Chandler Burr, Curator of the Department of Olfactory Art at the Museum of Arts and Design in New York City, former New York Times perfume critic, and author of two definitive non-fiction books about the perfume industry ~among many others, gave a talk on September 23rd at TEDx in Budapest re: his fundamental approach on “Scent As Art”. You can watch it on this TEX Danubia link or in the video embedded below (You will catch some fascinating insights into the newest Hermès Santal Massoia we announced on these pages a while ago).
He illustrates the approach by analysing three fragrances from different eras (NB.descriptors below are his):
- “Jicky” (1889) Aimé Guerlain
From the Collection of Guerlain
The paradigmatic work of turn-of-the-century French Neoclassic/Romanticism.
- “Chanel No 5” (1921) Ernest Beaux
From the Collection of Chanel
The first and greatest work of olfactory Modernism.
- “Santal Massoïa” (2011) Jean-Claude Ellena
From the Collection of Hermès
Ellena’s latest piece done in the school he leads, a work of Neo-Minimalism/ Luminism.
His talk however isn't exclusive of other classics and moderns: He includes a discussion on Germaine Cellier's work and her Fracas icon from 1948, Odeur 53 by Anne-Sophie Chapuis and Martine Pallix (1998) as a continuation of Brutalism, Untitled commissioned by Margiela (a 2010 Surrealist/ Neo-Brutalist work by perfumer Daniela Andrier), Edmond Roudnitska's 1949 Diorama as a consummate work of Abstract Expressionism and Francis Fabron's L'Interdit from 1958, bridging Classicism and Abstract Expressionism.
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Tuesday, October 11, 2011
Laura Ashley Fragrances: The Return of Romance
According to Basenotes (find the links of the new perfumes therein), Laura Ashley, the legendary home decor and fashions/textiles brand, has returned to perfumery: The company have worked with Azzi Glasser and CPL Aromas to create three new Laura Ashley fragrances: Green Meadow, Pink Petals and Floral Heart, presented in 50ml and 100ml of Eau de Parfum, with the option of a collective 3-piece of 30ml each as well.
Mum's the word on whether they will ever bring back such legendaries as Laura Ashley #1 and Dilys though!
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Mum's the word on whether they will ever bring back such legendaries as Laura Ashley #1 and Dilys though!
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Monday, October 10, 2011
Definition: Creamy, Milky, Lactonic, Butyric in Fragrances
What does "creamy" mean to you in relation to fragrance? Is it the rich, sundae vanilla feeling you get while licking a cone, the thick yet refined taste of a bavaroise or is it the beachy tropical scent you get from a lush floral perfume? And what about lactonic? You hear this term brandished a lot, especially in relation to vintage fragrances, but where does it lead you? What does lactonic mean and how do you differentiate between it and "milky"? And, oh gods, where does "butyric scent" come into all of this? Let's try to define some confusing perfume terms on Perfume Shrine once again.
Creamy fragrances are more in reality more straight-forward than you'd expect: The term "creaminess" usually denotes a rich feeling, infused with silky, sensuous and lightly or more heavily sweet notes which may derive from soft vanilla, sandalwood, or coconut and sometimes from rich, lush florals that naturally have nectarous qualities, such as jasmine or honeysuckle. Vanilla in itself is usually described as creamy: Indeed Vanilla tahitensis pods have a complex odour profile, with notes of raisin, musk, cherry, lactones and anisic aldehydes.
Often tropical florals combine with coconut and coconut milk to produce that suntan lotion feel that we describe as "creamy". These would also fall under the umbrella of "exotic", as many people's vision of exotica is tan skin, dark almond shaped eyes and the scents that are exuded in meridians where leis are worn around the neck at all occasions. Delta jasmolactone exhibiting a coconut facet (and a creamy tuberose basenote as well) makes it a natural match for this sort of thing.
Fragrances of this type include Juste un Rêve by Patricia de Nicolai, Datura Noir by Serge Lutens, Champaca Absolute by Tom Ford Private Line, Gai Mattiolo Exotic Paradise LEI (coconut, vanilla and exotic flowers) and Jil Sander Sun Delight (with frangipani and vanilla). Ylang & Vanille in the Guerlain Aqua Allegoria line is a small gem of creamy floralcy: the naturally piercingly sweet scent of ylang is given a meringue treatment via fluffy vanilla and the eau de toilette concentration never allows it to become cloying or suffocating. Even the dicontinued Sensi by Armani was great in this game of uniting flowers with soft, tactile woods.
Almond fragrances when air-spun and given the dessert, gourmand treatment with lots of heliotropin, instead of the more medicinal bitter almond iterations (as in Hypnotic Poison by Dior), can fall under the "creamy, soft" spectrum as well: Try Heliotrope by Etro or the very friendly Cinema by Yves Saint Laurent. A popular choice in the genre is Comptoir Sud Pacifique's Vanille Amande. Their silky veil is soft, enveloping, tactile. When coupled with a lot of vanilla and some musk they can become almost a visible cloud around you, such as in Ava Luxe Love's True Bluish Light. On the same page, Lea by Calypso St.Barth is a cult choice and Sweet Oriental Dream by Montale (with its shades of loukhoum) is among the best in the niche line. Tilt the axis into woody-creamy and you get Sensuous by Lauder; a literal name for once.
An elegant version of this genre, holding the sugar at an optimum medium, is Eau Claire de Merveilles by Hermes; a more mainstream one Omnia by Bulgari. Men are not forgotten in this field: Pi by Givenchy and Rochas Man in the phallically siggestive rocket-bottle are great examples of creamy fragrances for men.
Among modern molecules, Methyl Laitone (patented by Givaudan, from "lait", French for milk) is a powerful aroma-material with a diffusive, milky, coconut-like coumarinic odour character. Its use as a milk note in soap formulae is now a given, but it also aids in providing a creamy scent to perfumes too.
It's detabateable whether creamy and milky are the same, though: The difference isn't just a game for scholars. The condensed milk sweetness and "fattiness" of certain gourmand fragrances, such as the latest caramelic benjoin-rich Candy by Prada, can evoke visions of both clotted cream and milk desserts and rice-puddings, melding the two notions into one. Jo Malone utilizes the cozy, familiar note of condensed milk in black tea in her Tea Collection Sweet Milk. Kenzo Amour goes the way of a rice pudding: it's lighter than a pannacota, and has a steamy rice note in there too. Organza Indencence by Givenchy has a custard-like base, sprinkled with cinnamon, while Saffran Troublant by L'Artisan Parfumeur is like a milk dessert hued a vivid crocus-yellow by saffron served in bowls dressed in sturdy suede. Flora Bella by Lalique hides a milky facet under the soft, clean, fabric-softener violet core, while Etro's Etra is a milky floral as pretty and polite as this genre gets.
