The Unicorn Spell by Les Nez: fragrance review

In a line full of engrossing and unusual fragrances, The Unicorn Spell , despite the predisposing to overlyricism name, is perhaps the most arrestingly riveting due to both its unusual treatment of the violet note as well as the juxtaposition of shiny, vegetal leafiness with finespun woodiness.

This unconventional path to violet has been recently reprised by Maurice Roucel for Dans Tes Bras for F.Malle, proving that in a market chokeful of violets lately, there is still some room for wiggling one's toes. The Unicorn Spell forms part of the Les Nez (parfums d'auteurs) line, a niche brand from Klingnau, Switzerland founded by perfume lover René Schifferle. The perfumer Isabelle Doyen, who worked on a similar iris-green (absinthe in that case) theme in Duel for Annick Goutal, envisioned a violet on a cold, frosty morning waiting for the sun to warm it up with its first rays: "If by dawn still linger on your skin mixed scents of leaves, frost and violet blooms, and that relentless yearning for stellar sights, you will know that, at night, you felt the milky breath of a unicorn".

The atypical opening of shelling raw harricots verts in The Unicorn Spell is so transportingly vegetal as to make one become confounded and furtively search for the basket of green beans and the knife of the woman who is peeling them away for an alfresco Friday lunch. (Friday because that's the customary day to prepare a non-meaty dish in Med cultures where this dish is very common). This idiosyncracy of knife cutting onto raw legume is bringing spring in the very heart of winter and invites me closer to inspect the slow unfolding of a delicate floral heart. Comprised of violet leaf (rather than the candied tone of Violets de Toulouse, it is closer related to Goutal's La Violette or Verte Violette by L'artisan) and hazy-toned iris as seen through a gauze, the more it stays on the more it gains in violet-ness and loses in iris-ness. The two merge into a piquant middle in which the borders of green and tart are merged into a fey collage. The images which you might superimpose over this unconventional composition by Les Nez are purely individualistic and left to your own imaginings. The spell distends on ethereal woods, subtle and hushed, so as not to risk scaring away the enchanted creatures that the cool night has invoked.

The Unicorn Spell is available as a 50ml/1.7oz Eau de Parfum, directly from the Les Nez website, through Aus Liebe zum Duft or Luckyscent.

Related reading on Perfume Shrine: Les Nez fragrances, Violet scents, Iris: how to build one.

In the interests of disclosure I got sent a carded sample of each fragrance from Les Nez as part of their sample giveaway upon launching Manoumalia.
Photo by Chris Borgman courtesy of his site.

Guet Apens/ Attrape Coeur and Vol de Nuit Evasion by Guerlain: fragrance review & comparison, with a footnote on Guerlain Ambre

Gustave Claudin writes about Marie duPlessis in Mes Souvenirs: “She was fickle, capricious, wild. She adored today what she hated yesterday. She possessed natural elegance to the utmost degree. One could certainly say she had style. No one could copy her originality. As long as florists were able to provide them, she always went out with a bouquet of white camellias”.


Marie Duplessis is none other than the inspiration for the character of Marguerite Gautier, famously known as “la dame aux camellias”. Her natural sensuality and maturity beyond her years are a logical fit for a perfume like Attrape Coeur, formely known as Guet Apens.


La belle de nuit aux violets that is Guet Apens was composed as a limited Christmas edition by nose Mathilde Laurent 10 years ago (1999) when Guerlain had its first inflow of funds from LVMH's initial investment. A slight retouche by Jean Paul Guerlain three years later resulted in another Limited edition called simply No.68 (not to be confused with the new Cologne du 68 ~for a complete breakdown of that entanglement please see my detailed article here)

Was the sobriquet non sonorous enough to English-speaking ears to keep it in production? The resinous, powdery, vanillic juice at the core of No.68 bore ties of consanguinity with both Guet Apens and Terracotta, you see.


Guet-Apens was finally renamed Attrape-Coeur and since 2005 has joined the ranks of the permanent collection of Guerlain to the rejoice of perfume lovers, reissued upon the occasion of the renovation of the flagship Guerlain store on the Champs-Elysées. Although the scent is usually credited to Jean Paul Guerlain (rumours want the then working on Guerlain project Insolence, perfumer Maurice Roucel to also having had a hand in it), the original scent was composed by Mathilde Laurent, the nose behind the controversial Pamplelune with its sulfureous grapefruit and Shalimar Eau Legere/Shalimar Light (the 2003 version) which was so fabulous. Tact prevents me from elaborating longer on the possible rupture, but suffice to say Mathilde Laurent is now composing scents at Cartier.


