Le Labo Lys 41: fragrance review

The newly launched Le Labo Lys 41 is heavily influenced by the mid-20th-century salicylate-rich school of florals, which in the past gave us classics such as L'Air du Temps, Fidji and the vintage, original Chloe, but transmitted through a Mac Book Pro screen; such is its modern sensibility. Let that not detract you from its ritzy glamor all the same.

via glo.msn.com

The treatment here is resplendent of the solar and creamy scented aspects to the lily (rather than eugenol-rich spicy, which would be an alternative direction in showcasing this flower) with a segment of tuberose floralcy. It approximates the lushness of frangipani blossoms (a kissing cousin to the closely intertwined, narcotic jasmine sambac) with a soft sweetness which surfaces from the bottom up thanks to fluffy vanilla and musk. If you love that sort of thing, you will love that sort of thing, and I'm warning you it can become a tad overwhelming sometimes, but it's quite addictive nevertheless.

Similar in feeling, but denser, to Lys Soleia (Guerlain Aqua Allegoria line) and Vanille Galante (Hermes Hermessences), Lys 41 by Le Labo is sure to capture the heart of those who love beach-evoking thrills, all out lushness and the playful, smooth feeling of whipped cream spread onto skin. Composed by Daphné Bugey, one of Le Labo’s iconic noses and the perfumer behind Rose 31, Bergamote 22 and Neroli 36, the new Lys 41 is insistent in its fragrant wake, meant to reward those who are looking to make a statement with their fragrance.

Sorta like Elizabeth Taylor's diamonds-accessorized turbans; regal looking and hard to miss.

Notes for Le Labo Lys 41:
Jasmine, tuberose absolute, lily, warm woody notes, vanilla madagascar and musks.

Related reading on PerfumeShrine: Lily fragrances, Le Labo news & fragrance reviews

Disclosure: I was sent a sample directly by the company.

M.Micallef Ylang in Gold: fragrance review

Does the mental association of airheads frying on the beach to attain a lizard-worthy tan, replete with tons of sweet oily stuff smeared within an inch of their lives come into your mind when you hear the word "coconut scent"?. Or is the scent of artificial "tropics" enacted via those atrocious derelict-cab-dangling "deo" yellowish pine-trees that are enough to only get a glimpse of for one's stomach to turn? Coconut-laced tropical floral scents are a risky affair lest they end up smelling vulgar. Luckily for all, Ylang in Gold by niche French brand M.Micallef not only isn't so, but passes muster on projecting as totally refined, golden, gorgeous and genuinely pretty.

Source: 500px.com via Weathergram on Pinterest

The hints of boozy richness in Ylang in Gold recall saturated hues of rust and copper, done in a heavy silk drape, subtly changing with the play of the light upon the threads. I can feel—rather than see—the soft shimmer, like the trompe l'oeil of beige eyeshadow edged in taupe with a champagne highlighter gives the illusion of deeper, larger and more alluring eyes. This is a luxurious fragrance that is as delicious as a lemon-tinged vanilla pudding, taking a page off Casmir by Chopard, focused on the lusciousness of ylang in the floral heart.

The golden incandescence of Ylang in Gold lives up to the name, being a salicylate-rich floral (salicylate is that tropical floral element that is so prominent in the Ambre Solaire sunscreens) with a delicious floral tenacity that mysteriously intensifies the longer the perfume stays on skin. That treatment of ylang reminds me of the lily facets revealed by the subtle vanilla-salicylate accord of Vanille Galante by Hermes. Whereas there the vanilla thus emerged smelling like lily, here the vanillic tonality is a cross between milky sandalwood, suntan lotion and coconut water. Here the brûlée nuance is more "gourmand," a little thick, but done with elegance and restraint nevertheless. Without aiming to technically innovate or open new artistic pathways, the perfumer created a very pretty, very fetching fragrance to enjoy all year long. Its Orientalism is doe-eyed and contemporary enough to pull it through.