Sandalwood from the Mysore region in India in particular is famous for having a rich, satisfying milky scent. But smell a pure sandalwood-focused fragrance, such as Santal Blanc by Serge Lutens and see how a "milky scent" can be subtler, drier, less sugary than "creamy"; more opalescent than fatty glistening. Contrast now with a heavy bad-ass sandalwood perfume (boosted by powerful synthetic Polysantol), such as Samsara by Guerlain, and you are at a crossroads: that one's creamy rather than milky, va va voom sexy and enhanced by the richness of jasmine. Smell a virile, masculine sandalwood, ie. Santal 33 by Le Labo and you're back at square one; not a hint of cream in sight. No single ingredient can sattisfyingly give the full effect, obviously.
Take things too far on the dairy scales and you end up with "butyric". The word comes from the Greek for butter: βούτυρον/butyron. Usually butyric smells are due to either a single molecule (butyric acid) or, in the case of butyric esters, to part of a molecule. Butyric refers to a sharp cheesy scent, reminiscent of parmesan cheese (or even vomit and really stale, stinky socks; take your pick!), but some butyric esters, such as ethyl 2 methyl butyrate which has a fruity facet like pear or apples, are used in perfumery (and in the flavouring industry as well). And yet, and yet... irony has a place in perfumery; it's the buttery taste of tuberose-drama-queen Fracas by Piguet that makes it the unforgettable classic that it is!
"Lactonic" however is specific perfumery jargon. It's not just a descriptor, hence I differentiate. (Though the feeling can read as "milky" or "creamy" too, as you can see further on!) Picture lactonic as a subgroup of the greater milky/creamy continent, reached through specific vessels (called lactones).
Lactonic fragrances derive their name from Latin for milk (lac, hence lacto- etc.), and lactones are cyclic esters, a very specific chemical compound group, uniting an alcohol group and a carboxylic acid group in the same molecule. Therefore describing a fragrance as "lactonic" transcedes mere smell evocation and enters the spectre of analytic chemistry.
Why the confusing name, then?
Because they're produced via the dehydration of lactic acid, which occurs in...sour milk (and is found also in some dairy products such as yoghurt and kefir etc). You could begin to see the connection if you get the brilliantly synthetic Rush by Gucci, a lactonic modern chypre rich in a patchouli-vetiver-vanilla base and squint just so; a hint of sourness is its crowning glory. This is also the weird baby-vomit "note" in the iconoclastic Le Feu d'Issey (possibly accounting for the fragrance's commercial flop!).
Far from smelling sour, however, lactonic fragrances fall under 2 main schools, according to which of the most popular lactones they're using: milk lactone/cocolactone (i.e. 5,6-decenoic acid) or peach lactone.
A classic example of the latter is Caron's Fleurs de Rocaille or Mitsouko by Guerlain; Mitsouko's infamous peach-skin heart note in particular is due to undecalactone (referred colloquially as "aldehyde C14"). Peach lactone can sometimes veer into coconut territory smell-wise, thus giving rise to "creamy" descriptors! Indeed gamma-nonalactone is the popular coconut additive in suntan lotion.
On the other hand, demethylmarmelo lactone has a milky, butter cake scent, as does delta decalactone which has facets of coconut.
Milk lactone or cocolactone has a silky, balsamic almost burnt butter odour which pairs exceedingly well with white flowers (jasmine, gardenia), as it is reminiscent of naturally occuring jasmolactones, hence its use in white floral blends. Dis-moi Mirroir, in the more esoteric Mirroir line by Thierry Mugler, is a characteristic example showcasing a white flower top (orange blossom) and a white floral heart (lily) plus peachy lactones (smelling of apricot and peach) flying over a milk lactone base, producing a milky-fruity floral.
Massoia lactone is an individual case, as it produces a note that is poised between woody and coconut; it is what will be featured in the upcoming Santal Massoia by Hermès in the more upmarket Hermessence line.
But not all lactones are created equal: the whole group of octathionolactones has a fungi smell, reminiscent of the refrigerated mushrooms aroma of some white flowers, such as gardenia and tuberose.These flowers also exhibit creamy facets side by side, so the whole issue of describing a fragrance is far more complex than expected; as with most things in life, it all depends on context and proportions!
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Often tropical florals combine with coconut and coconut milk to produce that suntan lotion feel that we describe as "creamy". These would also fall under the umbrella of "exotic", as many people's vision of exotica is tan skin, dark almond shaped eyes and the scents that are exuded in meridians where leis are worn around the neck at all occasions. Delta jasmolactone exhibiting a coconut facet (and a creamy tuberose basenote as well) makes it a natural match for this sort of thing.
Fragrances of this type include Juste un Rêve by Patricia de Nicolai, Datura Noir by Serge Lutens, Champaca Absolute by Tom Ford Private Line, Gai Mattiolo Exotic Paradise LEI (coconut, vanilla and exotic flowers) and Jil Sander Sun Delight (with frangipani and vanilla). Ylang & Vanille in the Guerlain Aqua Allegoria line is a small gem of creamy floralcy: the naturally piercingly sweet scent of ylang is given a meringue treatment via fluffy vanilla and the eau de toilette concentration never allows it to become cloying or suffocating. Even the dicontinued Sensi by Armani was great in this game of uniting flowers with soft, tactile woods.
An elegant version of this genre, holding the sugar at an optimum medium, is Eau Claire de Merveilles by Hermes; a more mainstream one Omnia by Bulgari. Men are not forgotten in this field: Pi by Givenchy and Rochas Man in the phallically siggestive rocket-bottle are great examples of creamy fragrances for men.
Among modern molecules, Methyl Laitone (patented by Givaudan, from "lait", French for milk) is a powerful aroma-material with a diffusive, milky, coconut-like coumarinic odour character. Its use as a milk note in soap formulae is now a given, but it also aids in providing a creamy scent to perfumes too.
