, but the forest is dark,
quiet, and very deep.
The haunting, faint odor of sylvan violet is nestled in an earthy, smoky
bower, peaceful and contemplative.


Pic of Liv Tyler from the advertising campaign of "Lord of the Rings". Thanks to Youtube for the clip of Chopin's etude op.10 #1

Tuesday, October 2, 2007

Chypre series 2: Ingredients

Perfume lovers are well aware of the fact that "notes" in perfume denote only the feel that certain ingredients emote and not necessarily the exact ingredients that go into the composition of the final product. Such is the case with chypre perfumes as well.
Although we described the traditional elements inherent to the tradition of chypre perfumes in the previous article in the series, this serves only as a guidance to constituents playing a greater or smaller part in the art of composing. Each variant highlights a slightly different note or places emphasis on something that distinguishes it from other members of its class.

Modern synthetic aromachemicals also play a part in this process. The conventional notes of bergamot, oakmoss, civet, rose, neroli, vetiver, angelica, sandalwood and the herbal touches of thyme, tarragon and basil are joined thus by linalyl acetate, amyl salicylate and the characteristic note of safrole or isosafrole. The latter is a composition of the German firm Heine, circulating under the name Product EM.
This note has been called the very thing that assures the perfume's success and it is based on oakmoss, labdanum, liquidambar, linalyl acetate and possibly several floral essences that give that special abstract florancy characteristic to chypre compositions.

Although most people marginally into perfume tend to view chypres as the equivalent of a J.S.Bach fugue, all complicated themes recurring as the perfume evolves on the skin making for a formula that is highly sophisticated and which demands originality and expert handling from the perfumer, it has been proposed that in fact the contrary is much more the case.

The formula of a chypre is strict and allows less of a leeway for producing something that would risk being an abject failure, so a lack of imagination might be attributed to houses that might bring out new perfumes in the genre falling back on what is more or less a "safe bet". This is what prompted Maurice Chevron to remark: "It is simply beef stake". The culinary comment denoting that it is something standard, proper, always good with whatever twist you make it.

Chypre perfumes according to the elements that they highlight are classified into subcategories, named after the element they bring into the flesh on the classic chypre skeleton.
Therefore according to the French Society of Perfumers the basic subcategories are:
Floral chypre
Floral aldehydic chypre
Green chypre
Fruity chypre
Aromatic chypre
Leathery chypre

Another category, termed "coniferous chypre" might be included, encompassing heavier use of resins. And one might argue that leather/cuir is a category on its own (which it is), leaving legends such as Bandit by Piguet, Cabochard by Gres or Cuir de Russie by Chanel into a chypre limbo. For the purposes of this series, we will give those leathery compositions permission to rest into chypre heaven and play the harp to the skies. Or hell, in select cases...

To understand what goes into the production of each category one might glimpse the lists stated in professional handbooks. I therefore present you with some examples from an older textbook on the subject.
In the interests of journalistic ethics/deontology the exact measurements have been ommitted in the following breakdowns.

The ingredients below form the body of an aldehydic chypre (the name of aromachemical company that produces the ingredient in parenthesis):

Rose No.1
Ysminia (Firmenich)
Jasmin absolute
Oakmoss absolute superessence, Yugoslav (Schmoller)
Bergamot oil
Oakmoss absolute (Camilli)
Jasmin No.1
Geranium sur rose oil
Methyl ionone
Vetiver oil
Sandalwool oil
Linalool ex bois de rose
Dianthine (Firmenich)
Eugenol
Hydroxycitronellal
Gardenia 9058 (Givaudan)
Costus absolute 10%
Mace oil
Florizia (Firmenich)
Tincture of Musk, 3%
Tincute of Civet, 3%
Musk ambrette
Musk ketone
Coumarin
Vanillin
Aldehyde C.10, 1%
Aldehyde C.11 (undecyclenic) 1%
Aldehyde C.12 (MNA) 10%


Another characteristic chypre base contains the following:

