Perfume news: Turin is working it

While we all know that Luca Turin has been working on a new Guide about old and new fragrances, about to be out next year, it is good to find out that he is meanwhile really, really working it, amassing some 1400 bottles in the process sent to him by the companies (well, he had half of them before, as he tells us in confidence) and really bending over those fumes to appreciate the intricacies and nuances.
I do hope the end result will be worthy of every perfumista's wet dream.

In the meantime, he confirms what lots of plainsfolk have been discussing about the eau de parfum formulation of Chanel no.5, that is perhaps *cough, cough* a little heavy-handed? "An eighties lapse of judgment" is how he puts it. I guess this puts a negative spin on poor Jacques Polge, the in house perfumer ever since that period. But it is indeed no secret that as far as no.5 is concerned the parfum/extrait is the way to go, all the way, baby! This is due to it being the only form in which the precious, very expensive jasmine and Rose de Mai (rosa centifolia)from Grasse, perfume capital of France, is still used. However to come to Polge's defence, the eau de parfum is not that bad either. In fact every permutation of No.5 is precious and worth sampling, so trust your own judgement when testing.

As to Guerlain, of course the collection is much more expansive with the unavoidable misses and commercial flops around the way, often no fault of the perfume itself (Fleur de Feu?), but we can clearly discern that Luca is still predisposed favourably towards our beloved Guerlain which is as good a thing as any.
The following is eminently interesting for those who follow the naturals vs. synthetics debate and sheds a light on why a fragrance that does contain natural extracts and essences is a wondrous thing indeed:

Guerlain, like food firms, should put dates on bottles. I had often heard, and never believed, that fragrances made with naturals change a lot in the first six months, as wine does. The family resemblance of fresh Guerlains is even stronger than usual, as if the Guerlinade base that is common to all of them was the first to fade. Some are so rich and complex that we decided to let them sit in a dark room for a few months, till they calm down and pull themselves together.

You can read the whole article in english here.

After all this, what more can I say? À nôtre santé!
Painting Distillatio by Janvander Straet(1523-1605)courtesy of allposters.com

Bond no.9 Coney Island: fragrance review

The time is ripe for me to present one of the better known niche brands with a unique concept that is not actually centered on an olfactory vision or a conceptual design, but instead on one of the most fascinating cities in the whole world: the Big Apple; New York and its exciting neighbourhoods, each one of them captured in a luxurious bottle reflecting its qualities and landmarks in aromas that entice.

Bond no.9 is the brainchild of Laurice Rahmé, a modern woman of firm business savvy, born in Paris, living in New York for the past 25 years and formerly known for her distribution of the prestigious Creed brand in the USA. Laurice began her career as an antiques dealer having studied art at the Louvre in Paris. But pretty soon she joined Lancôme-Paris as international training director, became the director of the Lancôme Institut de Beauté in 1976 and relocated to L’Oréal USA’s headquarters (formerly Cosmair) in New York City. In 1989, Rahmé became the partner of Annick Goutal’s operations in New York and contributed to the brand reaching cult status among the congnoscenti and sales that amounted to 90% of the brands worldwide business. Next, in 1995, Rahmé became the exclusive U.S. distributor for Creed and helped propel it into the conciousness of every discerning customer.
When that became a thing of the past, she realised that her own vision was left to be realised ~according to Bond no.9 website :

In 2001, Rahmé was able to realize her dream of launching her own collection of fragrances named after different neighborhoods in New York City. The collection’s name, Bond No. 9, is derived from the actual address of the flagship store, which is located at 9 Bond St. The store features self-serve stations from which different scents can be sampled and poured into a selection of bottles from one of many freestanding, mannequin-shaped displays. “For me, the store is a continuation of the packaging,” says Rahmé. She now owns and operates a total of four stores in Manhattan.

