Tauer Perfumes Pentachords ~White, Auburn, Verdant: fragrance reviews

Indie perfumer Andy Tauer gets inspired by music scales into arranging his newest line of fragrances we're exclusively previewing on Perfume Shrine today on pentachords, that is to say 5 consecutive notes on the diatonic scale. Pentachords® by Tauer Perfumes (White, Auburn and Verdant) are arranged as elusively simple, but not simplistic, harmonies resembling rather pentagram chords: the whole only becomes powerful when each part falls into place. Or think of a pentagram in the place of the classic French fragrance pyramid; "an accord that changes from one corner of the scent’s pentagon over time".

In a way it's minimalism and music theoretics pushed to an elegant extreme, a concept that is refuted by some; Tauer's bravura if successful, a big risk if not. "The compression and limitation an incentive" as he says. How many ingredients are necessary for a satisfying perfume? Tauer can whip up something with only five molecules and the results are satiating enough to fool you into believing there's more than meets the eye; kinda like full-cream premium ice-cream composed by only a handful ingredients, instead of tons of frilly additives.
Andy envisioned them (back in February 2009)  like "a fragrance built around 5 pillars. The line of thought moved on towards a pentachord fragrance. A fragrance, or an entire line of fragrances, built with 5 components only that are one chord, a pentachord." [...] "For me, this is art in its purest form: mirroring nature, bringing it into a concept, and by doing so thinking about it and invite others to think about it and enjoy it."

The long-lasting nature of the Pentachord fragrances (easily 10 hours or more) also speaks of picking elements with deft selection: sorting out the formula must be difficult when you have to ditch something that creates a striking effect, but doesn't translate well in structure or tenacity, and vice versa. You also have to choose good, expensive ingredients to yield their best properties into the concept. Lovers of the familiar Tauer signature will find things to like, especially in Auburn, which takes the ambery depths of his more resinous fragrances to date (Le Maroc pour Elle, L'air du desert Marocain), but I predict he will get new fans in Verdant and White which present striking effects poised between lightness and darkness. They both made an instant impression on me due to their juxtaposition of freshness against meaty earthiness.
All of them could be worn by either sex easily, though you'd have to like soft, gentle fragrances to appreciate White and to handle the metallic-woody top notes of modern masculine fougeres to unlock the secrets of  Verdant.

• White (a floral woody musk) is built on "the clear melody of royal Iris" and you do get it, but it's so much more as well. The concept of Pentachords White fragrance began while the perfumer was jogging in the snowy landscape of the woods near Zurich: "we thought about violet, orris root, ambergris, wood, vanilla", he admits. If this combination sounds inviting, the fragrance should get you all excited!
  The intense beauty of very expensive Irone Alpha (6-methyl alpha ionone) by Givaudan vibrates at the cusp of orris root and violet flowers, creating a silvery, expansive imagescape: A fragrance of either the crack of dawn or the crepuscular drawing of a prolonged cool afternoon, the contrast between light and shadow. The unusual element in the White Pentachord lies into manipulating the powdery, wistful and yet also "fleshy" character of orris into a fluffy embrace, in this case built on vanilla (methylvanillin to my nose, a phenolic aldehyde) and clean musk with a hint of ambergris/ambrox (a beloved "note" in the Tauer Canon for its skin compatibility properties): The subtle, gentle warmth of the latter elements balances the sadness and coolness of the former into an uplifting arpeggio, like the first or last rays of sun flickering on sheets of white. The sweetness of the fruity edges of the irone and the vanilla are most detectable in the middle of the fragrance's progression, while the more the fragrance stays on skin, the more the woody-iris facets of the molecule reveal themselves. It's innocent and supremely soft, but not maudlin. In fact it might have been inspired by a classic hazy scent which Andy loves to wear: Habit Rouge, a cloud transported from the skies on the wings of opoponax. Here Tauer substitutes the core opoponax for the amazing Alpha Irone which dominates the fragrance and creates a comparable "flou" ambience.
  Tauer's White has me hankering for things I did not know I had a hankering for: Jogging in the cold-ringing air at the crack of dawn trying to catch the first rays reflected in the white-spotted trees, warm milk in my thermos, or putting on warm pyjamas in bed, sipping violet pastilles and bringing down my teddy-bears again for a little cuddling session, years after they moved to the attic. It's a truly lovable fragrance that is sure to have many enamoured of it.

• Auburn (a spicy oriental) is presented as "the cupric warmth of cinnamon" and lovers of the compositions where Tauer smacks opposite his beloved mandarin citrus note resins (such as in L'air du desert Marocain, Une rose Vermeille, Incense Rosé) will smile with a smile of cognition: This is familiar ground, pared down to the necessities for this occasion. Amyl cinnamyl acetate gives a cinnamon note, while the amber-tobacco effect reinforces the oriental impression. It feels coppery and juicy. The citrus note is succulent, sweet rather than tangy, reminiscent of Orange Star, the heart sports hydroxycitronellal for expansion and a honeyed linden blossom note, while the background is deep, woody and ambery; a statement fragrance in the mold of modern orientals. Even though Auburn reads pleaurable as always ~Tauer is a master in arranging resinous, labdamum oriental accords~ it feels like already treaded ground and gives me the impression it was the last one to get developed; possibly as a need to tally the line into three different style offerings, or as a choice between some more additions that felt less representative of varying families and were thus kept for the follow-up. But that is only my guess and it does not detract from the fun that loyals to the "Tauerade" base will derive from it.

• Verdant (an aromatic green) represents "the lush green of ivy forests" and if you have ever dreamt of living in one of those country houses festooned with climbing ivy, shading it and keeping it cool, you're right there. The effect is photorealistic, from the water drops gleaming on the verdure, to the tangled growth & soil underneath replete with the gardener wearing leather gloves while trimming the branches. But what is most interesting to me in Pentachord Verdant is that in fact I smell an effect that strongly reminds me of woody vetiver fragrances: a nutty, oily rich, tobacco-laced earthy note which contrasts and compliments at the same time the greenery and grassy feel. It reminds me of Vertofix coeur (methyl cedryl ketone, a IFF ingredient) with its leathery vetiver facets, with an added sweet hay note of coumarin and rum-licorice which goes exceptionally well. The violet leaves come off metallic and bluish at the beginning, a tad sharp and androgynous (in the manner of Balenciaga Paris or Verte Violette), a jarring striking contrast, while the progression veers into warmer, ambery-leathery tonalities that create a warm pipe fantasy. If you like Vetiver Tonka and apreciate the sharp violet leaf freshness of modern masculines/unisex scents, this is a conversational piece to get you started in an engrossing discussion on modern perfumery. I find it a very interesting fragrance indeed.

The flacons for the Tauer Pentachords follow the pentagram design he already has introduced with Zeta, Orange Star and the rest of the latest releases, but in transparent glass with varying hues of coloured labels in white, copper and petrol green. The Pentachords line by Tauer Perfumes is only available at Campomarzio in Rome at the moment. They will launch more widely after the Pitti fragrance exhibition in September 2011.

Painting on top by Claude Monet. Pic of bottles via duftarchive.de In the interests of full disclosure, I got sent trial samples from the distributor.