Source: perfume.org via Will on Pinterest

Notes for Ylang in Gold by M. Micallef:
Top notes: Tangerine orange, geranium, artemisia
Heart notes: Ylang-ylang, rose, sandalwood, lily-of-the-valley, magnolia
Base notes: Coconut, vanilla, musk.

Ferre Rose Princesse: fragrance review

Like Bryce Dallas Howard's milky skin and diaphanous eyes there are fragrances which are delicate yet at the same time forceful: You just can't deny their presence. Gianfranco Ferré's Ferré Rose Princesse for women is one such fragrance. It was composed by perfumer Karine Dubreuil and is a fruity floral inspired by the Princesse de Monaco hybrid tea rose, standing as a flanker besides the older Ferré Rose (you won't confuse the two as this one is brightly pink-looking).

Brightly pink, I said? Well...let's see. Officially, the perfume opens with sweet-sourish notes of Sicilian bergamot, Spanish sweet orange, Mexican lemon, wild blackberries and green apple. The heart encompasses notes of wood lilac [sic], pear flowers, rose princesse, damascena rose, white magnolia and violet leaves, while the base is composed of soft musks and woody aromas – sandalwood and palissander wood. Going over the notes however doesn't beging to give the impression that the fragrance conveys: The introduction of obvious berry notes is tart, fused with a strong salicylate "solar" effect comparable to the one in Si Lolita by Lolita Lempicka.

Usually the salicylate "solar" accord reads as a sandy, warm, brightly expansive feeling with a hint of mentholated floral note in the breeze. Now a perfumer is at ease to work with this in two directions: Tilt it at one angle and work around an ambery and ylang ylang or orange blossom theme (or more contemporarily tiare) and you have an excellent almost tropical-smelling sun worshipping composition that recalls bodies sprawled on the beach with no care in the world; baking under an evil sun scorching one's limbs as if it's a pre-Colombian sacrifice. Witness Patou Chaldée, Aquasun by Lancaster, the more refined of them all Vanille Galante in the Hermessence series or more prosaicaly Miami Glow by J.Lo.
Tilt it at another angle with wintergreen methyl salicylate alongside either naturally camphoraceous flowers (tuberose) or alternatively cooler blossoms (rose, peony) which would naturally bind well with undergrowth smells, and you have quite a different effect: A hint of mothball, but also a staggeringly modern expansive effect when paired with tart notes. See Carnal Flower by F.Malle. Indeed the two fragrances mentioned above, Ferré Rose Princesse and Si Lolita, share this characteristic rather prominently amongst the newer mainstream releases.

In Rose Princesse, although very fruity in the opening, I hardly detect any citrus presence. It's there but it's not what you're getting. Very girlish, very berry-rich, the scent slowly loses the piquant camphoraceous character and becomes extremely soft and gentle with a strong musky powdery feeling. Among the excellent and sophisticated Ferré range (see Ferré eau de parfum from 2005 or Ferré Essence d'Eau from 2003), it is an anomaly, but an interesting anomaly nonetheless. Not something I would personally wear a lot, due to the sweet berry-ish character, but not an air-headed girly fruity floral either. Girls could do much worse, I guess.

Ferré Rose Princesse is available in 30ml, 50ml and 100ml of Eau de Toilette as well as in a 200 ml body lotion at major department stores.

Perfume Ingredient: Salicylates ~Smell, Role and Function

Savouring Vanille Galante by Hermès now that the weather is getting cooler again, I am struck by its "solar" effect, a warming, "open", bright effect that is rendered through the use of salicylates: benzyl salicylate, cis 3 hexenyl salicylate, and iso amyl salicylate. To the perfume student these molecules present fascinating facets on the path of creation because salicylates encompass complimentary aspects and aid diffusion, making fragrances open up and "expand" in a sunny, exhilarating way. Gardenia, tiaré, and frangipani accords are usually built on salicylates and their summery vibe warms our heart even in winter. In this article we're going to occupy ourselves with the ones which are most often used in fine fragrances.

