Using as fine fragrance the equivalent of ecclesiastic incense of the Catholic variety, marvelously assimilated in Avignon by Comme de Garçons (2002), is an acquired taste for many and probably a bit of a sacrilege for some. But for perfumer Bertrand Duchaufour it must have felt relieving to drive out the ghosts of the past by appropriating them a dissimilar role.
Comme des Garçons Avignon fragrance, named after the French seat of the Papal court during the conflict with Rome in the 14th century, evokes grim cathedrals and catacombs with centuries of humidity and tangy frankincense smoke attached to their stony walls. To give the background of the name a short historical perspective, it all arose from a conflict of power.
Following the strife between Philip IV of France and Pope Boniface VIII, and the death of his successor Benedict XI after eight months in office, a rupture was evident between the French crown and the Pope seat in Rome. The conclave elected Clement V, in 1305. Clement, who was a Frenchman, declined to move to Rome, and in 1309, he moved his court to the papal enclave at Avignon, where it remained for the next 67 years enjoying a succession of no less than 7 French popes.
via wikimedia commons
Incense reigns in Bertrand's work, accounted for in reverse psychology by his strict Catholic upbringing. When church duties collide with corporal punishment, guilt and internal suffering, it might become rather discomfitting. The realm of the senses, smell in particular, retains nevertheless a visceral appeal, enhanced via the perverted pleasure nascent from that which is denied of: ambrette and labdanum in the scent of CDG Avignon recall the sinful body...
For someone like me, raised in the Christian Orthodox faith, I find that the fragrance of Avignon, due to its smoky and denser background with patchouli and moss, bears kinship with my Mediterranean memories of church incense wafting off Byzantine abodes. I may have been spared the rod, but I can identify with the odd sensuality of an austere type of scent which I shouldn't really like, yet which I end up loving all the same.
The impressionistic school of perfumery seldom fails to fall victim of one or two cardinal sins. Either it won't replicate the received impression we, the audience, have of a particular referent (perversely enough there seems to be a collective "idea" of how particular places & things smell like), resulting in confusion, despite adhering to the definition of the artistic term. Or the clarity of structure will be subordinate to the "harmonic" effects resulting in something that "falls apart on the blotter", as perfumers say. Not so with Pichola, the latest fragrance launch by the cult favorite niche fragrance brand Neela Vermeire Creations, overseen by a true perfumephile, its founder and guiding force, i.e. Neela, and composed by the steady hand of independent perfumer Bertrand Duchaufour.
Rie Rasmussen, Vogue UK December 2005, photographed by Norbert Schroeder via
Pichola was inspired by Lake Pichola in India, since the canon of Neela Vermeire Creations draw inspiration from the peninsula. But fear not, ye armchair traveler of little faith in your abilities of envisioning vast expanses of water with flowing flowers. Much as Pichola draws elements from the impressive scenery it is not a carte postale style of fragrance for Americans in need of issuing a passport. As Carson McCullers put it "We are torn between a nostalgia for the familiar and an urge for the foreign and strange. As often as not, we are homesick most of the places we have never known..."
Pichola is not a travel "selfie". This shape shifter of a fragrance has backbone, finesse and above all the charm that makes a fragrance go beyond the mere pretty into addictive.
It impressed me in that I have tried the scent three times and Pichola performed differently on ALL three occasions, which hasn't really happened before. You can blame it on Rio, I guess, but I did find that the temperature of my skin brought to the surface different elements. The first time Pichola by Neela Vermeire projected as an intensely white floral with a cleaned up jasmine and orange blossom, plus a budding gardenia note. It gave me a nod of Pure Poison, to be honest, which was impressive since that one is a very loud (albeit beautiful perfume) and not Bertrand Duchaufour's "style" (who is more subdued and much less obvious).
On the second testing Pichola was much milkier white floral and had a green-husks velvety touch floating about, like coconut and fig leaf (stemone, massoia lactone, something along those two lines) which did remind me of Duchaufour and his masterful translation of earthy tones and woody notes, such as in L'Artisan's Timbuktu. Third time it was distinctly orange blossom and lush, scrumptious but not really indolic tuberose, plus a sandalwood milkiness chased by a huge clean musk note.
This creature purred...and I purred with delight over it.
How can a strictly indoors smell, that of burning incense, so tied to wooden pegs and tight clusters of people, gain an outdoorsy veneer? The French perfume school has long thrived on the exploration of indoor scents; from the culinary scents of hot butter, peachy and plummy compotes and pain d'épices fused into classic chypres and orientals, to the introspective scents of the church and the literary salon, full of incense, beeswax and the scent of the paper-knife between paper leaves, the ink that dots the pages... These reflect the traditions that have built France's reputation as the seat of good food and decent banter. But the great outdoors, a less Parisian perhaps, yet not entirely distant destination, was left uncharted right till the bucolic greeneries introduced with Vent Vert and the athletic agility of the 1990s marines. And then the outdoors came sweeping one day, sailing on.
Copal Azur by Aedes de Venustas & Bertrand Duchaufour isn't strictly a ....but.click to read my full review on Fragrantica grabbing a nice fluffy mohair blanket and a chocolate bar.
And enter a comment to be eligible for one of the 5 samples I'm giving away. Draw is open internationally till Sunday 23rd noon.