Coumarin
Vanillin
Ethyl vanillin
Heliotropin
Methyl ionone
Musk ketone
Rose H
Orange oil, bitter, Guinea
Geraniol extra
Bois de Rhodes oil (Chiris-UOP)
Noisette (de Laire)
Sandalwood oil
Benzoin Supergomodor (Chiris-UOP)
Liquidambar II
Labdanum Clair (Lautier)
Linalool ex bois de rose Cayenne
Linalyl acetate ex bois de rose
Terpinyl acetate
Benzyl acetate
Vetiver acetate
Estragon (tarragon) oil 5%
isoButylquinolin 5%
Ysminia (Firmenich)
Bergamot oil, sesquiterpeneless
Bergamot oil

And here there is a distinctively 'animal' note in a chypre base.

Oakmoss absolute hyperessence (Charabot)
Jasmin absolute
Musc VH (Ets. Hasslauer) 10%
Musc baume epure (Payan & Bertrand)10%
Ambergris tincture
Civet tincture
Musk ketone
alpha-Methyl ionone
Sandalwood oil
Vetiver oil
Bergamot oil
Rose No.3
Bouvardia CNC (Firmenich)
Carrot Clair (Lautier) 10%
Celery Clair (Lautier) 10%
Tobacco W (I.F.F.)
Aldehyde C.11 (undecylenic) 10%
Cyclopentadecanolide 1%
Orange oil superdèterpenèe (Charabot)
Celery seed oil
Angelica root oil

This formula is for a modified chypre perfume with a peach top note. Does this remind you of anything?


Ysminia (Firmenich)
Wardia (Firmenich)
Benzyl acetate
Orange oil, sweet
Jasmin absolute
Vetiveryl acetate
Cedryl acetate (Givaudan)
Sandalwood oil (Mysore)
Lavender oil, Barrême 42% esters
isoEugenol
Amyl salicylate
Bergamot oil
Lemon oil, Guinea
Methyl ionone
Ylang-ylang oil
Oakmoss decolorèe (Robertet)
Patchouli oil
Petitgrain oil, paraguay
Indole
Citral
Aurantiol
Dimethyl benzyl carbinol
Hydroxycitronellal
I-citronellol
Geranium extra
Fennel oil
Black pepper oil
Coumarin
Musk ketone
Civettone
Ambrettozone (Haarmann & Reimer)
Ambrarome Absolute (Synarome)
Clove bud oil
Aldehyde (pseudo) C.18, 10%
Aldehyde (pseudo) C.16, 10%
Aldehyde C.14 ('peach'), 10%

Of course there are several restrictions on ingredients, both natural and synthetic, some caused by concerns on their allergenic nature or possibility for producing a hives reaction on certain skins. Eugenol, coumarin, geraniol to name but a few are clearly stated in the ingredients on the package by law. Some others have even been linked to cancers, such as musk ketone, and therefore heavily axed.
And of course there have been several others that have been cut out simply due to unavailability, ethics or extreme cost, such as natural animalic notes in the vein of castoreum, civet, deer musk and natural ambergris.

The most controversial though has been oakmoss, a natural tree lichen that grows on oak trees and which forms the backbone of a traditional chypre. For more in depth info on this ingredient and the controversy it has spawned recently due to the IFRA guidelines for the production of perfume as well as the EU laws, I guide you to my previous article, on which Luca Turin had the good grace to comment on.
You can access it by clicking here.



Next installement will occupy itself with another interesting aspect of chypre perfumery.




Top pic sent to me by mail unaccredited, second pic courtesy of athinorama.gr

Thursday, June 28, 2007

Vero profumo line ~Onda: fragrance review


As we discussed the other day, Vero Kern is a very talented perfumer in the horizon of niche perfumery. She interweaves elements of surprise in her creations that astonish and make you immediately see that here lies a complex naturalistic composition that is meant for your intricate exploration.
And her talent shows through in her rich scent Onda.
Onda means wave in Spanish and Italian, while in the phrase “Que onda?” it means “what’s up”? In summary, don’t get swayed by the name, because it’s meant to signify that you should close your eyes and inhale deeply the kaleidoscopic journey that Onda is bringing on.

