The Natural Perfumers Guild Celebrates it’s Fifth Anniversary June 1, 2011 with a Blogging Event and Membership Fee Discount. Uncorked! The natural perfume stories of the members of the Natural Perfumers Guild are uncorked on their blogs to celebrate the 5th Anniversary of the Guild on June 1.
Guild President Anya McCoy says “I realized that I didn’t know the reason that many of the members love natural aromatics, or why they became natural perfumers, and I asked them to blog their bios and cross-link to the other members. It’s an intimate, lovely way to celebrate this milestone.”
You can find out who the participants are and follow their stories by clicking on Anya McCoy's blog page.
Un Jardin sur le Toît, the fourth installment in the Les Jardins series at Hermès, a technopaegnia sample more than a simple fragrance, follows the success of Un Jardin sur la Mediterranée, Un Jardin sur le Nil and Un Jardin Après La Mousson. But whereas the narrative in the latter sprung naturally from the motifs of the house (Un Jardin sur Nil was based on a previous design of river greenery captured in porcelain) or the perfumer's own travel associations (Un Jardin sur la Mediterranée was inspired by the moment when someone brought a plate of cut figs at the garden of an Hermes's executive house in Tunisia, while Après la Mousson was purposely composed chasing the monsoon in Kerala, India), this latest entry feels a bit constrained.
Constrained for associations: Hermès tend to a rooftop garden (i.e.jardin sur le toît, you see) at Rue Faubourg Saint-Honoré above their Parisian headquarters, but come on; how spontaneous would it be to search for inspiration so close to home now, I ask you? Constrained for accomplishments, too: The fragrance feels a sort of déjà vu, despite its poetic arc and delicacy of execution, traits typically Ellena. Finally, constrained for marketing: Hermès went out on a limb ~amidst braving the hostile take-over attempts from LVMH~ and invited journalists to a cooking class, a horticulturist's part-time occupation and a press presentation no less, all three rolled into one! So the question is, does the fragrance succeed in what it set out to do? It depends on the angle from which you're watching it unfold.
From a purely aesthetic viewpoint, Un Jardin sur le Toît is ~as always for latter part of the house's fragrance portfolio~ an ethereal, beautiful, elegant composition. I wouldn't expect anything else from perfumer Jean Claude Ellena who eschews easy, run-of-the-mill recipes in order to cut out his own path. Un Jardin sur le Toît is typical Ellena; fans will be on the verge of orgasming, detractors will complain about his vegetal, unusual -for standard luxury- accords once again. But therein lies the danger of repeating himself as well: The problem with Un Jardin sur leToît is exactly what should be its strong suit: It's so reflective of its creator it's hard to differentiate it from his other opus. The top section is eerily reminiscent of Kelly Calèche, the drydown dangerously close to the woody-green parts of Un Jardin sur le Nil. Much as one might love both fragrances (and I do), they might wonder at the necessity of launching a separate third fragrance which sounds very much like conceptual looping: the accords sound like a talented DJ's sample scratches, looped into infinity. Inside info wants Jean Claude Ellena to have deemed the Jardin series complete at number three (that's Mousson) and being actively coaxed into producing a fourth one. Pas mal, considering.
Un Jardin sur le Toît from Hermès takes the scent of wet soil, foliage and wild flowers (really, a vegetable patch) as the stepping stone into an herbal epanalepsis of its creator's favourite soundbites. The top stage is effervescent with the tomato leaf (vert de tomate), slightly bitter green, pungent accord that he favours so much (even as far back as Sisley's Eau de Campagne). Whereas in the past this was a bracing breath of fresh air, totally unpolluted, this time Ellena fuses a slightly sweaty element; a bit tarrish, a bit like wet dogs, a bit like compost, in a good way, which merges in a refined way with the more flowery (rose) and fruity (pear, apple) elements. The rose is transparent, more like the greenery in L'Ombre dans L'Eau by Ditpyque or its tratment in Kelly Calèche than anything overtly feminine; peppered and citrusy, a whiff of magnolia in there. Officially classified as a floral fruity, this Rooftop Garden fragrance is as wildly removed from the standard surupy floral fruity as À la Claire Fontaine is from a mass supermarket jingle. Jean Claude Ellena describes it ‘the scent of sunlight and pleasure… a fruity botanical floral’ and that's totally on mark.