The concept of the perfumes is "to restore artistry to perfumery and to mark every New York neighbourhood with a scent of its own": from uptown to midtown to downtown, every little speck is covered in the huge collection of 28 women's, men's and unisex eaux de parfum so far in bottles that usually capture the eye and create cravings for luxury.
Of course the claim to restore artistry to perfumery can be pretty much attributed to every niche brand operating under the same principles and indeed that is one of the main reasons for choosing niche over more mainstream products. However the uniqueness of the locale concept is undisputed and always fun to peruse.
Indeed she reached great critical acclaim when her offering Chinatown by young nez (that's french for nose, the perfumer behind this) Aurélien Guichard was highly praised by none other than Luca Turin in one of his articles for NZZ Folio. West Side seems a perennial favourite among perfume afficionados, while my personal favourite remains New Haarlem with its strong coffee notes that make me swoon like a good demitasse and I do enjoy wearing the blackcurrant laced light musk of Scent of Peace. But there's something for everyone in this line.

As Laurice revealed in an interview at Basenotes to Danielle Osbourne on October 26 2006:

“It is the Bond Street store that inspired me to create a brand out of our address, Bond No.9. Yet, it is the events of September 11 that motivated me to make New York smell good again and take on the ambitious project of creating a fragrance for each of its neighborhoods (this was done for Paris, my native city in the 20th century with a dozen fragrances made by a handful of companies created for Paris neighborhoods). Now, in the 21st century it is New York's turn to become the capital of fragrance.”

Myself I find that endearing and respect Laurice for saying this. Additionally a fresh approach and a desire to break the rules and molds of yesterday can be a positive thing after all.

"And where does the new Coney Island fall?" you might ask.
I can tell you that it is a fun scent inspired by one of the most fun locales in New York City.
Purpotedly containing notes of margarita mix (tequila included), melon, guava, cinnamon, chocolate, caramel, musk, vanilla, cedar and sandalwood, it is certainly citrusy in its character and radiates a fun, pool-side languor in tropical sharongs with a fiery bright hibiscus pinned behind one ear.
The booze of the Margarita is very apparent to my nose, with slices of fresh lime and some salty element, adding fun and excitement and making this a great fragrance for a hot day spent at a fun and casual occassion. Just like Coney Island the locale stood for for the 1920s crowd who, aided by public transport, rushed to its shores to enjoy the beach and the fairs.
The salty sweet combination has been explored by Elixir des Merveilles and L de Lempicka recently with great success but in those instances the overall orientalised tone veers the end fragrance in different avenues.
The addition of fruit to the lasting citrus of Coney Island combines with a watery, acqueous element probably due to Calone (which is hinted at by the mention of melon) that manages to not make me shudder -taking my usual tastes into account- because of the slightly warm notes that evolve after a while to give roundness to the sharp start. The slightly spicy heart is evident if one waits a while, while the promisingly gourmand middle is not very pronounced, so people who have a sweet tooth looking forward to the candy floss and chocolate of fun fairs could become a little disappointed; however I do not think it was the brand's intention to construct a gourmand, sweet fragrance in the first place. This is a fragrance to evoke hot sand and drinks with little paper umpbrellas in them, none of the noir ambience that the real Coney island held at some point in Hollywood movies or contrarily the simplistic vanillic sweets of children sucking on lollipops. Today of course Coney Island is famous for its circus and mermaid parades which provide a unique sight replete with the shock value factor that New York City is famous for.
A slight warm amberish and musky accord is melting the whole into a light base in which the announced notes of sandalwood or cedarwood are not particularly evident either, yet it reminds me of a cross between YSL In Love again and Aquasun by Lancaster. Which is a good thing for a summer scent that is meant to compliment and not overwhelm.


According to the Press release:

What is the smell of fun—and how do you bottle it? That was our mission at Bond No. 9 when we decided to capture the essence of Coney Island and turn it into an eau de parfum. Why Coney Island? We were intrigued by the vintage allure of this century-old fantasy-land with its honky-tonk chic, its Mermaid Parade, its incomparable hotdog haven (Nathan’s Famous) fronting the Atlantic Ocean along Brooklyn’s southernmost edge. But we wanted to celebrate its future, too, just as a formidable revival is getting under way.