Balenciaga L'Essence: new fragrance preview

The new Balenciaga fragrance is a continuation of their last year's best-selling entr, a flanker that is in fact a continuation rather than a new fragrance merely taking over the design and name of a successful launch: Remarkably close to the original with a more metallic freshness, the new perfume named Balenciaga L`Essence will appear on the market in September 2011. The new fragrance belongs to the floral green genre, as did the original, but is supposed to be a more direct, potent fragrance in Eau de Parfum concentration, turning the original bottle design transparent to cement the notion of "purity", of "essence" ~a fact that personally reminds me of the comparable approach by Narciso Rodriguez and his own Essence and Essence Eau de Musc. L'Essence by Balenciaga is again fronted by muse Charlotte Gainsbourg.

Neiman Marcus already has testers for sampling, though, so getting a preliminary test is within reach: According to that, Balenciaga L'Essence is remarkably close to the original Balenciaga Paris fragrance, focusing as it does on the fresh, abstract green of violet leaf (different than just violets which are usually sweeter and powdery) and cool woods with a nutty note, a unisex idea, almost androgynous. The drydown in a mostly linear fragrance is warm with skin notes. “Green fragrances are traditionally male, like eau de cologne. However the key to Balenciaga Paris is violet leaves. I wanted to draw on these almost conflicting inspirations, for women”. L’Essence is green because it is honest and vibrant, like the rustle of crumpled leaves. But L’Essence is green as if it were trying to hide the secret of its nocturnal herb scent…
L’Esssence is impulsive. L’Essence is unambiguous. On the skin, L’Essence is as pure as the searing honesty of short-lived flowers. Violet leaves are like a blast of woodland and their youthful energy stimulates the skin. Violet leaves are unfailingly honest and offer up their exquisite coarseness. Vetiver also takes the upper hand, wild, unruly and incisive… L’Essence engages and dazzles with its modulations. And the secret of the forest asserts itself… L’Essence, is also reminiscent of the mossy scent given off by forests at certain times of day, which emphasises the accent of conifers. It is like the fragrance of leather, but it expresses the intrinsic nobility of the organic world. L’Essence has a keen, intense scent. L’Essence yields and offers resistance. L’Essence, is also about living…"

Balenciaga Designer Nicolas Ghesquière and Charlotte Gainsbourg present the making of the campaign for Balenciaga L'Essence in the video.

The Meaning of Perfume (and of Jealousy), as photographed by Helmut Newton

Perfume Shrine has the honour of presenting you with a rare document today: One of the most aesthetically creative editorials on fragrance, appearing on the glossy pages of US Vogue magazine, issue May 1977, and photograpphed by Helmut Newton, following a plot of erotic jealousy played on the exotic locale of Marrakesh. My historical research on the work of photography in relation to interpreting smells into images often leads me to discover old clippings & snippets on yellowed pages, and it strikes me how the main allure of fragrance hasn't waned, connecting perfume with memory and mood enhancing. It's interesting to note that by 1977 the editors of Vogue US were claiming that fragrance was everywhere, being definitively on the rise; it would become a serious industry in the 1980s with the cementing of the fragrance wardrobe idea and the concept of projecting an image through it.

The following pictures can be enlarged by clicking on them, revealing their full size which allows the images to display both their impressive glamorous aesthetics and their retro 1970s text, referencing some of the fragrances we have reviewed on Perfume Shrine, such as Paco Rabanne Calandre and Shiseido Inoui (classified as "greens"), Jean Couturier's Coriandre or Halston by Halston. It also gives some tips on skin type reacting with perfumes,l psychology of choosing a personal fragrance and weather-suiting advice, though I suppose most of our readers know about (and occasionally disregard) the latter. I hope you enjoy!

US Vogue May 1977
The Meaning of Perfume
Photographed by Helmut Newton

 

Thanks to forums at www.thefashionspot.com & MMA for the scan

Bruce Oldfield Eau de Parfum: new fragrance

"My memories of Cap d'Antibes in the early Seventies conjure up this glamorous, intelligent, playful woman I love to design for," said Oldfield, speaking about his muse Charlotte Rampling with whom he spent a bohemian summer in France. Thus muses bridal designer Bruce Oldfield who is introducing his eponymous fragrance later this summer.

"Created in collaboration with perfume house Floris, the fragrance (on sale from July 25) aims to evoke the scent of summer in the South of France - with a heady mix of mimosa, bergamot, vanilla, ylang ylang and neroli. £89 for 100ml; available from Bruce Oldfield boutiques and Liberty". www.bruceoldfield.com

pic via alexloves.com

Top 10 Best-selling Masculine Fragrances in France

According to a study by Promise Inc. conducted in April 2011 over a male specimen of 1000 online users in France, three are the main attributes of consumers of fine fragrance in the masculine sector: luxury status, perceived virility in image and an intermediary slot reserved just for Jean Paul Gaultier (a position between design and creativity in regards to bottle, content and house image).

The study seeks primarily "to decrypt consumer’s perception of fragrance brands for men, it also highlights masculine consumption patterns". "Male buyers in selective distribution networks (e.g., Sephora, Marionnaud, Nocibé ...) purchase 64% of perfumes they use. These however do not forget woman. Since, 41% of fragrances bought in selective network are offered to women. Finally, if male buyers buy on average one fragrance every 9 months, they are offered on average a bottle every 16 months".

The best-selling list of masculine fragrances in France, as of 2011 goes like this:

1. Huge Boss by Hugo Boss
2. Le Male by J.P.Gaultier
3. Eau Sauvage by Dior
4. Dior Homme by Dior
5. Farhenheit by Dior
6. Azzaro Chrome
7. Chanel Allure
8. CK One by Calvin Klein
9. Azzaro pour Homme
10.Habit Rouge by Guerlain

It is interesting to note both the international infiltration into a national market as well as the super-conservative status of online male consumers, opting for fragrances that for the most part have been circulating for the last 15 years on the market (with only two exceptions, Dior Homme and Allure, these two benefiting from the halo effect of their respective houses)

info via www.premiumbeautynews.com

Jean Patou Joy: fragrance review

The archetypal example of a smooth, beautiful jasmine that could be worn sufficiently well without evoking particularly dark tendencies yet without being pointless is Joy by Jean Patou. It remains something of an icon in the status of luxe perfumery, partly due to its initial advertising campaign in the economically hard year of 1930, coined by Elsa Maxwell (“the costliest perfume in the world”), and partly due to its unparalleled standards of raw materials. According to perfumers' lore, the designer Jean Patou, side by side by doyenne of café society Maxwell, went to Alméras to find a new formula for a luxury perfume to be launched. But nothing really grabbed them and, exasperated, the legendary perfumer showed them something he thought unmarkeable anyway: a costly fusion of the noblest floral materials. They both became entranced at this and Joy joined the ranks of Patou scents in 1926 for the loyal customers, while made available widely four years later, at the throes of the Great Depression.

Patou went to great lengths to assure us that 1 ounce of Joy demands 10600 jasmine blooms and 28 dozen roses to be produced. This would be not as impressive, hadn’t those flowers been the venerable jasminum grandiflorum of Grasse in the south of France and the two crown glories of rose varieties: Damascene rose (Rosa Damascena) from Bulgaria and Rose de Mai (Rosa centifolia), the latter again from Grasse. The in-house nose for Patou since 1997 Jean Michel Duriez has monitored the fields and crops to ascertain that the end result rendered out of those two rose varieties meets the quality control criteria demanded by the house of Patou. Now that the Jean Patou house has left P&G hands (a company which didn't particularly care for luxury, it seems, judging by the lack of promotion they did for it), while Duriez stays behind, it's anyone's guess what happens; it remains to be seen whether Joy will be revamped, twisted or forgotten.

