"New" Dior fragrances? Les Creations de Monsieur Dior

Browsing the aisles of my local Sephora today I came across two new bottles of Christian Dior fragrances which made an impression. They're both decidely not new, but they were clearly presented as "new" with the matching light blue tags that Sephora puts on their just-arrived merchandise on the shelf. What's up? I decided to investigate.

One of them (and perhaps the most interesting) is the classic 1953 Eau Fraîche [click for review] of which Edmond Roudnistka himself had attributed as the ancestor of Diorella (Although popular notion wants Diorella to be the feminine version of the masculine Eau Sauvage)

It's intriguing to note that it never went away but it had become a scarce "secret" commodity to be shared among cognoscenti. Roudniska's agility in creating magnificent citrus scents (see also Rochas Moustache for its use of lime) is evidenced in the classic mandarin and rosewood accord of the original, and unfortunately the newest version is not quite it what it once was in its murky depths of chypre tonalities (The background of oakmoss has been cleaned up a bit). However it still radiates with a pitch that is both melodious and crystal-clear from both blotter and skin and is one of the best dry citruses on the market currently, so I cannot be but rather pleased for reasons I will elaborate on a bit.

The mania for Eaux Fraiches has taken the market literally by storm with Dior themselves (and therefore in essence ~no pun intended~ the giant LVMH) issuing an Eau (very nice) spin on Miss Dior Cherie, an Eau Cologne Florale version for their best-selling J'Adore and two classic Eaux, inspired by exotic locales: Escale à Portofino and Escale à Pondichéry. Several other brands, Hermès among them, also issue Eaux with increasing tempo, with Chanel Cristalle Eau Verte trying to inject a new classiness which ~surprisingly~ Dior just outbid! Clearly the market for eaux is thriving: My sunny Mediterranean soul cannot but applaud this rekindling of this centuries-old tradition of singing citruses from Sicily & Calabria which brings back to mind memories of my mother drenching my little hands with Eau de Cologne on just about any occassion, casual and formal alike.

The other bottle I noticed is the Forever and Ever, a limited edition sweet floral from a few years back re-introduced in 2006 in pink packaging. Its notes encompass ivy leaves, freesia, water jasmine, rose, almond blossom, geranium, vanilla, musk and ambrette seed.
This one remains as I recalled it.

So what's the deal?
The whole Dior line of classics is rejingled as Les Créations de Monsieur Dior with new packaging and apparently even newer rearrangements of the juice inside. I had predicted the reformulation hiding between such a move as far back as last spring (when there was ever so slightly a re-arrangement of the packaging) and here we are faced with it most decidedly. In the case of Diorissimo, Dioressence and Diorella (to a lesser degree, thank God) it bears rather ominous results, their complexity alightened. But at least not all is irrevocably lost!
Interestingly, François Demachy, head perfumer at Dior, has reorchestrated the classic Diorissimo into a new version of Eau de Parfum (to the original Eau de Toilette and parfum, latter of which is rarer and rarer) touted as "richer, deeper and intense, with a dominant jasmine floral heart note" (Without a doubt the IFRA restrictions on natural jasmine quota hint at the synergistic use of several synthetic alternatives.Both of the "new" fragrances are below a little 80 euros and come in big 100ml/3.4oz bottles, revamped in outer packaging, a uniform look which is the newest "dress" for all Les Créations de Monsieur Dior products (a niche "collection" idea): The box is all white with a big oval of gold circling the name in pink for Forever and Ever and in acid yellow for Eau fraiche. The bottles, coloured accordingly, are a slight twist on the classic bottle which houses the older fragrances of the house (Diorella, Diorissimo, Dioressence) and exhibits a faux threading in silver on the bottle neck which is quite elegant! This would be also quite handy when later on collectors will want to date their Dior bottles. Mark the year: Les Créations de Monsieur Dior came out in late 2009...

Addition: The line includes Diorama perfume in the same design, issued in 2011, and will include Diorling in late January 2012 as well.

Pics via Dior.com.

Frederic Malle Home Collection Scents & Saint des Saints review

"In this new adventure, I have chosen to work with perfumers or noses specialized in fine fragrances, as opposed to those in functional fragrance who would normally work on home fragrances,” says Frédéric Malle, the auteur behind Editions de Parfums and the instigator of several "lines" of fragrances across the market. “A fragrance should become part of life without smothering it. The goal for this new home collection is to embellish the complex alchemy that makes up the odors of our world.”

With imaginative names such as Jurassic Flower (centered on magnolia, which we had mentioned in relation to Malle before) and Coffee Society (the aftermath of a rich dinner) the sparse packaging eschews the ultra-luxe presentation upscale home fragrance brands invest their offerings with such as the rococo-looking Cire Trudon and Ladurée. I see half the bet already won: it's all about the formula, we're left to think! Judging by his Saint des Saints, which I was fortunate enough to smell through an inward connection, the mission is accomplished. Saint des Saints is a holy offering of myrrh incense and balsams (I seem to detect Tolu and Peru balsams, but nothing official is forthcoming now) that is capable of conjuring Caspar in turbaned gear in nano-seconds. I can picture myself reading my beloved books on medieval and renaissance alchemy by the throw of this scent, a blazing fire burning in the fireplace and some fine Napeoleon cognac in my palm. It just seems to condone such an atmosphere, which were it not available it should have been invented.

For this collection Frédéric Malle joined forces with fine fragrance "noses" Carlos Benaïm, a close colleague of the late Dr. Mookherjee (vice-president of IFF), the prolific and bestseller-producing Sophia Grosman, and Dominique Ropion, who has been working with Malle for a long time producing some of the line's most memorable creations. Since of the three only Carlos Benaïm hasn't collaborated with F.Malle before are we to expect the newest fragrance to join the fine fragrance line to be his creation?
The home range encompasses 5 florals, 1 woody and 3 compositions more attuned to orientalised sensibilities. The technology and artistry employed aimed to produce realistic scent “portraits” of flowers and essences for the home, combining head space techniques and natural essences, coming out with ways to emit the aroma as best as possible: that took the form of a candle (with wax especially formulated to aid diffusion, though what I smelled was not super potent), a diffuser (called "fleurs mécaniques" or mechanical flowers), or both. The innovation of the difuser is that it is an in-house development of the Editions de Parfums, a wireless cube that can be recharged with a refill. There is also another innovation available in one scent, Saint des Saints, which is called Rubber Incense: this is the Space-Age equivalent of the pot-pouri sachet that proviencial women put in closets to keep them aromatized; a small sheet of 100% recyclable plastic rubber is saturated with fragrance. The patented Polyiff technique from IFF allows diffusion for years without necessitating electricity or refills.

The Editions de Parfums Frédéric Malle Home Collection Scents comprises:

• Un Gardénia, la Nuit by Dominique Ropion (available as a candle and fleurs mécaniques). The gardenia is one of Frédéric Malle’s favorite flowers and this is a rendition following the head space method of Dr. Braja Mookherjee producing a most convincing natural scent. Incidentally the most pricey of the range.