Mohur Eau de Parfum by Neela Vermeire Creations preceded the Extrait de Parfum version of this India-inspired rose fragrance for men and women; in fact the extract only launched last spring. But the perfume extract (extract de parfum) brings into highlight the richest in noble essences arranged in a manner that highlights their pedigree; comparing the two is like juxtaposing the silky hair of a Persian domestic cat compared to the majestic plush of the strapping Shere Khan. Mohur extrait is something of a diva! As if Mohur eau de parfum wasn't already queenly enough….but you can imagine the added magisterial effect, right? {And now that your appetite is whetted there is a lucky draw for great Neela Vermeire Creations prizes at the end of the post, so be sure to read to the bottom!}
Rose is a fascinating, as much as a polarizing, perfume raw material due to two main reasons. For one, the natural extract can vary wildly according to the variety of rose variant used (the tea rose for instance possesses a completely different scent than that of the fruity, berry-plummy Munstead Wood), the cultivar and region (Rosa Damascena, traditionally coming from Bulgaria, is heavier and deeper than May Rose, traditionally coming from Grasse, though there are also Turkish, Moroccan and roses hailing from other regions) and the details of the method of extraction (different metals contribute their own little nuances in the end product etc). For another, rose by itself is an interesting, multi-layered oil, exhibiting facets of liqueur, wine, even pear or artichoke! Composing a fragrance based on the "Queen of flowers", as rose is affectionately named (jasmine is the King), isn't easy. This is also why most of the time there is very little, if any, natural rose essence, in perfumes. Constructing a rose bouquet with synthetics is far more elegant, in the mathematical sense of the world, allowing a precise calibration of the effect minus any distraction of off notes.
It's a perfume which accompanies my softest thoughts. Now the Mohur Extrait de Parfum, rich in rose absolute, comes as the culmination of the succulence, tempting and caressing with the intensity of its purple color of the flacon; at once cool and warm, like the color purple unites the fieriness of red with the calm of blue, regal, ceremonial and mystical with its association to the Crown Chakra. Honeyed facets of the rose are folded into a batter of powdery materials (the vegetal, subdued muskiness of ambrette seeds and the iris effect of carrot seed essence) while the sandalwood note takes on creamy qualities, deftly incorporated into this rosewater-flavored barfi by Neela Vermeire Creations perfumer in charge Bertrand Duchaufour (who also gave us another rose-dusted Ottoman-palatial-leaning phantasmagoria in Traversee du Bosphore for L'Artisan Parfumeur). Although the formula for the two is the same, the Mohur extrait is overall sweeter and rather more gourmand-smelling, with less of the aldehydic top notes of the Eau de Parfum, and while I think that the eau de parfum is personally speaking a very wearable incarnation thanks to its very drape-y softness which floats around me like a golden sari, I can't deny the exquisiteness of Mohur in pure perfume. If you can afford bringing so much beauty into your everyday life without keeling over, by all means, there's no point in searching beyond this masterpiece.
Mohur (in eau de parfum and extract de parfum versions) is part of the niche fragrances issued by Neela Vermeire Créations which also includes Trayee, Bombay Bling and Ashoka. These Indian inspired perfumes, like Chants of India, draw upon the tradition, history and cultural milieu of that vast Eastern sub-continent in which Neela herself has roots. These are truly "transparent orientals", modern and wearable, and therefore it comes as no surprise that Neela commissioned Bertrand Duchaufour to compose them for her niche line. Her e-boutique can be accessed on this link.
I have 2 great prizes for 2 winners (shipping to US, EU and Canada): Prize 1 is a 8ml spray bottle of Mohur extrait with ceramic logo disk (depicted) Prize 2 is a Sampler coffret (2ml x 4 scents) of the 4 eaux de parfum Trayee, Mohur, Bombay Bling and Ashoka (depicted) plus Mohur extrait sample with ceramic logo disk
What you need to do: 1. Leave a comment below in this review (about the NVC scents, the review itself, roses & scents etc...) 2. Please like Neela Vermeire Creations FB page or follow her NVC Twitter handle (whichever you have is fine).
Draw is open till Friday midnight and winners will be announced sometime during the weekend.
NB disclosure: The review/draw requirements/links are non affiliated. I was sent a sample vial by the company for reviewing purposes.
L'Artisan Parfumeur continues to harness the creative powers of perfumer Bertrand Duchaufour who adds to the line Explosion d'Emotions with three new fragrances: Haute Voltige (acrobatics), Rapelle-toi (remember!) and Onde Sensuelle (sensual wave). They form the Collection Detonante (the detonating collection) packaged in bright fuchsia.
The press release describes them in rapturous tones and I quote:
Haute Voltige
capture the exuberance
True excitement. Feel the goose bumps on your skin
as an intense joy takes over. This is an Eau de Parfum with an expansive and extroverted personality: where
a generous floral peony note meets with the unexpected fruitiness of pomegranate.
An explosion of joy.
Rapelle-toi
feel the beauty inside
Silence as a door to our inner thoughts. A contemplative fragrance, anchored in the stillness of our surroundings. With its mesmerising opulence, gardenia evokes this quiet introspection, enlivened with fresh vibrating notes of Sichuan pepper. This magnificent flower is enhanced with musks and smooth sandalwood with honey accents.
A beautiful transcendence.
Onde Sensuelle
the ache of desire
An insatiable, voracious desire is felt like a deep force, surging under the skin. A wave of sensuality washes over you. This Eau de Parfum is a work in contrasts, between a burning spicy bouquet of ginger, saffron and cumin, and the icy crispness of juniper berries and cardamom.
It recreates the sensation, and tension of this urge.
A captivating wave of passion.
The fragrances are presented in Eau de Parfum bottles of 125ml and are set to launch in early May 2014.
This April Penhaligon’s will release Tralala, a new fragrance inspired by the fantastical universe of Edward Meadham and Benjamin Kirchhoff.
“We do not have a signature but rather a handwriting. We like to tell stories in different ways.” Meadham Kirchhoff
Meadham Kirchhoff’s shows have been scented by Penhaligon’s for the past nine seasons. The designers themselves have chosen a diverse selection of scents to represent their collections, including Hammam Bouquet, Bluebell, Castile, English Fern and Cornubia. The inevitable outcome of this ongoing collaboration, Tralala is an opulent, hedonistic blend created by Master Perfumer Bertrand Duchaufour.
A small note in passing? I guess this means that the long defunct L'Artisan Parfumeur fragrance Framboise Tralala will not get re-released anytime soon (at least under that name).
Notes for Penhaligon's Tralala:
aldehydes, saffron, whiskey and violet,
leather, tuberose, incense and carnation,
patchouli, vetiver, musk and vanilla.
