Oakmoss, Treemoss and Chypre: you've come a long way baby!

Oakmoss has got to be the most controversial ingredient in perfume in recent history. For years used for its mossy, sensual quality and an integral constituent of chypre compositions married to a citrusy top note, traditionally bergamot, it has gone under the strict scrutiny of European regulations and IFRA -the regulatory body for scent materials. And it became the controversial issue in relation to the alleged reformulation of classic Guerlain perfumes, resulting in brouhaha of gigantic proportions. Let's try to sort the mess out a bit.

Basically oakmoss is a type of light green to green black lichen, a fungus growing on trees found in many mountainous temperate forests throughout the Northern Hemisphere, including parts of France, Portugal, Spain, North America, and places in Central Europe (Yukoslavian oakmoss was very popular). It forms clumps of bushy thalli. The growth of such lichens indicates good air-conditioning in those areas, as the organisms abhor pollution.
Oakmoss grows primarily on the trunk and branches of oak trees, hence the name (mousse de chêne in French); but lichen is also commonly found on the bark of other deciduous trees and conifers (fir and pine). Technically oakmoss belongs to the genus Evernia and is named Evernia prunastri, differentiating it from its cousin tree moss growing on pines and firs, Evernia Furfuracea. Interestingly, this last ingredient has been found packed into Egyptian mummies.

In perfumery oakmoss has been prized for its aroma, heavy and oriental-like at first, becoming very refined when dried, reminiscent of bark, seashore and foliage. It imparts a wet forest floor aroma in compositions resulting in a naturalness and rich earthy, damp and creamy undercurrent when used with restraint. Its remarkable quality is its ability to render a velvety softness to floral bouquets, green fragrances and heavy orientals alike, also possessing fixative properties imparting longevity in the perfumes that contain it and anchoring the more volatile notes.

Francois Coty, contrary to popular myth, was not the first one to capitalize on its fragrant properties in his Chypre in 1917, which inaugurated a new fragrance family. He did make it popular though and is indirectly responsible for the birth of many wonderful spawns, so a belated huge thanks is in order.
Chypre means of course Cyprus, the greek island of Venus with the rich history, and this is where the composition originated, albeit in a less standardised form, even from the time of Romans who created a mix of storax , labdanum and calamus (ingredients also present in chypre perfumes) in the island of Cyprus; this gave rise to the Middle Ages and Rennaisance alloys with oakmoss at its base.
We learn from Ayala’s excellent Smelly blog that as early as the 12th century AD pastilles and “Oyselets de Chypre” (Chypre Birds) were made by mixing labdanum (a resinous material combed off the hair of goats grazing on cistus labdanum/rockrose), styrax and calamus, with the addition of tragacanth. This was burned as incense, alluding to the ancient ritual origins of perfume “perfumum” (=through smoke); while the birds served decorative purposes and scented the air. It wasn’t until the 14th century that oakmoss was added to these pastilles. Two recipes from 1777 for chypre compositions include oamoss as well as civet, ambergris, musk and various resins and plant aromatics, two of which are rose and orange blossom.

With Coty’s Chypre though a new direction emerged resulting in a plethora of variations with such prestigious members such as Femme, Mitsouko, Bandit, Jolie Madame, Tabac Blond, Cabochard, Cuir de Russie, Aromatics Elixir, Miss Dior, Diorella, Knowing, Ma Griffe, Paloma Picasso and hundreds of others.
The inclusion of oakmoss in those compositions was a foregone conclusion.