• 1er Mai by Dominique Ropion (candle and fleurs mécaniques). This near-reproduction of the fragrance of a cluster of lily of the valley (muguet) is the result of working with historic formulae (Coty Muguet de Bois, Dior Diorissimo) for the flower along with head space technology.

• Rosa Rugosa by Carlos Benaïm (candle and fleurs mécaniques). The reconstitution of the dry, cold, astringent-like scent of these wild rose bushes which grow on the Atlantic coast was developed by Benaïm “au nez”, just by using his nose.

• Rubrum Lily by Carlos Benaïm (candle and fleurs mécaniques). The ravishing perfume of a full bouquet of lilies which has dressed up rooms since the turn of the century: Floral, green, salty, and very spicy.

• Jurassic Flower by Carlos Benaïm (candle and fleurs mécaniques). A unique floral fragrance centered on magnolia thanks to top notes which resemble those of citrus fruits. A subtle lavender aspect and the sweetness of peaches complement this very natural smelling freshness.

• Saint des Saints by Carlos Benaïm (candle and rubber incense). The work that Dr. Mookherjee did to record scents included the analysis of his favorite places such as Indian temples which lead to the creation of this mystical fragrance.

• Coffee Society by Carlos Benaïm (available as a candle) This candle attempts to recreate that ephemeral odor of the living room after the end of a Parisian dinner, several dishes and the delicasies that accompany that demitasse. Among the perfumes of the home collection, this one most resembles a fragrance that is to be worn.

• Russian Nights by Sophia Grosman (available as a candle). This simple yet rich fragrance has notes of nutmeg, cinnamon, iris and sandalwood producing a soft spicy ambery oriental. It was designed to embody the suave warmth of long nights in Russia, although I imagine it has more to do with the cozy feeling of a log-fire room than actual nights in the great outdoors.

• Santal Cardamome by Dominique Ropion (available as a candle).The scent of sandalwood has become something of the far-reached Avalon for perfumers these days due to restrictions to its harvesting resulting in substitutions with sandalore. The Malle team came upon a chord of harmony of sandalwood cardamomthat compliment each other in a woody blend of raw attraction.

Frédéric Malle Home Collection Scents will be available in F.Malle's boutiques (at New York City and Paris) starting November 2009 as well as Barneys stores, and online at EditionsdeParfums.com in December 2009. Prices for candles between $85 and $150, Rubber Incense $105 for 5 pieces, and Fleurs Mécaniques $380 with one refill included in the price. Each scent refill surplus costs from $70 to $100.

Related reading on Perfume Shrine: Frederic Malle news & reviews, Myth Debunking: Scented candles cause cancer? The truth.

some info/prices via press release and Fragrantica, pic via osmoz

Frequent Questions: How do I date my Diorissimo bottle?

One might answer that question quipping you could dine it and wine it, but jokes aside let's focus on how you would date your Christian Dior Diorissimo fragrance in the sense of chronologising it; a question on the back of the minds of many perfume enthusiasts who are justifiably confused. It's kind of tricky, indeed, since Diorissimo has changed so many times and so often the details on the bottles are minor. In this guide we will try to sort out the different bottles and versions of Diorissimo, so it becomes much easier for all of our readers.

The initial presentation of Diorissimo, created by Edmond Roudnitska in 1956, came in what is known as the amphora bottle. A flacon of Baccarat crystal designed in the shape of an ancient amphora with curved body and a bronze bouquet of flowers sprouting off its top. That presentation held the parfum and is extremely rare and expensive nowadays. Basically it's a museum piece, therefore it shouldn't concern you when buying online yourself; I am including it for the sheer plush of its coffret and its reclining beauty.

The amphora shape in rather simplified form became the design for Diorissimo later on. Some of these bottles rise their heads from time to time, at costly prices. The stopper has a bulbous shape. The same design was recently used for the Collection Particuliere Passagere.

In the interim, today's bottle design was first conceived and introduced in the 1960s. This 1965 ad with the design by René Gruau shows two designs for Diorissimo: a tall cylinder of leveled glass with a wide, round silver cap with the name in a band across its breadth; and a smaller flask-shaped flacon with a transparent round cap and the name on a thick-paper insert on the front of the bottle, crowned by the characteristic little bow of parfums Dior.

The classic houndstooth design established itself in the end of the 1960s, the 70s, all through the early 80s. The juice appears darker than it was in real time, because of oxidation due to the passage of time. The versions circulating included Eau de Toilette and Eau de Cologne, lighter concentrations than extrait de parfum, but bearing all the radiance and beauty of the original formula. These are the bottles I recall on my grandmother's vanity as a small child. They were splash bottles, a usual design for the era, but there was also the option of attaching a spray mechanism, as depicted in this photo.





The parfum version was encased in the previous design flacons with the cap in gold. And an Eau de Cologne was also circulating in this tall presentation. Much later the same version took on a plastic spray mechanism with box still in black and white houndstooth and a pink oval on the front.

When LVMH took over Christian Dior in the mid-90s, all the classic fragrances in the line took another uniform shape: the flask-like bottle, topped with a rounded diaphanous cap; essentially a throw-back to the past. This design was extended into all the special limited editions of the Dior line as well (Dior me, Dior me not, Chris 1947, Dior Lily etc.)
Up till fairly recently the Diorissimo bottles circulating were these: pink box, Diorissimo tag in white oval. The bottle was shaped as usual, the letters cursive and on the glass itself, no sticker. This is the version that Luca Turin granted 4 stars in his "Perfumes, the Guide", saying"today's Diorissimo is unquestionably different from the older version although still a thing of great beauty". The colour of the juice was straw-like and lighter than before, although not as clear as present juice.

The extrait de parfum however took on a curiously clear tint which indicated the lack of certain heavier molecules. The oval with the logo is actually greyer than the photo indicates.

Diorissimo has very recently (2009) changed it packaging yet again to denote the impending restrictions implemented to the levels of hydroxycitronnelal (a lily of the valley aroma-chemical and the main constituent of Diorissimo's muguet bouquet): the newer white packaging with pink “oval” bearing the name states hydroxycitronellal further behind other ingredients instead of the slightly older batch of pink packaging with white oval. The change is subtle and very cunning: while right now the packaging can be an indicator of batches, the introduction of a different colour schema is an optical blurring, ready for further –and final- chopping off! The consumer will never be able to realise without minutely examining the allergens list, which -let’s face it- is not what most people do.

Diorissimo bottle collecting is also tricky because the fragrance does not keel well over the years, being rich in highly volatile essences and swiftly deteriorating aromata resulting in diminished freshness. Therefore caution should be employed when eyeing auctions of older bottles.

