Indole & Jasmine: Indolic vs. Non-Indolic or Dirty vs.Clean

Say the word jasmine among perfume circles and expect to see the characterisation of indolic being brandished a lot at no time. Expect to see upturned noses with "indolic" mentioned alongside "fecal" in the same breath. Is jasmine a "dirty" word? Who potty-trained it? These thoughts evolved in our mind as we re-examined the troubled relationship of perfume lovers to the perfumery "king of flowers", especially now that the weather is warm and jasmine vines are flowering like mad; and so decided to take things at the top.

Indole is often used as the scapegoat for "stinky" smells, but the truth is somewhat different. Originally indole is a portmanteau of the words "indigo" and "oleum", because the chemical substance named indole was first isolated by treatment of the indigo dye with oleum (oil), thus giving rise to indole chemistry.
Indole is an aromatic heterocyclic organic compound which contains a six-membered benzene ring fused to a five-membered nitrogen-containing pyrrole ring (don't worry if you're not great at chemistry, it will all make sense in a second); thus compounds which contain an "indole ring" (sequence of molecules) are accordingly named "indoles".  

What does this mean? It smells "weird". But not necessarily of feces or poop, contrary to common knowledge! Organic chemistry on the whole isn't averse to naming names quite literally, especially when it comes to foul-smelling components: Hence we have cadaverine (for cadaver smell), putrescine (for the stench of garbage), skatole (from the Greek σκατό, litterally meaning shit), or butyric acid (the smell of rancid butter from the Greek βούτυρο/butter). No, the nomenclature of organic chemistry is pretty much to the point, which would pose serious doubts as to why leave such an appropriate scent out there with no fitting baptism!

The answer is simple: Pure indole, the one which is indeed present in feces and also in small part present in white flowers (such as jasmine, gardenia, tuberose and orange blossom; but also in honeysuckle and lilac, technically non white) doesn't really smell of poop in isolation. The white crystals of indole (mainly derived from coal tar) contribute to the effect, in tandem with other things (surely both feces and flowers contain myriads of molecules) but not in seperation so much. Isolated indole has a musty, weird moth-ball smell that is a little stale, reminiscent of decay, like something has gone off and you can't really pinpoint what it is. In presence of humidity and musky compounds it can become a little much, reminiscent of the ambience of a...toilet. In a way an "Eros & Thanatos" concept.
It's interesting to note that a common derivative is the amino acid tryptophan, calming neurotransmiter serotonin's percursor and an essential amino acid in the human diet. (It's isolated in caseine which is found in dairy products, but also in chocolate, oats, poultry, pumpking seeds, peanuts, spirulina and several others. Makes seeing food in a whole different way!).

But should the smell direct us into seperating white floral and jasmine fragrances into naturally-derived or not? In short, does an indolic scent indicate we're dealing with a fragrance containing natural jasmine? The answer isn't as easy as all that. It's true that natural jasmine essence, as used in the perfume industry, is dark and narcotic, containing about 2.5% of pure indole. This often gives a "full", lush and intimate ~some say naughty~ effect in the finished compound, making the jasmine "sexier" or "animalic" as described by perfume enthusiasts (the naughty effect is more due to paracresol, reminiscent of horses' smell). Try Serge Lutens' A la Nuit, also his Sarrasins (a different treatment of intimate) or Montale Jasmine Full, and you know what I am talking about. Olene by Diptyque is another one which has a dubious intimate ambience (described by someone as "one bad mama jama of a jasmine"), as does the extrait version of Joy by Jean Patou, sublimated in rosy and musky tones as well, and the heart of Bal a Versailles (flanked by naughty civet). Also try Bruno Acampora Jasmin. However you don't necessarily have to tread on jasmine to get copious amounts of indole either: Try a carnation scent as well: Carthusia Fiori di Capri. It can make walking in the park where dog owners routinely walk their dogs a completely novel experience in perception!

Nevertheless, the picking up of a poopy smell can't be a compass into actual composition after all: The natural oil requires the processing of tons of flowers raising the cost to 10,000$ per kilo of essence, while it would be perfectly easy to add seperate indole to synthetic substitutes in order to produce a compound that would be closed in value to 10$ per kilo. The difference in pricing is staggering, which explains why natural jasmine oil is today only used in minute amounts in specific extrait de parfum formulae and only there; the rest is mythos and marketing communication of the brands.

