Thierry Mugler Les Parfums de Cuir (The Leather Collection): new fragrance editions

In celebration of the 20th anniversary of French fashion and fragrance house Thierry Mugler, The Clarins Fragrance Group has added a new twist to the brand's classic fragrances with the release of The Fragrances of Leather collection.

The new line-up includes vamped up, leather-ied in fragrance terms (if you're not sure what these are, look it up in our Leather Fragrances directory) special editions in the following best-selling fragrances: Angel (a gourmand with added notes of iris and apricot), A*men (uniting patchouli with leather), Alien (with added amber and dried fruits) and Womanity (highlighting the existing labdanum into a protagonist in the new formula). Leather is a fragrance note that is making a come-back (about time!) as witnessed by the launch of Bottega Veneta eau de parfum (and probably Louis Vuitton  perfume next), catapulted by the niche sector into the mainstream.

 The launch of the new Mugler fragrance editions is set out for October 2012 with a new design for the feminine bottles and the familiar black one for the masculine A*men in ambery juice shades.


[news source]

Etat Libre d'Orange The Afternoon of a Faun & Dangerous Complicity: new fragrances

Etat Libre d'Orange have stunned us with Jasmin et Cigarette and Like This. They have surprised us pleasantly with Fils de Dieu du Riz et des Agrumes and Archives 69. They have had our jaw dropped on the floor with Secretions Magnifiques in a most memorable way. And now, set for release for October 2012, the French niche brand is issuing something that has me reminiscing of the days when I was practicing for piano solos at the Conservatoire, listening from the adjoining rooms all the other musicians practicing as well; namely a fragrance inspired by a most famous musical piece, L'apres midi d'un faune by Claude Debussy set into a ballet infamously by Nijinsky.
And to follow, there's yet another fragrance launched in autumn 2012 stepped in the myth of original sin...

The symphonic poem by Debussy derives its theme of the wanderings of a mythological creature, a faun, symbol of the wild forest life, from another source too: the erotically charged poem by Stéphane Mallarmé, The Afternoon of a Faun (1876).

 "The pomegranates burst and murmur with bees; 
And our blood, aflame for her who will take it, 
Flows for all the eternal swarm of desire. 
At the hour when this wood's dyed with gold and with ashes. 
A festival glows in the leafage extinguished: 
Etna! 'tis amid you, visited by Venus 
On your lava fields placing her candid feet, 
When a sad stillness thunders wherein the flame dies." [excerpt]

The new Etat Libre d'Orange fragrance romantically named The Afternoon of a Faun is composed by perfumer is Ralf Schwieger (of Lipstick Rose fame) and will include notes of bergamot, pepper, cinnamon, incense, immortelle (everlasting flower), orris, myrrh, leather, benzoin. Sounds like the erotic dream of the amorous faun is passed on into the olfactory domain now...



 Etat Libre d'Orange also issues another fragrance, Dangerous Complicity, inspired by Adam and Eve and their loaded story in the garden of Eden; a charged olfactory composition that will create talk thanks to its ingredients if nothing else. Perfume Violaine Collas combined Rum Jungle Essence by Mane, ginger JE, coconut JE, bay essence, calamus essence, osmanthus absolute, Egyptian jasmine absolute, ylang ylang essence, lorenox (an aromatic woody-leathery base developed by Mane), patchouli essence, a leather accord, sandalwood, and Cashmeran.

music: Prélude à l'après-midi d'un faune, L'Orchestre symphonique de Montréal, directed by Charles Édouard Dutoit.

Guerlain Songe d'un Bois d'Ete: fragrance review

Songe d' un Bois d'Été is perfumer Thierry Wasser's offer to the chthonian deities, a prophylactic philter for safekeeping from all miasmata. Simply wonderful rendition of the oud/aoudh perfume raw material, with none of the synthetic Band-Aid note that often creeps us in modern compositions touting the precious essence as a protagonist, Songe d' un Bois d'Été (i.e. Dreaming of a Summery Wood, part of Les Deserts d'Orient trio) is balanced and magnificent from all angles and can become a special man's ~or a woman's who loves woody somber compositions~ scented amulet.

Straddling the line between contemporaneous sensibilities and antique exotic traditions, it has the patina of aged woods and bronze artifacts hiding in some cave in the desert, yet its Frenchiness is undeniably there too; its exceptional craftsmanship is immediately evident, its restrained balance the work of experienced hands and a Swiss organized mind. You can read Guerlain in the fine print, even if the capitalization is in Arab calligraphy. There is no excess, no overindulgence, but an ornate "abaya" cloth which hints at the contours it hides, an oil painting in saturated burnished tones. Like Encens Mythique d'Orient, it proves Wasser's maturity and heralds good things for Guerlain.

The most Arabian-inspired in the newest Guerlain trio, this intensely woody fragrance smells alternatively parched and sweetish, revealing different facets throughout the duration on the skin; somewhat medicinal at times too, yes, but with smiling mien following the sobriety, like dark leathers laid in the sun underneath hanging dried herbs (I smell laurel and myrtle). Indeed the opening of Songe d' un Bois d'Été is balmy, pinching the nose with its herbal, aromatic, sunny quality, balancing the powerful woody elements of oud and leather pungency to follow. There is an indeterminate spicy, ashy-green segment, reminiscent of crushed cardamom pods that enter Arabian coffee and chocolate desserts (indeed a hint of chocolate can be attributed to the rising of patchouli from the base) and a stamen or two of leathery saffron (reminiscent of the treatment in Cuir de Lancome).
Mingling with the aromatic top notes, this spiciness provides the piquancy needed to lift the composition. The progression is somber, diffusive and saturated, (burnished cedar and Iso-E Super take a big percentage of the formula), with intense notes of oud chips burning (the note is reminiscent of the Mona di Orio perfumes oud ingredient), myrrh resin and lush jasmine sambac; the latter lightly sweetens the proceedings with its narcotic floral facets. Not necessarily the most innovative or driest leather fragrance (that would be Guerlain's Djedi), nor the greatest woody to ever come out of the house (that distinction probably belongs to Derby), but it is so carefully composed one can't help but admire it.

