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.

Nina Ricci Coeur Joie: fragrance review & history

My maternal grandmother had a Louis XVI vanity with silk damask that had a interlay of glass vitrine within the wood panel back, behind which small precious flacons from Paris hid. They seemed to flirt with each other at nights and I imagined them having spirited conversations when I was little. The square-shouldered Balmain extrait was the masculine counterpoint leaning seductively close to the smoothly countoured L'Air du temps and close to them a bottle of Coeur Joie seemed to proclaim by its very name the romanticism which those perfumes aimed to provoke. Perfume was a reverie back then, a daydream and a longing, more than a mere accessory and my grandmother brought them all to life.
I was watching an Angela Lansbury film, in which she travelled to Paris and had a gown made at the famous Nina Ricci atelier and what stayed was the palpable feeling of her intoxication of becoming another person through this chrysallis transformation; or rather the person which she used to be as a young girl; optmistic and hopeful, before the vagaries of life had crushed her dreams. In retrospect I believe Coeur Joie would have been an excellent scent choice to accompany this elegant vision! Its understated luxury of its feminine bouquet of subdued, cooly whispering flowers transports us into an early evening reverie someplace where Chopin Nocturnes can be heard through ajar French windows and ball-gowned debutantes are casting their dreams on the flip of a wrist during a waltz.

Robert Ricci, the son of fashion designer Nina Ricci and head of development at parfums Ricci, took an unconventional approach when visualising how he wanted Coeur Joie to be, the first Nina Ricci perfume to diversify from clothing, in 1946. Despite it being a creation of Germaine Cellier, a perfumer with a daring and unapologetic streak of rebellion, then working at the famous Roure company, this Ricci perfume comes off as a comparatively soft fragrance; delicate and low-key floral, with an elegant polish rendering it suitable for a Grace Kelly type rather than the more daring amazones of Cellier's. Germaine Cellier was quite formidable herself, a great beauty of alleged lesbian tendencies, smoking a chimney, eating garlic with other famous couturiers, violently clashing with Roure's acclaimed perfumer Jean Carles, briefly acting as a functional scents composer for Colgate-Palmolive soaps (a stint which lasted but three months) and gingerly mixing perfumers' "bases" wondoursly resulting into stunning compositions such as the first "green" fragrance (the galbanum-souled Vent Vert), the knife-scathing outlaw of Bandit with its leathery bitterness of quinolines of 1944, the buttery radiance of tuberose in 1948's Fracas (both for Robert Piguet), the nostalgic violet chypre Jolie Madame for Balmain (1953) and the lesser known La Fuite des Heures for Balenciaga in 1949. There is also the enigmatic Eau d'Herbes (Herbal Water) conceived for Hermes at an unspecified date during the 1950s, which remains an enigma, and several compositions for Elizabeth Arden during the same time-frame. The solution to her Roure disputes presented by Louis Amic was to set Cellier up in her own laboratory in Paris (baptized Exarome), a place of her own where she could create her perfumes and meet her clients.

Nina Ricci on the other hand is best remembered for L'Air du Temps, the romantic lactonic floral with a carnation accent by Fabric Fabron in the emblematic flacon crowned with doves, but she has had a line-up of several less popular classic fragrances. Among them Coeur Joie (1946), Fille d'Eve (1952), Capricci (1961), the masculine Signoricci (1965), the orange-rich Bigarade (1971)and the spicy carnation aldehydic Farouche (1973) all the way to the original green Nina in the frosted bottle in 1987 (the name has been reprised for the gourmand in the apple-shaped bottle of 2006), the playful fruity chypre Deci-Dela and the trio of Les Belles de Ricci, all the way into the recent years when the company was bought by Puig.
Marie Adélaïde Nielli (nickenamed Nina when she was but a mere girl) was married to Louis Ricci, to whom she bore a son, Robert. Nina Ricci relocated to Monte Carlo first and ultimately in Paris in 1932 when Robert was 27 years old, working as a model maker. But her son's motivation instilled into her the desire to open a fashion house one year short of her 50th birthday and the rest is, as they say, history.

The polished feel of the fragrance is immediately apparent, from its fresh, greenish opening oscilating between neroli and cool iris tonalities to the discreet, slightly warm and reassuring drydown which shares elements with the original Nina by the same designer, while being as waxy woody as the legendary Dior Dior. Despite scents of that time being usually powdery, Coeur joie stops short of producing this effect and does not smell old-fashioned in the least, although modern noses might be disappointed at the lack of overt sweetness. As someone at Fragrantica put it: "Launched just two years prior to Nina Ricci's renowned L'Air du Temps, Coeur Joie is L'air du Temps with a whiskey chaser -- a lilting, cool, pretty-as-a-princess floral with a knowing, silken drydown befitting an empress. Wear this when you want to promise nothing but deliver everything". I'd substitute whiskey with champagne, but the rest rings quite true.

The bottle, designed by Marc Lalique with whom the Ricci family enjoyed a close relationship since childhood, reprised the romantic theme into a garlanded tube that was heart-shaped. Extremely costly due to its rarity nowadays, yet there are round canisters of Eau de Toilette, holding big quantities appearing now and then on Ebay auctions and on online discounters; these harken back to the 1960s. There is a rumour circulating that they were especially made for the Greek market where Ricci perfumes were especially popular at the time and well-to-do ladies used them for refreshment on warm spring days.

Notes for Nina Ricci Coeur Joie:
Top: neroli, bergamot, orange blossom
Middle: iris, violet, hyacinth, jasmine, gardenia, and rose
Base: woods

Related reading on Perfume Shrine: Germaine Cellier scents



Leopold Godowsky (1870-1938) plays Frédéric Chopin: Nocturne nr. 12 in G, opus 37 no. 2, composed in 1839. Recorded in 1928. Originally uploaded by pianopera on Youtube

Fashion photo of Van Cleef & Arpels jewels by Bert Stern. Nina Ricci atelier via nytimes. bottle pics via parfumgott/flickr and ebay

The Unicorn Spell by Les Nez: fragrance review

In a line full of engrossing and unusual fragrances, The Unicorn Spell , despite the predisposing to overlyricism name, is perhaps the most arrestingly riveting due to both its unusual treatment of the violet note as well as the juxtaposition of shiny, vegetal leafiness with finespun woodiness.

This unconventional path to violet has been recently reprised by Maurice Roucel for Dans Tes Bras for F.Malle, proving that in a market chokeful of violets lately, there is still some room for wiggling one's toes. The Unicorn Spell forms part of the Les Nez (parfums d'auteurs) line, a niche brand from Klingnau, Switzerland founded by perfume lover René Schifferle. The perfumer Isabelle Doyen, who worked on a similar iris-green (absinthe in that case) theme in Duel for Annick Goutal, envisioned a violet on a cold, frosty morning waiting for the sun to warm it up with its first rays: "If by dawn still linger on your skin mixed scents of leaves, frost and violet blooms, and that relentless yearning for stellar sights, you will know that, at night, you felt the milky breath of a unicorn".

