Thanks everyone for the enthusiastic participation and till the next one!
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Thursday, January 31, 2013
The winner of the draw...
....for the upcoming Malle scent is TBC89. Congratulations and please email me using Contact with your shipping data so I can have this in the mail for you soon.
Wednesday, January 30, 2013
Perfume Primers: The Much Maligned Fruity Floral for Beginners & Beyond
With dismissive waves of the hand denoting "not another one" (there are at least 1840 of them and growing) and soured lips forming an inaudible "urgh" brought on by the sheer boredom of having to hear about the nth launch of yet another fruity floral, it's no wonder anyone seriously gnawing their teeth on perfumery is anxious to get to know other fragrance families instead; the smart chypre fragrances, the ladylike aldehydic florals, the opulent khol-eyed Orientals, even the succulent, "edible" gourmands (a sub-genre of the oriental family sprung out of marketing) promise more than the often unfortunate effect of the mix of shampoo & hard candy scents of the average humble fruity floral on the counter... Nevertheless, to dismiss a whole genre with the blanket characterisation of "dull" and "unexciting" is akin to discouraging a cinephile from watching Blade Runner or 2001 Space Odyssey because they don't like science fiction! Though the simile clearly suffers from fruity floral fragrances rarely reaching that iconic status of significance in their respective field, one can't deny that there are indeed interesting/stimulating examples among them, which merit further exploration from the discerning perfume lover. But what makes a fruity floral, which perfume was the first fruity floral and how fruity florals ended up taking the market prisoner and dominating it?
Definition of a Fruity Floral Perfume & Differentiation from Citrus Scents
The citruses and Eaux de Cologne sing gayly on their trip from the Mediterranean, fetching their joie de vivre and simple ~but never simplistic~ elegance to everyone they touch. One of the oldest essences in perfumery, exactly because contrary to other fruits they do yield an abundant essential oil (hard pressed or cold pressed from the thick rind of the citrus fruit, which you can test for yourself when squeezing an orange seeing the droplets spray on your hands), hesperidia/citruses are almost a universal pleaser, thanks to their uplifting, happy, fresh and zesty character. However, exactly because citruses have been such a classical component of fragrances for centuries (with the traditional Eau de Cologne "recipe" the prominent example where they shine, but also featured in Orientals, florals and chypres) their inclusion in a blend does not a fruity floral make!
Citruses are almost a genre unto themselves (certainly as classified by Michael Edwards in his Fragrances of the World, being part of the "fresh" segment which also comprises "green" and "water" arcs), sometimes called "the citrus family". Herein are included such light and uplifting fragrances as Guerlain Eau de Cologne Imperiale (1860), Acqua di Parma Colonia (1916), D'Orsay Etiquette Bleue (1830, relaunched 2008), Dior Eau Sauvage (1966), Annick Goutal Eau d'Hadrien (1981) or cK One (1994).
The fruity floral on the other hand is a fragrance based on a floral basic skeleton with a light woody/white musk underpinning for longevity and copious amounts of fruits OTHER than hespirides for succulent accents throughout. Patently a relatively recent trend, the trope was established in the last 20 years or so. In fact the first fruity floral came out in 1993; it was Chiffon Sorbet by Escada, the first limited edition summer fragrance by the German brand, which issued a new one each summer onwards. Chiffon Sorbet was based on a passion fruit accord, but it also evoked notes of mango, ripe fig, apples, raspberries and other summery delights, thanks to analytical chemistry and various spins on the Fructone molecule. Fruits, apart from citruses, cannot be expressed or distilled, due to their high water content, and only a synthesized replication in the laboratory can offer illusions of the fruit bowl. The rise in aromachemicals was also signaling the success of the fruity notes.
The timing of Chiffon Sorbet incidentally proves just how innovative the 1990s were in terms of perfumery horizons: not only it signaled the birth of the fruity floral, but also of the "aquatics/marines" (the innovator being New West in 1990, but the trend becoming identifiable with L'Eau d'Issey in 1992) and the "gourmands" (with the launch of Angel, also in 1992).
History of Fruity Florals: Innovators and Prototypes
Exactly because the fruity floral perfumes are such a recent trend it makes the search for percursors or a true classic in the genre a difficult task. Yet, the rich saturation of the fruity chypres hints at what can be considered the great grandmother of the little girls: the prune heft of Rochas Femme, the peach skin note of Guerlain's Mitsouko, the ripe melon impression in Roudnitska-authored* Diors (Diorella, Eau Fraiche) show the possibilities...Let's not forget the pineapple in Patou's 1930s Colony either! This historically important family is so delicious in its overripe fruity notes that it can almost confuse us, taking what are modern yet true "fruity chypres" (such as Deci-Delà by Ricci, or Champagne/Yvresse by Yves Saint Laurent) for fruity florals; they're not.
*I am again tempted to include Le Parfum de Thérèse (a Roudnitska-penned hymn to his wife, kept private for decades and only released by Editions des Parfums Frédéric Malle in 2000) because of the signature melon accord, but it could be argued that it is instead a proto-aquatic.
Early proto-fruity florals, with a tentative focus on the fruit but without the candied aspect or the intense freshness, include the pear-folded Petite Chérie and the blackcurrant jam notes of Eau de Charlotte, both by Annick Goutal. These are playful, innocent, childlike fragrances (indeed they were dedicated to Annick's own two daughters) that might suit certain body chemistries to a T. They're light and airy and lack the syrupy vulgarity of much of the contemporary forgettable crop. Mariella Burani's Il Bacio (1993) is an early and worthwhile fragrance which highlights the nectarous qualities of succulent fruits, but also shimmers with the sheen of a classic floriental; its texture is nuanced and never boring.
