Yves Saint Laurent Saharienne: fragrance review

If damning with faint praise is the modus operandi of the considerate critic, then I could say that the feminine fragrance Saharienne by Yves Saint Laurent is an inoffensive summer scent for days when you're bored to think of perfuming yourself. That wouldn't be right, though. Saharienne evokes so much fashion mythology with its name that expectations would naturally soar. Unfortunately, for a house with such clout in its history and at least two controversial scents in its archives (Opium and M7), plus many beautiful ones (YSL Paris, In Love Again, Rive Gauche, Y), Saharienne underwhelms.

A fresh "nothing" for summer that, while not unpleasant by any means, falls short of the stature of a true Saint Laurent fragrance. The promised "exotic journey in the wilderness" is just a stroll down the perfumery hall of an anonymous department store in Peoria.

When Saint Yves, fashion's true saint, introduced the saharienne "safari jacket" in the 1968, he envisioned a garment that would recall the best of colonial imperialism, in terms of stylishness that is, without succumbing to the demeaning elements herein.

The sharp, belted, pocketed jacket was compact and practical, but with an air of savagery as well, as though the wearer could brave sandstorms that would obscure the skies in torpedos of seemingly red particles attacking one's every cranial cavity.
The beloved garment of the white colonialist (Yves was of Algerian descent after all) looked ever so sexy on the leggy Veruschka (the aristocrat model Veruschka von Lehndorff, pictured here); cinched waist and  tight laces over bronzed breasts that were unencumbered by bridling bras. Saint Laurent's fashions made women look powerful, yet feminine! The Saharienne jacket (or the safari jacket) was no exception to that rule. Apart from a fashion milestone (no designer has been immune to its charms in the following 40 years), it also signaled a feminist one:
"By 1970, with the acceptance of trouser suits, the Western woman's silhouette accommodated bifurcation for the first time. Yves Saint Laurent, a designer extremely sensitive to social trends, responded to the May student uprisings in 1968 by creating a line of women's tailored trouser suits. Based on the "African" theme, he created a "Safari" suit for his spring/summer 1968 collection, transforming the functional hunting outfit into townwear for women". [source: The Metropolitan Museum of Art ]

The muted bergamot "cologne" idea (taking a sharp, astringent, tangy flavour and blunting its edge with loads of Iso-E Super in modern perfumery speak) is not remarkably original; not does it serve any purpose as a stand-alone-trick beyond the blah. It's shampoo writ large. Nothing wrong with this, coming from a brand like Clean or Bath & Body Works, but there is some disappointment in the notion pervading Yves Saint Laurent. I detect no significant spice, just a flou idea of woodiness and "clean" musky backdrop.
If you're looking for a sparkling woody-faceted bergamot with great lasting power for that refreshing, insouciant grace of summer wear, when you don't want to look like you're trying too hard, grab Terre d'Hermes instead.

Notes for Saharienne by Yves Saint Laurent:
Top: lemon, Italian bergamot and mandarin
Heart: white flower petals, orange leaf, galbanum, black currant bud.
Base: pink pepper, ginger.

Mona di Orio Discontinuations: Waving Good bye

I don't know if writing has the power to change the world, but it might have the power to halt certain small enterprises from pushing product to interested members: Mona di Orio has been steadily producing fragrances that are really unusual and -many of them- beautiful, but after a long deliberation she has decided to stop her original line in favour of focusing on her new one, Les Nombres d'Or (Cuir, Ambre, Musc and recently Vetyver, Vanille and Tubereuse) . Therefore, if you have been a fan of Jabu, Chamarre, Nuit Noire, Amyitis, Lux, Oiro, or Carnation, you should hang on to your bottles. (My friend Gaia has posted reviews of almost the entire house, if you don't know anything about it)

The news come from the official Mona di Orio Facebook page and are uncontestable:

 "To be able to broaden the Les Nombres d’Or line in the future, to provide a service excellence and having the adequate stock levels we have decided, for the time being, to discontinue the Grey Collection and focus on the Les Nombres d’Or line. We hope and trust you will understand and respect our decision. We know we have to disappoint some of our loyal followers and believers since day one, but we are convinced that the new Mona di Orio fragrances will give you pleasure, passion and surprises. High Quality materials and a unique approach of classics in the perfumerie. We have stock of some references (not all) available for ordering, please check at your local retailer or at info@monadiorio.com for final deliveries."