Songe d' un Bois d'Été is that rare thing: an predominantly oud wood fragrance that doesn't need to be unpleasant and bitter to tout its exoticism, to mark its seal of connoisseurship, to establish itself as niche. It simply exhales quality and mastery all around and is a delightful addition to any discerning perfume wardrobe. Admittedly a little bit masculine for most women''s tastes, but none the worse for it.



The Guerlain perfume bottles of Les Deserts d'Orient are adorned with Arab-cript calligraphy down one side, the French names down the other side. They are the tall, architectural style of the collection L'Art et la Matière with the antique gold overlay on the sides holding 75ml of perfume. The concentration of the fragrances is Eau de Parfum for tenacity. Prices are set for 190euros/AED990 per bottle. The perfume is available exclusive in the UAE and the Guerlain flagship store. Also via the connections of Wim in Parfumerie Place Vendome in Brussels.

Painting by Corrodi Hermann David Salomon, Arab Carpet Merchants

Estee Lauder Azuree (original): fragrance review

There is a family of perfumes composed by the same brilliant perfumer: Aramis being the butch Godfather patriach, well behaved on the outside, dangerously brooding on the inside. Cabochard is the maternal force turning the neck (and therefore the head as well) in any which way she likes, while Azurée is the younger long-haired son or daughter driving fast without a licence. They could have been The Sopranos, had the show been more stylish-oriented and retro glamorous. Or not. It doesn't matter, we can imagine. For those who didn't know it, Azurée (1969) is by the great Bernard Chant, the guy behind both Cabochard and Aramis; a fresher interpretation of the Aramis idea given a luminous fruity topnote of refreshing bergamot, while still remaining resolutely herbal.

Chant was mad for chypres, skanky animalic or non; his Aromatics Elixir for Clinique is a seminal study on mossy herbal patchouli with a big rose lurking inside the bush. Azurée, albeit herbally green and chyprish, is softer than leathery Bandit and lacks the acid green bite of the quinolines that compose the latter's leather note, thus making it more approachable, if largely unsung.

The zeitgeist and the image 

Azurée is unsung because it's an atypical Lauder fragrance. Usually big, expansive and highly floral femme in a very American way, Lauder fragrances are of a routinely high standard, yet of a somewhat "mainstream" image that belies their quality. It's all down to advertising and positioning; the repeat customer of Lauder (in makeup and cosmetics as well as fragrances) is the middle-aged, middle-class woman of predictably good taste, which tends to (unfortunately) brand the house as "unexciting". Azurée however could pass as a niche offering for the customers of -say- Beautiful or Pleasures. If it were embottled in a dark squarish flacon in the Tom Ford Privée line I bet it would be hailed as the new best thing. And it would cost the stars too, while I hear Azurée will only set you back about 40$.


We tend to forget that what passes as niche today was actually mainstream all right in 1969, when Azurée launched. We also tend to forget that the Mediterranean ideal that niche perfumes today advertise with the accompanying imagery/concept (from Aqua di Parma Blu Mediterraneo fragrances to Ninfeo Mio and Philosykos) was incorporated into perfume releases then without any visual or conceptual stimulus. It's odd to think Azurée as a perfume for Chicago wearing; it's just so darn South of France (or Capri-like) in its ambience! After all that's where its name derives from. I can almost see Romy Schneider in La Piscine putting some on casually before embarking in that fateful romance. Or think the swagger of Lauren Hutton when she was in her prime.
But then again, 1969 was the time of the sexual revolution and the fragrances matched the spirit of the times. To quote Queen, these "fat bottomed girls [were] gonna let it all hang out [and] make the rocking world go round"; out for good fun and expected to be worn indiscriminately, without pretence. Azurée is one such gal.

Scent description

The citrusy introduction of Azurée is wonderfully clean, bitterish and STRONG, providing the ouverture to an aria of leather, tar-like notes fanned on flowers and herbs. But the flowers don't register as especially feminine or romantic, rendering Azurée perfect for sharing between the sexes. A peppery twist is running throughout the fragrance, stemming from the herbal and basil notes and the more the scent dries down on skin the more the herbal and mossy character is surfacing. The perfume straddles several families in fact, from aldehydic, green/herbal, woody & leather without trying to please everyone and ending up pleasing nobody; and that's a great thing!
 The herbal and pungent character makes it very detached from today's sweet sensibilities, unless we're talking about niche perfume wearers joining you, so it's advisable to limit its use to smart company and minute application (it's POTENT stuff!). Amazingly, it's also not ruined through various reformulations, so great value for money all around.

Please note: The classic Azurée is NOT to be confused with Azurée Soleil (also very good but in a completely different game) or any of similarly named "beachy scent" summer variant to be launched in the future perhaps. You will know you got the classic, if you had to ask the sales assistant at the Lauder counter to get this out of the back of her drawer, like it were illegal contraband.

Notes for E.Lauder Azurée:
Top notes: Aldehydes, bergamot, artemesia, gardenia
Heart notes: Jasmine, geranium, cyclamen, orris, ylang-ylang
Base notes: Leather, patchouli, oakmoss, musk, amber

And another set of notes, via Basenotes:
top: basil, jasmine, and citrus
heart: armoise, sage, spearmint, vetiver, and rose
base: patchouli, moss, and amber

pics of Romy Schneider & Alain Delon in La Piscine via europeanbreakfast.tumblr and habituallychic.blogspot.com

Tom Ford Private Blend Tuscan Leather: fragrance review

Created in 2007 by perfumers Harry Frémont and Jacques Cavallier for the Tom Ford Private Blend line, Tuscan Leather is an atypical leather fragrance not quite for everyone; leather enthusiasts might find enough quirks and crannies to elaborate on, but still be puzzled by its antithetical, polarising nature.

via stickssn.org

On one hand, the introductory blast of petrol fumes plus red fruits (mainly the tart scent of raspberries) is not exactly conductive to what people have come to expect from luxury leather blends. The expected pipe tobacco-leather upholstery richness with its fruity, bittersweet and whiskey nuances contrasts intellectually with the effect witnessed here. We have also been familiarised with the fuzzy apricot and amaretto-apricot-pits ambience of Lutens's Daim Blond, for a suede-like scent, but the tartness of berries offsets the leathery pungency here rather than mollify it. The leather perfume note in the Tom Ford is rubbery, smoky, like shoe polish and cool tires. If your elegant leather ideal has always been Chanel's Cuir de Russie, Tom Ford proposes a modern take on leather, but with much less vanilla and musks than in Bvlgari's rubbery Black.