Berries are an especially pliant fruity note in perfumes; no less because a certain group of synthetic musks has a berry undertone. The classic Mûre et Musc by L'Artisan Parfumeur paved the way in as early as 1978. The passionfruit focus of Escada's own Chiffon Sorbet didn't come out of the blue either: Guerlain's Nahéma (1978) brought a saturated fruity mantle to the central rose lending sonorous timbre.
What Gave Wings to the Fruity Florals
I would venture the theory that the best-selling status of Lancome's Trésor (1990, a fragrance minimalistically composed by perfumer Sophia Grojsman to maximalistic effect) was the Rubicon in the rising popularity of the fruity floral in the 1990s: the lactonic density and creaminess of the apricot note allied to her favourite rose, underscored with tons of Galaxolide (a synth musk) made for a huge commercial hit. Even simple shower gels, hairsprays, shampoos and functional products lost their former "perfumey" odour profile (invariably either aldehydic soapy/powdery smelling à la Chanel No.5 or musky-deep Poison-reminiscent) ; these functional products turned into fuzzy, peachy things that sang in pop tunes in the scale of Fruit.
Dior's Poison was an interesting cultural "bridge": although built as a musky oriental with an intense tuberose heart, it also boasted a very discernible grape Kool Aid "accord" that was hard to miss; one can argue it paved the way with its mega-popularity during the 1980s. By the mid-90s the die was cast: the fruity floral was the way to go! Maybe Baby by Benefit and Exclamation! (by Grojsman herself) showed that the peachy/apricoty floral especially had legs.
Grojsman later put a spin onto plum and locust and there came Boucheron's Jaipur for women, arguably a less influential release. Prescriptives Calyx is a lasting, bracing grapefruit with helpings of mango and passionfruit to good effect. It came out much earlier, in 1986. It's also another Grojsman creation. Modern fragrances sometimes exhibit merit in the genre. Gucci II Eau de Parfum by Gucci is the modern equivalent of a decent "berry fruity" as introduced by the L'Artisan "mure": tangy berries on top, clean yet skin-friendly musk, no big sweetness, all around wearability. Raspberry and strawberry make the top note of Hot Couture by Givenchy such a playful little minx while berries are the fruity tanginess in Guerlain Insolence, modernising a classic violet floral structure.
But it took another huge best-seller, the influential Dior J'Adore, coming out in 1999 composed by Calice Becker, to cement the trend; Calyx was launched by a makeup brand with a specific demographic, Chiffon Sorbet was all too brief a launch to register at the time, Trésor was influential true, but still, it took a major luxury fashion house such as Dior to imprint it to collective memory. From then on everything was game: the contemporary Azzura (Azzaro), Be Delicious by DKNY, Pleasures Exotic (Lauder), Burberry Brit, Cacharel Amor Amor....they're countless!
Coupled with the maturing of the "gourmand" trend (fragrances inspired by edible smells, usually desserts with a sweet vanillic undercurrent), which tipped the scales to an increasingly sweet spectrum, the fruity floral became bolder & bolder in its "freshness" and increasingly sugared, reminiscent of Life Savers in various shades. Escada, the unsung "designer" innovator, seems to have excelled into producing a pleiad of limited editions to follow the discontinued Chiffon Sorbet, forever identifying the fragrance group with the mood for flip flops and sundresses. Bath & Body Works and Victoria's Secret also made the trend their bread & butter, starting at the 1990s with "single fruit" evocations in alcohol form, ultimately vulgarising the trend. Celebrity scents were the nail on the coffin of sophistication, opting for the hugely commercialised category, sealing the deal: Fruity florals were everywhere by the late-2000s; and we haven't seen the last of them! Or have we?
Un-sung Fruity Florals: Niche and Mainstream
Modern niche houses are understandably reluctant to offer fruity florals; it's all a matter of appealing to connoisseurs and differentiating from the mainstream. Still they can surprise us sometimes with their artistry amidst the tired genre: Breath of God has been hailed by the most difficult critics as a quality product. Pêche Cardinal by MCDI is chokeful of peach over flowers, but the peachiness is singing in a non straining soprano. Maître Parfumeur & Gantier has Fraiche Passiflore with raspberry, peach and passionfruit giving a tropical touch to the naturally banana-faceted jasmine (and the brand had several experimental fruity mixes in their line in the 1980s). Frangipani by Ormonde Jayne takes on fruity nuances of lime and plum to compliment the naturally fruity facets of the tropical white flower that is the frangipani blossom. Patricia de Nicolai's Cococabana takes things to the tropical max: nothing less than coconut. Even all-naturals-perfumery can indulge in the joyful, playful nature of the fruity floral via illusion: Anya's Garden Riverside (later renamed River Cali) and Ayala Moriel's Altruism are such cases.