Coney Island isn’t just any amusement park. In its early 20th century heyday, New York’s premier people’s playground was a rowdy, mind-numbing pleasure-mecca that more than matched the energies of the city that contained it. Its daredevil rides—the legendary nine-hill Cyclone roller coaster … the Wonder Wheel … the freefall Parachute Jump—set a fevered, frantic pace, while its bathing pavilions were more like phantasmagorical gilded palaces that shimmered in the air. Not to forget the raucous nightspots. For a city that where glancing at strangers for more than two seconds has always been an impertinence, here was an escape hatch—a Bacchanalia where one and all had free rein to scream together in terror and joy. Sure, in recent decades Coney Island fell into decline, but today it is decidedly on the upswing, with brand new rides, a water park, and a mammoth glass atrium in the works.
Bond No 9’s Coney Island conjures up both the magical history and the reawakening of this beachfront paradise. Combined in this contemporary gourmand delight are the sugar-cool notes of margarita mix, hypnotically seductive chocolate and caramel, plus cedarwood. The high-voltage blue bottle recalls the Coney Island’s expanse of sea and sky, while the contrasting gold neck evokes the thousands of electric lights that once lit up its night sky.

The turquoise bottle is fetching in its bright shade garlanded by a ribbon of gold as if to represent little blub lights of fun fairs, although not as covetable as the bottle of Chinatown in all its Swarovski glory.

The new fragrance will officially launch on June 1st, but the stores take pre-orders by mid-May. It is sold at all four Bond No. 9 stores, at selected branches of Saks Fifth Avenue, and at Harvey Nichols, Harrods, Paris Gallery, Lane Crawford. Besides being available in its 3.4 oz. artist-designed superstar bottle and box presentation ($180), 1.7oz travel size ($125), Coney Island may be purchased by the ounce ($40), either in a 2-ounce basic spray flacon with gilt honeycomb cap ($25) or in unique vintage or art bottles, featured in a wide variety of designs ($60 - $200).
Bond no.9 perfumes can be ordered online at the official Bond site and at First in Fragrance/Aus liebe zum duft in Europe.


Top pic from Coney Island photoshoot on April 21 2007 by Mike on photomeetup.com
Pic of bottle comes from the advertising campaign of Bond no.9

Orange blossom week: part 4 - abstract brushstrokes

What is abstract and how it pertains to olfaction? Let's question ourselves. If we're talking about abstraction as the thought process wherein ideas are distanced from objects then there is a whole school of offerings that evoke some distant memory of something through the use of non-representational means, just like in art; especially in Lyrical Abstraction (a term originally coined by Larry Aldrich in 1969 to describe what he saw in the studios of artists at that time)or even Abstract expressionism, of which Pollock is a representative example, on to the geometrical stylisation of Yiannis Moralis.

In such a context it is not hard to see that the rendition of an aromatic note, even such a familiar one as orange blossom, can be sublimated in a way that exalts its effect without featuring its true characteristics. In fact without featuring the actual thing at all!
Aromachemical engineers have the additional ability to use a note that naturally is only a top or heart or even base accent and manipulate it in order to make it last longer or for a lesser amount of time. Therefore orange blossom, a note that in its form of "absolute" is a heart to bottom note may appear out of the vial as soon as we open to smell or indeed neroli (the essential oil from orange blossom) might be discernible throughout a fragrance's development.
It is also possible to use aromachemicals that evoke the essence of orange blossoms like the ghost of someone near and dear appearing out of a desire to see them much like Hamlet's father, in a composition that is centered around them yet contains none. Ingredients that could be used include Aurantiol, Methyl Anthranilate, and Oranger Crystals.
Primary examples of this technique would be amply illustrated by Fleur du Mâle the new fragrance by Gaultier, Narciso For Her by Narciso Rodriguez and Castile by Penhaligon's. Indeed those are fragrances that fine though they are feature such an abstract orange blossom that it is spectral in its appearence rather than physical and tangible, like in examples previously mentioned.

