Puredistance Papilio -Spring Awakenings: fragrance review & musings

 Papilio, the latest Puredistance fragrance, almost coaxes a butterfly to sit upon your shoulder: Its realistic depiction of a magnolia tree in bloom, of the fresh, lightly green scent of far off jasmine vines, the hint of greenery, the almost musky suede foil for its precious bottle is unparalleled. Everything about Papilio is lyrical and like a poem's cadenza; everything about it is a work of art.

butterflies by panpan on we heart it via pinterest

What will I ever do when I run out of my small sprayer? I'd be at a loss... Seriously, without the dramatics of a perfume collector who is always contemplating the end of their pleasure measured in missed sprays, like J.Afred Prufrock measures his life in coffee spoons, it's something to savor to the very end.

When Nathalie Feisthauer took on the creation of PUREDISTANCE Papilio, which launched back in 2023, magic happened. Soft citruses, heliotrope, and berry-stained palms of summers spent outdoors came back in the guise of colorful butterflies. Papilio got its name after the founder of PUREDISTANCE twisted the French word for butterfly, papillon. Seemingly entirely floral, but the soft leather and luxurious silky woods in Papilio wrap the memory into a creation irresistible among all floral suede compositions — it feels like being caressed by dewy petals!
 
It's difficult to contemplate just what makes a floral synthesis wonderful, just like it is difficult to render separate the effects felt by the intricate, but seemingly effortless composition of ikebana. Where one thread begins, another completes its course, rendering the final result silky and homogenous, without compromise to expectations for disparate effects, surprises and awe. Papilio caresses with the silky feel of a cool spring morning that raises your skin into goosebumbs just before the sunrays warm it up, the magnolias offered upwards to the sky in full bloom.

It's joyful and contemplative at the same time — a rite of spring, indeed.

Stylistically, it recalls the best days of L'Artisan Parfumeur, when they innovated with delicate compositions that seemingly brought nature on your plate, so to speak. Dewy, cool, green...in the ballpark of Jardins de Bagatelle and Cristalle eau de parfum.

Or maybe it's the idealized effect of nature, all Galatea-like, standing in front of an awe-struck Pygmalion, the tale of antiquity which prompted so many reflections about the relationship between creator and work of art.
The main office and design center of PUREDISTANCE is located in the Netherlands. In a historical building a small creative team — guided by visionary founder Jan Ewoud Vos — designs and refines the artistic world of PUREDISTANCE. All Puredistance products consist of high quality ingredients and components and are assembled by hand with great care, passion and a strong eye for detail. We have often reviewed them with this in mind.

It is also important to note that all PUREDISTANCE fragrances are only available as Pure Perfume / Extrait de parfum in perfume oil concentrations that vary between 25-32%. This is no different. They project moderately, with utter class, eschewing the hyped "beast mode" of the consumer who wants to get noticed, but last long on the skin.

Puredistance Papilio set and sizes

Papilio by Puredistance is available as extrait de parfum in 17ml (175 euros), 60ml (295 euros), and 100ml with handmade leather folder (490 euros) at the official Puredistance website and e-store. 

In Athens, Greece, it is available in the King George boutique at Syntagma Square.

Guerlain Apres L'Ondee: fragrance review

What's in a name? What's in a material? Shakespeare's immortal line has a lot to account for. Lots of scents with heliotrope pose as "almond" or "marzipan" or "powder with tonka". These are all scents with a kinship that runs deeper than initially thought of. The synthesized material that is dosed into compositions that take heliotrope as a starting point is quite strong and can be an overwhelming molecule to work with if one isn't careful and discreet. One of the first major fragrances to make judicious use of it, in a light enough composition, so as to wear it inconspicuously, was Après l'Ondée by Guerlain, "after the spring shower" as the name implies.  

"Ça se porte léger" (this wears lightly) is the motto behind the concept of these Guerlain creations that aim to offer gouaches rather than oil paintings. It's more akin to the pale, hazy colorations on a Monet sky than the almost fauve brushwork and vivid color palette on a Van Gogh, to bring an art analogue. If one were to look for a fauve heliotrope, one would rather turn to Cacharel's Loulou.

Zaira Alfaro on Flickr via

I personally find Après l'Ondée a rather quiet fragrance indeed, almost timid, with a sweetish air that is not immediately thought of as feminine (quite different than the airs that current feminines exhibit!), with lots of heliotropin to stand for cassie, which is the predominant element. Some heliotrope scents also recall cherry pie, or lilac and powder, but not Après l'Ondée. Even the almond is not particularly identified as almond, it's a haze of lightly warmed, blurred, hazy notes, a cloud of a distant scent.

The violets, like you might have heard, are quite fleeting in this Guerlain perfume, especially in more recent incarnations which are warmer and cuddlier than the older ones, notably the extrait de parfum in the Louis XV style bottle. The anisic note on the top note is also a brilliant addition (created through the use of benzylaldehyde, it would be recreated more forcibly in L'heure Bleue some years later), since it brings a chill cooling off the first spray and balances the warmer, almond paste flavor of the heliotrope in the heart.

Après l'Ondée is also rather less known than L'Heure Bleue, so even Guerlain wearers on the street might not identify it right off, which is always a good thing in my books; it would also obliterate your qualms about it being perceived as solely feminine.

Tom Ford Velvet Orchid: fragrance review

Tom Ford is eagerly awaited by fashionistas during New York Fashion Week due to his excellent finger on the pulse, in both sartorial as well as beauty endeavors, coaxing women (and men) out of their comfort zone and augmenting everything to a great big ooomph that's sure to get noticed. Velvet Orchid, a floral-oriental fragrance in a ribbed retro bottle in purple, is one such perfume.

via

Tom Ford Velvet Orchid opens itself with bergamot, mandarin, Succan absolute (I knew you'd ask, it's purified rum extract), and honey. At the core of this creation (made of "corporeal floral notes") is Tom Ford's distinctive, “timeless” signature that we have experienced in the original Black Orchid (fragrance review linked), from when first it exploded on counters like Alexis Carrington-Colby did when a minion or two were deemed unsatisfactory: an imaginary accord of black orchid blended with notes of velvet orchid, which gives the perfume its name, with intense Turkish rose oil (discernible as such) and jasmine and a new accord of purple orchid. The latter is a fantasy note that is comprised of aromachemicals that take over the scene and diffuse slowly and lengthily. Long story short, the bittersweet myrrh resin embraces all those sophisticated floral notes and makes them one hell of a floral oriental fragrance!

