Bronze Goddess vs. Azuree Soleil

Summer is officially here and thoughts almost atavistically veer towards the beach: the expanse of white sand resembling minuscule crystals of sugar, whiffs of fresh ocean spray brought by the gentle, cool breeze and bodies sprawled on straw mats anointing themselves with the most exquisite fragrant potions: things that have a primitive call in them perhaps. If this is the ideal utopia you have been dreaming of, there is a fragrance to accompany it well enough and it is easily had at your local department store for a change.

It's Bronze Goddess, the Estée Lauder scent that substituted the much loved limited edition Azurée Soleil ~the latter art-directed by Tom Ford and then discontinued because the contract with Tom Ford had expired. In true business savvy mode Lauder didn't let an uber-successful formula languish, but giving it a new dress in the form of bronze packaging, a new name in the manner worthy of a mythological genesis and an imperceptible twist in the list of notes, salvaged it for the legions of fans who demanded more, more, more! And a makeup line followed, predictably.

Regular readers of Perfume Shrine might be raising an eyebrow by now, wondering what possessed me to review a scent that is not the typical fare for us and so late after it officially launched too. But I came across a tester at Sephora and I cannot deny that unlike other scents which evoke the atmosphere of the beach in sugared tones of tropical fruits such as mango and coconut or going the ubiquitous way of armfuls -strike that out: read chokefuls- of tiare (tahitian gardenia), Bronze Goddess is quite subtle, dries down soft and inviting and never veers into the too sweet; a major accomplishment in view of it containing the usual suspects.

But notes rarely say the whole story: Bronze Goddess really is a good skin-scent, what perfumephiles call a fragrance that evokes the smell of skin, not perfume. Truthfully, I do wish actual sunscreens came in such delightful fragrances, much like the legendary classic Chaldée by Jean Patou with its candied orange blossom note, which was initially conceived as a tanning oil and aromatized sun products for a whole generation of people in the 1930s.

The question is how Bronze Goddess and Azurée Soleil compare: if having one already justifies getting both or if one has dearly loved but can't replenish the older one, should they get the new one instead. The answer is they are so remarkably close that only if one is persnickety and extremely tuned into the slightest of differences should they worry about this matter. Azurée Soleil is a little sparser, simpler, highlighting a "clean" vetiver accord over white flowers that stays poised for a long time. Bronze Goddess goes through the motions with a slightly more refreshing citrusy start that fans out into soft woody notes before kissing skin with a floral, milky touch of tropical gardenia, a bit of coconut and white flowers ending on a whiff of caramel redolent of tonka beans and skin baked in the sun. Both have a slightly spicy tone like nutmeg that is not referenced in the notes, yet contributes to the warm body and sun dunes evocation.

Of course the definitive beach scent is an elusive thing and the most unique fragrance I have smelled which manages to catch almost every aspect of the experience is an indie, natural perfume called Fairchild, but it's not what most people would easily find. Still, if you do have the chance it's highly sample-worthy. Two more which capture the beach well are Aqua Motu by Comptoir Sud Pacifique and Rem by Reminiscence. For a similar "skin baked by the sun" accord, I highly recommend L by Lolita Lempicka, already reviewed here, as well as Aquasun by Lancaster which will be featured on Perfume Shrine shortly.

Estee Lauder Bronze Goddess is available at department stores in 100 ml Eau Fraiche Skinscent, 100 ml Body Oil and 200 ml Luminous/Shimmer Body Lotion and the official Lauder site says it's a Limited Edition. Azurée Soleil is found easily via Ebay.

Notes for Bronze Goddess: Sicilian bergamot,mandarin, lemon, tiare milk, orange flower buds, jasmine, creamy magnolia petals, lavender, myrrh, amber, sandalwood, vetiver, caramel and coconut cream.
Notes for Azurée Soleil: tiare (tahitian gardenia), orange blossom, jasmine, magnolia petals, myrrh, bergamot, mandarin, amber, sandalwood, vetiver, caramel and coconut cream.

*{For reasons of clarity, please note that I am NOT refering to the old, classic Lauder fragrance named Azurée (1969) which is a leathery chypre}.
Pic of Bronze Goddess courtesy of Lauder, of Azuree Soleil of Ebay, of Halle Berry of Yahoo movies.

Behind the Knee...

A commercial NOT to be missed! An old, rare (never seen it linked before) clip for Chanel No.5 with Catherine Deneuve seducing us through the screen, talking about her man and how they indulge each other.
Click here to watch La Deneuve!

You've probably never seen it because they mispelled the Chanel name...

Next week we will tackle an exciting niche line flying under the radar, review vintage treasures and have lots of surprises to come too. Stay tuned!

