Insolence Eau de Parfum by Guerlain: fragrance review and comparison

If the description "Godzilla floral" doesn't scare the horses, perhaps the addendum "Guerlain decided this thing should not even try to be classy and has embraced it as the most deliciously vulgar perfume on the market today" could. But before making hasty assumptions that the above words of Luca Turin are meant derogatorily (they're not), wait for it: Insolence in Eau de Parfum, much like the previous Eau de Toilette incarnation, is seriously good and reminiscent of the Guerlain lineage in all its violets glory. Even if it's wearing a lilac dress illuminated in neon, it doesn't brush shoulders with the highlighter pens of Gaultier's latest, Ma Dame. Which is a good thing.

Guerlain would want us to think it's "created for an eccentric and chic woman, who thrives for perfection". Insolence Eau de Parfum is certainly eccentric if eccentricity can be defined in etymological terms: έκκεντρος from which it derives means "out of center" in Greek. Insolence Eau de Parfum therefore arrives as a skewed, even more intense, intoxicating brew in a purple-coloured twin of the Serge Mansau dishes-in-the-kitchen-sink bottle for the Eau de Toilette, itself no shy violet! Maurice Roucel has been working on violets intently lately, masterminding the earthy intrigue of the unisex Dans tes Bras for Frédéric Malle, full of salicylates and Cashmeran to give diffusion and emollience to what would have been the harsh nail-polish remover and hairspray accord that he first used in the Eau de Toilette version of Insolence.
Violets, often married with roses, as in the embulient romantic Paris by Yves Saint Laurent, have provided the intriguing conspirator in perfumes of variable constituents and antithetical moods over the years: the feminine playfulness in tutus in Malle's Lipstick Rose and Drôle de Rose for L'artisan Parfumeur, the magical realism element in Alice in Wonderland by Konstantin Mihov's Parfums d'Imperfiction, or the astrigent leather and tweeds of Balmain's Jolie Madame. And in the case of the Guerlain house violets have been a sine qua non: from the brief inclusion in the cassie and heliotropin wonder Après L'Ondée to the delectable pastilles resting on amber in Guet Apens/Attrape Coeur and Vol de Nuit Évasion all the way to their makeup product Météorites; in turn lending its star-struck name to a violet-infused potion of limited edition that mimics that softly powdery feel of their pastel-coloured spheres of delight. When Insolence Eau de Toilette first came on the market a few years ago it had elements of the above and L'Heure Bleue (or Farnésiana?) as well, making me pronounce it the first step in the right direction for the Guerlain mainstream line in a long time.

For Insolence Eau de Parfum the composition is resting atop the familiar sweet violets with subtle iris accents and enough of the red fruits tartness of the previous Eau de Toilette to which Roucel allegedly added tuberose, orange blossoms and peppery greens. You would be hard pressed to seperate them however and there is a gourmand quality which according to Albert might hark all the way back to Angel. The initial impression is even sweeter and more powdery on top rather than at the base compared with the Eau de Toilette, linear and without the initial flou and Aqua-Net note of the latter, which I admit I was not opposed myself. Constrasted, the two come off as sisters, but with the younger being more sensual and exhibitionist, the older a little more neurotically appealing and with the powdery progression reversed. Both are fronted by Hillary Swank in the print ads.

Summarising the Eau de Parfum is more approachable if you're into big, loud, sweet florals, quite close to Météorites indeed, with a liquorice flavour woven into the body of the fragrance resulting in a sci-fi rococo. Exceptionally long lasting too, wittily compared to the half life of uranium, therefore judicious use with the spray is highly recommended.
Although it was another fragrance that has been tagged as "a violet hit by a meteorite" recently, Insolence Eau de Parfum gives me the impression it has been circling eccentric orbits around a black-hole-sun since forever.

The sizes and prices for Insolence Eau de Parfum start from 52 Euro for 30 ml, 75 Euro (50 ml) to 105 Euro (100 ml). Available in the US as well by the end of the year.