Fleur du Mâle by Galtier has already had a full review at Perfumeshrine. Suffice to say that it is the essence of a fluffy cloud, all hay-coumarin and ersatz orange blossom through the eyes of a master of abstraction and could be worn by women just as easily as men.

Castile by Penhaligon's on the other hand is in another vein. Technically also a masculine fragrance, yet highly asexual in its soapy nature, it soars on notes of clean neroli and bergamot at first to warm up just a bit later on with hazy orange blossom, all the while retaining a clean atmosphere of minimalism.
I have a confession to make at this point. When staying at european hotels -the luxurious kind; I avoid the cheap ones after one horrible experience not due to my choosing which however left me probably scarred for life- I love to enter the bathroom first. Gaze at the white clean towels, all pressed and folded, the bath acroutments, lined up for my using, little soaps on the sink, inhale the aroma of cleanliness and proceed to the pulverised sheets on the bed that are starchy and unlined like big sheets of paper on the desk of a writer longing to be filled with ink recounting thoughts and memories of ambiguous value.
This is what Castile evokes in me: staying in a luxury hotel, posing as some person more important than the prosaic historian that I am, halo of far away distance from mundanity fimly placed on my head and not a care in the world behind my aviator sunglasses. "Clean" in a minimal, austere, yet also friendly way without featuring one sharp or musky note.

Narciso by Narciso Rodriguez on the other hand goes into the other direction of "clean". It has been such an influential, seething discovery in my relatively recent perfume past that I have real trouble talking about it. This might sound like a hyperbole and an unsuccessful one at that, yet I assure you that the way it has sneaked its way into my heart with its wiles is astounding. The concentration in the admittedly confusing range that I am focusing on at the moment is the Eau de toilette, with its sexy ambience of clean musks at the background and the inclusion of an abstract orange blossom touch on the foreground.
Nary does a day go by when wearing it that the passing stranger (and a loved one) does not turn to sniff a little longer, lean a little closer, sometimes even comment on it in complimentary terms. Nary does a day go by when wearing it that I am not trasported in a place of contentment, of confidence, of feeling fresh and young and able to conquer the world on a wink or a smile.
To categorise it as clean or as sexy is doing it an injustice. Its erotic power hinges on the creation of a distinguished, sophisticated eroticism which is ethereal and distanced from heavy seductions that in reality repel rather than entice. The absence of saccharine girliness despite the assured overall youthfulness of the composition speaks highly of a sexual being who is ready to consumate the affair with a playful toss of the leg up in the air and not after losing its virginity at the school's prom dance. Whether that would be the net result in the end is fair game to its paws, but nevertheless this is not the iniative on which the fragrance operates. It hums of unmade beds in homes rather than hotels, where the warmth of humans and the life of lovers has found a nest out of the cold harsh mechanical world outside.
Narciso Rodriguez eau de toilette is said to include notes of honey flower, solar musk, orange flower, amberlyn, tactile musk, and tactile woods.
Amberlyn by the way is a petrochemical that is intended to smell a bit like ambergris. Honey Flower is an evergreen shrub (genus Melianthus)native to Cape of Good Hope.
Too abstract for words really in its aroma-synthetic marvel, this Francis Kurkdjian oeuvre is a masterpiece that has it own place in the pantheon of great scents. I am sure that the future will be kind to its beautiful visage.



Painting "Young Girl" 1971 by greek painter Giannis Moralis courtesy of eikastikon.gr

Orange blossom week: part 3 - rich nuances

"A disturbing wind blows from the east, saturating the city of Seville with the scent of orange. Juan Antonios dark hair flies off his shoulder and whips against his face. The seductive aroma of the orange blossom surrounds him and the perfumed wind wafts past his ears, whispering secrets only he can hear.