Like most tom Ford fragrances, Velvet Orchid is not the coy type at all, she wears her knickers on her head and is fine, thank you very much.

There are additional floral notes in Velvet Orchid, if you can believe it, of orange blossom, rose absolute, narcissus, hyacinth and heliotrope. The base is warm due to the rich flavors of Peru balsam, myrrh, labdanum, sandalwood, suede and vanilla.

photo by Matthew Roharik, borrowed via for educational purposes

The luxurious perfume is available in dim purple bottles of classic Tom Ford design in 50 and 100 ml Eau de Parfum concentration. Velvet Orchid was created by Yann Vasnier, Calice Becker, Shyamala Maisondieu and Antoine Maisondieu. Usually that many perfumers in one fragrance composition means the headquarters didn't really know what they were aiming at, but unusually Tom Ford does keep a tight involvement in his namesake brand, despite the ownership by the Lauder Group, so it's not a mess as one might expect; on the contrary, it's rather good and worth sampling for sure. And thankfully not part of the rather more expensive or elusive Tom Ford Private Blend.
Do take note that there is also a variant, called Tom Ford Velvet Orchid Lumière, in a slightly lighter purple bottle, launched in November 2016, as a new edition of the glamorous fragrance Velvet Orchid from 2014 from the collection ruled by the vamp perfume Black Orchid from 2006.

Whereas Velvet Orchid is a floriental with a warm woody base, Velvet Orchid Lumière is a floral - oriental composition with gourmand accents instead.

Guerlain Apres l'Ondee: fragrance review & a bit of perfume history

Lots of scents with heliotrope pose as "almond" or "marzipan" or "powder with tonka". These are all scents with a kinship that runs deeper than initially thought of, like matryoshka dolls that peel one after the other, each one revealing a smaller version of the same idea. Après l'Ondée by Guerlain feels like the great grandmother of them all, if only judging by chronology, if not adherence to the exact formula from 1906.

via

The synthesized material that is dosed into compositions that take heliotrope as a starting point is quite strong and can be an overwhelming molecule to work with if one isn't careful and discreet. One of the first major fragrances to make judicious use of it, in a light enough composition, so as to wear it inconspicuously, was Après l'Ondée by Guerlain. "Ça se porte léger" (this wears lightly) is the motto behind the concept of these Guerlain creations that aim to offer gouaches rather than oil paintings. In fact the composition was largely inspired by a former Guerlain fragrance, Voilette de Madame, which according to fragrant Guerlain lore served as the fragrance to scent a lady's veil. In those times of the cusp between the 19th and 20th century perfume worn on the skin was considered rather scandalous. It recalled les grandes horizontales, kept women of the demimonde like La Bella Otero or Marie Duplessis. Lightness was therefore a requisite for proper ladies; never mind that the subtle animalic undercurrent of Voilette de Madame is antithetical to our modern scrubbed down notion of how a perfume behaves.

I personally find Après l'Ondée a rather quiet fragrance, almost timid, with a sweetish air that is not immediately thought of as feminine (quite different than the airs that current feminines exhibit!), with lots of heliotropin to stand for cassie, which is the predominant element. Some heliotrope scents also recall cherry pie or lilac and powder, but not Après l'Ondée. Even the almond is not particularly identified as almond, it's a haze of lightly warmed, blurred, hazy notes.

The violets, like you might have read in evocations of gardens "after the shower" (the literal translation of its French name), are quite fleeting in this Guerlain scent, especially in more recent incarnations which are warmer and cuddlier than the older ones. The anisic note on the top note is also a brilliant addition (created through the use of benzylaldehyde, it would be recreated more forcibly in L'heure Bleue some years later) since it brings a chill cooling off the first spray and balances the warmer, almond paste flavor of the heliotrope in the heart.

Après l'Ondée is also rather less known than L'Heure Bleue, so even Guerlain wearers on the street might not identify it right off, which is always a good thing in my books; it would also obliterate your qualms about it being perceived as solely feminine.


Related reading on PerfumeShrine:

The Guerlain Series: perfume reviews and history of the French House
Guerlain Re-issues 4 Archived Fragrances for their Heritage Collection
Guerlain Chypre 53: an unknown photo-chypre, perfume history
The history of the Guerlinade accord and the modern Guerlinade fragrance

Chanel Les Exclusifs Boy: fragrance review

It's hard to go wrong with an aromatic fougere; men have been conditioned to opt for them and women to respond to them as "the natural scent of men" since at least the end of the 19th century when Jicky by Guerlain became the first to make an impact. Lavender and musk plus a spattering of sweeter notes is the basic recipe but each maker gives them their spin.

Chanel made Boy (after "Boy" Capel, a lover of Coco's) in their boutique range Les Exclusifs to appeal to those men who want that steadfast tradition in a sleek modern bottle and who don't mind a bit of a retro touch. This is what perfumer Olivier Polge (son of Jacques who was head perfumer for 3 decades) envisioned I'm sure.

What I smell distinctly after the top note of sharpness is the heliotrope and tonka which give a slight effect of marzipan paste; they elevate lavender from the usually medicinal territory into something softer and cuddlier. Hard to find this not fitting any occasion, casual, office or night out.

Chanel Les Exclusifs Misia: fragrance review

Few toiletry indulgences feel more decadently feminine than owning a fine goose down puff for applying face or body powder. Few rituals feel more delicately ballet-like in their choreographed sequence than the traditional powdering of the body, fresh out of a bath, using said goose down puff with small pat pat pat motions that are as close to caresses as they are to little slaps, both erotic provenance of the demi-mondaines of another time. Misia the fragrance encapsulates in liquid form this graceful dance in Chanel's 15th Les Exclusifs perfume launch, redolent of the retro makeup scents of yesterday.

Emanuelle Beart in Le Temps Retrouvé by Raoul Ruiz via

Chanel via its new head perfumer, Olivier Polge, son of Jacques, only the fourth perfumer in the revered history of the French brand, bows to Guerlain's Après L'Ondée; a composition from the first years of the 20th century based on the ethereal marriage of heliotrope, violet and iris. Yet Chanel's Misia, like the eponymous lady friend of Gabrielle Chanel's it was named after, holds its own ground as well, an outstanding entry for Polge junior regardless of the trodden course. 