The winner of the draw...

...for the Haute Claire mini bottle is Smartshopper2/Audrey.

...for the Valentino gorgeous bottle is Barbara Patty.

Congratulations to both! Please email me using the contact on Profile or About page with your shipping data, so I can mail/ have your prizes mailed to you soon.
Thanks everyone for the enthusiastic participation and till the next one!

Frequent Questions: Perfumes, the Guide ~which book edition contains what?

People often pick up Perfumes, the Guide as a starter into getting more seriously involved on perfume. There are also those who are already into the aficion and check to see whether the snark or the praise corresponds with their own established views. For all practical purposes there are a few editions of the exact same entertaininh and informative book with minimal differences depending on when they came out which makes for some confusion, at least going by the questions appearing on perfume discussion boards. Let's see the various editions according to continent and chronological order of coming out.




First edition of Perfumes, the Guide (2008): Hardcover, blue Dawamesk/Coque d'Or bottle by Guerlain on the white book jacket.

Second edition of Perfumes, the Guide, also called Perfumes, the A-Z Guide: Paperback, contains the exact same content of the first edition, with added reviews that had previously appeared on the three Supplements that had been available through subscription at the authors' site (the first one of those was free for download) and an extention of the essays, with some updates on the "best of" lists at the end of the book.
There are two versions of the 2nd edition of Perfumes, the Guide: One for the US market, another for the European one, but they share the same content as described above.



the US 2nd edition of Perfumes, the Guide with many little bottles in colour on the cover



the European 2nd edition of Perfumes, the Guide, in black & white stripes on the cover


The above are NOT to be confused with the newest upcoming edition, reprising some material from the other book, called "The Little Book of Perfumes: the 100 Classics", which basically takes Luca and Tania on a hunt to re-smell the 100 classic fragrances they had reviewed to see (and wittily comment, of course) whether they stand up to closer scrutiny after the lapsed 3 years and perfumery changes since.

Aftelier Haute Claire: fragrance review & Bottle Giveaway

Before we begin, here's the giveaway, courtesy of Mandy Aftel who will send the bottle to the winner: A 5 ml spray bottle of Aftelier Haute Claire in Eau de Parfum. How to be eligible: Leave a comment, telling us what it is you like or don't like about natural perfumes and if you have experiences with them.

I have respect for Aftel's work; her technique is solid, her knowledge on raw materials, the intricate melding process and the mythoi of aromatics insanely immense. I have learned many things from her books and her work. Her recent creation was therefore something that, hadn't she volunteered to sample with bloggers, I would have sought out myself to try anyway. Mandy Aftel describes Haute Claire as “high and bright” and the juxtaposition of two ordinarily clashing components, the lush floral of ylang ylang and the bitter green, resinous touch of galbanum, is an arc that extends high with a brightness that shines far; somewhere over the rainbow, sort of.
On one end the green elements are reinforced by vetiver, an earthy element that gets licorice facets and salty nuances revealed on skin. On the other end, the natural sweetness of the floral is embraced by the sinful, calorific touch of vanilla. The vanilla is given an extra kick through a slightly spicy kick that whispers at the end. Haute Claire is an all-natural perfume that feels complex and with a very decided message, not some sort of aromatherapy mix which you would endure for the sake of itsbeneficiary effect. I don't know if there is some veritas in the -perhaps partly placebo- effect of some essences, but Haute Claire is certainly uplifting and optimistic, a summery scent for mental summers even in the heart of winter.

Notes for Aftelier Haute Claire: galbanum, Mexican lime, wild sweet orange, ylang ylang Co2, honeysuckle absolute, ylang ylang extra, clary sage, ethyl phenyl acetate, vetiver, vanilla absolute
In the interests of full disclosure, I was sent a sample of the fragrance directly by the perfumer.

Guerlain Delice de Peau: new scented product review

Guerlain is not just perfume or makeup; it's also an illustrious history of scented skincare and haircare preparations that help complete the ritual of beauty. The new cream Délice de Peau à Parfumer is a unique product by Guerlain.