Deep within the Java jungle a great big tiger awaits: the rumour is that she is a man-eater, the fear and tremor of the country folk. It’s been some years that she roams the countryside assaulting her innocent victims; she’s a seasoned one, that one.
It’s very rare that you see her, hidden as she is through dark foliage, stepping on wet ground that doesn’t leave footprints behind. Yet, there she is…
It is with awe and amazement that you come to set eyes upon her when walking; her thick warm fur, her contrasting colours , her magnetic eyes that lure you and make you stare like an hypnotised novice in front of a cobra. The air is filled with the aromas of grass and roots: pungent vetiver that is uprooted, bundled and tied with ribbons, emitting a scent of earthiness and primeval dirt, like the soil on which no man has set foot on before. Mace pods have been crushed into your pocket as you stand there in your hardy leather chaps and as you put your hands out of it you suddenly realise that you are sniffable from the distance. Is your fate sealed? Will the man-eater attack? It all depends on your attitude. The bitter and carnal smell of what seems to be ambrette seeds interwoven with honeyed notes makes the approaching achingly desirable, even though you know of the grave danger you risk. The tiger approaches, sees you and appraises you. Stares you deep in the eyes with her own the colour of gems. You’d doomed. She’s one beautiful creature. And as she sits there you realise that today is your lucky day. You will be saved after all. Your amulet of Onda is safe-keeping you with its deep, erotic animalic smell. The musk that lies in its heart and makes you revert to a time of pre-lapsarian carnality with no shame.
You’re one of them! And out in the urban jungle to hunt for prey alongside her.


Onda manages to convert vetiver into a leathery animal that will make you forget all the citrusy, green interpretations you have already experienced by other perfumers (Guerlain Vetiver, Carven Vetiver) and stop you in your tracks as you come back to the original meaning of it: deep earthy roots, animalic undertones, rich pungency.
It will be difficult to pull for many as it requires a very self-assured woman to wear it and one with an attitude that is as far away from prudent as possible. However it is so unique that it merits to be tested even by those who say they cannot do these formulas. Less sweet that the admirable middle-eastern version of Vetiver Oriental by Serge Lutens or the very interesting, smoothed out Vetiver Tonka by Hermes; and very potent~ it can transport you to other places and images and make a statement for which you need never be apologetic about. And it lasts and lasts. If you have “it”, set out and charge.


Vero Profumo fragrances can be sampled/bought in Switzerland and neighbouring countries through the site. You can also contact Vero at profumo@veroprofumo.com.
Plans to bring the line to the US are scheduled for mid 2008.
Prices for Onda extrait de parfum are 105 euros for 7.5ml and 165 euros for 15ml.


Next post will tackle another Vero Kern perfume.


Top pic photography by Art Wolfe courtesy of allposters.com
Bottom pic by Helmut Newton collection Sex and Landscapes courtesy of temple.edu

Friday, October 20, 2006

L'Artisan Parfumeur Fleur de Narcisse: fragrance review (Sleeper in the valley)

metamorphosedeNarcisseDaliperso

L’artisan’s new Fleur de Narcisse brought to my mind something I had read a long time ago. Joan Julliet Buck, editor of French Vogue, was for years addicted to wearing a narcissus poeticus absolute. She used to wear one drop on each wrist, it being so concentrated that it was all she ever needed. “Two in the bath were enough to send silver running down the walls; it set the world throbbing out of control when I wore it. It became a little weird. It was only years later that I read that inhaling too much of it can make you mad”, she has been quoted to say.
Madness, poetry, out of control: in short both mythology and the damned poets of the 19th centrury. Fleur de narcisse does nothing conventionally pretty and is so heart achingly multifaceted to warrant elaborating.
Narcissus poeticus, the asphodel of Greek mythology, the flower of the underwold; of oblivion and perdition. And yet, the daffodil (the common name for its brother, the pseudonarcissus) is botanically-speaking a purported cure for madness.

