Yes, but is it original?

"Newness is in the mind of the artist who creates and not in the object he portrays.[...]What moves men of genius, or rather, what inspires their work, is not new ideas, but their obsession with the idea that what has already been said is still not enough."

~Eugene Delacroix, May 14, 1824

With this aphorism in mind, this past weekend I was contemplating whether perfumery still possesses originality. Originality in art manifests itself in both subject choices (what to tackle) as well as style (technique). The fact that perfumery can be an art form if the people behind it are so inclined is undoubted in my mind, as I had elaborated a few years back wondering what constitutes art in perfumery and what does not. I had also mused on whether post-modernism influenced perfumers. This train of thought was re-kindled by a comment on Denyse's Grain de Musc: the new Serge Noire is great, per our combined opinions; “yes, but is it original”? asked BillyD.

In The Thought Gang, the British author Tibor Fisher wrote that all ideas were covered by the Greeks long ago and we're merely rehashing the collectively forgotten. This is the conundrum of the artist: "I won't look at what has come before, I won't go to galleries or museums, I won't read or talk to artists, and thus I can't help but be original." Is this even possible? Is it even desirable?

Originality in perfume seems somehow unattainable today, if only because Serge Lutens has been so instrumental in the emergence of original compositions and niche perfumery in general, raising the bar high for others as well as himself.
Nevertheless the first niche lines were probably L’artisan Parfumeur founded by Jean François Laporte and Diptyque by Yves Coueslant and Desmont Knox Leet. The former started by issuing lighter compositions than the mainstream brands, inspired by nature and focusing on forgotten or completely novel ingredients (Mûre et Musc, L’eau du Navigateur, Prémier Figuier, Vanilia, Bois Farine) ; the latter, striding over the more picturesque scenery of Greece, coming up with intensely unusual compositions such as the herbal L’eau trois, the strange beast of L’Autre or Eau Lente, inspired by historical descriptions of the time of Alexander when such concepts were the Ultima Thule .
But it was Lutens that shrouded his craft with prestidigitation, a touch of Japanese aesthetics and the opulent tradition of the Arab world. The boom of the Internet made this small, elitist line with the exquisitely unique fragrances a cult item, prompting others to step their toes in the pond of niche. Some of them, such as Les éditions des Parfums Frédéric Malle had original ideas: acting as a book editor to a lineup of authors-perfumers who compose what they want without commercial restrictions. Some other brands capitalized on the new boutiques such as Aedes, Luckyscent and First in Fragrance, to issue their own less original paradigms.

Who bought all those fragrances?

Some ask praise of their fellows,
But I being otherwise
Made compose curves
And yellows, angles or silences
To a less erring end.

Thus delineated E.E.Cummings his desire to go off the beaten path in 1926. This was very much the mindset of the audience which Lutens first accosted in his foray into Les Salons du Palais Royal de Shiseido in 1992. I recall an article by Susan Irvine for the British Vogue in mid-90s which quoted someone who didn’t want to go out to dinner and have the waitress lean over smelling of the same perfume; therefore she went for niche! It seemed that there was both an elitist and snobbish streak running through.
And although I have been a perfume lover as far back as I can recall, when I first immersed myself into the Internet world of perfume boards before the boom of perfume blogs in 2005 I remember it increasingly impressed me as if the more weird a composition was, the more devoted its fans were and the cooler they were perceived by others. It was as if an unwritten rule set the measure of sophistication as liking fragrances that would produce confounded whispers and raised eyebrows among the non-initiated. The hallmark of a cult, if there is one!
“Ohhh! Dust-on-an electric-lamp accord!” the collective frisson of excitement was palpable as we were reading the notes in Odeur 53. What had happened to Guy Robert's axiom that a fragrance must smell pleasant?
Other times it was the quest for the rare, the hunt for the pearl beyond measure, a fragrance forgotten by time, mere dregs at the bottom of a derelict bottle hiding in someone else’s attic and auctioned at exorbitant prices.
Soon brands cottoned up: they began to bring out fragrances both resurrected like Phoenixes from the ashes (i.e. Guerlain, Lancôme) and based on the most provocative or outré concepts (ie. état libre d’Orange, Le Labo, By Killian).