However the European Union allergens regulations have changed our understanding of that last part. Deeming oakmoss - and not only that one- an ingredient that has been tied to specific dermatological averse reactions they issued a list of restricted ingredients. The Colipa site and especially the 7th and 36th amendment are of great interest to anyone researching this issue.
More specifically the IFRA regulation states that

"Oak moss extracts (e.g. absolute, resinoid, concrete, etc.) obtained
from Evernia prunastri should not be used such that the level in consumer
products exceeds 0.1%. In the presence of tree moss extracts the level of oak
moss has to be reduced accordingly such that the total amount of both extracts
does not exceed 0.1% in the final product.
Furthermore, oak moss extracts
used in perfume compounds must not contain added tree moss. Tree moss contains
resin acids. The presence of resin acids can be detected by using a routine
analytical method available from IFRA*. However, traces of resin acids are
unavoidable in current commercial qualities of oak moss. As an interim standard,
these traces must not exceed 0.1% (1000 ppm) dehydroabietic acid (DHA).
This
recommendation is based on test data on the sensitising potential of oak moss
and tree moss extracts, their cross-reactivity and the absence of sensitisation
reactions when tested at 0.6%. In addition, it has been shown that oxidation
products of resin acids contribute to the sensitising potential. This adaptation
to the Standard aims at reducing exposure to resin acids, while waiting for the
final outcome of a current research program.”

This ascertains that it is not oakmoss that is the culprit here, but probably its combination with tree moss. The issue however puts a spin on the reformulation of certain perfumes. Since the rise of the controversy it has been suggested that a warning label on the box of the perfume stating those specific ingredients included (more on that will be the theme of another article) might be the saving grace for those well-respected, nay treasured formulae of yore, especially the historic Guerlain ones. Mitsouko and Parure were prime candidates for a sweeping metamorphosis that would leave them harmed beyond any recognition. Lots of others as well. The official line of Guerlain PR had been denial of any reformulation up to a certain point in time, while in the last couple of years they admitted that the whole commercial line would be re-vamped by the end of 2005 to conform to IFRA regulations. No matter what solution might be suggested the result is that some amount of reformulation has indeed taken place (for the record, some people were in favour of the inclusion of the potential allergens with a warning on the box; others were championing the idea of including them only in parfum concentration or in the boutique exclusives, an idea that frankly reeks of elitism to me).

How could one preserve the use of oakmoss and where would one find it still then?
The “quenching” hypothesis is a fascinating proposition (Opduke as far back as 1976) and consists of the suggestion that inclusion of the anti-inflammatory azulene (naturally occurring in soothing chamomile) might cut down the risk of irritation presented by various objectionable ingredients.
However the odour profile of azulene coupled with its blue colour have presented the perfumer with a challenge as how to incorporate it in such a way as to remain in the wings.
The inclusion of eugenol and limonene at defined ratios to some other sensitising agents (cinnamaldehyde, citral, phenylacetaldehyde) is also worth exploring in regard to oakmoss.
It is debatable if the risk of a rash is so great a concern to warrant complete ban on specific ingredients for everyone. After all fyrocoumarin in elevated doses is also as much a suspect and even methyl eugenol which occurs in basil and rose oil has been called a systematic carcinogen. I do not see a ban on those however.
Many products still use Evernia prunastri (oakmoss) in their formula , they even state so on the box, often with tree moss also included in defined ratios, while others capitalize on the alluring notion of bringing out our inner dryad while using this sensuous forest ingredient still.
Master perfumerArcadi Boix Camps claims to have succeeded in substituting oakmoss for other combinations that produce a comparative smell, however there is not enough searchable info on what exactly that might be.
Natural perfumers are continuing to use oakmoss absolute rendered by solvent extraction and state its constituents as evernic acid, d-usnic acid, atranorine and chloratronorine. According to Robert Tisserand it is indeed a dermal and mucous sensitiser that should be avoided in pregnancy and epilepsy, but its risks for general use are in direct proportion to the manner of use and ratio in a mix.
Like with everything else, an informed choice is the way to go and hopefully some aspects of oakmoss have been highlighted here.
A newer crop of perfumes that assume the identity of chypre under the alias “mossy woods” in Michael Edwards' classification of perfumes has cropped up in recent years resulting in offerings such as Narciso for Her, Lovely by Jessica Parker, Lauren’s Pure Turquoise and Comme des Garcons White. Those pleasant perfumes substitute oakmoss with a grassy background of patchouli and vetiver that somehow does not smell distinctly chyprish like the classic ones. Whether this is the only way to go for the chypres of tomorrow or there is still a place for traditional oakmoss-laden chypres remains to be seen.