On the other hand, pungent but restrained and under specific circumstances even velvety, with a true leathery note like a nubuck handbag fresh off the mending shop, Tuscan Leather is a cross between luxury items, new bucket seats in your new Bentley and furniture polish smeared generously on wooden planks. The leathery nuance by saffron, bittersweet,  fits perfectly. There is even a hemp like note, and I was under the impression I was delusional until I saw The Non Blonde claim the same. The terpenic, pine-like facets, revealing themselves through resinous citrusy elements (frankincense being one), are jarring, instead of airy or citric like in Etro's Gomma. Perhaps even more jarring by the addition of an oud base, a direction in which Montale followed with his Aoud Leather two years later. Perversely, the more the fragrance stays on, the more the raspberry comes through. Trippy!

Essentially linear, Tuscan Leather projects well and lasts average. In a pinch, if you sprayed Givenchy's Hot Couture over a gritty leather armchair, preferably in a newly polished library, you might start getting what this is all about. Butcher on women's skin than on men's but also sweeter in the final whisper, it's a unisex fragrance like all the Tom Ford Private Blends, which demands trying on first. It's not for shy, girly-girl women or men lacking self confidence.

Notes for Tom Ford Private Blend Tuscan Leather:
Raspberry, thyme, saffron, jasmine, olibanum, leather, oud/aoudh/agarwood.

Tom Ford Tuscan Leather is available in 50ml and 100ml bottles (from what I have seen, other Private Blends come in 250ml) of Eau de Parfum in select doors where the Tom Ford Private Blend is sold.

Related reading on Perfume Shrine: Leather Fragrances reviews series, Tom Ford news & reviews

Armani Prive Cuir Noir: new fragrance

From Cordoba in Spain to the foothills of the Atlas Mountains...Leather tanning is an ancient and refined art and the fragrances which utilize this slightly primitive, animalic scent of the hides have been the fascinating milieu of some of the most sophisticated perfumes in the history of perfume-making. The wild scent of tallow teams with the smouldering, tarry aroma of black birch and the powerful accord of Russian hide gives way to the smoother notes that evoke the matte beige lightness and softness of suede. Giorgio Armani, no stranger to this universe of scent, is supplementing his exclusive collection with one such fragrance, giving an opulent interpretation for modern tastes.

Armani Privé is issuing a new fragrance in the collective opus of sumptuous wooden bottles, set to circulate more widely this spring: Cuir Noir.

Part of the even more opulent collection Les Mille et Une Nuits within the Armani Privé brand, the new Cuir Noir is an olfactory tale that pays homage to the orient and the eternal fascination with the East. This new oriental adventure, just like Oud Royal, Rose d'Arabie and Ambre Orient before it, depicts the perfumes and enchanted atmosphere of the Arabian Nights. The fragrances form a quartet of dreams, inspired by blue desert nights and whispers seeping through ornate arabesque grilles.

The perfumer has tamed the exotic nature of noble and rebellious ingredients, sweetened the sharpness of "gold and spice" and softened smoke and resin. For Cuir Noir the perfumer envisioned a gradiation of ambery shades, from golden blond through reddish copper to deep brown; a soft suede texture; and the velvety creaminess of a liquer.
To accomplish that, the opening was constructed to immediately smell of rose essence paired with Australian sandalwood, set off by a hint of coriander and nutmeg. The progression is more textured with leathery and smoky notes of gaiac and oud alternating. The base is sweet with Tahitian vanilla absolute and benzoin balm.

The new Cuir Noir will be available at select stockists who carry the Armani Privé line.

Chanel Antaeus & Antaeus Sport Cologne: fragrance reviews & comparison

Should anyone were to purchase a masculine Chanel fragrance off the mainstream, department store circuit, Antaeus would top the list. Beyond the easy-to-like-factor of  Égoïste, Antaeus is at once satisfyingly full-bodied and perversely challenging to pin down, like a porcupine run amok. It both feels as ambitious as Gordon Gecko and is sexy as hell at the same time. In fact "shexy" is more accurate of a description; it was the first, purring exclamation my girl friend blurted out when presented with a blotter sprayed with it. Her eyes all sprakled up, I swear! And she's a gal to wear floral musks and light woodies herself, no potent stuff by any stretch of the imagination.

As to Antaeus Sport Cologne, such an outfit not only exists, it's totally hawt itself! Contrary to what might be expected of the name, it's neither new, nor shy, sporty-smelling cologne. Instead Antaeus Sport was conceived just 4 years after the original as a rather less chest-thumping version; in contemporary terms, that's as polite as Gordon Ramsay and as meek as Simon Cowell and I just love it. I've  made myself crystal clear, I hope? Good! On to the more analytical description.

Chanel Antaeus Scent Description & Contradictions
Antaeus hails from Greek mythology, though it was Jacques Wartheimer who decided to name his company's new masculine thus after the shop name of one of his friends (don't ask!). The handsome hero with the hostile name (the Greek "Antaios" means opposing, it survived as Änti in the Berber tradition, since the hero was supposedly born in Libya) was a giant (the son of Greek Goddess of the Earth, Gaeia, and of Poseidon, the god of the sea) and the fragrance would be just as powerful. His advantage, in true Dracula-style millenia before the Stoker hero, was touching the sacred earth-mother for regaining his strength, and classical sculpture presents him in wrestling poses with Hercules lifting him in the air in a crushing bearhug. No wonder Chanel Antaeus soon became a cult gay favourite! As would have been expected, Antaeus is a beautiful, classically handsome earthy chypre scent, woody-baritone in timbre with glorious animalic, leathery and herbal accents. Not only that, but it's classically built into an arc of progressing accords which keeps one engrossed till the very end.