Related reading on Perfume Shrine: Frequent Questions

Pics via basenotes, perfumemaking.blogspot,a367.yahoofs.com, productserve.com and perfumeshrine

Miss Dior Cherie L'Eau by Christian Dior: fragrance review

It's not often that I am caught completely off-guard and totally surprised by something. Usually my instincts and my (hard-paid for) experience guide me through most eventualities with assured steps. Yet the latest Miss Dior Chérie L'Eau managed to make me do a 180 degree turn! Not because it is a masterpiece. Far from it. But because I was fully prepared to absolutely hate it, just because I have been alienated by the sugary, patchouli, fruity spin of Miss Dior Chérie, a scent that is completely different than the classic chypre Miss Dior from 1947 (Dior's first scent) of which you can read a review here. The shared name makes one think hard on how much travesty one can stomach.

Furthermore, the developments at Christian Dior for some years now have been quite unsettling as the whole image has been cheapened and ultimately vulgarised. Not to mention that the very latest observations I made regarding reformulations afoot to all their classics, from Diorissimo and Diorella onwards ~signaled by cunningly new-old looking packaging only~ has left a bitter taste in my mouth... So a testing at Sephora just because it was the latest thing provided a rather pleasant jolt out of the doldrums of contemplating on "what Dior had been"...
According to its creator François Demachy, "Miss Dior Chérie L'Eau is not a complicated fragrance". Imagine a freshly scrubbed young lass, put a headband on her bouffant long hair, a mock pout with no depths of murky sexuality à la Catholic girls and you're basically got your sanitized BB.9
(ie. Bardot version 2009) ~a product of bourgeois paternalism and market satiation! Yet, didn't Bardot herself began her career posing for bourgeois magazines and studying ballent under Boris Knyazev?

Demachy has been instrumental in the creation of Aqua di Parma Colonia Assoluta, the re-issue of Pucci Vivara, Fendi Palazzo and a pleiad of scents for parfums Christian Dior (he almost seems like in-house perfumer at this rate, which I m not sure how to interpret!): the newest Dior Escale à Pontichery which we recently reviewed, as well as last summer's Escale à Portofino, Farenheit 32, the masculine Eau Sauvage Fraicheur Cuir and Dior Homme Sport, the Dior numbered Passages special collection of scents Collection Particuliere, Midnight Poison, Dior J'adore L'absolu...

Vogue.co.uk describes Miss Dior Chérie L'Eau as "a sparkling and distinctive floral scent blended with notes of tangy yet spicy bitter orange, Gardenia and white musks that aims to sum up the certain 'je ne sais quoi' of the ultimate French girl. Pretty in every detail - down to the bottle's iconic bow - this lighter, François Demachy-designed adaptation of the original perfectly fits a long-standing perfume brief from Christian Dior himself, "Faites-moi un parfum qui sente l'amour" (make me a fragrance which smells of love)."

I don't think Miss Dior Cherie L'Eau quite captures all that (especially the amour part), but it's not typical of the myriads of fruity florals on the market: First of all, the scent is decidedly floral for a change, but with a certain modern translucence and a lightl dewy feeling that makes for a refreshing take on green florals. The direction is "muguet"/lily of the valley "clean" (the lucky charm of Christian Dior himself) but done via a green, budding gardenia accord; which might be replicated by jasmolactones, if the eerie feeling of familiarity with Pur Desir de Gardenia by Yves Rocher is anything to go by, although the Rocher one is much more gardenia-oriented than this one. A small facet of the pleasantly bitter citrusy touches of Escale à Portofino and Mugler Cologne is also hiding in there with a very soft powdery drydown, fluffy like an air-spun macaroon with green filling and a little laundry-day feel. The girl wearing the John Galliano dress in the shade of candies, model Maryna Linchuk shot by Tim Walker, is perky, and innocently upbeat in a 60s kind-of-way (hold the orgasmic cries of the original Bardot song that accompanies the commercials shot by Sofia Coppola,; this one is a pouting Bardot seen through unknowing ten-year-old eyes!). The blotter beckons me from the depths of my old, ivory LV Monogram Vernis handbag: should I give it one more chance?

Notes for Miss Dior Chérie L'Eau:
bitter orange, gardenia accord, white musks

Miss Dior Chérie L'Eau has just launched widely, in amounts of 50 and 100 ml (1.7 and 3.4 oz) for 59€ and 85€ respectively.
If you have a few moments to kill, the Dior website for the fragrance is fun!

The rather confusing Miss Dior Chérie line comprises so far:
Miss Dior Chérie Eau de Parfum 2005,
Miss Dior Chérie Eau de Toilette 2007,
Miss Dior Chérie Eau de Printemps 2008(limited edition),
Miss Dior Chérie Blooming Bouquet2008(exclusive aimed at the Asian market),
Miss Dior Cherie L'Eau 2009.

Last but not least: For those of you who might as well get a dose of the old standby classic gardenia chypre of Miss Dior, there are some bottles over at Fragrancenet.com as well as the standard Miss Dior Chérie. Using code SHRINE saves you a further 10%!(offer good throughout May).


Related reading on Perfumeshrine: the Dior series

Pics via punmiris.com and imachildofthemoon.blogspot.com

Distant cousins: Lily of the Valley & Lily~part 1: Lily of the Valley

Although in nomenclature lily of the valley is easily confused with lily and its own varietal richness, the two are completely different flowers and in this scent guide I will try to analyse their olfactory differences, their participation in the bouquet of classic and modern fragrances, the materials used to render them in perfumery as well as a list of perfumes that highlight their graceful beauty. The first part deals with Lily of the Valley or Muguet, while the second part will deal with Lily.

The raindrenched earth after spring showers and the wet foliage remind me of the lyrics by songwriter George Brassens:

"Le premier mai c'est pas gai" / "The first of May isn’t cheerful"
"Je trime", a dit le muguet / "I slave away", the lily of the valley said
"Dix fois plus que d'habitude" /"Ten times more than usual"
"Regrettable servitude" / "A regrettable encumbrance"
Muguet, sois pas chicaneur / Lily of the valley, don't be a quibbler
Car tu donnes du bonheur / Because you make people happy
Brin d' muguet, tu es quelqu'un... / Nosegay of lily of the valley, you’re somebody...

~Georges Brassens, Discours Des Fleurs

May 1st has been inexctricably tied to Francophiles’ minds with one of the loveliest spring blossoms and its neo-Victorian image: lily of the valley (Lys des vallées) or, as the French commonly call it, muguet (pronounced mygɛ). And it’s for a reason: it’s the traditional flower offered on this day and one can routinely see street vendors selling nosegays on the French streets. The tradition goes back to Charles IX who on May 1st 1561 inaugurated the custom.It is also a symbolic gift for 13 years of marriage and is traditionally used in bridal bouquets thanks to its enticing scent.