Guerlain Insolence editions include: Insolence EDT, Insolence EDP, My Insolence.

Pic of Insolence Eau de Parfum advertisement via Fragrantica

Vetiver Tonka by Hermes: fragrance review and lucky draw

To bean or not to bean? The answer at Hermès is there is no bean counting in their pursuit for true luxury, but when it comes to perfumery, they go tonka bean all the way! What's the point of my word-play? That the delectable raw material of tonka beans has been utilised in the most delicious way paired with earthy vetiver in their mouthwatering fragrance Vétiver Tonka. Composed by in-house perfumer Jean Claude Ellena in 2004 as part of the original quartet for Hermès's exclusive collection for their boutiques, the Hermessences, Vétiver Tonka was meant to interpret the sensation of wool. (the other Hermessences also capture the drape of various fabrics). "Comfortable, fresh, affirmed" is how they chose to describe it themselves and I couldn't agree more.

Subtly edible notes with cigar-flavoured accents are folded into a classy amalgam by the genius light hand of a conjurer: Jean Claude Ellena's strongest suit. The warm smokiness that alludes to pouches of rich tobacco is an element that I am sorely missing in the current batches of the classic Vétiver by Guerlain where it was providing an inviting hug after the grassy delights, but happily the coumarin-rich smell of tonka beans remains intact. Guerlain's version is of course overall much more citrusy, vetiver in itself possessing an hesperidic facet that is often used as a springboard in composing masculine colognes around it. Jean Claude merely hints at that aspect of the exotic grass seguing on to "cleaner" notes that almost instantenously get the smothering treatment of an artistic flou via hazy notes, much like the flour part of his Bois Farine for L'artisan parfumeur.

Vétiver Tonka encompasses the tempered note of vetiver that re-appeared in Terre d'Hermès two years later ~also by Ellena. He seems to love the material, using the Haitian vetiver essential oil, vetiverol as well as vetyveryl acetate. Ever since Déclaration, a spicy masterpiece in my opinion, he has been using all those beloved materials in various incarnations, all the way to the specifically ordered vetiver extraction he procured for the intriguing and perplexing Un Jardin après la Mousson. That said, lovers of strong, dank, almost musty vetiver should rather look for it in Route de Vetiver by Maitre Parfumer et Gantier or Vétiver Extraordinaire by F.Malle.

The violet-like note of alpha isomethyl-ionone (which is sniffable in another Hermessence too, Paprika Brasil, where it takes almost an iris nuance) is the humorous touch that Jean Claude tricks us with: he did the same thing pairing beta ionone (also reminiscent of violets) with hedione to come up with the scent of tea in Bulgari's Eau parfumée au Thé Vert.
The dominant force however is tonka bean , which has a hay/caramel vanilla-ish scent, very soothing, very creamy. Smelling it from the bottle or on a blotter at first it seems a bit clashing ~to be excpected since the two elements are so antithetical on first reading, but on skin it is predominantly sweetish, velvety soft and nutty-oily, which I find sublimely comforting. The naturally dry and woody smell of vetiver as well as a slight bitterness inherent in tonka beans provide a counterpoint to the sweet float of the vanillic base, so the whole is perfectly balanced between dryness and comfort; which sets it one step ahead of the equally mouthwatering but much more gourmand Ambre Narguilé from the same line and for me personally makes it more wearable in warmer weather than the denser Vétiver Oriental by Serge Lutens. This charming duet dances in situ for hours with little change, but boredom never enters the equation as the combined efforts sing at an unheard of before frequency. Additionally there is an interplay of cool and warm facets which makes for stimulating results making Vétiver Tonka suitable for every climate and every season. It lasts very well for an eau de toilette, perhaps more than any other in the collection, is perfectly unisex and has moderate, elegant sillage.

So to answer my introductory word-play, I have been for the bean in a most decisive way ever since I first tried it: Reader, I have spent most of last summer in it!