Olivier Polge may have excelled in Dior Homme previously, exploring the cocoa dust facets of the iris note in a men's scent, but it is in this feminine composition that he propels the retro facets of iris in their logical apogee, somewhere between the retro cool powder of Love Chloe and the earthy dustiness of Norma by Histoires de Parfums.  The "lipstick note" is after all its own perfumery meme, swirling its tutu years ago with Drole de Rose by L'Artisan Parfumeur and stomping its foot down naming names in Lipstick Rose in the Editions de Parfums Frederic Malle line. (Even Guerlain revisits their own themes, what with Meteorites limited edition fragrance and now with French Kiss.) Chanel's lipsticks account for a huge segment of the brand, so walking down that road felt like a given.

After all, Polge Junior has something of the Midas touch in him; count with me: Flowerbomb, La Vie Est Belle, Mon Jasmin Noir, Burberry The Beat...

The intensely powdery, starchy cloud of orris (the dried rhizome of iris flowers) is at the very heart of Misia with very perceptible cool, sweet violets for "lipstick" (α methyl ionone); in fact the very scent of proper, ladylike lipsticks with their violet-rose aura which separates the teens from the grown ups. While Misia starts with a bittersweet top note reminiscent of time-honored perfumery aubepine-heliotropin chord, the heart of the fragrance is pure cosmetic impression, an archetype of grooming and of la salonnière. Polge used both rose of Grasse and Bulgarian Damask rose for the floral component and a cluster of benzoin resin (caramelic, vanilla plush), tonka beans (hay and almond like) and modern musks for the downy soft drydown.

“I thought of the Palais Garnier in the days of the Ballets Russes: pearls and aigrettes in the women’s hair melding with the scent of red-tinted lips; the sound of musicians tuning their instruments; and the dancers wearing make-up from head-to-toe, warming up behind red velvet curtains. I thought of how to interpret lipstick and powders into a perfume and decided to use violet dressed with rose de Mai and Turkish rose, which trigger memories of lipstick, while the benzoin I added creates a powdery effect, like make-up. It’s very feminine and floral but it’s also sumptuous. The strong violet accord is a new ingredient in the grammar of Chanel”  reveals Polge to Lucia van der Post.

It was Polish muse Misia Sert, née Maria Sofia Olga Zenajda Godebska, a Belle Epoque fixture and the subject of many a Renoir and Bonnard painting, who introduced Gabrielle "Coco" Chanel to many of her subsequent fixtures; Venice, baroque, Les Ballets Russes, Paul Reverdy...
She was also the confidant to whom Chanel poured her heart out to when the latter lost her first true love, Arthur "Boy" Capel, to a car crash.

In a way Misia the fragrance aims to be as emblematic and prophetic of great things ahead as Misia the muse was to Chanel's career. May it prove so!

Chanel Les Exclusifs Misia eau de toilette is offered in 75ml and 200ml bottles with magnetic closure, same as the rest of boutique exclusive Les Exclusifs perfumes.

Related reading on Perfume Shrine: 
Best Violet fragrances guide
Powdery & Dry Perfumes
Parfums Lingerie: intimate femininity

Repetto eau de toilette: fragrance review

Do ballerinas secretly stuff their lithe forms with cherry-pie flavored cupcakes? If models routinely consume tissue paper in order to satiate their hunger, as infamously stated by Australian Vogue ex-editor Kirstie Clemens, I'm willing to believe anything. Powdery woody florals are a direction that is ripe for the picking, judging by recent releases such as Love, Chloe, See by Chloe, Esprit d'Oscar, Burberry Body perfume and the like, but in Repetto the direction is tilting the scales into gourmand  fragrance nuances which seem incongruent with the associations we -involuntarily- make of dancers. Musky roses (with the odd white floral mixed in) with sweet nuances, reminiscent of such girly accessories as lip cosmetics, goose feather down and tutus, date at least as far back as Drole de Rose by L'Artisan Parfumeur (1996). Perhaps what seemed new then looks derivative now, but I wasn't wowed by the newest Repetto fragrance.

Maybe it is that the brand has such an iconic pull that you expect more, more, more. In this case, however, it was a clear case of wanting less, less, less.

via punmiris.com

The cult brand of ballerina shoes the world over is without doubt the French Repetto; not only have they decked everyone from Brigitte Bardot to Vanessa Paradis, they're prized for being as comfortable as wearing nothing on your feet without sacrificing style. Just in the space of last year Repetto has seen an increase of 20%, mainly outside France where the brand is a national standby (the company is also present in 60 countries), which highlights the enthusiastic reception that this classic Gallic brand is enjoying in the domain of luxury and export. Let it be said in passing that Japan is their second biggest market outside France and they're planning on opening a boutique Repetto in Shanghai, China in September 2013.

via meltyfashion.fr

After a spectacular development following the 1999 resurrection of the brand, founded in 1947 by Rose Repetto, costumer to the Opera, Repetto is launching their first feminine fragrance, developed with Interparfums who manage the uber-successful Burberry portfolio alongside many others. The perfumer chosen for the development of the fragrant jus is Olivier Polge, newly officially appointed to Chanel perfumes assisting his father Jacques Polge whose tenure dates since 1978.

"My goal was to create a handmade effect and bring together luxurious and authentic bases, suhc as powdery musky rose, which is the spirit of femininity. The result is a purified formula with essence of rose and vanilla", elaborates Olivier Polge. The fragrance also includes pear, cherry tree flowers and orange blossom notes, underscored by vanilla and amber woods.
The effect is powdery with the characteristic almond "fluffiness" of heliotrope and macaroons (if I were blindfolded and hadn't received info of the launch I would have pegged it as a Ladurée fragrance more than Repetto), soft, sweet with Frambinone, maybe rather heavy if you're sensitive to sweet notes like I am; heavy like an overweight ballerina in the unfair, politically incorrect world of classical dance where teachers are routinely drawing their nails along tender backs to make you stand straight. Could the Repetto-scented ballerina personification survive in that environment? Not if she shed her Dawrinian advantage, she would not...  But the crux of the matter is that Repetto isn't but a ghost of ballet. It is a brand divested of its reality, it's fantasy.

Whereas Michel Almariac chose to instill an inedible element into the scheme of the powdery musky floral in See by Chloe, opting for the bitter sheen of soap, even though the brand could do with sweetness, Polge, armed with his recent experience in La Vie Este Belle, looked into cupcakes. In fact cupcakes are part of the promotion of the fragrance (I kid you not!) In that regard, it sounds like sacrilege but Guerlain presented a better "contemporary taste" perfume with La Petite Robe Noire.