Etymology and symbolism

The etymology of muguet is said to derive from muscade (nutmeg), since the smell of the flower has an indefinite nuance reminiscent to it, which became mugade, and finally muguet. A lucky symbol ~it means “return of happiness” in the language of flowers~ the delicate beauty of lily of the valley is however poisonous (especially its reddish fruit) due to convallatoxine, convallamarine, and convallarine; a brave irony on the part of Creation!
Lily of the valley/muguet (Convallaria majalis) is a herbaceous perennial plant prevalent in Asia, Europe and the Eastern USA, with characteristic bell-shaped little flowers, hence its other name May Bells. But its alternative names "Our Lady's tears" and "Male Lily" are more poetically evoctive: Legend wants Eve to have shed bitter tears after the Lapse from the Garden of Eden which falling onto the ground transformed into the white little blossoms. Another medieval legend wants Saint Leondard de Noblac, a knight in the court of Clovis I (of the Limousin region of France) and patron saint to prisoners of all kinds, to have battled with a dragon (a common medieval theme) in which his shed blood trasformed into lilies of the valley. But although one usually associates the delicate green floralncy of its aroma with females now, the term "Male Lily" has another explanation: It has been a favourite perfume for men ever since the 16th century, to the point that up till the 19th century the term muguet was linguistically used to denote an elegant young gentleman!
Another legend wants the Greek God Apollon to have tapestried the mount Parnassus with lilies of the valley so that the Muses wouldn’t hurt themselves if they fell...Classical antiquity paid great attention to the seasonal celebrations of nature and the zenith of the Roman celebrations of Flora, goddess of flowers, culminated on May 1st.

The role of lily of the valley in perfumery and construction of the accord

Lily of the valley is technically a green floral with rosy-lemony nuance*, whereas lily is a white, spicy floral. The former has known a profound and extensive use in perfumery, despite its resistance to natural extraction methods which yield a very miniscule amount of no great significance. Apart from soliflores (fragrances focusing on highlighting the beauty of one kind of flower), the lily of the valley accord has been adequately used in classical fragrances as a catalyst to “open up” and freshen the bouquet of the other floral essences in the heart, much like we allow fresh air to come in contact with an uncorked red wine to let it “breathe” and bring out its best. The effect is wonderfully put to use in Chanel No.19, Guerlain’s Chamade and Jean Patou’s L’Heure Attendue. Its lack of sweetness is also an important aspect in the creation of masculine fragrances: witness Chavelier d’Orsay, Équipage by Hermès, Insensé by Givenchy and Riverside Drive by Bond no.9 to name but a few.

The reconstitutions of lily of the valley note are based on either combinations of natural essences (usually citrus with jasmine, orange blossom or rose and green notes such as vetiver) or more commonly on synthetics. The classical ingredient is hydroxycitronellal, as well as the patended Lyral and Lilial, all coming under the spotlight of the latest restrictions on perfumery materials {you can read all about them here}. Lilial has a cyclamen facet to it, used in good effect in Paco Rabanne pour Homme. Super Muguet is another lily of the valley synthetic which surfaces in Marc Jacobs for men, as a clean facet under the figs. Kovanol is very close to hydroxicitronellal, which is interesting to note. Restricted by IFRA is also the newest Majantol {2,2-Dimethyl-3-(3-methylphenyl)-propanol}, while Muguesia or Mayol are also used to give this green floral smell of muguet. The name Mayol has an interesting background: it’s a nod to comedy singer Félix Mayol who put a boutonnière of the muguets he had been offered by his girlfriend Jenny Crook instead of his usual camelia on the 1st of May of 1895 before going out to sing!
Phenylethyl alcohol and benzyl acetate (the former rosier, the latter jasminer) as well as dimethylbenzenepropanol also contribute in the creation of bases which are used to render lily of the valley notes. It all depends on which impression the perfumer wishes to convey!
The clean, almost soapy nuances of lily of the valley has been traditionally exploited in soaps, which is why all too often lily of the valley as a fragrance note reads as “soapy” in your perfume. It’s also why it’s terribly difficult to render a convincing lily of the valley fine fragrance that does not evoke functional cleaning products, due to the exagerrated use they make of this aroma in that sector of the industry.

Iconic Lily of the Valley fragrances

The definitive lily of the valley fragrance used to be the masterful Diorissimo (1955) by trismegistus Edmond Roudnitska who is said to have planted a bed of them in his garden, so as to study the smell attentively and to evoke the indefinable atmosphere of spring. Lily of the valley used to be the lucky charm of Christian Dior himself, who always sew a twig into the hem of his creations to bring them luck. The juxtaposition of virginal, celestial greenness in the lily-of-the-valley crystal tones of Diorissimo with only a hint at improper smells through the deep, warmly powdery aspect of civet and indolic jasmine in the dry-down is nothing short of magical. Alas, the latest formulation of Diorissimo has taken away that animalic warmth, leaving it with only the clean facet.
Roudnitska himself however had been quite appreciative of the pure and delicate innocence of Muguet des Bois (Muguets of the Woods) by Coty (1942). Guerlain’s seasonal limited edition of Muguet is a rich, sweeter rendition that is partly inspired by the original Muguet of 1906, while Le Muguet by Annick Goutal (2001) is an ethereal and sharper interpretation, quite true to the blossom, if only rather fleeting in Eau de Toilette (alas the only offering). Début by parfums DelRae is an intensely lovely and sylphid-like lily of the valley composition by Michel Roudnitska, which shines like ivory pearls on a long smooth neck. For those who prefer a soft and creamy treatment of the note, I suggest they try Muguet de Bonheur by Caron (1952).

Fragrances with prominent Lily of the Valley notes (in alphabetical order, click links for reviews):

Acaciosa by Caron
Anais Anais by Cacharel (along with lily)
Antilope by Weil
Aqua Allegoria Herba Fresca by Guerlain
Aqua Allegoria Lilia Bella by Guerlain
Be Delicious by Donna Karan
Capricci by Nina Ricci
Chamade by Guerlain (along with hyacinth)
Clair de Musc by Serge Lutens
Climat by Lancôme
Dazzling Silver by Estee Lauder
Début by DelRae
Dior me, Dior me not by Dior (limited edition of 2004, along with sweet pea)
Diorissimo by Christian Dior
Eau d’Argent by Montana
Eclipse by Parfums De Nicolaï
Envy by Gucci
Helmut Lang Eau de Cologne and Eau de Parfum (discontinued)
Jessica Mc Clintock by Jessica Mc Clintock
Koto by Shiseido
Laura by Laura Biagotti
Lauren by Ralph Lauren
Le Muguet by Annick Goutal
Le Muguet de Rosine by Les Parfums de Rosine (discontinued)
Lily by Dior (limited edition of 1999)
Lily of the Valley by Crabtree and Evelyn
Lily of the Valley by Floris
Lily of the Valley by Penhaligon’s
Lily of the Valley by Taylor of London
Lily of the Valley by Winds of Windsor
Lily of the Valley by Yardley
Miss Dior by Christian Dior
Miss Worth by Worth
Mughetto by L'Erbolario
Mughetto by Santa Maria Novela
Mughetto di Primavera by I profumi di Firenze
Muguet by Cotswold Perfumery
Muguet by Guerlain (limited edition, launches for May 1st only each year)
Muguet by Molinard
Muguet by Slatkin
Muguet de Bois by Coty
Muguet de bois by Yves Rocher
Muguet de Bonheur by Caron
Muguet de Mai by Roger & Gallet (discontinued)
Odalisque by Parfums De Nicolaï
Remember Me by Dior (limited edition of 2000)
Sampaquita by Ormonde Jayne
Tiare by Chantecaille
Urban Lily by Strange Invisible Perfumes
W by Banana Republic
XS pour Elle Paco Rabanne