For one lucky reader interested in a sample triad of the last three niche vetivers reviewed (Malle, Lutens, Hermes), plase state your interest in the comments.
Draw will run throughout the weekend.
Notes for Vétiver Tonka : bergamot, neroli, lily of the valley, cereal notes, dried fruit, tonka bean, vetiver, tobacco, sandalwood.

Vétiver Tonka by Hermès (2004) forms part of the Hermessences exclusive collection, sold at their boutiques in spartan bottle with leather-covered caps. It comes in either 100ml/2.4oz or a set of 4x15ml/0.5oz travel set sprayers. (There is also the option of getting it in a set of pre-selected 15ml travel sprayers along with 3 other Hermessences for the uniform price of 150 euros).

For a comprehensive analysis of vetiver fragrances click Vetiver Series.

Pic of Ralph Fiennes courtesy of Evy Nef at photobucket. Bottle pic through Fragrantica.

Vetiver Oriental by Serge Lutens: fragrance review

Sporadically one comes across a perfume composition that is perplexing yet enthralling like a chameleon actor who manages to marry opposites, hiding a little cruelty under a suave façade.
Serge Lutens has made history in producing influencial "chef d'oeuvres". His Vétiver Oriental, although not extrapolating the oriental zenith that other fragrances in his line accomplish in a more assured way, such as El Attarine , Arabie or Douce Amère, is stunning nevertheless. The reason is as much aesthetic as it is intellectual: I cannot shake the impression that the task of scaling down, of attenuating the formula to the richness and sumptuousness of the material's roots is an algebric challenge, a piano étude aimed at perfecting a specific agilité that is not in tune with the Lutensian way of usual opulence.
And yet...and yet the result speaks in hushed, nocturnal voices of a decadent drawl; a few chiseled citrusy consonants, a little rubbery-smoky with the rosiness of gaiac wood, surprisingly sweet-spoken licorice-like (deriving from lots of anisaldehyde) with the earthy bitter edge of dry cocoa and loads and loads of polished woods, almost laminated. The natural earthiness of vetiver is heavily flanked by this strange bittersweet idea which was accordingly used in tandem with patchouli in Bornéo 1834 to magnificent results. The quiet plush of balsams and resins (perhaps Peru balsam?) and animalic-like ladbanum elements bring the recollection of warm skin not stripped of its natural oils through the use of perfumes and deodorants, a tad salty. There are some common elements with Le Baiser du Dragon by Cartier which uses vetiver in an orientalised composition of amaretto hints and a tropical white flower in order to cut through the sweetness.

However if the onomatopœia is anything to go by, Serge Lutens and his trusty cohort Christopher Sheldrake, fooled us into believing this is a vetiver-sounding fragrance: it is not and therein lies its strength or weakness. Contrary to the painful pureness of Vétiver Extraordinaire by Frédéric Malle, Vétiver Oriental goes for the trajectory of the root, inviting a Guess Who? game like the late Theresa Duncan used to say; veering into the quasi-gourmand makes it a fabulous amuse-guele but somehow too much as a main course. Nevertheless, this is the time of year when it naturally shines its golden viscosity: the crisp weather brings out all its velvety attributes while its exceptional lasting power and moderate sillage are welcome comforts.

My friend Gaia wrote:"What I'm getting is a feeling of a dark jungle, exotic and wild. As it unfolds its beauty, you also sense the danger that lurks just behind, tempting you to go in deeper". If Vetiver Oriental is indeed a lion in the jungle, then it is the emaciated Scar with his almond shaped green eyes lowly roaring in silvery tones "a shining new era is tiptoeing nearer; just listen to teacher".

Notes for Vetiver Oriental: sap, musk, sandalwood, Iris Pallida, undergrowth notes, amber, chocolate, rockrose labdanum, vetiver, gaiac wood, mosses.

