The Elusive Search for an Exceptional Fragrance

With almost 6000 new fragrances each year, nowadays, it is impossible to proclaim something as best of X year. There is absolutely no way of testing everything, even if we tried. Pure mathematics prove this: 6000 divided with 365 gives us 16,43 fragrances tested PER DAY, every day. Who can do that and how would one's poor nose react to that sort of tension and over-reaching? 

I bet there would also be days of a nose cold or lack of adequate weather conditions in order to do proper tests. A day of heatwave tends to side-track and alter olfactory perception, simply due to the physics of volatility and diffusion of scented molecules. Therefore the process of elimination starts at the testing chop block. 

Personally I tend to seek out brands which either rejecting the norms of mass produced fragrance, seeking a return to luxury and creativity, therefore brands on a carefully controlled scale in order to empower the fragrance creators while offering the customer an exceptional experience. Collaborations with talented perfumers also pique my interest to sample fragrances, or a very creative and unusual concept catches my attention. But the judging does rely on the result. Does the fragrance deliver in terms of adhering to its communicated concept? Does it have consistency with the general style of the brand? Does it bear an individual touch which separates from the rest in its genre? Or alternatively does it exalt its genre into something elevated and pushing boundaries? Originality is somewhat twisted. 

British author Tibor Fisher wrote that all ideas were covered by the Greeks long ago and we're merely rehashing the collectively forgotten. This is the conundrum of the artist: "I won't look at what has come before, I won't go to galleries or museums, I won't read or talk to artists, and thus I can't help but be original." Is this even possible? Is it even desirable? So in a world that is rehashing tropes in a way, sometimes knowingly, sometimes unconsciously, I tend to seek either the iconoclast who dares step further on: say, a modern neo-chypre that project as novel, or an atypical use of Iso E Super in order to give peppery tones for example. Either some craftsman who absolutely excels at what they're doing: a polished amber that does not feel obese or cloying, a shimmering aldehyde floral which manages to stand shoulder to shoulder with great specimens of the glorious past...That sort of thing cuts the thread for me.

Hermes Barenia: fragrance review

 

Hermès Barénia launched in fall 2024, exploring the contours of the fruity neo-chypre, the first of its kind at Hermès, but within in-house perfumer Christine Nagel's beloved and familiar register. After all she (co)created For Her, Si Armani, and Miss Dior Chérie, icons of the genre, as well as Archives 69.

Official carded samples of Barénia flooded my desk during my research on it, testing on different days, with different weather conditions and different mindsets. In short, I rather like it and find it successful in what it sets out to do. That is, a refined leathery chypre in the modern mould. Let's face it, those are scarce in the designer field and only really surface now in the niche sector; and not to great advantage from a commercial point of view there either. The only exceptions I can think you could find at a major department store are Bottega Veneta, and Nomade by Chloé, and of the two, one is already discontinued. So, yes, Barénia is a good pillar perfume for a collection that is set between mainstream designer and refined luxury, and you should try it out for yourselves as well before judging. The bottle is also delicious, with the emblematic collier de chien motif on the top of the glass, a design conceived in the 1940s with a playful edge. 

 In Barénia the earthy notes of patchouli are present as part of the chypre structure, with the extremely diffusive version of akigalawood, a material we tend to associate with Bisch, who overlays almost everything with it. Nagel is more bent on sclarene which adds a hot iron note in many of her creations, and a cooler quality. However, the effect here is not only peppery and metallic-sort-of, but also tart on top, especially when trying it out on the skin rather than on the blotter, where the mineral, peppery and chypre aspects are more evident. 

On the skin the top note resembles a middle ground between bergamot and grapefruit, the beloved chord of Jean Claude Ellena who worked it into a floral leather himself for Hermès in...Kelly Calèche! I suspect that just like Ellena was said to go to the leather vaults of the French brand in search of inspiration, and being met with the mimosa and rose tonalities of the tanned hides supple to the touch, Nagel was also inspired by this previous excursion. Galop is also heavily referenced, with its rosy softness and more interesting background. But the budget for creating must have been higher, considering the retail price. Still, Barénia is reminiscent of both fragrances, both Kelly Calèche and Galop. We can find nuggets of leathery Galop in Myrrhe Eglantine (a floral amber composition), and in Tutti Twilly d'Hermès (suede fruity floral).