Pic of oakmoss growth from biopix.com

Givenchy: time for classics again?

According to industry rumours, Parfums Givenchy are scheduling the relaunch of many of their classic fragrances in limited editions to celebrate the house's 50th anniversary in 2007. Ultra elegant Hubert de Givenchy is no longer head of the house to rejoice, but I bet this would be good news all the same. In the last decade due to dubious launches, especially since the company was acquired by the LVMH Group, parfums Givenchy were seen as a poor relation to Christian Dior, Chanel and Yves Saint Laurent. The latest offering Ange ou Démon did not help in this regard, I'm afraid, although the reviews for Amarige Mariage are leaving some leeway of hope.

In this day and age the most prevalent products on Givenchy perfume counters and their best known perfumes for women are Ysatis, Amarige, Organza and Very Irrésistible. Recent attempts to spin a special yarn of quality resulting in the Harvest series of 2005 (issued however in 2006) for the above perfumes, highlighting the one pivotal flower in each of the compositions with an exceptional harvest of blooms for it -namely mimosa for Amarige, jasmine for Organza, and rose for Very Irrésistible- have met with some lovely results; my favourite out of those has been the Organza Jasmine Harvest, a trully deep floriental that is redolent of the jasmine bush. Ysatis Iris had preceeded them in 2004, but the marketing behind it did not focus on the wine-harvest connection, an aspect they have wisened up to.

In an effort to satisfy news-thristy department stores audiences the house has become tired and full of "flankers"; industry name for perfumes that follow in the wake of a previous successful release capitalising on the name and exposure of the original in order to generate more interest in the brand. Such a case it proved to be for Insensé Ultramarine (1994) Xeryus rouge (1995), Extravagance d'Amarige (1998), Amarige d'Amour (2002) , Hot Couture white collection (2001), My Couture (2002), Pi Fraîche (2001), Insensé Ultramarine Ocean spirits series for men (2002), Insensé for her (2004), Insensé ultramarine beach in Boy and Girl versions(2006) and countless others. All in all a staggering 61 perfumes in as much as 49 years, of which only 9 were issued in the first 30 years of the house's history!! That means 52 launches in the last 15 years!! (if we consider the fact that Amarige was the 10th, launched in 1991). Think about it. It's preposterous.

Many of those did not even register, not making one tiny bleep on the radar, which is quite natural when one is faced with such a wide selection of fumes to choose from. The mind boggles and the nose stops to function properly at some point. Not to mention that a perfume counter can accomodate only so many bottles before it looks like a bad case of a discount warehouse.

The most interesting and unique offerings yet have been discontinued or are very hard to find: Givenchy Gentleman, a sturdy leather/patchouli woody of 1974, and Organza Indecence of 1999, a deep cinnamon vanillic composition that proved very popular in the US, and of course the citrusy classic Monsieur de Givenchy of 1959, the one which was kept into production because it was mr.Hubert's personal scent, are all such cases. However such chic classics as the originalAudrey Hepburn favourite L'interdit (=the forbidden), a violet laced aldehydic floral from 1957 for a most elegant lady, Givenchy III a chypre of the most noble character coming out in 1970, and the even more elusive clean, aldehydic hesperidic Le De Givenchy (issued in 1957 -same year as L'interdit; something unheard of the time- and also linked to Audrey) are set to be among the new relaunches. Supposedly keeping the original formulae and issued as limited editions for fans and collectors, this is both an admirable task as well as a difficult one, what with the scarcity of certain ingredients and the lack of the bases of yesteryear. Hope springs eternal however and I can't find it in my heart to bypass such an effort. Let's see what happens.

The first to see the light of day is the original L'interdit, following its reformulation a couple of years ago which left its fans in rapt disillusionement (and yes, the oxymoron is intentional). It will be available next August. Hurray for Givenchy fans and hopefully a new begining for a house that seemed disoriented for quite some time.