Amongst the tide of fruity florals I need to point out some that are unfaily unsung despite their exuberant mood packaged in elegant deportment: Patou's Sublime -at least- used to be a sunny, happy smell with a balanced heart of gold, leaning into chypre, something that his Sira des Indes with its gorgeous banana note is not. Birmane by Van Cleef & Arpels takes the unusual note of kumquat (an opening like the sugared bitter peel of this small fruit prepared in Corfu, Greece) and folds it in chocolaty warmth and flowers. Byblos by Byblos (1990) has a helping of strawberry and mimosa sprinkled with pepper; it's delicious and unusual, composed by Elias Ermenidis, a Greek perfumer with more briefs won under his belt than he can count. Jungle L'Eléphant by Kenzo is a rich spicy fruity floral: the cornucopia including mandarin, prune, pineapple, and mango is accented with exotic spices resulting in a very individual scent which flopped commercially; perhaps it was too much for the tastes of 1996; it could stand in any niche house's portfolio just fine nowadays. Eden by Cacharel infused fruits (pineapple, mandarin, melon) and flowers (hawthorn and mimosa) into an aquatic environment with water lily and broke new ground in 1994. Personally I especially love the unripeness of the mango in Un Jardin sur le Nil by Hermès: it gives the impression of grapefruit, such is the tanginess and elegant bitter aftertaste, though it leans into the woody more than the floral.
But the gist is, as they say, "never say never again".
Definition of a Fruity Floral Perfume & Differentiation from Citrus Scents
The citruses and Eaux de Cologne sing gayly on their trip from the Mediterranean, fetching their joie de vivre and simple ~but never simplistic~ elegance to everyone they touch. One of the oldest essences in perfumery, exactly because contrary to other fruits they do yield an abundant essential oil (hard pressed or cold pressed from the thick rind of the citrus fruit, which you can test for yourself when squeezing an orange seeing the droplets spray on your hands), hesperidia/citruses are almost a universal pleaser, thanks to their uplifting, happy, fresh and zesty character. However, exactly because citruses have been such a classical component of fragrances for centuries (with the traditional Eau de Cologne "recipe" the prominent example where they shine, but also featured in Orientals, florals and chypres) their inclusion in a blend does not a fruity floral make!
Citruses are almost a genre unto themselves (certainly as classified by Michael Edwards in his Fragrances of the World, being part of the "fresh" segment which also comprises "green" and "water" arcs), sometimes called "the citrus family". Herein are included such light and uplifting fragrances as Guerlain Eau de Cologne Imperiale (1860), Acqua di Parma Colonia (1916), D'Orsay Etiquette Bleue (1830, relaunched 2008), Dior Eau Sauvage (1966), Annick Goutal Eau d'Hadrien (1981) or cK One (1994).
The fruity floral on the other hand is a fragrance based on a floral basic skeleton with a light woody/white musk underpinning for longevity and copious amounts of fruits OTHER than hespirides for succulent accents throughout. Patently a relatively recent trend, the trope was established in the last 20 years or so. In fact the first fruity floral came out in 1993; it was Chiffon Sorbet by Escada, the first limited edition summer fragrance by the German brand, which issued a new one each summer onwards. Chiffon Sorbet was based on a passion fruit accord, but it also evoked notes of mango, ripe fig, apples, raspberries and other summery delights, thanks to analytical chemistry and various spins on the Fructone molecule. Fruits, apart from citruses, cannot be expressed or distilled, due to their high water content, and only a synthesized replication in the laboratory can offer illusions of the fruit bowl. The rise in aromachemicals was also signaling the success of the fruity notes.
The timing of Chiffon Sorbet incidentally proves just how innovative the 1990s were in terms of perfumery horizons: not only it signaled the birth of the fruity floral, but also of the "aquatics/marines" (the innovator being New West in 1990, but the trend becoming identifiable with L'Eau d'Issey in 1992) and the "gourmands" (with the launch of Angel, also in 1992).
 |
| via ebay |
History of Fruity Florals: Innovators and Prototypes
Exactly because the fruity floral perfumes are such a recent trend it makes the search for percursors or a true classic in the genre a difficult task. Yet, the rich saturation of the fruity chypres hints at what can be considered the great grandmother of the little girls: the prune heft of Rochas Femme, the peach skin note of Guerlain's Mitsouko, the ripe melon impression in Roudnitska-authored* Diors (Diorella, Eau Fraiche) show the possibilities...Let's not forget the pineapple in Patou's 1930s Colony either! This historically important family is so delicious in its overripe fruity notes that it can almost confuse us, taking what are modern yet true "fruity chypres" (such as Deci-Delà by Ricci, or Champagne/Yvresse by Yves Saint Laurent) for fruity florals; they're not.
*I am again tempted to include Le Parfum de Thérèse (a Roudnitska-penned hymn to his wife, kept private for decades and only released by Editions des Parfums Frédéric Malle in 2000) because of the signature melon accord, but it could be argued that it is instead a proto-aquatic.
Early proto-fruity florals, with a tentative focus on the fruit but without the candied aspect or the intense freshness, include the pear-folded Petite Chérie and the blackcurrant jam notes of Eau de Charlotte, both by Annick Goutal. These are playful, innocent, childlike fragrances (indeed they were dedicated to Annick's own two daughters) that might suit certain body chemistries to a T. They're light and airy and lack the syrupy vulgarity of much of the contemporary forgettable crop. Mariella Burani's Il Bacio (1993) is an early and worthwhile fragrance which highlights the nectarous qualities of succulent fruits, but also shimmers with the sheen of a classic floriental; its texture is nuanced and never boring.
Berries are an especially pliant fruity note in perfumes; no less because a certain group of synthetic musks has a berry undertone. The classic Mûre et Musc by L'Artisan Parfumeur paved the way in as early as 1978. The passionfruit focus of Escada's own Chiffon Sorbet didn't come out of the blue either: Guerlain's Nahéma (1978) brought a saturated fruity mantle to the central rose lending sonorous timbre.