Whether the quality has gone downhill in recent batches, as with most commercial perfumes of today, in comparison to the vintage is a matter of dire attention and discussion on several fora. Some people have expressed a concern that the richness of the floral ingredients has been a tad jeopardized, however for what is worth Luca Turin insists that the quality of the end perfume remains unchanged and his info and sample batch comes staight from Patou headquarters. Since I do not have different batches to compare and contrast, because my bottles come from the mid-90s, I cannot speak with authority on the matter. The testing I have contacted in stores in different concentrations and places did not leave me with serious doubt as to the up keeping of the formula, however I repeat that I could not possibly ascertain this beyond any doubt since I do not have comparable material at hand from different eras; on top of that, ascertaining when a particular bottle was actually produced is so very hard, since perfumers -unlike wine producers- do not label the production year on the bottle (which would make our life so much easier, had it been the case!).

At any rate, Joy unfolds majestic proportions of floral grandeur with a nobility and restraint of hand that points to a very skilled perfumer indeed: Henri Alméras. Keeping the noble nature of the two focal points of the suite intact and singing in a melody of thirds, he garlanded them with the merest touch of honeysuckle, ylang ylang and tuberose, anchored by a very light sandalwood base which manages to smell opulent yet beautifully balanced. A grand dame  in a youthful setting, Joy smells translucent and at the same time durable and substantial.

It is my impression that there is a difference of emphasis on the two different concentrations of eau de toilette and eau de parfum. The former is characterized by a more pronounced jasmine intonation, like a solo aria in the midst of a lively Mozart opera, while the latter is a bit more powdery with accents of rosiness that permeate the whole with a softness that resembles a Schumman lullaby. In fact the Eau de Parfum is repackaged Eau de Joy which was a different perfume than Joy in parfum, as per Luca Turin. Given my proclivities for jasmine over rose, I opt for the eau de toilette, however both concentrations are sure to please the lovers of fine perfumes. The parfum is assuredly more animalic in the civet direction (a wonderful characteristic and thus the one which I always prefer over other concentrations) and stays close to the body with an elegance that speaks highly of its aristocratic pedigree. The vintage specimens that display the best quality are the ones in the black snuff bottles (prior to 1990), while the rectangular ones with the gold edges are newer.

The winner of the draw...

...for the sample of Inoui is Stelmadesigns. Congratulations and please email me (using the profile or About contact) with a shipping address so I can have this out to you soon!

Thanks everyone for the enthusiastic participation and till the next one!

Past Ascribed Gender: Best Masculine Fragrances for Women, Best Feminine Fragrances for Men

How does the ascribed "gender" of fine fragrance impact our decision to try or enjoy something? Conservative mores, which for long viewed fragrance as essentially a feminine accessory, would frown if they could at the thought. But not long past, in the Victorian era men were enthusiastically drenching their lapels and their handkerchiefs with their preferred fragrance, usually floral-derived, to exude a polished, cultivated image. Ancient men and women knew of the power of aromatics and smeared them on their bodies without much regard for whether spikenard or myrrh was considered feminine or masculine.

Nowadays famous and not so famous people regularly bend the rules and cross over to the other side of the counter: My hairdresser's assistant admits she likes to use men's scents because she likes "heavy, spicy stuff"; she's a curvaceous dirty blonde with cherubic features. Angelina Jolie has been wearing Carolina Herrera for men and Bulgari Black for years, both marketed to the XY chromatosome carriers. Kylie Minogue goes for ApoM pour Homme by Maison Francis Kurkdjian. Ruggedly male Sean Connery loves Jicky by Guerlain, which is a gender bender perfume to end all gender benders; changing sex direction mid-stream in its illustrious career like an adolescent fulfiling a transgender urge. Quirky French actor Jean Hughes Angland likes to dab such bombshell fragrances as Boucheron Femme and Chanel No.5; he finds it unusual and more interesting. Cross-dressing can be sexy, not only in fashion but in intimate accessories as well, such as fragrance. When bodies come closer and the lights dim, the mind spins at the possibilities.

Of course most fragrances in the niche industry today, be it from Parfumerie Generale, Serge Lutens, Montale, Nasomatto, L'Artisan Parfumeur etc. do not put a specific label of gender on their products, or at the most, they say that fragrances can be shared between the sexes, even if intended mainly for one out of them. So, for our purposes, I won't include them in this small "top gender bender fragrances" list things which are obviously marketed as shared/unisex, but rather things that would surprise. You can feel free to bend any niche to your own devices and see if it fits; the creators won't raise any eyebrow.

Best Masculine Fragrances for Women

Cartier Déclaration
Déclaration successfully juxtaposes fresh tonalities with cardamom on top with more risqué animal magnetism in an idiosyncratic mix which is arresting.

Chanel Egoiste
The succulent mix of dried fruits and woods in Egoiste is Lutensian before Lutens and thus eminentaly shareable for the ladies. 

Dior Homme
Nothing predisposes one for the dusky, fruity iris hiding at the core of a fragrance tagged "Homme" so blatantly. Today's hommes are more liberal in their cologne choice and so should you be too!

Dior Eau Sauvage
The bracing tang of a good citric cologne with a floral heart of glass-smooth transparency is as good as anything for cheering men or women up. Eau Sauvage is a classic for a reason and has been relentlessly borrowed since its launch in the 1960s. 

Hermès Équipage
For days when nothing but a little butch, yet supremely elegant package fulfills a woman's needs, Équipage is a thoroughbred that gallops steadily.

Guerlain Héritage
The definition of rich woody, cuddly but not maudlin. Héritage is classy and pliable enough to wear with homewear when inviting that special someone over.

Guerlain Vétiver
So lovely that it's a shame not partaking of its effortless charms. A citrusy vetiver with a light tobacco background Guerlain's Vétiver is a marvel to be shared.

Goutal Annick Sables
Technically Sables is presented as a masculine and was indeed conceived for a man, but the sweet caramel background, fusing immortelle and smoky vanilla, is great on women too.

Best Feminine Fragrances for Men

Caron Poivre
Dense, peppery-tingling, warm, somewhat dangerous. Don't you want your lover to be so? I thought so. Poivre (vintage extrait) is a marvel for that sort of thing.

Chanel Coco Mademoiselle 
Now that this is code for 20/30 something cute woman out on the prowl at parties despite the "independent" ads, men can have a field day with this hesperidic fruits, rose, jasmine and patchouli harmony. 

Chanel Cuir de Russie
The aristocratic Chanel classic Cuir de Russie, with its iris fond on birch tar leathery accord, always spoke of tweed suits and a leather-upholstered Bentley and those are great things for a man to be seen in. Why not smelled in, as well?

Jacomo Silences
So bitter, starkly green and angular that men will find Silences totally approachable in small doses and not frilly at all.

Grès Cabochard
Really, Cabochard is so close to masculine standard Aramis (both leathery chypres with animalic tonalities, composed by the same perfumer, Bernand Chant) that the leap is self-explanatory. Just get the vintage version in this one.

Piguet Bandit
Bandit is an ash-tray and bitter green quinolines leather chypre. Its creator, Germaine Cellier, was dykey and inspired by models' sweaty underpants. Heterosexual men might find that idea...intriguing for their own reasons.