And someplace between this and that, myriads of brands issuing the 174th Ambre or the 48th Cuir and noses coming up with small cupcakes accord ~as if larger cakes smell differently~ we became jaded. The thrill of discovery was over. Have the niche brands stopped being creative and original or have we changed? I propose to you that it's a little bit of both. Releases in both mainstream and niche lines multiplied 50-fold in the last decade, meaning it was impossible in terms of time and brainpower to come up with something unforeseen; also, when one is sampling things more than actually wearing a constant rotation of favorites (which is what often happens to perfume writers and enthusiasts such as us), there is an amount of jadedness setting in. It is as if we know what we’re going to smell before we inhale, we know what we’re going to read before we lay eyes on the promotional text and as if we couldn’t really be bothered to hunt the new down anymore. There is ennui and boredom. Is it significant? Will perfumery suffer because of the waning interest? Probably not, judging by the fledging brands mushrooming up every day or the new Myrmidons banging fearlessly down on Aedes’s door, eager to sniff the newest this or that.

John Sloan wrote in Gist of Art in 1939:

"Sometimes it is best to say something new with an old technique, because ninety-nine people out of a hundred see only technique. Glackens had the courage to use Renoir's version of the Rubens-Titian technique and he found something new to say with it. Cezanne may have tried to paint like El Greco, but he couldn't help making Cézannes. He never had to worry about whether he was being original. Don't be afraid to borrow. The great men, the most original, borrowed from everybody. Witness Shakespeare and Rembrandt. They borrowed from the technique of tradition and created new images by the power of their imagination and human understanding. Little men just borrow from one person. Assimilate all you can from tradition and then say things in your own way. There are as many ways of drawing as there are ways of thinking and thoughts to think."

A thought well-worth keeping in mind for the perfumers and art directors of perfume brands. And for ourselves, as well!


Pics courtesy of mondino-update and manuelZx48K on flickr

What's Brewing Now?

It's always great to find that a house one admires releases something new and exciting. I got the info on this through Perfumista.org who attended the NYC Snifapalooza. The new Eau de Liane , another Bertrand Duchaufour composition for L'Artisan Parfumeur, forms part of the "Fragrance captured by a perfumer on his travels" line, inaugaurated with Bois Farine and followed by the unusual and wonderful Timbuktu.
The new scent was influenced by travels in Panama and is launching in October 2008. Of course Liane is a river in Pas-de-Calais in France and not Panama, but I am assuming they're after another thing: possibly the plant! We'll find out in due time I gather.
The description sounds enticing enough, what with the watery kelp-ish notes along with the deep green and the fruit and perhaps we're in for a ground-breaker (always in need of one of those!)

On a completely different note, it seems that perfume brands are not the only ones endlessly repeating themselves and recycling the same ideas. Cosi fan tutte... It happens to make-up lines as well, as attested by this piece of sleuthing by The Non Blonde. The time span of recycling is dropping as well. Well, with so many releases on the market, I wonder how they could possibly re-invent the wheel every time!
It's also infuriating to hear that one can buy the whole but not the individual items of a promotional set at Bobbi Brown! Thankfully there are a couple of cosmetic sets that prove good value for money. But they don't come by every day nor does the offer last for long!

Lastly, there are new fragrances already out, fresh like buns from the oven. Union Square by Bond no.9 in the Andy Warhol series which started with Silver Factory ; and The Beat by Burberry. Since I have no idea what they smell like yet, I refer you to Karin's reviews on both.
And for our French-reading audience, Poivre Bleu is focusing on patchouli scents, with Borneo 1834and Reminiscence Patchouli at the forefront.
Enjoy!

Pic originally uploaded by glemcol gilles

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

Incense week: 2.Clean incense for Holy Monday

Although not a major celebration, today marks the cleansing of the temple in the Holy City of Jerusalem according to Christian doctrine. This was when Jesus overturned the tables of the moneychangers, saying to them: "It is written, 'My house shall be called a house of prayer'; But you make it a den of robbers". [Matthew: 21:13]
Interestingly in orthodox church the theme of Monday is that of the barren fig tree (Matthew 21: 18-20) which yields no fruit and is condemned. It is important to note here that the theme of each day is actually celebrated the evening before in the church service that precedes the day in question, therefore it is the evening service on Palm Sunday that commemorates this while on Monday evening there is celebration of the upcoming Holy Tuesday (hence the Holy Saturday Resurrection service at midnight, which would seem anachronous). However for practical purposes I am keeping the classification according to each day’s original theme.
To revert to the subject at hand, the fig tree is a classic Mediterranean part of flora that is considered a source of shade and food. Highly prized for both, it is a misfortune and a bad omen even from pagan times for the fig trees to be barren. Although in Christian texts the association of the barren fig tree with the land of Israel is something that leaves a bad taste in my mouth because of its intolerant stance toward the older Jewish population, we could take this in its purely literal sense devoid of any parabolic tendencies.
In addition, on Holy Monday the Church commemorates Joseph the Patriarch, the beloved son of Jacob. A major figure in the Old Testament, Joseph’s story is told in the final section of the Book of Genesis. (chapters 37-50).

