Showing posts with label irival. Show all posts
Showing posts with label irival. Show all posts

Thursday, January 26, 2012

Serge Lutens Iris Silver Mist: fragrance review

Iris Silver Mist clearly isn't for everyone. Balls to the wall iris, carrot dirt rootiness, bread sourdough and raw potato starch are attached to every drop of this crepuscular, bellowing Lutensian opus, turning urban life into a gothic tale where the heroine is carried away dead in a grand duc. Iris Silver Mist is unsettingly unusual as if you looked into the abyss once and now the abyss is looking at you. How can you not love it?

In a rare dicrepancy with the tenure to follow of Chris Sheldrake at the helm of perfume development at the Salons du Palais Royal Serge Lutens perfumes, perfumer Maurice Roucel was instructed to compose an iris fragrance to eclipse all others.
The year was 1994 and Iris Silver Mist came out on the skies like Phaethon to cast a prolonged, melancholic shadow over mortals. But the perfume is in discrepancy with the Lutensian style up to a point as well; eschewing the opulent orientalia of dried fruits, resins and creamy notes, it goes for a wonderfully weird effect that is loud even though it appears to be the silent type; a sort of Schopenhauer being recited off the rooftops, for modern Emos romanticizing depression.
Years later Lutens softened the pitch and caressed the iris into a greener, silky hush in his enigmatically sensuous Bas de Soie fragrance.


The power of the fragrance is deceptive: you'd think that iris is a shy, pale note that rings metallic and sits meekly at its corner, but no. Orris absolute (the product from the iris rhizome) can run the gamut from floral to woody to gourmand to powdery smelling.
Iris Silver Mist beats with a thunder drum, thick as fog you'd need to cut through with a knife; powdery and cooly rooty, eating away every other scent it co-habitates with, be it skin, potion or foe.

Roucel used not only orris rhizome but also Irival (or orris floraline), a nitrile-containing fragrance compound (a perfumer's base, produced by International Flavors & Fragrances) with a stentorian voice heard over the buzz of common routine; coupled with the scimitar of galbanum, its bitter green resinous facet boosting the feel of the first hour on the skin, and a tiny hint of carnation, iris becomes truly sinister with a yeasty quality about it. The familiar cedar base of Lutens is given an extra austere profile in Iris Silver Mist, with the subdued, cooling woody backdrop of vetiver and the prolonged powderiness of musk, almost a sigh through blueish lips.

Be aware that the Irival base is moderately skin sensitising; Iris Silver Mist, alongside the equally lovely Iris Gris by Maitre Parfumeur et Gantier, have been the only two perfumes to ever give me a topical itch and redness. Use on clothes preferably.

Iris Silver Mist is a Paris exclusive, circulating in the uniform bell-shaped bottles of the exclusive line (75ml).
The photo depicts the limited edition bell jar (flacon de table) of Iris Silver Mist, showing the beating heart and veins of iris...

"Watching Alice rise year after year
Up in her palace, she's captive there"





photo Ron Reeder "Death and the Maiden V4" via pcnw.org

Thursday, February 10, 2011

Perfumery Materials: Violet, Violet Leaf & Ionones

Although often spoken in the same breath when describing fragrance notes pyramids ~standard industry speak for the breakdown of effects in perfume appreciation (a not exactly accurate or realistic means of communicating a scent)~ violet and violet leaves are not interchangeable. Indeed they're quite different, from the romantic, retro powdery feel of violets to the cucumber-metallic-oily effect of violet leaves which adorn not only greener violet scents, but also many masculine colognes.


Violet, has a coy profile in its symbolistic facets: The term "shy violet" is not random; the blossom naturally feels frail and trembling at touch, even though it is sturdy. Thus it traditionally stood for modesty, calmness and sleepiness, traits often associated with females in centuries past. Blue violets signified faithfulness, while white violets were of a happier disposition: they symbolized taking chances. The religious world associates violet with the Passion of Christ and indeed Easter rites in the Mediterranean basin include the use of complementary colors - violet and yellow - symbolic of Lent and the return of spring with its yellow crocuses and daffodils; to witness the two traditional flowers in the Epitaph procession are violets and lilacs, alongside the daffodils narcotizing one's nose in the open air of the evening marches of course: One blossom low-brow and serious like the Holy martyrdom; the other orgiastic like the pagan resurgence of the Dionysian spirit as expressed in the awakening of spring.

A symbol of ancient Athens where it was used in scenting wine and Napoleon Bonaparte’s favorite flower (who preferred it rather than Josephine's beloved musk), violet is a complicated matter in perfumery for two reasons: First, the natural extract of viola odorata (sweet violet/English violet), although it exists, is rarely used for reasons of cost and versatility. Secondly, because there is the distinction between violet flower and violet leaf: the two have a world of difference in terms of odor profile, but that’s not always clear in fragrance descriptions. The flowers have a sweet, powdery ~and when fresh slightly spicy~ note, while the leaf is earthy, green with a cut-grass feel.