Pic of 1970s ad via Okadi

Twin Peaks: Indult Tihota and Vanille Noire du Mexique

According to the beautiful myth in Totonac mythology, the tropical vanilla orchid was born when Princess Xanat, forbidden by her father from marrying a mortal, fled to the forest with her lover. The lovers were captured and beheaded. Where their blood touched the ground, the vine of the tropical orchid grew. One can see how the aroma of vanilla recalls love: breast milk is known to smell of traces of vanillin, the chemical constituent of vanilla extract.
It is no wonder that it is such a popular note in perfumery that has inspired so many renditions and compositions centering on it; like a quintessential theme in art, such as a sunset or a female nude, making different generations of artists seeing it through their own eyes for our benefit.

And so, on to two vanilla-centered fragrances today, which share common traits. Share in terms of smell, because they're worlds apart in terms of cost, presentation and poise.

As we had reported in the past, "Indult" is an old french word from 1498 signifying the privileges given by the french King or the Pope to esteemed individuals. The Christian Latin "Indultum" meaning "concession, favor" is at the root. With the desire to launch something that has comparable exclusivity rights as those bestowed upon by a king, Indult the niche line is comprised by fragrances that are issued in only 999 bottles each, automatically entering you in the club able to order a refill if you have purchased a bottle. The fragrances have been developed by young talent Francis Kurkdjan, the man behind the satiny femininity of Narciso For Her, the curry-rich and individual immortelle wonder of Eau Noire by Dior, the smooth skin caressed by the sun of Aquasun by Lancaster, the sweet bestseller Le Male by Gaultier and the modern abstract rose interpretation of Rose Barbare among others.

Tihota (which means ‘sugar’ in Polynesian) is an exotic concoction of fresh vanilla pods and various musks. Like the incandescence of the sunrise that embraces the far horizon, the fragrance exudes the rich and warm sensuality of real vanilla pods, opened fresh with a knife to render their rich, darkish, bittersweet, almost loquat odour to a creme brûlée. Putting it on one can feel the skin breathe beneath: although sweet and tenacious it retains the magical touch of Kurkjdan which is to make truly modern fragrances that respect one's personal odour profile to emerge.

Comparing Tihota to other costly vanillas, such as Guerlain's Spiritueuse Double Vanille, provides a backdrop in which to appreciate its advantages and shortcomings. Although it highlights the aspects of the vanilla pod with amazing accuracy, it somwhow lacks the artistic interpretation beyond that: it acts the way those painters who paint from photographs are able to catch the finest detail and produce a total which is completely accurate in its representation, yet falls short of the defining aura that differentiates the living being from the imprint on the photographic paper. Spiritueuse Double Vanille has the genius addition of a smoky and lightly boozy veil of incense, as well as what seems like a delectable note of marjoram and oregano on my skin, which combined account for an intriguing denouement. In that regard, Spiritueuse Double Vanille defies the moniker of a vanilla scent, despite it being named after it, in contrast to Tihota which remains more simplistic.

For that reason, it was perhaps an interesting experiment to see which of the myriads of other vanilla fragrances in the market would come close to Tihota on a more approachable level. I am happy to report that although they might not be exact duplicates, Tihota and Vanille Noire du Mexique share several common threads in their stories unfolding on skin.

Vanille Noire du Mexique is forming part of the collection of vanillas from La Maison de la Vanille, a niche line with affordable prices of vanilla-laced fragrances in aluminum cans of eau de toilette.
The most arresting aspect of Vanille Noire is that despite its price it smells like real vanilla pods, succulent, rich, almost oily with a burnt sugar tinge. Vanilla orchids were initially indigenous to Mexico anyway (with the name deriving from the Spanish "vainilla", small pod), although today the majority of the world's Bourbon vanilla production is produced in Madagascar in the Indian Ocean and the Reunion (formerly Île Bourbon).
In its own way Vanille Noire is faithful to its name:Vanilla sold in tourist markets around Mexico is mixed with an extract of the tonka bean, which contains coumarin.
The other vanillas in the range are also interesting, but the darkness, the oiliness and slight earthy cocoa touch of this one elevates it to my favorite in the line.

Also very close (even closer) to Tihota comes L'Occitane Vanille, but it has been discontinued for more than 2 years now. If you can locate a bottle, it might be a worthy experiment to compare side by side.

Notes for Vanille Noire du Mexique: vanilla, roses, iris, tonka beans, opoponax, patchouli and bergamot.

Notes for Tihota: vanilla pods, various musks.

Shopping:
Initially sampling for Tihota was reserved to French Sephora and on the Indult site. They have since relaxed their sampling policy, with options available through Luckyscent and First in Fragrance.
Tihota comes at 50ml/1.7oz Eau de Parfum bottles at 160 euros/250 $.
The bottle of Tihota is an architectural rectangle with a black rounded cap, much like the classic Chanels and encased in a beautiful pallisander wood box designed by Etienne de Suza.
More information can be had the Indult site .