It's detabateable whether creamy and milky are the same, though: The difference isn't just a game for scholars. The condensed milk sweetness and "fattiness" of certain gourmand fragrances, such as the latest caramelic benjoin-rich Candy by Prada, can evoke visions of both clotted cream and milk desserts and rice-puddings, melding the two notions into one. Jo Malone utilizes the cozy, familiar note of condensed milk in black tea in her Tea Collection Sweet Milk. Kenzo Amour goes the way of a rice pudding: it's lighter than a pannacota, and has a steamy rice note in there too. Organza Indencence by Givenchy has a custard-like base, sprinkled with cinnamon, while Saffran Troublant by L'Artisan Parfumeur is like a milk dessert hued a vivid crocus-yellow by saffron served in bowls dressed in sturdy suede. Flora Bella by Lalique hides a milky facet under the soft, clean, fabric-softener violet core, while Etro's Etra is a milky floral as pretty and polite as this genre gets.
Sandalwood from the Mysore region in India in particular is famous for having a rich, satisfying milky scent. But smell a pure sandalwood-focused fragrance, such as Santal Blanc by Serge Lutens and see how a "milky scent" can be subtler, drier, less sugary than "creamy"; more opalescent than fatty glistening. Contrast now with a heavy bad-ass sandalwood perfume (boosted by powerful synthetic Polysantol), such as Samsara by Guerlain, and you are at a crossroads: that one's creamy rather than milky, va va voom sexy and enhanced by the richness of jasmine. Smell a virile, masculine sandalwood, ie. Santal 33 by Le Labo and you're back at square one; not a hint of cream in sight. No single ingredient can sattisfyingly give the full effect, obviously.
Take things too far on the dairy scales and you end up with "butyric". The word comes from the Greek for butter: βούτυρον/butyron. Usually butyric smells are due to either a single molecule (butyric acid) or, in the case of butyric esters, to part of a molecule. Butyric refers to a sharp cheesy scent, reminiscent of parmesan cheese (or even vomit and really stale, stinky socks; take your pick!), but some butyric esters, such as ethyl 2 methyl butyrate which has a fruity facet like pear or apples, are used in perfumery (and in the flavouring industry as well). And yet, and yet... irony has a place in perfumery; it's the buttery taste of tuberose-drama-queen Fracas by Piguet that makes it the unforgettable classic that it is!
Lactonic fragrances derive their name from Latin for milk (lac, hence lacto- etc.), and lactones are cyclic esters, a very specific chemical compound group, uniting an alcohol group and a carboxylic acid group in the same molecule. Therefore describing a fragrance as "lactonic" transcedes mere smell evocation and enters the spectre of analytic chemistry.
Why the confusing name, then?
Because they're produced via the dehydration of lactic acid, which occurs in...sour milk (and is found also in some dairy products such as yoghurt and kefir etc). You could begin to see the connection if you get the brilliantly synthetic Rush by Gucci, a lactonic modern chypre rich in a patchouli-vetiver-vanilla base and squint just so; a hint of sourness is its crowning glory. This is also the weird baby-vomit "note" in the iconoclastic Le Feu d'Issey (possibly accounting for the fragrance's commercial flop!).
Far from smelling sour, however, lactonic fragrances fall under 2 main schools, according to which of the most popular lactones they're using: milk lactone/cocolactone (i.e. 5,6-decenoic acid) or peach lactone.
On the other hand, demethylmarmelo lactone has a milky, butter cake scent, as does delta decalactone which has facets of coconut.
Milk lactone or cocolactone has a silky, balsamic almost burnt butter odour which pairs exceedingly well with white flowers (jasmine, gardenia), as it is reminiscent of naturally occuring jasmolactones, hence its use in white floral blends. Dis-moi Mirroir, in the more esoteric Mirroir line by Thierry Mugler, is a characteristic example showcasing a white flower top (orange blossom) and a white floral heart (lily) plus peachy lactones (smelling of apricot and peach) flying over a milk lactone base, producing a milky-fruity floral.
Massoia lactone is an individual case, as it produces a note that is poised between woody and coconut; it is what will be featured in the upcoming Santal Massoia by Hermès in the more upmarket Hermessence line.
But not all lactones are created equal: the whole group of octathionolactones has a fungi smell, reminiscent of the refrigerated mushrooms aroma of some white flowers, such as gardenia and tuberose.These flowers also exhibit creamy facets side by side, so the whole issue of describing a fragrance is far more complex than expected; as with most things in life, it all depends on context and proportions!
Related reading on PerfumeShrine:
If you haven't caught on the Perfumery Definitions series till now, please visit: - Definition: Indolic vs. Non Indolic
- Definition: Phenolic, Terpenic, Camphorous
- Definition: Powdery & Dry in Fragrances
- Definition: Resinous & Balsamic
- Definition: Soapy in Fragrances
- Definition: Which Material Produces Which Note/Effect?
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Burberry Body Song Tie-in: Rose by The Feeling
“People wear perfume as an attractant – something to make them feel good and enhance interaction with others,” said Jack Burke, president of Sound Marketing Inc., Branson, MO, as an industry expert for Luxury Daily. “Music is much the same. It is one of our strongest memory sense, next to smell.”
This is a propos a bespoke song called “Rosé” for Burberry Body, the British brand's latest scent, recorded by the band The Feeling. The Feeling is a British pop band from Britain’s Essex area, most well-known for its singles “Sewn” and “Fill My Little World".
Chris Bailey, chief creative officer at Burberry is playing all the right notes on this launch, what with the social media and the music connection (except possibly for the reportedly dull smell). With such an invested campaign, the fragrance is set to fly off the shelves. I wonder however just what it means when there's so much emphasis on the peripheral elements, rather than the scent itself.
Below, the Burberry Body campaign commercial directed by Christopher Bailey, featuring British actress Rosie Huntington-Whiteley, and shot by Mario Testino in London.
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This is a propos a bespoke song called “Rosé” for Burberry Body, the British brand's latest scent, recorded by the band The Feeling. The Feeling is a British pop band from Britain’s Essex area, most well-known for its singles “Sewn” and “Fill My Little World".
Chris Bailey, chief creative officer at Burberry is playing all the right notes on this launch, what with the social media and the music connection (except possibly for the reportedly dull smell). With such an invested campaign, the fragrance is set to fly off the shelves. I wonder however just what it means when there's so much emphasis on the peripheral elements, rather than the scent itself.
Below, the Burberry Body campaign commercial directed by Christopher Bailey, featuring British actress Rosie Huntington-Whiteley, and shot by Mario Testino in London.