It's not required that wearers of Cabaret by Gres burst out in spontaneous songs by Patachou, but when the incongruence between brand, finished fragrance and market demographic is so diverse you have a fine mess in your hands.

Repetto eau de toilette is presented in eau de toilette concentration (39 euros for a 30ml spray bottle, 79 euros for 80ml), accompanied by a matching body lotion, while the bottle is adorned by a medallion on a pink ribbon like the one in the emblematic Carlota ballerina flat. The fact that the fragrance is inspired by ballet dancing is emphasized by keeping as ambassadress the star dancer Dorothée Gilbert (who claims “Le parfum Repetto a du poids, du charisme”). The signature fragrance hit French counters on Monday July 1st and is set to create buzz in the international market soon after.

Perfumery Material: Heliotrope

Among the most popular and beloved notes in perfumes, heliotrope evokes images of goose down comfort, almondy yumminess, fluffiness and powdery goodness. A pliable note, despite its characteristic odor profile, it can twist slightly here or there. Coupled with violets and iris it gains on intensity reminiscent of retro talcum powder; embraced by bitter almond, vanilla or frangipani, it gains on a mouth-watering quality that is delectable, like a billowy dessert you can't resist. A high pitched and curiously deep, at the same time, smell, this fascinating butterfly-attracting plant is but the introduction to a delightful and ubiquitous perfumery material.

Arcane Connections

The name comes from the Greek words "Helios" (the sun) and "tropein" (turning), denoting the propensity for turning towards solar rays. Thus is explained the old English name "turnsole" (via the French "tournesol"). But apart from the plant and its delicious scent, it also refers to a purple-pink shade of color: the first use in that regard recorded in English comes from 1882.

Allied to puccoon, forget-me-not, and beggar's lice, the heliotrope comprises 100 kinds of varieties throughout the world's warmer zones. The fragrant garden heliotropes have sprung from two species only though: One is native to India, the other to Peru. The most usual heliotrope variety grown is heliotropium arborescens, like its name suggests resembling a small tree. Garden heliotrope has been a constant feature since at least the Victorian times, thanks to its delicious scent that oscillates between marzipan, vanilla, cherry pie and almond (hence its alternative name "cherry pie flower"). Indeed vanilla essential oil contains an amount of piperonal (heliotropin) in its composite, drawing the two close. It comes as no surprise that in mythology heliotrope is associated to the god Apollo, god of the sun and of the light. Hence the plant's connection to healing, prophetic dreams and exorcism. Apollo was the pre-eminent god of insight, bestowing his gift of prophecy to his acolytes and to the oracle of Delphi.

How Heliotrope Notes are Created in Perfumes 

Both maceration and enfleurage (enrobing blossoms in clarified fat and then treating the fat with volatile solvents in order to catch the pure essence of the flower) yield heliotrope essence from heliotrope peruvianum, but it is neither sufficient nor totally accurate. A Japanese study from 1995 identified some odoriferous components as major components in the flowers, such as benzaldehyde, anisaldehyde and benzyl acetate, but these notes do not comprise the scent of the flowers adequately. On the contrary 3,4-          methylenedioxybenzaldehyde (heliotropin) does smell like heliotrope flowers, to an adequate degree, although the ingredient is not actually found in the blossoms' scent profile!

Therefore in perfume formulae, heliotrope is routinely replicated with heliotropin. Also known as piperonal or oil of sassafras, heliotropin derives from sassafras indeed (Sassafras albidum) and has been in wide demand for perfume and soaps for decades, especially for reasons of cost. The odour profile is powdery, like vanilla meringue with a helping of almond. The characteristic comforting scent of heliotrope has been proven to induce feelings of relaxation and comfort, a pampering atmosphere that finds itself very suited to languorous oriental fragrances and delicious "gourmands" (i.e. fragrances that recall culinary desserts by their scent).

Teaching your Nose into Recognizing Heliotrope Notes

To get an education in heliotrope notes in perfumery one needs to look no further than classic Guerlain fragrances: From Guerlain's ultra rare Heliotrope extrait from 1890 to the ethereal Après L'Ondée (1908), which is mainly the pairing of warm heliotropin with cool and shy violets, and the troubling yet nostalgic L'heure Bleue (1912) ~which pairs the vanillic facet of heliotropin with anise on top, soft flowers in the heart (violet and carnation) and benzoin, iris and Tonka bean in the base to compliment the floral-oriental character~ Guerlain is the definitive house for heliotrope.

 It was therefore a fitting homage that perfumer Jean Claude Ellena was reinterpreting Après L'Ondée in a modern context when he created L'Eau d'Hiver for Editions des Parfums Frederic Malle. The aim was to create a light fragrance, inspired by the structuring of eau de cologne but creating an eau chaud (hot water) than cooling sensation of a classic cologne. In L'Eau d'Hiver heliotropin is almost reduced to its pure state for this purpose: fluffy, like a late afternoon cloud, salmon golden. Etro's Heliotrope is yummy, innocent and hazy, enveloping you in its comfort like a goose down duvet; it's no accident it's considered the finest representation of the note, coupled with white flowers for a light, floral, airy touch. Heliotrope Blanc by L.T Piver is charmingly more complex with a slightly naughtier note. Crown Perfumery also lists a Heliotrope amidst their wares, more restrained and balanced in its sweetness. Molinard makes a classic, simple Heliotrope in their line Les Senteurs, which highlights raw materials one by one.

 Several modern fragrances succumb to the charms of heliotrope, even when not featured in the name. In Kenzo Amour the heliotropin take is on the vanillic side, boosted by milky notes. In Love, Chloe we encounter the retro-smelling pairing of heliotropin and violet notes producing a powdery effect, reminiscent of makeup products. In Sicily by Dolce & Gabanna it provides the sweet anchoring of soapy aldehydes on top. In Lolita Lempicka eau de parfum heliotropin takes a anisic mantle and becomes a full-blown gourmand, while in the older Cacharel Loulou it's the comforting billowy background alongside tonka bean (with which it shares an almond and hay facet) and orris, producing a true floriental.


IFRA Concerns & Regulations

 Currently heliotropin is under reduced ratio of use in perfumery, according to IFRA regulations, because safrols in food have been proven to be carcinogenic and hepatotoxic. Therefore concerns about the inhaled and skin-absorbed quantity from scented products have resulted in a preventory measure, rationing heliotropin to much lower ratios than before. This may be why your favourite fragrance with heliotrope might start smelling less deep and almondy in the coming months or getting discontinued altogether (as happened with Jour de Fête already).