The atypical opening of shelling raw harricots verts in The Unicorn Spell is so transportingly vegetal as to make one become confounded and furtively search for the basket of green beans and the knife of the woman who is peeling them away for an alfresco Friday lunch. (Friday because that's the customary day to prepare a non-meaty dish in Med cultures where this dish is very common). This idiosyncracy of knife cutting onto raw legume is bringing spring in the very heart of winter and invites me closer to inspect the slow unfolding of a delicate floral heart. Comprised of violet leaf (rather than the candied tone of Violets de Toulouse, it is closer related to Goutal's La Violette or Verte Violette by L'artisan) and hazy-toned iris as seen through a gauze, the more it stays on the more it gains in violet-ness and loses in iris-ness. The two merge into a piquant middle in which the borders of green and tart are merged into a fey collage. The images which you might superimpose over this unconventional composition by Les Nez are purely individualistic and left to your own imaginings. The spell distends on ethereal woods, subtle and hushed, so as not to risk scaring away the enchanted creatures that the cool night has invoked.

The Unicorn Spell is available as a 50ml/1.7oz Eau de Parfum, directly from the Les Nez website, through Aus Liebe zum Duft or Luckyscent.

Related reading on Perfume Shrine: Les Nez fragrances, Violet scents, Iris: how to build one.

In the interests of disclosure I got sent a carded sample of each fragrance from Les Nez as part of their sample giveaway upon launching Manoumalia.
Photo by Chris Borgman courtesy of his site.

Infusion d'Homme by Prada: fragrance review

~Introducing guest writer Mike Perez

Iris. In a men’s fragrance. What’s the first scent that pops into your head? I would be surprised, if you didn’t immediately think of Dior Homme by Christian Dior.

Dior Homme, released in 2005 has become the iris scent favorite for men (and women) due in part to: a root prominent (carrot-y, Turin has called it in an interview he did with Fantastic Man magazine) iris accord; a subdued powdery gourmand sweetness; and a hint of leather and tobacco folded skillfully into the dry down. Dior, realizing that they had a ‘hit’ on their hands with Dior Homme, has released numerous flankers: Dior Homme Cologne [2007], Dior Homme Intense [2007] and Dior Homme Sport [2008]. This however has not taken away from the acclaim or popularity that Dior Homme has garnered. A friend of mine, who travels to France, claims that it is extremely easy to smell Dior Homme on men all over ‘the streets of Paris’ - similar to how I smell Le Male by Gaultier or Acqua di Gio by Armani on many men here in the US.

When I first smelled Dior Homme, I was totally unfamiliar with the iris note. Perhaps because of this, I intensely disliked it. It smelled like powdery makeup! Later on, when my nose became attenuated to florals (including iris), I revisited it - this time in a small travel sprayer, gifted to me by a fragrance enthusiast who didn’t like it himself. Smelling it again, something clicked. Iris! Oh…this is what they’re talking about, I thought.
Many other iris fragrances I tested after that have impressed me (Iris 39 by Le Labo and it’s civet/green iris; Iris Silver Mist by Serge Lutens – the smell of iris, in the clouds up above, orbiting Earth) and disappointed me (Iris Pallida 2007 by L’Artisan Parfumeur was too, too dry and weak on my skin; Hiris by Hermes felt too powder prominent). Yet, here I was – finally excited about iris scents!

Prada has just released their newest iris scent for men, Infusion d’Homme. The perfumer (who also did the intensely popular Infusion d’Iris by Prada for women), Daniela Andrier, has been quoted saying Infusion d’Homme, ‘…has a very fresh, crisp smell — like a man just out of the shower.’ When I read this, I immediately thought to myself, ‘Oh no…not another boring ‘shower fresh’ scent!’.I’m here to report that Prada has created a fresh scent. But NOT a boring one.

The extremely iris prominent top notes (dry, almost brittle and throat parching) feature just a pinch of neroli slightly overpowered by a pure soap accord that appears almost immediately. It is extremely soapy. Fans of soapy scents will be thrilled: it smells bubbly, aqueous and floral. The first time I skin tested this, I missed the soap accord and my nose zeroed in on the iris. Repeated wearings, especially on warm, humid days revealed the soap. I am reminded of the biting, almost lye-based hand-milled soap notes of Puro Lino, or the green/flower accents of White Linen by Estee Lauder.
The iris/neroli/soap combo dries down revealing a light, transparent vetiver mixed in with the top notes. The light whiffs of vetiver made me wish for a stronger vetiver presence - the iris wears very strong and linear on this fragrance. I smell no incense or benzoin in the dry down, with only the slightest woody accord (cedarwood?). It is a more evident vetiver accord than Infusion d’Iris, and although I wouldn’t classify this as more masculine (although many women might do this), I think it just smells more crisp and starchy.
Overall it manages to evoke a freshly showered feeling, awash in flowers.
The scent is not groundbreaking, in terms of fragrance releases, but it is much better than the large number of aquatic, marine and synthetic men’s fragrance clogging department store shelves. I applaud a designer scent that is not afraid to be flower prominent. It seems that Kenzo, is right on the heels of Infusion d’Homme, with their new floral prominent fragrance for men: Power, which I will review here, soon.

Longevity of Infusion d’Homme is average. It stays quite close to my skin when I wear it and when I wanted it to wear stronger I remedied this by overapplying it. Perhaps the ancillary products (bar soaps, shower gel) might extend the sillage?? But, then again, showering with products that are scented to smell like a ‘fresh shower’, sounds a little ridiculous doesn’t it?

The Eau de Toilette comes in a gorgeous tall, rectangular metal-embossed bottle with a grosgrain ribbon wrapped cap – in 1.7 oz, 3.4 oz, 6.7 oz, 13.5 oz and a whopping 25.5 oz bottle (the size of a small television).
To stream nine short films (unveiled at the Spring/Summer ’09 show back in June) commissioned by Prada for Infusion d’Homme go to http://www.prada.com/ (click on Projects>Short Movies for Infusion d’Homme) or Wallpaper Magazine to see stills from each film.

Official Notes:
Top: Mandarin Orange, Neroli, Clean Note
Heart: Iris, Galbanum, Cedar, Vetiver
Base: Benzoin, Frankincense, Powdery Note


Pic of Infusion d'Homme by Prada bottle via Osmoz
Pic of Jake Gyllenhaal chosen by Helg unbeknownst to Mike (hehe), originally uploaded on MUA

An Iris Problem: How to Build One

I got a most interesting mail the other day: Someone who is clearly very much a perfume lover and whom I knew before through the blog was asking me what I thought was a perfumer's perfect way to build a masterful iris. It surprised me because I am not a perfumer myself, but intrigued my nerdy tendencies enough to devote a post to it.
I have to put a disclaimer here that the post will feature some chemistry and might be perhaps a little boring for those of you who'd rather read ethereally poetic reviews about fragrances or some comedic spoof take on popular trends. But despite all that and knowing it won't be too popular, I thought it was worth addressing and I promise I will try to state it as simply as possible and even include a small index at the bottom for your ease.