But not all jasmine fragrances need to be indolic either. Try the non-indolic Armani Sensi and Sensi White Notes. Also get a feel for Jasmine White Moss by E.Lauder or Voile de Jasmine by Bulgari. Nothing "dirty" about them whatsoever!
To construct a light, virginal jasmine without indole, the perfumer has several synthetic options (assuming they're not involved in the masochistic effort of taking the natural and getting it fractioned in order to remove the indole). Hedione in copious amounts is the first choice, as it reproduces a greener, dewier version in contrast to the natural jasmine absolute. It's combination (in elevated ratio within the "jasmine base" thus created) with benzyl acetate, benzyl salicylate (for diffusion and tenacity), alpha amyl cinnamaldehyde and linalool produces the desired effect. These jasmine fragrances are easy to wear, lighter in feel, less heady and do not pose the problem of reminding people of impolite (even if necessary) human functions.
The choice between heaven and hell, as they say, is yours!

 If you haven't caught on the Perfumery Definitions series till now, please visit:

• Definition: Lactonic, Creamy, Milky, Butyric
• Definition: Powdery & Dry in Fragrances
• Definition: Resinous & Balsamic
• Definition: Soapy in Fragrances
• Definition: Phenolic, Terpenic, Camphorous
• Definition: Which Material Produces Which Note/Effect?

Related reading on Perfume Shrine: The Jasmine Series, Raw Aroma Materials of Perfumery

photos by Horst P.Horst in collaboration with Dali and Lisa with Harp.

The new Tauer "Carillon pour un Ange": Bottles Giveaway!

It's our pleasure to announce Tauer Perfumes is giving away two bottles of his latest fragrance, Carillon pour un ange! So leave a comment below and two winners will be randomly picked to receive their full bottle prizes!

Carillon pour un Ange was formerly known during development phase as Gabriel (fittingly, eh?) Andy is inviting you all (in celebration of his five years blogging and the unveiling of his new site, check it out!) on e-book charity project, "a panopticon on lily of the valley". The topic is: “A MOMENT WITH LILY OF THE VALLEY". You can write a poem, draw a picture, or write us a story.” Anything, really, as long as it's not copyrighted or previously appearing online or in print. You can either email it to them or mail it to them (instructions on this link). A selection of the submissions will be published in an e-book, with the proceeds donated to charities chosen by a vote on his blog. As Andy says: “I see an environmental, a human development and a charity devoted to push forward peace as the selection for the vote.”

As to the new fragrance? Tauer envisioned it as “a green choir of flowers; smelling lily of the valley is always a joy for me [ed.note: his mother wore Diorissimo]. I love the idea that you cannot buy a natural concentrate of lily of the valley, that the flowers resist to any large scale concentration of their fragrant soul.” It's an interesting note to be sure, in more ways than you had imagined as we had pointed out (naughty article is linked!) For a comprehensive article on Lily of the Valley as used in perfumery please refer to this link.

Andy constructed a base that bypasses some of the latest IFRA problems "rich in ambergris, then there is a bit of vetiverol (woody, vetiver like note without the dirty earthiness), some oakmoss fitting with EU regulators, a hint of a sandalwood note to fix things, and a fine styrax line that again fixes things, adds a hint of leather, sets an accent…“ The fragrance comes in those cute 15ml bottles he used for Une Rose Chyprée as well, as Eau de Parfum Riche (everyone knows you always get your bang for the buck with Tauer perfumes!). This is intended as a prelaunch until spring 2011 according to the perfumer, when upon the bottle just might change (I suppose this means if the fragrance is loved a lot, a bigger presentation might ensue).

Carillon pour un Ange contains notes of rose, ylang, lilac, lily of the valley, jasmine, leather, ambergris, moss, and woods.
I will follow up with a review shortly, but here's your chance to win one of the two bottles of the newest Carillon pour un Ange! Don't be shy!