The phrase Attrape Coeurs means "heart-catcher" and it is lovely in its connotations, although it can have its adversaries too. Hearts are usually a corny matter, depicted in nauseating permutations as a symbol of romantic love. Guet Apens on the other hand means "ambush" in French, which makes for a much more intriguing name, but maybe that is just my opinion. For Attrape Coeur I think of a seducer, a woman who is out to get men entrapped in her tentacles, but all that done in a most elegant and non calculating, non vulgar way

In a way it goes way back to another era. It evokes the real Marguerite Gautier, famously known as “la dame aux camellias” and her influence on French society, both as the heroine of the novel by Alexandre Dumas fils and as a representation of the Parisian courtesans of the 19th century. Modeled after a real person, Marie duPlessis (real name Alphonsine), lover of Listz at one point and of Dumas naturally, dead at only 23 years of age due to consumption but having made her reputation already, Marguerite is a very alluring personality. With her pale complexion due to tuberculosis and her manners of a grande dame she captures the attention of the Parisian high society. Camellia of course in not featured in Attrape Coeur (it has no significant scent anyway), rather dark violet is, which is very apt taking in mind that Violetta is the name of the heroine in the opera version of the novel La Traviata (which literally means "woman who strayed") by Guiseppe Verdi and numerous theatrical versions, hence the association.
In the enchanting and nostalgic Langage des fleurs, a book by Charlotte de la Tour, violet stands for secret love. Violets then with a little underscoring of woods and iris form the core of the perfume.

Identifying Attrape Coeur as a Guerlain happens after it sheds its veils like Salome one by one. The opening of Attrape Coeur is as if iris got suspended in a snowy mirage, fresh, tingling, hazy, reflecting light in all directions, not unlike the charming disposition the demure Apres L'Ondee coyly reveals. A little fuzzy, fruity tone (reprised in MDCI Promesse de l'Aube and Chinatown by Bond no.9) smiles with the beatific smile of golden mosaics in Roman villas. The glycaemic nuance of violets, undescored by a mysterious greeness, a fleeting earthiness, is winking in a jar on the countertop of a French patisserie in Toulouse. And all is poised over an animal's warm, vibrating belly as it luxuriates in front of a blazzing fire.
Even jasmine makes a brief appearance, but then I regrettably lose it: it’s a lovely jasmine note like that in another Guerlain, Flora Nerolia: it remains fresh, green and dewy. Compared to other offerings from Guerlain the base is somehow between Shalimar and L’instant : not as animalic as the former, not as sweet and –dare I say it?- cloying as the latter, it combines the element of eathereal iris and sandalwood in order to give stability and powdery dryness that is much needed to bring balance to compositions based on sweeter elements. The creaminess and luxurious, plush feeling of Attrape Coeur remind me of the opulence of Bois des Iles by Chanel; but whereas the latter focuses more on gingerbread-like milky sandalwood, the former is anchored in powdery, warm amber. It's that alloy that gives the tone, with a little vanilla, tonka and perhaps civet (which I was not aware of particularly, meaning it is restrained), so characteristic of Guerlain perfumes. Attrape Coeur is formally classified as a "fruity chypre rose animalic" (although to me the rose is safely tucked in there) and gives me the feeling that were Parure composed with peach and violets instead of plum and lilacs it would be quite close in feeling.

Attrape Coeur has a lingering, creamy aura of ambery woods which makes it very popular with people enamored with comforting scents, blooming on the skin and lasting on my wrists the span of a whole day going on well into the night. This is especially satisfying rising from a plunging decolleté as it is such a wonderful perfume and a nice surprise at this time of fleeting perfumes that make us apply over and over again.

To add to the confusion ~noting the additional "s" in the name which appears by mistake in "Perfumes, the Guide"~ let me mention in passing that a special Bacarrat edition of L de Lolita Lempicka in extrait de parfum with golden netting and blue topaz is also nicknamed L'Attrape Coeur and that L'Attrape-cœurs is the French title under which the novel by J. D. Salinger more widely known as Catcher in the Rye circulates under. Talk about picking a popular name!