"Délice de Peau
This sleek and stylish little white jar contains a moisturizing body cream with a unique ability: wherever it blends with perfume (neck, décolleté, wrist, arms, etc.) it enhances its sillage, intensifies its olfactory power and prolongs the pleasure of the senses..."The scented cream is meant to be used with any fragrance in the Les Elixirs Charnels and L’Art et la Matière lines, both prolonging their effect and boosting their radiance, acting as a "developer", extending the bouquet, letting all facets shine.
This is possible through a synergy of common and complimentary ingredients that run through the gamut of both lines: a warm, intimate aura, much like the more old-fashioned, but legendary "myth" of the Guerlinade accord.The new "chord" is built on musk and benzoin (a warm, sweetish resin that has vanilla facets) , echoing the "Muscinade" that is advertised as the secret "accord" in the new Guerlains, such as Cruel Gardenia and Tonka Impériale (or even Insolence).

The creams' scent is very perceivable, to the point of sufficing as a stand-alone fragrance. My suggestion is it pairs really well with Cuir Beluga, extending its suede feel through the muskiness and reinforcing its vanilla background. The texture of Guerlain Délice de Peau is soft and light, with a slightly nacreous, satiny finish, that is especially welcome for summer. The white pot is sold as is, with a retro paper label embossed in silver and gold, without an external box, thus reminiscing the packaging of the 1950s. The retail price is 95$ for a pot of 100ml, somewhat pricey for all over use, so you might want to save this for the décolleté or bare armsl. It is currently available at Neiman Marcus and the Guerlain boutique in Paris.


Related reading on Perfume Shrine: Guerlain fragrance reviews, Guerlain news.

Guerlain News: Habit Rouge L'Eau, Idylle Parfum, re-edition of L'Abeille

Habit Rouge L'Eau is Thierry Wasser's interpretation on a scent he holds near and dear: the classic Habit Rouge by his mentor Jean Paul Guerlain.

The new version is "softer, easy-to-wear and less contracted adaptation of the original. Delicately fresh, but with a less intense citrus opening, and a lighter base without any leather". Might we remind our readers that Habit Rouge apart from the vintage Eau de Cologne version and the standard Eau de Toilette, also comes in a (slightly recalibrated) Eau de Parfum and the glorious extrait de parfum edition available only at Guerlain boutiques.
[For a comprehensive guide on what perfume concentrations mean, refer to this article.]
It's also one of the few masculines in the range to have a flanker: Habit Rouge Sport.

Guerlain Idylle, the feminine fragrance by Wasser which already boasts one flanker, Idylle Duet, will soon be joined by an Idylle extrait de parfum version as well. I doubt that this is news sending a shiver down the spine of perfume lovers of a more serious aficion, but it might be nice introduction to the ritual of dabbing parfum for the beginner Guerlainophiliac.

Last but not least, for those on a bee-hunt for Abeille: the Abeille extrait by Guerlain , the precious edition of the 17.000 Euro price-tag (!)  in the Baccarat bottle is out again, this time re-orchestrated by Wasser.

pic of bottle via Pluises blog, news & quote via mr.guerlain,

Chewing the Cud on Givenchy's upcoming fragrance Dahlia Noir

Givenchy' upcoming feminine fragrance, Dahlia Noir (i.e. black dahlia), is the first house scent overseen by couture creator Riccardo Tisci in collaboration with perfumer François Demachy, but it already presents something of a challenge for reasons we elaborate on below. Fabien Baron is the creator of the bottle and the ad campaign, featuring Maria Carla Boscono, which is set to hit glossies and screens later this year, in an image of almost fetishy gothic-inspired clothing of black lace and chiffon.

The fragrance notes for Givenchy Dahlia Noir comprise such vague terms as "rose vapour, peach milk, iris powder and precious/sacred woods" and since dahlia has no smell, we are left guessing with only Tisci's feedback on what to expect. The childhood memories & associations of Tisci, on which he drew inspiration from for Dahlia Noir, include the iris-scented scent of his sisters' cosmetics (including lipstick and a shared bottle of Rive Gauche) as well as a classic scent from Italian brand Santa Maria Novella.
According to him, the concept was an abstract, geometrical floral, which leads me to believe we're dealing with a floral that will not be obviously floral (in the mould of many modern floral fragrances aimed at young people who sneer at being presented with "traditionally feminine" pretty flowers in their scents) . Tisci goes on to elaborate that the concept alluded to by the name has to do with romanticism, sex and darkness: a well-played theme by now in many a "noir" fragrance, but also supposedly standing for what Givenchy stands for as well. I think Hubert might have other ideas in his mind than "sex and darkness" back in the day when he was dressing Audrey Hepburn and Jackie Kennedy, but even though he is very much alive, his own patrician image has subtly, discreetly exited the picture on what concerns his brand.