*In a study on the headspace of lily-of-the-valley flowers using GC-MS and GC-sniffing/GC-olfactometry techniques, Brumke, Ritter and Schmaus from the company Dragoco (today Symrise, Germany) identified some 23 compounds contributing to the lily-of-the-valley fragrance, among these several newly detected trace constituents. The odorants could be divided into floral-rosy-citrusy notes: citronellol (9.6 %), geraniol (8.4%), nerol (1.3 %), citronellyl acetate (1.1 %), geranyl acetate (3.3 %), geranial + benzyl acetate (0.96 %), neral (0.02 %), benzyl acohol (35 %), phenethyl alcohol (0.78 %), phenylacetonitrile (3.0 %), farnesol (1.9 %) and 2,3-dihydrofarnesol (0.88 %), green-grassy notes: (Z)-3-hexen-1-ol (11 %), (Z)-3-hexenyl acetate (7.8 %), (Z)-3-hexenal (trace) and (E)-2-hexenal
(0.18 %), green pea and galbanum-like notes: 2-isopropyl-3-methoxypyrazine (trace) and 2-isobutyl-3-methoxypyrazine (trace), fatty, waxy, aldehydic notes: octanal (0.15 %), nonanal (0.1 %), decanal (0.07 %) and fruity, raspberry notes: beta-ionone (trace). In another study of lily-of-the-valley, phenylacetaldehyde oxime was identified (source Bo Jensen).

Muguet pic via mes-passions.over.blog.net
Adrien Barrère, illustration of F.Mayol, chromolithographie via imageandnarrative.be, Diorissimo bottle via Dior

The Strange Case of Dr.Oakmoss and Mr.Citrus (part 2)

We talked about the latest restrictions and how oakmoss is one complicated issue and tried to disentangle it a bit in Part 1. But there are more resticted ingredients, whose pros and cons we hope to analyse here. Yet revelations happen with the sudden “swoosh” of pyrotechnics.

The very perceptive Pat from Olfactarama sent me this most eye-opening comment:

“I poked around a little and came up with the RIFM's [Research Institute for Fragrance Materials] annual report. You may already have seen this document, but if not, there is a lot of interesting info here. I'm wondering if this organization isn't one of the ways the labs are funneling research funding into these studies, which may then be used to strongarm the fragrance industry. Since annual reports must be available to the public, it's possible to bypass the "members only" logjam at the site's opening -- I believe some of the publications papers are also available for reading. The list near the back gives RIFM's "partners," and most of the big fragrance manufacturers (Chanel, Estee Lauder, et. al.) are on it. Here is the link: RIFM.Org

I urge you to click the link (it's NOT the well known IFRA amendement, it's a different organisation) and read the participating members on the last page; blink a little and read again!

Chanel….The one company who profited by the downfall of Guerlain to the eyes of many perfume enthusiasts. The one company who salvaged their reputation through the hardships of having to appeal to mainsteam tastes and all with easy elegance. Now, there is proof that they do not oppose the restrictions which are set to harm them most: the jasmine restrictions (as well as the coumarin, ylang ylang, eugenol, oakmoss et al). Octavian had succintcly put it:

“Remember that not only the perfume extract contains a great amount of French jasmine but also this is at the heart of all marketing stories of Chanel. Chanel always insisted on the quality of its jasmine, being one of the very few to use the French type, also cultivated by Chanel” and from a marketing point of view, how can you communicate about jasmine now? Can you show the fields, the extraction and write articles about No5 history and quality when IFRA tells that "jasminum grandiflorum" is "poison"?

It’s a problem. The continuation of the myth will necessarily have to be a covert lie.

However Chanel in either an attempt to salvage what they can (how? I’d advise the Wertheimer brothers to make a statement to that) or to retain their market share without increasing prices are condoning the reformulations. I do know that they are rigorous in preserving quality and just as there are different grades of foodstuff so there are in perfumery ingredients, so they will use the best available. But still the question is: what will there be available?

And Lauder is also a member of RIFM. This makes the futile hope of people in the US that American made perfumes might retain their formula unchanged just that…futile. It was plainly to see before, since Lauder fragrances are made by IFF (who belongs to IFRA), but since not all people know that tidbit, it’s worth mentioning now.

On what concerns citrus restrictions, the kerfuffle is too much for no special reason in most cases. Many people exclaim –justifiably-: “Ridiculous! I get more orange essence on my hands by peeling an orange or on my mouth by eating it than by using perfume!”. True, but there’s a catch: Most citruses in perfumes are synthetic already! Yes, yes, even those you think are naturals. Yes, yes, even some very respected brands (Shalimar anyone? Mitsouko?) . And you know, the difference isn't that perceptible to the majority of even discerning noses and bergamot in particular has been substituted for years due to its photosensitizing begaptene. Which is why I witnessed the groves in Sicily and Calabria being a waning craft...
Yet some citrus essences can be realistically replicated. Want proof? Go smell In Love Again by Yves Saint Laurent. Great realistic grapefruit note, huh? 100% synthetic. But that doesn't diminish the artistry of it, nor should it deter you from using it.

Of course there are several niche and small perfumers (notably the all-naturals field) who continue to use natural extracts and they'e taking a hard blow with the latest; this might make them outlaw indeed! Anya McCoy said:

"There are few willing to take a stance on this. I will. I will continue to use all of the aromatics I wish, with a warning label. If, as it seems it will, the regulations come to the USA, and the FDA enforces them, I will protest and am willing to become a legal case, if necessary. I dare others to join me. That is my solution to the oakmoss, orange, rose, ylang ylang (ad infinitum materials) problem."

Of course that means solely Internet sales... No brand which hopes to have their scents in brick and mortar stores can afford this, since they are subject to import laws (from either the EU or the US).

Brands which use a high degree of natural extracts, citrus and otherwise, such as Annick Goutal, Miller Harris, and Ormonde Jayne are facing a very real problem, hitting them like a ton of bricks. Their buying of raw materials will be seriously challenged thanks to the tale-over of the Grasse companies of raw materials (as discussed here) and due to their drastic change in the formula they will have a hard time adjusting to the changes. You might stock up on those as well. In fact a MUA poster, Alabasterkitten, has noticed a bunch of them at Loehmann's last night, $50 for 1.7 oz - Songes (jasmine, ylang ylang), Mandragore (bergamot), Eau de Hadrien (lemon and citruses, oakmoss), Petite Cherie (pear synth), Gardenia Passion (oakmoss, jasmine) and Nuits d'Hadrien (citrus)!