Our reader has been reading what many of you have too: The Emperor of Scent by Chandler Burr, Luca Turin's Secret of Scent and Perfumes, the Guide, many online perfume blogs and boards...the works! Based on that and some knowledge of chemistry on the reader's part, those are the questions posed:

"I know α-n-methyl ionone (aka Givaudan's Raldeine A) was the chief component featured in Iris Gris. I also remember that one also needs irones; they are crucial, since it's this group of compounds that give orris its distinctive aroma.
Now, problem number one: which irone isomer(s) {1} should one use? I know orris emits at least three irones: cis-gamma, cis-alpha, trans-alpha irones. Octavian mentioned alpha irone in his Iris Gris entry (didn't mention which enantiomer {2} was used in Iris Gris). So what would be your pick? Is there a commercial blend, say, from IFF, that produces a good irone bouquet?
Then there are the interesting molecules....I remember Chandler Burr mentioning something about methyl ionones, which is a bit confusing since I assume ionones must have a methyl group stuck with them as well. Is this necessary? In addition, Dr. Luca Turin also talked about Maurice Roucel's ingenious use of Irival (produced by IFF), a nitrile{3} that gives Iris Silver Mist it's interesting quality. Now I'm lost..."

The question is interesting because it goes to the heart of the matter: in order to build a solid, good, true iris, where should the perfumer look?

To my understanding, irones are higher analogues of ionones, because they contain an additional methyl group in the cyclohexane group.
Although irones are indeed present in natural orris, it seems that production of a-irone has become standard, starting from a-pinene via the Caroll re-arrangement. [Basically the schema is going like this for anyone taking notes: A-pinene goes through decarbonylation, gives methyl trimethulcyclobutyl ketone, they add acetylene, there goes the Caroll re-arrangement, we get (trimethylcyclobutyl) heptadienone, pyrolysis is induced, giving methylated ψ-ionone and through cyclization this gives α-irone.]
Let me at this point clarify regarding the Greek letters (α: alpha, β: beta, γ: gamma) in the nomenclature of irones (as well as ionones and damascones) that they refer to the position of the double bond after the ring closure, while n- and iso- to the position of the alkyl group (assuming something other than acetone is used in condesation).

I suspect this ease of production is the reason why we have been flooded with iris fragrances the last couple of years: like Octavian pointed out, it has become easy to synthesize, not to mention it is a great marketability tool in a milieu which thrives on semi-info (the perfume lover usually knows that iris is the most expensive natural ingredient). Two birds in one shot!

But wait: what was that interesting molecule that Chandler Burr was referenced to mention? It must be a-iso-methylionone which had been erroneously mentioned as γ-irone in some old texts. At least, I suppose so... Therefore another irone, used to produce an iris effect.

Concerning Iris Silver Mist and Irival, let me set this straight. The info is not that Irival gives the fragrance its very specific iris scent (I just checked Luca's book before I typed this), but that it has been used in conjunction with other things to produce the ethereal, sad and grey rooty effect that we smell in Iris Silver Mist. Maurice Roucel, the perfumer behind it, used every ingredient he had acess to that had an iris descriptor attached to it, prompted by Lutens who urged him to produce an iris to the max.
There are possibly myriads of ingredients that have an iris descriptor attached to them (meaning they have some nuance of iris in their odour profile); if one reads lists of ingredients one sees that. To reference an example: Like we say that oudh has a musty woody but also nutty nuance when we smell it, the same applies for other ingredients, some complex like natural essences and some less so like single molecules. Roucel probably used all the ones available to him at the time and in the company he was working with.

Basically what I have concluded is that there is no single molecule that alone could account for a sublime effect on any perfume, be it an iris one, a certain jasmine effect or the surreal ones such as those based on dusty lamp and linen drying in the wind notes. Although we're often made to think that chemists discover magical aromachemicals/single molecules (and they do) which in bullet-form could almost fuel a rocket, to bring an analogy, I think that it has to do with context as well. The interaction of different ingredients with each other accounts for many pleasurable and not so pleasurable sensations and therein lies the artistry of perfumery. Rose and patchouly for instance do wonderful things to one another, which is probably why they are often combined. But with what different effects: smell Voleur de Roses side by side with Aromatics Elixir. The result is dissimilar. They are both based on this accord, but they go in different directions from there. Otherwise every chemist would be a perfumer! It takes however something more than that to become the latter.

The secret of producing a masterpiece iris -or anything else for that matter- lies in the artistry of the formula and the sleight of hand of its creator.

Index:
{1}.Isomers are compounds with the same molecular formula but different structural formulae.
{2}.Enantiomers, like their Greek etymology alludes to, are stereoisomers which have a mirror image of each other, much like one's own hands (the same, but somehow opposite).
{3}.A nitrile is any organic compound which has a -C≡N functional group (that is a carbon and a trible bonded nitrogen).

Pic of perfumer Alberto Morillas courtesy of Basenotes.net

Ti Amo, Amore Mio!

Living in Italy, Parma especially with its tradition of Verdi's operas, is like surrounding yourself by culture the way other people in other places are surrounded by skyscrapers, Taco Bells or hay fields full of cows. It just isn't quite the same!
Italian artist and jewellery designer Hilde Soliani is one such person, lucky to live and breathe around quality.
She has created five original perfumes inspired by five flowers, communicating universal love through an acronym for "I love you" (Ti Amo in Italian):
T.ulipano (red bottle- floral fruity woody - unisex)
I. ris (lilac bottle- floral woody musk- feminine)
A.nemone (orange bottle- woody aromatic- unisex)
M.argherita (blue bottle- floral- feminine)
O.rtensia (pink bottle- floral woody musk- feminine)

Just how she started designing fragrances recalls La Forza del Destino: a journalist seeded the idea. Hilde is primarily an artist ~she designs jewellery, she paints, she plays in the Parma theatre, using her voice and her body to convey her feelings. What started in jest and on a dare however, essentially a private hobby, has now become her "job".

“During a press conference for my first line of jewellery, I showed a line of candles for Valentine’s Day that each included a gold and diamond daisy necklace inside. To wear it you would have to burn half of the candle. The journalist
asked me if the candle was perfumed and of course it wasn’t.”

That put the idea in her head and after a few years her dream was realised in a line inspired by flowers. Flowers talked to Hilde because they made her feel good, they made her house special. The dice was cast and the Ti Amo line began in earnest {for those who read Italian, click to read a great interview}.
Each "flower" is an abstract rendition, rather than a faithful representation of nature (a couple of them don't even have a particular scent and she is not interested in a photorealistic approximation by her own admission). Each reminds Hilde of a precious memory: Tulipano is a memento of her father's voice and warmth. Iris stands for Italian elegance. Anemone recalls the scent of the Parman theatre. Margherita symbolises her happy childhood. Ortensia reminds her of the kiss of her beloved grandmother.
The scents also tell a fairy tale, "La Mia Daisy", inspired by Soliani's grandmother's daisy creation: the fictional story of a girl named Daisy, a five-act play with the happy ending of a discovery of an enchanted place: a touch that makes us dream again, like children. As Hilde says: “I want to bring art into daily life.” She enjoys art which expresses itself in a childlike, playful character.