Can you smell the orange blossom? murmurs the wind. I love that scent. Do you remember? The wind blows stronger over the Guadalquivir River, lifting with it the raw reminder of a time when spring smelled sweet.
Juan Antonio looks up sharply and stares out over the river, his hand tensing around the fret board of his flamenco guitar. He feels the wind crawling around his neck, blowing past his face. He brushes a strand of hair from his eyes, but the fragrant wind only blows it back.
I can still feel you, whispers the wind. Smell you . . . taste you. The wind tosses a burst of citrus his way. Your hands smell of horses and leather, your lips of chocolate. I will never forget your delicious scent. But, I fear you have forgotten mine.

An angry cloud of orange swirls over Juan Antonio, threatening to engulf him. He yanks a scrap of cloth from his pocket and ties his hair back with the tattered fabric. Then he shouts to the perfumed wind. Dejame! Leave me alone! Frantically, he clamps the back of his hand against his nose to block out the opressive sweetness, but it is impossible to block the scent that the wind lifts. The seductive aroma of the azahar, the orange blossom, lives inside of him . . . tormenting him . . . robbing him of the peace he longs to find."

The above is an excerpt from the novel in progress Azahar by Susan Nadathur.
It captures well the ambience that a rich orange blossom perfume evokes in me: the south, its passions, its over the top sensualism, bravado, cheesiness even, yet also familiarity, tenderness, childhood memories of car hops across country, blossoms that die slowly in my lap under the heavy sun, cut too soon from the tree.
The intense sweetness of a lush orange blossom that has peaked, in its prime, with honeyied tones and is ready to yield fruit is trully unforgettable.

If we try to deconstruct the etymology and nuanced meanings of the word "richness" we come up against:

1.Possessing great material wealth
2.Having great worth or value: a rich harvest of grain.
3.Magnificent; sumptuous: a rich brocade.
4. a. Having an abundant supply: rich in ideas.
b. Abounding, especially in natural resources: rich land.
5. Meaningful and significant
6. Very productive and therefore financially profitable
7. a. Containing a large amount of choice ingredients, such as butter,sugar, or eggs, and therefore unusually heavy or sweet.
b. Having or exuding a strong or pungent aroma.
8. a. Pleasantly full and mellow.
b. Warm and strong in color.
9. Containing a large proportion of fuel to air: a rich gas mixture.
and 10. Informal, highly amusing.

All this according to The Free Dictonary by Farlex.

I think for our purposes, all of those terms and definitions apply.
A "rich" orange blossom perfume can be wealthy in that it exudes luxury, costly, sumptuous because of its magnificent aroma, mellow and full, strong and abundant, suggesting lushness and opulence, sweet yet also amusing, playful and warm. It can be all these things. And it performs these tasks admirably.
This is why my heart aches a bit whenever I catch a whiff of the abundance of orange blossom in strangers' passing-by-scent. The trail of opulence...

So, to evoke those memories and associations I chose the following perfumes that smell as rich and sweet as orange blossom in Andalucia does in spring:
Zohar by Ayala Moriel, 24 Faubourg by Hermes, Poeme by Lancome and Boucheron Femme by Boucheron.

Ayala's Moriel Zohar uses the hebrew word for enlightment and brilliance to render a very fine, luxurious soliflore that sprakles like a fine jewel under a hot glaring sun. Centered around Orange blossom absolute garlanded with tuberose and jasmine that add to its white floral theme without veering it into the excessive headache producing effect that some other heavy "whities" produce, it is a true gem. The top notes of fresh citrus essences like the japanese fruit yuzu and the divine cleaner neroli note pierce your nostrils playfully giving way to the abundant heart of the nucleus that intermingles warm amber and honey in an arabesque worthy of Alcazar. The slight rubberiness of true, natural tuberose plays hide and seek all along with alluring results, much lighter than that featured in Fleurs d'Oranger by Lutens, like a princess hidden under a veil in one of the corridors of the palace.