As to other ingredients, there are many but there are ways around them without much compromise. Verbena has been singled out in online discussions, because it's a common aromatherapeutic infusion and oil and it created the question how it could be regarded as a "bad" thing. Well, litsea cubeba has a bracing lemony note that could sufficiently substitute it and in fact it extends the effect nicely into the middle notes, a trick often used by pefumers to extend tangy aspects. So, no problem there.

Hydroxycitronellal (lily of the valley) is on the chopping block, as is majantol. Obviously lily of the valley will suffer as a note, not mentioning Lilial (by Givaudan) and Lyral (by IFF), which have also been examined regarding their sensitizing properties. Lily of the valley is a more common note than one would suspect, because it both opens up the bouquet of classic perfumes and it imparts a collateral “clean” note to modern ones (perhaps due to its mega presence in functional cleaning products). Diorissimo has already changed it packaging to denote the change that has been implemented to the levels of hydroxycitronnelal: the newer white packaging with pink “oval” bearing the name states hydroxycitronellal further behind other ingredients instead of the slightly older batch of pink packaging with white oval. The change is subtle and very cunning: while right now the packaging can be an indicator of batches, the introduction of a different colour schema is an optical blurring, ready for further –and final- chopping off! The consumer will never be able to realise without minutely examining the allergens list, which -let’s face it- is not what most people do.

Ylang Ylang is that rare thing: a comparatively inexpensive natural. Which poses a question over its impending restrictions. Baffled there.

The most serious aspect however and I don't know how it can be bypassed is jasmine....
Jasmine grandiflorum will be limited to 0.7% and jasmine sambac to 4%, under the latest 43rd amendement of IFRA. They are potent, so even a little helps, but 0.7% is getting pretty low...Jasmine is the emblem of quality French perfumery, a whole mythos behind many famous classics (No.5, Joy etc.) as stated so passionately on Grain de Musc and sadly both the grandiflorum and the sambac variety come under the latest restictions. And since Grasse jasmine was used in only the extrait of those classics, if you absolutely love those, you might stock up. Although don't be fooled, they have already been altered numerous times. No.5 has been stated to have changed its musks (eradicating the nitromusks so maligned by environmental studies) but smelling olde batches confirms that it’s not only them that changed. Since P&G (who belong to the RIFM oganisation, as stated in the above PDF) are the licence owners for parfums Patou, Joy is also to be changed irrevocably, probably to the great chagrin of resident perfumer Jean Michel Duriez.

The matter is terribly complicated, but....Plus ça change, plus c’est la même chose!

Pic of Dr.Jekyl and Mr.Hyde cover via sbfmedia.relationalhost.com. Diorissimo through photobucket search. Jasmine by Perfumeshrine, all rights reserved.

Bulgari Omnia Green Jade: fragrance review

Much as I haven't been personally impressed by the Omnia franchise at the respected Bulgari brand ~despite liking many of their other perfumes~ I am forced to assume that it has been quite successful commercially in its Vulcan-knot bottle, since not only I constantly see it prominently featured at my local Sephora, but it seems to produce a descendant almost each subsequent year since its initial birth in 2005!

Omnia Green Jade is thus the third flanker to follow the original Omnia by Bulgari in its ambery flacon, the one which created questions as to how to spray it among first-time users due to its unusual design. The progeny had been Omnia Crystalline (in frosted glass) and Omnia Améthyste (in a violet flacon), both echoing other gemstones of different colours. Perhaps at the stem of my antipathy, or -to put it more accurately- indifference, is the -to me- ackward and hard to handle bottle design despite its poetic evocation of unbreakable bonds of love. On the contrary, I love the house's design in any other area and often shop there for trinkets, jewels, gifts and accessories at their luxurious boutiques. For those wondering, Bulgari is pronounced BOOL-ga-ree and is alternatively spelled Bvlgari, as if written in classical Latin characters since the founder Sotirios Vulgaris (VOOL-ga-rees) was a Greek goldsmith who took residence in Rome a couple of generations ago where he founded the eponymous house. The rest if history, as they say.

Omnia Green Jade (the green moniker surely a little redundant as jade is a specific shade of green gem anyway) was introduced as

"a new, precious, joyful fragrance inspired by the enchanting and sophisticated aura of the Jade gemstone. This crisp, floral green scent arouses a spirit of fresh floral emotions and embodies the natural, distinctive young woman seeking a sensual signature essence as pure and enticing as the first spring blossoms".

The demographic aimed at is "a little younger" which also seems a little redundant as the franchise is aimed at young women anyway. The new fragrance was officially presented at the TFWA World Exhibition in Cannes, France, last October and launched worldwide last February.

Despite the description of greeness as well as the corrreponding packaging and advertising (featuring a delicious pair of Bulgari earrings in fat drops of jade), Omnia Green Jade is traitorous to its name, being rather a subdued floral musky-woody in the style that has been well established for some years now. Perfumer Alberto Morillas, responsible for the original Omnia as well, has been playing these releases like sharply tense violin strings at the twist of his experienced graceful fingers, much like he recently did with Essence for Narciso Rodriguez, but with somewhat predictable results.
For this one “I thought of its colours, green with white shadows, of the energy of this millenary gemstone, symbol of the good, the beautiful and the precious,” explained Alberto Morillas. “I have built the scent around a white petal cascade and a vivid freshness, combined with the rare and mystic texture of white wood and exotic musks.” The promise of spring-time in this transitory phase in which the first buds are tentatively raising their heads beneath the still cold air is enough to have us on pins and needles for the full blown effect of spring's arrival and usually a little spring-like fragrance is very much desired, nay craved, at this particular time of year. Imagining green fragrances I often revert to sharper impressions of tangy, crushed lemon leaves like in Ô de Lancôme, of galbanum sharpness of the vintage Vent Vert ; I crave warmer weather vetiver offerings, little spring bells of white as the lily-of-the-valley of Diorissimo and the elegant insouciance of Chanel No.19. Omnia Green Jade is light and ethereal, but not particularly reminiscent of spring's blossoms nor its green grasses. Its feel is abstract and subtly musky-woody, meant to correspond to modern urbane environments rather than rolling on the knolls of some Tuscan countryside. The pistachio note (which sometimes alludes to lentisque, commonly known as mastic) is not quite as discernable in its oleaginous, fluffy vibrance as I would have wished. If anything, there is a subdued floral note of transparent peonies, coy unsweetened violets and "clean" lily of the valley in its hidden core, quite toned-down, soft and timid and foiled in blonde, pale woods, tea-like and subtle clean-skin-musks. The overall impression is of a competently-made office-appropriate scent that does not create ripples on the pond, jade-hued or otherwise.

Notes for Bulgari Omnia Green Jade
Spring Water, Green Mandarin, White Peony, Nasturtium, Pear Tree Flower, Jasmine Petals, Fresh Pistachio, White Woods, Musk

Bulgari Omnia Green Jade is currently available at major department stores in Eau de Toilette concentration in sizes 0.84oz/25ml, 1.32oz/40ml and 2.2oz/65ml and in two ancilary products: 200ml shower bath and 200ml body lotion.

