The Alchemy of Taste and Smell: Fragrant Exhibition

Cutting-edge Event with Top Chefs and Perfumer Mandy Aftel Explores Aroma
and Essential Oils in Cooking and Cocktails at Astor Center NYC November 12-13

The Alchemy of Taste and SmellAstor Center, New York City
November 12-13, 2010
For info & tickets: http://www.astorcenternyc.com/

Cooking is alchemy: the art of transforming raw materials into a perfected form. Cooking fuses taste and smell, emotion and memory, culture and nature. The work of chefs today is much discussed, but the process by which new dishes and flavor combinations are created remains mysterious. This event will explore creativity in cooking, the composite nature of flavors and the importance of aroma in food and drink.

The event starts Friday night, with a cocktail making demonstration, followed by a reception and cocktail party that will feature creative cocktails and hors d’oeuvres. Saturday will have demonstrations and talks, followed by a meal.

Seven chefs will collaborate on the dinner on Saturday night. The seven-course meal (one course by each chef) will be experimental in nature, exploring new flavor combinations and making explicit the connection between what we smell and what we taste. For instance, a cucumber/melon salad served on a plate scented with mint essence, as a sensory sleight of hand where by the end of the dish the diner thinks that they have eaten the herb, even though they have only smelled it. Mandy Aftel will collaborate on the dinners. The dishes would be accompanied by appropriate wines.

PROGRAM SCHEDULE

Friday Night, November 12

5:00PM Demonstration - Dave Arnold and Audrey Saunders Using Aroma inCocktails (The Study, up to 36 people) $55

7:00-10:00PM Opening Party (The Lounge and The Gallery, up to 250 people) $95

Creative cocktails by Dave Arnold and Audrey Saunders. Participating Chefs: David Chang, Alexander Talbot and Aki Kamozawa, Daniel Patterson, Nils Noren, Bill Corbett

Saturday Day, November 13

11:30PM Demonstration- David Chang, Wylie Dufresne New Flavor Combinations (The Study, up to 36 people) $55

1:00PM Harold McGee Thinking about Flavor (The Gallery, up to 100 people) $45

McGee will outline the chemical and biological nature of flavor. He will describe the molecules that stimulate our senses of taste and smell, how taste and smell work together to create the perception of flavor, and how that perception is influenced by past experience and by context.

2:30PM Demonstration - Daniel Patterson and Johnny Iuzzini Flavor and Aroma (The Study, up to 36 people) $55

Dishes that focus on the interaction between taste and smell. They will each make dishes starting from the same flavor combinations, demonstrating a range of styles and techniques.

3:45PM Panel Discussion Creativity and Flavor (The Gallery, up to 100 people) $35

Five leading chefs will discuss the process by which they create new dishes. (ingredients, technique, childhood memories, cultural associations)

5:00PM Mandy Aftel Creating with Aromas (The Study, up to 36 people) $35
Aftel will demonstrate the process of how she creates with scent --- showing you how to orchestrate the interactions between pure and natural essences when blending a flavor or fragrance. This architecture of aroma will be illustrated graphically by smelling some unexpected combinations, over a range of concentration ratios.

Saturday Night, November 13

7:00PM Dinner. The Lounge (40 people) $300

David Chang, Wylie Dufresne, George Mendes, Alexander Talbot and Aki Kamozawa, Nils Noren, Daniel Patterson, Bill Corbett, some in collaboration with perfumer Mandy Aftel using her essential oils. The price includes beverage and service.

When Air Travel was Elegantly Scented

There was a time when air travel was beyond waiting in queued airports, flicking out the laptop for some Wi-Fi last minute work and minimum baggage control at the gate which didn't involve restrictions on perfume. There was a time when air travel meant glamour, joie de vivre, cosmopolitan vacationing and style; think of Romy Schneider and Alain Delon boarding Air France or Liz Taylor and Richard Burton in front of a million trunks encasing wardrobes full of precious garments and -no doubt- beautiful perfumes.

But research shows that even common folk traveling via respected airlines had their own pampered moment mid-air. Above we have a 1963 advertisement for SAS, the Scandinavian Airlines System in which perfume is mentioned as a direct marketing approach.

It reads:

"Naturally a girl wants to look and feel her best, when she's being met at the airport. So, fifteen minutes before landing, the SAS stewardess presents you with a warm, fragrance towel. Scented with Dior's marvelous 'Diorama', no less. There's the little extra touch so typical of SAS! Next you go, flu SAS- to Copenhagen or anywhere in Europe. You'll find it a refreshing experience".