Fragrances containing prominent heliotrope notes

Ava Luxe Heliotrope
Avon Heliotrope
Barbara Bui Le Parfum
Boucheron Jaipur Homme
Bvlgari Omnia Amethyste
Cacharel Loulou
Caron Farnesiana
Chloe Love,Chloe
Crown Perfumery Heliotrope
D&G Feminine
Dolce & Gabanna Sicily
Etro Heliotrope
F.Malle L'Eau d'Hiver
Gucci Gucci Eau de Parfum (brown juice)
Guerlain Après L'Ondée
Guerlain Aqua Allegoria Angelique Lilas
Guerlain Heliotrope extrait
Guerlain L'Heure Bleue
Guerlain Quand Vient la Pluie
Herve Leger eau de parfum
Kenzo Amour
Kenzo Flower le Parfum (red bottle)
Lalique Le Parfum
L'Artisan Parfumeur Jour de Fête
Lorenzo Villoresi Teint de Neige
L.T.Piver Heliotrope
Lolita Lempicka Lolita Eau de Parfum
Maitre Parfumeur Gantier Secrete Datura
Miller Harris Fleur Orientale
Molinard Les Senteurs Heliotrope
Oscar de la Renta Esprit d'Oscar
Oscar de la Renta Volupté
Patricia de Nicolai Kiss me Tender
Paul & Joe Blanc (by perfumer Jean-Claude Ellena)
Philosophy Pure Grace
Santa Maria Novela Eliotropio
Serge Lutens Daim Blond
Serge Lutens Datura Noir
Trussardi Jeans for women

 heliotrope plant pic via factspage.blogspot.com, LHB bottle via guerlainhistoiredeparfums.wordpress.com

Patricia de Nicolai Kiss Me Tender: fragrance review

Heliotrope is at once deep, soft and mysterious, a note traversing the rainbow from the yellow of vanilla pods and almond, to the light blue and green of anise right to newly mown hay. Kiss Me Tender by Parisian niche brand Patricia de Nicolaï feels like being submerged in a warm bathtub on a cool evening, the translucence of water clouded by the full range of the delicate, powdered notes of heliotrope.

The simplicity of structure in Kiss Me Tender shouldn't fool us into believing there is no skill involved. Heliotrope might be a full perfume in itself, but De Nicolaï weaves it both subtly and deliciously, a hint of retro without ever falling into the pit of dated. If you always liked the powdered aniseed core of the classic L'Heure Bleue perfume but found it too mature, rejoice: the main components ~anise, orange blossom and synthetic heliotropin (for heliotrope notes, as the flower cannot be extracted)~ are present in both the classic Guerlain and the newer Patricia de Nicolaï; it might all be in the genes, the woman derives from Guerlain stock after all! (For those who don't know, she's the grand-daughter of Pierre Guerlain). But it's more than that just modernising and streamlining a beloved structure and one of the quintessentially Guerlain notes. It's underscoring it with a freshness and tenderness like never before.

The almondy facets in Kiss Me Tender bolstered by vanilla overlap into the gourmand oriental fragrance group; tempered, good-mannered sweet, a touch of white pastry confectionary like marzipan accented with spicy bites that are just this side of edgy. The hay facet is clearly discernible, over abstract solar notes (salicylates) of ylang ylang and non-indolic jasmine, floating on a watery pong, the two woven in the ethereal way of Hermès Vanille Galante.

More delicate and subtle with skin-soft musky notes than livilier interpretations of the note (such as the latest versions of Guerlain's Apres L'Ondée which are eclipsing the violet in lieu of heliotropin) Kiss Me Tender comes closer to the feel of being wrapped by goose down in L'Eau d'Hiver (F.Malle) or the lighter interpetations of Shalimar and Habit Rouge; after all it shares the flou, hazy base of opoponax resin with the latter two. The deviant, fresh and slightly green, minty-anisic top note takes Kiss Me Tender on a different track than the usually opressive routes of other gourmand or floriental fragrances built on almond and gives it a unisex aspect that men might enjoy too. (The trick of coupling anise with vanilla for lightening the latter is working for Jo Malone in Vanilla & Anise as well.)
For its elegance and versatility, Kiss Me Tender is a must-try for those who always sought for a discreet daytime heliotrope fragrance but probably a bit too pastel for those who like their floral orientals hard-core and khol-eyed.

Notes for Patricia de Nicolai Kiss Me Tender:
vanilla, aniseed, almond, heliotrope, fresh cut hay

Kiss Me Tender is available in 30ml/1oz for 39 euros or 100ml/3.4oz for 99 euros of Eau de Parfum available on the official Patricia de Nicolaï site and select stockists.

Annick Goutal Mon Parfum Cheri: new fragrance

The upcoming Mon Parfum Chéri par Camille, by Camille Goutal, marks the 30th anniversary of the house of Annick Goutal. The company was founded by Camille's pianist mother Annick and continued after the latter's demise by her daughter Camille to this day. Collaborating for long with perfumer Isabelle Doyen, the style of Annick Goutal fragrances is very French, feminine pretty and yet witty too.

This time, inspired by Colette novels, specifically the Claudine novels, the fragrance promises to encapsulate the mischievous, sensuous and adventurous spirit of the heroine herself. It's odd that Claudine features so highly in the concept, as the mere mention of Chéri in the name (literally "beloved" in French) reminds Colette readers of the cocksure, young and inwardly insecure hero by the same nickname.
Still, the creators reference a throwback to the golden age of Hollywood as well, instilling the creation with a retro glamour, dark red liquid in the classic gold gaudron-capped ribbed bottle in shades of violet, this time the ornamentary tag ribbon taking on a stripped pattern in anthracite.
The new Annick Goutal fragrance Mon Parfum Chéri (i.e. My Beloved Perfume) belongs to the floral woody musky fragrance family and features notes of Indonesian patchouli, powdery notes, violet, iris, heliotrope and sweet prunes. It will be available in Eau de Toilette concentration in 50ml and 100ml and in Eau de Parfum concentration in 100ml. The launch is set to be exclusively at Harrods, London on the 1st of July and world-wide distribution is set for September 2011.