Composed in 1981 by in-house Chanel perfumer Jacques Polge, in-house Chanel perfumer after Henri Robert and Ernest Beaux before him, it brings back the 80s as surely as Doc Martins, suspenders on men, and jackets with shoulderpads. The fragrance is so complex, nuanced and well-blended, I seem to sometimes pick up notes that aren't even listed in the official notes given by the company, such as chamomille, smooth amber, some subdued rose beneath the patchouli, even a hint of fruit...then I can't quite catch them again, and on and on. It's also funny that it gives the impression of being oakmoss-rich, while in fact neither of the boxes are stating even as small a percentage as 0,1% as allowed by IFRA directions. Not only that, but its perfumer, Jacques Polge, has been put on record in French paper Le Figaro, a propos the launch of "nouveau chypre" 31 Rue Cambon as not a great fan of oakmoss anyway, because he" finds the smell too 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". Yet surely such reasons had no resonance back in 1981 and Polge has used oakmoss before (even in keepsaking the other Chanel fragrances he didn't author). But smelling Antaeus besides similarly veined leathery woody-oriental Yatagan by Caron, one sees how it might just be possible.

The opening blast of Antaeus is arid and very memorable; sharp citrusy notes (clary sage, bergamot and lime with its sharp yet lightly sweet profile) meet the unique aroma of myrtle, but at the very same moment we're buoyed by the deathly pungency of castoreum flowing from the depths. This gives a leather note of impossing character, smoothed thanks to woodier nuances and herbs (thyme mostly). Perhaps this is why Antaeus can justifiably stand as the masculine version of Chanel No.19 and thus finds its lineage in the Chanel portfolio. But whereas No.19 is powdery with a glimpse of flowers, Antaeus is manly as a "French key" and bitter-dark with a somewhat soapy note (which reminds me of chamomille, rose, patchouli and vetiver combined). The woody fusion of patchouli and sandalwood reminds of formidable virile masculines of the same era such as Cartier Santos and Givenchy Gentleman..and yes, Kouros by YSL! What asserts the Chanel's irresistible charm, stopping it from appearing desolate and bone-dry, is the delectable, sweet and decidedly "animalic" (aka animalistically sexy) labdanum and beeswax absolute base; the two materials are pheromone-like, erotically full of vibrancy, full of hushed gropping in the dark. The contradicting enigma of total id in a total class package.

Notes for Chanel Antaeus: Clary Sage, myrtle, bergamot, patchouli, sandalwood, labdanum, beeswax absolute.

Antaeus seems to have passed through two reformulating periods, as far as my memory serves. The first deducted some of the opening pungency and upped a somewhat aldehydic character in the opening. The second lightened the potency and lasting power, but seems to have re-established some of the arid and distrurbing top note which makes it what it is. It's perfectly good as it is, for now.

Chanel Antaeus Sport Cologne Scent Description, History & Comparison with Original Antaeus
Antaeus Sport Cologne (1985) came on the heels of the original, making it a "sport vintage" which is an oxymoron to write history with. It's now discontinued for no good reason other than it might have given convulsions to the type of guy who is seeking fragrances tagged as "sporty" because in reality he wants a limp-wristed thing to not offend other guys at the office. Exactly contemporary to Guerlain's exquisite Derby, this old-school fragrance shares some of the latter's facets imbuing the heart with an irresistible pull. Namely the green bitterness of the artemisia, some of the spice (the nutmeg and pepper in Derby become pimento, mace -from which nutmeg is extracted- and pepper in Antaeus Sport), and certainly the woody and leather core. This is an aromatic woody chypre like the original and it packs a punch. While Derby is firmly poised on Perfumed Olympus, Antaeus Sport languishes in limbo due to its unknown status. It's true that Derby is plusher in typical Guerlain style and rather more polished (the way Diorling is super-polished in the feminine leathers stakes), while the Chanel is a bit rough at the edges, but by no means an unworthy contestant.

The two Antaeus verions are clearly related, yet they do persent their differences. The Sport variant is smoother and less herbal than the original Antaeus, with a less dissonant harmony and a more luminous -rather than darkish- trail. It's totally lasting and rich, however, belying its perception as a "lighter" edition. This is seriously good stuff and if you happen upon a bottle someplace (auction, estate sale, back of moving out apothecary) grab it and hold on to it for dear life. On the plus point, since it faced the fate of discontinuation, it profited from having its depths non disfigured and its potency preserved intact.

Notes for Chanel Antaeus Sport: Bergamot, lemon, artemisia, peppermint, pimento, rose, pepper, mace, jasmine, leather, vetiver, sandalwood, patchouli, oakmoss.

Paco Rabanne La Nuit: fragrance review

Smell La Nuit by Spanish-born designer Paco Rabanne and nostalgise about the 1980s with a vengeance. In that carnal decade, La Nuit was aimed at "the sensual, sophisticated and modern woman" "partout où est la nuit" (everywhere where it's night-time) and was quite abruptly discontinued in the following decade. Paco Rabanne fragrances from the 1969 cool Calandre to the 1988 men's aromatic Ténéré and the excellent 1979 Métal suffer from market maladjustment despite their pitch-perfect tune-in with their times; they fly under the radar for no good reason and get discontinued all too unjustly. La Nuit (1985) is a similar case in point.

Poised between a leathery chypre with fruity accents and a deep oriental (with no great sweetness), Paco Rabanne's La Nuit, composed by perfumer Jean Guichard, is vaguely reminiscent of the danger and swagger of vintage Narcisse Noir by Caron: c'est troublant! It also has elements of the sharp scimitar weilded by Cabochard and the urinous honeyed leather of Jules by Dior. 
Once upon a time a certain biophysicist with a keen interest in perfumes had given away the perfume's core character by (positively) claiming that it smells "as if you sprayed Tabu on a horse", thus delineating the two main directions the composition goes for: civet (of which Tabu has oodles) and leather. This of course goes contrary to prior writings in French where he compared the upkeep of interest in smelling the dissonant top notes with musicians tuning up their string instruments before a concert. His apology and excuse?

 "My extenuating circumstance was that at the time (1985) I lived in Nice, where women can be toe-curlingly vulgar, and it was a big hit. [...] Now that the Niçoises have moved on, I see it for what it was all along: the sexiest fragrance since Cabochard”.