Tauer Perfumes Une Rose Chyprée
The name predisposes you for a supremely feminine composition. The reality of Une Rose Chyprée is a glorious fragrance for either sex uniting roses with the chypre accord for an intense, retro yet modern feel.

Yves Saint Laurent Opium
Opium by Saint Laurent possesses that classic iron-pressed-linens starchy feel that makes it smell "clean" despite the density of its chords. The spiciness is lifting it into a realm not miles away from masculine offerings.

And of course we can't exclude afore-mentioned Guerlain Jicky, Bulgari Black et al.

What's YOUR favourite gender bender fragrance you can easily pull off?

Pics:
Women as Men shot by Helmut Newton.  
Oliver Theyskens looking like Frida Kahlo, shot by Karl Lagerfeld for the Maison Michel Spring 2011 lookbook

Annick Goutal Sables: fragrance review

Sables flies under the radar amidst the masculine selection chez Annick Goutal, despite the fact that Harrison Ford is supposedly an ardent fan. I guess he's considered "old man" by now and not as hip for a celebrity endorsement. But Sables shouldn't suffer from malrecognition; this is an especially brilliant composition and a unique one at the time of its launch, in 1985. The burnt sugar aspect of helichrysum ~known also as immortelle or everlasting flower~ with its shades of curry, maple syrup and fenugreek aromata make this fragrance one of the most distinctive not only in the Goutal canon, but in general. The onle fragrance more daringly infused with this spicy-caramelic note is Eau Noire in the private line of Dior colognes, composed by Francis Kurkdjian (A scent for which designer Karl Lagerfeld is crazy about!). Asmar by So Oud (launched in 2010) is closer to Sables, although not exactly the same.

Immortelle is an aquired taste for sure. Not everyone feels comfortable smelling like Indian food and helichrysum italicum is called "the curry plant" by some. Still, the initially spicy fenugreek nuances (somewhat mentholated and bitter inky, like in good old Fernet-Branca digestif) in Goutal's Sables are mollified towards the caramelised smoky spectrum; a whiff of pyrazines and malt, for those who appreciate Jeux de Peau by Serge Lutens for instance. The curry note is joined by its conspirator in crime: cumin, with its perceived sweaty aspect, and by a little pepper. Yet one cannot exactly categorise Sables as "dirty", "skanky" or spicy, but rather as smoky sweet and cozy in either winter or summer. In my own personal experience, Sables is a child of the sun and the warmth, and performs best in minute amounts put on the belly or behind the knees in the heat.
Contrary to the standard perception of Goutal scents being ethereal and fleeting, this one is particularly projecting, leaving a memorable trail and lasts very long, so beware of overdosing. It's definitely not intended to be used solely a masculine, although the saltier quota of male skin brings out the herbal and more ambery facets to the fore (much like in Ambre Sultan), while it's sweeter on women. The longer the fragrance stays on warm skin, the more it manifests those burnt sugar notes allied with milky, woody facets of sandalwood without ever becoming cloying. On the whole, Sables's kinship is more with a Lutensian oriental oeuvre, or a more powerful version of Cuir Béluga by Guerlain, than with the Indian dish intensity of Dior's Eau Noire where immortelle contrasts with the medicinal-caramelic ends of spectrum of natural lavender essence projecting a more rustic, rugged edge. 

Sables saw the light of day after a journey in Corsica, imbued with the warm and spicy scent of wild immortelle. This fragrance is dedicated to men and women whose originality and subtlety make them just as they are–-that is, authentic. Annick Goutal created it especially for her husband, Alain, who played the violoncello, as a memento from a trip to the so-called Island of Beauty, where the scent of immortelle-sprinkled sand dunes had captured her mind.

To me Sables will always stand as the olfactory equivalent of a particular beach in Lesbos Island in Greece. It is a volcanic place, all hot springs and absolutely no fish in the water, a deserted sugar-like fine sandy beach near a fossiled forest. The warmth of the sun schorches the tree trunks laying in the background. A moment of eternity has just been mine and I can see the history of the earth in a long gaze...

Related reading on Perfume Shrine: Annick Goutal news & reviews, Immortelle: perfumery material, Pyrazines; maple & caramel notes, interview with perfumer Isabelle Doyen

helichrysum flowers pic via stopthatcat

FiFi Awards & Element Showcase: First Indie Fragrance Award

As Elements Showcase prepares to host its second design and fragrance showcase on August 15th and 16th of this year, the founders are pleased to announce their partnership with The Fragrance Foundation to introduce a new FiFi® Award for Best "Indie" Fragrance Brand at this August's show. Brands will be able to sign up to receive nominating forms at the show and via the websites of Elements and the Foundation. The winner(s) will be announced at the Elements Showcase in January 2012 and again at the FiFi® Awards ceremony in the Spring of 2012.
Elements Showcase is the brainchild of Frederick Bouchardy, Jeff Lawson and Ulrich Lang. The first showcase, in January 2011, presented curated offerings in the field of fragrance design. From its conceptualized space by Reddymade Design to its cutting-edge and experiential installations, industry veterans, retailers and media have praised Elements Showcase as an innovator in its field. "We are honored to partner with The Fragrance Foundation in the creation of a FiFi® for Best 'Indie.'"

An exceptional crowd of buyers from all over the globe, including Barneys New York, Saks Fifth Avenue and Henri Bendel attended the January 2011 Elements Showcase. These buyers were exposed to dozens of emerging and established visionaries in the art of fragrance design including Bond No. 9, Lafco New York, Dayna Decker and many more. It will be from a list of fragrance visionaries similar to these that The Fragrance Foundation and Elements Showcase will accept candidates for the new FiFi® Award based on criteria which will be shared in the weeks ahead. "The Fragrance Foundation recognizes the talent and artistry of the 'Indie' Brands and wants to acknowledge this category in the environment which celebrates their individuality and craftsmanship," says Rochelle Bloom, president of The Fragrance Foundation.The FiFi® Awards, sponsored annually by The Fragrance Foundation, honors the fragrance industry's creative achievements. The Fragrance Foundation was established in 1949 by six industry leaders affiliated with Elizabeth Arden, Coty, Guerlain, Helena Rubenstein, Chanel and Parfums Weil, to develop educational programs about the importance and pleasures of fragrance for the American public. Today, America is the largest fragrance market in the world and The Fragrance Foundation has become an international source for historic, cultural, scientific and industry related reference materials.

info via press release

Francis Kurkdjian: Star Perfumer to the Stars, Creator of Best-Selling Fragrances

Few perfumers in the course of the past 150 years have enjoyed such a sky-rocketing course to stardom as has the handsome Francis Kurkdjian, formerly a dancer, piano player and aspiring tailor and eventually a perfumer and co-founder of his own niche fragrance house, Maison Francis Kurkdjian. Kurkdjian (his name of Armenian descent pronounced “koor-zhan”) was the nose behind such fragrance best-sellers as Jean Paul Gaultier’s characteristic male-torso-flacon Le Mâle, Armani Mania, Miracle Homme, Elizabeth Arden Green Tea, Narciso Rodriguez For Him and For Her, Acqua di Parma’s Iris Nobile as well as the initial Christian Dior private "cologne" fragrances Eau Noire (2004) with its daring use of helichrysum/immortelle that recalls maple syrup and curry.