Oscar de la Renta Esprit d'Oscar: fragrance review & bottle giveaway

It's unusual in perfumery for the start of this century to encounter a modern composition which focuses on that loaded term which is dreaded by so many among the (younger) set: "a powdery fragrance". And yet, Esprit d'Oscar by Oscar de la Renta comes as an eminent sample of a youthful, modern re-interpretation of an age-old theme: the soulful cadenza of Guerlain's L'Heure Bleue. An old-school mainstream fragrance? Rub your eyes really well, perfumistas, this is no joke.

In more parts than it's considered good form to admit when launching a new fragrance, Esprit d'Oscar follows in the footsteps of the original Oscar by Oscar de la Renta from 1977; but that's a good thing! The lineage descending from the iconic Guerlain was evident then as it is now, but whereas the original Oscar was a symphonic floriental with the emphasis on the waft of its bittersweet tuberose message fanned on precious woods, in Esprit d'Oscar the melody is replayed with clarity on a single instrument with multiple keys, like a clavichord. The aniseed and violet accents that give the heliotrope in L'Heure Bleue its wistful, nostalgic character are here substituted by the sweetening of the almond facets of heliotropin. The citrusy top notes which open the fragrance on the other hand provide the necessary freshness to appeal to modern women of both younger and somewhat older age, shopping for a fragrance they can claim their own. Noting that Love, Chloé is also a recent entry operating on unmissable powdery tones, I think we're on to some new trend: old becomes new again!
Perfumer Frank Voekl is known for his streamlined approach which aims at a fragrance that acts as a mantle rather than armoury or clarion-call. On the whole, the axis of the new scent is tilted more to soft floral-oriental or even floral gourmand than to merely floral bouquet, and lovers of both categories are encouraged to sample. The leitmotif of Esprit d'Oscar rests on a fluffy almondy powdery note that supports, like a pampering duvet on which you fall back down on with relief, the floral notes of jasmine. The lemony inclusion lifts the jasmine heart just so, producing a refreshing, effervescent jasmine/white floral note. The white floral heart is rich, sexy and feminine, but non indolic. The synergy of vetiver and sweet (clean) musk (plus I believe a smidge of sandalwood) conspire to enhance the impression of clouds fusing into one another on the late afternoon sky.

So how did the brief begin? Ann Gottlieb, master creative director and responsible for several best-selling classics from the 80s onwards, had a specific context: "To capture the essence of what a woman desires in her fragrance, Oscar turned to his daughter Eliza to help create Esprit d'Oscar, an unmistakably feminine floral-oriental. Esprit d'Oscar opens with a distinct sparkle, realized through a bright, citrus bouquet of Sicilian lemon, bergamot and citron. At its heart remain fresh florals: Egyptian jasmine, orange flower and tuberose. A combination of musk, heliotrope, tonka bean and vetiver give Esprit d'Oscar a warm, long-lasting base."
Whimsical, romantic, beautiful....recommended, I say!

The bottle is even more beautiful up close. Inspired by the original Oscar Parfum bottle design, Oscar envisioned a package for Esprit d'Oscar that would marry the feel of the iconic original, with a fresh contemporary look. Sculptural glass and sleek feminine contours characterize the Esprit d'Oscar bottle. On top of its translucent flower cap, a glass pearl represents a single dewdrop, a symbol from the original Oscar story. When he was a boy, Oscar de la Renta imagined that if he woke up very early, he could take the dew from flowers to create a perfume…and so he did.

Notes for Esprit d'Oscar by Oscar de la Renta:
Top: Sicilian lemon, bergamot and citron
Heart: Egyptian jasmine, orange blossom and tuberose.
Base: musk, heliotrope, tonka bean and vetiver

Esprit d'Oscar is available in the (quite lasting and satisfying in its sillage) concentration of Eau de Parfum in 50ml/1.7oz and 100ml/3.4oz bottles for 78$ and 98$ respectively at select department stores. You can see info on oscardelarenta.com. Right now the code OSCAR10 will get you complimentary ground shipping.

For our readers I have one full bottle to give away!! If you want to be eligible, please comment including what you'd like to read on Perfume Shrine next. Draw remains open till Sunday midnight.

Painting by artbycedar
Disclosure: Sampled scent myself at store; giveaway bottle is a promo.

Cacharel Loulou: fragrance review

When Cacharel Loulou first came out in 1987, there was a wonderful TV ad set to the romantic Pavane, Opus 50 by Gabriel Fauré and veiled in the mysterious bluish tones of the print ad. It featured a slip of a girl in a classic 20’s bob haircut dressed in a dark stretch dress (so Parisian at the time, very Azzedine Alaia!), swaying hurriedly through space on what seemed a film set, and when a voice called out “Loulou”, she turned to us –the viewers- replying “Oui, c’est moi” (i.e.yes, that’s me). It transported the Cacharel-trademark hazy contours and grainy shots of photographer Sarah Moon to the next level: a Lolitesque seduction. It has haunted me ever since...

The inspiration of Loulou by Cacharel: Loulou was meant to evoke the great film actress Louise Brooks and her Lulu role in the silent 1928 Pabst film Pandora’s Box (tamer than its title would hint at, but not by much considering). Louise Brooks has captured the imagination of discerning cinephiles ever since. Her trademark haircut (that actually recalls Cleopatra herself) has inspired many women and men alike. In fact Guido Crepax, the Italian sketch artist of “Valentina”, fashioned his notorious heroine of a vivid imagination and lush posterior attributes on her. The comic book had been turned into a RAI miniseries back in the late 80’s starring Demetra Hampton. The erotic TV-series was heavy in cultural referencing; indeed one episode was called ..."Lulu", reprising the Brooks character.

Loulou the Cacharel fragrance is almost forgotten today, although slightly less than those episodes, although it hasn’t been discontinued. In an age that pushes celebrity scents to an apotheosis, the natural urge of the perfume fanatic would be to turn to niche scents and/or classics from the distant past. Indeed this has been the case with many, as current literature on the subject indicates. That leaves many lovely perfumes of a more recent crop to the shade. Pity if you think about it. I had used the perfume for a while back, enjoying the wink in the eye it provided, the naiveté, the pure élan. It was perfection for those times!