Personally, these are exactly the kind of scented towelettes I long to see making a come-back instead of the citrus-tea & musks offered at present by several airlines...Wouldn't you?

Related reading on Perfume Shrine: Diorama 2010 re-issue impressions, original Diorama review, the Dior series.

The Politics of Perfumery: Jean Paul Guerlain Makes a Faux-Pas?

Perfumery is a minefield. It's not only perilous to make an olfactory mistake and distance your core audience, a communication faux pas might even trigger a campaign of boycotting your product. That faux pas can take many guises, but none is more "sensitive" than a random comment which can hint of racism. Jean Paul Guerlain, apparently unintentionally, just committed just that cardinal sin.
The whole incident took place in an interview to Elise Lucet concerning his work at maison Guerlain, where he created many masterpieces, Samsara among them. Concerning the latter, Jean Paul commented: "For once, I worked like a negro. I don't know if negroes have worked that much, but anyway..."

The word used in French was negro, but the translation is edgily close to the subversive nigger word (of which there is no French comparable).

The quote also inelegantly suggests that there might be laziness involved too. SOS Racisme and Cran have complained about this statement on France 2 this past Friday 15th October. (You can read the news and the original quote on this link) The reasons given for the outcry are mostly pedagogical, as they renounce the colonial cliches which are thus being perpetuated through such statements. Of course it's argued that these statements go against the values of LVMH and Guerlain in general, and action of distancing was demanded from LVMH, to which the behemoth company replied with a direct apology by Jean Paul himself on AFP via mail. In it Jean Paul Guerlain clarified that he is sorry for the statement and that it does not reflect his deeper thoughts. He also mentioned that he is not a representative of the company since 1996 and is not salaried since 2002, "taking full responsibility [for the faux pas], not wanting to hurt the company and its employees". His current position is of advisory to the head perfumer Thierry Wasser.

That was of course in response to the wildfire criticism which erupted on Twitter and blogs as well as perfume community fora (such as this one or that one) with proposals of boycotting the brand. It even reached CNN!.

As usual on Perfume Shrine, we dissect things to get to the bottom of it.

First of all, the first part of Jean Paul's statement is simple enough: "Work like a negro" is -unfortunately, but there you have it- a common idiom in many European languages (French being one of them, Greek also among them) in which it simply means "work very, very hard". Undoubtedly the French have it one better than us, having intimate knowledge of just how hard negroes might have worked because they have been colonialists for centuries, but I digress. The thing is very often the phrase springs up with no intent of offense; it's just an ingrained "memory" or "hearsay" (for those of us who never had any blacks in a colonial past working for our wealth). And anything can be interpreted the way one wants it to. The Holy Bible is filled with racism if you're willing to seek it from an objective point of view.

Blacks/Negroes have worked in plantations for many years as slaves, as recently as the previous century. This is deeply shameful, there is no other way around it. But certainly not to black people! Rather the ones who owned them and perpetuated this practice at a time in history when such a practice was not necessitated by ANY means (It's an agreed fact that slavery in antiquity falls under completely different parameters and not within our scope here). There even exist wonderful French patisserie creations that reference negroes, certainly through no desire to offend them.

The unfortunate correlation is that the word negro can be twisted into translation into the offending "nigger" word, which is undoubtedly derogatory. Which is exactly what happened on American media. This reminds me of the instance when Gérard Depardieu was a nominee for an Academy Award for Cyrano in 1990 which he eventually lost through a mass campaign smearing his name as "juvenille rapist". What had happened? He was giving an interview in French, recounting his troubled formative years in which he was seeing things on the streets. He mentioned, in way of example, witnessing a rape. His misfortune was the French verb "assister" which he had used was mistranslated out of context as "assisted" in the US press. From witness, he became accessory to the crime! Outcry ensued and Academy Award voters took the matter to heart...and decided to give a pedagogical lesson by denying him the votes. The trajectory followed was down-spiral...and the award went to Jeremy Irons for Reversal of Fortune (In no way am I intending to diminish his exceptional performance which I love myself). Thankfully Depardieu has remained unscathed since and the gossiping tongues claim the campaign was not so innocent to begin with, aiming to deny a non-English speaker an Academy Award for Leading role in a non-English speaking film. This is of course merely conjecture.