“Francis was behind around 30 blockbusters, from global blockbusters to blockbusters in niche industries,” says Marc Chaya, president and co-founder of Maison Francis Kurkdjian Paris (MFK). “He worked with Romano Ricci on niche line Juliette Has a Gun [ed.note: Miss Charming and Lady Vengeance, both based on delicate musky rose accords which he loves], and also did Rose Barbare for Guerlain's boutique exclusive line.” More impressibly Francis recreated Marie Antoinette’s scent based on a book about the French queen’s perfumer by Elisabeth de Feydeau, and he scented the palace of Versailles’ fountains for two special events with his beloved, trademark metallic rose accord.

Indeed Kurkdjian seems to have favourite themes which he manipulates into his compositions: two of them make a frequent apparition in feminine fragrances; the musky rose that feels fluffy and yet a tad dusky thanks to woody patchouli nuances at the background (Lady Vengeance, Rose Barbare), as well as the man-made, sweet, clean and fresh, piercingly bright orange blossom accord which he perfected  for Narciso For Her and respun in Lanvin's Rumeur in 2006. He also loves his musks and ambrox, especially in his masculine fragrances, fusing the warmth and clean feeling of the former into the soothing hum of the latter. For those reasons there's things to love and things to shy away from in his work, but the talent and consistency of his work is undisputed.
Francis's perfumer idol is none other than prolific perfumer Alberto Morillas, one of the greats in the business; with sales like the ones he's generating, however, Kurkdjian isn't far from being admired by fans. His work is respected by other perfumers, but mostly adored by discerning customers, often of the celebrity of perfumes-connoisseur Catherine Deneuve (who loves the rich Lumière Noire pour femme, which was born out of her comission for a private scent, but she later agreed to add it to the line when Francis opened his own house) Kylie Minogue (who wears Apom pour Homme) is another dedicated customer. Catherine, the Duchess of Cambridge (formerly known as Kate Middleton) has been an inspiration for Kurkdjian: the occassion of the royal wedding made him picture her in something intimate and warm, like the new Elie Saab fragrance he created. (We now know Kate went with something completely different, but that's besides the point).
His bespoke service involves a travelling "crate" with bottles of essences which he brings along on a scented profiling of the individual: the process can be laborious and take from 3 months (sending back and forth samples for evaluation and recalibrating) to one year for those with very definitive views on the subject! The project had began casually enough; talking on the plane with well-heeled co-traveller Terry de Gunzburg resulted in a comissioning of a tailor-made fragrance, one which smelled of "orange groves in Italy and earth" (according to an article by Susan Irvine on British Vogue in the mid-1990s)

Francis Kurkdjian was born in Seine et Marne on May 14th, 1969, to a family outside the fragrance industry: his grandfather a men's tailor, his grandmother an inspecting eye in the family business. His first scented memories involved the aroma of sewing oil, clean cloth, tailor chalk and the spice rack sneeking in from the pantry, while an overseeing Art Deco panther was looking on the proceedings. His whole professional ethos was influenced by the ideal of giving pleasure, much like those in the tailoring business are brought up to do.
Francis studied at ISIPCA, the eminent French perfumery school, before composing Le Mâle at 23. He won Prix François Coty in 2001 and the rest is history. The irony is Chaya had no idea who Kurkdjian was when they met at a Jean Paul Gaultier fashion show. “Francis said to me, ‘I am a perfumer,’ and I said, oh, really, does such a thing exist? I thought that was Gaultier doing it himself.” Chaya eventually quit Ernst & Young to co-found and head Maison Francis Kurkdjian in 2009. “Founding MFK was about bringing fresh vision to the fragrance industry,” Chaya says. “It was about founding a modern luxury fragrance house and celebrating the talent of one of the most talented perfumers of our time.” Kurkdjian is more restrained in his evaluation of the company: "La Maison Francis Kurkdjian is an expression of my idea of beauty in perfumery and luxury in general. This House is a tribute to Paris - her spirit of freedom - and blends tradition and technology. My House is dedicated to small joys distilled into 24 hours of perfumed life. Each experience is an olfactory story that lives within my product".

Currently the Maison Francis Kurkdjian line comprises the following fragrances:

Aqua Universalis
A fresh unisex cologne based on the mock sweet orange note which permeats "clean" white floral compositions and laundry detergents (and indeed the house's own laundry product aromatized with the same scent), flanked by hesperidia on top and musk/ambrox on the bottom.
Aqua Universalis Forte
A more concentrated (40%) version of the "clean & fresh" Aqua Universalis theme with boosted Calabrian bergamot, added citron, added florals (rose and jasmine)and a more powerful musk.
Pour le Matin
The vision of a Mediterranean garden, replete with rustic herbs (thyme and lavender). Available as Cologne and Absolue (Eau de Parfum)
Pour le Soir
The vision of Francis's mother in a fur coat for a night out: powder and lipstick on, rich fragrance leaving a seductive trail behind.Uniting the holy (benzoin incense) with the profane (animalic and cumin-rich accords), it's a perfume to be noticed in. Available as Cologne and Absolue (Eau de Parfum), the latter featuring intense cumin and added ylang ylang.
ApoM pour homme & pour femme
Basically an acronym for "a piece of me", the duo was inspired by travels to Lebanon and the Lebanese people with their dark good looks. The scent speaks of orange blossom's beauty and cedarwood's austerity, while being infused with ylang ylang for the feminine version and with (sweet, narcotically floral) and amber for the masculine one (sportier and manly).
Lumiere Noire pour homme & pour femme
Spiced rose, cumin, hot pepper and patchouli, plus narcissus for her and mugwort herb for him mingle in the fragrance equivalent of a long evening gown and a tuxedo: the rich, decadent composition is truly luxurious.

At the end of t2011 MFK will release small, five-milliliter perfume roll-ons perfect for the purse and on the go. The packaging including the stoppers on the flacons are inspired by the zinc & gold rooftops of Paris.The line already incorporates incense paper strips (infused with benzoin resin), leather bracelets permeated with essences, deos, laundry detergent in Aqua Universalis scent, scented candles and room sprays and Les Bulles d'Agathe, soap bubbles in either mint, pear, cut grass or violets scents for the kid in us!

Visit Kurkdjian's official website at Francis Kurkdjian.com



Ref:
Interview on Ecodesign Canada
Interview on Vogue UK
Article on ParisBao
some quotes via the Philippine Global Community
portrait shot via vogue.uk, trunk via parisbao.com

Myth Busting: Coffee Beans as a Method for Fighting Nose Fatigue?

We all know the drill, as perpetuated on the perfume counter: After a series of enthusiastic spritzing of every conceivable fragrance on the shelf our nose registers .....nothing. (This can also be an effect of too much of a specific class of aromachemicals in fine fragrance, for which you can refer to the linked article). So what have the shops come up with to counteract that nasal tiredness? They devised a technique of fighting boredom of the nasal passages with an aroma so strong and different that the jolting sensation would recalibrate our ability to smell: coffee beans. Freshly roasted, dark and aromatically pungent. Does the trick work? Usually not so well, in our experience. But now scientific research backs this claim up.

Do without the perfume-counter coffee beans, say Beloit College researchers

Beloit, Wis. – In an effort to offer shoppers a nasal palate cleanser (and presumably, to sell more fragrances), department store perfume counters have long been topped with small jars of coffee beans. As it turns out, they shouldn’t be. New research published by a Beloit College* professor and two of her students suggests that the beans are no more useful than sniffing the air when it comes to clearing the nose.