The symbolism of violets as emblematic of death at an early age is apparent in the John Everett Millais painting "The Death of Ophelia" and violets which stood for constancy or devotion were traditionally used in mourning. Most people however associate violet with Parma Violets (as reflected in Borsari's Violetta di Parma) a violet-flavoured confectionary manufactured by the Derbyshire-based company Swizzels Matlow; or alternatively, depending on cultural memories, with Violettes de Toulouse, violets preserved by a coating of egg white and crystallised sugar still made commercially at Toulouse, France. (try it in fragrance in Berdoues Violettes de Toulouse). These tender, playful associations might account for the popularity of several sweet florals in the market, especially when coupled with the intensely feminine note of roses producing an almost "makeup" vanity-table effect, such as in L'Arisan Drôle de Rose and F.Malle Lipstick Rose or alternatively allied to modern "berries" tangy notes in Guerlain's Insolence.

In violets along with terpenes, a major component of the scent is a ketone compound called ionone, which temporarily desensitises the receptors in the nose; this prevents any further scent being detected from the flower. (This is why often people complain "I can't smell a thing!", it's not necessarily anosmia, but too much ionones!!) Ionones were first isolated from the Parma violet by Tiemann and Kruger in 1893. Violets naturally include irisone beta, which gives them part of their olfactory profile. The discovery of ionones enabled cheap and extensive production of violet scents, cataclysming the market with inexpensive violet colognes which became au courant in the first throes of the 20th century. The ionones palette ranges from the scent of fresh blossoms to mild woodsy sweet-floral tonalities, while methyl ionones possess a stronger woodsy nuance, similar to iris rhizomes, binding woody and floral notes perfectly such as in the masterful Lutens creations Féminité du Bois and Bois de Violette.
Irone alpha (6-methyl alpha ionone) is a most popular ingredient among ionones in pure form due to its silvery woodiness and its hint of raspberry.
Maurice Roucel was the composer of the mournful, cooly wistful Iris Silver Mist for Lutens focused on the nitrile Irival . Violet is what gives Paris by Yves Saint Laurent its romantic facet beneath the embullient rose, but also the old-world powdery allure beneath the leather in Jolie Madame.

Violet Leaf absolute, on the other hand, smells herbaceous with an oily earthy nuance and naturally includes salicylates [more on which here]. Octin esters and methyl heptin carbonate are used to render the floral green violet leaf "note" with watery accents of melon and cucumber, customary in many modern masculine fragrances and the family of fougères (an aromatic group based on the accord of lavender-coumarin-oakmoss). It also gave the older version of Farhenheit its distinctive feel. If you want to get a good impression of violet leaf in a contemporary composition, smell Eau de Cartier. Several of the greener violet fragrances in the market such asVerte Violette by L’artisan or La Violette by Annick Goutal explore those aspects. The Unicorn Spell by micro-niche brand Les Nez is a peculiar case where violet leaves take on the greeness of just cut husks of harricots verts.
In Dans Tes Bras by F.Malle the tone comes from Iraldeine, a base that helps recreate the freshness of violet flowers, alongside ionones and salicylates. The aromachemical α-n-methyl ionone became commercially available around 1935 in Haarmann & Reimer's Iraldeine Alpha rein and Givaudan's Raldeine A (the main constituent of Fath’s legendary Iris Gris) which Ernest Beaux ~good friends with Leon Givaudan~ is said to have included in 25% concentration in the long-lost Mademoiselle Chanel No.1 from 1942-1946 (as analysed and publicized in 2007 in Perfumer & Flavorist magazine). [Read more on the history of Chanel fragrances issued by Coco Chanel in the 1940s, such as Chanel No.11, No.55 and No.46 in this article]. A modern example of violet leaves in a feminine composition in a very contemporary context is provided by Balenciaga Paris fronted by Charlotte Gainsbourg. A good example of the co-existence of the two elements (violet notes and violet leaves) is presented in a new Marc Jacobs fragrance, Daisy Eau so Fresh.

In short, violets and violet leaves alongside ionones and the other molecules used to produce these nuances, are an integral part of modern perfumery and some of the most recognizable "notes" in fragrances any perfume enthusiast should be familiar with. Why don't you try some of the fragrances listed and see what you feel about them?

Top pic kindly provided by Anya McCoy for my use. The second pic displays "stocks" (which we also call violets in Greek), Matthiola Longipetala. The third pic is Millais' Ophelie via wikimedia commons.

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