On the other hand, Guerlain themselves, further the confusion. Vol de Nuit Évasion , introduced in 2007, is despite the name a completely different fragrance than the classic oriental Vol de Nuit from 1933. The Guerlain tagline presents it as "a nomadic homage to a classic scent". But actually it is simply the Eau de Toilette concentration of Attrape Coeur !(This was confirmed, apart from my own nose, by official Guerlain representatives later on). Yet it is circulating only at duty-free stores in France at train stations and airports (contrary to Osmoz's quote linked); clearly aimed at the travel-retail market which is experiencing a resurgence. Considering it's 1/3 of the price of the exclusive Attrape Coeur, it's a great bargain and not to be missed if you get a chance.
The bottle is following the classic emblematic design of Mitsouko and L'Heure Bleue with the upside-down heart stopper (slightly vandalised in the upcoming La Petite Robe Noire) but with the "circle" design of the name which appears almost cinematically-styled on the Sous le Vent flacon now. A lower concentration means Vol de Nuit Évasion whispers in hushed tones whereas Attrape Coeur would sing like a dramatic soprano (which is indeed the direction in which La Traviata's Violetta is taking). It's a good middle ground.


Notes for Guet Apens/ Attrape Coeur by Guerlain:
Rose, violet, iris, vanilla, woods, amber.
And a different set of notes I found:
Top: rose, jasmine, tuberose
Heart: peach
Base: amber, musk

Notes for Vol de Nuit Evasion by Guerlain:
peach, rose, jasmine, iris, amber, precious woods, vanilla

Shopping:
Attrape Coeur is now part of Les Parisiennes line in Eau de Parfum concentrations, resting inside the big "bee" embossed 125ml bottles with the boule stopper; exclusive to Guerlain boutiques.
Vol de Nuit Evasion comes in 50ml/1.7oz bottles of Eau de Toilette, exclusively available (at the moment at least) in duty-free chains in France.
Guet Apens in the lantern-style bottle makes sporadic appearences on Ebay.

And a little footnote on Guerlain Ambre: Notice this is the bottle lantern design used in Guet Apens! And as to how Guerlain Ambre smells, I will leave you to perfume historian Octavian Coifan:

"Ambre (1890) is said to be the first perfume of Jacques Guerlain. It is a very delicate and refined perfume based on the smell of ambergris tincture. It is not a sweet perfume (the ambre 83 type) but dry and deep. It has incense rezinoid, woody notes, labdanum, some balsamic notes (benjoin), orris. It is profound and dusty as the church wood or the very old books. A simple perfume that evokes a ray of light in an abandoned sanctuary."

Related reading on Perfume Shrine: Violets, Guerlain series

Pic of Guet Apens, No.68 and Vol de Nuit Evasion by Fiordiligi (copyrighted), authorised for use on Perfume Shrine; of Attrape Coeur bee bottle shot by eowjdula/mua, of Guerlain Ambre via ebay. Artwork by Rafael Olbinski via allposters.com.

Insolence Eau de Parfum by Guerlain: fragrance review and comparison

If the description "Godzilla floral" doesn't scare the horses, perhaps the addendum "Guerlain decided this thing should not even try to be classy and has embraced it as the most deliciously vulgar perfume on the market today" could. But before making hasty assumptions that the above words of Luca Turin are meant derogatorily (they're not), wait for it: Insolence in Eau de Parfum, much like the previous Eau de Toilette incarnation, is seriously good and reminiscent of the Guerlain lineage in all its violets glory. Even if it's wearing a lilac dress illuminated in neon, it doesn't brush shoulders with the highlighter pens of Gaultier's latest, Ma Dame. Which is a good thing.

Guerlain would want us to think it's "created for an eccentric and chic woman, who thrives for perfection". Insolence Eau de Parfum is certainly eccentric if eccentricity can be defined in etymological terms: έκκεντρος from which it derives means "out of center" in Greek. Insolence Eau de Parfum therefore arrives as a skewed, even more intense, intoxicating brew in a purple-coloured twin of the Serge Mansau dishes-in-the-kitchen-sink bottle for the Eau de Toilette, itself no shy violet! Maurice Roucel has been working on violets intently lately, masterminding the earthy intrigue of the unisex Dans tes Bras for Frédéric Malle, full of salicylates and Cashmeran to give diffusion and emollience to what would have been the harsh nail-polish remover and hairspray accord that he first used in the Eau de Toilette version of Insolence.
Violets, often married with roses, as in the embulient romantic Paris by Yves Saint Laurent, have provided the intriguing conspirator in perfumes of variable constituents and antithetical moods over the years: the feminine playfulness in tutus in Malle's Lipstick Rose and Drôle de Rose for L'artisan Parfumeur, the magical realism element in Alice in Wonderland by Konstantin Mihov's Parfums d'Imperfiction, or the astrigent leather and tweeds of Balmain's Jolie Madame. And in the case of the Guerlain house violets have been a sine qua non: from the brief inclusion in the cassie and heliotropin wonder Après L'Ondée to the delectable pastilles resting on amber in Guet Apens/Attrape Coeur and Vol de Nuit Évasion all the way to their makeup product Météorites; in turn lending its star-struck name to a violet-infused potion of limited edition that mimics that softly powdery feel of their pastel-coloured spheres of delight. When Insolence Eau de Toilette first came on the market a few years ago it had elements of the above and L'Heure Bleue (or Farnésiana?) as well, making me pronounce it the first step in the right direction for the Guerlain mainstream line in a long time.