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Saturday, October 8, 2011
Guerlain Le Bolshoi 2011 Limited edition & Les Voyages Olfactifs 04 London: new fragrances
Le Bolshoi 2011 Edition Limitee is the new limited edition perfume (set to circulate in only 400 bottles retailing for $570) to be released on October 27th, a day before the official opening of the historical Main Stage of the Bolshoi theater. As the equally historical house of Guerlain is one of sponsors in the renovating, the Le Bolshoi 2011 fragrance, accredited (surprisingly!) to Jean-Paul Guerlain, will launch to thus celebrate the event. The limited edition bottle bears a label with the front of the Bolshoi theater on it.
Le Bolshoi 2011 by Guerlain comprises the following fragrant notes:
top: bergamot, bitter orange, petitgrain, neroli
heart: jasmine, violet, orange blossom, ylang-ylang
base: musk, tonka bean, vanilla and incense
Le Bolshoi is launching exclusively in Russia (not even Paris is supposed to have bottles, though I doubt there won't be a couple for reference or display or something...) and is rumoured to be a recalibration of Les Secrets de Sophie previous fragrance according to independent sources.
Let's not forget that Guerlain has also just issued the 4th installment in their scented travelogue series: Les Voyages Olfactifs, 04 London. The fragrance is introduced with the tag line "Guerlain reveals the atmosphere of afternoon tea with the freshness of rhubarbe" and the perfume puts the rose-rhubard-grapefruit accord within a semi-oriental composition. Fragrance notes include bergamot, grapefruit, rhubarb, violet, rose essential oil, rose absolute, and boiled sweets.
The bottles have been redesigned with a cityscape image visible on their glass front, each depicting landmarks of each respective city, as you can see below.
photo via Wim Janssens
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Le Bolshoi 2011 by Guerlain comprises the following fragrant notes:
top: bergamot, bitter orange, petitgrain, neroli
heart: jasmine, violet, orange blossom, ylang-ylang
base: musk, tonka bean, vanilla and incense
Le Bolshoi is launching exclusively in Russia (not even Paris is supposed to have bottles, though I doubt there won't be a couple for reference or display or something...) and is rumoured to be a recalibration of Les Secrets de Sophie previous fragrance according to independent sources.
Let's not forget that Guerlain has also just issued the 4th installment in their scented travelogue series: Les Voyages Olfactifs, 04 London. The fragrance is introduced with the tag line "Guerlain reveals the atmosphere of afternoon tea with the freshness of rhubarbe" and the perfume puts the rose-rhubard-grapefruit accord within a semi-oriental composition. Fragrance notes include bergamot, grapefruit, rhubarb, violet, rose essential oil, rose absolute, and boiled sweets.
The bottles have been redesigned with a cityscape image visible on their glass front, each depicting landmarks of each respective city, as you can see below.
photo via Wim Janssens
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Friday, October 7, 2011
Anya's Garden Royal Lotus: fragrance review of a Brave New Scent & Giveaway
The lotus...floating upon river waters where ancient civilizations flourished and died. Jasmine...the pervader of the night, its piercingly sweet floral aroma the intoxicating scent of carnality.
Alcaloids contained inside the lotus produce a sedative effect, inspiring hypotheses as to its relation to the mythical fruit consumed by the Lotophagi. And the indolic aspects of natural jasmine essence are but an invitation to ponder on our life's primal instincts and how they're sublimated into the poetry of flowers. But in Royal Lotus by Anya's Garden we never quite forget we're dealing with a floral fragrance that though based on modern, cutting-edge sourced materials is always mindful of its pretty, primal nature of aromatics: to smell good!
Indeed, even if it's built on all natural essences, with lots of real jasmine, the less polite aspects of this formidable little night bloom have been smoothed into a silky, gentle canopy that floats in the evening breeze softly promising sweet nothings; thus allowing those curious about jasmine's many fascinating facets to explore into a fragrance that won't scare the horses or prompt anyone to inspect the soles of your shoes!
Royal Lotus is zesty on top with a bursting hesperidic top note that is succulent and fresh, progressing into a soft, floral heart where the sweeter, mating aspects are highlighted rather than the fetid and decaying inherent in white flowers. Lotus essences (uniting absolute and the waxier concrete) bring a light, airated, sivery thread into the mix. The fragrance is very lightly anchored by an equally soft, well-mingled base where no note protrudes above the rest.
Royal Lotus, part of the Brave New Scents porject, therefore takes modern ingredients into creating what feels like a solid floral: classically topped by an expansive citrus bouquet that reinforces the freshness of the white and acqueous flowers, while a subtle base of woods and coumarin smooth the nectarous essences.
Anya McCoy created Royal Lotus using 21st century materials, referencing only one wildcard from the 20th century, namely clementine essence. Anya after all is no stranger to beautiful citruses and I consider them ~as well as her beautiful floral tinctures~ as the hallmark of her brand: Anyone who likes hesperidia and white flowers would surely find something to appreciate in her all naturals line.
For her inspiration the perfumer states: "My muse was ancient India, brought into the present, once again (remember Kewdra from the Mystery of Musk project)? I chose pink and blue lotus and the extrememly rare night queen absolute (aka Night-blooming jasmine, Cestrum nocturnun) for my heart. Night queen absolute is so rare, this perfume may be, due to lack of any more NQ absolute coming to market, a very limited edition."
The perfumer worked on these notes:
for the top:
wild orange from the Dominican Republic
yuzu from Korea
orange juice essential oil from Brazil
clementine from the USA
for the heart:
blue lotus absolute from Thailand
blue lotus concrete from India
pink lotus concrete from India
Queen of the Night absolute (cestrum nocturnum) from India
Queen of the Night tincture from Anya's garden in Florida
jasmine grandiflorum tincture from Anya's garden in Florida
jasmine sambac Grand Duke of Tuscany tincture from Anya's garden in Florida
orange flower tincture from Anya's garden in Florida
for the base:
sandalwood from Australia
ambergris absolute from Utah
tonka bean absolute from France
The perfumer suggests wearing this fragrance on one's hair, as this would reward the wearer with 24 hours of floral and woody pleasure. Indeed I found that skin application left the more delicate floral elements missing sooner than desired, while a generous blotter application suggests that there is no serious colour staining hazzard for non-silk clothes.
For our readers, a giveaway of a mini 3.5ml of Royal Lotus, courtesy of Anya's Garden. (Perfumer sends prize to the winner). Please state your interest in the comments. Draw is open till Sunday midnight.