Vanille Noire du Mexique comes at 50ml/1.7oz Eau de Toilette bottles at 39 euros. Available at Beautyhabit and First in Fragrance.


One sample of Tihota will be given away to a reader: Comment if you want to be eligible.

Pic of Vanilla beans via Wikipedia. Pic of Tihota bottle through Luckyscent.

Crossing Oceans of Time to Bottle Antiquity

Perfumes are ephemeral beings. Open the bottle stopper and they evaporate, soon lost to time. Lost even faster than the stone visage of Ozymandias. But they can be trapped in time by disasters such as shipwrecks, volcanic explosions or earthquakes and re-discovered intact.

Judging by the salvaged tiles which had miraculously been "baked" and thus sufficiently hardened in the great fires of Crete to keep their inscriptions, as well as the pottery which had been buried under volcanic earth for the benefit of our discovery in Akrotiri, Santorini in Greece and in Pompeii, Italy, I can personally attest to the above statement. It is amazing to contemplate how things which you thought forever lost have a way of being respected by that great reaper, Time, and how everything on this beautiful earth leaves a perceptible trace for the sensitive souls of tomorrow to follow like a detective.

David Pybus, also known as the Indiana Jones of the perfume industry (and additionally the "Perfume Hunter", Hunter being his middle Christian name) has been associated with the British Museum as the reconstructor of ancient perfumes for the benefit of his contemporaries. He has spent a large part of his life searching for, collecting and re-creating perfumes from antiquity. Fragrances of frankincense, myrrh, resins and spikenard, which have stood the test of time proving to be fit even for our fickle, modern days. Fragrances in that vein prove popular, like the Comme de Garcons Incense series, the recent trio of L'orientalistes by Annick Goutal (Ambre Fétiche, Myrrhe Ardente and Encens Flamboyant), La Myrrhe by Lutens, Frankincense Myrrh Rose Maroc by Regina Harris and countless others.



In the above clip he talks about the wondrous things that came from ancient Egypt in relation to perfumes: the origin of perfumes via incense offering to the Gods (per fumum which in Latin means "through smoke"), the regal use of aromatics and the ensuing tomb raiding in pursuit of...perfumes, the hallucinogenic properties of the sacred blue lotus (steeped in wine to be drunk), the catching of its headspace* for the purposes of recreating its odour profile and the amazing adventure that it has been trying to trace the origins of perfumery.

His own site, named Scents of Time can be accessed here: Scents of Time
David worked with perfumers from Givaudan to be able to reconstruct the fragrances which echo antiquity. The recreated perfume Ankh, named after the Egyptian talisman of eternal life and the perfume of Pharaoh Tutankhamen himself, is a masterful recreation of the best of Egyptian perfumery. Derived from the famed Kyphi incense formula (which we referenced in this article) found at Edfu on the Nile, this fragrance was reputedly burnt three times during the day: to greet the sun on its return, to give thanks to the giver of life at noon and to pray for a swift return at eventide.

Other recreated compositions include: Nenúfar , based on the scent of blue lotus (and perhaps echoing the Homeric tale of the Lotus Eaters who abandonded themselves to Lythe), a recreation of Cleopatra's fragrance; and Pyxis, inspired by floral, herbal and spice spores found in the garden of a perfumer, believed to be called Sperato, at Pompeii, combined with ingredients available at the four corners of the Roman Empire. Petra is the latest, inspired by the Elixir of Life, the Philosopher's Stone (hence the hellenic name which means stone), being worked at right now. You can find out about Pybus's scents by contacting him at mailto:info@scentsoftime.co.uk

But David Pybus has also been the first to amass a great amount of poetry and literature in general that is associated with fragrances and aromatic materials. His book Transports of Delight is a compendium of fragrant verse and aromatic stanzas that explore the widths and breadths of the earth from ancient civilizations right up to our days, with poetry by David himself. An immensely enjoyable book, which I highly recommend. His other books are equally interesting, such as Kodo, the way of Incense and Chemistry of Fragrances in collaboration with many other authors.

*headspace technology is a technique to elucidate the odour compounds present in the air surrounding various objects and then analyzing it and recreating it in the lab
Clip via msn.com brought to my attention by Colonia on POL.

Pic of faience perfume vase in the shape of a lotus bud, 13cm height, from Sesedi,Sudan hailing from the 18th dynasty (1300BC), courtesy of the British Museum. {Sesebi in Nubia was founded in the time of Akhenaten (Amenhotep IV, 1352-1336 BC), was home to an Egyptian colony during the New Kingdom expansion to the South. Occupation coincides with Akhenaten's reign, during which a religious revolution was attempted when Akhentaten tried to impose monotheism of Sun God. He failed}

Caught In Her Clutches ~Ma Griffe by Carven: fragrance review

Mademoiselle Carven defined her fragrant prototype as "an outdoor perfume that needs to give up its heady character", resembling her, hence the name and the packaging: "white for innocence, youth, and freshness; green because to me it's the most beautiful colour in the world". The creation was none other than Ma Griffe (my signature), the legendary 1946 masterpiece of -by then- already anosmic Jean Carles, for which a startlingly different advertising campaign was devised: parachuting Trocadero in Paris with thousands of sample bottles! What a wonderful idea!