For Insolence Eau de Parfum the composition is resting atop the familiar sweet violets with subtle iris accents and enough of the red fruits tartness of the previous Eau de Toilette to which Roucel allegedly added tuberose, orange blossoms and peppery greens. You would be hard pressed to seperate them however and there is a gourmand quality which according to Albert might hark all the way back to Angel. The initial impression is even sweeter and more powdery on top rather than at the base compared with the Eau de Toilette, linear and without the initial flou and Aqua-Net note of the latter, which I admit I was not opposed myself. Constrasted, the two come off as sisters, but with the younger being more sensual and exhibitionist, the older a little more neurotically appealing and with the powdery progression reversed. Both are fronted by Hillary Swank in the print ads.

Summarising the Eau de Parfum is more approachable if you're into big, loud, sweet florals, quite close to Météorites indeed, with a liquorice flavour woven into the body of the fragrance resulting in a sci-fi rococo. Exceptionally long lasting too, wittily compared to the half life of uranium, therefore judicious use with the spray is highly recommended.
Although it was another fragrance that has been tagged as "a violet hit by a meteorite" recently, Insolence Eau de Parfum gives me the impression it has been circling eccentric orbits around a black-hole-sun since forever.

The sizes and prices for Insolence Eau de Parfum start from 52 Euro for 30 ml, 75 Euro (50 ml) to 105 Euro (100 ml). Available in the US as well by the end of the year.

Guerlain Insolence editions include: Insolence EDT, Insolence EDP, My Insolence.

Pic of Insolence Eau de Parfum advertisement via Fragrantica

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

Fragrance review: Midnight violet by Ava Luxe

By guest writer Ida Meister


I am such a neophyte, that I feel a disclaimer is in order.
To begin with: it should be noted that I am neither a writer nor a perfumer.
I am simply a woman possessed by a 50 year love affair with fragrance,
who lives for her nose…known to some of you as “chayaruchama”.

Helg most generously offered me the opportunity to write a review for
you all. She had just reviewed the magnificent Madame X{click for review} by Ava Luxe, and her enthusiasm spurred me to sample quite a few of Serena Ava Franco’s works.
I was delighted to discover how gifted Ms. Franco is.

Some fragrances announce their presence with a clarion call- others insinuate their way into a room. Midnight Violet falls into the latter category.
If Madame X is a symphony, then Midnight Violet is an etude, a dark one, by Chopin.

(click to experience what such a glorious thing is!)

Not melancholic in an abysmal sense, but deep, powerful, real,
evocative, and full of feeling.
There is no strident opening, no coyness or girlish blushes, no precocity.
Conversely, Midnight Violet is not a gloomy, dank incense.

Somehow, this unusual perfume manages to be richly hued, with many
layers of depth and nuance without being opaque or heavy.
Midnight Violet opens with a shaft of light, which is heralded by the joyful notes of pink pepper, cinnamon, and galbanum.
This translates into an intensely green, dry spiciness, which then
yields to a richer, denser resinous smoke flavored with orris, the scent
of damp earth and black hemlock.
Cedar and sandalwood- very soft and creamy- ally themselves, joined by a
languid moss, wood balsam, musk and civet.
The addition of these woody and animalic accords endows Midnight Violet
with a harmonious complexity that is very satisfying and possessed of
great warmth.

My impression is of being drawn into the woods at dusk, when the light
is just beginning to falter, and discovering that you are suddenly
surrounded by the approaching night.
The moon can be spied between the branches, but the forest is dark,
quiet, and very deep.
The haunting, faint odor of sylvan violet is nestled in an earthy, smoky
bower, peaceful and contemplative.

Pic of Liv Tyler from the advertising campaign of "Lord of the Rings". Thanks to Youtube for the clip of Chopin's etude op.10 #1

Alice in Wonderland: fragrance review

Cheshire Puss,' she began, rather timidly, as she did not at all know whether it would like the name: however, it only grinned a little wider. `Come, it's pleased so far,' thought Alice, and she went on. `Would you tell me, please, which way I ought to go from here?'
`That depends a good deal on where you want to get to,' said the Cat.
`I don't much care where--' said Alice.
`Then it doesn't matter which way you go,' said the Cat. `--so long as I get SOMEWHERE,' Alice added as an explanation.
`Oh, you're sure to do that,' said the Cat, `if you only walk long enough.'