Twin Peaks: Ormonde Jayne Champaca & Calvin Klein Truth

Usually the purpose of a Twin Peaks smell-alikes article is to highlight affinities between a higher end fragrance and one which is offered at a comparative price. However it's not solely that. A discontinued or catastrophically reformulated perfume that could be "relived" through experiencing a decent substitute, no matter its provenience, is also worth mentioning. To the latter case I present a comparison between Champaca by British niche brand Ormonde Jayne, which is currently in production, and Truth by Calvin Klein, which has been discontinued a few years already.

via lucacambiaso.deviantart.com

The reason CK Truth for women was discontinued is lost on me. It had everything going for it when it launched back in 2000; from the subtle yet lingering aroma of green bamboo shoots and comforting woody-musky notes to the sensuous advertising and the aesthetically pleasing contours of the packaging, it looked like a much better bet for the Calvin Klein brand than many others in the overpopulated line. The evocation of a woman's skin was sensuous and done with an interesting twist to eschew too obvious a musk note by Alberto Morillas, Jacques Cavallier and Thierry Wasser. It even had its own "blending kit" of 6 key essences (one of which I distinctly recall was a lilac "accord", to my confirmation of the intimacy of this innocent looking flower) to custom mix so as to produce your individual scent combination, a Truth Lush flanker in 2002 and a "sensual bedtime fragrance" flanker -smelling exactly as it name suggests- launched in 2003.

With that in mind it's safe to say CK Truth could be classified under "undeserved commercial flops" as a marketing case study that includes other honorary mentions such as Feu d'Issey and Kenzo L'Elephant. Perhaps the fault was one of timing: By 2003 the advent of "gourmands", i.e. a subcategory of oriental fragrances heavy on the vanilla which mimicked popular desserts smells, was inescapable and the clean, serene, aromatic woody bouquet of Truth was hors categorie.

Champaca by Ormonde Jayne on the other hand, coming from a niche firm, had a clear advantage. It is also "foody", but in the most unusual sense. In fact coming out in 2002 places it at that crossroads mentioned above. And yet, being "savory" rather than "sweet" (in the vanillic or ripe fruity sense), Champaca also pre-empts a trend that took wings by the end of the 2000s; the slightly salty, savory scents which do recall some dish or other, but less overtly than "cupcake" and "cake batter". The cult success of the perfume within the de iuoro limited perimeter of the niche fragrance market was due to its super comforting odor profile. The sweetly creamy, floral note of champaca, a yellow magnolia common in India, was married to the note of steamed basmati rice, itself a nurturing image, Earth Goddess and all.

The inspiration came from a couple who were neighbours to Linda Pilkington when at her first London appartment; whenever they steamed rice, the building smelled cozy and like home. I only found that info later, from Linda herself, but it justified my own impression that Champaca would work great as a room fragrance, one for a cozy restaurant in off-white colors with big sofas around to immerse oneself in like giant cocoons. As the scent progresses the floral element of Champaca is diminished and it turns somewhat "greener" and a tiny bit sour, while still very very soft and non-obtrusive with the low hum that perfumer Geza Schoen is known for.

The Ormonde Jayne seems less "skin scent" than the Klein one overall, the latter being a little tarter and with less of a foody element, but they're remarkably close. Some people notice a third simile with Fraicheur Vegetale Bamboo by Yves Rocher, but I haven't tried that one. If you have please discuss.

Notes for Calvin Klein Truth:
bamboo, wet woods, white peony, vanilla, white amber and sandalwood
Notes for Ormone Jayne Champaca:
Neroli, pink pepper, bamboo, Champaca, Basmati rice, green tea, myrrh, musk.

Related reading on Perfume Shrine: More smell-alikes fragrances on this link.

Frederic Malle's Picks: Ready?

According to the latest column by Frédéric Malle, head of Editions de Parfums Frédéric Malle niche line, "The Fragrance Guy" in Allure Magazine, it's just the state of things that several synthetic ingredients are necessary to replicate natural scents. On his column Malle discusses how the science of aroma-chemicals is able to reproduce scents of nature more accurately than previously thought possible, through artistry approximating reality almost photorealistically. In the state of today's perfume market, where often aromachemicals act as the sole (or predominant) ingredients in perfume formulae, you'd think that they would have the mimicking of nature down pat. But perhaps that's not the point...

