Upcoming niche releases: unveiled at Florence Fragranze No.7

The Florence exhibition Fragranza No.7 (more info clicking the link) will be the place of unveiling of several new niche fragrances from renowned brands, whetting our appetite from the months to come when they will launch officially for our delectation. In the meantime we're bringing you a roundup of those super-new releases so you can take notes for later on.

First L.T.Piver, an historic house and one of the oldest ones, is renovating their packaging for the entire line and issuing Cedre, Cuir, Epices, Vetiver, 4 masculine fragrances centered on cedar, leather, spices and vetiver respectively.

Memo is much more modern, but they're also taking the chance to introduce Moon Safari, a fragrance composed by Clara Molloy (on the right) and encompassing notes of mandarin, verbena, leather, vetiver and tonka beans. The fragrance will be encased in the familiar rectangular bottles with dots and the juice is a golden yellow.

Humiecki & Graef, another concept-line, after Skarb which rippled the pond with their advertorial, is issuing a new fragrance called Clemency (still under wraps, news on that to be added when available).


A new niche house of Italian origin is making their grand debut in Florence: Laboratorio Olfattivo is launching 4 new Eaux de Parfum named Alkemi, Cozumel, Daimiris, and Alambar created by perfumers Marie Duchene, Pierre Guillaume (of Parfumerie Generale fame) and Enrico Buccella. The latter has been also busy producing two fragrances for niche Italian brand Sigilli: Asprosa (citrusy rose) and Ferfaen (aromatic tobacco with mint and verbena) .

All in all an impressive forthcoming of new smells for us in the coming months!


Pics via derbyprints.com, aufeminin.com, thedieline.com. Some info via extrait.it

Leather Series 5: Cuir de Russie vs Peau d'Espagne

Among leather fragrances in the past there were two major schools of thought. Both sealed their era with their characteristic flair: the Russian leather types and the Spanish leather types. The two present their own idiosyncrasies, like spirited people who enjoy disagreeing from time to time and cut out their own decisive path in life.

Russian leather (cuir de Russie) scents have been inspired by the odour of leather cured in traditional tanneries in the vast steppes of Russia; steppes populated by the lonely silhouettes of silver birches like a page out of Tolstoy. The leather used for military garments of the Russian army and especially boots held a certain aura of authority and in its wake it brought images of hardship and virility; the latter in its etymological association with the Latin virtus, meaning virtue. Those were of course traits highly coveted by men who wanted to embody such images. But in the time of women’s emancipation in the beginning of the 20th century, when leather scents came into vogue, also by the fairer sex.
Birch tar is therefore the characteristic aroma that has been implicated in the makeup of Russian leather scents in the past. To soften dried leather they used birch tar and the fat of sea animals, which give off their own unique odour. Legend has it that Cuir de Russie was born when a Cossack warrior, galloping across the endless Russian steppe, came up with ‘the idea of rubbing his leather boots with birch bark in order to waterproof them’. Several modern Cuir de Russie scents merely draw their inspiration from birch, however, while using isobutyl quinoline instead to render the tar-like note. The recipe proved so popular that every house launched their own version from Piver to Le Jardin Retrouvé(1977) through Guerlain (1875), Chanel (1924) and Creed (1953).

Chanel certainly used birch tar in their Cuir de Russie enhanced by floral notes and aimed at women ~but serving admirably as a unisex scent. Recently it was repackaged in gigantic bottles of eau de toilette in Les Exclusifs line to be distributed through very select channels and is somewhat weakened.

Cuir de Russie by Louis Toussaint Piver was originally created in the late 19th century. Piver has this to say:

“Created at the end of the nineteenth century, the original version of this exceptional cologne has been adapted to today’s market. {re-orchestration in 2003 according to Osmoz}. Very “landed gentry” its fragrance is inspired from the leather smell of Cossack riding boots protected against the wet with silver birch bark. The entrancing and impossibly elegant smell of leather peppered with the tangy notes of mandarin and bergamot orange to leave skin feeling totally refreshed. Next come the wooden and spicy notes before these in turn give way to the aroma of honey. A fragrance that surrenders itself discreetly, unveiling its splendour all in good time and presented in a highly structural bottle inspired by the Russian constructivist period. Convivial, refined and yet never ostentatious. Absolute luxury”.

Worthy of mention however that the unisex Piver’s Cuir de Russie is listed as a 1939 scent on Basenotes.
The endearingly retro label depicts a traditional Russian dance in the snowy landscape, while the cap echoes the Cossack’s toque.