So far so good and this should be a lesson to us all on how to pick our words in a multi-cultural society such as the global one we're living in. And I wouldn't be giving any extended commentary, should the second part of the Jean Paul Guerlain quote not exist.

But the second part does exist, alas. Weirdly too, because Jean Paul is well-known for his good rapport and friendship with the inhabitants of the island of Mayotte, where Guerlain keeps ylang ylang plantations. Maybe his progressing age doesn't help too much in general?

That second part of the quote inelegantly attaches the stigma of laziness where none exists (and by association the "plight" some of the countries inhabited mainly by negroes is attributed to a fault of their own). Speaking with personal national experience, where critical geopolitical and precarious financial games are played on our backs by the superpowers, I can assure M.Guerlain (and everyone) that very seldom in politics anything is "through one's own fault". It's not school exams, you know. There's got to be someone assisting someone else's plight; someone else who is actually gaining something out of it. In this instance, it is colonialism and the wealth it accumulated for colonials. Too bad that France is still struggling to come to terms with accepting that heritage. Whatever... nevertheless a little more compassion to people who are not wholly responsible for what happened to them goes a long way.

And, before I forget, oh, I wish I could have forgotten about another unfortunate quote concerning other less privileged groups which I had critiqued on these pages back in 2008.

Because, come to think of it, what purpose is perfume accomplishing -refining us, giving us a veneer of sophistication and allure- if we forget to show basic human understanding for the misfortune of others? Let's refresh our Aimé Césaire readings.

For purposes of injecting a semi-relevant & controversial viewpoint on racial matters, France and the US, please read this blog post. Food for thought, and why not, comment!

NB: The pics are (clearly I hope?) ironic. The hypocrisy of white colonialism at its very highest.

Win 5 Free Bottles of Histoires de Parfums

Histoires de Parfums offers a chance to win a full sized 120 ml bottle of the limited edition and exclusive new fragrance DÉFILÉ NEW YORK!

In order to get a chance in this raffle, please go to Sniffapalooza Magazine and sign in to register to win a bottle in the SPECIAL Guest Book in the Histoires de Parfums section of this issue!

Natalia Vodianova for Midnight Pearl: perfume video

Supermodel Natalia Vodianova, with her perfectly girly features, is advertising a new perfume by Swedish cosmetics company Oriflame, called -fittingly, since it comes with some natural pearls attached on the bottle- Midnight Pearl.
I think it's an impressive commercial. Enjoy!



The bottle, a collectable item, was designed by French jewellery designers Stephanie Bascou and Marie Cluzel, known for their collaboration with the world famous Baccarat brand for the crystal jewels. Their work was awarded in 2005 with the prestigious Tahitian Pearl Trophy for the most innovative design of black pearls.
Midnight Pearl is painted in a glamorous shade of dark blue, in heavy glass. There is a pendant in the form of black pearls at its neck, which can be worn on a necklace or a bracelet attached through a chain. The perfume name is engraved in the center and the flacon is refillable.

Midnight Pearl is a floral woody fragrance with opening notes of sweet pear, orange blossom and freesia. The heart progressed on frangipani, peony and jasmine, on a base of oriental-woody notes of oud, cedar, vetiver and patchouli. The perfumer behind the creation is Marie Salamagne.

Sartorial Scent Box from Penhaligon's

Penhaligon's had a smashing idea: Why not intoduce audiences to the actual building blocks of their newest masculine cologne, Sartorial? They are therefore introducing The Sartorial Scent Box, a hands-on experience which enables you to see and smell the raw ingredients and materials which inspired master perfumer Bertrand Duchaufour to create Sartorial. We had introduced the scent a while ago on this article.

There is something fascinating about getting to know the nuts & bolts of perfumery, as anyone who has followed our raw materials guides here on Perfume Shrine can attest.

The Sartorial Scent Box will be touring larger London Penrhaligon's boutiques this month.

Regent Street 11th - 18th October
EC4 18th - 25th October
Covent Garden 25th - 1st November
Islington 1st - 8th November

The Sartorial Scent Box is a unique and illuminating way to discover more about the formulation of Sartorial and the inspiration behind it: Visit one of the Penhaligon's boutiques to see and smell the ingredients such as Tonka Beans, Amber, Musk and Gurgum.