In a recently published report titled “An Exploratory Investigation of Coffee and Lemon Scents and Odor Identification,” psychology professor Alexis Grosofsky and two Beloit students, Margaret L. Haupert (class of 2011) and Schyler W. Versteeg (’12), put this common practice to the test using four widely available fragrances (Babe, Confess, Prettiest and Tempt Me). After several months of work they found that, “Coffee beans and lemon seem to have no special refreshing properties.”  

“Fragrance sellers,” they suggest, “may wish to reconsider the practice of providing coffee beans to their customers.”

The research is outlined in the latest edition of Perceptual and Motor Skills, a peer-reviewed bimonthly research journal. Read the full article online.

*Beloit College, founded in 1846, is Wisconsin’s oldest college. Hailed as one of a handful of “Colleges That Change Lives” by former New York Times education editor Loren Pope, Beloit draws students from 48 U.S. states and 40 countries to its residential campus along the Rock River in downtown Beloit, Wis. Learn more at www.beloit.edu. 

Shiseido Inoui: fragrance review, history & draw

Beware of the celebrity endorsement; it might get you in trouble hunting for rare, long lost treasures to the detriment of your wallet: The first time I became seriously intriguied by Inouï was upon reading an interview of Greek singer Anna Vissi, more than a dozen years ago, declaring her longing for a bottle of this discontinued Shiseido scent: "If anyone still got a bottle, I'm paying double for it". Makes a girl move earth and sky to find some, doesn't it! Inoui, or rather Inouï with the requisite umlaut, launched by Shiseido in 1976 and quickly vanished from the market in the late 1980s, its quirky name meaning unprecedented in the sense of stunningly gorgeous.

Stunningly gorgeous it might not be exactly, as I reserve this characterisation for truly seminal fragrances or those which exhibit a daring concordance of vision and orchestration, but the drops resting on my collarbone speak of its beauty in no uncertain terms: Inouï prettifies everything it touches, even though it belongs to the old-school austere, cool greens of the ilk of Chanel No.19, Alliage, Diorella, Calèche and Shiseido's own Koto which are crepuscularly silver, rarely breaking a smile, surely alien ~ in the letter of the law~ to my own warm-blooded, passionate Mediterranean nature.

There is nothing really warm or conventionally seductive about Inouï , the bitter galbanum resin and chilled alοof florals giving a Brechtian detachment, a sort of stoic Britannic phlegm even on the face of the gravest tragedy; or maybe -more plausibly- it's just the Japanese aesthetic of keeping one's cool and always appearing composed. At the time Shiseido was not yet in collaboration with Serge Lutens, the maestro who would bring Gallic passion to the Eastern refinement with Nombre Noir and all the rest of their collaborative opus, and suppposedly the company was meaning to break up with their oriental tradition at the same time, hence the name of the fragrance one would assume:

'An international product developed by the joint efforts of Shiseido staff in Japan, the U.S. and Italy, Inoui was introduced in 1976. Under the sales theme of the “New Working Woman,” the image was of a new woman with a cosmopolitan mind. She lived a beautiful lifestyle of jazz dance, yoga, jogging and other new activities of the time, while easily handling her work as well. “It's not her beauty. It's her lifestyle.” clearly expresses the concept behind the product.'

Thus ran the official blurb on the fragrance on the US site.Somehow it doesn't sound very fetching to me. I can think of better things. But times have changed; back then "modern" woman apparently dreamed about the "beautiful lifestyle of jazz dance, yoga, jogging and other new activities, while easily handling her work as well".

Yet history disproves this assertion of breaking with tradition: Saso and Myth of Saso, other Shiseido rarities, are unusual and unpliable with no "lifestyle" concept behind them, yet roughly contemporaries. But for every Saso there's a Koto; easy, breezy, refreshingly cool for active lives, so Shiseido is obviously consciously catering to a multitude of women and respective markets. Later on, the Japanese company launched a make-up line by the same name (and the follow-up, Inoui ID) which was put into stunning visuals by Lutens himself, the choreographing of the models an exercise in cobra mesmerising human eyes.

Inouï is a fragrance which, underneath the crashed stems and sap, lives and breathes in human form and yes, warms up somewhat with an exquisite jasmine heart, halfway between birth and rot, flanked by the pungent accent of herbal thyme, like a seasoned woman who knows what she wants and what she's capable of. This is why it feels at a crossroads between floral chypre and green floral; but Inoui is friendlier than angular No.19 by Chanel, soapier and sweeter than Alliage by Lauder and less BCBG than Hermès Calèche. It's so pretty, deep and undemanding that it poses a mystery on why it got axed so soon! Then again, might we recall the dire straits of Paco Rabanne's Calandre; who knew such an easy, loveable fragrance would become hard to get!
The opening accord in Shiseido Inouï is sap-like, crushed greens with a hint of soapy aldehydes and at the same time reminiscent of the lemon-peach top chord of classic Diorella: fresh, but registered an octave below, mossier. Soon the warmth of ripe jasmine anchors the peachy lactonic notes and gives oomph, fleshing the sketch of the greens and deepening the feminine impression. The impression of green floral sustains itself cuddled by a lightly mysterious base, like that in Y by Yves Saint Laurent, deepening as time passes, mingled perfectly in one unified chord, while its murmur is only audible to those who come close by.

Vintage batches (the only kind, really, since Inoui is long discontinued) crop up sometimes online, for really huge prices somewhat unjustifiably. Those which retain a fresh, green floral and a tad soapy note have kept well. If your catch smells sour, you've been out of luck: the perfume deteriorated through the years. There is an eau de parfum version and an extrait de parfum in sparse, architectural bottles, both worthy additions to a distinguished perfume collection.

Notes for Shiseido Inoui :
Top: Galbanum, Peach, Juniper, Lemon, Green Accord
Heart: Pine Needles, Freesia, Thyme, Jasmin
Base: Cedarwood, Myrrh, Musk, Civet, Oakmoss

Since it's such a rarity, one sample out of my own personal stash goes out to one lucky reader. Please comment on what appeals to this genre to qualify.

Kalokairi: Open End Poll

"Kalokairi...The blue peer will bring you...Kalokairi [...]Wet mouth, lean loins, kalokairi. With a slice of watermelon on one hand, with half-melted kisses, with some slices stuck on the kitchen knife...Kalokairi[...] An odour of the death chamber...Kalokairi...With Hades's burn on the hand, its longing wandering in the world...".

What's your most vivid summery memory having to do with the senses? I will check back when I return from my (alas short) trip.