What Gave Wings to the Fruity Florals
I would venture the theory that the best-selling status of Lancome's Trésor (1990, a fragrance minimalistically composed by perfumer Sophia Grojsman to maximalistic effect) was the Rubicon in the rising popularity of the fruity floral in the 1990s: the lactonic density and creaminess of the apricot note allied to her favourite rose, underscored with tons of Galaxolide (a synth musk) made for a huge commercial hit. Even simple shower gels, hairsprays, shampoos and functional products lost their former "perfumey" odour profile (invariably either aldehydic soapy/powdery smelling à la Chanel No.5 or musky-deep Poison-reminiscent) ; these functional products turned into fuzzy, peachy things that sang in pop tunes in the scale of Fruit.
Dior's Poison was an interesting cultural "bridge": although built as a musky oriental with an intense tuberose heart, it also boasted a very discernible grape Kool Aid "accord" that was hard to miss; one can argue it paved the way with its mega-popularity during the 1980s. By the mid-90s the die was cast: the fruity floral was the way to go! Maybe Baby by Benefit and Exclamation! (by Grojsman herself) showed that the peachy/apricoty floral especially had legs.
Grojsman later put a spin onto plum and locust and there came Boucheron's Jaipur for women, arguably a less influential release. Prescriptives Calyx is a lasting, bracing grapefruit with helpings of mango and passionfruit to good effect. It came out much earlier, in 1986. It's also another Grojsman creation. Modern fragrances sometimes exhibit merit in the genre. Gucci II Eau de Parfum by Gucci is the modern equivalent of a decent "berry fruity" as introduced by the L'Artisan "mure": tangy berries on top, clean yet skin-friendly musk, no big sweetness, all around wearability. Raspberry and strawberry make the top note of Hot Couture by Givenchy such a playful little minx while berries are the fruity tanginess in Guerlain Insolence, modernising a classic violet floral structure.
But it took another huge best-seller, the influential Dior J'Adore, coming out in 1999 composed by Calice Becker, to cement the trend; Calyx was launched by a makeup brand with a specific demographic, Chiffon Sorbet was all too brief a launch to register at the time, Trésor was influential true, but still, it took a major luxury fashion house such as Dior to imprint it to collective memory. From then on everything was game: the contemporary Azzura (Azzaro), Be Delicious by DKNY, Pleasures Exotic (Lauder), Burberry Brit, Cacharel Amor Amor....they're countless!
Coupled with the maturing of the "gourmand" trend (fragrances inspired by edible smells, usually desserts with a sweet vanillic undercurrent), which tipped the scales to an increasingly sweet spectrum, the fruity floral became bolder & bolder in its "freshness" and increasingly sugared, reminiscent of Life Savers in various shades. Escada, the unsung "designer" innovator, seems to have excelled into producing a pleiad of limited editions to follow the discontinued Chiffon Sorbet, forever identifying the fragrance group with the mood for flip flops and sundresses. Bath & Body Works and Victoria's Secret also made the trend their bread & butter, starting at the 1990s with "single fruit" evocations in alcohol form, ultimately vulgarising the trend. Celebrity scents were the nail on the coffin of sophistication, opting for the hugely commercialised category, sealing the deal: Fruity florals were everywhere by the late-2000s; and we haven't seen the last of them! Or have we?
Un-sung Fruity Florals: Niche and Mainstream
Modern niche houses are understandably reluctant to offer fruity florals; it's all a matter of appealing to connoisseurs and differentiating from the mainstream. Still they can surprise us sometimes with their artistry amidst the tired genre: Breath of God has been hailed by the most difficult critics as a quality product. Pêche Cardinal by MCDI is chokeful of peach over flowers, but the peachiness is singing in a non straining soprano. Maître Parfumeur & Gantier has Fraiche Passiflore with raspberry, peach and passionfruit giving a tropical touch to the naturally banana-faceted jasmine (and the brand had several experimental fruity mixes in their line in the 1980s). Frangipani by Ormonde Jayne takes on fruity nuances of lime and plum to compliment the naturally fruity facets of the tropical white flower that is the frangipani blossom. Patricia de Nicolai's Cococabana takes things to the tropical max: nothing less than coconut. Even all-naturals-perfumery can indulge in the joyful, playful nature of the fruity floral via illusion: Anya's Garden Riverside (later renamed River Cali) and Ayala Moriel's Altruism are such cases.
Amongst the tide of fruity florals I need to point out some that are unfaily unsung despite their exuberant mood packaged in elegant deportment: Patou's Sublime -at least- used to be a sunny, happy smell with a balanced heart of gold, leaning into chypre, something that his Sira des Indes with its gorgeous banana note is not. Birmane by Van Cleef & Arpels takes the unusual note of kumquat (an opening like the sugared bitter peel of this small fruit prepared in Corfu, Greece) and folds it in chocolaty warmth and flowers. Byblos by Byblos (1990) has a helping of strawberry and mimosa sprinkled with pepper; it's delicious and unusual, composed by Elias Ermenidis, a Greek perfumer with more briefs won under his belt than he can count. Jungle L'Eléphant by Kenzo is a rich spicy fruity floral: the cornucopia including mandarin, prune, pineapple, and mango is accented with exotic spices resulting in a very individual scent which flopped commercially; perhaps it was too much for the tastes of 1996; it could stand in any niche house's portfolio just fine nowadays. Eden by Cacharel infused fruits (pineapple, mandarin, melon) and flowers (hawthorn and mimosa) into an aquatic environment with water lily and broke new ground in 1994. Personally I especially love the unripeness of the mango in Un Jardin sur le Nil by Hermès: it gives the impression of grapefruit, such is the tanginess and elegant bitter aftertaste, though it leans into the woody more than the floral.