Therefore the chosen fragrant theme for Monday should be one of cleanness and pureness of subtle wood and shade and just the hint of a promise of fruit to come.

Passage d’enfer by Lartisan parfumeur: Translated as Passage through Hell (you may also come across Road to hell or Gates of hell), but actually just named after the address of L’artisan flagship store in Paris (oh, such a naughty double-entendre), this is an excellent introductory incense for beginners, yet also a joy for more experienced players in the field as well when they want a break from all those serious and solemn types they are attracted to.
Serene and calm it is a fragrance that is very suited to casual wear, because it is light and uncomplicated. Yet that is not meant to imply that it does not hold surprises up its sleeve in typical Olivia Giacobetti’s translucent style.
The initial phase of slightly tart opening is very clean, while the illusion of soapy latheriness continues for some time. The beauty of lily blossom makes an appearance with the promise of lushness that is not fully materialized; however its prominent floral inclusion is a touch of the sublime. Lily is a carnal flower by nature, white waxy petals with a heady smell that suggests pursuits of another nature than the one associated with spirituality and meditation. And it is precisely because of that that Passage d’enfer strikes a cord of genius, as it marries the two antithetical elements of lily and smoky frankincense in heavenly harmony despite its sinful name. In fact it is the beautiful, melancholic visage of an Edgar Allen Poe’s heroine, destined to die like a half-opened bud on a warm summer’s day. It is therefore delicately feminine and very soft.
The impression of a cool soapy note is not alkaline, nor fatty; it is just a hint like the remnants of lightly scented soap on skin and not the actual bar itself, like in some other soapy perfumes. It could also be likened to a just pressed shirt without the laundry chemical aroma clinging to it, though. This renders it eminently wearable in summer and hot weather. Aloewood makes a brief appearance of guest star in the base although you’d be hard pressed to pinpoint it if you didn’t know about it beforehand. The woody touch on a bed of discreet soft musk is really very subtle and the lasting power is a bit less than average: I would love for them to come up with an eau de parfum for this one.
The reason why many people find fault is that lured by the wrongly assumed meaning of the name they expect the vagaries of the sinful which for some not so obscure reason lure and attract people into the notion that by donning such a scent they might graft that excitement of the forbidden into pedestrian lifestyles. If only…
Passage d’enfer only promises to let you glimpse a slice of heaven, really.

Shaal Nur by Etro: If you want fruity notes with your incense fix look no further. Created by Jacques Flori in 1997 for the quirky and luxurious Italian clothes brand Etro it stands alone in the galaxy of incense scents as truly unique. The inclusion of lemon as unlikely a note as it seems in combination with incense is what accounts for this. The first whiff is vaguely reminiscent of Les Nuits d’Hadrien by Goutal in that you are clearly in the presence of hesperidia, unisex in predicament, segueing on to a slightly orientalised composition that is based on a dry rendition of incense. Perhaps the innovation behind this tendency can be traced as back as the legendary Shalimar by Guerlain, which explored the lemon top and the slight incense of the bottom, yet in that gem the inclusion of deep, plush vanilla shifts the focus into powdery rich fluffiness and seduction that it is profoundly lacking here.
Herbal additions such as rosemary and tarragon shift it into unisex territory as well.
The lemony overtone here might be linked to some people’s minds with sharp smelling housecleaning liquids (and I can certainly see some connection), men’s shaving cream or even cheap aftershave. It is not to imply that it is a cheap fragrance, nevertheless it does tend to take a turn for the sour in a manner that is not particularly akin to my skin’s preferences, which could be interpreted any which way you like of course. The sour note lingers through the drying down stages only to be greeted by a smidgeon of vanillic warmth that is not enough to soften it and round it as one would expect. Rose is said to be included, but there is no potent smell of it to my nose, although the impression of sourness might also be attributed to an adverse chemical reaction between rosy notes and my skin: let’s just say we’re not on good terms most of the time. The addition of a rich wood note or a little patchouli might balance the top and heart,although it might divert from the clean route this one is destined for, but to my nose its major fault is simply its lacking in depth. The lasting power is rather nice, about 5-6 hours.
However I could see it being used by people who want a tart unisex smell for freshening up, but do not want to resort to the usual eau de Cologne types or the abundance of fruit salads on the market these days. It does smell individual after all. It is a sore pity the bottle is so nice and the weird colour of the jus so fetching to me, because it does attract the eye to be sure.