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pic via flowerpicturegallery.com
Alcaloids contained inside the lotus produce a sedative effect, inspiring hypotheses as to its relation to the mythical fruit consumed by the Lotophagi. And the indolic aspects of natural jasmine essence are but an invitation to ponder on our life's primal instincts and how they're sublimated into the poetry of flowers. But in Royal Lotus by Anya's Garden we never quite forget we're dealing with a floral fragrance that though based on modern, cutting-edge sourced materials is always mindful of its pretty, primal nature of aromatics: to smell good!
Indeed, even if it's built on all natural essences, with lots of real jasmine, the less polite aspects of this formidable little night bloom have been smoothed into a silky, gentle canopy that floats in the evening breeze softly promising sweet nothings; thus allowing those curious about jasmine's many fascinating facets to explore into a fragrance that won't scare the horses or prompt anyone to inspect the soles of your shoes!
Royal Lotus is zesty on top with a bursting hesperidic top note that is succulent and fresh, progressing into a soft, floral heart where the sweeter, mating aspects are highlighted rather than the fetid and decaying inherent in white flowers. Lotus essences (uniting absolute and the waxier concrete) bring a light, airated, sivery thread into the mix. The fragrance is very lightly anchored by an equally soft, well-mingled base where no note protrudes above the rest.
Royal Lotus, part of the Brave New Scents porject, therefore takes modern ingredients into creating what feels like a solid floral: classically topped by an expansive citrus bouquet that reinforces the freshness of the white and acqueous flowers, while a subtle base of woods and coumarin smooth the nectarous essences.
Anya McCoy created Royal Lotus using 21st century materials, referencing only one wildcard from the 20th century, namely clementine essence. Anya after all is no stranger to beautiful citruses and I consider them ~as well as her beautiful floral tinctures~ as the hallmark of her brand: Anyone who likes hesperidia and white flowers would surely find something to appreciate in her all naturals line.
For her inspiration the perfumer states: "My muse was ancient India, brought into the present, once again (remember Kewdra from the Mystery of Musk project)? I chose pink and blue lotus and the extrememly rare night queen absolute (aka Night-blooming jasmine, Cestrum nocturnun) for my heart. Night queen absolute is so rare, this perfume may be, due to lack of any more NQ absolute coming to market, a very limited edition."
The perfumer worked on these notes:
for the top:
wild orange from the Dominican Republic
yuzu from Korea
orange juice essential oil from Brazil
clementine from the USA
for the heart:
blue lotus absolute from Thailand
blue lotus concrete from India
pink lotus concrete from India
Queen of the Night absolute (cestrum nocturnum) from India
Queen of the Night tincture from Anya's garden in Florida
jasmine grandiflorum tincture from Anya's garden in Florida
jasmine sambac Grand Duke of Tuscany tincture from Anya's garden in Florida
orange flower tincture from Anya's garden in Florida
for the base:
sandalwood from Australia
ambergris absolute from Utah
tonka bean absolute from France
The perfumer suggests wearing this fragrance on one's hair, as this would reward the wearer with 24 hours of floral and woody pleasure. Indeed I found that skin application left the more delicate floral elements missing sooner than desired, while a generous blotter application suggests that there is no serious colour staining hazzard for non-silk clothes.
For our readers, a giveaway of a mini 3.5ml of Royal Lotus, courtesy of Anya's Garden. (Perfumer sends prize to the winner). Please state your interest in the comments. Draw is open till Sunday midnight.
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pic via flowerpicturegallery.com
Katy Perry to Introduce Meow: Second Celebrity Fragrance
According to WWD, Kate Perry with launch her second fragrance, exclusively with Nordstoms in November, a companion scent to her first celebrity scent out there, suggestively named "Purr". According to the article on WWD, "created in partnership with Perry’s fragrance licensee, Gigantic Parfums, the scent is intended to be a companion piece to the recording artist’s first fragrance, Purr, which debuted a year ago and is now available in 54 countries.
In the countdown to the launch, like Selena Gomez, Katy is trying to get her fans involved in the process urging her Twitter followers to guess the name of the perfume. Winners will win free bottles of the new perfume as well as meeting up with their idol. Fickle glory!
EDIT TO ADD: The new name is set to be Meow by Kate Perry, continuing on the kittenish theme started by Purr. According to the singer's twitter account: “My next fragrance & bestie to Purr is MEOW! She’s very sweet & inspired by that magical place, CANDYFORNIA!”
In the countdown to the launch, like Selena Gomez, Katy is trying to get her fans involved in the process urging her Twitter followers to guess the name of the perfume. Winners will win free bottles of the new perfume as well as meeting up with their idol. Fickle glory!
EDIT TO ADD: The new name is set to be Meow by Kate Perry, continuing on the kittenish theme started by Purr. According to the singer's twitter account: “My next fragrance & bestie to Purr is MEOW! She’s very sweet & inspired by that magical place, CANDYFORNIA!”
Thursday, October 6, 2011
Gustave Alphonse Fragifert: The ill-fated French Perfumer & his Wellington Fragrances
Gustave Alphonse Fragifert was a brilliant but ill-fated French perfumer who lived from 1880 to 1911 and died under mysterious circumstances in South America. He wrote his formulas for four perfumes in code, which have now resurfaced in New Zealand after 100 years.
Sounds intriguing? This is the fictitious tale of a 12-minute-long performance in Wellington, New Zealand, but the fragrances are real*, each of them representing a season and are both art-directed and composed by Francesco van Eerd. Van Erd is Dutch-born and forestry graduate New Zealender, who has also studied perfumery in Grasse and Britain, and who acts with the aid of performing arts student Robbie van Dijk, in this amusing performance. Based at the Wellington Underground Market, Fragrifert (pronounced frah-gree- fair and I'm sure I'm missing some inside linguistic joke that is perched on Dutch, which I don't know) has been delighting visitors with live performances in a theatrette beside the stall (every half hour from 10.30am until 3.30pm) since the 3rd of September. Sounds like a don't miss if you're around!
*The Fragrifert Scents are:
Ete (=summer) has notes of grapefruit, cedar, prune, white musk, oakmoss, vanilla and ambergris. Lilac (for spring) is built on flowers, one of them being lilac: broom, mimosa, heliotrope, rose and violet, laced with tobacco, patchouli and sandalwood, as well as citruses and liquorice. Automne is a soft oriental with cinnamon, tyberose, vanilla and orchirds, while Hiver (=winter) interprets the cool, yet spicy, wintersweet shrub, adding lily of the valley and cyclamen notes.