You can sample or order clicking here.

24 Faubourg by Hermès , named after the eponymous address of the House, reminds me of a wealthy protagonist in a classic old Hollywood movie: dressed in a light beige belted trenchcoat, impecably coiffed hair under a heavy silk scarf bearing a prestigious signature, wrapped on her precious little head, lipstic in deep coral, complexion of peaches and cream, out in a sports convertible driving on the slopes of Monaco without a care in the world but always in control of herself. The brilliance of the sun and the warmth of late spring in the air, cinemascope colours melting in amber as the afternoon approaches. If ever there was a trace of the essence of wealth and opulence rolled into one this would be it.
Do not opt for the version Eau Délicate though: the above effect can only be achieved by the Eau de parfum or better yet pure parfum/extrait.

Poême by Lancôme was launched with the darling sensitive face of Juilette Binoche and with verse by Baudelaire which would make it endearing despite its smell to my artistic heart. However an overindulegence by women in their 30s all along the 90s along with the bestseller Trésor by the same house left me with apprehension and tentative in ever owning a full bottle. Touted to be centered on datura flower (a flower of the desert) and Tibetan blue poppy (a very rare blossom), it smells of neither particularly; instead it launches on wild, unmistakable orange blossom arpeggios that are supported by potent cassis and amber notes, further sweetened by the -needless in my opinion- addition of vanilla and tonka bean. This is certainly a rich smell; not however in the manner in which Lancôme intended it to be. Too sweet, maybe too strong, Poême appears to be a little heavy handed and suffers as a result from it, despite its lushful heart. Is it any wonder that Juliette Binoche is in reality a Cristalle fan?

Boucheron Femme by the jeweler Boucheron is last but not least on our list of rich orange blossom scents. Althouth this one is much more of a floriental with all that entails, it has such a sublime, sunny and warm presence that it yelled in french (these were no crude yells, tu comprends) to be included in this line up, like the usual suspect of wealth purveyor that it is. Balanced and poised on the beauty of benzoin and olibanum on a powdery base rich in sandalwood it infuses its rich aroma from afar and entices its victims to fall prey to your guiles, tasting apricots and mandarins and lapping their greedy fingers in delicately hushed licks. In a gold bottle topped with a sapphire top like the gems Boucheron is famous for, it evokes luxury the Parisian way: old style, top clarity, lots of carats, but never ostentatious.

Next post will be in yet a different vein.

Pic of Baños de Doña María de Padilla in Alcazar, Seville, Spain courtesy of quovadimus.org.

Orange Blossom week: part 2 - sexy aromas

What is it that links orange blossom to sexy aromas? Many of the interpretations of this note in perfumery take advantage of the naturally lush and sexual aroma of the blossoms and in our investigation of this subject we have come up against many interesting tidbits of information that might help elucidate why and how.

The use of perfume as an enhancement and not concealement of genitalia and hormone odours has been in practice till ancient times. It was the knowledgable ancient Egyptian women who used Kyphi rolled in miniscule balls, placed in the vulva. They also used amber mixes and civet. The Hindus also used the smell of female genitalia as a classification point for women, in which no one is left unappareciated. In Shakespeare's times it was common for men and women to offer apples to the object of their affection that had been saturated in the sweat of the armpit. That was meant to be a signification of desire and perhaps an early attempt at judging whether the prospective lover's pheromones would intermingle well with their sensibilities.
In the Memoirs of Casanova, we come across an observation that there is a hidden something in the air of a lover's bedroom that would make it very easy to choose between it and Heaven itself. So much is the infatuation that a beloved's body produces in the soul. And on that note who can forget the infamous epistle of Napoléon to Joséphine when he passionately wrote to her: "Je réviens en trois jours; ne te lave pas!" (I return in three days, don't wash yourself)
Anais Nin and Henry Miller were no strangers to the alchemical nature of the odorata sexualis of a lover that can be enhanced by perfume and Nin's personal choice of Caron's Narcisse Noir (a fragrance rich in orange blossom)and Guerlain's Mitsouko shows an appreciation for blends that enhance a person's natural sexual aroma. Beaudelaire, Flaubert (who kept the mittens of his mistress on a drawer for sniffing purposes), Goethe and Reiner Maria Rilke are also literature figures that occupied themselves with the fragrant nature of seduction.
Even in our more pedestrian times the allure of the erotic has been used to great effect in advertising. From Schocking by Schiaparelli to Ambre Sultan by Lutens to Boudoir by Westwood, many perfumes have claimed to capture in fragrant droplets the odorata sexualis of a woman for seduction purposes. Last olfactory example of this being Tom Ford' attempt at it when he proclaimed that his last fragrance Black Orchid was supposed to smell of a man's crotch. I think not, but hey, you have been warned!