Akigalawood, a love or hate molecule, is combined with oak wood, which adds depth to the whole, but polished into sweeter tones which rise to embrace it in the context of the fruity chypre. This woody base, combinging the moiré with the raw, exudes a suede-like leatheriness which recalls Galop without a doubt. 

It's potent at this stage, it projects excellently from the blotter and from the skin to a lesser degree (try clothes to maximize the effect) and it lasts very well. It's also feminine in an assured woman way, but could also be borrowed by men with a penchant for sophisticated scents, wearing it with flair. A few floral touches (the so-called butterfly lily accord) round out the ensemble, giving a soft touch that further butters up the leather notes. I'd wear it with joy if gifted a bottle, though I admit Galop is superior.

 Hermes Barénia notes: 

Top: Bergamot, Miracle Berry 

Middle: Butterfly Lily 

Base: Oakwood, Patchouli .

Mona di Orio Carnation: fragrance homage of a discontinued gem

"Gigi you're not at all that funny awkward little girl I knew. Over night there's been a breathless change in you. When did your sparkle turn to fire and your warmth become desire, oh, what miracle has made you the way you are?" 

  CARNATION by Mona di Orio was created by the late perfumer as homage to the French writer's heritage – "I created Carnation as a tribute to Colette, my favorite writer. Carnation tells a story of wet skin from the sun, of perturbing intimacy, of a boudoir with sensual chypre fragrances. The nectars of flowers stand out, highlighted by leather, evoking a masculine facet of disconcerting seduction." 

                                Franz Xaver Winterhalter, Portrait of Countess Varvara Musina-Pushkina

 The fragrance by Mona di Orio is neither cantered on carnation the flower, nor the sentimental notions of femininity as a created vision of a creature to be cherished in apostasy. Carnation by Mona di Orio is a living and breathing thing, a woman whose carnation, her texture, her very skin is glowing with the desire that warmth and life has instilled in her, made her the way that she is. Mature, inquisitive, all aglow. 

 Mona di Orio dashed past us, with deliciously beautiful fragrances and disappeared into the boundless darkness of the unknown due to a surgery gone wrong. As much in love with scent as her favorite writer, the pupil of the great Edmond Roudnitska, she created her own brand Mona di Orio Parfums in 2004. Carnation by Mona di Orio is a Amber Floral fragrance for women and men, launched in 2006. The house, managed by her partners, has now been finally closed. 

The nose behind Carnation is Mona di Orio. Top notes are Bourbon Geranium and Bergamot; middle notes are Ylang-Ylang, Jasmine, Violet and Precious Woods; base notes are Styrax, Amber and Musk.

Beauty review: Liposan/Labello Caring Beauty 3-in1 Red

 I long liked and lamented the discontinuation of Liposan/Labello tinted lip balm in red. The Cherry Shine edition that replaced it was no substitute. It was so shiny, oily and slippery it created a gross oil smear on one's mouth with minimal colour, whereas the older balm formula was waxy, satiny with no gloss and stayed nicely put. It even left a stain if enough time and drink had passed. 

Imagine my elation upon stumbling on the newer Liposan/Labello Caring Beauty 3-in1 Red! It said it was for both lips and cheeks, so I came to the conclusion it must be at least satiny, if not matte, since having a gigantic grease circle on your cheek sounds and looks gross. Could it be true that theyd bring back the old formula? I didn't see it in physical stores, so bought online. For 3.5€ it was a no brainer, mixed with other goods in an online haul. 

Well, the formula isn't exactly the same as the old one, but it is pretty close in spirit and very pretty overall too. It has a rich, thick consistency, it feels good going on, and delivers a neutral clear red; not too warm, not too cool. The consistency makes for great morning use, something to apply on the run, no mirror necessary (bouche mordue anyone?) and the payoff is flushed lips in a becoming shade. I suppose it's as great on the cheeks too, though I don't really need it myself. Plus it's got SPF30 too. What's not to like? 

Considering if you're like me you will find it once, fall in love with it and by the time your run out they will have discontinued it, buy it now while you can! 

Miss Dior Eau de Cologne (vintage): perfume photography

photo by Elena Vosnaki