Kyoto by Comme des Garcons Incense series: In the classification of clean or woody incenses as the one on which we are focusing today, Kyoto would not be missing for long. Even though it is inspired by far eastern temples, thus bearing no relation to Christian incense collective memory, it is assuredly one of the most tranquil, wearable and popular incense fragrances around and with its strong yet clean character it befits the symbolism of the day well.
The smoky initial phase quickly fades to reveal an intoxicating richness of cedar elaborated to the max. The Virginian variety of cedar used here is a sweeter, less intense version compared to the incensy Atlas variety from Morocco. It is the aroma of freshly sharpened pencils that is so beloved by those who have good school reminiscences. The overall woody character of Kyoto is the protagonist anchored by the smokiness of incense.
This is exactly why this takes such a wearable turn on skin, because it provides just the right balance to make this mysterious enough without ever seeming gloomy or ghoulish. There is a strong calming and grounding effect when I smell this and the inclusion of a subtle grassy vetiver note, maybe a hint of pine and some smooth ambery glow is so fetching as to make me long to be in an eastern temple practicing my Oms. Tall coniferous trees swinging their branches in the breeze, white aromatic smoke emanating from censers. Because of that imagery I envision it as cool weather scent mainly.
Geraniol is maybe a note that makes it smell rather powdery and soft.
Supposedly there is also a coffee note, as well as teakwood in there, but I can swear that these are not what surfaces on skin. I think it has no specific feminine or masculine attributes, however this is one exception in which I would hesitate to call it unisex, simply because the connotation of a eunuch never enters the mind as with most scents of that ambience. It is proudly sexy in a very insouciant, understated way and it is profoundly human and serene.


Next installement is about lush, warm and alluring incense fragrances fit for sinners.

Incense week: 1.Palm Sunday and its exotic fragrances

Incense is inextricably linked to liturgy and religious ceremonies since pagan times and as I am not particularly religious myself, but more interested in aspects of history and tradition, I chose to simply grab the chance to talk about a very popular perfume note that never fails to put scent lovers in a mood. Therefore the reader should not see this series of articles as any attempt at catechizing or preaching of the wonders of any faith or sect, as my objective is to provide a fun and hopefully interesting method of attributing specific incense perfumes to certain moods as reflected by tales from religious texts and categorizing them into broad categories that encompass certain commonalities. I am sure this could be done for any religion and faith existing in regard to perfumes. Let’s just say it seemed a novel idea to me. This first article aims to also provide a little introduction to the relation of incense and Christian practice.

Incense of course has a noble history since antiquity as a means of pesticide, air cleanser and for medical and poisonous purposes as well. It was also used in sacrificial liturgies and this practice was picked up by Christians who blamed pagans for their habits, nevertheless soon adopted several of their common habits in their own liturgical usage. The Hebrew tradition is of course rich in the aromatic on its own and Song of Songs is only a smidgeon of that aspect.
Tracing back the beginning of such incense use as a pathway to the divine in Christian church we stumble upon Ephrem and the Transitus Mariae, after its 300 years of exile from Christian practices. Later on, stylite ascetics ignited such admiration for their superhuman feats and willpower that their position as literally and spiritually above and beyond was linked to the smoke rings rising from incense burning in censers, like the bodily matter immaterializes into the spiritual. Incense piety had begun in earnest for the Christian faith. Saints were said to exude the paradisial scent of myrrh, while devil and his disciples were inextricably linked to sulfur (as supposedly witnessed by Martin of Tours). Foul smells also recall decay and disease and thus invoke an image of human fall and corruption which is metaphorically linked to a moral low.
Ambrose of Milan calls Christ the flower of Mary, denoting a pleasant sensory experience in the presence of the holy and the continuation of fragrance emitting even after death, just like flowers do after being cut. It is no accident that even today in churches and monasteries there is myrrh and frankincense anointed to the mortar and sold to the devout while ascetic places now open to visit for the public smell potently of that most holy of aromas.
Myself I adore ecclesiastical incense which I buy in “tears” not from shops or internet e-tailers but directly from church and flea markets, made by monks usually at the Athos monastic community in Greece. I will elaborate on it on an upcoming post as it is interesting in itself, but suffice to say that the variety I prefer called “moscholeevano” ("leevan" etymologically derives from Levant, the east, or Lebanon) which is a deep, dark, resiny smell with a piercingly sweet top that makes the heart ache a bit and is on the whole likened on various fora to the exhaust fumes of a diesel engine vehicle. I think not, but we will have plenty of time elucidating that in a forthcoming installment.