Husks of cardamom, crashed and fragrant, in my pocket. A window opening up to a vista of green pines overlooking the Mediterranean azure blue under the crisp but smiling sun of noon. The scent of clean linen dried in the fresh air in the breeze and the human warmth of a worn wool sweater approaching. Zesty citrus as when you scrap a bitter orange with your nails. Scattered writings on the desk, unfinished phrases, small notes of random thoughts. Pencil shavings in an ashtray, abandonded and lonely. A beautiful stem of jasmine cut and browning by the hour. Safety. Serenity. Solace.
When in 2003 the formidable collaboration of perfumers Jean Claude Ellena and Bertrand Duchaufour came up with the originalColonia Assoluta for Acqua di Parma the feat wasn't announced with fanfare. But now that the classical Cologne has re-emerged from the attic as the eternal sine qua non of Southern European elegance and proper grooming, when totally modern spins on this time-honored genre, such as GS03 (Biehl Parfumkunstwerke), as well as more traditional ones, like Chanel Eau de Cologne, draw our attention, rediscovering this refined gem in a gorgeous presentation for its 10th anniversary is occasion for rejoicing.
Acqua di Parma assures us that more than ten ingredients are of a natural origin in their Colonia Assoluta:
Calabrian bergamot, red orange, orange blossom, jasmine, lavender, rosemary, Virginia cedar and sandalwood. Less citrusy than the original Colonia, more emphatically aromatic and mossier, the way Cartier Declaration is mossy under the cardamom cool spiciness, Colonia Assoluta is everything I picture a graceful man (or a woman who loves using shared fragrances) of my culture wearing.
The bottle design for the Colonia Assoluta 10th anniversary isn't just random: This special edition decorated with graphic signs is inspired by the moving spokes of a bicycle. The original pattern was designed by Acqua di Parma to convey the contemporary feel of this particular Eau de Cologne and its users, modern men around town, atop their bicycle. The original motif is reproduced in the bottle and case with the spokes stretching across the surface in silver hues, the distinctive colour of Colonia Assoluta. It is through a special craft that the spokes are engraved on the glass surface in order to create light and dark contrasts serving as an elegant expression of the sophisticated scent itself. Light contrasts keep changing with every motion of the large sized 180ml bottle, offered in the refillable version to last in time.
Notes for Acqua di Parma Colonia Assoluta:
Top: bergamot, bitter orange, sweet orange and lemon verbena
Heart: jasmine, vetiver, ylang-ylang, cedar, cardamom, pink pepper and paprika
Base: patchouli, oakmoss, white musk, sandalwood and resins
Please note this isn't the first special edition for Colonia Assoluta: there is also Editione Riviera (2007), Editione Speciale 2011 and Colonia Assoluta in Villa (2009). This 10th anniversary edition is code-named Colonia Assoluta Editione Speciale 2013.
To make this 180ml/6oz bottle you see in the picture yours, please post a comment saying whether you bicycle or not (and why) and if you have any favorite associations with bicycles. Mine will forever be Ladri di Biciclette by Vittorio de Sica.
Draw is open internationally till Sunday 10th October midnight and the winner will be announced on Monday.
Had I been blindfolded while testing the latest Penhaligon's fragrance, Vaara, I would have immediately proclaimed "Bertrand Duchaufour" upon released and that wouldn't be in some erotic rapture 50 Shades of Grey perfume style, but in familiar recognition of the perfumer's patte all over the perfume. Is this a bad thing? Read on please, dear reader.
Duchaufour, like Jean Claude Ellena, moves his accords and ideas around, exploring them, revisiting, pushing them to their natural and unnatural limits all the time; on one level, the hallmark of a true artist. Whereas Ellena has the luxury of doing it within the context of one company, since his in-house tenure at Hermès, Duchaufour seems at the flummox of some orgasmic productivity; to map out the sheer volume of the man's creations in the last 5 years alone would take a considerable effort worthy of an ultra-conscientious librarian. And whereas some of them are questionable in their repercussions, the end result is usually what we perfume aficionados refer to -favorably- as a "transparent oriental perfume", namely a composition that can't be faulted for being too thick or dense to be wearable under the most casual of moods, nor the most refined of occasions.
Vaara by Penhaligon's is one such thing, a very deftly aerated meringue of a scent, uniting a lightly gourmand scent impression with rose, like a loukoum nugget. A moutwatering effect which has prompted originaldeftdom on Fragrantica to liken Duchaufour to Heston Blumenthal. Of course Duchaufour is no stranger to this alliance of true minds: rose and saffron is a classic Middle-Eastern and Indian combination (rose is making a comeback as a perfume note of late anyway) and the well-known perfumer has explored the lightly suede/leather-smelling facets of the precious stamens when used with rose in both Traversée du Bosphore for L'Artisan Parfumeur as well as in Mohur by Neela Vermeire Creations previously. (It is important to note that this is an interpretation far removed from the mossy-chypre and more aggressive Agent Provocateur eau de parfum which also explores the accord of saffron & rose).
Indeed many of the official notes are, if not the same, then quite close in all three compositions by the sleight-handed Bertrand (for instance the carrot seed note, referenced in Mohur too reflects the iris, ambrette is a kind of musk, the edible, lightly fruity çay note from Traversée gets a quince jelly treatment here, quince being close to apple and so on...). At least the geographical direction points the compass consistently to the East; near or far, it doesn't matter much to the Parisian and the Londoner who flock to buy Duchaufour's creations. Of course the press release goes on and on about the travels that Duchaufour has gone to, to get inspired by India in all its glory. (At this rate, he must know the area like the palm of his hand by now!)
the quirky Bertrand and the suave Maharaja (don't you just love the turquoise jacket)
The name Vaara means both "blessing" and "breeze" and stands for the granddaughter of His Highness Maharaja Gaj Singh II; the perfume was commissioned to celebrate her birth and the family’s love for the city of Jodhpur and was inspired by the Royal House of Marwar-Jodhpur in Rajasthan, India. For the launch, earlier in July, the Penhaligon's boutique in London was filled with images of Jodpur to mirror the chronology of the journey, the fragrance profiling room turned into a Rajasthani spice market with drawings from perfumer Bertrand Duchaufour’s notebook, photos taken at the market and the raw ingredients of Vaara.