Each fragrance at 25% concentration (potent!) is 24.50$ or 80$ for the set of four.
news via the dominion post
*The Fragrifert Scents are:
Ete (=summer) has notes of grapefruit, cedar, prune, white musk, oakmoss, vanilla and ambergris. Lilac (for spring) is built on flowers, one of them being lilac: broom, mimosa, heliotrope, rose and violet, laced with tobacco, patchouli and sandalwood, as well as citruses and liquorice. Automne is a soft oriental with cinnamon, tyberose, vanilla and orchirds, while Hiver (=winter) interprets the cool, yet spicy, wintersweet shrub, adding lily of the valley and cyclamen notes.
Each fragrance at 25% concentration (potent!) is 24.50$ or 80$ for the set of four.
news via the dominion post
Wednesday, October 5, 2011
Hermes by Lord's Jester: fragrance review of a Brave New Scent & giveaway
You might be incredulous to see the moniker referring to Aldous Huxley's novel twisted into a perfume review, but indie perfumer Adam Gottschalk of Lord's Jester participates in a blogathon of indie perfumers which we announced on these pages recently and his scent submission Hermes indeed defies classification.
For Hermes perfume, a vividly green (literally!) perfume, Gottschalk used one of the essences which I have always been fascinated by: green cognac. Produced from the wine precipitate known as "lees", from the plant vitis vinifera, cognac essence is a winey, dry, complex note.
The vividly mossy stain of the fragrance does not bely the scent itself: it's rather mossy and quite animalic all right; musty, tart, very dry and earthy, but with a floral depth opening soon, which allays some of the gloom and animalistic character of Africa stone. (Africa stone/hyraceum for those who don't know it yet is the petrified and rock-like excrement composed of both urine and feces excreted by the Cape Hyrax (Procavia capensis), commonly referred to as the Dassie. The material can be harvested by aroma material producers without harming the animal to render a note that unites some of the facets of castoreum, musk and oud. Quite intense!) Coupling the musty with the more hay-sweetish flouve absolute (rich in coumarin) produces a loaded combo that seems to hit you on the head at first, only to mellow soon after.
Lord Jester's Hermes tricks you into believing it is all about the base notes, but the lighter elements (a very perceptible and very lovely indolic jasmine note, plus citrus essences) are welcome leverage which rounds off the perfume. Too much animal can prove unwearable otherwise!
I have tested the fragrance from a spray vial and feel that it would be better suited to a dabbing from a splash bottle instead, to smoothen the initial blast; the rest of the composition blooms wonderfully without assistance even on a mouillette, usually not the perfect medium for all natural perfumes.
The perfumer used in order from greatest concentration to least these "wild" essences for his fragrance "notes":
for the base:
green cognac
linden blossom absolute in 30% fractionated coconut oil
flouve absolute
ambrette absolute
Africa stone
for the heart:
araucaria
rosa bourbonia
boronia
jasmine auriculatum
jasmine sambac
for the top:
linden blossom essential oil
orange essence
lime essence
tagetes
Pretty rare, huh? Indeed Gottschalk clarifies in a blog post how suddenly two of his chosen essences are becoming rarer and rarer; namely rosa bourbonia and jasmine auriculatum. Harvesting materials which are unavailable to the masses and the Big Boys (big aroma producing companies) however is at the heart of small artisanal perfumers, isn't it? In that regard, you won't be disappointed: There's inherent rarity factor in Hermes and I hope Adam finds a way to procure supply of these two rare aromatics.
Hermes by Lord's Jester is an 15% concentrated Eau de Parfum and is quite decently lasting for an all naturals perfume.
We have a perfume giveaway for our readers (a 10ml/0.4oz) mini of Hermes, so please post a comment if you want to be eligible! (NB.Perfumer sends prize directly to winner)
Sample provided by perfumer as part of the project. Photo found via AnyaMcCoy's tweets.
The vividly mossy stain of the fragrance does not bely the scent itself: it's rather mossy and quite animalic all right; musty, tart, very dry and earthy, but with a floral depth opening soon, which allays some of the gloom and animalistic character of Africa stone. (Africa stone/hyraceum for those who don't know it yet is the petrified and rock-like excrement composed of both urine and feces excreted by the Cape Hyrax (Procavia capensis), commonly referred to as the Dassie. The material can be harvested by aroma material producers without harming the animal to render a note that unites some of the facets of castoreum, musk and oud. Quite intense!) Coupling the musty with the more hay-sweetish flouve absolute (rich in coumarin) produces a loaded combo that seems to hit you on the head at first, only to mellow soon after.
Lord Jester's Hermes tricks you into believing it is all about the base notes, but the lighter elements (a very perceptible and very lovely indolic jasmine note, plus citrus essences) are welcome leverage which rounds off the perfume. Too much animal can prove unwearable otherwise!
I have tested the fragrance from a spray vial and feel that it would be better suited to a dabbing from a splash bottle instead, to smoothen the initial blast; the rest of the composition blooms wonderfully without assistance even on a mouillette, usually not the perfect medium for all natural perfumes.
The perfumer used in order from greatest concentration to least these "wild" essences for his fragrance "notes":
for the base:
green cognac
linden blossom absolute in 30% fractionated coconut oil
flouve absolute
ambrette absolute
Africa stone
for the heart:
araucaria
rosa bourbonia
boronia
jasmine auriculatum
jasmine sambac
for the top:
linden blossom essential oil
orange essence
lime essence
tagetes
Pretty rare, huh? Indeed Gottschalk clarifies in a blog post how suddenly two of his chosen essences are becoming rarer and rarer; namely rosa bourbonia and jasmine auriculatum. Harvesting materials which are unavailable to the masses and the Big Boys (big aroma producing companies) however is at the heart of small artisanal perfumers, isn't it? In that regard, you won't be disappointed: There's inherent rarity factor in Hermes and I hope Adam finds a way to procure supply of these two rare aromatics.
Hermes by Lord's Jester is an 15% concentrated Eau de Parfum and is quite decently lasting for an all naturals perfume.
We have a perfume giveaway for our readers (a 10ml/0.4oz) mini of Hermes, so please post a comment if you want to be eligible! (NB.Perfumer sends prize directly to winner)
Sample provided by perfumer as part of the project. Photo found via AnyaMcCoy's tweets.
Oscar de la Renta Live in Love: new fragrance
The new fragrance for women created by a man who adores them. A young themed green floral. Illustrations by David Downton. Apparently, for the print campaign, Oscar wanted to take a different approach to some of the fragrance advertising he was seeing in the market. I think it works.
via oscardelarenta.com
via oscardelarenta.com
Tuesday, October 4, 2011
Hermes Santal Massoia: new fragrance in the Hermessence line
Tenth fragrance from the Hermessence collection, Santal Massoïa belongs to one of these famous "poèmes-parfums" of the brand. The bottle, with its piqué sellier leather case, refined as usual, and containing woody scents, will be exclusively available from November 11th in Hermès boutiques.