But the gist is, as they say, "never say never again".
Tuesday, January 29, 2013
Rouge Bunny Rouge Chatoyant, Vespers, Lilt: fragrance reviews
I had promised you in my Best of 2012 in Perfume & Style recap late last year that I would return with my views on the very new Rouge Bunny Rouge fragrances, because they're quite promising for a make-up brand. Indeed, the cultish brand -known for excellent products with a fairy-tale sprinkling- doesn't disappoint in delivering credible jus despite the hyperbolic ad copy on the site. All three of their fragrances, Chatoyant, Vespers and Lilt, wear well and convey attention to detail. They might not instigate wilder fantasies of some of the Lutens, but they don't smell like the chemical mess of many contemporary mainstreams either, straddling in fact a few tropes of niche (the fig scents) and clutching onto a few of the modern classics' strings too (the Narciso-begat "nouveau chypres"). All in all, not bad at all!
Instantly attractive, Chatoyant is a rich blend with a mix of floral, woody and fruity aromas that draw attention and at the same time glow with the sweet attraction of brocade in warm shades. The creamy core of Chatoyant, lightly vanillic, creamily woody with a discernible coconut touch, seemingly composed of lactonic (from the Latin for milk) notes, makes it a lightly sweet mantle, an aura on top of one's being, what the French call à fleur de peau. The rich rosiness smooths the composition, giving the other floral impressions, notably the powdery orchid "note" something to adhere to.
The creamy and yet bitterish fig leaves and milky sap impression of Lilt is tender and green, a fantasy of shaded moments of tranquility, of human skin, of repose, of calm. Fig scents are one of my favorite genres for several reasons. Their reference speaks to the Mediterranean in me with the pang of sweet nostalgia, the promise of an eternal summer, of careless days spent under the shady solace of the fig tree which these fragrances recreate with almost photorealistic accuracy. The apricot-y, coconut-y nuances are lightly sweet in nature and their creaminess makes them extremely simpatico to the natural scent of human skin, which is rich in apocrine glands partly exuding a comparable aroma. The intimacy of the serene woodiness of Lilt, peppered by the more angular notes of the fig leaves with their dusty, citrusy tang and indelible bitterness, is wrapped in other skin-compatible notes such as musk.
The cool, elegant sex-appeal of Vespers reminds me of the shimmering beauty of Narciso for Her. The intensely musky woodiness at the heart of this fragrance is only momentarily obscured by the lightly peppered bouquet of abstract, indefinable flowers opening under the snow. The juxtaposition of cool and warm notes, with the austerity of pencil shavings and the fuzz of Cashmeran, is the secret behind this scents' lure. As a dedicated fan of the genre it wasn't difficult for me to like Vespers and if you're a fan of fragrances like Narciso, SJP Lovely, Lanvin Rumeur, or Guerlain Idylle, with their marrying a floral note (like rose, orange blossom or lily of the valley) that is clear and crystalline with the woody sweetness of a non-heady patchouli, chances are you might like this one too; it's within those parameters without smelling exactly the same.
Alas, it has been rather difficult to access longevity and sillage in the Fragrant Confections line, as the amount I received for reviewing purposes was either so tiny or it had significantly evaporated in transit, that it only allowed me to test these for a single wearing. The cards sprayed with the fragrances however did retain the scent for days (though you realize we're not made out of paper.)
All Rouge Bunny Rouge fragrances are available on the official site. I believe Zuneta in the UK might cater (if they don't already) to those who are not covered by the shipping by the brand directly.
In the interests of disclosure I was sent samples via PR.
Instantly attractive, Chatoyant is a rich blend with a mix of floral, woody and fruity aromas that draw attention and at the same time glow with the sweet attraction of brocade in warm shades. The creamy core of Chatoyant, lightly vanillic, creamily woody with a discernible coconut touch, seemingly composed of lactonic (from the Latin for milk) notes, makes it a lightly sweet mantle, an aura on top of one's being, what the French call à fleur de peau. The rich rosiness smooths the composition, giving the other floral impressions, notably the powdery orchid "note" something to adhere to.
The creamy and yet bitterish fig leaves and milky sap impression of Lilt is tender and green, a fantasy of shaded moments of tranquility, of human skin, of repose, of calm. Fig scents are one of my favorite genres for several reasons. Their reference speaks to the Mediterranean in me with the pang of sweet nostalgia, the promise of an eternal summer, of careless days spent under the shady solace of the fig tree which these fragrances recreate with almost photorealistic accuracy. The apricot-y, coconut-y nuances are lightly sweet in nature and their creaminess makes them extremely simpatico to the natural scent of human skin, which is rich in apocrine glands partly exuding a comparable aroma. The intimacy of the serene woodiness of Lilt, peppered by the more angular notes of the fig leaves with their dusty, citrusy tang and indelible bitterness, is wrapped in other skin-compatible notes such as musk.