"My grandmother, who made fragrances herself, teached me how to smell and create fragrance since I was a child. During my business travells I always had nice experiences, nice emotions. I try to capture them by pictures but they don't smell of anything: that's why I wanted to recreate those feelings in scent".

Hilde art-directs the fragrances with the help of experienced perfumers in Milano and Grasse.

Tulips are often taken to be scentless, however the deep yellow varieties do possess a hint of primrose odor about them, which makes them not entirely wasted on those who hanker after odoriferous rather than merely decorative blooms. Upon smelling Tulipano I was surprised to find that it was described as a fruity floral; it had an intriguing bitter edge to it to make it truly unique. Luckily the usual aspect of most commercial fruity florals is missing. In our conversation, instigated by my interest in the line, she told me she likes to produce what she likes, not what focus grousp want, loyal to artisanal values. Hilde's vision of a tulip inspired by the Vulcano island in Sicily and its black beaches scattered with little red wildflowers has elements of freesia and blackcurrant, which is an interesting mix that plays upon the tart bitterness of the fruit to bring balance with the underscoring of sandalwood and cool vetiver, making it a fiery fragrance fit to be shared by both sexes.

"I am very gourmand and it is a nice experience to find the smell of coffee or something to eat inside flowers", Hilde divulged during our discussion. Her point is amply revealed in the opening accord of Iris, a fantasy suave mix of delectable Sicilian almond with the soft touch of iris and sandalwood, producing an easy, comforting fragrance which smiles a little inwardly and could even nibble on a macaroon or two. In the direction that Iris Ganache cemented with its gourmand touch on what is essentialy a bulby, earthy smell (that of iris root) and by smoothing out the rough, too bitter edges of popular Hypnotic Poison without resorting to too sweet however, Iris by Soliani manages to have a disposition that bypasses the metallic aspects of the raw material for an abstract powdery effect that makes even non almond-lovers, such as myself, swoon. Musky and almost vanillic, lightly honeyed accords surface making Iris particularly suited to people who have had bad luck with traditional iris scents.

I didn't need to hear that Margherita was inspired by a happy childhood. The fact projects from every pore. A solar, happy scent, much like intended, with its garlands of orange blossom and green-smelling muguet along with shamrock-like leaves which sing basking the sun. It never missed the chance to put me in a good mood ever time I wore my sample with its slightly carnation-like/ivy feel about it that could entice those who like an innuendo of spice. Pronouncely musky in a modern way it lends itself easily to a variety of occasions, making it a perfect everyday scent for when one wants to let their hair down and relax.
I found Ortensia a little sweet for my taste, with an emphasis on the sweeter aspect of white florals, white musks and cosy Cashmere Woods providing a green touch surprisingly upon drying down, yet pleasant as well.

Notes:
Tulipano: Bergamot, blackberry, lime, peach, kiwi, passion fruit, freesia, lily of the valley, jasmine, vetiver, sandal, oak musk, white musk.
Iris: lily of the valley, green accord, iris, jasmine, mimosa, sandalwood, white musk
Anemone: Orange blossom, tulip, ivy and galbanum, tuberose, lily of the valley, jasmine and cyclamen, white musk, vetiver and sandalwood.
Margherita (Daisy): Orange flowers, ivy leaves, galbanum, bluebell, honeysuckle, jasmine, lily of the valley, rose, tuberose, white musk, and ambregris.
Ortensia: Green accord, hortensia, ylang ylang, jasmine orange flowers, lily of the valley, rose, white musk, cashmere wood, and cedar wood.

The fragrances come in Eau de Parfum concentration with 14% essence and last very well. The boxes reproduce Hilde's paintings: a lively mixture of chromatic packages made with new print technologies on special paper. On one side of each Hilde has written her fairy tale, La Mia Daisy. The bottles bear the designer's elegant handwriting.

The Ti Amo line is currently sold exclusively at New London Pharmacy NYC (tel:212.243.4987 / 800.941.0490): 50ml for 75$
Hilde Soliani samples are now available for : 1 ml $3.50, 2.5 ml $7.00, 5 ml $12.00, 8 ml $19.20 at Fishbone Fragrances.

I can provide a couple of Tulipano samples for those who are quick enough to comment and claim them!

Perfume Shrine exclusive on the even more exciting Soliani New Line inspired by Teatro Reggio Parma: Soon on these pages!

Artwork by Hilde Soliani via the artist and artprocess.net

Pontevecchio W by Nobile 1942: fragrance review

"'Leonora,'" he read, "'sat pensive and alone. Before her lay the
rich champaign of Tuscany, dotted over with many a smiling
village. The season was spring.[...]A golden haze. [...]Off the towers of
Florence, while the bank on which she sat was carpeted with
violets. All unobserved Antonio stole up behind her--"

From E.M Forster's novel Room with a View.


Sometimes you come across a visage that speaks where no words are uttered. There is a nobility in the brow, vulnerability in the eyes, lips of petal soft promise and your heart aches a little. It doesn't matter where or when you see it, your psyche remembers it with a longing that remains unexplicable and beyond the carnal. True beauty in the spiritual sense has this effect. If that emotion was bottled in a flacon to be tentatively dosed for reminiscence's sake, it would be Pontevecchio W by Nobile 1942.

A feminine scent that compliments the male Pontevecchio, it is based on Iris Florentina, the precious rhizomes of which are proving to be so popular these last few seasons. Of course the Florentine rapport is not lost on us: Pontevecchio is the bridge over Arno, bien entendu.
And what does this journey to Florence smell like you ask?

"A young girl, transfigured by Italy! And why shouldn't she be transfigured? It happened to the Goths!"

It is those memorable words by Eleanor Lavish, the quirky and melodramatic novelist played by Judi Dench in Merchant-Ivory's film 1985 film "Room with a View" that come to mind.

Nobile 1942 chose well in picking Florence as the backdrop for their feminine tour de force. Please take a moment to see the promotional presentation devised for this perfume:click here

The mood evoked is also matched by the sublime music of Zbigniew Preisner’s “Van den Budenmayer concerto in Mi minore” for Krzysztof Kieślowski’s film “La double vie de Veronique”. (The soprano is Polish singer Elzbieta Towarnicka).
The effect is trully haunting in its beauty...

(uploaded by mixailaggelos2004)

Pontevecchio for women plays upon the delicate iris like a harp in the hands of an angel. The softest caress of magical powdery rose enfolds it, singing together like crystalline soprani melancholic tunes. The citrusy top notes bring cool air straight from behind the Pearly Gates it seems with a virginal feel of silent luminosity. It combines elements of both Bulgari Pour Femme and Creed's Fleurissimo into a lovely garland of precious flowers. The apricoty cheek of a Madonna with child, O mio Bambino Caro from Gianni Schicchi by Puccini, a karyatis supporting on her delicate head a florentine palazzo floor; pure unadulterated classicism beckoning you into succumbing to its charms.
It cools down into an indefinable emrace of musk and wood that is silky skin soft.