Benzyl Salicylate (benzyl ortho hydroxy benzoate) is an almost colourless liquid that has a mild balsamic, sweetly floral note possessing excellent blending capabilities. Often used ~like foundation is for make-up~ as a base for heavy florals such as ylang, gardenia, jasmine, lily etc. It is also used in functional products such as soap, shampoo and fabric softener. Along with Methyl Salicylate, salicylates “turn the most banal floral composition into a real perfume, with majestic weight and sweep” divulges Luca Turin. However some people are anosmic to it, including some perfumers. Guy Robert could not smell benzyl salicylate at all, but could instantly recognize its presence in perfume: “I recognize it as if it were a friend seen from behind in a crowd, by the cut of his shoulders”. Indeed in the words of nose Bernand Chant “it produces a diffusing, blooming effect very pleasing to the public”. Many orchid fragrances are built on salicylates, while the mysterious emerald glow of the vintage Je Reviens is also due to them. Coupled with eugenol and isoeugenol, the effect becomes almost carnation-like with its clove tint. The magic of benzyl salicylate can be best experienced in the archetypal floral bouquet of L’air du Temps featuring an overdose of the ingredient. Its progeny included Wind Song, Norell, Estée, Charlie, even Angel! However the recent restrictions on the use of benzyl salicylates have taken their toll on many floral fragrances, L’air du Temps included, which simply do not smell as they used to.

Methyl salicylate (salicylic acid methyl ester or oil of wintergreen ~because it is present in lots of evergreens such as birch and also rhododendrons~ and commonly featured in arthritis and muscle body rubs but also in Life Savers) has a green glow with camporeous aspects. Naturally occuring in tuberose, jasmine and hyacinth absolutes, as well as ylang ylang and neroli oil, it provides that characteristic eucalyptus-mint nuance of Tubéreuse Criminelle and to a lesser degree Carnal Flower. It is also a big ingredient in birch tar, used in Russia in treating leather and therefore associated with Cuir-de-Russie-themed fragrances, modernly interpreted in Dzing! and Bulgari Black. Also present in cassie absolute, so it seems to be the bridge between those and Une Fleur de Cassie; the connection being that acacia bark (the inspiration behind the latter) was also used in treating leather, in France.

Amyl salicylate (pentyl ortho hydroxy benzoate) is a colourless liquid related to coumarin olfactorily, frequently used to round off a composition and fix fine fragrance (floral or non-floral) even though not a constituent of volatile oils. The molecule is also referenced as orchidee, trefle or trefol due to its orchid-like lightly sweet floral and herbaceous-green aroma and its inclusion in L.T. Piver's 1898 mythical Le Trèfle Incarnat. A tiaré accord built on amyl salicilate is used in the Dior Bronze range to impart the lightly powdery floral nuance which serves as a reminder of beloved products of sunbathing (see below). Chances are you've smelled amyl salicylate in your favourite shampoo, deo, hair spray or fabric softener too as it is so prevalent in those products or used it in your anti-rheumatism prescription.

Ylang ylang (cananga odorata), a very frequent floral essence in perfumery and a constituent in Vanille Galante which prompted these syllogisms in the first place, naturally encompasses salicylates and eugenol (a spicy ingredient); the former in the form of benzyl salicylate is the basic ingredient in the Ambre Solaire suntan lotion, with its white flowers tinge, which is synonymous with summer vacations to many Europeans (The ingredient first entered the composition for its sunscreening properties and later overstayed thanks to the fond reactions of users to its smell). Even the humble aspirin is a product of salicylates. The magic of salicylates is that they creep up on you from the most unlikely places!

Ref: E. Gildemeister, The Volatile Oils

Pic via edwan.blogspot.com, Ambre Solaire ad via mtblog.self.com

Dans Tes Bras by Frederic Malle: fragrance review

It would not be an overstatement to say that the “library” comprised of Frédéric Malle edited tomes of olfactory literature is one of the most stimulating lines in modern perfumery. Now perfumer Maurice Roucel gives us another volume to gnaw our teeth on, Dans Tes Bras (In Your Arms). Their previous collaboration on Musc Ravageur (2000), a best-selling vanillic oriental that despite the name has more of a pronounced spicy, sensual accord than the musky effluvium of a warm body à la Muscs Kublaï Khän, managed to entice even those afraid of the risqué intimacy of the latter.