The cool, elegant sex-appeal of Vespers reminds me of the shimmering beauty of Narciso for Her. The intensely musky woodiness at the heart of this fragrance is only momentarily obscured by the lightly peppered bouquet of abstract, indefinable flowers opening under the snow. The juxtaposition of cool and warm notes, with the austerity of pencil shavings and the fuzz of Cashmeran, is the secret behind this scents' lure. As a dedicated fan of the genre it wasn't difficult for me to like Vespers and if you're a fan of fragrances like Narciso, SJP Lovely, Lanvin Rumeur, or Guerlain Idylle, with their marrying a floral note (like rose, orange blossom or lily of the valley) that is clear and crystalline with the woody sweetness of a non-heady patchouli, chances are you might like this one too; it's within those parameters without smelling exactly the same.
Alas, it has been rather difficult to access longevity and sillage in the Fragrant Confections line, as the amount I received for reviewing purposes was either so tiny or it had significantly evaporated in transit, that it only allowed me to test these for a single wearing. The cards sprayed with the fragrances however did retain the scent for days (though you realize we're not made out of paper.)
All Rouge Bunny Rouge fragrances are available on the official site. I believe Zuneta in the UK might cater (if they don't already) to those who are not covered by the shipping by the brand directly.
In the interests of disclosure I was sent samples via PR.
Sunday, January 27, 2013
Dries van Noten par Frederic Malle: new fragrance & draw
Frédéric Malle has a few tricks up his elegant sleeve for catering to jaded perfume lovers still. In a new project involving collaborating with various designers, offering his editorial skills and his liaisons with the best perfumers in the business, I learned that Malle is going to launch a line of eponymous designer scents that go off the beaten path. The first fruit of this collaboration is a fragrance for Dries Van Noten, one of the pioneers of the Antwerp "School of Six". The collaboration isn't that out of the blue as one would think: Van noten distributes fragrances in the Éditions de Parfums Frédéric Malle in his boutiques for some time now; Dries Van Noten par Frédéric Malle is the natural outcome.
Although the formula was being developed for the past year and was originally set for an autumn 2012 launch the perfectionism of Malle prevailed and the launch is set for February 15th. But that's not all.
Not only is the collaboration with a fashion designer news, it's also an innovation on the formula front, as the new Malle perfume is touted to be inclusive of a new, natural Indian sandalwood from a sustainable source. Indian sandalwood, for those who didn't know, had essentially been eradicated from perfumery in the last 20 years or so, due to concerns and regulations on the sustainability of the Mysore sandalwood. The news therefore is a leap of hope for the industry in general and sure to create a real peak of interest in the heart of every perfume fan out there. The new fragrance is an oriental woody, smooth and polished like the designs of Van Noten.
The composition has been undertaken by rising perfumer Bruno Jovanovich of International Flavors and Fragrances (IFF) The fragrance notes for the upcoming Dries van Noten par Frédéric Malle are citron, sandalwood, guaiac wood, saffron, Spanish jasmine, tonka beans, Cashmeran/blonde woods, vanilla and musk.
As you can see the presentation of the bottle is also different than the rest of the Malle portfolio, as this is a separate line.
A lab batch sample is trickling my way and after a percursory sniff I'd love to offer it to one of our readers before its official launch. Please enter a comment with any of your thoughts on the Malle line or on sandalwood, or anything perfume related and I will draw a winner on Thursday.
Although the formula was being developed for the past year and was originally set for an autumn 2012 launch the perfectionism of Malle prevailed and the launch is set for February 15th. But that's not all.
Not only is the collaboration with a fashion designer news, it's also an innovation on the formula front, as the new Malle perfume is touted to be inclusive of a new, natural Indian sandalwood from a sustainable source. Indian sandalwood, for those who didn't know, had essentially been eradicated from perfumery in the last 20 years or so, due to concerns and regulations on the sustainability of the Mysore sandalwood. The news therefore is a leap of hope for the industry in general and sure to create a real peak of interest in the heart of every perfume fan out there. The new fragrance is an oriental woody, smooth and polished like the designs of Van Noten.
The composition has been undertaken by rising perfumer Bruno Jovanovich of International Flavors and Fragrances (IFF) The fragrance notes for the upcoming Dries van Noten par Frédéric Malle are citron, sandalwood, guaiac wood, saffron, Spanish jasmine, tonka beans, Cashmeran/blonde woods, vanilla and musk.
As you can see the presentation of the bottle is also different than the rest of the Malle portfolio, as this is a separate line.
A lab batch sample is trickling my way and after a percursory sniff I'd love to offer it to one of our readers before its official launch. Please enter a comment with any of your thoughts on the Malle line or on sandalwood, or anything perfume related and I will draw a winner on Thursday.
Friday, January 25, 2013
82 New Allergens in Perfumes: The Death Toll on Fragrances as we Know Them
Although I'm not one for the sensationalist approach, the escalation of concerns for the potentially allergenic properties of perfumery compounds looks very grim indeed for every perfume lover out there. The classic Miss Dior, Shalimar, Mitsouko and many Guerlains, Angel, Opium, Bellodgia, perfumes with tonka beans and anything with lots of citral (look out for lemon and tangerine "notes") are to be irrevocably changed. If there is something that you absolutely love (and get no adverse reaction from) in its current -already reduced- state, better stock up, because within 2013 lots of fragrances are in for a major rehaul.
If you thought that oakmoss only, i.e. evernia prunastri, was the crux of the matter, you're in for a major surprise. Treemoss, i.e. evernia furfuracea (which acted as mossy note in the post-2008 reformulated chypres that demanded it) is coming into axing and the low-atranol versions of oakmoss have not really managed to convince perfumers of its ability to pose convincingly for what is lost in translation from the older formulae.