Pic depicting Audrey Heburn and Hubert de Givenchy comes from Audrey1.com

Next post will be about a thorny subject in perfume making.

L'Artisan Parfumeur Fleur de Narcisse: fragrance review (Sleeper in the valley)

L’artisan’s new Fleur de Narcisse brought to my mind something I had read a long time ago. Joan Julliet Buck, editor of French Vogue, was for years addicted to wearing a narcissus poeticus absolute. She used to wear one drop on each wrist, it being so concentrated that it was all she ever needed. “Two in the bath were enough to send silver running down the walls; it set the world throbbing out of control when I wore it. It became a little weird. It was only years later that I read that inhaling too much of it can make you mad”, she has been quoted to say.
Madness, poetry, out of control: in short both mythology and the damned poets of the 19th centrury. Fleur de narcisse does nothing conventionally pretty and is so heart achingly multifaceted to warrant elaborating.
Narcissus poeticus, the asphodel of Greek mythology, the flower of the underwold; of oblivion and perdition. And yet, the daffodil (the common name for its brother, the pseudonarcissus) is botanically-speaking a purported cure for madness.

Daffodil or “Lent Lily,” was once white; but Persephone, daughter of Demeter (Ceres), delighted to wander about the flowery meadows of Sicily. One spring-tide she tripped over the meadows, wreathed her head with wild lilies, and, throwing herself on the grass, fell asleep. The god of the Infernal Regions (called Pluto by the Romans), fell in love with the beautiful maid, and carried her off for his bride. His touch turned the white flowers to a golden yellow, and some of them fell in Acheron, the underworld river, where they grew luxuriantly; and ever since the flower has been planted on graves. Theophilus and Pliny tell us that the ghosts delight in the flower, called by themthe Asphodel. It was once called the Affodil. (French, asphodéle; Latin, asphodilus; Greek, asphodilos.)

Narcissus, also enters the associations; the greek mortal who fell in love with his youthful image as reflected in the clear waters of a pond. It was his punishment for rejecting so cruelly the nymph Écho. The best known version of the myth is contained in Metamorphoses by Ovid.

And then more aptly than anything else, Rimbaud’s poem “Le dormeur de Val” (Sleeper in the Valley) enters my head. Of course the poem was written about war and the sleeper is a dead soldier...The arresting imagery of this exquisite poem written at the tender age of 16 was what Fleur de Narcisse evoked in my mind immediately.

C'est un trou de verdure, où chante une rivière
Accrochant
follement aux herbes des haillons
D'argent; où le soleil, de la montagne
fière,
Luit: c'est un petit val qui mousse de rayons.

Un soldat jeune, bouche ouverte, tête nue,
Et la nuque
baignant dans le frais cresson bleu,
Dort; il est étendu dans l'herbe, sous
la nue,
Pâle dans son lit vert ou la lumière pleut.

Les pieds dans les glaïeuls, il dort. Souriant
comme
sourirait un enfant malade, il fait un somme:
Nature, berce-le
chaudement: il a froid.

Les parfums ne font pas frissonner sa narine.
Il dort dans
le soleil, la main sur sa poitrine
Tranquille. Il a deux trous rouges au côté
droit.

by Arthur Rimbaud, novembre 1870

Here is an english translation by Lisa Yannucci (scroll down)

Spraying Fleur de Narcisse on the skin, the verdancy of rich vetiver married to pungent virile leather reminds me of the wet black earth and the oily old tar of a dirty forgotten road. Masculine soiled boots tread on a never ending journey through fields scattered with heady fatty asphodels into the great unknown. Poignant cries of the damned tear the heart strings. Sweet and salty grains of pollen fly into the air, reminding the joys of what cannot be had any more; the light, the sun, the warmth. Sad powder and wetness, warm cloth and cool dampened hopes; one last whiff of rich smoke before succumbing to the fate of us all...