Song Kalokairi (Summer) by Greek songwriter Dionysis Savvopoulos



Καλοκαίρι
η γαλάζια προκυμαία θα σε φέρει
καλοκαίρι
καρεκλάκια, πετονιές μέσ' το πανέρι
μες τη βόλτα αυτού του κόσμου που μας ξέρει
καλοκαίρι
πλάι στα μέγαρα, στις τέντες με τ' αγέρι
καλοκαίρι
με χρυσούς ανεμιστήρες μεταφέρει
την βανίλια με το δίσκο του στο χέρι
την κοψιά μιας προτομής μέσ' το παρτέρι
καλοκαίρι
μ' ανοιχτό πουκαμισάκι στα ίδια μέρη


Καλοκαίρι
με μισόκλειστες τις γρίλιες μεσημέρι
καλοκαίρι
καθρεφτάκια και μια θάλασσα που τρέμει
στο ταβάνι και τους γύψους μεσημέρι
καλοκαίρι
με τον κούκο μέσ' τα πεύκα και στ' αμπέλι
καλοκαίρι
στόμα υγρό, μικροί λαγώνες, καλοκαίρι
με τη φέτα το καρπούζι στο ‘να χέρι
με φιλιά μισολιωμένα, καλοκαίρι
καλοκαίρι
λίγες φλούδες στης κουζίνας το μαχαίρι


Καλοκαίρι
του σκυμμένου θεριστή του τυφλοχέρη
καλοκαίρι
με βαριά μοτοσικλέτα μες τα σκέλη
τους φακούς του ανάβει μέρα μεσημέρι
καλοκαίρι
όλο πίσσα και κατράμι καλοκαίρι
καλοκαίρι
με τον ρόγχο του air condition μεσημέρι
φαλακροί μέσ' τις σακούλες μας σαν γέροι
εκεινού με τ' άσπρο κράνος που μας ξέρει
καλοκαίρι
μια οσμή νεκροθαλάμου, καλοκαίρι


Καλοκαίρι
στην αρχή σαν έγχρωμο έργο στην Ταγγέρη
αλλά εν τέλει
με του κάτω κόσμου το έγκαυμα στο χέρι
την λαχτάρα του στον κόσμο περιφέρει
καλοκαίρι
στον χαμό του οδηγημένο και το ξέρει
καλοκαίρι
τόσο ώριμο που πέφτοντας προσφέρει
μια πλημμύρα των καρπών, στάρι και μέλι
στον σπασμό του το απόλυτο το αστέρι
καλοκαίρι
μες τα κόκκινα της δύσης του ανατέλλει

Parfums Weil Antilope: fragrance review

The name would bring to mind a safari in the African savannah, even though not spelled "antelope", but that is decidely not my image of Antilope by Parfums Weil, a fine fragrance by the well-known fourrier company. Still, even though launched by a fur house, Antilope is not a parfum fourrure, at least in the fetishistic sense of the term.



Let’s see: Antilope in its vintage version (the fragrance launched in 1946) is a floral aldehyde chypre that begins old-fashioned , dry and powdery , with a top note of pure flowers smelt at a mountain top like Ma Griffe. But hey, this is a chalet in the French Alps we are talking about and the effect is decidedly elegant and sophisticated , not natural. The house of Weil has an illustrious history of bringing out fragrances which speak of luxury, exotic hides, glorious landscapes of fantasy and glamour.
Think Capucine or Claudia Cardinale decked in Yves Saint Laurent on the slopes and at the chalets of Cortina (hey! Italian mountain , a technicality….) in "The Pink Panther", the first movie in the series in 1963. Picture Claudia sprawled on a tiger fur rug batting her lashes seductively and a little drunkendly at David Niven telling him about the “frasari…safrari…wild animal hunt” her father took her to. Then a fruity/herby note appears , like humble chamomiles. Sweet and innocent for a moment. Claudia will pass out from champagne before any carnal promiscuity. The fragrance ends with moss and wood, not distant, but elegant like in a reverie.
Very dry. Chic. French. Or not-so French. But of that attitude…….Maybe it's just the clothes and the setting, maybe it's Antilope.

Notes for Weil Antilope:
Top: neroli, bergamot and aldehydes
Heart: clary sage, rose, lily of the valley, jasmine, carnation, iris and violet
Base: sandalwood, vetiver, patchouli, tonka, amber, oakmoss and musk.

The vintage Antilope is assuredly richer and more nuanced than the reissued, sharper and more sanitized floral version. Excellent in Eau de Cologne and Parfum de Toilette (depicted).


If you like Madame Rochas or Caleche and wished they had a rougher texture than ever prim gentleness; or love the bitterness and swag of Cabochard and the "fresh" clarity of Ma Griffe, but find them too harsh to wear; Antilope is a great middle-ground.

Pong de Paris & Medieval London

A documentary series by the BBC Two called "Filthy Cities" tackles two of the most infamously "stinky" of European cities from the past (today they're not so fragrant either): Paris and London. A history lesson and some olfactory adventurous research as well, guided by historian Dan Snow with some impressive CGI scenes. The London episode is presented in its entirety below.





And if you think you could brave it, watch a poor human specimen test on camera the scratch & sniff cards for the show, available in any library in the UK courtesy of the BBC.
In many ways reminiscent of the atmosphere of "Perfume, Story of a Murderer", only this is no fiction....

Frederic Malle Carnal Flower: fragrance review

Carnal Flower by Frédérick Malle alludes to the perception of tuberoses as flowers of "spiritual ruin"; at one point in time they were actually thought to provoce an instant orgasm to the fair maidens who might smell them!! Imagine the prudish customs of yesterdays challenged by that thought....In reality, Frédérick Malle seeking to author a white floral (no line is complete without it), visited California, where both surroundings and ladies exude scents of gardenia and tuberose apparently. But Malle is also Louis Malle's, the famous film director's, nephew, and therefore related to actress Candice Bergen, Malle's wife from 1980 till his death in 1995.

Inspirations
Candice Bergen, a Californian by birth, despite the "cool ice princess" facade proved how there is fire and passion beneath it, both in her personal choices and -relevantly to our discussion- in one memorable film, Carnal Knowledge by Mike Nichols in 1971. As Susan, shagged by Jack Nicholson and shared (and eventually married to) Art Garfunkel, the safer bet of two wandering males, she gives a bleak and blunt portrayal of the inherent mortality of romance and the decaying beauty of sex. The young Frédérick Malle had thus one part of the illustrious concept of his fragrance down pat! Carnal Flower it would be and the star would be a man-eating flower.

Composition
The rest was masterful orchestration: Composed by Dominique Ropion, renowned creator of the wonderful Ysatis by Givenchy , the horrifically flamboyant and attention-grabbing Amarige by the same designer and the controversial Une Fleur de Cassie for Malle again (no mean feat, its strong animalic base acting as a conversation piece among the brave), the new fragrance on the sketching board naturally presented an olfactory challenge as tuberose is one of those smells that can be heavenly or hellish, no in-betweens : the orchestration and interpretation is all that matters. A flair for the intense on the recipients' part is also mandatory , it would seem....

Perufmery Tuberoses: Where does Carnal Flower Stand?
The history of tuberose in perfumery passes through that parfum phare as the French say (a "lighthouse perfume", a landmark more like it): Fracas, conceived by the fauvist Germaine Cellier for Robert Piguet, with its fleshy, lush contradicting qualities edged upon the two extremes: creamy, candy-ish beauty and violent hystrionics leading to decay. Blonde by Versace is its poorer , aspiring -and rather successful- imitator with a flamboyant style that is very Italian, a civet come-hither innuendo and quite pleasant in calculated moderation especially in extrait de parfum. Serge Lutens Tubéreuse Criminelle presents a peculiar problem : one has to wait for the crucial first 15 minutes, when the demonic camphor note subsides, giving reign to the glorious creaminess and silky softness of the flower. Caron's Tubereuse is very radiant , yet perfume-y although lighter and not suited to today's sensibilities, I find. Carolina Herrera (the original one by the famous designer) is a bit too operatic, being so much infused with another bombshell : jasmine. Some of the rest (Lauder's Private Collection Tuberose Gardenia and Do Son by Diptyque) are either more positioned towards gardenia or too light for carnal aspirations. Vamp a NY by Honore des Pres is more candied than that and with a generous helping of pink jasmine, although equally magnificent. Tuberose perfumes are a real continent: there are variations in the verdure to suit everyone.
Carnal Flower was from the beginning a mission into offering something different.