Fairly linear and totally unisex, Un Jardin sur le Toî, sustains that repetitive vegetal chord over an indeterminate woody-mossy bass which gives the background that makes the fragrance last and last. The inclusion of oakmoss (evernia prunastri) is what is so sorely missing from many modern time chypres: Who knew the elation of getting one's hands in good, honest earth was only a rooftop away?
The new Hermès fragrance comes in the standard bottles of Les Jardins series, this time in light green bottom, available in 50ml (£55) and 100ml sizes at the eponymous boutiques, major department stores and online.
I am busy organising a project on historical "chypres" and the restrictions on oakmoss affecting their status and perception by the public which will involve university students. In the interests of helping me out in this research, I would like you to offer me your insights: Which older chypres in your opinion are ruined and which have remained more or less worthwhile? (even if changed) Which newer, modern chypre fragrances are worth testing and how do they flesh out the chypre concept according to you?
After last year's Bouquet No.1, the succession has materialised at Guerlain: Aqua Allegoria Bouquet Numero 2, developed by in-house perfumer Thierry Wasser is presented with the tag line of old in vintage Guerlain advertisements: "inspired by nature, created by Guerlain".
The new take in Bouquet No.2 is on more tropical accords, rather than fresh florals unlike last year's edition; this time centered on the fruity notes of litchi, fanned on rose and iris for tenacity and elegance. The bottle is the typical, familiar 75ml/2.5oz spray bottle with the beehove latticework on top, the standard of the Aqua Allegoria line, to be distributed as a travel retail exclusive (much like last years Bouquet No.1).
According to the official Guerlain blurb: "Nature is an emotionally-charged setting where we gather treasures, which inspires and enfolds us. Every year, when springtime comes, the Guerlain perfumer conjures up gardens filled with scents, in a blend of allegory and exhilaration."
Mandarine by L'Artisan Parfumeur began its "career" under a different guise: a limited edition bottle for summer 2006 under the name Mandarine Tout Simplement (i.e. Simply Mandarin), along with the regular line launch of Fou d'Absinthe, based on absinth. Mandarine is recently re-issued in the regular bottles of L'Artisan, in 50ml/1.7oz size, so it's fitting to give it a review.
Extremely true to the mandarin fruit, succulent and fresh and tart, Mandarine by L'Artisan Parfumeur is really as if you have piched your nails on the rind of a ripe mandarin, juice dribbling down your fingers, the tartness almost spritzing you in the eye. Then it fans out into a little indeterminable wood accord, of which cedar seems to be the main note. It's pretty simple and unadorned by weighty accents.
The succulent, lightly peachy-bubblegum note that you might detect after a while is due to frangipani. Nevertheless, this is not at all a floral perfume by any means, nor a floral fruity either. It stays resolutely within the realm of fruity woody. As soon as one sprays Mandarine one is transported to a sunny place, with a bowl of fruits on the porch and a summery frock on. Sunglasses optional : this is a friendly , not aloof scent at all. Rather sweet, but the tartness keeps it from being cloying.
Perfumer Olivia Giacobetti is known for her unusual watery creations that are far from the "marine" type of frags so typical of the 90s (witness the watery ambience in Navegar or her Preparation Parfumee for Andree Putman) and her beloved dough/yeast note (as in the cucumber-watery lilacs of En passant ), but here I can detect none. That's a good thing to me personally, because sometimes they ruin the perfume for me. Mandarine makes you go "ahhhhh" at first sniff , but then it disappears suddenly. I have no trouble with most L'artisan fragrances and their staying power (I regularly wear Premier Figuier, Timbuktu,Oeillet Sauvage without problems to give you an idea), but of course citrus and hesperidic notes are volatile to begin with, hence the swift evaporation. For those who complain about short-lived staying power, that might be a concern. Now that it comes in a 50ml bottle, it would be a "killer" to have in your bag and spray away at the first opportunity.
More info on availability &shopping on the L'Artisan site.
Which is YOUR preferred fruity fragrance for summer?
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