It is worth noting in passing before we proceed any further that incense as a term is not a single note or ingredient but that it can in turn have various notes in itself. The classical ingredients for incense are frankincense or olibanum while myrrh and labdanum are also used, along with many others. Many recipes exist and each perfumer –professional or amateur- is composing one’s own mixture.

We thus begin our exploration of incense in relation to the celebrations of the Holy week with Palm Sunday, the first day of the holy week and the aftermath of Lazarus’s resurrection, perhaps the most famous miracle supposedly performed by Jesus.
The last Sunday of Lent is commonly referred to as Palm Sunday. On that day religious texts tell us that Christ entered Jerusalem on a donkey, to be greeted by the crowds gathered for Passover carrying palm branches. By doing so he enacted the prophecy of Zechariah 9:9 and also showed the humility with which he envisioned the Kingdom he proclaimed. However this is also the beginning of the Holy week that culminated in Crucifixion and Resurrection and is thus also called Passion Week.
Although Jesus was greeted with “Hosanna to the son of David”, recalling the famous King David of the Old Testament, it is perhaps an irony that that same crowd was against him just days afterwards. However this is only human nature and does not reflect on any religious antagonism in my opinion, taking in mind too that in the name of Christ lots of those holy places were pillaged and people were slain in later centuries.
To revert to semiotics, the traditional Lent colour is purple in Protestant churches, while in Catholic tradition on Palm Sunday it changes to red with all its connotations to life and blood, hence its use to connote the martyrs of faith in Christian iconography.
First mention of Palm Sunday procession is to be found in the travel journal of Etheria, a nun from northwest Spain who made a pilgrimage to Jerusalem toward the end of the fourth century. In her writing she refers to Palm Sunday as the beginning of the Paschal Week (pascha=easter, deriving from the Hebrew peschah).

Therefore as this plethora of symbols and inferences is not lost upon me, upon reflecting on specific perfumes that explore one aspect of incense I came up with the following suggestions.

Ouarzazate by Comme des Garcons Incense series: The first images that came to my mind upon resniffing this were the locales of exotic Morocco of which it is inspired and named after (there is indeed an ancient city by that name in the Atlas mountain area). Scenery for a lot of movies recently, some of the sandal-and-sword type, Ourazazte the fragrance has a dry and hot character immediately. The initial harsh top note of clary sage gives a very pungent, herbal aspect of disinfectant, which I am sure would be useful in those hot places, festering with bacteria, and it is this which had initially deterred me from further appreciating the composition in this rendition of incense in the infamous and revered Incense series by the Japanese brand. The hotness and coolness of peppercorns is tickling-but not singeing- the nostrils supported by a lemony phase that is actually the best part for me personally, while the incense is only hinted at and never as rich and full as the type used in liturgy. However it is not the far eastern variety but reminiscent of western tradition. The ethereal and resinous quality of wenge and labdanum is anchored by dry woods, soft clean musk (the synthetic cashmere woods) and a mineral veil of hard rock that is very a propos the exoticism of the proposed association.
It smells white and is illuminated by a hopeful and clearing tone of people walking great distances in rugged territory in anticipation of something worthy.
The whole does not last long, just as the triumphant procession through the streets of the holy land did not either.
This is a thinking person’s incense for outdoor activities in a hot climate and suitable for both sexes, not a sensual, cuddly, warm type at all, despite the mentioned inclusion of vanilla which is absent to my nose.