The quince and coriander are the dominant allies to the rose-saffron accord in Penhaligion's Vaara scentand enhance it without drowning it. The lightly sweetish message after the top note has dissipated, warm and skin-scent-like is quite delicious with no screech from the flower notes (peony and freesia, two synthetically recreated "notes" are often a culprit).
Vaara despite the repetition of themes and the cliché exotic promo isn't just bon pour l'Orient. It's bon, period.
Notes for Vaara by Penhaligon's:
Top: quince, rose water, carrot seeds, coriander seed and saffron.
Heart: Moroccan rose absolute, Bulgarian rose oil, freesia, Indian magnolia, iris and peony
Base: honey, white musk, cedarwood, sandalwood, benzoin resin and tonka bean.
Available at Penhaligon's boutiques and online at 85 GBP for 50ml/1.7oz of Eau de Parfum, 120 GBP for 100ml/3.4oz.
For our readers, I have a generous and sleek travel atomiser of Penhaligon's Vaara for one lucky winner. Draw is open internationally till Friday 27th midnight. Winner to be announced in the weekend. Enter a comment to be eligible.
What do we know of India really? Its people say सत्यमेव जयते (i.e. truth alone triumphs), a motto inscribed in all local currency, but to our western mind this vast country is a tapestry of so colorful a thread and such intricate a yearn that it is almost impossible to exhaust it if one had two lifetimes over to do so.Bombay Bling! by Neela Vermeire Créations aims to give us a glimpse of this tapestry. Testing it I was expecting to savor this complexity; to paraphrase Dracula addressing Harker before coming to London, I so longed to go through the crowded streets of your mighty Bombay, to be in the midst of the whirl and the rush of humanity, to share its life, its changes, its deaths. The fragrance didn't disappoint. On the contrary. It rekindled the desire to go to India again, to merge myself with it.
Bombay Bling! by Neela Vermeire is meant to fuse the dichotomy of India: the advances of the economic world and the colorful culture. The underbelly of the big city combined with the glitter of Bollywood on the vast sandy stretches of Juhu beach and the Queen’s necklace. Fortunes made and lost on the Bombay stock exchange and gambling dens of Mumbai. Beyond the Deccan plateau's archeological ruins...a figurative arm's length beyond the place where Alexander the Great wept, his fate, glory and dreams behind him, before him only the sea...where the cenotaphs of rajputs of Jaisalmer lie... there, in that still shrouded land a giant is stretching its legs and testing its strength; India. An exuberant fragrance, Bombay Bling! takes as a point of departure the mingling of tart, juicy fruits (an unripe mango veering into citrusy tang) squirted over lush flowers of the subcontinent and underscored with a humming woody backdrop. The deep, earthy sweetness of patchouli leaves blends with the banana note of the ylang. Brown sugar and cumin-like intimacy, like when you're smelling a lover's sweat, dripping on sandalwood chippings; milky, soft drydown, yet radiant and fun loving, like a lime and paprika dish with a side of mango chutney. Above all Bombay Bling! is optimism in a bottle!
Bombay Bling! is part of the original trio of fragrances issued by Neela Vermeire Créations which also includes Trayee and Mohur(the fourth instalment, Ashoka, is launching soon). These Indian inspired perfumes, like Chants of India, draw upon the tradition, history and cultural milieu of that vast Eastern sub-continent in which Neela herself has roots. These are truly "transparent orientals", modern and wearable, and therefore it comes as no surprise that Neela commissioned Bertrand Duchaufour to compose them for her niche line.
They are all satisfying tenacious and project with varying force, with Trayee the most introverted and Bombay Bling the most extroverted. Their trail is delicious, creating a lasting impression.
Bombay Bling! is available as an Eau de Parfum 55ml (in refillable flacons), available at select stockists and on www.neelavermeire.com, where you can find a discovery set
The song is of course originally from film Mother India (music by Ali Naushad Saab) but this is a very popular Greek-lyric version called "My poor heart, how can you bear it" (lyrics written in the 1960s by Demetris Goutis) hereby sung by Eleni Vitali.
A small token of appreciation of one people to another...
Perfumery was so developed during the Mogul era in india that the most powerful empress of the Mughal dynasty, Noor Jahan popularly known as Mehrunissa, devoted herself to perfecting it during her days of confinement after the death of her husband, emperor Jehangir. Mohur (pronounced mə-ˈhu̇r) by niche perfume line Neela Vermeire Créations is inspired by this period and named after the golden coin minted during the Moghal and the British rule of the country. In fact, one can still see the largest mohur coin ever smithed displayed at the British Museum, a 1000 mohur from the reign of Jehangir (1605-1628). I'm saying all this to confirm that Mohur is a regal perfume; majestic, opulent, marmoreal, founded in powdery rose and oud, yes, but buoyed by spices (cardamom), a note of smooth suede (via saffron) and light, vegetal musk. The rosy blossom performs double duty: symbol of the territories around the Middle East, but also synonymous with the "English rose".
The magnificence of Neela's Mohur lies in its surpassing and transcendence of olfactory tropes: where rose usually reads as dusty, like pot pouri, it is in Mohur elevated into jammy and lightly powdery; where oud in contemporary fragrances usually smells like Band Aids, here it is discreet and only reinforces the earthiness; and finally where the two combined would end up feeling deja vu, a classical tradition seen a hundred times overthanks to everyniche (and some non niche) firm of the last decade, this marriage by perfumer Bertrand Duchaufour feels neoteric. Although the composition feels radiant and classically French at moments (I was briefly reminded of the feel of the classic Madame Rochas perfumeand of aubepine aldehyde, then more potently of the rose and saffron in the original Agent Provocateur eau de parfum), with a lightly soapy facet, Mohur satisfies both the lover of soft woody florals and the one who is after an orientalized take on rose. The richness of the floral accords creates the rich facade of a temple where the vibrancy of the tiles beckons you to come closer to fully experience them. The depth of the spicy and earthy notes recalls mendhi decorations on the nimble hands of Shriya Saran. And the plush is evocative of silk cushions at some old palace in Rajastan where the British find themselves mesmerized strangers to a mysterious land.