The formula was composed by perfumer Jean Guichard, who is also responsible for Obsession (another 80’s hit), Eden (another forgotten Cacharel), and Deci Dela ( the delectable light chypre by Nina Ricci). Loulou bears the mark of the decade’s excess : lush and rich, it would seem completely out of place up until ten years ago when gourmands entered the scene. Somewhere between floral and oriental and with a similar feel to both Oscar de la Renta and Poison, Cacharel Loulou can also be viewed as a distant cousin of Guerlain's L’Heure Bleue. The sweet and a little melancholic heliotrope plus anise ties them together. The Cacharel fragrance opens on the characteristic note of cassis, a synthetically recreated berry base, quite sweet. This may become overwhelming on some, but the assistance of bergamot and aniseed manage to soften the blow of the top notes. Violet, mace and plum add their smooth nuances along with an armful of ylang-ylang, jasmine, marigold and a smidgen of tiare (that tropical flower of Tahiti), although one would be hard pressed to locate any of those individually, except for heliotrope perhaps which has a soft almondy scent, imparting a powdery aura along with the earthy orris: The feeling is almost retro, much like the whole ambience of the scent is after all. The fragrance lasts and lasts on the skin, suffused with musks and woods, with the insistence of tonka bean, a hay-like vanillic seed of a West African tree.

The bottle of Loulou looks best in the parfum or splash version (as depicted in the ad): a turquoise polygonal opaline that continues the house’s love affair with opaline (later to be reprised in green for Eden) topped with a dark red pointy stopper and garlanded with a burgundy red tassel : the contrast of colours is daring and unique, the concept vaguely inspired by Poison according to Michael Edwards. The Eau de parfum sprayer is sadly not as pretty.
To me Loulou will always remain the smell to match the young girl that had first caught my eye in the TV ads and myself back then : insouciant , oblivious to her own seductiveness. A wonderful fragrance, if rather sweet for everyday.



The commercial still produces a sigh of delightful and wistful reminiscence in me, like a dog who is sighing, her paws tucked in and her ears down at the completion of a tender, sad patting as if to part forever.

Photo of Demetra Hampton as Valentina via facebook. Loulou ad via Parfum de Pub. Louis Brooks in Pandora's Box via seraphicpress.com

Grossmith Hasu-no Hana, Shem-el-Nessim, Phul-Nana: fragrance reviews

It seems that the end of the year lately presents me with one stellar specimen of orgasmic olfactory experience: Two Decembers ago I was immersed in Leathers researching for my Leather Series and completely taken with Chanel's Cuir de Russie in extrait de parfum (fortunately, an obsession that doesn't seem to subside). Last year it was the verdantly lush Manoumalia by Sandrine Videault and Les Nez which turned the world on its head. This year I was taken with Tiare by Ormonde Jayne, the Scottish, bracing northern skies that shine their brightest in this intellectual yet also sensual, upbeat but also romantic scent. The common denominator in all three has been excaptional materials to begin with, seamless artistry in execution ~making the result seem effortless~ and the admirable trait of being at once original and echoeing familiar tunes from a distance.

But what an embarrassment of riches: Grossmith, the old English house revived by Simon Brooke, knocked on my door and I opened to see the most delicious, the most gorgeous fragrances imaginable truly classical in feel and redolent of the nostalgia of another time, overseen by Roja Dove, and fulfilling all above criteria into assigning them the best surprise of the year! So after a perusal of the history of the Grossmith house in part 1, Perfume Shrine tackles the Grossmith fragrances themselves with reviews for each one of them.


Hasu-no-Hana ~ “The scent of the Japanese Lotus Lily". "The exquisite daintiness and charm of the choisest flowers of Japan are embodied in this delightful perfume" which originated from 1888, a time in which the pioneering spirit of modern perfumery was accountable for giant leaps in the technology of scents; a year later Guerlain would issue Jicky, the world's first "modern" fragrance. The feeling of the re-issued Hasu-no-Hana is radiant, light and floral with a cool atmosphere and a very natural feel to it (a common trait in all the Grossmith re-issues; the brief must have been draconian on excellence of raw materials and Robertet -who are behind its creation- are not stingy with the precious naturals). Putting it on skin one is met with the bright, optimistic feeling of clawing one's nails on vividly hued hesperidia, the essential oils dripping down one's hands, such is the life-like effect. The floral heart with a murmur of chypre tonality isn't composed of lotus lily, rather giving the impression of one via the synergy of smooth rose, dewy jasmine and fleshy fruity ylang-ylang (and is there a soupcon of carnation too? Or clove?, i.e. eugenol in either case?); intense players stringed ever so finely. The longer the scent stays on skin the more it accumulates a very sensual, dry, almost powdery ~yet not quite~ orris-rich and woody-almondy base anchored by musks which persists delightfully. If I had to dress Hasu-no-Hana I would choose the choisiest silk kimonos in shades of ivory and dusty salmon.
Notes for Grossmith Hasu-no-Hana include bergamot, bitter orange, rose, jasmine, ylang ylang, iris, patchouli, oakmoss, vetiver, cedar, sandalwood and tonka bean.


Phul-Nana ~ “Hindi for ‘lovely flower’ takes on a more herbal/aromatic character, while still sweet floral and with a warm, cuddly base. The original came from 1891 accompanied with images of Indian princesses well ahead of Shalimar and its own abode of love. "From the Orient's wealth of fragrance the sweetest of all was captured and named Phul-Nana. It is wonderfully lasting and refreshing". The combination of hesperidic notes (rich bergamot, orange and the lightness of the neroli extract from bitter orange blossoms) allied to a rich, lush heart of intense white flowers (the decadent tuberose, the intensely heady jasmine-y bouquet as well as the rosiness that is aided to unfurl endless by the addition of patchouli leaves) leaves me with renewed admiration for the use of precious naturals: Anyone who has experienced the essences first hand can see how the thing is living, breathing and sighing its bosom like a woman in love. The milky base (woody and vanillic with equal lashings of resinous dryness thanks to the opoponax) is indeed a nod to the oriental genre as defined by Shalimar and people who love the latter will find a drydown to swoon over.
Notes for Grossmith Phul-Nana include bergamot, orange, neroli, geranium, tuberose, ylang ylang, patchouli, benzoin, cedar, sandalwood, opoponax, tonka bean and vanilla.

