Bottega Veneta Eau de Parfum: fragrance review

"On these days he rose early, set off at a gallop, urging on his horse, then got down to wipe his boots in the grass and put on black gloves before entering. He liked going into the courtyard, and noticing the gate turn against his shoulder, the cock crow on the wall, the lads run to meet him. He liked the granary and the stables; he liked old Rouault, who pressed his hand and called him his saviour; he liked the small wooden shoes of Mademoiselle Emma on the scoured flags of the kitchen--her high heels made her a little taller; and when she walked in front of him, the wooden soles springing up quickly struck with a sharp sound against the leather of her boots." ~Gustave Flaubert, Madame Bovary, ch.II

If, like me, you've ever swooned over the austerely sensuous implications of leather in all its forms: from the tight-fitting driving gloves of an enigmatic heist wheelman (on they go like part of a superhero's suit), to the posh interiors of a Bentley, all through the fetishistically-fitted dresses that populated Helmut Newton's wet dreams......
If you've admired Florentine artisan handbags, fondly remembering your hand caressing the supple leather surface and the feeling of understated luxury and elegance they exude...
If you yearn for the sweetly pungent and at the same time totally "fabricated" smell of a good, old-school leather fragrance...
...then the fragrance release introduced by the Bottega Veneta brand (the apex of leather luxury) is set to stir your heart with unbridled longing. And deservedly so: Bottega Veneta Eau de Parfum is unquestionably among the finest releases of 2011.

The scent
Bottega Veneta follows into glorious lineage: it unites elements of both posh-smelling floral leathers of yore (Chanel Cuir de Russie, Grès Cabochard), fusing the narcotic sex of jasmine with the plush of leather, and some of the plummy-citrusy goodness of legendary fruity chypres (Diorama, Guerlain Parure, Femme by Rochas). In the past, "woody plum" was based on the famous De Laire Prunol base: peach, ionones, aldehydes C-14 and C-18, cumin, cardamom, methyl isobutyl ketone V and patchouli.
But Grasse-born, renowned perfumer Micheal Almariac gave a decidedly modern feel to the Bottega Veneta composition; like a vegetal, herbal sub-segment which opens the perfume for the first 10 minutes, shared with Chanel's 31 Rue Cambon or Dior Homme, quickly meeting the patchouli-vanilla of Gucci Rush alongside a plum-rose-leather accord; if you can fathom the quirky marriage of such diverse elements. If I were to liken the perfume's overall effect to other perfumes though, it would be to Boxeuses by Serge Lutens, or Cuir Améthyste by Armani (on which Almairac also worked).

There are four key notes in Bottega Veneta's Eau de Parfum: jasmine sambac, Brazilian pink peppercorn, bergamot, and Indian patchouli (a not particularly "dirty" but richly mature kind, like the one in Almairac's patchouli opus Voleur de Roses, which grows as time lapses and becomes more comforting). The citrus and leather are recoginisable from the opening spraying, while the fragrance warms increasingly with perceptible candied plum notes fanning the floral heart of jasmine, on a resinous backdrop of caramelic benzoin and dark earthy oak moss. Bottega Veneta gains in patchouli strength (nuttier and sweeter) boosted by the humming leather the longer it stays on.
The scent of Bottega Veneta is by no means a powerhouse, but the sillage and tenacity are undeniably very good (even though you might not notice it all the time!) floating over your skin in a delicious murmur and spontaneously eliciting three unsolicited compliments on the morning I tested it for the first time. I think it opens up like a fine cognac when used with a spray; a dab or a blotter test hides its intimate, skin-like tonalities. Although usually I discourage readers from blind buys, this is one of the rare releases that sounds like a good bet for perfume enthusiasts into leathery chypres and who like the notes listed. Even though it's gloriously feminine, daring men might pull it off without eliciting raised eyebrows.

The perfumer
Fragrance composer Michel Almairac told The Moodie Report, “I was asked to create a fragrance that would mirror the brand, which would convey its feeling and atmosphere. That image of Bottega Veneta incorporates elements such as a countryside villa, the smell of furniture, food, and vegetation - in short, the whole ambience of Vicenza, where the brand was born. And as this is the very first  Bottega Veneta fragrance, the parameters were broad, and I could give full rein to my imagination.”
Almairac zeroed on chypre: “Chypre is rich, elegant, and timeless, and very helpful in terms of conveying the abstract floral affect that Tomas wanted me to convey, in addition to the subtle leather tones” and married it to the leather accord of his dreams. 
 “The choice and quality of components is even more important when you have a simple formula such as this,” noted Almairac. “My company, Robertet, is known for using natural products. We treated the four ingredients of this fragrance to enhance or diminish certain qualities. For example, we treated the jasmine to give it a stronger character, but a lighter color.” He succeeded most admirably, hitting upon a soft leather accord which is polished like a fine kid glove and caressing without turning wimpy.