Timbuktu by L’artisan parfumeur: Another atypical incense and woods fragrance, chosen because of its outdoorsy air and exotic character that smells of the Middle East and Africa. Not terribly popular, because of the weird ambience of it, however it is one of the most interesting compositions I have ever smelled and it retains a place in my heart for its limpid and soft medley of notes. Contrary to internet tails that it actually contains real animal matter (surely, this is just sensationalism to you and me and I doubt L’artisan intentionally hinted at such notions) it has a woody, black soil character that overcomes the feline urinous smell it is so often accused of possessing. Frankincense takes a slightly bitter turn in this one and it is an airy and light incense note like that in Passage d’enfer; its marriage with spicy cardamom, a middle-eastern favourite aroma used for scenting Arabian coffee is very successful.
It has a tart but not really sharp acidic note throughout that is balanced by the earthy dirty plant scent that reminds one of unidentifiable leaves and roots. Abstract dryness is the overall tone of the composition and a verge towards the unisex or even to the masculine end of the spectrum is not uncalled for. This is not to imply that it doesn’t smell good on woman’s skin, because it does, but it is not what most people in the West associate with a feminine smell, although it is said to have been inspired by a traditional recipe of African women as an attraction elixir. Bertrand Duchaufour,the nose behind this oddball, visited his brother in Mali where he learned that the women there concocted a fragrant alloy of flower petals spices, fruits and woods which they used to scent themselves. The fruits in Timbuktu are nothing like the department store variety of saccharine persuasion we have come to expect and do not make a pronounced appearance. In fact it is not very unlike the niche green mango note that is present in Jardin sur le Nil (although there it manages to also evoke the peel of fresh grapefruit to me). The inclusion of patchouli of the Voleur de Roses variety, vetiver and myrrh provide a backdrop for good lasting power allied to the powderiness of benzoin which makes a short vanishing act at the end.
I do not find it similar to anything else on the market, although a slight relation to Kyoto from CDG Incense series might be detected if hard pressed.
I find it is best suited to in-between weather: neither too cold, nor too cold, so autumn and spring are its shining seasons. It comes in eau de toilette.

Costes by Hotel Costes: I hesitated before including this one in today’s procession, because it is rather warmer and somehow richer in its ambience, with its spicy cinnamon and white pepper character, but the notion that it is inspired by a hotel in Paris (thus having a hospitalier connotation) and made for them and the red colour designated to this day -which is reflected in the packaging of this perfume- convinced me to mention it just as well. The nose behind it is Olivia Giacobetti, a young and quirky perfumer who has worked on many inriguing scents such as En passant, Passage d'enfer, and Dzing! Initially conceived as a candle and then as a fragrance by people who have also ventured into musical CD compilations aiming at providing lifestyle options, it manages to smell different on different people.
It still has the green and herbal character that is tied to the vision I have of this day in my mind, with a touch of evergreens, crushed coriander and laurel leaves that remind me of a good stew or lentil soup being made.
Luckily, although it is said to be included among the mix, rose does not make a pronounced appearance on me, meaning it is not the old-fashioned powdery rose which might take a turn for the sour on certain skins (or brains...). There is also a soap element like that of alkaline suds of slightly sweet sandalwood old-fashioned men’s soap allied with pure lavender that is surfacing on my skin and thus it takes a clean turn that is rather welcome in warmer weather. That aspect is not antithetical to the notion of incense fragrances as lots of them do explore the pureness and spirituality of cleanness. It is not only the deep, pungent efforts that might reek of pretence that capture the mysterious. The incense in Costes is smoky and not too rich, slightly recalling a much lighter (and thus perhaps more wearable for lots of people) of Essence of John Galliano by Diptyque which also started as an ambience smell rather than a personal fragrance (more on which later on).
I think Costes can be enjoyed in any season by both sexes, as long as the wearer has a little individuality and a modern air about them and is not up against a heatwave. Its lasting power is average for an eau de toilette concentration.


Next installment in the series will tackle a different aspect of incense.




Greek orthodox icon pic comes from saintbarbara.org

L'Artisan Parfumeur Fleur de Narcisse: fragrance review (Sleeper in the valley)

L’artisan’s new Fleur de Narcisse brought to my mind something I had read a long time ago. Joan Julliet Buck, editor of French Vogue, was for years addicted to wearing a narcissus poeticus absolute. She used to wear one drop on each wrist, it being so concentrated that it was all she ever needed. “Two in the bath were enough to send silver running down the walls; it set the world throbbing out of control when I wore it. It became a little weird. It was only years later that I read that inhaling too much of it can make you mad”, she has been quoted to say.
Madness, poetry, out of control: in short both mythology and the damned poets of the 19th centrury. Fleur de narcisse does nothing conventionally pretty and is so heart achingly multifaceted to warrant elaborating.
Narcissus poeticus, the asphodel of Greek mythology, the flower of the underwold; of oblivion and perdition. And yet, the daffodil (the common name for its brother, the pseudonarcissus) is botanically-speaking a purported cure for madness.