It remains to be seen whether the darkness of Eau Demoiselle (a previous release by Givenchy played on the allure of a black mantle-dress) will now transpire into more than the innocuous woody floral musk the former fragrance equated into.

The new Givenchy fragrance reportedly "has nothing to do" with the James Ellroy novel Black Dhalia, which takes upon itself to explore and partly fictionalise the facts of an infamous real murder case, or with previous Givenchy releases; but the association with the unsolved murder case of brutally  butchered Elizabeth Sort (nicknamed "The Black Dahlia" in the call-girl circuit of late 1940s LA she was part of, due to her predeliction for wearing black) is too close to home to escape criticism of milking an infamous catch-phrase for money. LVMH, to which Givenchy belongs, is no mom & pop establishment that would fail to research a trademark adequately, at any rate, and the French posters for Brian De Palma's film a few years ago have it emblazoned all over the Internet. Let's not forget, MAC Cosmetics, another big player, who issued a comparably similarly named makeup collection. What's up with that?

Givenchy Dahlia Noir is released on 22 August in France for 57 euros for 30ml of Eau de Parfum.

Valentina de Valentino: Fragrance Review & Bottle Giveaway

Valentina de Valentino is not a hard name to come up with when you're the famous Italian designer who's dressed everyone from Jackie O to Courtney Love; the feminine counterpart is a sexy name, meant for It Girls who like to pique people's fancy. But first things first: The new perfume by Valentino won't launch internationally until September 23rd 2011, but I have a full bottle to give away in the meantime to a lucky reader! [draw is now closed, thank you!]. It came through a promotion (an amazing-looking one that included a giga book with pics which inspired me to take the photographs of Valentina you see myself) and has been only sprayed a few times to test it. Please state your interest in the comments for a chance to win the fragrance. Now on to the dissecting stuff...

Perfumers Olivier Cresp and Alberto Morillas, masters in the game of producing scentful crowd-pleasers, joined forces in the new Valentino fragrance which is presented as a floriental, but is really a tart, quite fun "fruitchouli" (perfume community slang for the fruits & patchouli genre of fragrances). In Valentina the tanginess of the top notes (citrus and strawberries) cuts through the sweeter elements in the composition, before the soft, clean woody backdrop takes reign for the duration of the scent on the skin. It's essentially linear, projecting with a direct flirtatious message, in the mould of Flowerbomb, Coco Mademoiselle, Parisienne, Miss Dior Cherie or La Petite Robe Noire (it references the berries notes of the two latter, possibly through Frambinone). Valentino is known for his couture, but this is no "couture scent", it's rather mainstream, though well composed. It also includes 7% of the realtively new molecule Paradisone (also used in 2006 Perles de Lalique, Kapsule Woody by Lagerfeld from 2008 and Cheap & Chic I Love Love by Moschino from 2005).

Valentina flirts like an Italian at an opera opening night, kicking the heels underneath and pinching their cute boyfriend's bottom naughtily but -bottom line!- harmlessly. Valentina de Valentino is bright, with sunnier, citrusier elements, a small subfacet of spice (anise and clove-cinnamon?). You feel the floral bouquet (orange blossom, jasmine and tuberose) in the Valentino fragrance most when comparing wrist-to-wrist with another perfume in the genre: Compared to Coco Mademoiselle, for instance, the patchouli in the Chanel is positively camphoraceous side-to-side and the whole seems less floral. Even so, lovers of the latter would probably like the former, sweet tooth and its hint of castoreum & earth in the "white truffle" accord. This latter element is a hint that they might have been inspired by the seminal Une Rose in the F.Malle line, but of course the Valentino perfume is tamer; there's only a wink of "earthiness".