The construction of Paco Rabanne's La Nuit lies in the precarious juxtaposition of unassuming, fresh ingredients over "animalic" notes (those smells which recall real animals or rather our libidinous animal urges, as delineated by the discourse between Jung and Freud). The top of La Nuit is profuse in linalool, rather aromatic with a hint of spiciness like basil and myrtle, and a "bruised" citrusy note that results from the aging process in the vintage bottle. In the evolving process, golden hued plum and peach skin (the note made famous by undecalactone in Guerlain's Mitsouko) lend an old-school, rich saturation; compared to the graphic shrill effects that many contemporary fragrances go for in their search for "freshness", 1980s fragrance seem akin to canvases painted by the Great Masters. Of course this tells us more about the state of perfumery now than about La Nuit.
What transpires through this deep, pungent fragrance is an animalic, sweaty mantle (made slightly austere by a woody note of cedar) that engulfs a honeyed rose heart, the latter perhaps reminiscent of L'Arte de Gucci; the rose isn't what it's about nevertheless, but serves as a feminine counterpoint to the more unisex animal notes: Not only a huge dose of civet, but also the whole kit-and-caboodle of retro musks, intimate-smelling beeswax and bittersweet leather, almost urinous notes. The effect is a rich, individual leathery fragrance which can be quite alluring on the right type of defiant woman (or a discerning man); personally I can easily imagine it on Violetta Sanchez.

Extremely tenacious for an eau de toilette and even an eau de parfum (the latter slightly better nuanced) and very discernible sillage make this a vintage fragrance to use sparingly, especially if you "don't want to offend". (Then again, what are you doing playing with La Nuit?). The parfum (procured via a valued friend collector) is frankly exquisite.
I don't find it as debauched or decadent a scent as other hunters of the vintage scented gems (the term affectionately used is "skanky"), but rather edgy and quite French in its "je m'en foutisme" that French perfume wearers always had about their personal choice.
No wonder it's discontinued...

Notes for Paco Rabanne La Nuit:
Top Notes: Bergamot, Lemon, Tangerine, Myrtle, Cardamom, Artemesia (Armoise)
Heart Notes: Jasmine, Rose, Pepper, Peach
Base Notes: Cedarwood, Leather, Patchouli, Oakmoss, Animalic note, Civet

Related reading on Perfume Shrine: The Leather Series (leather scents directory with history info &fragrance reviews)

Photo of Arielle, Monte Carlo 1982, by Helmut Newton

Bottega Veneta Eau de Parfum: fragrance review

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

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

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

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

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

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

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

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

Drive film artwork featuring Ryan Gosling via Soraiah Zohdi

Maitre Parfumeur et Gantier Cuir Fetiche: new fragrance

Leather fragrances have a rich and diverse history, but lately they're coming again to the fore thanks to their naughty connotations and the ennui with syrupy fruity florals. Maître Parfumeur et Gantier, a brand with class founded in 1989 by Jean Laporte, formerly of L'Artisan, revisits the theme with Cuir Fétiche.

The fragrance began with a trip to the Massif Central, a mountainous region in the south of France, in search of raw materials for their luxurious line of leather gloves, recounts head of the house Jean-Paul Millet Lage. Hence the new fragrance is advertised with the image of a naked woman, wearing nothing but leather gloves and holding a red-leather-corseted bottle of Cuir Fétiche.
The fragrance like a typical Maître Parfumeur et Gantier creation reprises favourite materials, such as jasmine, rose, ambergris and musk, but sublimates them through the synergy of mandarin, ylang ylang, vanilla and leather notes. The effect is rich and sensuous.

Notes for Maître Parfumeur et Gantier Cuir Fetiche:
Top: red mandarin, bergamot, lemon, geranium
Heart: leather, ylang ylang, jasmine, rose, iris, vanilla
Base: Musk, ambergris, patchouli, cedar, sandalwood.

The new fragrance will be presented in the perfume exhibition Fragranze in Florence, Italy, and will soon after become available at select boutiques. Cuir Fetiche is available in Eau de Parfum concentration in 100ml bottles.

Tom Ford Private Blend Japon Noir: fragrance review

The sexual ambiguity that surrounds Japon Noir , part of the exclusive & rather expensive Tom Ford Private Blend line, is reminiscent of Helmut Newton's photographs of androgyne figures, as if shot in midnight purple hues. There is an element of danger in it, like in the best of woody orientals or darkest leathery chypres; iron fists left out in the rain to rust slowly and booze & smoke smelt on the breath of muscle-for-hire. Unique and polarizingly perplexing, Japon Noir's enigmatic impression on me was palpable from the moment I first put it on my skin and brought its air of inkiness home to my significant other.

The inclusion of inky notes in Japon Noir points to a purposeful refinement, akin to the meticulous care of Japanese calligraphy on thick scrolls; much like the name would suggest. But that is not all, and this is its success: The ambery-patchouli mix suggests a sleek sensuality that hints at more carnal past-times. Indeed Japon Noir starts with a suave introduction that reminds one of sweeter ambery orientals while the fusion of spice and candied fruit notes is instant Lutensiana: the inspiration couldn't be far behind, surely. The inclusion of cumin, ginger, nutmeg and thyme is especially simpatico to those of a Moorish-loving sensibility. Although cumin isn't particularly "sweaty" in this one, body-odour-phobics are still advised to test it further before investing in a bottle; we all perceive levels of "dirtiness" differently and your threshold might be higher or lower than mine.

What makes Japon Noir unique is that those sweeter elements with the rather feminized jasmine heart, instead of petering out into a milky sandalwood impression, like in the best oriental tradition (Samsara, Obsession, Amouage Dia), raise themselves a notch into a wilder arpeggio, with the pungent warmth of leather and smoky-powdery incense (Incense in the eastern temple style like in Kyoto and possibly Ouazarzate, although in Japon Noir the combustion happening has a gasoline-like, synthetic impression). The base notes are not completely unlike the common leitmotif in many of the Private Blend fragrances, but Japon Noir stands alone in the combination and textural treatment of notes. In many ways a fragrance for connoisseurs, its individualistic streak makes it one to at least admire, if not outright love.