Interestingly, the dabbing method yields more of the saffron rose impression of Mohur, while the spraying method accounts for the French soapy aldehydic segment which is less detectable on dried down skin. Less predictably exotic thanTrayeeand Bombay Bling, but nevertheless a refined, golden fragrance for those who can appreciate the mastery of true artists. It was enough to have my rose-hesitant heart ambushed and kept captive.
Mohur is part of the original trio of fragrances issued by Neela Vermeire Créations which also includes Trayee and Bombay Bling (the fourth instalment, Ashoka, is launching soon). These Indian inspired perfumes, like Chants of India, draw upon the tradition, history and cultural milieu of that vast Eastern sub-continent in which Neela herself has roots. These are truly "transparent orientals", modern and wearable, and therefore it comes as no surprise that Neela commissioned Bertrand Duchaufour to compose them for her niche line.
Notes for Neela Vermeire Creations Mohur:
Cardamom, coriander, ambrette, carrot, black pepper, elemi, Turkish rose oil, jasmine, orris, hawthorn, almond milk accord, leather, sandalwood, amber, patchouli, oudh Palao from Laos, benzoin, vanilla, tonka bean
Mohur is available as an Eau de Parfum 55ml (in refillable flacons), available at select stockists and on www.neelavermeire.com, where you can find a discovery set. As of mid-2013 a new parfum version of Mohur will be available as well.
Incense has long been not only one of the badges of niche perfumery, but also one of my own personal hot buttons, so it sounds both logical and anticipatory that a fledging niche line would want to include a declination of the genre in their wares. But when said genre is harnessed by perfumers of the calibre of Bertrand Duchaufour and infused with the phantasmagoria which must be Neela Vermeire's creativity then the resulting fragrance feels the way a kanchipuram saree looks: intricate, ever changing effect when the journey of the light, beautiful. Trayee (pronounced try-ee) is much more than an incense blend, which is no mean feat, given that incense is a difficult material to work with in the first place. But its intricate treatment must endear it to aficionados.
via wikimedia commons
Trayee is part of the original trio of fragrances issued by Neela Vermeire Créations which also includes Mohur and Bombay Bling (the fourth instalment, Ashoka, is launching soon). These Indian inspired perfumes, like Chants of India, draw upon the tradition, history and cultural milieu of that vast Eastern sub-continent in which Neela herself has roots. With Trayee rooted in the Vedic tradition (and utilizing several of the materials mentioned in the holy texts) I was instantly brought back to my university freshman year, when World Civilization was on the agenda under a highly idiosyncratic professor, himself the embodiment of intertextuality & erudition. That was the time when I briefly entertained the idea of learning Sanskrit, though it soon transpired it'd be full time job. But such was the pull that the the Sutras and the Ramayana and their colorful, conflicted and spiritual world had exerted on me and some of my fellow students.
I'm saying all this to atone for coming extremely late to the buzz around Neela Vermeire's creations, having had compartmentalized the perfumes in the "one day" mental drawer. That day came when Neela and I reconnected via Twitter. I say "reconnected" because Neela was, like me, part of the old guard of Makeup Alley: she has a genuinely lovely personality that leaps off the page and a deep knowledge of the Paris perfume scene where she used to organize visiting trips for perfumephiles.
All this intro would read like an apologetic text on a personal blog placating her feelings, had the fragrances been duds; but they assuredly are NOT duds -far from it. Not only are they intellectually stimulating and multi-nuanced, they combine the rich tapestry of colors that is the Indian peninsula with a very Parisian sensibility. These are truly "transparent orientals", modern and wearable, and therefore it comes as no surprise that Neela commissioned Bertrand Duchaufour to compose them for her niche line.
Trayee is much more than a simple incense blend, fusing the mystical with the sensual and the cerebral, like a trimūrti framework for the divine. This is reflected via the "notes" chosen for Trayee which comprise a wide spectrum, from the bittersweet facets of myrrh & musty oud, to the tried & true Indian fusion of sandalwood and jasmine all the way through the stimulating piquancy of spicy, stimulating notes (rich in eugenol). There is a dusty, grassy, cannabis-herbal accord which is close to the muddy feel of Timbuktu for L'Artisan Parfumeur, also by Duchaufour; not surprisingly, the interplay of earthy spices, mysterious blossoms and murrh & vetiver are present in both. Trayee comes across as somehow muskier, leathery, with a more peppery tang and a fully executed resinous, balsamic arc that recalls the smokiness of Annick Goutal's Encens Flamboyant. Trayee feels like rivulets of sweetish white smoke rising from a polished ceramic basin unto the blue skies, its dissipation unto the air gradual and mind-altering.
Trayee is available as an Eau de Parfum 55ml (in refillable flacons), available at select stockists and on www.neelavermeire.com, where you can find a discovery set.
Neel Vermeire recently previewed their latest creation Ashoka eau de parfum, during Esxence in Milan last week. Several visitors in the field/aficion really enjoyed trying the new creations.
Ashoka has been created over the past year with Bertrand Duchaufour. It will be available in select stores from early autumn 2013. The fragrance, Ashoka by Neela Vermeire creations is a tribute to an emperor who was conquered by his own compassion at the moment his victory was assured. He converted to Buddhism and devoted the rest of his life to spreading Buddh'as teaching to truth, to justice and to compassion for all living creatures beneath the sun. His own evolution from ruthless conqueror to benevolent emperor is reflected in Ashoka's journey from the pierce opening to a softly floral heart and the gentle embrace of its richly complex drydown.
Notes for Neela Vermeire Creations Ashoka:
fig leaves, leather, white & pink lotus, mimosa, fig milk, osmanthus, rose, water hyacinth, vetiver, styrax, incense, sandalwood, myrrh, tonka bean, fir balsam.