Part of the new privée collection of millesime/harvests by L’artisan parfumeur, first of which was the crystalline floral Fleur d’Oranger made by Anne Flipo using the Tunisian orange blossom Vergers de Nabeul from the spring 2004 harvest and launching it in 2005.
This new one is also made by Anne Flipo using the exceptional harvest of narcissus blossoms from the volcanic area of Lozère, part of the Languedoc-Roussillon region in southern France during the days of June 6th and 7th of 2005.

The official notes are: narcissus, hay, hyacinth, blond tobacco, iris, blackcurrant bud, moss and leather.

Released as a limited edition in only 3000 numbered bottles of Eau de parfum 100ml encased in wooden boxes like a fine vintage of wine, foiled with silk paper, the bottle engraved with narcissus flowers, it will retail for 240 euros which is around 300$. Exorbitant price for sure, but narcissus poeticus is an extremely costly ingredient anyway.
Available fromFirst in fragrance/Aus liebe zum duft in Europe as we speak and soon in the US in November at L’Artisan Parfumeur Soho, Henri Bendel, and Madison Avenue boutiques, select retailers and the L'artisan boutique on-line.

Pic is "La Metamorphose of Narcisse" by Salvador Dali courtesy of perso.orange.fr

Burberry London for Men: fragrance review

Men’s scents, much like men themselves, face the hard task of convincing us that they are sensitive enough while still being virile. Too much brutishness and they seem like villains in a B-movie, too much sensitivity and they appear wimpy and lame. It’s unfair granted, but there you have it. Recent worthwhile olfactory offerings in this domain have either blundered by being too innovative and butch for their own good (the mediocre sales of Yves Saint Laurent’s M7) or taken the path of least resistance becoming scents to be adored by women to put on rather than something men actually choose for themselves (the difficult iris of Dior Homme). I won’t go into the neighbourhood of the bland, because it is so thickly populated, one is sure to stumble upon a bestseller or two.

Burberry London for Men, the new men’s scent by the classic British brand, proved to be a very pleasant surprise that unites those elusive aforementioned qualities. Following the quite likeable London for women, a floral dominated by sensuous jasmine with a musky depth and fronted by the engrossing and completely radiant Rachel Weisz, London for Men seems to smell much more expensive than it really is. It exudes the aura of an individual with moral values that can still be a little rough if need be. It burns with the reliable buzz of a home fireplace, red flame and dark ember, but the couple in the house of whom this takes place are still carnally attracted to each other, they still possess that spark, that disloging of elements which accounts for daydreaming and stomach butterflies.

Welsh actor Ioan Gruffudd (pronounced Griffith; I know, I know…and you thought Ralph pronounced Rafe/Rayf was the pits) as its face certainly doesn’t hurt. If you have watched the travesty that "King Arthur" was, despite its worthy male protagonist, Ioan played the part of Lancelot. The seafaring "Hornblower" series is another thing you might have watched him in. The respective male and female black & white ads show the good-looking couple of Weisz and Gruffudd during a a day stroll through London streets, dressed in a casual-oh-so-chic unaffected way, embracing and smiling to one another under the shadow of the trees. I have to admit it's cute, despite myself.

Burberry began its fashion history back in 1856 as a quality line for the perfect weatherproof, sturdy clothes of gabardine mainly for farmers and agricultural workers, later on for field sports. Functionality in a good looking package, what all clothes should aim for. Sir Ernest Shackleton and Roald Amundsen praised the brand's pants and sweaters when conquering the Pole. "Breakfast at Tiffany’s" final scene would have been less of a classic without it.
At times it was an elitist toffs domain, which is ironic if one considers the origins of the brand (but then, so are designer jeans!). The vulgarization that ensued in the last couple of decades with cheap replicas flooding the street market became a baleful thorn on the side of Burberry. Rose Marie Bravo in 2001 hired Christopher Bailey, a Yorkshire man, to inject some young attitude and hopefully distance the brand from chavs (surely a loaded term) He added the original optimistically nuanced "Prorsum" tag (Latin to the rescue…) and made some practical things that seem fresh and interesting in their functionality. Plans to close the Welsh factory, reported in September 2006 with the prospect of 300 jobs lost leave us a little concerned, however.