Pontevecchio Woman comes in both colonia intensa (eau de toilette) and fragranza suprema (eau de parfum), the former being a little more citrusy and crystalline and my personal preference. They both have very good lasting power on skin.

Official notes:
Top: bergamot, mandarin, coriander seeds
Middle: iris florentina, bulgarian rose, jasmine from India
Bottom: white musk, ambery woods, sandalwood from India

Live the dream renting this filmand read the book online here.

Pic of actress Rose Byrne from the otherwise terrible, terrible film "Troy" (allmoviephotocom)

Fragrant News: Christian Dior La Collection Particuliere

According to latest news on Russian site Moon-fish, Christian Dior House celebrates its 60 years anniversary and to commemorate the event will release La Collection Particulière, a new exclusive line of feminine scents, named Passage No.4, No.8 and No.9, proposed by John Galliano. The three perfumes in the new collection are dedicated to three of Dior's favourite models - France, Lucky and Victoire.

The actual scents were inspired by three flowers - rose, iris and tuberose. The bottles will be crystal amphoras like those used for the first Dior scents, in the bandeau tricolore: the three colours of the French flag ~red, white and blue. They come in a 75ml/2.5oz spray.
The perfumer behind them, Francois Demachy, describes the scents as "jewelled flowers".

Official notes:

Rose (France) - fiery rose with orange, pepper, amber and musk.
Iris (Lucky) - violet with iris, plus musk notes from ambrette seeds.
Tuberose (Victoire) - tuberose with jasmine, soft patchouli and vanilla.

According to other sources (ie.Octavian Coifan) three supermodels inspired the type of woman represented by each of them: Stella Tennant for Rose, Kate Moss for Iris and Gisele Budchen for Tuberose.


La Collection Particulière will debut in 30 Dior boutiques around the world starting Nov.19th

EDIT to add official Dior descriptions:

Passage No 4 (Rose): "A sovereign rose, a fiery pimento, a journey, a garden."

Passage No 8 (Iris): "A velvet violet, a sophisticated iris, a dream, a burst of laughter."

Passage No 9 (Tuberose): "A dazzling tuberose, creamy woods, late nights, fireworks."

Also Octavian Coifan has been the very first to smell those and has great things to say too. Please go to this link to read his reviews:
Reviews of scents in La Collection Particulière by Dior, by Octavian Coifan (1000fragrances).


Perfume Shrine will focus in depth on the Dior chypres shortly. Stay tuned!!

Pic from parfumdepub

Amethyst Fatale by Oriflame: fragrance review

Has it ever happened to you to completely dismiss something new merely on the value of past experiences and then be proved wrong? Surely it has! This is what happened to me with the newest perfume by Swedish skincare and cosmetics brand Oriflame, concerning their newest release Amethyst Fatale. Although I have sampled many of their products, I had always assumed that their fragrances are second in hierarchy after their skincare which forms the lion's share of their revenue anyway. Experiences with their fleeting specimens also contributed to a nonchalant view towards sampling more of them. Because although many were decent enough, their lasting power left something to be desired, which hinted at a cost-effective management decision.
Not so with their latest however. The first in the so-called Gem Collection, a line of scents that aims to be inspired by gemstones (obviously a big trend now if one judges by the similar offerings by Bulgari, Olivier Dubrano and Lalique) and focus on the perfumers themselves instead of the celebritoid du jour, managed to convince me that it might be worth a shot sporting it from time to time, especially as it has been created by Jean Jacques (responsible for Balmya, most of the Matsushima Masaki scents and L'or de Torrente) with the collaboration of one of my favourite noses, Francis Kurkdjian. And lo and behold, compliments ensued. Not a bad start!

According to Cosmeticsdesign-europe.com:

Sweden-based firm's new perfume is not marketed on the pull of fast moving celebrities, but on the role the perfumer behind the scent.
"A key trend in the fragrance market is the rise of signature fragrances and Gem Collection is tapping into that trend," said a spokesperson for Oriflame .
In the case of Amethyst Fatale, the signatory is the creator of the perfume, the well known "nose" Jean Jacques.
Oriflame's decision to use Jean Jacques' signature to market the new fragrance represents a new take on the endorsement idea.
"Consumers are becoming more aware of the complexity of perfumery and so educated consumers are likely to be drawn to fragrances that are endorsed by experts rather than celebrities," said Briony Davies from Euromonitor.

Perfumer Jean Jacques attempted to translate the Amethyst gemstone into a scent whilst being guided by the image of the femme fatale whose arresting beauty and gaze makes you dive into "an unexpected world of passion and danger". To complete this task, Jean Jacques used the iris.
"I could imagine in the elegant odour of the iris: powdery, soft and caressing, all of which echo the amethyst," said Jacques.

Amethyst with its deep purple colour (although there is a green variety as well, called prasiolite) is considered to make the wearer calm and in control of his various emotional levels. Its name derives from the Greek amethystos/αμεθυστος which means sober and is traditionally linked to protection from intoxication and to those born in the month of February. But don't let that stop you!
Its mythological root lies in the tale of Dionysus, god of wine and celebration, who was insulted by a mortal who didn't acknowledge him. Enraged, he spotted a young maiden named Amethyst. The unsuspecting girl, on her way to pay tribute to the goddess Diana, was detained and two tigers were summoned by the god to devour the youth. Amethyst cried out to Diana in despair and the goddess quickly transformed the young mortal into a glimmering white stone (known as “quartz”) to protect her. When he realized his wrongdoing Dionysus wept tears of wine onto the stone staining it purple, creating the gem we know today as amethyst.
Lovely tale, isn't it?


Iris and the colour purple are very au courant these days as well and with the charmingly pleasant experience of Prada Infusion d'Iris and the less exciting Iris Ganache by Guerlain in my short-term memory banks, I set out to explore another iris-based scent. This time it involved the smooth ambience of the modern chypre, a concept on which I talked in detail before.
Amethyst Fatale promises "pure fragrance intoxication. Combining warm amber notes with powdery iris and lush rose, this unpredictable scent refuses to be forgotten" according to Oriflame.

As I open the little glass vials of Eau de Parfum available for sampling, the impression of a chiaroscuro patchouli composition is greeting me with a wink. The feeling is far removed from the headshop and into the protection of clothes from moths, as was one of its primal uses. You can almost feel the tactile sensation of soft wools caressing your cheek as you open up an armoire with plush knits. Its crushed powder is gently folded in rosy liquid that recalls damp earth as if rained upon with the echo of distant thunder. The marriage of rose to patchouli is cemented in tradition but with the flair of a first-throes passion, as those two amorous lovers adore bringing each other's best points out: patchouli making the rosy petals unfurl indefinetely, mellowing them and anchoring the feminine smell; rose caressing the green leaves and rendering them softly powdery.
Francis Kurkdjian is of course famous for his modern rendition of roses -and abstract floral notes in general- such as in Guerlain'sRose Barbare, Ferre Rose, Narciso For Her or the re-issued Rumeur by Lanvin. And here I can see the mentor's influence.