His interesting group of fragrant picks includes:
1.Diorissimo (lily of the valley bia hydroxycitronellal),
2.Eau de Fleurs de Cedrat (citron hesperidic cologne by Guerlain), 3.Lauder's Pleasures (soapy aldehydes and crystalline replicated peony and lilac),
4.L'Artisan L'Eau d'Ambre (the warm of fir resin) &
5.Carnal Flower (tuberose with an eycalyptus note which naturally occurs in the flower) from his own line. Fascinating to contemplate the relevance as Carnal Flower is reportedly the fragrance with the highest ratio of natural tuberose absolute in the market.
An eclectic bunch to be sure!

tuberose pic via indiamart.com

Insolence Eau de Parfum by Guerlain: fragrance review and comparison

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

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

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

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

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

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

Pic of Insolence Eau de Parfum advertisement via Fragrantica

Idylle by Guerlain: the new feminine by Thierry Wasser

In June we will be all sniffing and smelling the newest Guerlain to hit counters, the one on which Thierry Wasser the in-house perfumer has been working on for so long, apparently. [adding: the international release has been pushed to September] A witty commentator on this venue, March, when describing Wasser as lost-in-action was wondering if "he fell off the stairs" or something, it was so long since his name had been tied to a Guerlain project! (Last time, for those who forgot, was a year ago when he was credited with Guerlain Homme, shortly after the announcement on his head-perfumer position of the venerable house). We have highlighted the miss while commenting on the upcoming city releases, Paris-Moscow, Paris-New York and Paris-Tokyo as well as while critizing the recent exclusive release La Petite Robe Noire, the newest flanker of Mitsouko , Mitsouko Fleur de Lotus, or the limited editions of Fleurs de Shalimar. As I was safely predicting, the new fragrance could not be called Gold, as rumoured on online discussions, because this is the registered name of the very good lily fragrance by Donna Karan.

The new Guerlain feminine fragrance for mainstream distribution is therefore called Idylle , a name hoping to bring on an idyllic smile of daydreaming on our faces. It will feature floral notes with rose as the star ingredient: "Thierry Wasser created this fragrance using the Bulgarian rose as a star ingredient, in Guerlain’s Perfumer tradition he selected personally the very best roses ensuring the exceptional quality of the fragrance". The bottle design is created by Ora Ito, while the advertising face will be Nora Arzeneder, the young singer/actress of Faubourg 36. The advertising campaign will be materialized by Paolo Roversi, the mn responsible for the latest Shalimar commercial with Natalia Vodianova. Although that commercial was aesthetically successful and tasteful, I am holding out for a little less sexiness on this project. Too much sex in fragrance advertising somehow has started to look cliché.
Notes for Guerlain Idylle: lily of the valley, peony, freesia, lilac, Bulgarian rose, patchouli, white musk.

Idylle is available in 30, 50 and 100 ml of Eau de Parfum everywhere where Guerlain is sold.

Source : Stratégies via au parfum
Updated with ad pic via belezza.pourfemme.it

The Different Company History and News

Following the work of perfumer Jean Claude Ellena, I came upon The Different Company, a small niche brand which was started by him with the sole objective revealed in its name: to be different!
In one of his aphorisms, Jean Claude had professed that classical perfumery although beautiful is too perfumey for today's sensibility, much like reading Stendhal. In his quest not to understand the market though -antithetically to what major brands do, running focus groups tests for their every product- he has always been about making the market instead.

Artistic freedom obviously meant everything and in order to discourage copycats and lowly competition Ellena along with his collaborator Thierry de Baschmkoff, a relative of his and engineer-turned-bottle-designer, opted for the most smart stratagem: make the juice too expensive, too top quality.
The Different Company opened its doors in 2000 with four stunning scents: Osmanthus, a fragrance based on the precious little Chinese flower with its divine apricoty smell, Rose Poivrée which Chandler Burr has famously -and complimentary- attributed to Satan's wife in Hell, Divine Bergamot, sunny brilliance and dirty hints under the sun of Calabria and Bois d'Iris, an extraordinarily expensive in the making woody orris fragrance fit for an exiled princess.

When Jean Claude got his in-house position at Hermès in 2004, the baton was passed to his daughter, Céline Ellena. She went on to compose both rich and decadent juices such as Jasmin de Nuit as well as diaphanous organza veils ~such as the fragrances in the ‘Explorations sensorielles’ (=sensory explorations) line that is essentially a garden trio: parfum d'Ailleurs & Fleurs (of flowers and beyond), parfum de Charmes & Feuilles (of leaves and charm), and parfum des Sens & Bois (of woods and the senses). And last but not least, the incredible Sel de Vétiver, inspired by Céline tasting water aromatized with vetiver roots at an eastern friend's appartment in Paris.
Their latest Sublime Balkiss, inspired by the queen of Sheba and a modern chypre composition no less, has been having the perfume circles talking and anticipating. (notes of violet, blackcurrant, Bulgarian Rose, blueberries, blackberries, clusters of lilac and a special fraction of the essential oil of patchouli, highlighting its cocoa powder aspect)

It seems we have been richly spoiled! And to top it all of, they have opened a new boutique in Paris.