From "Alice in Wonderland" by Lewis Carroll



When passion for perfume meets a fertile imagination you can bet you’re about to see how deep the Rabbit hole goes. The literary association is completely relevant in the case of German based Konstantin Mihov’s Alice in Wonderland, a new ultra niche scent inspired by the immortal tale of Lewis Carroll and its flights of fancy into the world of surreal and grotesque and the first to come out of his line "Parfums d’imperfiction" (what a great name, combining imperfection with fiction!!)

Although the brilliant concept would predispose someone of an experience of really weird Magritte-like emanations that -as if they were fairies or genies- would escape their container to wreck havoc and mayhem, Alice in Wonderland is really meant to give us a glimpse only of the strange world and not a full-on vista.
Indeed, apart from the beginning which I personally thought was the weaker part of the creation with its curiously “blunt” gasoline Artemisia note that was not sour or bitter as expected from that sort of ingredient, the core of the fragrance is a fantasia of glorious violet that is never cloying or oversweet managing to convey a feeling of playfulness.
The top however is completely intentional as Konstantin reveals, meant to evoke a different experience of sipping mint tea without any sweetners.

Alice is an inquisitive little girl and her attitude is in many ways redolent of a curious nature eager to get to the heart of things. By the same token, young Konstantin has been delving in fragrance-making for quite some time, 7 years to be exact, even before his psychology studies at the University, exploring the building blocks of perfumery and combining the forces of natural essences with aroma chemicals to produce scents that would be inspired by his visions and memories.

Alice in Wonderland starts on bitter Artemisia with its tea-like drydown rather dulled and then mingles the herbal aspect of a cooling minty essence and some lavender (I think) with that most curious of perfume notes, violet. Now, that is an aroma that has two basic permutations: the sweet candied school of Guerlain’s Insolence or Malle’s Lipstick Rose (in the later married to rose) or the greener, drier verdancy of Jolie Madame and Ayala Moriel’s Viola. Violets have been making a comeback in recent years after a long absence in which they were considered old-fashioned and obsolete. I consider this a good sign.
Here the violet note tends to go for the sweeter path aided by some vanillic/ hay accord, but it does not go full force in that direction. Rather tentatively it explores the crystalline aspect of it, remaining a little cool but not aloof. Alice also does not powder herself profusely, as she is only a little girl; ergo the perfume is not using that element to achieve dryness and distanced sophistication but remains light hearted.
Konstantin divulged that his violet notes come in fact from synthetic ionones (gamma-methylionone, alpha-ionone), and not from orris root combined with something as I suspected at first (probably due to carrot seed essence). In fact Konstantin impressed me and revealed in one fell swoop his confidence when he revealed actual ingredients of the composition and not mere notes. Not what your average perfumer does and all the more power to him for doing so!
The absence of artificial colouring, glycerins and preservatives is also a plus.

The virtue of the composition lies in the interchange of the herbal and floral and their beautiful dialogue. The base does not differ much from the core and the theme of the perfume echoes like a leitmotif throughout, perhaps underscored by some restrained and austere wood as a backdrop to the mischievous protagonist much like the second characters in the fairy tale.
The lasting power of Alice in Wonderland is good for this kind of scent and the character of the perfume exploring masculine and feminine sides of the same idea makes it suitable for both sexes, if they feel a little adventurous and not firmly type-cast in predestined societal roles.

Last but not least, Konstantin uses his own bold and romantic handwriting on the labels of the apothecary style bottles, in heavy black ink, accounting for a visually very pleasing product.
I wish him many successful fragrant endeavours in the future!

A 50ml/1.7oz bottle of eau de toilette costs 28 euros on Konstantin's own site. Shipping per bottle varies depending on destination - to a European destination, it is 4 euros and to overseas destination, it is 8 euros.
SAMPLES: samples can be ordered at the price of 5 euro which includes shipping anywhere (the samples are 2-3 ml non-spray vials), through email containing a shipping address which will be answered with a Paypal invoice.
Visit his site here
Feel free to email him if you have any questions, requests, or concerns: konstantin.mihov@gmail.com

ADDED: You can also now get your bottle or sample at First-in-Fragrance/ Aus liebe zum duft.com


Top pic artwork by Arthur Rackham 1907 courtesy of bedtime-story.com. Bottle pic courtesy of Konstantin Mihov.