 
Valentino focuses on how the creative team has envisioned the new fragrance for the modern audacious woman. I suspect they sat down and saw the void of a fragrance for youngish women on the prowl in their portfolio; and who can blame them?

The photographic campaign by David Sims sees Freja Beha Erichsen shot in a deserted Rome at night-time, after escaping a boring soiree (it's a cute commercial!). 
The packaging revisits the ideas of Valentino couture, especially the pastel colours of the past three collections; femininity, audacity and sobriety. All these translate into a bottle that is delicate and surpemely pretty to look at on your vanity with its gorgeous flowers embossed on it, like a small corsage.

Notes for Valentina de Valentino: 
Calabrian bergamot, white truffles from Alba, jasmine, orange blossom from Amalfi, tuberose, strawberry, wood notes, cedar, and  amber.

 

All photographs (except for official ad) © by Elena Vosnaki. Click to enlarge.

The Scent of Nivea Cream: Nostalgic Remembrances in a Blue Tin

Who can forget the classic blue tin of Nivea Cream? Half the fun of using the unctuous, thick-pasted cream on wherever there was a graze or scratch or burn (or just for cosmetic purposes), was the smell. A scent so full of good-humoured herbal sweet comfort, nothing really sinister could come your way. Or so we thought, as kids. Stumbling upon what really made up that memorable aroma, many people's long and arduous quest, is precious and we're happy it to share it on Perfume Shrine:

"Close your eyes and take a deep breath. Even blindfolded, there’s no mistaking it: the fragrance of NIVEA. Its discreet perfume oil is considered one of the classic fragrances for skin cream. Because very few synthetic aroma chemicals were available in the early 20th century, the NIVEA fragrance consists largely of essential oils. Contributors to its flowery bouquet include lily of the valley, rose, violet, lilac and lavender, with orange and lemon fruit essences rounding out the fragrance. And incidentally: the secret original formula for the perfume oil used in NIVEA cream has changed very little after all these years."

Might we hereby note that neither violet, nor lilac, nor lily of the valley yield an adequate enough essential oil for anything even remotely resembling mass production, but we realise that an official admission on using even some aromachemicals is far-fetched. You'll have to content with having the scent notes delineated for you for the classic Nivea cream in the blue tin though: It's the stuff unforgettable scent memories are built on...

Photo collage of vintage Nivea cream ads via oranges & apples
Quote from Always Inspiring via M.K.Krydd (thanks!)

The winner of the draw...

...for the newest Lutens decant is Katrina K. Congratulations and please email me with your shipping data using the contact in Profile or About page so I can send your prize out to you soon.

Thanks everyone for the enthusiastic participation and till the next one! (I have plenty of exciting giveaways planned shortly!)

Cartier Baiser Vole: fragrance review

“There is no lily oil or lily absolute,” says perfumer Mathilde Laurent, who wanted to introduce a floral scent in Cartier’s fragrance collection, a propos Baiser Volé, the jewellery brand's latest feminine fragrance launch. The name means "Stolen Kiss" reminiscing such romantic images as Fragonard's painting or Truffaut's film. “But I didn’t want it to be the 1,001st floral floriental, and I didn’t want to add a new floral composition.” Instead, Laurent likened wearing Baiser Volé to having on a necklace of lilies!

In Baiser Volé, in-house Cartier perfumer Mathilde Laurent explores the nature of lily three-ways (the leaves, the petals and the pistil) in a fresh powdery floral context and ends up with a surreal lily that isn't really about flowers, nor does it smell particularly spot-on "floral", but about the flowery nature of woman herself: opening up, "blooming", receiving, being at once pure and a little bit disorienting.

Laurent began by asking what smell men found enticing in a womanly way, to which the (fit to print, at least) prominent reply seemed to be "the lily". Colour me sceptical; isn't lily a symbol for purity and the need for cleansing? Maybe men are really leaning more onto the Madonna rather than the whore juxtaposition? Maybe they're asking them from a pre-arranged multiple-choice sheet?
At any rate, thus equiped, Laurent embarked on her 2-year long quest into fitting this stunning flower into a composition that would light up the room just lilies they do, without it being cliché, or surupy sweet, or headache-inducing cloying. If you are looking for the most realistic lily scent recreation, you might stop reading right now or read our article on Lily scent and lily flower types in perfumery; Baiser Volé doesn't even aim at that. But if you like fresh powdery scents, you might want to at least sample; it's very likeable.