Vetiver Oriental is a Palais Royal Paris exclusive created in 2002 contained in the characteristic bell-shaped jars. It was released for export for a limited time only for winter 2004 in the refined, sparse rectangular bottle. It has now reverted back to exclusive status.

For a comprehensive analysis of vetiver fragrances click Vetiver Series.

Jeremy Irons pic via Getty images, bottle pic via Les Salons du Palais Royal

Vetiver Extraordinaire by Frederic Malle: fragrance review

If in vetiver veritas you pledge your allegiance, look no further. The whooping percentage of pure unadulterated vetiver essence in Vétiver Extraordinaire for Editions des Parfums Frédéric Malle goes for indubitably maximum overload for hardcore vetiver fans: you'd be hard-pressed to find one that contains more Haïtain vetiver out there (an alleged 25%) or is less devoid of the oily decorations of other contenstants.
Luca Turin praised perfumer Dominique Ropion's work here by saying that "lead-pencil cedar notes and a touch of lemon [...] act as makeup to hollow the cheeks of perfumery vetiver and give it back some of the striking bone structure of the starting material". I will go further and say that Vétiver Extraordinaire with its raw, wet cobblestones intensity recalls craggy faces of gaunt figures in chain-mail armor, shaded and revealed alternatively by a bright white light before they suddenly strike with a gigantic sword out of a dense dank forest.

The background story on its 2002 creation is caprivating: Frédéric Malle and Dominique Ropion had collaborated at Roure Bertrand Dupont in the past where Ropion had created an unusual exotic woody accord that Malle remembered fondly. When Ropion received a new extraction of vetiver that highlighted the qualitative nuances of the material in an unprecedented way, Malle had the idea to combine it with the old unfinished woody base and thus after extensive twinkering, the finished modern classic emerged. Ropion is well known for his style of overornate, dense, baroque signature, as evidenced in Ysatis or Amarige by Givenchy but also the intriguing Une Fleur de Cassie also for Frédéric Malle and it seems fitting that he achieved the painful intensity of extreme accuracy by addition instead of substraction using "a new essence of Vetiver, stripped of its bitter edge, which he matches with five woody notes to play up the scent's various facets".

Compared with soapy or citrusy vetivers like Vétiver by Guerlain or sweet, licorice-like vetivers such as Vétiver Oriental by Lutens, Vétiver Extraordinaire seems like a challenge: It lacks the light smoky refinement of Chanel's Sycomore, the nutty flou of Vetiver Tonka by Hermès or the spicy sexiness of Tauer's Vetiver Dance, elements which all contribute to easier acceptance. It should therefore be approached only when searching for something bitterly wet yet with a peppery, fresh herbaceous and earthy scent that will draw out a little savagery misleadingly dressed in bohemian clothing. The rooty, cardboard opening emphasizes the more difficult aspects of the genre but the overall character makes it delightfully panseasonal. The lasting power is excellent and the sillage moderate. Perhaps the closest to it is Encre Noire by Lalique which utilizes the same concept minus the foresty mossy tones, so those who have no access to the former, might find a pleasing alternative in the latter suggestion.


Notes for Vetiver Extraordinaire:Bergamot, Bigarade Orange, Pink pepper, Nutmeg, Floralozone*, Haïtain vetyver, Sandalwood, cedarwood, Oak moss, Myrrh, Cashmeran, Musketone**, Tonalide**.

Available in 10ml, 50ml and 100ml spray bottles and as shower gel at Barneys, Les Senteurs, and directly from Frédéric Malle boutiques and their site.

For a comprehensive analysis of vetiver fragrances click Vetiver Series.

*Florazone is a synthetic ozone muguet note patented by IFF with a fresh aldehydic floral profile reminiscent of ocean breezes.
**Musketone and Tonalide are synthesized musk variants.