But there are more news regarding the Neela Vermeire Creations line. As Neela herself says: "We will also be releasing a higher concentration of NVC Mohur in the original flacon in amethyst glass with a special panache spray. You will also be pleased to know that we now have a beautiful new mist spray (panache spray) bottle designed by the design legend Pierre Dinand. The new silver metal cap has the NVC logo on it. There are twenty four ridges on each side like the spokes on the wheel on the logo."
Bertrand Duchaufour is the creator of a new perfume, called Enchanted Forest for the Vagabond Prince brand, the first perfume to focus on blackcurrant in a domineering and soli-fruit, so to speak, role. A perfume of the forest and one which celebrates the Kupala, a Slavic festive tradition, a homage to nature and the mysteries of the forest.
The perfumer explains: "The challenge was great: I had to magnify the raw material (blackcurrant), a material used very often in perfumery and sometimes overused inelegantly through notes of red fruits, and in this regard I made a sort of soliflore. Soliflores are generally constructed on floral bases such as jasmine, rose, tuberose, but for Enchanted Forest the intention was quite different… and I had the idea of working the blackcurrant throughout the structure (head, heart, bottom) of the perfume. To do this, I used no less than a blackcurrant CO2 (an extract obtained directly from the blackcurrant buds, which is free of solvent residues), an absolute of blackcurrant and two different blackcurrant bases, including one of my own creation, to build a sort of skeleton, a vertical structure on which the entire perfume would be built."
"An unusual, lucid harmony between green, fruity, watery, floral and woody notes". This is what L'Artisan Parfumeur says of their latest, Mon Numéro 6, city-exclusive scent, inspired by their travels:
Evoking sensations of rebirth in which the first drops of rain give life back to the earth. A dreamy, leafy mood, imagine yourself barefoot on the ground in the midst of a monsoon. The official notes are lychee, magnolia flower and sandalwood.
Its perfumer, Bertrand Duchaufour, has a bit to say:
And a bit more on Batucada, which we had announced a little while ago, a collaboration between two perfumers, Karine Vinchon in Grasse and Elisabeth Maier in São Paulo.
Sly advertising that cleverly crosses the lines without vulgar displays is the image that accompanies one of the most provocative concepts in perfumery nowadays: La Petite Mort is of course codename for orgasm...
"Inspired directly by the only bodily fluid secreted solely through desire and brain chemistry, Petite Mort™ (Parfum d'une Femme) embodies the elusive substance that is created by a woman when she is about to climax. Petite mort, little death, total release; beyond a scent, more like a convulsion of the senses, like a hot, gasping breath that penetrates your memories and alters your subconscious".
I can tell that it will create endless discussion on the boundaries (and artfulness) of advertising, just like some of the best examples have in the past.
Bertrand Duchaufour, star perfumer of niche perfumery, collaborated here with Art et Parfum and Kilian Hennesy (of By Kilian fame) for Marc Atlan, creative director & designer issuing this new fragrance under his own name. Duchaufour worked in this no doubt provocative concept like a challenge. Petite Mort’s fragrance exudes an animal carnality with salty notes of sweat and urea. But warm milk, which is supposed to be the scent that the human brain most closely associates with human skin is also featured in the form of Sulfurol. According to the perfumer, certain subtle ingredients in the perfume are discriminatory, and these notes will not be perceived by everyone. He also describes Petite Mort as “aphrodisiacally compelling”.
Only 100 bottles by renowned verreries Pochet (purveyors to Empress Eugénie of France since 1858) will circulate as well as 15 artistic mods for exhibitions. The price of 1000$ for 10ml reflects the exclusive side of the project and allegedly the intensity of concentration (supposedly 100% compound). The scent was introduced at the Elements Showcase in New York on January 30, 2011. (more on that one on these pages shortly!)
More info and availability for purchase (from this coming April onwards) on the official site.
Wheelbarrow, lay off the whip and don't rush the horses, you don't need to hurry when you've got your love so close by. When he smiles, the world smiles at me, so let the wheel run where it might, and wherever it goes, it's fine by me. ~from the song "Wheelbarrow" by Manos Hadjidakis from the 1963 Greek film Χτυποκάρδια στα θρανία/ (hence the top clip)
Any mention of Bosphorus, the strait between East and West, uniting and at the same time dividing Constantinople (Istanbul), which lays on both its banks, never fails to ignite a very palpable nostalgia laced with a smattering of pain for any Greek. We're automatically thinking of the failing grandeur of the Paleologi dynasty and lamenting for the times when Greeks and Turks co-existed in peace for centuries in this most cosmopolitan of Eastern cities. Traversée du Bosphore(Crossing the Bosphorus) by L'Artisan Parfumeur, like its namesake strait, was the straw that broke the ~proverbial~ camel's back, as anything referencing the city of Constantine will make me reminiscence yet again of my forebearers and the sweet camaraderie they had to abandond due to political turmoil. But The City, Istanbul, is in reality neither Greek, nor Turkish. It's neither christian nor muslim. It's a cultural border, a place where everything meets and unites, a cauldron of cultures and men; the place which millions of different people, of different nationalities and religions, loved madly through the centuries. A city so beautiful that there was no other way to call it than The City, η Πόλη!
Traversée du Bosphore comes now from Bertrand Duchaufour and L'Artisan Parfumeur as the symbolic strait between modern French perfumery and its oriental heritage. The unisex fragrance was fittingly inspired by a journey to Istanbul, when at the crack of dawn the cobblestone streets still retain their sleepy languor, like heavy-boned odalisques stealing gazes through the lacework wooden panel of the musharabieh, and when the many fishermen set out to catch their day's worth, packing nets, salty sardines and pita bread. You can easily lose yourself promenading unhurriedly through the small alleys towards the seraglio and Kahrié djami with its blue-peacock mosaics, gazing at the narthex's domes for hours or the many fountains where pilgrims ritualistically wash their head and hands before proceeding. It's a slow world, filled with beautiful wistfulness.