Koelnisch Juchten is {edit: is being debatable} the German name for Russian leather and the eponymous scent is still in production by Farina Gegenueber, the oldest German brand for cologne founded in 1700 by an Italian druggist. Much older actually than Muelhens (of 4711 fame), which copied the 'Eau de Cologne' recipe from Farina and allegedly invented a tale about how it came to their hands. Farina made his own Cuir de Russie (Russisch Leder) by Hugo Janistyn in 1967. For many, however, Koelnisch Juchten is how Russian leather should really smell like.
Others followed suit. A true legend was born!

Spanish leather (peau d'Espagne) has a fascinating background that goes back in history as well. In the 16th century, tanners used to scent chamois with essences of flowers, herbs and fruits and as a final step smear it with civet and musk. This was known as Peau d’Espagne (Spanish skin). Chamois is by itself a sensual material: silky, feeling wonderful in the hand, contributing its own leather undertone, providing depth and softness.

More specifically, according to Havelock Ellis:

“Peau d'Espagne may be mentioned as a highly complex and luxurious perfume, often the favorite scent of sensuous persons, which really owes a large part of its potency to the presence of the crude animal sexual odors of musk and civet. It consists of wash-leather steeped in ottos of neroli, rose, santal, lavender, verbena, bergamot, cloves, and cinnamon, subsequently smeared with civet and musk. It is said by some, probably with a certain degree of truth, that Peau d'Espagne is of all perfumes that which most nearly approaches the odor of a woman's skin; whether it also suggests the odor of leather is not so clear”.

For some it is this ancestral echo of the sexual stimulus of skin odour that accounts for its success. And for others it is a scent of profound reminiscence. One of the most touching ~and evocative of a lost memento~ tales comes from Peter Altenberg, the Viennese coffeehouse bohemian, according to whom

"There are three idealists: God, mothers and poets! They don’t seek the ideal in completed things—they find it in the incomplete."

Here he talks of a 1830 fragrance:

“As a child I found in a drawer in my beloved, wonderfully beautiful mother’s writing table, which was made of mahogany and cut glass, an empty little bottle that still retained the strong fragrance of a certain perfume that was unknown to me. I often used to sneak in and sniff it. I associated this perfume with every love, tenderness, friendship, longing and sadness there is. But everything related to my mother.
Later on, fate overtook us like an unexpected horde of Huns and rained heavy blows down on us. And one day I dragged from perfumery to perfumery, hoping by means of tiny sample vials of the perfume from the writing table of my beloved deceased mother to discover its name. And at long last I did: Peau d’Espagne, Pinaud, Paris. […]
Later on, many young women on childish-sweet whims used to send me their favourite perfumes and thanked me warmly for the prescription I discovered of rubbing every perfume directly onto the naked skin of the entire body right after a bath so that it would work like a true personal skin cleansing! But all these perfumes were like the fragrances of lovely but poisonous exotic flowers. Only Essence Peau d’Espagne, Pinaud, Paris, brought me melancholic joys although my mother was no longer alive and could no longer pardon my sins”.

By the late 18th century, when the vogue for strong animalic scents which had monopolized the tastes of the rich and powerful for over two centuries had subsided, Peau d’Espagne remained an exception to the rule of the floral nosegays and the light handkerchief waters used. And by 1910, Peau d’Espagne had evolved into a fragrance to be donned on one’s person, rather than merely as the aroma of little bits of leather for scenting stationery and clothing. So cachets and gloves get a smell not only of leather itself, but also of spices and flowers added. The recipe was enhanced by the addition of vanilla, tonka beans, styrax, geranium and cedarwood. A powerhouse! Many followed the recipe from the discontinued Roger et Gallet (1895)to Santa Maria Novella (1901).

One of the scents that bear the name of Peau d’Espagne , albeit tranlsated as Spanish Leather is by Geo F.Trumper. The note on Trumper's website seems to be saying that there is no leather note in their Spanish Leather, however. A little soapy, a little sweet, it has a slight barbershop ambience to it and provokes antithetical responses from people: some love it, others hate it. The notes include musk, rose, patchouli.
Another Spanish Leather is by Truefitt and Hill: softly leathery, with slightly noticeable spice of which black pepper is more prominent. And of course there is the Santa Maria Novella Peau d'Espagne: one of the oldest and also one of the most controversial but still in production. It has the strong odour of liniment ointment, a powerful ambience for an assured person...

Spanish leather scents threfore comprise notes that have traditionally been used to perfume leather instead, much as has been described above for the curing of chamois. Ergo we come full circle: the material that inspires the trend is absent and in its place there is the evocation it produced through the means of a loan, a metaphor for connotation. Bataille would have felt at home.

Leather Series will continue with a tittilating spin on just how leather scents evolved into erotic ethos! *wink*

Pics from osmoz and Gentlemans-shop