DelRae Panache: new fragrance

Parfums DelRae are launching a new fragrance developed by Yann Vasnier with the collaboration of Roth DelRae, the fruits of which will be certain to excite as much as previous releases have. The new fragrance by the San Francisco based niche perfumery is called Panache and is inspired by the famous character of Cyrano de Bergerac, the romantic French cadet with the big nose who contrasts the beauty of intelligence and his indefatigable spirit with the superficial beauty of his contesters and his friend Christian. His generosity, character and grace in the face of adversity are the elements which conspire for his beloved Roxane to finally fall in love with him. The name Panache comes from the final word in the play by Cyrano, which is indeed...panache; the driving force which defines his life and makes him unique. But which can also be an inspiration. Dramatic, complex, courageous and elegant...
Interestingly, Cyrano de Bergerac was a real person, but his fame today is based on an 1897 play, loosely based on Cyrano's life, by Edmond Rostand. Rostand's play spawned several film adaptations, an opera, a ballet, and is still enjoyed in performances all over the world to this day.

For the DelRae Panache perfume Yann Vasnier created a composition which begins with top notes of ambrette seed and delicious rum, progressing to vetiver surrounded by jasmine Sambac absolute, ylang ylang orpur*, cardamom and finally the foresty tones of oakwood extract. The base is warm with resinous notes of Somalian olibanum orpur and captive molecules of sophisticated musks (the magnificent Cosmone alonside Serenolide and Moxalone) with nuances of ambergris. The finishing off is played on notes of golden amber and white honey.

*Orpur is a term used for sophisticated pure naturals ingredients, comprising the best of the Givaudan aroma-producing company's portfolio.

Notes for DelRae Panache:

Top: ambrette seed absolute, baies roses CO2 orpur, Italian bergamot orpur, magnolia flower orpur, rum extract

Heart: Geranium Egypt orpur, ylang ylang orpur, jasmine absolute sambac, cardamom absolute, honeysuckle, orris butter, Haitian vetiver, cedarwood Atals orpur, oakwood extract

Base: Cosmone, Serenolide, Moxalone, olibanum Somalia orpur, golden amber, white honey.

The new DelRae fragrance Panache is presented in 50ml/1.7oz of eau de Parfum for 150$, available from their official site. Samples of the whole line can be purchases directly from the DelRae company on this link.

Creed Spice & Wood: fragrance review

Creed is celebrating 250 years of family business apparently and therefore have issued the Royal Exclusives line: Notice the cunning use of Royal accolades for something completely new which surely can't have been commissioned by any royal personage? Especially since this is a release for the American market who is dazzled by royalty. We, Europeans have a much different view on them, having known them from all the bad angles, I'm afraid... Anyway, there's nothing wrong with a little bit of marketing on the part of Oliver Creed, so I won't insist on this minor point.

So after Sublime Vanilla,
Creed Spice & Wood marries two of the favourite themes of many perfume lovers, thus also hinting at an "old school" thematology. Would the material be treated in a such a way?
The inspiration was reported to be the pairing of Antony and Cleopatra and I couldn't but recall of the line about Marc Antony's sexual tastes which leaned "more to the molded cheese than the pure one off the cheesemaker's" as jotted down by Octavia, his 3rd wife and antagonist of his GrecoEgyptian lover. I guess Creed missed that part.

So, is it? Is it not? Who cares...saying that a fragrance was inspired by some perfume that Cleopatra or Marc Antony wore, or from fragments of anything that belonged to them, might cut it with the average consumer.

What matters is the fragrance itself. And alongside the promised spices and woods there is a more esoteric accord, which runs through some of the Creeds, a bit metallic, a tad salty. There is also a touch of a Cuir de Russie pungency, thanks to white birch featured, but nothing out of this world. The dominant wood is cedar, both austere and a little sensual, with a bit of that petroleum note which it takes in many modern compositions instead of the pencil shavings that we're accustomed to think of when cedar is mentioned. The base overall has some similarities with Aventus, a previous Creed fragrance with which it shares notes on paper, as well as Original Santal (a modern offering despite the "original" in its tag line), differentiated by the spiciness ~nowhere near Baie de Genievre alas~ which comes across as peppery-clove-y (iso-eugenol) and an abscence of sweetness. Overall, despite the expectations, it's a subtle, delicately warm fragrance without old-fashioned richness, more transparent and modern than anything; like they're pulling an Hermes on us, only with royal insignia to boot. I guess it works for the intended audience.