Niche fragrance brand The Different Company has just opened a stunning new boutique in Paris, in the heart of the trendy Marais quarter. For the occasion, they have paired up with make-up brand Maison Calavas, who is sharing the space. Maison Calavas is specialized in top-of-the-line make-up, with a wide range of palettes presented in colorful shagreen, lizard and snake-skin boxes. 10 rue Ferdinand Duval, Paris 4è – (+ 33) (0)1 42 78 19 34

Their own website is still great to navigate through.

Info & pic via Osmoz and The Different Company

Jasmine Series: part 2 ~the role of jasmine in perfumery

As we examined previously, jasmine is an integral part of most fine perfumes’ bouquet and the varieties used render their own specific variables to the end result. 
But why is jasmine so prized over other natural or synthetic essences? And why is it a staple of perfumery as contrasted with what the great perfumer Jean Carles termed “accessory notes”? Finally: can it be replicated?

To quote master Edmond Roudnitska in his essay The Art of Perfumery: “It is the natural product par excellence”.
There isn’t a composition that does not benefit from its inclusion as it marries well with all the other essences: it blends with everything and lends a heart-achingly beautiful tinge to everything it touches. 


Jasmine as a note and component in fragrance composition
Jasmine is a middle note in perfume composition, meaning it evolves in the heart stages of development on the skin which makes it tenacious enough to anchor top notes and swift them to its own trail, yet fresh enough to not outstay its welcome leaving behind its fragrant remnants subtly. Middle notes impart warmth and fullness to blends and they embody passion. It is no coincidence that they are called “heart notes”. They bridge the distance between deep, somber base notes and sharper, fleeting top notes.
To make this more scientifically correct we revert to Septimus Piesse’s system of olfactory octaves, on which W.A. Poucher elaborated in 1923, giving each note a specific “pitch” on the olfactory scale from 1 to 100. In this system 1-15 are top notes, while 16-69 are middle notes and 70 to 100 are bottom notes. Of course several ingredients share perhaps the same number in the scale. It so happens that jasmine absolute is marked as 43 in this system, along with tuberose and rose.
In evaluating the various unusual combinations between notes, jasmine has a particularly successful effect to the following notes: roman chamomile, coriander, geranium (which has a rosy dry out to it), spearmint, and of course rose and bergamot with latter which it forms the most classic accord of most grand feminine perfumes of history.

Jasmine absolute is rendered through this process nowadays:

“Flowers are placed on racks in a hermetically sealed container. A liquid solvent, usually hexane, is circulated over the flowers to dissolve the essential oils. This produces a solid waxy paste called a “concrete”. The concrete is then repeatedly treated with pure alcohol (ethanol) which dissolves the wax and yields the highly aromatic liquid known as an absolute. This method is also used for extracting resins and balsams and for rendering the animal essences, such as civet, musk ambergris and castoreum”

(source: Mandy Aftel, Essence and Alchemy)

Absolutes are more lasting and concentrated than simple essential oils and have a highly intense and fine odour profile. Therefore they are the most expensive perfumery ingredients.
In jasmine the concrete is also very useful, a solid reddish-orange wax, mellow in tone that can be used for adding smoothness and florancy to many blends.

As an aside, for those bent on acquiring some of the best jasmine absolutes and concretes, the following address is recommended:

Coimbatore Flavors and Fragrances
5/82 Palanigoundenpudur
K.Vadamadurai Post
Coimatore 641017
India

You can also contact aqua-oleum which is an aromatherapy site for essential oils, available in small quantities, run by a renowned aromatherapist.