The new Hermessence, composed by in-house perfumer Jean-Claude Ellena, will reprise a favourite wood essence, sandalwood: the challenge being in exploiting a material that is prized through its Mysore variety inclusion in classic perfume tradition, but now in short order due to shortages in its procurement. Therefore Jean-Claude is going to offer his specific vision, especially since it's allied in name to massoia oil, another prized aroma material: Massoia bark of Cryptocaria massoia gives an alkyl lactone (lactones are milky-smelling substances) which would naturally provide the lactic element of natural sandalwood. Massoia lactone (possessing a coconut-like, green and creamy scent) interestingly can also be found in molasses, cured tobacco and the essential oil of osmanthus fragrans, which presents intriguing hypotheses into how Ellena might weave in floral notes into what would otherwise be a woody composition. After all, he did a similar conjurer's trick with his salicylates & ylang-ylang laced Vanille Galante and also in Iris Ukiyoe with its holographic of the iris flower rather than the rhizome.In Santal Massoia Jean-Claude Ellena is quoted as wanting to evoke "what is beneath the air", and to that end he interweaves an airy fig note amongst the woody ones: fresh, rather more than creamy smelling.
Even more interestingly, Hermès is also just now offering their own version of the "Monclin" fragrance testing "cup", using a white ceramic device that allows fragrance testing that unlocks some of the hidden aspects of the fragrances that would otherwise need full body testing to evolve.
Related reading on PerfumeShrine: Aroma material: Sandalwood (Mysore & Australian) & synthetic substitutes, Hermessences, Hermes news & reviews
photo via wadmag.com
The new Hermessence, composed by in-house perfumer Jean-Claude Ellena, will reprise a favourite wood essence, sandalwood: the challenge being in exploiting a material that is prized through its Mysore variety inclusion in classic perfume tradition, but now in short order due to shortages in its procurement. Therefore Jean-Claude is going to offer his specific vision, especially since it's allied in name to massoia oil, another prized aroma material: Massoia bark of Cryptocaria massoia gives an alkyl lactone (lactones are milky-smelling substances) which would naturally provide the lactic element of natural sandalwood. Massoia lactone (possessing a coconut-like, green and creamy scent) interestingly can also be found in molasses, cured tobacco and the essential oil of osmanthus fragrans, which presents intriguing hypotheses into how Ellena might weave in floral notes into what would otherwise be a woody composition. After all, he did a similar conjurer's trick with his salicylates & ylang-ylang laced Vanille Galante and also in Iris Ukiyoe with its holographic of the iris flower rather than the rhizome.In Santal Massoia Jean-Claude Ellena is quoted as wanting to evoke "what is beneath the air", and to that end he interweaves an airy fig note amongst the woody ones: fresh, rather more than creamy smelling.
Even more interestingly, Hermès is also just now offering their own version of the "Monclin" fragrance testing "cup", using a white ceramic device that allows fragrance testing that unlocks some of the hidden aspects of the fragrances that would otherwise need full body testing to evolve.
Related reading on PerfumeShrine: Aroma material: Sandalwood (Mysore & Australian) & synthetic substitutes, Hermessences, Hermes news & reviews
photo via wadmag.com
Nina Ricci L'Air du Temps: Fragrance Review & History of a True Classic
Reflecting on a classic fragrance which has inspired me into delving deeper into perfume history and appreciation, I can’t disregard L’Air du Temps by Nina Ricci, one of the most recognizable perfumes in the world. Even Hannibal Lecter is quoted smelling it on Clarisse Starling in Silence of the Lambs: “You use Evian skin products and sometimes L’Air du Temps… but not today...”.
Despite any foreboding connotations, the perfume's introduction in 1948 under a name halfway between Marivaux and Cocteau (denoting ‘the spirit of the times’) hallmarked a longed-for return to optimism. Much like Miss Dior was ‘tired of letting off bombs and just wanted to let off fireworks’, L’Air du Temps presented the new found hope for peace after the ravages of WWII, as reflected by the original flacon design of a sun with a dove perched on the stopper by Christian Bérard.
Iconic Design and Symbolism
L'Air du Temps is a triumph of bottle art and symbolism: The intertwining doves affectionately termed ‘Les Colombes’, a romantic theme by Marc Lalique, originates from 1951 and came to denote the virginal quality of the visual aspects of its representation, perpetuated in its advertising ever since. Originally the 1948 design envisioned by Jean Rebull and materialized by crystallier Marc Lalique involved a rising sun surmounted by a single dove. The interwining doves however marked the "kiss and make up" peace mood after WWII.
The "colombes" kissing motif also reflected the ever feminine, always understated and ethereallly romantic Nina Ricci sartorial fashions; nothing vulgar! The perfume became signage for fashions: "The most romantic gift of fragrance a man can give a woman" came to be accompanied by elfish gowns that draped the female form in a slippery, ethereal, 19th-century-aesthete nostalgic way; lacy ivory and white denoting youthful and -a little faded- aristocracy rusticating in the sunny French countryside.The L'Air du temps advertising mostly matched.
In 1999 the L'Air du Temps flacon was named "perfume bottle of the century".
Scent Description
The formula of L'Air du Temps, composed by Francis Fabron, was simple : no more than 30 ingredients which co-exist in harmony, a chaste -but not quite- bouquet of flowers enrobed into the silken sheath of benzyl salicylate; a massive dose of an –at the time- innovative product aiding the blending and linear evaporation of the other molecules. According to perfumer Bernard Chant “‘[benzyl salicylate] produces a diffusing, blooming effect very pleasing to the public”. Coupled with spicy eugenol and isoeugenol, the effect becomes almost carnation-like with its clove tint : the very heart of L’Air du Temps ! The celestial opening of bergamot and rosewood is undermined by the sensuous note, half-lily, half-carnation, suave with the fuzziness of skin-like peach and a green hint of gardenia. Powdery orris, coupled with dusky woods –poised at the intersection of winter falling into spring- and a faint amber note finish off the fragrance. The effect is peachy-carnation-y and very characteristic: a sort of Doris Day, the way she was, rather staunchy actually, active and hard to eradicate, rather than how she appeared to be in those rom-coms of the 1950s, all mock innocence and eyelashes aflutter.