Parthian shot: Is it very masculine, you ask? Creed says: "Spice and Wood is the luxury asset hand made for men -- but also intensely enjoyed by women". Two birds with one stone, but of course!

Notes for Creed Spice & Wood:
Top: bergamot, lemon, Italian Court Pendu Plat apples from Rome
Heart: angelica root, Luxor rose, clove, desrt pepper, patchouli, white birch
Base: Egyptian iris, cedar, oakmoss, musk.

Creed Spice and Wood is available in Eau de Parfum in a 250ml/8.4oz bottle made by Pochet et du Courval with a spray mechanism for 550$ from the Creed boutique and soon from retailers who distribute the line. Erwin Creed, 29, seventh generation of Creed and its future head, visits the U.S. in November, upin which occasion he will make public appearances at Bergdorf Goodman and select Neiman Marcus stores coast to coast, presenting the fragrance to the public for the first time and signing bottles. Please see all the dates and places of Erwin's US tour dates on this article.

Pic by Antoine Helbert via Chateau Thombeau

Gracing the Dawn

Gracing the Dawn is the latest fragrance by Roxana Illuminated Perfume, a small indie artisanal brand of botanical perfumes, which has occupied these pages before, and comes as a very pleasant surprise, as chypres haven't really been her "field" till now. But nothing is impossible when there is a will and fate takes you there.

A myriad of exotic essences are artfully woven in this traditional floral chypre composition, including Cestrum nocturnum, aka Night Queen from South India. The main notes in this botanical medley include violet, mimosa, wood, and Italian bergamot. Gracing the Dawn is a reference to the Three Graces from Greek mythology. "Fantastical butterflies sit on the bough of a tree with freshly opened blossoms just as the first light of dawn illuminates the sky". The perfume is part of a series titled Flowers of Fortune associated with artwork by award-winning artist Greg Spalenka.

Roxana Illuminated Perfumes are all natural, reflecting the philosophy and aesthetics of a true artisan, and there is no doubt one can smell that: There are the initial overwhelming notes which are so distanced from the mainstream synthetic fragrances which try to capture your attention by cueing an "instant gratification" process. No, these require a little patience, a little leaning on to appreciate the richness of the essences. There is a reconstruction of a purple violet in Gracing the Dawn which comes from a natural infusion of the little flowers and the synergy of other flowers (I detect mimosa? And a budding gardenia/hyacinth "note" with oily green facets). Like Green Witch, the green "perfume-y" effect of a classic chypre is evident. The unfolding of the notes in Gracing the Dawn follows a similar cadenza, the opening being light (and very, very inviting!) with citrusier facets oi of bergamot, while the violet heart alongside rose and jasmine/Night Queen unfold later on. If you have had the great fortune of smelling a bush of Night Queen you know it is a perfume in itself: heady, oleaginous, sweet with a bitterish aftertaste; truly intoxicating and filling up a room with its scent when cut. This memory of promenades in the warm night air was conjured up when I smelled Gracing the Dawn.

The fragrance's base is oscillating between a mossy-green velvet (bringing out the purple of the core character) and a light animalic touch (which could be augmented for anchoring, I think it would be very interesting). It's clear that lovers of classic floral chypres, such as the mountain-pure Ma Griffe, or maybe with an orientalised leaning, like Magie Noire, would like Gracing the Dawn. Recommended sniffing!

NB. The perfumer labelled this perfume as "natural" because there is a microscopic amount of Africa stone in the base accord (less than 1%). Africa stone is the fossilized droppings of a small animal (hyraceum) from Africa which has been distilled.

Gracing the Dawn can be purchased on this Etsy link and sampled on this Etsy link (1gram vial)

Image copyrighted by Greg Spalenka, used with permission.

Follow the rest of the participating blogs:
Beth at the Cleveland examiner
Lucy at indieperfumes

Trish at Scent Hive
Donna at perfumesmellinthings
and Roxana herself at journal.illuminatedperfume

Should we or Shouldn't we Say "You Stink!"?