The iris part might be contributing to the earthy feel I get as well, although to my nose this is not a predominantly iris scent, but rather a palimpsest. There is an element of powdery tonality that reminds one of white musks as used in popular renditions lately, as well as the slightly woody and vanillish whiff of benzoin. The impression is never too sweet and in that regard it is infinitely superior to most things currently put on a pedestral on perfume-store shelves and certainly to Armani Code whose bottle it might be argued that it vaguely reflects.
As it exits the scene in lento moves it does so with the gentle refinement of a lady who is assured of her attractiveness enough not to assume poses and goes for the subtle approach of white silk underwear instead of racy red lace.


Oriflame is available in European countries and overseas in the Americas and Asia, but not in the United States.
So, for our readers in the US I have a couple of samples I would be glad to offer if they enter a comment that they would like to receive one. Hurry while the offer lasts!

Stay tuned for an interview with Jean Jacques next!
Ad pic from Oriflame, ring pic courtesy of askDaveWest

Tale of two irises (Prada Infusion d'iris and Guerlain Iris Ganache)

Like Charles Dickens knew so well, there is some charm in correlating different things and finding respective affinities. After all one would devoutly wish for an interaction between entities in the universe; a sense of belonging, of not being cut out. Dissimilar things can resemble each other in some ways while their contrast is piquant and intriguing. Such is the case with two iris perfumes that came out recently: Iris Ganache by Guerlain, their 5th scent in the exclusive L’Art et la Matière exclsuive boutique line and Prada Infusion d'iris, a new feminine scent from the italian leather and fashion company.

Guerlain tells us that this new scent is

"Un beurre d’iris travaillé comme une ganache en pâtisserie"

which roughly translates as "iris butter worked like patissery ganache".
Ganache is a sort of chocolate cream that is thick and smooth, more solid than liquid. One would assume that we are dealing with a gourmand iris and that one would not be far off.

Iris/Orris is the rhizome of a beautiful flower, mystical, subtle and discreetly melancholic, encompassing dusty, powdery and mineral qualities. The essence of a fairy that is about to die in a puff of her delicate wings. In Iris Ganache that delicate fairy is munching meringues and feeling quite well, thank you very much. Perfumer Thierry Wasser (aided by artistic director Sylvaine Delacourte) managed to marry opposites creating something that is decidedly not as audacious as it first sounds, but rather a fluffy concoction that has a tinge of violets, quite like those sweet ones surfacing in Guerlain's more commercial scent Insolence. The feel of the violet is delectable, with a tinge of milky kid's chocolate drink, a direction that was explored in one of the limited edition versions of Oscar de la Renta's, namely Oscar Violet. There, again, the unmistakable dusting of sweetened Nesquik is painting the picture in foody terms. One might even think of the light orientalised theme of last year's Ange ou Démon by Givenchy. Suffice to say that this reminiscence does not great originality make for Iris Ganache...

The opening on bergamot and cinnamon is abstract and not as spicy as that in Musc Ravageur by F.Malle, although I am sure they were aiming for something sexy in that direction.
However, this is what makes it approachable despite the "difficult" for many note of iris. If we are to take Dickens's approach to the fore, Iris Ganache is decidedly French, representing Paris, all cafés and bistros; not Café Flore with its existential milieu of Sartre and Beauvoir, animately drawing puffs from their dark cigarettes that the French love so much. This is rather a bourgeois salon de thé, where the guests are sporting pouffy chiffon blouses that caress bodies prone to sensuality thanks to the ambery fond and the musk that embrace the white chocolate. This is the less cerebral and intellectual side of Paris as befits a house that was infamously producing scents for cocottes.

Prada Infusion d'iris on the other hand is more London-like, less indulgent, much less gourmet: all wet pavement and airy notes of a steely sky that sustain themselves on a very slight vanillic base that comes from benzoin. Poised between the crystalline opening of Iris Nobile by Aqua di Parma, a fresh breath of citrusy sensuality, and the earthy yet light depths of Olivia Giacobetti's Hiris for Hermes, Infusion d'iris is the equivalent of a metallic-hued slip of a dress over a young body that radiates intelligence and discreet sensuousness. A woman that enters an indian temple, inquisitive and with a mystical yearning. There is a smooth feel to it that caresses the soul, a nod to a thinking woman's scent, with a touch of childlike softness that reminds me of an infant's s hair washed in Johnson's Baby Shampoo. The liaison is weird no doubt and the breakdown of notes does not do it justice.

The mention of lentisque made me see that it is mastic, the very Greek resin from the island of Chios that is used for the world's only natural chewing gum, skincare products, liquors and products for medicinal use. I can't say that the aroma of mastic is instantly recognisable as such, despite my familiarity with it. However there is a greeness and woodiness that makes for a very endearing emotion; that of familiarity, of belonging, of touching the earth.

Prada claimed they got inspired by an old technique of haute parfumerie (infusion) that allowed the roots of iris to "marinate" for 6 months so as to render the true soft, fresh and powdery aroma of iris and Daniela Andrier for Givaudan succeeded in producing one of the loveliest scents of the season, even if I suspect there are synthetic aromachemicals at play. It comes in minimal light pistachio-green-labeled bottle of Eau de Parfum and it is wonderfully tenacious without ever becoming suffocating.

While Iris Ganache will appeal to those who do not go for intense, carroty irises like Iris silver Mist by Lutens, Infusion d'iris might fill the void when the mood calls for something airier than the former.

Official notes:

Iris Ganache: bergamot, cinnamon, iris butter, white chocolate, patchouli, cedar, amber, vanilla, musk, powdery notes.

Infusions d'iris: galbanum, tunisian neroli, italian mandarin, lentisque (mastic), iris, cedar, vetiver, benzoin from Laos, somalian incense


For inquiries and orders on Iris Ganache call + 33 (0)1 45 62 52 57.
Prada Infusion d'iris is available in major department stores.


Pic originally uploaded at cofe.ru

Fragrant presentation: new Bond no.9 scents ~ Andy Warhol Silver Factory and Saks 5th Avenue

Bond no.9, the New York city downtown brand is about to spoil us with their latest releases that are destined to become cult items, as they exploit iconic images of America: Andy Warhol is the inspiration behind Andy Warhol Silver Factory and Saks is the luxury megastore behind the new scent Saks 5th Avenue, exclusively commissioned for its customers. The new scents will officially launch in the autumn (for Saks) and winter (for Silver Factory), but here is a little preview for our readers at Perfume Shrine.