The success of the classic Nina Ricci fragrance seems to be the sassiness of its aerated, distinctive bouquet coupled with its refined classicism, sometimes maxed out to sentimentality : an aspect which prompted critic Luca Turin to joke it was created for romantics “who shed a tear listening to La Sonate au Clair de Lune*”. Maybe not quite that way, considering how the latter might have been an impromptu requiem on someone’s deathbed. At any rate, the trickle-down effect must speak of the need to do just that: the skeleton of the formula has been imitated in various soaps, deodorants and hairsprays for decades, while in itself L’Air du Temps has influenced many other fragrances from Fidji (Guy Laroche) and Madame Rochas to Anaïs Anaïs (Cacharel).
Comparing Vintage vs. Modern L'Air du Temps Perfume
Nowadays the suaveness of the original formula has been somewhat compromised, due to necessary surgery dictated by allergens concerns… The peach base is mollified into synthetic submission, the carnation is less spicy and rich than before, the whole excellent exercise seems less itself as if it has been Botoxed into a perpetual complacent smile....yet L’Air du Temps is still instantly recognizable in its sillage, the trail left by the many that pass by wearing it : the mark of a true classic !
The bottle design can be a gauge of age: Vintage Eau de Toilette from the 1970s and 1980s circulates in the amphora-like bottle with the gold cap in splash, while spray bottles are long and encased in white bakelite. If the front of the bottle has the doves in relief and the plastic cap is rounded and in relief as well, your specimen comes from the 1990s.
The vintage parfum is in the characteristic Lalique design with the perched doves atop. Old models of diluted concentration can also be in ribbed sprayers with gold overimposed sprayer mechanisms in squarish design. Really old versions can be in a round flask bottle with a boule cap in splash form.
Modern eau de toilette on the contrary is in the familiar fluted oval-shaped bottle, reprising the dove design on the top in transparent plastic, the cap going over the sprayer mechanism.
(*) Piano sonata N°14 by L.van Beethoven
This review is based on a text I had previously composed for Osmoz.com
Despite any foreboding connotations, the perfume's introduction in 1948 under a name halfway between Marivaux and Cocteau (denoting ‘the spirit of the times’) hallmarked a longed-for return to optimism. Much like Miss Dior was ‘tired of letting off bombs and just wanted to let off fireworks’, L’Air du Temps presented the new found hope for peace after the ravages of WWII, as reflected by the original flacon design of a sun with a dove perched on the stopper by Christian Bérard.
L'Air du Temps is a triumph of bottle art and symbolism: The intertwining doves affectionately termed ‘Les Colombes’, a romantic theme by Marc Lalique, originates from 1951 and came to denote the virginal quality of the visual aspects of its representation, perpetuated in its advertising ever since. Originally the 1948 design envisioned by Jean Rebull and materialized by crystallier Marc Lalique involved a rising sun surmounted by a single dove. The interwining doves however marked the "kiss and make up" peace mood after WWII.
The "colombes" kissing motif also reflected the ever feminine, always understated and ethereallly romantic Nina Ricci sartorial fashions; nothing vulgar! The perfume became signage for fashions: "The most romantic gift of fragrance a man can give a woman" came to be accompanied by elfish gowns that draped the female form in a slippery, ethereal, 19th-century-aesthete nostalgic way; lacy ivory and white denoting youthful and -a little faded- aristocracy rusticating in the sunny French countryside.The L'Air du temps advertising mostly matched.
In 1999 the L'Air du Temps flacon was named "perfume bottle of the century".
The formula of L'Air du Temps, composed by Francis Fabron, was simple : no more than 30 ingredients which co-exist in harmony, a chaste -but not quite- bouquet of flowers enrobed into the silken sheath of benzyl salicylate; a massive dose of an –at the time- innovative product aiding the blending and linear evaporation of the other molecules. According to perfumer Bernard Chant “‘[benzyl salicylate] produces a diffusing, blooming effect very pleasing to the public”. Coupled with spicy eugenol and isoeugenol, the effect becomes almost carnation-like with its clove tint : the very heart of L’Air du Temps ! The celestial opening of bergamot and rosewood is undermined by the sensuous note, half-lily, half-carnation, suave with the fuzziness of skin-like peach and a green hint of gardenia. Powdery orris, coupled with dusky woods –poised at the intersection of winter falling into spring- and a faint amber note finish off the fragrance. The effect is peachy-carnation-y and very characteristic: a sort of Doris Day, the way she was, rather staunchy actually, active and hard to eradicate, rather than how she appeared to be in those rom-coms of the 1950s, all mock innocence and eyelashes aflutter.
The success of the classic Nina Ricci fragrance seems to be the sassiness of its aerated, distinctive bouquet coupled with its refined classicism, sometimes maxed out to sentimentality : an aspect which prompted critic Luca Turin to joke it was created for romantics “who shed a tear listening to La Sonate au Clair de Lune*”. Maybe not quite that way, considering how the latter might have been an impromptu requiem on someone’s deathbed. At any rate, the trickle-down effect must speak of the need to do just that: the skeleton of the formula has been imitated in various soaps, deodorants and hairsprays for decades, while in itself L’Air du Temps has influenced many other fragrances from Fidji (Guy Laroche) and Madame Rochas to Anaïs Anaïs (Cacharel).
Nowadays the suaveness of the original formula has been somewhat compromised, due to necessary surgery dictated by allergens concerns… The peach base is mollified into synthetic submission, the carnation is less spicy and rich than before, the whole excellent exercise seems less itself as if it has been Botoxed into a perpetual complacent smile....yet L’Air du Temps is still instantly recognizable in its sillage, the trail left by the many that pass by wearing it : the mark of a true classic !
The bottle design can be a gauge of age: Vintage Eau de Toilette from the 1970s and 1980s circulates in the amphora-like bottle with the gold cap in splash, while spray bottles are long and encased in white bakelite. If the front of the bottle has the doves in relief and the plastic cap is rounded and in relief as well, your specimen comes from the 1990s.
The vintage parfum is in the characteristic Lalique design with the perched doves atop. Old models of diluted concentration can also be in ribbed sprayers with gold overimposed sprayer mechanisms in squarish design. Really old versions can be in a round flask bottle with a boule cap in splash form.
Modern eau de toilette on the contrary is in the familiar fluted oval-shaped bottle, reprising the dove design on the top in transparent plastic, the cap going over the sprayer mechanism.
(*) Piano sonata N°14 by L.van Beethoven
This review is based on a text I had previously composed for Osmoz.com
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