Japon Noir is advertised as a shared fragrance, pegged as a mossy-woods composition (according to the Michael Edwards taxonomy, corresponding roughly to the traditional chypre category). Yet my own classification would be someplace between woody oriental and leather chypre; a renegade in search of solace.

Notes for Tom Ford Private Blend Japon Noir
Patchouli, Vetiver, Amber, Jasmine, Porto, Leather, Spicy Note

The Tom Ford Private Blend line is available at select doors, such as Neiman Marcus and Harrods, but Japon Noir is reportedly discontinued as of January 2011 (like Moss Breches, Velvet Gardenia and Bois Rouge, other unique fragrances in the line-up, before it); which is an abject shame, but there you have it! (According to Tom Ford's interview on WWD in 2007, that was the plan all along: chop off a couple to make room for more every few seasons). If you're a fan, grab the last remaining bottles now.


Photo by Helmut Newton of women kissin, via colamonstrosity.tumblr.com

Puredistance I & Puredistance M, master perfumes: fragrance reviews

The ultra-exclusive (and ultra-expensive) Puredistance perfumes prove that not all such claims are bogus: Here are fragrances worth the trouble of going to lengths to sample them at the very least: They're rich, smooth, very luxurious-feeling indeed and even if the campaign is positioned to extol the exclusivity factor, the jus does deliver each and every time. The current collection includes Puredistance I, Puredistance M and Antonia, the latter of which I intend to come back to in the near future.

Puredistance the brand was founded by Jan Ewoud Vos in Vienna, Austria. If you have ever been to Vienna, you can't have failed to notice how it's probably the most civilized place on planet earth: a place where music flows forth endlessly from every street corner, people smile to each other in the streets in greeting (I'm talking perfect strangers here) and the elegant center of art attracts artists and free thinkers from all over the world in peaceful co-existence of different idiosyncrasies. The world famous Wiener Werkstätte (a production community of visual artists founded in 1903 by the artists Josef Hoffmann and Koloman Moser) is characterized by pure lines and minimal decoration and it is this which provided the inspiration for Puredistance lean lines in Swarovski crystal for their bottles.
Jan Ewoud Vos says: "Since several decades, people have conceived a very distinct image of what a perfume is about. And that image does not fit Puredistance. This will make it harder for us to be noticed. Puredistance is not made to last for a few years, like most new perfumes do, it’s made to last forever. Therein also lies strength. We don’t need to rush things. It will take time, but it will happen. For as I’m concerned: also this is predestinated. Real beauty will never go unnoticed.".

Before you start rolling your eyes like I was before actually testing them out, let me state this once again: These are quality fragrances that last especially long, come in parfum concentration that is delightfully smooth-smelling and provide that can't-knock-it feeling like a million bucks mood. Now let's get down and start salivating over the details.

Puredistance I is the first creation of the Puredistance company; a floral oriental, which was created by Annie Buzantian from Firmenich, NY, on a formula she had been working for years. Byzantian considers it her favorite perfume and her personal Masterpiece, which should be a foregone conclusion as it began as a quest for creating her own personal scent. Puredistance I feels like Chanel No.5, Guerlain's Cruel Gardénia and Narciso Musk for Her (the precious oil parfum) fused into one crystal clear and delightfully "clean", lightly soapy-lightly powdery melody on skin. It's practically purring with delight on my arms, its cool and warm facets competing for center stage all the while. That element which makes No.5 so compelling, the muskiness that exalts the idea of freshly scrubbed bodies which exude their own natural scent, is reprised here in a composition that infuses a little powderiness into the fresh almost ozone top notes that surprises and enchants. Annie Byzantian eschewed the traditional "luxe" techniques (raw materials that scream "I'm expensive", heavy character to denote richness etc) and instead provided a streamlines, seamless formula that feels timeless. You don't have to stink to high heavens to prove your mettle as a perfume aficionado: Here is proof that a subtle, elegant, "fluted" approach is just as memorable.
The composition is a sophisticated floriental with fresh opening (magnolia and an ozone-watery lily of the valley accord) and an overall floral and soft character which shimmers delicately like rose gold set with tiny diamonds on lily-like fingers. The more you leave it on skin the more it gains in soapy-powdery feel, quite delicate and feminine to the core, like exploring a woman's intimate secrets revealed only in the quiet of the night. The white musk and sandalwood are what remains poised when the sing of the birds at dawn has echoed through the night chambers and the sweet embraces are over.

Notes for Puredistance I include tangerine blossom, cassis, neroli bigarade, magnolia, rose wardia, jasmine, parmenthia, natural mimosa, amber, vetiver and white musk.
The perfume extract contains 32 % perfume oil which makes for a very long-lasting experience; you will wake up to the beautiful scent still lingering on your pillow.
The limited edition Crystal Masterpiece is available as:
A Crystal & 24 carat Gold version - 2048 pieces (2750 Euro retail)
A Crystal & high-grade Steel version - 4824 pieces (1750 Euro retail)
The separately available refill, a 17.5 ml. perfume spray (165 Euro)

Thankfully Puredistance DO sell the refills without you having to fork out so much cash for the crystal flacons, beautiful as they are, so if you're just after the juice, here's the option: just ask them for details & stockists (site info on the bottom)


Puredistance M is a wonderful leather fragrance that is perfectly unisex (M can stand for male, but it could also be thought of as upside down, aka W, aka, for women!). Conceived as giving the luxurious sensation of sitting snugly inside the new leather interior of a grey Aston Martin, preferably on Her Majesty's Secret Service, it feels exactly like that: warm, comfortable, expensive, very satisfied with itself. Puredistance M Perfume was made in London by Roja Dove, famous for his own bespoke and semi-bespoke line at Harrods where he directs the Haute Parfumerie, as well as his position at Guerlain for years. Puredistance M is made from a high concentration of perfume oil (25%) and available as a 17.5 ml. perfume spray in a metal grey giftbox or a leather case for the purse (or that glove compartment of that grey Aston Martin!) besides the more expensive crystal presentations.

To me Puredistance M feels like a clove-y leather fragrance reminiscent of retro fragrances that hard-core aficionados appreciate, such as En Avion by Caron; it's delightfully sensuous and uncompromising with a smoother underside than the Caron forebearer, all tactile satisfaction caressing the plush. In the first moments the spicy cinnamon-clove tinge embracing a discernible rose, is prominent, creating a vintage ambience with the slightly bitter nuances of leather in the mix, while the more it stays on skin the more it softens and becomes a skin scent with a faint whiff of ambery-musky sweetness that is delectable.