Daffodil or “Lent Lily,” was once white; but Persephone, daughter of Demeter (Ceres), delighted to wander about the flowery meadows of Sicily. One spring-tide she tripped over the meadows, wreathed her head with wild lilies, and, throwing herself on the grass, fell asleep. The god of the Infernal Regions (called Pluto by the Romans), fell in love with the beautiful maid, and carried her off for his bride. His touch turned the white flowers to a golden yellow, and some of them fell in Acheron, the underworld river, where they grew luxuriantly; and ever since the flower has been planted on graves. Theophilus and Pliny tell us that the ghosts delight in the flower, called by themthe Asphodel. It was once called the Affodil. (French, asphodéle; Latin, asphodilus; Greek, asphodilos.)

Narcissus, also enters the associations; the greek mortal who fell in love with his youthful image as reflected in the clear waters of a pond. It was his punishment for rejecting so cruelly the nymph Écho. The best known version of the myth is contained in Metamorphoses by Ovid.

And then more aptly than anything else, Rimbaud’s poem “Le dormeur de Val” (Sleeper in the Valley) enters my head. Of course the poem was written about war and the sleeper is a dead soldier...The arresting imagery of this exquisite poem written at the tender age of 16 was what Fleur de Narcisse evoked in my mind immediately.

C'est un trou de verdure, où chante une rivière
Accrochant
follement aux herbes des haillons
D'argent; où le soleil, de la montagne
fière,
Luit: c'est un petit val qui mousse de rayons.

Un soldat jeune, bouche ouverte, tête nue,
Et la nuque
baignant dans le frais cresson bleu,
Dort; il est étendu dans l'herbe, sous
la nue,
Pâle dans son lit vert ou la lumière pleut.

Les pieds dans les glaïeuls, il dort. Souriant
comme
sourirait un enfant malade, il fait un somme:
Nature, berce-le
chaudement: il a froid.

Les parfums ne font pas frissonner sa narine.
Il dort dans
le soleil, la main sur sa poitrine
Tranquille. Il a deux trous rouges au côté
droit.

by Arthur Rimbaud, novembre 1870

Here is an english translation by Lisa Yannucci (scroll down)

Spraying Fleur de Narcisse on the skin, the verdancy of rich vetiver married to pungent virile leather reminds me of the wet black earth and the oily old tar of a dirty forgotten road. Masculine soiled boots tread on a never ending journey through fields scattered with heady fatty asphodels into the great unknown. Poignant cries of the damned tear the heart strings. Sweet and salty grains of pollen fly into the air, reminding the joys of what cannot be had any more; the light, the sun, the warmth. Sad powder and wetness, warm cloth and cool dampened hopes; one last whiff of rich smoke before succumbing to the fate of us all...

Part of the new privée collection of millesime/harvests by L’artisan parfumeur, first of which was the crystalline floral Fleur d’Oranger made by Anne Flipo using the Tunisian orange blossom Vergers de Nabeul from the spring 2004 harvest and launching it in 2005.
This new one is also made by Anne Flipo using the exceptional harvest of narcissus blossoms from the volcanic area of Lozère, part of the Languedoc-Roussillon region in southern France during the days of June 6th and 7th of 2005.

The official notes are: narcissus, hay, hyacinth, blond tobacco, iris, blackcurrant bud, moss and leather.

Released as a limited edition in only 3000 numbered bottles of Eau de parfum 100ml encased in wooden boxes like a fine vintage of wine, foiled with silk paper, the bottle engraved with narcissus flowers, it will retail for 240 euros which is around 300$. Exorbitant price for sure, but narcissus poeticus is an extremely costly ingredient anyway.
Available fromFirst in fragrance/Aus liebe zum duft in Europe as we speak and soon in the US in November at L’Artisan Parfumeur Soho, Henri Bendel, and Madison Avenue boutiques, select retailers and the L'artisan boutique on-line.

Pic is "La Metamorphose of Narcisse" by Salvador Dali courtesy of perso.orange.fr