Shem-el-Nessim ~ “Arabic for ’smelling the breeze’, is perhaps my top pick, if I someone pointed a gun on my head urging me to choose only one among the excellent specimens in the re-issued trio. Rarely has a scent captivated me as instantly as Shem-el-Nessim did, reprising a well-rounded tune, that of literally earthbound orris (alas down-marketed in several mainstream releases these past two years) and exalting it to the heavens above via the use of a little lilac overtone and greenery. The original Shem-el-Nessim came out in 1906, signifying the fêted femininity of the Edwardian era, a nod to Europe's emerging love with anything oriental that would culminate in the Art Deco period. Named after an Arabian Springtime festival held in Egypt on the Nile, it was advertised with dark-haired sexy lovelies in salwar kameez, hair in a turban and the seven veils of Salome dropping one by one in our fertile imagination. The rebirth is a reworking of the floriental genre à la L'origan allegedly, or the triumph of the impressionistic suspension of time in L'Heure Bleue in my opinion~one could argue without blushing that it is the loveliest rendition of heliotrope and iris to be launched in the last decade! A clearly pyramidal composition, it dazzles with its economy of structure and the delight of its affluent feel, like a mink wrap in winter. The overture has all instruments murmur a soft muted tune signifying phase one (soft greenery, florals) . Then the aria of marzipan-like heliotrope emerges in all its glory, the leitmotif comes again and again for hours: luxurious, warm, inviting, powdery. The whole melts into an unctuous coda of orientalised elements in the base, almost ambery: sandalwood, musk and vanilla, amplifying the plush to the point of apotheosis. I am smitten!!
Notes for Grossmith Shem-el-Nessim feature bergamot, neroli, geranium, jasmine, rose, ylang ylang, orris, musk, patchouli, cedar, sandalwood, heliotrope and vanilla.

Grossmith fragrances are now available through Roja Dove Haute Parfumerie, Fortnum & Mason (who also carried the classic line!) and at Les Senteurs (Belgravia, London), all in the UK. Plans for expanding abroad are carefully being considered for the future. Grossmith Phul-Nana, Shem-el-Nessim and Hasu-no-Hana are available in 50 or 100 ml Eau de Parfum (£95-185 respectively, with the option of a coffret of all three in 50 ml for £310), also in 10ml or 100 ml Parfum (£110-425 respectively, a coffret of all 3 scents in 10 ml is £365), or in the 85 ml Parfum in the limited edition Baccarat bottle etched in pure gold for £5750.

Click on the pics to enlarge them.
Related reading on Perfume Shrine: Grossmith: the history

In the interests of full disclosure I was sent a trio of sample vials by the manufacturer.

Lieu de Reves by Sonoma Scent Studio: fragrance review

Some pieces of music are inherently inducive to daydreaming, relying on this art form's absence of visual stimulus to ignite introspection, and Debussy's Rêverie is especially so. Perfume can also be said to act comparatively, as small nuances prompt reminiscences or reinforce our mood, when we reach for a bottle that has the seemingly mystic power to accomplish just that. Violet scents are often tender, understated beauties which lend themselves to feelings of reverie and sotto voce intimations.
In Lieu de Rêves (Place of Dreams) by Sonoma Scent Studio the composition seems to kickstart such a daydreaming mood, blending the scents of violet petals and fallen leaves, alterating cool roots and warm tonalities, thus evoking a spring-like silvery olfactory veil raised ~the full spectrum of aroma derived from violet, rose and heliotrope, elegantly melding into the anticipation of warmer days of spring.

Laurie Erickson, the independent perfumer behind the Sonoma Scent Studio company, created Lieu de Rêves as a continuation on her study of violets, progressing from Voile de Violette , Wood Violet and the now defunct Violette Encens. The comparison between these four fragrances suggests that Lieu de Rêves is closer to Voile de Violette (Violet Veil), minus the myrrh, rather than her other two scents, which present woodier and more resinous facets. Wood Violet in particular also has a pronounced spicy (a bit like fenugreek)-plummy-cedary character which really veers it off the troden path of standard violet fragrances into Lutensian territory.
In creating Lieu de Rêves Laurie intimates:

"I've had this blend in mind for a long time, wanting to use violet, rose, and heliotrope in a powdery scent with a gourmand touch but with some soft woodsy notes and less vanilla than most scents of this genre. The heliotrope, rose, violet, and cedar make nice companions. Like most rose and violet combinations, this scent feels a bit romantic to me, but the drydown is on the quiet and reflective side rather than being a full-blown floral".

There is some kinship with other violet powdery combinations like the underappreciated -but lovely- Météorites by Guerlain, or the much more strongly vanillic talc-like Teint de Neige by Lorenzo Villoresi. Admirers of Flower by Kenzo and woody Genie des Bois by Keiko Mecheri should also take note, although Lieu de Rêves is much subtler than the former in terms of sillage and projection, remaining polite in its invitation-only disposition. Laurie masterfully restrained the usual sweetness of violets, injecting somber woody touches and a delicate silvery-green transparence in the form of jasminy hedione. The combinations of damascones and ionones to render an amalgamation of rose and violet is akin to a seamless blend of micronised particles on a big pon-pon of face powder the shade of iridiscent orchid-purple, like Cattleya labiata blossoms. The rose takes supportive role behind the violet powderiness and the hazy soft focus ambience of heliotrope (the common garden variety Heliotropium arborescens) which has a fluffy almond-vanillic note like air-spun meringues that is hard to harness as it is inherently sweet and is usually rendered via heliotropin. The coumarin-rich tonka bean is also complimentary to sweet notes, creating a "clean" powder vibe. Yet here the trick seems to consist in upping the somber cedar and grassy-woody note (vetiver) and adding a quite discernible overlay of soft-focus iris coolness (the irones of iris are ionone-like and complimentary to the violet notes). This gives Lieu de Rêves a somewhat wistful, tender beauty of a bygone era that doesn't fall back on oversentimentality nevertheless. Much as it being a floral fragrance, it possesses a well-bred character with some appetite for healthy pleasures that would suit a heroine in a Henry James' novel. It makes me reach for kitten-heels and goose-down puffs and dream about traipsing across Giverny in spring.

Notes for Sonoma Scent Studio Lieu de Rêves:
Heliotrope, violet, rose, jasmine, cedar, amber, vetiver, tonka, orris, vanilla, musk, very soft aldehydes.

The perfume launched in February '09 and is available in 17ml or 34ml bottles, directly from Sonoma Scent Studio.



For our readers Sonoma Scent Studio is organising* a lucky draw of 5 sampler duos of both Lieu de Rêves and Sienna Musk (another one I loved). State your interest in the comments please!

*{Please note some shipping restrictions due to Customs apply as stated on the SSS site}.

Pic Les Reves d'Amelie by BigboyDenis(fc02.deviantart.com). Claude Debussy's Rêverie clip originally uploaded by atrafalgar on Youtube.