Inspirations
Dans Tes Bras aims for a new interpretation of sexiness:

“The deep and lasting odor of warm skin, with all of its salty hints and rich overtones. A fragrance carved with hefty chunks of cashmeran, sandalwood, musk and patchouli, reinforced with salicylates and incense, softened with heliotrope, colored with a violet accord. An intimate but deep sensuality, an exalted skin scent, the real essence of the perfume”.

Dans Tes Bras communicates seduction and generosity in an amalgam of masculine-like nuances simultaneously clean and dirty, like a man confident of his prowess enough to show a tender side as well.

Scent Profile

The habitually damsel-like violet note is treated here as an unforeseen touch of freshly turned soil with the merest sprinkle of powderiness due to heliotropin, the unifying element with Roucel’s much sweeter and tartly fruity Insolence Eau de Toilette, its hairspray-opening and all. Green bittersweet patchouli and abstract woods create a bodily landscape of earthy delights which blooms with every passing minute. I do not significantly perceive frankincense smoke, even though it is there, while Six’s impression of fields of mushrooms is another image for the wet undergrowth that arrested my perception: favorably. The creamy, discreetly musky summation stays poised on skin for hours radiating warmth. In sum Dans Tes Bras makes me yearn to don a pair of breeches and trudge along bucolic sceneries of still humid, autumnal beds of decaying leaves accompanied by roborant company.

Maurice Roucel, an autodidact starting at Chanel’s Fragrances Laboratory in 1973, is a sensuous aesthete, with streamlined formulae as his signature evident in such marvels as 24 Faubourg, L de Lolita Lempicka and the missile-in-the-air Insolence. It is therefore of great interest to see how he proceeded with Dans Tes Bras.

Composing Dans Tes Bras

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

The symbolism of violets as emblematic of death at an early age is apparent in the John Everett Millais painting "The Death of Ophelia" and violets which stood for constancy or devotion were traditionally used in mourning. Most people however associate violet with Parma Violets, a violet-flavoured confectionary manufactured by the Derbyshire-based company Swizzels Matlow; or alternatively, depending on cultural memories, with Violettes de Toulouse, violets preserved by a coating of egg white and crystallised sugar still made commercially at Toulouse, France. These tender, playful associations might account for the popularity of several sweet florals in the market, such as Drôle de Rose, Lipstick Rose and indeed Insolence.In violets along with terpenes, a major component of the scent is a ketone compound called ionone, which temporarily desensitises the receptors in the nose; this prevents any further scent being detected from the flower. Ionones were first isolated from the Parma violet by Tiemann and Kruger in 1893. The discovery of ionones enabled cheap and extensive production of violet scents, cataclysming the market with inexpensive violet colognes which became au courant. The ionones palette ranges from the scent of fresh blossoms to mild woodsy sweet-floral tonalities, while methyl ionones possess a stronger woodsy nuance, similar to iris rhizomes, binding woody and floral notes perfectly such as in the masterful Lutens creations Féminité du Bois and Bois de Violette. And let’s not forget that Roucel was the composer of the mournful, cooly wistful Iris Silver Mist for Lutens focused on the nitrile Irival too!