But Carven wasn't born so. Petite to extremis, Mademoiselle Carmen de Tomaso founded a fashion house at ni6, Rond Point des Champs Elysées to cater to dainty women's needs like her own, among them Michelle Morgan and Edith Piaf. She decided very early on that her Spanish-sounding name was not on a par in the Paris scene; so she went through the whole alphabet substituting consonants till she stumbled upon V. Carven it would be, alors! From then on she produced frocks as well as frags, from Vert et Blanc and the iconic men's Vétiver to the trio of Robe d'un Jour, Robe d'un Soir and Robe d'un Rêve (a dress for day, a dress for evening and a dress for a dream).

Ma Griffe is referenced in Janet Fitch's novel White Oleander , a story about dysfunctional foster care, as the signature scent of Olivia Johnstone, a stylish and agreeable prostitute next door who befriends the young narrator Astrid and later gives her a bottle of Penhaligon's, a metaphor for their relationship. Fitch had an aunt who was an actress, spoke French and traveled to Paris, so when "a really chic French perfume" was needed, Ma Griffe came to mind.

True to form, Ma Griffe is a very Parisian idea of a springtime and summer fragrance, très élegant, its cooling freshness contrasting with warmth underneath, powdery as nothing else can be and starkly green. The gardenia note is constructed on styralyll acetate, same as in Miss Dior one year later on a formula by Jean Carles perfectioned by Paul Vacher. Generally floral chypres of the times relied on the heady greenness of this synthesized aroma for their kick of feminine guiles, before progressing to jasmolactone and the tiglates of today.
Like I had written when composing the Chypre Series, Ma Griffe was conceived to be "very powdery dry and quite spicy thanks to the weird note of styrax, [...and] managed to be assertive in its name (it means "my signature", but also "my talon") and supremely sparkly and feminine in its aroma. It marked the introduction of chypres into the arena of professional women. Those were not factory workers of the war or flappers; they were secretaries at the new firms; twin set in place, string of pearls and a slick of lipstick on impeccably powdered faces. The psychology of those new chypres talked about women who earned their living by themselves, but did not manifest themselves as sexual predators: There is a sense of detachment and intelligence".


Sadly, Ma Griffe has changed its colours like a cornered chameleon over the years, due to change of ownership of the brand, resulting in the occasional cheapening of the formula, opposing opinions and confusion when trying to locate a bottle that prompts the djin to come out. The formula has indeed been reworked multiple times since its birth, ending with the latest version of 2006 eau de parfum being a one-dimensional soapy floral. Current owndership of Arco International is reportedly trying to reposition it. Let's hope so!

Maria, also known as Bittergrace to her accomplishes in pagan reversion, critters' photography, political wit and artistic smuttiness, had been most kind in sending me a round of vintage versions for me to compare and contrast with my own and the memories of the women in my family who have worn Ma Griffe faithfully.

The oldest, coming from the 70s in a splash bottle smells intensely citrusy, with an aldehydic fizz that makes a sparkling overture to the floral green proceedings. Since bergamot was one of the first photo sensitizers to be heavily restricted, I assume the second batch in a clear swirl-capped bottle, which comes from the 80s, has lost its shining citrus tang due to that. In addition it is heavily powdery and more assertive, in accordance to the times perhaps, with a pleasing off note that manages to remind me of the impossibly chic fragrance my grandmother wore. Last, but not least, an early to mid-90s formula of parfum de toilette reveals facets of the 80s vintage but less potent, while still not as bright as the first one, but quite good.
Maria warned me about the 'eau de toilette' in a broad-shouldered bottle with a green plastic cap, describing it as "just unbelievably awful. Avoid it like the plague!" Duly noted, Maria!

Originally Ma Griffe was marketed as a young scent at a time when the youth segment had not been catered for. Ironically one of the most common complaints is it smells old. Myself, I ascribe that only to changed perceptions and vogues.
Ma Griffe can be traced on online discounters, certain shops and on Ebay. Careful attention to packaging and bottles as well as sampling from different periods might help you find the version you prefer.

Notes:
Top: Gardenia, Galbanum, Aldehydes, Clary sage
Middle: Jasmine, Ylang-Ylang, Rose, Sandal, Vetiver
Base: Styrax, Cinnamon, Benzoin, Tonka Bean, Labdanum, Musk

Pics courtesy of parfum de pub. Clip originally uploaded by courageousjohnny on Youtube