Of course one could argue that some classics are already semi-ruined: The classic 1947 Miss Dior (now sold as Miss Dior L'original) is already sent to the back-burner Peoria of limited distribution, but its upstart (the renamed Miss Dior Cherie) isn't safe either; the youthful cheekiness has been effaced and the best-selling Dior smells more like Chanel's Coco Mademoiselle than its own self. The famous YSL Opium, already in transvestite gear, is set to become a eunuch, due to the eradication of eugenol and isoeugenol, spicy molecules naturally present in cloves, mace, bay leaves, rose oil, basil and other plants. As to Chanel No. 5, which raised the flag of the press, thanks to its constant on the front of everyone's mind when thinking "perfume", the truth is it has been so attenuated through the years that any claim on Grasse jasmine and adherence to the 1921 formula sounds perfectly ridiculous to anyone who has some vintage bottles stashed in their fragrance closet. If a shiver of fear went down your spine reading that jasmine and rose are to be restricted as well, fear not: most commercial perfumery (even the very best brands) just use hedione and phenyl ethyl alcohol with citronellol for those two notes respectively, with a garland of something else to boost them this way or that; I have already stated how the industry uses the same 20 ingredients over and over resulting in fragrance sameness....It's no accident.
Although the fervor with which the European Commission is inspecting scented products instead of some of its rotten political realities, which have effectively created a chasm between North and South and have posed a risk for the very solidarity of the European Union, seems misplaced, the issue isn't totally without scientific basis.
"Based on the review available and on multiple cases of allergy reported by dermatologists, the SCCS [Scientific Community on Consumer Safety] identified 82 substances (54 chemicals and 28 natural extracts) that can be categorised as 'established contact allergens' in humans, including the 26 that were already on the list." The document goes on to highlight that, based on the combined results from animal experiments and the analysis of their chemical structure, 26 other individual chemicals where categorised as “likely contact allergens”. The SCCS also reveals that in addition, 35 individual chemicals and 13 natural extracts were also categorised as “possible contact allergens” with three further specific substances recognized as being “potent allergens” and not considered safe in consumer products." [source: SCCS publishes fragrance allergen fact sheet]
The above showcases one common misconception concerning the restrictions of certain ingredients in perfume & scented products manufacturing (including skin care, detergents, hair dyes and the like), namely that it is natural extracts that are being axed due to reasons of high costs. This is plainly NOT the case. It's much more complex than that and litigation as well as technical problems within the industry, as mentioned before, factor in. As you can see above, by the numbers given, plenty of synthesized molecules (nature-identical or synthetic) are also being axed; in fact the synthetics to be eradicated outnumber the naturals greatly (54 to 28)!
What is most alarming is that this is showing no signs of stopping there: 26 other individual chemicals are categorized as "likely contact allergens". In addition 35 individual chemicals and 13 natural extracts are also categorized as possible contact allergens with 3 further specific substances recognized as being "potent allergens" not considered safe in consumer products.
Although ever since 2003 there has been a series of 26 individual ingredients which have been identified as allergenic and are required by law in the EU and in the US to be mentioned on the label (things like coumarin, hydroxycitronellal, Lilial, citronellol, etc), the percentage of people with some form of allergic sensitivity to consumer products with a scent is calculated to be 1 in every 3 Europeans.
Even though the usual repercussion of skin contact with these questionable ingredients in perfumes usually results in topical redness and a rash, it can escalate to eczema, a more severe allergic immune system reaction which even when treated can remain dormant for a lifetime, waiting to be re-triggered via another exposure to the allergen that first made it erupt. It is important to note that even though some ingredients do not cause a reaction in vitro, they can potentially do so in vivo thanks to the interaction with sunlight, air or even the body's own biological processes which turn them into allergens. But there is an inconsistency.
‘While I do think the consumer’s health and wellbeing should always be our first priority, imagine if Brussels authorised for all nut products to be banned or restricted because a few people are allergic,’ Roja Dove, a prime industry figure and a manufacturer of luxury niche fragrances, says. ‘Just look at basil. I have to list it on the back of packaging if I use more than a certain percentage because it’s one of the original list of 26 the European Commission decided must be declared. ‘But a chef can take a huge bunch of basil, chop it up and sprinkle it over food, and their hands will be covered with basil oil. There are no guidelines there.’
Thankfully it is claimed that an exposure level in cosmetic products of less than 0,01% (or 10 mg/100g of cosmetic product) would prevent allergic reactions in the majority of cases. As such, the use of kojic acid (a skin lightener for cosmetic use on melasma and age spots) for instance is considered safe in concentrations of 1% in compound of leave-on creams for use on face and hands.
According to The Times, the European Commission are expected to propose new regulations within the fragrance industry in January 2014, when considerations of both the economic importance of perfume (earning £1.5 billion a year for France alone) and the actual number of perfume-induced allergies occurring might be put into perspective. The sheer process of re-evaluating all the formulae currently on the market and reformulating all those perfumes at no monetary compensation should definitely sting for all the fragrance companies.
It remains to be seen whether a subtle visual twist in packaging (as before) or an augmented list of allergens on the label will be the deciding factor in signaling the changed formula of any given perfume. At any rate, consider yourselves warned.