In the area of perfumes Burberry has been quite successful. Although the counters that carry their perfumes are not gilded, most of their line is proving very commercial and this is no accident. From Touch to Brit via Brit Red and Weekend, they have likeable products. Brit and Brit Red have cottoned on to the gourmand trend and became huge crowd pleasers without committing the sin of smelling tired.
Burberry London was the name of their original scent, issued at 1992, London being the base of their headquarters. Enough to baffle the casual customer, a phenomenon prevalent with recent releases. Suffice to say that the new 2006 Burberry London for men and women both come in a box embossed with the famous plaid (make that “check” if you’re a Londoner; it is a little darker in the men’s version than in the women’s) and they smell completely different from their predecessors.

London for Men begins its fragrant journey on a subdued citrusy note that immediately becomes quite spicy, redolent of the hotness of pepper and cinnamon, mixing elements of a muled wine goblet consumed before a raging logwood fire during a cool idle evening. The illusion of deep dark red fruits (like those in Jo Malone’s Pomegranate Noir) that have been candied creeps up at some point, but the effect is nowhere near the sweetness of Brit, nor the intensity of its cinnamon ambience. The fluffy sweetness is subdued by the delicious trail of smooth pipe tobacco and if this is a note you associate with dear old granpas or cancer sticks (aka cigars), better rethink, because whatever went into the production of this number is bet to make women purr. It’s that good! Booze and tobacco, how politically incorrect can one go these days? (tongue in cheek) Apparently not enough, because although these elements are clearly discernible, they never become as prominent as in –say- Tabac Blond or Botytris. This is a perfume that retains some mass appeal, and that’s not knocking it, not at all.
A delicious plum accord like a festive pie further smoothes out the rougher notes of the booze and spice, while the emergence of a truly refined rich, dry wood and amber accord with some bitterness of napa leather is left to linger on the skin seductively. The overall effect is smooth, elegant, high class and comforting at the same time, with the merest wisp of a vanillic powderiness in the base. Makes you want to don an old reliable jacket and a stylish fedora and go for a walk, if only for the joy of returning to the warmth of the hearth afterwards which makes it eminently fit for the cooler season.

It comes in an eau de toilette and the lasting power is average. Women might be able to pull it off because of its inviting spice note and warmth, while men would smell swoon worthy fetching in it.

Aucun hussard sur le toit

The title of today’s post ironically alludes to the very good homonymous French filmbased on Jean Giono’s novel “Horseman on the roof”, in which Olivier Martinez as an Italian revolutionary soldier flees into cholera-infested 1832 France to escape the Austrian police and meets Juliette Binoche who is in search of her husband.
The association is not completely random as it might seem at first, since Olivier Martinez is the face of the new masculine perfume of Yves Saint Laurent, L’Homme.
Of French and Spanish-Moroccan descent, previously tagged as the French Brad Pitt and currently beau of Kylie Minogue (the game of associations never ends), Martinez never had a hold on me, looks-wise, I have to admit. He has some sort of hazy aspect in his features and a feminine sensuality in his expression that never enticed me. He must have ]a big fan base nevertheless, being chosen as the face of a prestigious house’s new perfume launch.

Yves Saint Laurent needs no introduction and you who know Perfume Shrine’s views on his couture need even less of a lesson. Suffice to say that Tom Ford was not the best thing to befall this historic house and the worthy Stefano Pilati has a hard job in damage control.

Perfume-wise YSL has always been about maximum luxury, glamour, maturity and powerful images: “we are not messing around here”. From the regality and opulence of Opium to the classy icy demeanor of Rive Gauche vintage and from YSL Pour Homme, a classic scent that screams 70’s featuring a nude Yves (click [[popup:yslpourhommenude.jpg::nude Yves::center:1]] to see) when it launched, to the hairy-chested rugged masculinity of Kouros.
In between there were some less vocal scents, such as Y, a chypre of the noblest qualities, Jazz, a nice men’s scent that deserved a better career at the box office, Paris, the heavy-handed craft of Sophia Grojsman for once providing a pleasant effect among her bestsellers and the controversial fruity chypre Champagne that had the vine culturists up in flames to eventually change the name into Yvresse. In Love again and Opium homme were the last memorable ones to come before Tom Ford stepped in. (Baby Doll is rather adolescent, rendering it impossible to categorise along with the rest).