Ad pic via bluebellgroup.com. Pic of jade earrings via morethanscentsable.com

New Guerlain Mitsouko Fleur de Lotus and Shalimar Flower: what's happening at Guerlain? (and a footnote on Muguet)

As if La Petite Robe Noire, on which we had reported and commented at length on these pages a little while ago (here is the link if you missed it), wasn't enough, Guerlain is issuing this coming spring a couple of flankers that have me wondering a bit about what exactly is happening in the venerable house that I so love. In the interests of reportage and juicy commentary however, let me plunge into more details, nevertheless.

First there are two flankers: on the iconic Shalimar and the newly re-issued Eau de Shalimar. They are tagged "Flower" and if that reminds you of Kenzo with all that powder which is also a trait of the classic Shalimar, then I can't blame you! It's uncertain if they are merely limited edition bottles (it seems so) or if they also entail rejinging of the jus for a new scent; and I would welcome official corroboration on that score.

Eau de Shalimar Flower in Eau de Toilette and Shalimar Flower in Eau de Parfum concentrations are limited edition versions of the legendary Shalimar, "created to celebrate the most bewitching and sensual note of the classic fragrance: vanilla blossom. Protective of its own rarity, it only blossoms for a few hours at sunrise. In awe of this quiet, intimate moment with vanilla flowers Guerlain set out to capture a second of eternity, etching its blossoms on the Shalimar bottle for two limited editions.[...]The vanilla blossom on the voluptuous neck of the bottle underscores the perfume’s intensity, then appears in a precious, radiant hallmark - first in midnight blue on the glass of the bottle, then in gold on the packaging which shields its mysterious blossoming from observation". [1]

If it entails a new scent formula, it would be a little ironic than in a category which Guerlain literally lain the path on with their bare hands (ie. that of good, delectable vanilla) they feel the need to bring out a flanker that sounds like it is playing with something that is a redundancy. There is already the darkly boozy Spiritueuse Double Vanille in their line, which recently joined the permanent collection due to public demand, and Shalimar highlights vanilla pretty well in both the classic version (no matter how tampered it might be with through the years) and in Eau de Shalimar where it goes for the more lemon-cupcakes-accord. Wouldn't the talents of Thierry Wasser ~who had such fond memories of his fathers' driving gloves as to quote them as a constant inspiration in an interview which appeared at the time he was appointed in-house perfumer for Guerlain~ better be used elsewhere, if so?
If, on the other hand, it is only a matter of specially-made bottles (and it is hinted from the above that it could as per my "reading" of it) which will circulate for rekindling the desire for Shalimar, why are they necessary at a time when the new commercials with Natalia Vodianova have already brought Shalimar in the limelight and the eye of a younger crowd who could be easily seduced to try a proper perfume like this through this fashionable and tastefully done Paolo Roversi campaign? Wasn't it enough? Wouldn't all that energy, budget and talent be employed in a new fragrance that could become a new classic?

Anyway, until we make sure, here are the shopping details:
Shalimar Flower Eau de Parfum 75ml retailing for $123, available in March through Guerlain boutiques exclusively.
Eau de Shalimar Flower Eau de Toilette 75ml retailing for $97, available in March through Guerlain boutiques exclusively.

The news on a Mitsouko flanker however are slightly more alarming: Mitsouko Fleur de Lotus (Lotus Flower) is definitely a new fragrance with a different scent, as the info states "In celebration of the 90th anniversary of its creation, Jean Paul Guerlain has developed Mitsouko Fleur de Lotus, a fresh reinterpretation of the fragrance with a special fleur de lotus note". [2]

Two things strike me as odd: First, isn't it a little sacrilegious to rejingle Mitsouko of all things? Since the original is already rather unrecognisable because of the -necessary alas!- reworking of the formula in order to meet with the standards recommended by the IFRA regulations on oakmoss and allergens, isn't this attempt to provide an aqueaous* note rather antithetical with the rich character of this legendary fruity chypre which is exactly so celebrated because of it? The light blue bottle doesn't bode well with me personally (blue so often means a screetchy ozonic on the perfume counters...) However since Vol de Nuit Evasion was completely unrelated to the older classic oriental Vol de Nuit smell-wise, and utterly lovely in its own right, I am very willing to believe that we might have a similar case here with Mitsouko Fleur de Lotus.
[*The lotus flower "note" -a reconstitution (?) since no natural is extracted usually- is one of the materials which are used in order to render watery notes and was very popular in the perfumery of the 1990s. Watch out, those acqueous notes are in for a big return: you heard it here first!]
Secondly, it's a little odd that Jean Paul Guerlain is still referenced as the creator of new juice. I realise that some creative control still applies and his approval is asked, naturally ~it's only good manners and courtesy to his illustrious history and lineage after all~ but what happened to Thierry Wasser and Sylvaine Delacourte? Aren't they at the head of fragrance development? Now that we're at it, La Petite Robe Noire is credited to Sylvaine and Delphine Jelk, I hear [3]. Again, what about Thierry? I hope official info becomes available on those pressing points and when they do I will announce them and comment on them with more informed views.

Mitsouko Fleur de Lotus Eau de Toilette 60ml/2oz will be available in May retailing for $100

And for those who have been hankering after the customary issue of Guerlain Muguet on the 1st of May (lily of the valley/muguet is the traditional flower to be offered for May 1st in France and Guerlain had issued limited editions in the past to honour that) , this year's edition includes jasmine, Turkish rose, lemon and sandalwood in a 60ml/2oz flacon retailing for $350, available in May through Guerlain boutiques exclusively.
Now that hydroxycitronellal and Lilial are heavily restricted I wonder how they will be able to render an intense lily of the valley note (something that is also a pressing concern for the latest Diorissimo batches), but that remains to be seen, I guess. The price however has relaxed a tiny bit, as the 2007 edition was $285 for only 30ml/1oz in a Bacarrat bottle!

We will return...

Painting Ancient of Days by William Blake
[1][2][3]info & pic via Beautyalchemist.

Dior-Dior by Christian Dior: fragrance review

Launched by Christian Dior in 1976, four years after the triumph of Diorella and composed by the same nose, the legendary Edmond Roudnitska, Dior-Dior was an astounding commercial flop resulting in its subsequent discontinuation and its firm positioning in the Pantheon of rarities.

It's hard to speculate après le deluge what exactly went wrong. Perhaps it was due to a discrepancy between zeitgeist and the character of the fragrance. By 1976 the advent of emancipated strident chypres as well as the progression from the hippy oils of the late 60s was not simpatico to a woody floral that had pared down the aromatic chypré piquancy of Diorella. And only fairly recently have woody florals for women known a slow resurgence with L'instant Magic, Bond no.9 Andy Warhol Silver Factory, Flower Oriental by Kenzo or the new Sensuous by Lauder and Magnifique by Lancôme.