Bond no.9 is bent on starting a series of Warhol collectibles of which Silver Factory will be the first one. On the bottle’s surface there is a graphic image inspired by one of the pop artist’s most recognizable icons: a boldly re-coloured rendition of the Campbell’s Soup Can, as created by Warhol in a series of his Campbell Soup Can silkscreen paintings in 1965 (apparently he also ate the soups!). Only now, the bottle takes the dissonant colours of turquoise and purple with a silver lining all around.
As Warhol once said “Another way to take up more space is with perfume. I really love wearing perfume.” (and to note, he requested to be buried with a bottle of Beautiful).
It seems though that people at the Andy Warhol foundation are also friendly to perfume, as Michael Hermann, director of licensing at The Andy Warhol Foundation said: “Working with Bond No. 9 represents a unique, unexpected, and exciting opportunity to introduce Warhol to an ever-widening audience.” The Andy Warhol Foundation for the Visual Arts, Inc. is a New York not-for-profit corporation established in 1987 which promotes the visual arts. In accordance with Andy Warhol's will, its mission is the advancement of the visual arts. The Foundation's objective is to foster innovative artistic expression and the creative process by encouraging and supporting cultural organizations that in turn, directly or indirectly, support artists and their work. The Foundation has given out over 1,700 cash grants totaling more than $70 million. You can read about it clicking here.

The Factory has its own history behind it, an illustrious, if not notorious, one. In operation from 1964–1968, Warhol’s original studio, hangout, and club central, it was located in a indifferent looking building on East 47th Street, yet it acquired visual uniqueness with its aluminum-foil walls. Those evoked silver-backed mirrors ~emblems of the narcissism that suffused the times, perhaps. The Silver Factory served as a galvanizing forum for artists, silkscreeners, actors, filmmakers, debutants, activists, hustlers, and misfits, all of whom somehow contributed to the creativity. It was here that Warhol emerged as an avant garde filmmaker, pop art progenitor, and all-around superstar.
The scent Silver Factory , created by Aurelien Guichard from Givaudan, takes those elements and weaves them into a genderless mix, which per the advertorial

is a smooth, smoky, spicy blend of interlacing incense (a key scent of the ‘60s), wood resin, and syrupy, seductive amber. But just to complicate things, we gave it a heart of jasmine, iris, and violet—a scent that Warhol was especially fond of. These slightly dissonant florals combine to evoke a metallic effect—that of warmed-up, molten silver, And then, for the merest hint of coolness, we threw in a handful of cedarwood.

The official notes in detail are: Citrussy bergamot, zesty grapefruit,lavender, non-shrinking violet (Andy Warhol’s favorite scent), intoxicating incense, sultry jasmine, metallic iris (supposedly smelling the way silver might smell) velvety-soft amber,syrupy wood resin, hinting of a raunchy breed of vanilla and cool but sensual cedarwood.

The Warhol fragrances will be offered as innovative 28% perfume concentrates ~in between eau de parfum and perfume extract at $230, for 3.4oz/100ml. Silver factory will be available only in the 3.4oz/100 ml flacon at Bond No. 9’s four New York boutiques, at www.bondno9.com, at Saks Fifth Avenue nationwide and at saks.com.

Regarding Saks 5th Avenue, the store has commissioned Bond no.9 perfumery to design specialty scents and there will be a feminine (For Her) as well as a masculine version (For Him). That way the iconic destination store located in the heart of Fifth Avenue, establishes itself through Bond no.9, as an ultra-sophisticated neighborhood unto itself.
According to Deborah Walters, Senior Vice President and General Merchandise Manager, Cosmetics and Fragrances, Saks Fifth Avenue:

“Saks Fifth Avenue is excited to be collaborating with Bond No. 9 on Saks Fifth Avenue for Him and Saks Fifth Avenue for Her. This will allow our customer across the country to experience the quintessential Saks Fifth Avenue scent. Everyone here at Saks is thrilled to be a part of such a unique fragrance collection of New York neighborhoods and feel it is such an honor to have two scents dedicated to our New York flagship.”

Saks Fifth Avenue for Her signals the return of the classic gardenia eau de parfum, given a chic contemporary twist with the addition of sparkling jasmine, a little tuberose and vetiver, along with smooth vanilla. This all-white bouquet captures the cutting edge essence of 21st century Saks, but also the eclectic downtown spirit of NoHo-based Bond No. 9.
Saks Fifth Avenue for Him is an elegant aqua scent, containing an initial dash of Sicilian bergamot for coolness, followed by cardamom, chili, black pepper, incense, baased on amber, guiacwood and cedarwood for warmth.

The bottles depict a pattern that consists of quadrants containing refined, deconstructed, and then reconstructed versions of the signature stacked-script Saks logo that held sway from 1973-1997. The letters now serve as design elements containing Saks’ “DNA” motif. (Visible, for instance, on the front of the Bond No. 9 flacon are parts of the “n” and “A” from “Avenue.”). The slender bottle is the Bond No. 9 superstar flacon, its circular centerpiece logo inscribed with both SAKS FIFTH AVENUE and BOND NO. 9.

The official launch is set for September 1st for Her and October 1st for Him and will be sold exclusively at Saks Fifth Avenue stores nationwide and at Bond No. 9’s four New York stores. Prices range for 3.4 oz/100ml at $185 and 1.7 oz/50ml at $125.


Pics from Bond no.9

Fragrant news: L'artisan parfumeur

Although the disappointment to the confirmation (by a person selling L'artisan scents) of the long standing rumour that Dzing! was about to be phased out is palpable, L'artisan is not without hopeful news for the upcoming season.

Apart from the recent launch of L’Eté en douce (=summer creeps up on you)which will be joining the permanent collection and is a re-issue of the now defunct Extrait de Songe, a light summery wonder of lime-tree, hay and musks, there are other exciting news as well.

According to Osmoz.com, October will see the new Vintage Millessime scent (after Fleur d'Oranger 2005 and Fleur de Narcisse 2006) which will be based on Iris and called Iris Pallida 2007. The floral woodsy scent is being developped by perfumer Anne Flipo and the raw material is none other than the very expensive Tuscan Iris harvest. Expect it to hit the astronomical prices of the previous Harvest offerings and be encased in an equally fetching wooden box like a rare vintage wine.

There is also a very innovative spraying method that will make us see things under a new prism come autumn, it seems:

In September, the brand will also be launching a whole new way to spray, christened ‘Chez Moi’ (see photo). A fabulously designed, high-tech objet that reacts to the stroke of your finger and works with fragrance beads. A high-speed, healthy system that uses micronization to create almost invisible, 15 to 50-micron particles. Diffuser €180; beads: €15 each.

Let's see, then!

Next post will be about a new trend in perfumery, making waves as we speak.Pic courtesy of parfumdepub

31 Rue Cambon from Chanel Les Exclusifs: fragrance review

The Chanel perfume from the line Les Exclusifs that goes by the address tag 31 Rue Cambon is named after Chanel's main boutique in Paris and also the day-time appartment above it that she used as a study and reception room for friends.
The contrast between the baroque apartment and the more austere composition of this scent is intentional according to Jacques Polge who created it, as he did with the whole new line.