I know these are not Austrian images I'm going to conjure, but it's like the best things about 1960s Sean Connery and Michael Kaine in Alfie rolled into one and they produced an imaginary super-child that would smell of Puredistance M. I'm totally smitten!

Notes for Puredistance M include bergamot, Amalfi lemon, jasmine, rose, carnation, cinnamon, cloves, vetiver, patchouli, French cistus labdanum, oakmoss, musk, woods, and leather.

The Puredistance perfumes are available on the official Puredistance site, Harrods at London, Lianne Tio's boutique in Rotherdam (the one famous for her Goutal fragrances), at The Scent Bar in Los Angeles and other boutiques around the world (Find a complete list of retailers here).

Pics of Catherine Deneuve and Michael Kaine via Life magazine.
Disclosure: I was sent tiny samples of the perfumes from the manufacturer.

Guerlain Arsene Lupin Dandy: fragrance review & draw

It's probably not strange, but certainly unexpected, that a figure with retro connotations such as comte Robert de Montesquiou-Fézensac (who inspired not only Marcel Proust but also Joris-Karl Huysmans) should come out of a recent batch bottle of a Guerlain fragrance! Yet this is what happened when I tested Arsène Lupin Dandy, a scent that intrigued me for a long time before I put my thoughts into black & white.

(EDITOR's ADDITION: Please NB, due to ensuing legal disputes with L'Orsay who also have a Le Dandy fragrance, Guerlain has since dropped the Dandy from the name and now this is available as simply Arsène Lupin. The rest of the review mentions it with its older, longer name as that is what it was launched with at time of writing)


Given Jean Paul Guerlain's unfortunate recent comments and the futore which ensued, it's doubtful that we'll see another fragrance bearing his signature in the future. More's the pity, because amongst great perfumers of the 20th century, alongside his ascendant Jacques Guerlain of course, Ernest Beaux and Edmond Roudnitska, he certainly takes a place in the pantheon. Arsène Lupin Dandy, infiltrates Les Parfums Exclusifs, joined by Arsène Lupin Voyou, both in Eau de Parfum like the double face of Janus, and some of the other exclusive masculines (details here), is indeed a swan song of infinite grace and refined luxury. Much like some of Jean-Paul's best creations of his "golden years" such as Vétiver pour homme, Chamade, Habit Rouge (not Sport) and Chant d'Arômes , Dandy manages to exude richness without heaviness and luxury without one iota of vulgarity. This is how Guerlain ought to be constantly! Preferably in the mainstream sector as well.

Jean Paul collaborated, according to his own testimony, with in-house Guerlain perfumer Thierry Wasser to whom he passed the baton, on the two new masculine releases in their teak-wood-edged bottles. We will probably never find out the exact truth (especially given the two releases smell completely different and as if arrived at by different mentalities), so it's futile to press the point. Of the two fragrances, Dandy easily is the standout; the reason isn't hard to see.

Within this contemporary light woody chypre one can detect the emblematic character of 1920's & 1930's fragrances that made the reputation of Guerlain Parfumeur, such as Sous Le Vent (which which it shares the bitter green tinge of galbanum and the overall chypre elements, although it substitutes the murkiness of oakmoss with the quite different treemoss alongside patchouli and probably a smidge of vetiver). But it's also a modern enough accord to be featured in Martin Margiela's Untitled! The "nose" is reworking the best elements in the Guerlain tradition into formulae that are completely modern and can stand on their own in today's market.

Dandy is a grey suede leather which opens dark only to reveal lovely powdery nuances derived through ionones (floral violet & iris notes) and some spice later, very finely worked and flanked by patchouli and a resinous incense note. The citric aspects of the olibanum (frankincense) are complimentary to the hesperidic notes, which have a pleasantly restrained bitterish tinge, much like bergamot "spoon sweet" is the nicest to consume (same with sour cherry) because the natural tanginess of the fruit offsets the sugary aspects. The same effect is witnessed in maple suryp, which also has a passing resemblance with the resinous note in Dandy. The leather accord, immediately perceptible from the start, is in reality soft, maleable, velvety, echoing the suaveness of the literary character who inspired it. The literary character Arsène Lupin began his fictional life in 1905 (under "Lopin", until a namesake politician protested), smack-right into La Belle Epoque; an enigmatic figure in black-tie respendid with white gloves, a cape and a monocle, relieving the haute-bourgeoisie of their money, which seems like the perfect analogy for the clients of Guerlain Exclusifs!
The spices on the other hand (peppery bay and cardamom) provide a piquant tongue-in-cheek touch, fanned over the more predictable musk & light amber/labdanum impression of the far drydown, denoting the idea of a delicate "skin scent". The fragrance reads as a ballad of binary form.

For all its underlying complexity, appreciated through repeated wearings by both men and women who can snatch this easily for themselves, Arsène Lupin Dandy is a scent that does not proclaim its intricasies up front and keeps a cultivated air of mystery in the very best Voltaire tradition.

Notes for Guerlain Arsène Lupin Le Dandy: bergamot, bigarade, pink peppercorn, cardamom, violet, sandalwood, patchouli, cistus, olibanum.

For our readers a draw of a small decant out of my own stash: Say in the comments which is your favourite Guerlain fragrance and why and I will pick a random winner. Draw is now closed, thank you!

Related reading on Perfume Shrine: Guerlain news & reviews, Top 10 Memorable Masculines

Painting of French poet, writer and dandy, Robert de Montesquiou (1855-1921) in 1897. Portrait by Giovanni Boldini (1842-1931) via wikimedia commons.

L'Artisan Parfumeur Traversee du Bosphore: fragrance review & draw

Wheelbarrow, lay off the whip and don't rush the horses,
you don't need to hurry when you've got your love so close by.
When he smiles, the world smiles at me,
so let the wheel run where it might,
and wherever it goes, it's fine by me.