"Why can we never seem to smell ourselves? This has to be one of the greatest mysteries known to man. Back in the day, long before progress jammed us all into metal boxes on tracks and wheels and ferried us to work to spend our days in air-conditioned cubicles, the smell of fresh sweat, the perfume of cowboys and construction workers, was regarded as a signature of hard work and manly labour. Back then, when perfumes and colognes were saved for state occasions and holidays, we took the time to check. We were masters at masking a quick sniff of the armpit; experts at exhaling into a cupped hand; and adept when it came to frustrating our own flatulence." "More than a hundred years ago, American author Elbert Hubbard defined perfume as any smell used to drown a worse one. How little things have changed. Spraying deodorant or perfume or cologne on an unwashed body is about as effective as trying to collect water in a colander. It simply doesn’t work. If, as I firmly believe, we cannot smell ourselves, then we need to rely on our friends and family or even complete strangers to set us straight. But we think it rude to point out the obvious and instead suffer in silence, distancing ourselves from them, cutting conversation short. And so we become complicit in the great unwashed. [...] To tell or not to tell... that is really the question."

Thus concedes Mary Murphy on The Budapest Times. Which brings us of course full circle on many issues pertaining to personal hygiene, the perception of that hygiene based on fragrances/products used and whether there is a sound reason of letting anyone know their personal smell is foul or whether it is an absolute social no-no. Perfume, after all, was since the height of the Versailles used to mask unpleasant odours when no other solution would do in exterminating them. We have progressed from the times when George Orwell famously quipped that the social distinction in the West can be summarized in "four frightful words...the lower classes smell" (in The Road to Wigan Pier, 1937, chapter 8). He nuanced it by saying that "here, curiously enough, the Socialist and the sentimental democratic Catholic of the type of Chesterton [ed.note: seeing dirtiness as self-mortification] join hands; both will tell you that dirtiness is healthy and 'natural' and cleanliness is a mere fad or at best a uxury". Even Murphy insists "As I was growing up, the neighbouring farmer, even starched to within an inch of his life in his Sunday best, always smelled of cow manure and boiled bacon. "

Of course such social stigmata today in developed countries at least are taken to be the absolute peak of racism and bias towards specific groups and no doubt they are. After all, there is no one more insistent in deodorising the stench of manual labour by using heaps of soap or in bringing their shoes to an impeccable shine than the laborer, eager to shed the "image". The rise of "clean" fragrances (so on trend since the 1990s) could be also interpreted in the social climb-up-the-ladder in the last three decades, at least in affluent parts of the Western world, of people who would otherwise face a life on a rural environment that would involve the smellscapes they are now eschewing in favour of the exhaust, the rained upon concrete and the cubicle farm. The American urban landscape (excluding specific exceptions) in particular is not only more egalitarian, but -perhaps in accordance- more sanitized in what concerns olfactory miasmata as well. It's probably no coincidence that some of the sexiest ads on TV concern deodorants!

But is it only social attributes which present their own challenges smell-wise? In Popular Music From Vittula by Swedish author Mikael Niemi, the narrator, Matti, reminiscences about his Arctic-circle upbringing offering vignettes from his youth, for instance when he and a friend sneak into an old gym in which middle-aged women are exercising doing aerobics: "Bum sweat cascaded over blubbery backs, the air was alive with a whiff of pussy. … Women fell like two-ton bombs, lay slithering in the pools of sweat on the varnished floorboards before scrambling up on their feet again, indomitable. The room stank of marshy swamps and menopause." I can just see the sour face you're making right now, oh dear menopaused reader! And why should something so natural, so unavoidable, so -darn it!- feminine, like menopause, be linked to olfactory impressions that are of a less than pleasant or appealing nature? you ask. It shouldn't. But there you have it.

Sometimes despite our best efforts and despite every possible stigma or lack thereof, we are oblivious to the scents emanating from our own body. Both our physical smells and our added-upon scents which are largely relying on tastes, odour preferences and accumulated empirical data received through positive and negative associations from our entourage. Sometimes, we just plainly stink for whatever reason. Objectively or subjectively, assuming we're not dealing with a drama queen being irritated by our very own presence, rather than smell.... The question is: Do you tell? In polite or covert ways? And would you want to be told? In polite or covert ways? Or anything in between?

The podium is up to you!

Painting Haunting by Brian Despain.

Dior Hypnotic Poison Eau Sensuelle: fragrance review

Doing the Lutenesque visuals for Hypnotic Poison Eau Sensuelle is not enough. Although purple hues and mysteriously shut eyelids with a sophisticated maquillage on them (by Tyen, no less) have a way of drawing a perfumista's attention, the juice has to be really original in a galaxy of flankers adorning Sephora shelves to equally capture devotion. And it's not circulating on American perfumery countertops, you say?