Of course like a plethora of things in life much of the effect of something relies on context. Meaning that leaving youself unwashed would not shill your charms to potential lovers necessarily if some particular smell is not pleasant to them or the sweat is rank. It all has to do with delicate proportion and adjustment. In a fascinating experiment by Paul Jellineck, recounted in Essence and Alchemy, people had been asked to smell versions of well-known frags such as Quelques Fleurs by Houbigant and a traditional eau de Cologne with and without the addition of neroli. In the former case the neroli just mingled with the other floral substances adding a fresh note and balancing them, whereas in the latter it seemed sultry and rich and therefore erotically nuanced. This goes to show that although there is a clear cut path to lust and sexuality, eroticism in perfume as in any other area is complex and subtle, dependent on context and associations that need a delicate hand in placing them there.

So how orange blossom is linked to all these exciting observations? Let me shock you a bit in case you were unaware of the fact. Orange Blossom (as well as jasmine) is filled with the fascinating indole.
According to Encyclopedia Brittanica:

Indole, also called Benzopyrrole, is a heterocyclic organic compound occurring in some flower oils, such as jasmine and orange blossom, in coal tar, and in fecal matter. It is used in perfumery and in making tryptophan, an essential amino acid, and indoleacetic acid (heteroauxin), a hormone that promotes the development of roots in plant cuttings. First isolated in 1866, it has the molecular formula C8H7N.

It is this base ingredient that is so abundant in white florals -among them orange blossom to a moderate degree- that apparently gives a nod to the human aspect of our existence and reminds us of our primeval objects in life: to have sex and procreate. In this context it is no accident that orange blossom is traditionally used in wedding wreaths, as discussed yesterday.
Therefore if a catcall to carnality is your objective, yet you want to go about it more discreetly than resorting to civet (the pungent extract of the anal glands of a species of the Viverridae shaped like a small fox and native to Abysinnia, Java, Borneo, Sumatra and Bengal and farmed in Ethiopia for perfume purposes), orange blossom can be a Heaven sent destined to confine you in the abyss of Hell.

For this purpose there is no better choice than the rich, sultry, lush and totally feminine with a capital F Fleurs d'oranger by Serge Lutens. Luckily a part of the export line, but also available in a beautiful bell jar in the exclusive Palais Royal for Shiseido line of scents, it is the essence of classy sexiness captured in a bottle. Like a woman of mature wiles sitting under an orange grove contemplating serious romance and seduction it is multi-nuanced with precious essences of white jasmine and indian tuberose that enhance the indolic aspect to magnificent proportions, laced with the sprinkle of fiery spice like cumin and nutmeg rolled in tangy citrus peel, all the while exuding aromas of muskiness and floralncy in alrernative overlappings like the tongue of a skillful lover. The inclusion of rose and hibiscus seeds consolidates the velours aspect of a base that never really leaves the skin, reminding you of happy romance even after it is just a distant memory in the farthest corners of your mind.


Next post will tackle another aspect of orange blossom.

Art photography by Spyros Panayiotopoulos, courtesy of eikastikon.gr