.jpg) |
| via lefigaro.madame.fr |
If you thought that oakmoss only, i.e. evernia prunastri, was the crux of the matter, you're in for a major surprise. Treemoss, i.e. evernia furfuracea (which acted as mossy note in the post-2008 reformulated chypres that demanded it) is coming into axing and the low-atranol versions of oakmoss have not really managed to convince perfumers of its ability to pose convincingly for what is lost in translation from the older formulae.
Of course one could argue that some classics are already semi-ruined: The classic 1947 Miss Dior (now sold as Miss Dior L'original) is already sent to the back-burner Peoria of limited distribution, but its upstart (the renamed Miss Dior Cherie) isn't safe either; the youthful cheekiness has been effaced and the best-selling Dior smells more like Chanel's Coco Mademoiselle than its own self. The famous YSL Opium, already in transvestite gear, is set to become a eunuch, due to the eradication of eugenol and isoeugenol, spicy molecules naturally present in cloves, mace, bay leaves, rose oil, basil and other plants. As to Chanel No. 5, which raised the flag of the press, thanks to its constant on the front of everyone's mind when thinking "perfume", the truth is it has been so attenuated through the years that any claim on Grasse jasmine and adherence to the 1921 formula sounds perfectly ridiculous to anyone who has some vintage bottles stashed in their fragrance closet. If a shiver of fear went down your spine reading that jasmine and rose are to be restricted as well, fear not: most commercial perfumery (even the very best brands) just use hedione and phenyl ethyl alcohol with citronellol for those two notes respectively, with a garland of something else to boost them this way or that; I have already stated how the industry uses the same 20 ingredients over and over resulting in fragrance sameness....It's no accident.
Although the fervor with which the European Commission is inspecting scented products instead of some of its rotten political realities, which have effectively created a chasm between North and South and have posed a risk for the very solidarity of the European Union, seems misplaced, the issue isn't totally without scientific basis.
"Based on the review available and on multiple cases of allergy reported by dermatologists, the SCCS [Scientific Community on Consumer Safety] identified 82 substances (54 chemicals and 28 natural extracts) that can be categorised as 'established contact allergens' in humans, including the 26 that were already on the list." The document goes on to highlight that, based on the combined results from animal experiments and the analysis of their chemical structure, 26 other individual chemicals where categorised as “likely contact allergens”. The SCCS also reveals that in addition, 35 individual chemicals and 13 natural extracts were also categorised as “possible contact allergens” with three further specific substances recognized as being “potent allergens” and not considered safe in consumer products." [source: SCCS publishes fragrance allergen fact sheet]
The above showcases one common misconception concerning the restrictions of certain ingredients in perfume & scented products manufacturing (including skin care, detergents, hair dyes and the like), namely that it is natural extracts that are being axed due to reasons of high costs. This is plainly NOT the case. It's much more complex than that and litigation as well as technical problems within the industry, as mentioned before, factor in. As you can see above, by the numbers given, plenty of synthesized molecules (nature-identical or synthetic) are also being axed; in fact the synthetics to be eradicated outnumber the naturals greatly (54 to 28)!
What is most alarming is that this is showing no signs of stopping there: 26 other individual chemicals are categorized as "likely contact allergens". In addition 35 individual chemicals and 13 natural extracts are also categorized as possible contact allergens with 3 further specific substances recognized as being "potent allergens" not considered safe in consumer products.
Although ever since 2003 there has been a series of 26 individual ingredients which have been identified as allergenic and are required by law in the EU and in the US to be mentioned on the label (things like coumarin, hydroxycitronellal, Lilial, citronellol, etc), the percentage of people with some form of allergic sensitivity to consumer products with a scent is calculated to be 1 in every 3 Europeans.
Even though the usual repercussion of skin contact with these questionable ingredients in perfumes usually results in topical redness and a rash, it can escalate to eczema, a more severe allergic immune system reaction which even when treated can remain dormant for a lifetime, waiting to be re-triggered via another exposure to the allergen that first made it erupt. It is important to note that even though some ingredients do not cause a reaction in vitro, they can potentially do so in vivo thanks to the interaction with sunlight, air or even the body's own biological processes which turn them into allergens. But there is an inconsistency.
‘While I do think the consumer’s health and wellbeing should always be our first priority, imagine if Brussels authorised for all nut products to be banned or restricted because a few people are allergic,’ Roja Dove, a prime industry figure and a manufacturer of luxury niche fragrances, says. ‘Just look at basil. I have to list it on the back of packaging if I use more than a certain percentage because it’s one of the original list of 26 the European Commission decided must be declared. ‘But a chef can take a huge bunch of basil, chop it up and sprinkle it over food, and their hands will be covered with basil oil. There are no guidelines there.’
Thankfully it is claimed that an exposure level in cosmetic products of less than 0,01% (or 10 mg/100g of cosmetic product) would prevent allergic reactions in the majority of cases. As such, the use of kojic acid (a skin lightener for cosmetic use on melasma and age spots) for instance is considered safe in concentrations of 1% in compound of leave-on creams for use on face and hands.
According to The Times, the European Commission are expected to propose new regulations within the fragrance industry in January 2014, when considerations of both the economic importance of perfume (earning £1.5 billion a year for France alone) and the actual number of perfume-induced allergies occurring might be put into perspective. The sheer process of re-evaluating all the formulae currently on the market and reformulating all those perfumes at no monetary compensation should definitely sting for all the fragrance companies.
It remains to be seen whether a subtle visual twist in packaging (as before) or an augmented list of allergens on the label will be the deciding factor in signaling the changed formula of any given perfume. At any rate, consider yourselves warned.
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