The looks
Fronted by model Nine D’Urso (daughter of Inès de la Fressange and Italian businessman & art dealer Luigi d’Urso) on the beach, the advertising campaign for Bottega Venete Eau de Parfum is dreamy but nicely restrained. Pity those who might think it involves a "marine" type light affair though, as Bottega Veneta is a perfume drenched in ciaroscuro, very specifically full of the warmth of indoors as opposed to outdoors.

The fragrance's bottle harkens back to Murano glass and the traditional Italian carafes. It features a brunito cap and collar, an ebano logo, and a nude leather ribbon clipped with a brunito butterfly, while the underside features Bottega Veneta's famous woven look.

The shopping
Bottega Veneta Eau de Parfum is available in 30ml/1oz (65$), 50ml/1.7oz (for $95) and 75ml/2.4oz (for $130), in matching body products (shower gel, body crème and lotion) and as limited edition Extrait de Parfum in Murano (available at Harrods and the Bond Street BV boutique in the UK for £365). The fragrance is currently available in Bergdorf Goodman and Neiman Marcus in the US and Debenhams and House of Fraser in the UK and will launch more widely in November.

Drive film artwork featuring Ryan Gosling via Soraiah Zohdi

Shiseido Koto: fragrance review & draw

Koto by Shiseido was issued launched in the international market in 1985 which makes it a fairly recent vintage, yet in hindsight one can see how this ethereal quality of cool mossiness is reminiscent of other eras when elegance, discretion and manners were the passe-partout into society. {Indeed in Japan it was originally issued in 1967 as it transpires}. Simply put Koto is supremely well-mannered and I could never in a million years "see" it on someone chewing bubble-gum with an attitude, gesturing madly in public and talking loudly on their cell-phone regardless of passer-bys. It exudes a polished, refined aura which puts things in perspective and people who come into contact with it at ease, rather than in a defensive mode. Among chypres, Koto is one of the friendliest and most easy to accept, but not receding to the role of wallflower either!

Naming a fragrance after the national musical instrument of Japan is indicative of Shiseido's thought-process: melodic, graceful, with a refinement that eludes Western appreciation for fuller scores which span contrapuntal levels like in the form of a fugue or canon, koto and the music played on it is an entity of its own. The "chypre" basic structure on the other hand is a classically westernised transliteration of the latter musical idea, interpolating themes woven into clusters of notes: a floral heart, a powdery base, a fresh ~often green or citrusy~ start. You get whiffs of each motif as the fragrance evolves on your skin like voices taking turns into singing the same melody, out of synch yet harmonically. In many ways for a Japanese company such as Shiseido to issue chypre fragrances (Murasaki is another interesting case) is like borrowing the contrapunto of Palestrina and spinning it on its head. Koto doesn't smell as perfume-y or powdery as most Western chypres do, retaining the discretion and natural feel that Japanese audiences appreciate more.

The composition of Koto is based on a two-pole magnetic compass that points to instantly perceived charisma: On one side the starchness and dryness of a classic chypre accord smelling green but not too earthy. On the other side, a floral chord of crystalline (but not too high-pitched) and "clean" notes of lily of the valley (muguet) with a smidge of rose and gardenia. The two elements produce a dry yet expansive and fresh wave which envelops the body lightly. A hint of leathery, resinous touch at the base with indefinable woody notes is underscoring the green mossy stages. Lovers of the original Vent Vert and the more soapy Ivoire by Balmain might take note, as would those who like Y by Saint Laurent, Jacomo Silences, Chanel Cristalle and Paco Rabanne Calandre. Koto is certainly less agressively green than vintage Vent Vert or Silences (no galbanum or quinolines here) and less oakmoss-rich than the original Y, but it falls within the group's characteristics nonetheless and can be nicely shared among the two sexes.

Koto by Shiseido circulates in an Eau de Cologne Pure Mist version (which is satisfyingly sufficient if you're not demanding of your scent to stick around into the night) and is a Japan exclusive. Yet it makes some appearences on online auctions from time to time. It's definitely approachable enough in both scent and price point to grace more collections than it does at the present time.

For our readers, a good-size decant of the fragrance will be given to the lucky reader among those who state their interest in the comments. The draw will be open till Saturday 30th May midnight.




The song is "Itsuki No Komoriuta", from the CD compilation "The Koto- Japanese Healing Music" uploaded by Starfires.
Painting Green Teapot and Japanese Bowl by Helene Druvert.