Photograph of Hugh Laurie by Justin Stephens(Corbis). Bottle pic through F.Malle

Roadster by Cartier: fragrance review

by guest writer Mike Perez

I have been a fan of fragrances with mint, for quite some time now. Mint is prominently featured in many men’s fragrances and I think it’s a ‘love or hate’ note. Either one enjoys the bracing, vivified effect from this sharp, pungent herb – or it negatively conjures up olfactory images of aperitifs, mouthwashes and toothpaste.

Roadster, the new men’s fragrance from Cartier (by perfumer Mathilde Laurent [Shalimar Light and Cologne du 68 by Guerlain]), marketed as a mineral fougère - mixes notes of bergamot and mint with vetiver, patchouli, cashmere wood, cistus labdanum and vanilla. I’m not sure if Cartier (or the men out there Cartier is trying to sell to) fully understands the mineral fougère categorization. Nonetheless Roadster, smells wonderful.

The top notes are dominated by a soft, yet instantly recognizable ‘green’ diffusion of galbanum. I admire this entry (being a fan of ‘green’ fougères like the classic country cologne Devin by Aramis) and can appreciate the oh-so-smooth transition to the next herbal explosion of mint. Mint is tricky (sharpen it too much in a lackluster scent and it radiates menthol), but this mint is subdued, slightly cool to the back of the nose when sniffed and slightly foamy. I’m reminded of the smell I taste, when swallowing mint infused bottled water (such as Metromint).

Unlike some mint fragrances that tingle and cool my skin when applied (Booster by Lacoste by the masterful Jean Kerleo; the limited edition Feuille Verte by Creed; Eau d’Orange Verte Refreshing Body Gel by Hermes) – Roadster’s cooling properties happen only in my nose. It eschews the typical ‘sport’ vibe of mint and uses it in a more sophisticated, modern version of ‘fresh’. This makes sense, since Cartier chose to release this scent right before autumn and the arrival of cooler weather (when a cooling mint fragrance wouldn’t be appropriate).

The base notes are slightly woody (very faint) and sweetly vanilla prominent. Ms. Laurent’s past work for Guerlain shows in the dry down. Complex, blended, subtle whiffs of the fragrance combine with the mint, vanilla and woods in a very unique accord: a fresh baked, delicate vanilla and cream pastry with a steaming hot cup of herbal mint tea. I found myself catching whiffs of myself all afternoon when I first tested this – inwardly smiling.

The Roadster bottle (held horizontally on its side), mimics the hand dial of the Roadster watch by Cartier (which itself mimics the design of a roadster automobile). Heavy, clear glass and polished chrome cap. It’s worth noting that the bottle is VERY heavy. It feels solid in your hands. Perhaps too heavy, for easy application of the scent (held vertically). But…wrapped up in a gift box – it’s solid and substantial weight would make a great gift (who isn’t intrigued by a small, heavy, wrapped present?)

Roadster by Cartier is available in 100 ml. and 50 ml. (Eau de Toilette) for $100 and $75 (although I have seen the 100 ml online - discounted at $73). Visit the extremely slick (and slow loading Flash based) website here: roadster.cartier.com

Notes for Cartier Roadster: bergamot, mint, vetiver, patchouli, cashmere woods*, cistus labdanum, vanilla

Watch the interesting video with Cartier perfumer Mathilde Laurent talking about Roadster and the Cartier fragrance line!

*Cashmere woods or Cashmeran is a IFF patented, complex aromachemical that provides a beautiful, velours note with diffuse nuances of earthy-wood and spicy notes (pine, patchouli), fruits and flowers (heliotrope, red fruits, apples and jasmine) and is softly musky-vanillic. It's featured in Ysatis, Amarige, Michael, Lacroix Rouge, Perles de Lalique, Dans tes Bras and many more.

Pic of Henry Cavill courtesy of Jocasta/Photobucket, chosen by helg. Clip originally uploaded by Primeprojects on Youtube. Bottle pic courtesy of Cartier and of Roadster watch courtesy of jomashop.