Scent Profile
Studying the odor of the real living blossom, which is apparently everywhere in California, the quintessentially French company Editions des Parfum Frédéric Malle has managed to capture the air of a tropical garden at dusk, full of the breeze and the richness of the dangerously seductive blossoms inside the austere looking bottles of Carnal Flower. Malle himself was encouraging Ropion to go the extra mile, per their official info, while the concept was in the cards from the very beginning, going into speed dial when Ropion was introduced to a new "corrected" absolute de tubereuse: Americans love tuberose flowers. Hence the addition of a coconut note and strong salicylates with musks, boosted with orange blossom absolute, all familiar apertures, which channel a warm and inviting quality. But they also want a seemingly fresh scent, something that will titillate the nostrils and the mind. The camphor note, reminiscent of eycalyptus leaves, is a necessity: At once freeing the weight of the inherent indolic character of the blossom, which browns as it decays, and imitating the exhalation of tuberose in nature: greenish and somewhat mentholic from afar.  Yet the mentholated note does not make a grand appearence in Carnal Flower like it does in Tubéreuse Criminelle: the composition is therefore less striking, arguably less thought-provoking, but more wearable by more people as a result. Not a jarring note in sight; even the fruitier notes, like coconut and melon, are interspersed through sleight of hand to evoke freshness and sensuousness. Like Candice Bergen, it's beautiful, but then again, not without wits or substance, and although undeniably sensual and sexy, it is high class and a lady, not a slut, at all times. (For slut, if you choose, you can resort to Musc Ravageur by the same niche perfume company)

The development of Carnal Flower is smooth, into a heart of pure tuberose absolute with a sweet coconut-like facet (like Coppertone suntan lotion, another California reference) and solar salicylates (a natural pheromone of blossoms that aids pollination), without great changes throughout its drydown. The amount of tuberose absolute used is the greatest in use in all current perfumery: any more of this and you might burst! The initial opulence remains intact while after some minutes a slightly bitter-sweet, rubbery quality ascends to the surface, a natural effect of the real flower. It should be advised not to overdo the application because of this element. As it weaves its magic though, it never becomes cloying, but it does seem to steal the scene and all the best lines audible from several paces away. Carnal Flower is loud enough to be a classic-in-the-making.

If you're among those who find the fragrance overwhelming (and it can be), the exquisite Beurre Exquis in Carnal Flower (a body butter infused with the gorgeous smell of the fragrance) might be a lighter, subtler option for you with decent sillage and lasting power. Highly recommended and worth the monetary outlay.

Notes for F.Malle Carnal Flower:
Top: bergamot, melon, camphor
Heart: tuberose absolute, ylang-ylang, jasmine, orange blossom
Base: tuberose basolute, coconut, white musk



pic of Candice Bergen via youlookfiine.wordpress.com

IFRA 46th Amendment is Out

The International Fragrance Association (IFRA) has officially issued the 46^th Amendment to the IFRA Code of Practice as part of the industry's ongoing safety program*.
There are six new restrictive Standards based on the Quantitative Risk Assessment (QRA)** and one new Standard prohibiting the use of 2,4-Octadienal.
IFRA has also withdrawn the Standard for Vanillin, which was first put in place with the 44^th Amendment. This Standard was put on hold on 1^st December, 2009, has now been officially withdrawn. Following the Vanillin Standard's notification additional information was submitted, which allowed for a re-evaluation of the material. After further additional testing and a critical evaluation of all available data today, IFRA has decided to withdraw the Standard and not set a revised Standard.
IFRA has also updated various guidance documents as part of the 46^th Amendment.

• QRA Information Booklet Version 6.0 Final 2011 (including guidance on classes for IFRA Certificates)
• Annex 1 to the IFRA Standards which has been updated with contributions from other sources for o-Methoxycinnamaldehyde and Safranal
• Index (list of all IFRA Standards)
• Standard Operating Procedures (SOP) for the implementation of IFRA Standards

All the new Standards and related guidance documents are freely available on the IFRA website: http://www.ifraorg.org
1.    Six new Standards, based on the QRA

CAS             Name                                      Status
                                                            
    7492-44-6     alpha-Butylcinnamaldehyde                   
    39189-74-7    2-Heptylidene cyclopentan-1-one                  NEW
    1504-74-1     o-Methoxycinnamaldehyde                       RESTRICTED
    68922-13-4    3-Methyl-2-(pentyloxy)cyclopent-2-en-1-one      (QRA)
    13257-44-8    2-Nonyn-1-al dimethyl acetal
    13144-88-2    1-(2,4,4,5,5-Pentamethyl-1-cyclopenten-1-yl)
                  ethan-1-one

2.    One new Standard prohibiting the use of 2,4-Octadienal

2,4-Octadienal has been reviewed by the RIFM Expert Panel and, due to lack of adequate data (Dermal DNA Adduct study), it was concluded that it should not be used as or in fragrance ingredients in whatever application until additional data is available and considered sufficient to support its use. The presence of a structural alert as defined in the Human Health Criteria Document justifies this ban which already concerns several materials of the same structural family.

CAS           Name                     Status

    30361-28-5    2,4-Octadienal            PROHIBITED

How the whole thing works, for those who missed our previous posts on the subject of perfumery ingredients restrictions:
The fragrance industry's safety program is founded on testing fragrance materials and either establishing 'Safe Use Levels', or prohibiting their use, based on studying their potential effects on people and the environment. Currently the safety program contains 186 'Standards', which restrict, or prohibit, the use of selected fragrance materials.
To ensure that the fragrance industry adheres to its safety standards the International Fragrance
Association (IFRA) has a Compliance Program. Every year 50 products from a selection of 450, gathered from stores in 10 different countries, are tested. If a product does not comply with its Code of Practice and Standards, IFRA works with the manufacturer to ensure compliance.
The IFRA Code of Practice is a comprehensive document that supports the IFRA commitment to provide products that are safe for use by the consumer and to the environment.
The Code of Practice applies to the manufacture and handling of all fragrance materials, for all types of applications and contains the full set of IFRA Standards. Abiding by the IFRA Code of Practice is a prerequisite for all fragrance supplier companies that are members of IFRA (either directly or through national associations). The majority of client companies (including producers of toiletries and household products) expect their fragrances to comply with IFRA Standards as set out in the Code.
The IFRA Code of Practice is distributed worldwide and is in the hands of all member associations and their member companies, in addition to governmental regulatory bodies and many other stakeholders. It is also available to all on our website: http://www.ifraorg.org

**Quantitative Risk Assessment (QRA)

In 2005 IFRA introduced a new Quantitative Risk Assessment or QRA approach to restrict fragrance materials that have a potential to induce contact sensitization. This new approach is a much more refined approach for evaluating sensitizing materials, and so provides more precise guidance on use levels of materials depending on the situation and the product in which they are used; ultimately it should better protect the consumer from becoming sensitized to a specific material.

SOURCE: The International Fragrance Association (IFRA), Brussels 27th June 2011