Daffodil or “Lent Lily,” was once white; but Persephone, daughter of Demeter (Ceres), delighted to wander about the flowery meadows of Sicily. One spring-tide she tripped over the meadows, wreathed her head with wild lilies, and, throwing herself on the grass, fell asleep. The god of the Infernal Regions (called Pluto by the Romans), fell in love with the beautiful maid, and carried her off for his bride. His touch turned the white flowers to a golden yellow, and some of them fell in Acheron, the underworld river, where they grew luxuriantly; and ever since the flower has been planted on graves. Theophilus and Pliny tell us that the ghosts delight in the flower, called by themthe Asphodel. It was once called the Affodil. (French, asphodéle; Latin, asphodilus; Greek, asphodilos.)

Narcissus, also enters the associations; the greek mortal who fell in love with his youthful image as reflected in the clear waters of a pond. It was his punishment for rejecting so cruelly the nymph Écho. The best known version of the myth is contained in Metamorphoses by Ovid.

And then more aptly than anything else, Rimbaud’s poem “Le dormeur de Val” (Sleeper in the Valley) enters my head. Of course the poem was written about war and the sleeper is a dead soldier...The arresting imagery of this exquisite poem written at the tender age of 16 was what Fleur de Narcisse evoked in my mind immediately.

C'est un trou de verdure, où chante une rivière
Accrochant
follement aux herbes des haillons
D'argent; où le soleil, de la montagne
fière,
Luit: c'est un petit val qui mousse de rayons.

Un soldat jeune, bouche ouverte, tête nue,
Et la nuque
baignant dans le frais cresson bleu,
Dort; il est étendu dans l'herbe, sous
la nue,
Pâle dans son lit vert ou la lumière pleut.

Les pieds dans les glaïeuls, il dort. Souriant
comme
sourirait un enfant malade, il fait un somme:
Nature, berce-le
chaudement: il a froid.

Les parfums ne font pas frissonner sa narine.
Il dort dans
le soleil, la main sur sa poitrine
Tranquille. Il a deux trous rouges au côté
droit.

by Arthur Rimbaud, novembre 1870

Here is an english translation by Lisa Yannucci (scroll down)

Spraying Fleur de Narcisse on the skin, the verdancy of rich vetiver married to pungent virile leather reminds me of the wet black earth and the oily old tar of a dirty forgotten road. Masculine soiled boots tread on a never ending journey through fields scattered with heady fatty asphodels into the great unknown. Poignant cries of the damned tear the heart strings. Sweet and salty grains of pollen fly into the air, reminding the joys of what cannot be had any more; the light, the sun, the warmth. Sad powder and wetness, warm cloth and cool dampened hopes; one last whiff of rich smoke before succumbing to the fate of us all...

Part of the new privée collection of millesime/harvests by L’artisan parfumeur, first of which was the crystalline floral Fleur d’Oranger made by Anne Flipo using the Tunisian orange blossom Vergers de Nabeul from the spring 2004 harvest and launching it in 2005.
This new one is also made by Anne Flipo using the exceptional harvest of narcissus blossoms from the volcanic area of Lozère, part of the Languedoc-Roussillon region in southern France during the days of June 6th and 7th of 2005.

The official notes are: narcissus, hay, hyacinth, blond tobacco, iris, blackcurrant bud, moss and leather.

Released as a limited edition in only 3000 numbered bottles of Eau de parfum 100ml encased in wooden boxes like a fine vintage of wine, foiled with silk paper, the bottle engraved with narcissus flowers, it will retail for 240 euros which is around 300$. Exorbitant price for sure, but narcissus poeticus is an extremely costly ingredient anyway.
Available fromFirst in fragrance/Aus liebe zum duft in Europe as we speak and soon in the US in November at L’Artisan Parfumeur Soho, Henri Bendel, and Madison Avenue boutiques, select retailers and the L'artisan boutique on-line.
Pic is "La Metamorphose of Narcisse" by Salvador Dali courtesy of perso.orange.fr

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