Violet Leaf absolute on the other hand smells herbaceous with an oily earthy nuance and naturally includes salicylates, more on which below. Octin esters and methyl heptin carbonate are used to render the floral green violet leaf odour with watery accents of melon and cucumber, customary in many modern masculine fragrances and the family of fougères (an aromatic group based on the accord of lavender-coumarin-oakmoss). It also gave the older version of Farhenheit its distinctive feel. If you want to get a good impression of violet leaf in a contemporary composition, smell Eau de Cartier. Several of the greener violet fragrances in the market such as Verte Violette by L’artisan or La Violette by Annick Goutal explore those aspects.
In Dans Tes Bras the tone comes from Iraldeine, a base that helps recreate the freshness of violet flowers. The aromachemical α-n-methyl ionone became commercially available around 1935 in Haarmann & Reimer's Iraldeine Alpha rein and Givaudan's Raldeine A (the main constituent of Fath’s legendary Iris Gris) which Ernest Beaux ~good friends with Leon Givaudan~ is said to have included in 25% concentration in the long-lost Mademoiselle Chanel No.1 from 1942-1946 (as analysed and publicized in 2007 in Perfumer & Flavorist magazine).

Benzyl Salicylate (benzyl ortho hydroxy benzoate) is an almost colourless liquid that has a mild balsamic, sweetly floral note possessing excellent blending capabilities. Often used as the foundation for heavy florals such as ylang, gardenia, jasmine, lily etc., it is also used in functional products such as soap, shampoo and fabric softener. Along with Methyl Salicylate, salicylates “turn the most banal floral composition into a real perfume, with majestic weight and sweep” divulges Luca Turin. However some people are anosmic to it, including some perfumers. Guy Robert could not smell benzyl salicylate at all, but could instantly recognize its presence in perfume: “I recognize it as if it were a friend seen from behind in a crowd, by the cut of his shoulders”. Indeed in the words of nose Bernand Chant “it produces a diffusing, blooming effect very pleasing to the public”. Many orchid fragrances are built on salicylates, while the mysterious emerald glow of the vintage Je Reviens is also due to them. Coupled with eugenol and isoeugenol, the effect becomes almost carnation-like with its clove tint. The magic of benzyl salicylate can be best experienced in the archetypal floral bouquet of L’air du Temps featuring an overdose of the ingredient. Its progeny included Wind Song, Norell, Estée, Charlie, even Angel! However the recent restrictions on the use of benzyl salicylates have taken their toll on many floral fragrances, L’air du Temps included, which simply do not smell as they used to.

Methyl salicylate (salicylic acid methyl ester or oil of wintergreen ~because it is present in lots of evergreens such as birch and also rhododendrons~ and commonly featured in arthritis and muscle body rubs but also in Life Savers) has a green glow with camporeous aspects. Naturally occuring in tuberose, jasmine and hyacinth absolutes, as well as ylang ylang and neroli oil, it provides that characteristic eucalyptus-mint nuance of Tubéreuse Criminelle and to a lesser degree Carnal Flower. It is also a big ingredient in birch tar, used in Russia in treating leather and therefore associated with Cuir-de-Russie-themed fragrances, modernly interpreted in Dzing! and Bulgari Black. Also present in cassie absolute, so it seems to be the bridge between those and Une Fleur de Cassie; the connection being that acacia bark (the inspiration behind the latter) was also used in treating leather, in France.

Finally Cashmere Woods or Cashmeran, a favorite of both Roucel and Malle, is a IFF patented, complex aromachemical that provides a beautiful, velours note with diffuse nuances of earthy-wood and spicy notes (pine, patchouli), fruits and flowers (heliotrope, red fruits, apples and jasmine) and is softly musky-vanillic, entering Dans Tes Bras at the appropriate dosage. It's featured in Ysatis, Amarige, Michael, Lacroix Rouge, Perles de Lalique, Beautiful Love and many more.

Dans Tes Bras is thus an excellent example of a fragrance in which analysis makes for much better understanding and appreciation.

Official Notes:bergamot, cloves, salicylates, violet, jasmine, sandalwood, patchouli, frankincense, cashmeran, heliotrope, white musk

Dans Tes Bras has been available in Europe since September ’08 and will become available in the US this coming October, in Eau de Parfum bottles of 50ml/1.7oz and 100ml/3.4oz through the appointed select doors and the Editions des Parfums site.

Pic of actor Ken Watanabee originally uploaded on MUA, I believe it's by Anne Leibovich. Bottle pic via F.Malle