The strange thing about Traversée du Bosphore, part of the Travel series in the niche brand's subplot, is how a -by now- cliché concept (i.e.eastern exoticism) that should be a foregone conclusion (loukhoum, tanneries, saffron, milky salep drink, tobacco in hookahs, opulent roses, strange white flowers......hasn't Lutens exhausted that genre?) smells interesting and contemporary; nothing like a heavy odalisque looking through the parapets or Alladin rolled into plies and plies of plush carpets. Instead it's a gouache of a scent: a transparent suede floriental with soft musky notes, a marriage of rosewater and suede.
Indeed, the list of official notes for Traversée du Bosphore reads like a shopping list of things to find in a Turkish souk or at the very least smells encountered around a Turkish souk. The apple-laced çay (tea) is very popular and no one makes it more delicious than Piyer Loti Kahvesi at Eyup (the European side of the city), a stone's throw away from Sultan Ahmet Mosque and the Byzantine apotheosis that is the temple of Aghia Sophia. Loti is the writer of Aziyadé (see the perfume inspired by it) and knew a thing or two about sensual abandon...Tobacco is still smoked in hookahs; not only by old men in derelict coffee-shops, heavy in political talk, but from younger ones as well, when they finally sit down to have an aimless break. Men and women alike buy fresh phyllo pastry, almonds and pistachios to make baklava, and Turkish delight by the pound to bring back at home. The market is filled with golden and red heaps of spices, precious saffron and dried Turkish roses for using as pot-pourri. Tanneries do work merrily (Turkish leathers have competitive prices), although the effluvium isn't anything one would associate with perfume.
But the summation of the notes or the panoramic vol plané shot does not really tell the whole tale: Duchaufour was no stranger to Byzantine formulae, including everything but the kitchen sink before, and the results are diverse: from the baroque patina gold of Jubilation XXV for Amouage to the carnal tryst of Amaranthinefor Penhaligon's, all the way to the deceptively diaphanous muddy-incense of Timbuktu for L'Artisan. His compositions include many pathways that lead to a gauze of orientalia. For Traversée du Bosphore Duchaufour eschewed clichés to come up with a composition that marries on the one hand Anatolian leather (you will only smell grey suede, really, not harsh quinolines; it's comparable to the note in Sonia Rykiel Woman-Not for Men! and Barbara Bui Le Parfum) and on the other hand Turkish Delight (loukhoum), into a unique interpretation of the leather genre; velvety and whispery soft, opening upside down: After the brief apple çay top (blink and you'll miss it!), you sense the suede and only later the powdery loukhoum accord. The strangely greyish powderiness of iris dusts the notes like white copra dust enrobes the small rose-laced loukhoum cubes, while saffron with its leathery bitterish facets reinforces the impression and balances the sweeter notes, much like it kept vanilla in check in Saffran Troublant. The iris-leather accord in Traversée du Bosphore weaves a whispery path together with a hint of almond giving a light gourmand nod. The whole smells like rosewater sweets wrapped in a suede pouch, never surupy and very skin-scent like (incorporating that Havana Vanille base), although a tad more flowery feminine than most men would feel comfortable with. It's a fragrance which smells nice and simple like a nostalgic song from an old movie which dies down to a murmur, and might demand your attention to catch the smaller nuances.
As for me I know well that the past is inextricably tied to the future, and revel in thinking of Istanbul as the pathway where cultures and people will eternally meet...and part.
For our readers a draw: one sample to a lucky commenter. Draw is now closed, thank you! Tell us where you would envision the next travel series by L'Artisan should take us.
L’Artisan Parfumeur Traversée du Bosphore is available in 50 ($115) and 100 ml ($155) of Eau de Parfum wherever L'Artisan is sold (voutiques, Perfume Shoppe, Luckyscent, Aedes, First in Fragrance etc).
The bottom music clip and the film stills come from the Greek 2003 film Πολίτικη Κουζίνα/A Touch of Spice by Tasos Boulmetis, starring George Corraface and exploring the culinary philosophy that maps the course of modern Istanbul and the fateful, doomed romance between a Greek boy and a Turkish girl before the deportation of Greeks in 1964. It's uploaded in its entirety with English subtitles on Youtube: the first part is on this link and you can take it from there. Happy watching!
Penhaligon’s latest fragrance, Sartorial, is tailored; literally. It reminds me a bit of the Humphrey character in 1980s BBC Yes Minister! satirical series: of a certain age and social placement, immaculate, a bit stuffy suits thanks to the job requirements, yet there is a glint in the eye, no doubt about it. You can't deny there is rhyme to its reason and intrigue to its plot, but is the scent as inspired as it's suggested in the press material?
Still for all its smell-good factor within the tired (by now) aromatic fougère* genre Sartorial by Penhaligon's presents something of a dichotomy: On one hand, it reminds me of my elegant grandpa (he uncharacteristically wore chest-thumbing Givenchy Gentleman and carried an inexpensive white bottle of Tabac with him on beach vacations, of all things), so young blokes might get scared off ~or repelled, it depends on their lineage memories. On the other hand, it's got something of the ape-to-gentleman British touch which Penhaligon's obviously meant to catch for overseas audiences, so chalk it up to a success at the drawing table, pun intended. What's left to wonder is whether high-end shoppers will immediately realise that it is so reminiscent of older classics of the 70s that have trickled down to the point of "old man scent" (Please refer to our The Perfume Wars Old Lady vs.Older Woman Perfume article to fully realise the implications of such a moniker)
Created by perfumer Bertrand Duchaufour at the nudge of Emily Maben, Penhaligon's marketing director, it was inspired by the scents of the workroom at Norton & Sons, bespoke tailors at No. 16 Savile Row who dressed everyone from insulars Winston Churchill and Cary Grant to "imported Beau Brummels" Fred Astaire and King Juan Carlos of Spain. Now, the tailor's doesn't really smell of much, you might argue, perhaps a bit of that indeterminate wooliness and dry chalk that is par for the course where flannels and fine cashmeres are cut to produce those bespoke suits we admire. And you would be right! So, we're dealing with a transposition of Englishness into a brand which is characteristically British to a fault to begin with; it's a bit like putting a huge beret on the Eiffel Tower or an extra pinch of sugar to a square of Turkish baklava!