31 Rue Cambon is an experimental chypre that omits the classic oakmoss note of the standard chypre composition and is touted as a "dry, musky, nutty scent." I think Serge Lutens tried a similar stunt with his Chypre Rouge, last autumn, which does not smell particularly chypre to me.
Here the formula starts indeed with a dry element that is sparkling and radiant. The substitution of oakmoss has resulted in a novel iris-pepper accord that according to dr.Turin is used here for the first time to render the impression of sensuality and powderiness that would normally be provided by the sensual backdrop of oakmoss and married to different batches of patchouli for the mossy feel. According to an interview of Polge in French paper Le Figaro, Polge is not a great fan of oakmoss anyway, because he finds the smell bitter. A self-proclaimed oriental lover, mr.Polge had to search for exotic varieties of patchouli growth to substitute the moss element that is needed in a chypre composition and came up with a new style. Which is not really chypre smelling either. In fact I would call it a chypre-oriental, if pressed to classify it and you will see why as you proceed.

The green spicy burst at the start gives way to softer accents following the herbal notes and the bergamot-rich top. The iris note here is neither earthy nor ethereal, as we’re sometimes used to perceiving it. Instead it hangs there twisting and turning in little waltz quick steps with the spiciness of the first olfactory hits when you spray the juice to your skin. The piquancy of pepper is very welcome and never overwhelming which suggests a restrained hand.
As it stays on it starts to develop more powdery and flowery aspects like –seemingly- hyacinth with rose and jasmine that remind us of the traditional heart of a classic chypre, yet the whole is based on a woody ambience of sandalwood and possibly amber that reminds me a lot of the soft sweetish echo of other perfumes in the line, like
28 La Pausa and Coromandel. Despite their initial claim that “we tried to do fragrances which are very different from one another” I think they also tried to lend a homogenous quality in them that would identify them as Chanel. I don’t think that could be very doable in so diverse a collection, but it does have familiarity with those and with other Chanels,as discussed before.
The lingering base of patchouli is as far away from headshop and earthy varieties as possible and certainly less pronounced than in Coromandel which seems a little more current and sensual in feeling.
In fact 31 Rue Cambon is quite Chanel in style as it aims at timelessness and probably the most elegant of the new lot.
Maybe because of those elements of wood and amber the lasting power in this one is not bad. It’s definitely not fleeting like the green fairy of Bel Respiro or the pretty posy of 28 La Pausa, but then it isn’t as satisfyingly lasting as Coromandel either, which is a pity.

The general effect is slightly aloof and certainly elegant, which will account for its marked success with people shopping Chanel and wanting to complement their expensive clothing and accessories with something fragrant in completely magnetic bottles (and I utter that last bit both figuratively -as the caps close magnetically- and figuratively).
Whether it is the best chypre in the last 30 years, as it had been initially hailed almost a month ago, remains to be judged upon subsequent applications and the test of time. I think it was rather an ambitious claim to begin with.


Art photography by Chris Borgman courtesy of his site.

28 La Pausa from Chanel Les exclusifs: fragrance review

As promised I start the week by reviewing in full the new Chanels, Les exclusifs.
You might have been a little bored by reading about them on the blogs by now, but I want to offer a tempered view that is completely no strings attached for the interest of balance.


Let’s start by 28 La Pausa.
According to the advertorial it is "a powdery scent based on the oil from iris pallida (known as sweet iris), one of the most expensive products available to perfumers..." and "named for a house Mlle.Chanel owned in the South of France” namely the villa on Roquebrune-Cap-Martin on the French Riviera.
Iris seems to be the one constant in niche perfumers’ obsession with coming up with rare and costly ingredients, and as iris/orris is currently the costliest ingredient to harvest this makes sense. After all someone had said before that everyone in the business wants to make a perfect leather, a perfect incense and a perfect iris scent. Seems to be de rigueur for some reason.
And judging by the issued offerings by Armani Privé, Lutens for Palais Royal Shiseido, The Different Company, Fréderic Malle or even more “commercial” products such as Dior Homme or Hiris by Hermès, iris features prominently on the stakes.
Iris is not just a flower. She is a goddess in the greek mythology pantheon, daughter of the Titan Thaumas and the Ocean nymph Electra, messenger of the Gods and goddess of the rainbow whose colour spectrum is not coincidentally called iris in greek, hence the English term iridescence and the same as the part of your eye that mesmerises with its coloured nuances.


The real question is does 28 La Pausa offer the excitement necessary and the sheer beauty expected from the definitive iris scent? Because this is how the collection has been presented and lauded and we need to check if those claims are met.
The answer is two fold.

If Iris Silver Mist by Maurice Roucel is a crepuscular -if a bit difficult- creation of sheer chill and carroty bulb undergrowth and Bois d’iris is a slightly spicy green heavier silk, 28 La Pausa is a gauzy white cloth that barely covers but lets sweet pale flesh peek from underneath.
The earthiness of bulb undergrowth is there along with a sweeter development as the very light composition progresses through its stages exiting rather soon.
A very light touch of violet is lending a green and very soft quality along with a sweetish fruity tone while some version of synthetic white musk (similar to the feel of the drydown of Pleasures) is lurking underneath assisting the view of exposed skin as described above. It is in fact mostly reminiscent of the lovely Hiris by nose Olivia Giacometti, a hybrid between flesh and flower. Which really begs the question why get both…

On the other hand if what you’re seeking is simply a wearable iris in a killer stylish bottle with exclusivity cachet, this is it; which unfortunately breaks the bubble of the innovative and groundbreaking. Simply put the soul does not soar upon smelling this if you have smelled other similar renditions, even though admittedly it’s one of the nicest ones in the new line and completely agreeable and approachable. Polge is a perfumer not best known for his highly controversial work anyway, taking into account he is responsible for some of the more mainstream Chanel fragrances created such as Coco Mademoiselle,Chance and Allure Sensuelle (although one has to credit him for the creation of the wonderful Egoiste!)and here he smoothed iris beautifully, however rendering the whole a bit derivative and déjà vu, which is the major fault of the whole Exclusives line in my humble opinion.

28 La Pausa includes elements already found in the much more distinctive Chanel #19, a work of art by Henri Robert in 1970 that is assuredly more opinionated and bracing. Perhaps its fate is sealed if they keep releasing things that temper its audacious aspect and its truly insolent character of crisp white linen shirt and lots of silver bangles on a carefree day with your hair down. This would personally pain me a lot, especially since the news about oakmoss featuring as a dangerous substance almost compared to illegal drugs one might think is any ground to go upon. Hopefully they will not substitute it with 28 La Pausa and another Chanel Exclusif, Bel Respiro, both of which draw inspiration from their predecessor's elegant green bouquet.

So, if you want to have a beautiful Degas ballerina in your collection, look no further. If on the other hand you’re moved by more challenging Goya images, this will not fulfil your expectations sadly.

Artwork by Mary Beth Schwark courtesy of allposters.com