The vegetal quality of the fragrance presents itself in an odd game of salicylates, solar notes which boom on the skin, a balance of bitter and sweet with a hint of citrus: The treatment, air-spun, meringue-like, delicate, is not unlike the one that perfumer Jean Claude Ellena reserved for the lightening up of vanilla through ylang ylang & lily notes in his fluffy Vanille Galante for the Hermessences. The vanilla and musks laced drydown in Baiser Volé recalls the sweetness of Un Lys by Serge Lutens, but the context is less poetic, more powdery, in a cosmetic-power-infused, slightly bittersweet way with a small subfacet of spice ~only minimal, a tad clovey; and a hint of violet ionones. It's safe to deduce that Baiser Volé transposes these niche sensibilities, pure, unadulterated exploration of perfumery raw materials's facets, in sleight-of-hand executions, into the mainstream. Compared with other lily fragrances, Baiser Volé stands alone and lacks the gaiac smokiness of real lilies which is reported to give them their "ham" brine-y facet. Cartier's interpretation is nowhere near the dense, ambery tinged radiant ambience of Donna Karan's Gold. Or the faux chypre structure of Ineke's Gilded Lily. Or the spicy corolla of Lily & Spice by Penhaligon's. And whereas Lys Mediterranée is a raspy, roughened salty-savoury lily that appeals to a certain Med sensibility with its hoarsey voice, while remaining irresolutely lily-like, Baiser Volé is smoother, more pliable, less floral, more traditionally womanly in its vanillic powdery kiss, and oddly at once old-fashioned and "clean".

On the other hand, and this is really interesting, Laurent takes no prisoners into embracing the latest trend of reinventing powdery florals for a generation that was afraid of anything powdery signifying "old lady perfume": From Esprit d'Oscar to Love,Chloé, the pink satin feel of ballerina shoes is taking on the sheen of flou through dusty, dry notes reminiscent of violets, talcum powder and sweet musks (if you're thinking of Lovely, by Sarah Jessica Parker, with an added dose of powderiness, you're not too far off); especially since this is a medium sillage fragrance, projecting politely while lasting power is good. Maybe it's code for "classy" or "different" in the milieu of hundreds of sweet things on the market. Maybe the generation who loved Flower by Kenzo and Cashmere Mist by Donna Karan have moved onto other things by now, leaving a void to be filled with new consuemers. The freshly powdery effect needs a true best-seller to shoot off as the new "craziness" in perfume (after "pink chypres" , fruitchoulis, and ethylmaltol-based ~aka cotton-candy smelling~ gourmands) and it remains to be seen just which fragrance that might be: Even though the concept and smell might be right for Cartier, I think we're dealing with a confusing name for Anglos: kissing the rodent seems to be many people's gut response, which might shoot the project in the foot (who can forget Rochas Poupée?).

Mathilde Laurent has been at jewellers Cartier since 2005 and she had been busy concocting Les Heures du Parfum, a series of niche-smelling fragrances sold exclusively at Cartier boutiques. Baiser Volé is the brand's first major feminine fragrance launch since Le Baiser du Dragon oriental in 2003 (Cartier de Lune of early 2011 not withstanding) and contrasted with the best-selling masculine Déclaration, which garners more than 60% of all Cartier's fragrance sales, this Baiser is set to be a serious bet on the part of the company; a recent Women's Wear Daily article tagged it as being intended as the scent pillar in the brand's feminine portfolio.It's definitely geared towards "a younger consumer", though like Robin I am at a loss on just how old the Cartier demographic really is to begin with.

The bottle of Baiser Volé is based on a stylised lighter design, for which the house is famous: In the 1970s there was no chicer way to light up (even today Cartier-embossed cigarettes are still produced in a small quantity in Europe), giving rise to the Les Must de Cartier, a boutique line from which Must perfume arose. Cartier Baiser Volé is available in Eau de Parfum (priced between $75-$145), also presented in matching Shower Gel and Body Lotion ($55 each) and deo spray, and is currently a Nordstrom Anniversary exclusive, but it will be available at major department stores in September 2011.

artwork via lunarki blog