According to Penhaligon's:
"Sartorial is a contemporary interpretation of a classic Fougère; the traditional notes of oakmoss, tonka bean and lavender have been exquisitely stitched together with woods, ozonic and metallic effects, leather, violet leaf, honey and spices to create the perfect illusion of a tailor’s workroom. The modern thread running through Sartorial is beeswax; echoing the blocks of wax each thread is run across before stitching. This sweet smudged note ties together the more traditional elements; the oiled flash of shears cutting cloth, the rub of fabric beneath fingers, tobacco tinted cabinetry, puffs of chalk in the air and old paper patterns vanilla with age".
Nice story, but what is original in Sartorial is first and foremost structure: One of contrasting duality between tradition and deconstruction (is it old or is it new again?), and one which reinterprets programmatic elements into an abstract impression, much like the fougère itself. Lavender, oakmoss, patchouli and often geranium with coumarin as the sweeter note act as the skeleton of the fougère, the most archetypally "virile" genre, but also one which doesn't evoke a natural smell but rather the Victorian salons where men were allowed to scent their handkerchiefs with "clean" colognes and waft them in the air. That's so Penhaligon's I could tear up a bit. The dichotomy is so clear as if Terence Stamp is weilding his sabre in Far from the Madding Crowd and then shoots a baddie in The Limey.
The arresting top note in Penhaligon's Sartorial is nicely misleading, seemingly giving the impression of a masculine cologne citric blast (thanks to traditional distillate neroli, often featured in men's colognes as a mid-hesperide, mid-floral top note). But it's actually a careful, intelligent nugget which belies any classification: It combines the sharp notes of ozone with the soapy-clean-after-shave effect of aldehydes, sprinkled with the metallic-watery note of violet leaf (very cliché, as it's featured in so many unisex and masculine contemporary scents, so obviously Bertrand is toying with us). Despite the mention of spices, the effect is not pronounced (a bit of pepper is all I sense). Sartorial is not a spicy fragrance and none of the spices make themselves known per se; the wonderful leather, lavender and patchouli-coumarinic facets rise soon after the top notes dissipate and persist for long: The caramelised end of the spectrum of lavender is supremely coupled to the naturally occuring dark cocoa note of natural patchouli absolute. It just smells good! The earthiness of patchouli is a given for Duchaufour who has proclaimed the earth's smell as an eternal inspiration (and who uses the Racine base** to infiltrate his compositions with it very often, a note between aged vetiver and polished woods): The effect is not exactly "dirty" though (as in dirt), as it is closer to yummy, honeyed and lightly incense-like (more myrrh than frankincense) and somewhat musky: think of Luten's mysterious and intense Borneo 1834 with its roasted notes and Ayala Moriel's Film Noirthan Chanel's fluffier chocolate meringue Coromandel.
Penhaligon's Sartorial weaves its strange spell by its poise and cocksure attitude at the tailor's fitting: Not only does it not proclaim whether it's a "leftie" or "rightie" (is this too much information for a Brit?), it's snuggly enough to be filched by a woman as an androgyne backdrop for when she ventures out to turn the tables; only if she's supremely feminine however!
One carded sample is available for a lucky reader. State what you think if you tried it in the comments; or, if you haven't, whether you like its concept or not and why.
Notes for Penhaligon's Sartorial: HEAD NOTES: Aldehydes, Ozonic Effect, Metallic Effect, Violet Leaf, Neroli, Cardamom, Black Pepper, Fresh Ginger HEART NOTES: Beeswax, Cyclamen, Linden Blossom, Lavender, Leather BASE NOTES: Gurgum Wood, Patchouli, Myrrh, Cedarwood, Tonka Bean, Oakmoss, White Musk, Honey Effect, Old Wood Effect, Vanilla, Amber
Artist Quentin Jones was commissioned by Penhaligon’s to create a stop-motion animation exploring the story behind the new gentlemen’s fragrance Sartorial. Filmed at the Norton & Sons shop on Savile Row, the animation features the fragrance’s creator Bertrand Duchaufour. Patrick Grant, the owner of Norton & Sons, also makes a cameo appearance. The opening scenes depict perfumer Bertrand Duchaufour at Norton & Sons, absorbing the scents and smells of the workrooms. Bertrand is seen smelling the fragrant scents exuded from the rolls of fabric, machinery and paper patterns before he is able to embark on the creative journey to craft a contemporary fragrance or cologne inspired by the scents and smells of the famous Savile Row workrooms.
*Aromatic fougère is a subcategory of the "fougère" family of scents: Essentially, an accord of lavender-oakmoss-coumarin (from tonka beans) creates the classic fougère (examples of which are the historical Fougere Royale by Houbigant which started the "family" and the 70-80s classics Azzaro Pour Homme, Paco Rabanne pour Homme, Drakkar Noir) and touches of aromatic plants (usually herbs) are added. **Corps Racine by Symrise or 2-(3-phenylpropyl) Pyridine according to H&R
In the interests of full disclosure, the company sent me samples in the mail to try it out.
How romantic is it for a modern day perfumer to get initially interested in perfumery because he fell in love with a girl with great taste in fragrance at 17? (She was wearing Chanel's No.19) And is it any wonder that Guerlain's Mitsouko and Jacques Fath's Iris Grisstill remain to this day the olfactory monuments by which consequent artists set the bar?
Bertrand Duchaufour, perfumer for Comme des Garcons, L'Artisan Parfumeur and Penhaligon's among others, who trained at the Lautier Florasynth group in Grasse while also working at Florasynth Paris and Créations Aromatiques (the two companies merged in 1997), is revealing these and other interesting points about his tastes and work perspective in a short & sweet interview hosted on Osmoz.com on this link. Worth a read!
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