~from the song "Wheelbarrow" by Manos Hadjidakis from the 1963 Greek film Χτυποκάρδια στα θρανία/
(hence the top clip)

Any mention of Bosphorus, the strait between East and West, uniting and at the same time dividing Constantinople (Istanbul), which lays on both its banks, never fails to ignite a very palpable nostalgia laced with a smattering of pain for any Greek. We're automatically thinking of the failing grandeur of the Paleologi dynasty and lamenting for the times when Greeks and Turks co-existed in peace for centuries in this most cosmopolitan of Eastern cities. Traversée du Bosphore (Crossing the Bosphorus) by L'Artisan Parfumeur, like its namesake strait, was the straw that broke the ~proverbial~ camel's back, as anything referencing the city of Constantine will make me reminiscence yet again of my forebearers and the sweet camaraderie they had to abandond due to political turmoil. But The City, Istanbul, is in reality neither Greek, nor Turkish. It's neither christian nor muslim. It's a cultural border, a place where everything meets and unites, a cauldron of cultures and men; the place which millions of different people, of different nationalities and religions, loved madly through the centuries. A city so beautiful that there was no other way to call it than The City, η Πόλη!

Traversée du Bosphore comes now from Bertrand Duchaufour and L'Artisan Parfumeur as the symbolic strait between modern French perfumery and its oriental heritage. The unisex fragrance was fittingly inspired by a journey to Istanbul, when at the crack of dawn the cobblestone streets still retain their sleepy languor, like heavy-boned odalisques stealing gazes through the lacework wooden panel of the musharabieh, and when the many fishermen set out to catch their day's worth, packing nets, salty sardines and pita bread. You can easily lose yourself promenading unhurriedly through the small alleys towards the seraglio and Kahrié djami with its blue-peacock mosaics, gazing at the narthex's domes for hours or the many fountains where pilgrims ritualistically wash their head and hands before proceeding. It's a slow world, filled with beautiful wistfulness.



The strange thing about Traversée du Bosphore, part of the Travel series in the niche brand's subplot, is how a -by now- cliché concept (i.e.eastern exoticism) that should be a foregone conclusion (loukhoum, tanneries, saffron, milky salep drink, tobacco in hookahs, opulent roses, strange white flowers......hasn't Lutens exhausted that genre?) smells interesting and contemporary; nothing like a heavy odalisque looking through the parapets or Alladin rolled into plies and plies of plush carpets. Instead it's a gouache of a scent: a transparent suede floriental with soft musky notes, a marriage of rosewater and suede.

Indeed, the list of official notes for Traversée du Bosphore reads like a shopping list of things to find in a Turkish souk or at the very least smells encountered around a Turkish souk. The apple-laced çay (tea) is very popular and no one makes it more delicious than Piyer Loti Kahvesi at Eyup (the European side of the city), a stone's throw away from Sultan Ahmet Mosque and the Byzantine apotheosis that is the temple of Aghia Sophia. Loti is the writer of Aziyadé (see the perfume inspired by it) and knew a thing or two about sensual abandon...Tobacco is still smoked in hookahs; not only by old men in derelict coffee-shops, heavy in political talk, but from younger ones as well, when they finally sit down to have an aimless break. Men and women alike buy fresh phyllo pastry, almonds and pistachios to make baklava, and Turkish delight by the pound to bring back at home. The market is filled with golden and red heaps of spices, precious saffron and dried Turkish roses for using as pot-pourri. Tanneries do work merrily (Turkish leathers have competitive prices), although the effluvium isn't anything one would associate with perfume.

But the summation of the notes or the panoramic vol plané shot does not really tell the whole tale: Duchaufour was no stranger to Byzantine formulae, including everything but the kitchen sink before, and the results are diverse: from the baroque patina gold of Jubilation XXV for Amouage to the carnal tryst of Amaranthine for Penhaligon's, all the way to the deceptively diaphanous muddy-incense of Timbuktu for L'Artisan. His compositions include many pathways that lead to a gauze of orientalia.
For Traversée du Bosphore Duchaufour eschewed clichés to come up with a composition that marries on the one hand Anatolian leather (you will only smell grey suede, really, not harsh quinolines; it's comparable to the note in Sonia Rykiel Woman-Not for Men! and Barbara Bui Le Parfum) and on the other hand Turkish Delight (loukhoum), into a unique interpretation of the leather genre; velvety and whispery soft, opening upside down: After the brief apple çay top (blink and you'll miss it!), you sense the suede and only later the powdery loukhoum accord.
The strangely greyish powderiness of iris dusts the notes like white copra dust enrobes the small rose-laced loukhoum cubes, while saffron with its leathery bitterish facets reinforces the impression and balances the sweeter notes, much like it kept vanilla in check in Saffran Troublant. The iris-leather accord in Traversée du Bosphore weaves a whispery path together with a hint of almond giving a light gourmand nod. The whole smells like rosewater sweets wrapped in a suede pouch, never surupy and very skin-scent like (incorporating that Havana Vanille base), although a tad more flowery feminine than most men would feel comfortable with. It's a fragrance which smells nice and simple like a nostalgic song from an old movie which dies down to a murmur, and might demand your attention to catch the smaller nuances.

As for me I know well that the past is inextricably tied to the future, and revel in thinking of Istanbul as the pathway where cultures and people will eternally meet...and part.

For our readers a draw: one sample to a lucky commenter. Draw is now closed, thank you!
Tell us where you would envision the next travel series by L'Artisan should take us.

L’Artisan Parfumeur Traversée du Bosphore is available in 50 ($115) and 100 ml ($155) of Eau de Parfum wherever L'Artisan is sold (voutiques, Perfume Shoppe, Luckyscent, Aedes, First in Fragrance etc).

Related reading on Perfume Shrine: Travel memoirs Instanbul part 1, part 2, part 3,Leather scents



The bottom music clip and the film stills come from the Greek 2003 film Πολίτικη Κουζίνα/A Touch of Spice by Tasos Boulmetis, starring George Corraface and exploring the culinary philosophy that maps the course of modern Istanbul and the fateful, doomed romance between a Greek boy and a Turkish girl before the deportation of Greeks in 1964. It's uploaded in its entirety with English subtitles on Youtube: the first part is on this link and you can take it from there. Happy watching!