However, it might also be attributed to the emerging ethos of the fledging perfume marketing: the importance of packaging and bottle being brought to focus much more assertively, the trade aspect getting seriously revved up, perfume being more of a lifestyle object than an objet d'art and copies of copies of things getting produced at a faster rate (although nothing like the alarming avalanche of more recent launches!).
According to Edmond Roudnitska, this resulted in a «olfactive cacophony», lowering of quality and debasement of creativity:

The choice of a perfume can only rest on the competence acquired by education of olfactive taste, by intelligent curiosity and by a desire to understand the WHY and the HOW of perfume. Instead, the public was given inexactitudes and banalities. The proper role of publicity is to assist in the formation of connoisseurs, who are the only worthwhile propagandists for perfume, and it is up to the perfumers to enlighten, orient and direct the publicity agents.

~L'Intimité du Parfum (En collaboration) Olivier PERRIN Editeur, 1974 (availaible at "Sephora" on Champs-Elysées, Paris)

My small, houndstooth-patterned, vintage bottle has a very slightly bruised top note that is neverthless heavy on the indolic, intense aroma of narcissus and white florals, adding the patina of a well-worn, waxed floor with the remnants of cat pee in its cracks . Narcissus naturally extols this aspect, giving a distinctly feral impression which I personally love: from the leathery-laced Fleur de Narcisse by L'Artisan to the paperwhites note in Lovely by Sarah Jessica Parker. Mohammud called its scent "bread for the soul" and I can see why: taking in its heady emanation is on the border of pain, it's so intense!

Dior-Dior also serves as a commemorative recapitualtion of a perfumer's artistic path, a simile of olfactory soliloquy: A melon note which Roudnitska put in several of his perfumes (Le Parfum de Thérèse, Diorella) is discernible, although not in the context of the aquatic fragrances of the 90s: melon in a Roudnitska composition seems to serve as a memento of summery laughs in the autumnal mistiness that the chypre base juxtaposes.
And the fresh jasmine odour of hedione/dihydrojasmonate, first copiously used by him in Eau Sauvage, leaps through, with its verdant, metallic cling-clang, puffing out small breathless sighs everytime I move my arms around; the sort of thing that would naturally mingle with the surroundings of white-washed windows and stucco-ed walls in places where iron rust feeds potted gardenias and people eat feta cheese alongside their watermelon.
The last familiar touch comes from the lily of the valley accord that Roudnitska so intently masterminded for his soliflore apotheosis, Diorissimo. (Arguably the only hommage missing is the Prunol base of Femme and the peachy core of Diorama).
Although all the above "notes" sound "clean", in Dior Dior they are neither freshly showered, nor vacuum-sealed. They breathe and deepen into a very feminine and quite urbane fragrance, far removed from Laura Ashley summer dresses, which persists on skin for hours.

For all its charm however Dior-Dior doesn't talk to me the way Roudnitska's more luminiscent creations, such as Diorella or Eau Sauvage, do. Perhaps it's just as well. Still, my bottle is poised alongside its sibling houndstoothed gems with its regal brow highly arched.

Notes: narcissus, muguet (lily of the valley), woods

Please state your interest if you want to be included in a draw for a sample of this rare fragrance.

Ad pic illustration by Rene Gruau courtesy of Fragrantica. Houndstooth bottle pic courtesy of Musée del Perfum.

Rekindled Interest in Perfume: A Reader Asks

Here at Perfume Shrine we receive lots of mail and the questions of readers often give us pause for thought and commentary. Amanda, a kind reader who lives somewhere where perfume choices are restricted to the department store asked me advice about what to sample for her renewed interest in perfume.
Without further ado, here is the questioning part of her mail:

"I haven't worn perfume since my first child was born. He will be 17 soon and I think it is time for me to indulge in it again. Back then I had a love hate relationship with Diorissimo and wore Madame Rochas for nights out. A friend has given me some ideas and I have tried Carolina Herrera and Valentino which are beautiful but don't suit me and Sensi and Opium which I find too sweet and indolent: They make me feel I should be lounging back on cushions eating Turkish delight. I have on my list to try Yvresse, Baby Doll and Princess by Vera Wang and since I read the first few pages of your blog I will try Miss Dior although it was never right for me in the past. Have you any suggestions for perfumes that might contain similar constituents to Madame Rochas?
When I add essential oils to my bath I always seem to choose geranium, clary sage and rose. I don't much care for vetiver"

In her follow up mail to me, prompted by my Yves Saint Laurent Series, she told me that:

"This past week I have tried the fragrances from Yves St Laurent. I found them all too sweet and not sophisticated enough. The opening notes to Baby doll were delicious but once they had past it was too much like body soap and lost its appeal."

With that in mind, I gave some thought to her issue and welcome your suggestions as well.
Personally I think that since Amanda had success with Madame Rochas, she should stay true to an equally elegant concept. Madame Rochas was one of the favourites of both my mother and grandmother and they both smelled wonderful in it, making me swoon. Since that one, alas, has been altered in recent years, she should probably search for a comparable floral aldehydic along those classy lines. Of course there is no guarantee that anything currently on the market could approximate the fragrance she wore and loved, but we can try, can't we?
Amanda also seems to like rosey scents, as both geranium and rose oils feature powdery floral notes and to dislike too sweet scents (which I can sympathise with!) and current musks.

I would have suggested the metallic rose of Rive Gauche laced with icy splendour, but she has mentioned sampling the Laurent line and I deduce she must have dismissed it.
My first recommendation then would be Le Dix by Balenciaga, a perfume hailing from 1947 but with such elegance that it should stand on its legs today just as well. It has been also reformulated, as has everything, but it hasn't lost its appeal.
Another suggestion would be Caleche by Hermes, which also denotes polished class in its aldehydic florancy with some chypre overtones, never too sweet, never too decadent.
I would also recommend Calandre by Paco Rabanne, another cool rose with aldehydes which smells perfumey in the best sense, but also has the slightly clean/warm feel of Madame Rochas.

In the more recent crop of fragrances I would suggest Amanda tries 212 by Carolina Herrera as well as Sicily by Dolce & Gabanna: they feature a cool-warm contrast with a lathery element and aldehydic accents which contribute to an elegant disposition, despite their young age. While she's at it I think she would like the original Dolce & Gabanna Pour Femme, the one in the red velvet box with the red cap. It's one of those traditional-smelling contemporary fragrances that smell good on just about anyone, although she might find it a little floral-sweet.
Bearing in mind both the cool-warm rose and the lathery ambience I can't help but suggest the very sophisticated "clean" of Allesandro dell'Aqua: it features rose and geranium and has a light floriental character which is discreet and good-mannered. And for something that has the opening grapefruit accent of Baby Doll but none of the sweetness or the soapiness, I'd suggest Un Jardin sur le Nil by Hermes in their Jardins line, for day wear.

Please help Amanda find a fragrance: suggest away! (but keep it in the easy-to-get markpoint)

Illustration by Rene Gruau courtesy of operagloves.com