The original Hypnotic Poison by Annick Menardo, with its trippy bitter almond and caraway opening, managed to jolt sniffers into a "love or hate" mnemonic sense (much like all her other perfumes do too, like for instance Black by Bulgari or Lolita Lempicka by Lolita Lempicka). There's simply no way to be indifferent to it! Of course even within the same fragrance spectrum there are the ultraviolet and the infrared ends: The Eau de Parfum concentration of the original Hypnotic Poison is the former; intensely bitter and fluorescent at the beginning like underground dance clubs with "black lights" over you and with a pythonesque grip on its audience. While the Eau de Toilette shares the latter's nightime vision ability, permeating a place and its wearer in a warm incadescence; almost a homing device.
To take the light analogy on spot, Hypnotic Poison Eau Sensuelle seems like long-wave infrared or "thermal imaging": a completely passive picture of the objects in question based on their own thermal emissions only, rather than any external light or thermal source. Basically, if you got it, it will not oppose it, but it can't "work for you" otherwise.

The latest Christian Dior flanker in the Poison series, Hypnotic Poison Eau Sensuelle, is essentially a vanilla orchid floral fantasy composed by François Demachy, a more floral variation on the best-selling 1998 Hypnotic Poison minus the frightful originality.
Hypnotic Poison Eau Sensuelle opens with the slightly medicinal facets of dominant ylang ylang, soon mollified by rosa Damascena with its feminine, velvet character, almost cancelling out the medicinal. Although tuberose is listed in the notes, the effect is nowhere near the strange, cubist renditions of tuberose soliflores of niche perfumery, instead boosting a faceless rendition rather than the sex beast on steroids. The vanillic-ambery facets (plus a hint of cumin) are played in favour of the previous woody notes which conspired to make the 1998 Hypnotic Poison the non-sweet, powdery gourmand it is. Eau Sensuelle feels more floral and more "acceptable" standard vanillic, the same way that No.5 Eau Premiere is a lighter, more vanillic but less musky version of the original Chanel No.5. Only Dior's does not have as silky an effect as the Chanel's.

Still, those who didn't really like Hypnotic Poison or just couldn't "tame the beast" (it's no coincidence it's advertised with a python encircling Bellucci's voluptuous body menacingly!), will find this essentially watered down version to their liking. And this probably explains the reasoning behind its concept by LVMH in the first place. Is it a bad fragrance, then? No, but it won't make it into the next 50 years like the original Hypnotic Poison will, most probably.

The bottle reprises the shape of Hypnotic Poison’s in deep-red, subtly translucent glass, topped with a cabochon cap that looks purple, red or mauve, depending on the light. Really great work. Be aware that the outer box is VERY similar to the original Hypnotic Poison with only the Eau Sensuelle in small typeface below the name: therefore attention is required when buying so as not to confuse the two!
Available from major department stores in Europe in 50ml/1.7oz, 100ml/3.4oz and 100ml/3.4oz spray deodorant.

Notes for Dior Hypnotic Poison Eau Sensuelle:
Top: ylang ylang, rose, orange blossom
Heart: orchid, tuberose, green notes
Base: sandalwood, vanilla, woods, musk.

Related reading on Perfume Shrine: The differences between all the Dior Poison fragrances (the original 80s Poison, Tendre, Hypnotic, Pure, Midnight and their Elixir versions)

photos via sunshinereiki.ca, blog.hola.com, brusselsisburning

A Monster Perfume for Lady Gaga

These days a couple of years of fame are enough to be on the radar for a celebrity scent, aka a perfume launched on the sheer power of the "of the moment" bouncing effect of a well-known name. Lady Gaga is THE name of the last couple of years, obviously (Has it been as long? You could have fooled me) and therefore the perfume deal couldn't be too far behind.
TMZ reports: “the fragrance company behind Gaga’s upcoming scent has filed trademark paperwork for the name ‘Monster’ — with a specific use of ‘perfumery.’” Is this what you had expected from a woman infamous for wearing raw meat? Apparently, raw meat will not feature as a note in the new fragrance by Coty Inc which will debut in spring 2012 (Will mince-meat pie filling do? I wonder...). But we could be hopeful: after all this would be something to really get us out of the zonked-out boredom range of most celebrity perfumes. If Gaga can't do it, no one can.