And then all hell broke loose and the iconic women's Rive Gauche got reformulated! Sacrilege! Simultaneously accompanied by Rive Gauche pour Homme (which people say is good, but the shock of the former was so great I have refrained from properly testing on purpose). At that point the future seemed dimly lit, if not dark already.
But then spicy, incense-laden Nu in Eau de parfum (my preferred concentration) launched and managed to make me forget the sins of the past. And M7 for men, which although it is a challenging composition centered on the precious oudh essence manages to smell completely unique and aristocratic and even scandalized the public with a campaign that brought back masculinity into the mainstream of perfume. Cinéma was nice, if a little unimaginative; the expectations were so high!
Yet, most of the more interesting perfumes suffered a poor career at the counters of department stores. The discrepancy is not lost on us.

L’homme, the first one to come in the meta-Ford era, is trying to cover the lost ground by fusing some floral aspect into the composition and using Olivier Martinez with his flou features as the person who stands in what looks like an empty loft with the camera dancing around him.

The bottle in classic YSL tradition is sturdy, heavy and luxurious without becoming ostentatious (Baby Doll is the kitsch exception in their packaging). However it somehow manages to look a tad unattractive and the reason why is hard to put into words. They say it was inspired by Bauhaus; I think not.

In olfactory speaking terms, this fusion of feminine-masculine is done with the inclusion of violet leaves, which give a similar effect to that rendered by iris in Dior Homme. Dior’s Higher with its floral/fruity overtones is also an example that comes to mind, although the advertising of that one was completely effeminate to begin with.
The head of YSL L’homme, with citrusy overtures of ginger and possibly citrus skin, which are surprisingly not tart enough here, plunges into a heart of spicy basil flower sprinkled with pepper and soon after soft violet leaves follow noiselessly giving an ethereal quality usually not associated with masculine fragrances. The moment you smell this stage you are secretly thinking that this could be a nice summer cologne for a woman, but nothing more breathtaking than that. The base mingles soft non-descript woods, from which austere cedar is listed as the core note, although I do detect some haziness and vanillic warmth that further consolidates the meek character of the wholeLinalool and coumarin look like they take part in this neck of woods, so to speak, with their soft ambience, but I can’t be certain. This is not a musky perfume to be sure, contrary to what one would expect. Sandalwood, tonka bean and vetiver are officially listed.
The whole? Pleasant, young and uplifting no doubt, completely unoriginal however. There were enough of classic-feel men’s colognes as it is; Givenchy pour homme, Eternity for men or Bvlgari Aqua to name but a few.

According to one scientific study women choose a rugged virile man between all available choices at time of ovulation in the subconscious presumption that he provides the strongest genetic material for them to procreate, while they change their preference as soon as they are embarking on a pregnancy opting for the one who looks most secure and dependable to stick around. There is nothing wrong with the second image (although combining the two is ideal, don’t you think?). But if you’re looking at spreading your genes, L’homme is not the appropriate choice. It just smells bland.

The fact that no less than 3 noses (Pierre Wargnye, Anne Flipo and Dominique Ropion) have worked on this one points to some confusion as to what vision existed on this scent. Popular sayings may seem corny, but they do hold some truth I’m afraid, and yes, too many people intermingling on one project make for a poor result more often than not.
Perhaps the challenge was too much, perhaps YSL parfums could not afford another mediocre-seller, especially in the huge American market.
Whatever it is, L’homme did not live up to a perfume lover’s anticipation.
Sadly there is no horseman on the roof...

Next review will be of a new release that proved a pleasant surprise!