Headiness, Indoles, Living Matter and other stuff on Jasmine
Jasmine’s inclusion in the white floral category of fragrances especially is almost self-evident. Tuberose, ylang-ylang, gardenia (synthetic, because the flower does not yield a satisfactory oil for perfumery) and orange blossom marry with jasmine to produce intensely narcotic and exotic perfumes that capitalize on the sultry image of those blossoms and make our head spin.
The magic of this headiness is indol/indole, referenced also in our Orange Blossom Series, a matter that is also found in human feces and which according to Paul Jellineck “reminiscent of decay and feces, lends orange blossom, jasmine, tuberose, lilac and other blossoms that putrid-sweet, sultry intoxicating nuance that has led to the sum of these flowers and of their extracts as delicate aphrodisiacs, today as in the past”. This is the reason why many people find jasmine animalic and difficult to stomach in large quantities in their perfumes, as they perceive a dirty note to it that repels them. In isolation, indole smells moth-ball-ish, camphor-like rather than poopy. 
A notable example is the majestic A la nuit by Serge Lutens for Palais Royal de Shiseido, in which all the aspects of natural jasmine from bud to rot are displayed like the faceted profile of a precious gem. A jasmine for die-hard jasminophiles. The use of many different kinds of jasmine from Egypt, Morocco, and India are all contributing to giving it richness beyond that of a simple soliflore, intensified by clove, honey and benzoin.
It is interesting to note that indole cannot be synthesized successfully, as the synergistic effect of different constituents is lost. In similar attempts at the lab an unpleasant dominant fecal tone surfaces which makes it very hard to manipulate in an artistic composition. In nature there are minute amounts of materials that despite their exceedingly low percentage in the total of an essence they play a decisive role in the character of the entire complex.

In this regard we may also turn our attention to the most intriguing fact that natural essences, among them jasmine absolute, do photograph in Kirlian Photography, denoting possession of life essence or life force. Semyon Kirlian was a Russian electrical technician who in 1939 discovered a technique of taking pictures by means of electricity. His technique has been widely known as the photography of auras: the life energy that surrounds all living matter. The method uses a photographic paper or film atop a metal plate whereupon the object is placed. A high voltage current is then applied which records the energy field appearing as a bright halo around the object. Living flowers have brighter auras while as they deteriorate and rot the halo diminishes. It is intriguing to note that essential oils do photograph using the Kirlian method with different results according to the description of the olfactory profile of each: sharp, bright, heavy or soft and so on. So the claim of Roudnitska that jasmine is a natural per excellence which we quoted at the beginning of this article makes great sense. And it also bodes with Robert Tisserand’s dictum that natural essences “have a life force, an additional impulse which can only be found in living things”.
Jean Garnero, a Grasse chemist has this to add:

“Despite all the crises, all the economic challenges, all the competition from synthetic products, the perfume of jasmine flower remains one of the essential elements and sometimes the main pillar in the structure of the greatest perfumes”.

French & specifically Grasse Jasmine: Which Perfumes Contain it?
You will often hear brandished the term "French jasmine" as a denoting of superior quality. Grasse after all has been made famous thanks to its natural products, jasmine out of which is most notorious. The cultivation of the jasminum grandiflorum variety came from the Arab trade route. The Grasse jasmine is sweeter than most and more refined than the bulk of commercial jasmine essence that comes from Egypt (more than 3/4 of the total production comes from this area), India, Morocco and India (where jasminum sambac is the traditional product).
Due to extreme costs to obtain this precious extract only a few companies have been able to use Grasse jasmine in their perfumes. This traditionally included Chanel (who use Grasse jasmine in their extrait de parfum of No.5 and the rest of their jasmine-listing extrait de parfum fragrances) and who have bought their own fields of jasmine and tuberose in the region of Grasse, Jean Patou (who includes Grasse jasmine in Joy and 1000) and till a decade ago approximately this was also the case for Guerlain as well (who used Grasse jasmine in their classics, such as Mitsouko, L'Heure Bleue, Apres l'Ondee, and Shalimar extraits de parfum), but not anymore.

Replicating jasmine in perfumes

Ylang ylang, whose name means Flower of flowers, is generally termed “poor man’s jasmine” because its odour profile is not distanced from that of jasmine and indeed it has been used in many perfumes to back up the tonalities of jasmine, as it is so much less expensive yet still very beautiful: suave, sweet, persistent, creamy.
It makes a very pronounced appearance in such perfumes as the rich ambery orientals Obsession and Moschino original, Samsara ~ backing up the big beat of the jasmine-sandalwood accord, Tabu, Loulou, Organza, surprisingly Aromatics Elixir beneath all the mossy earthy elements, Kenzo Jungle, Escada by Margaretha Ley, Amarige, Giorgio, Quelques Fleurs by Houbigant, 24 Faubourg (in conjunction with jasmine sambac), and of course Chanel no.5 and Bois des Iles.
Ylang Ylang also has several grades of quality, first, second and third renderings of the oil, much like the production of jasmine tea that we described on our previous article.

Hedione or dihydrojasmonate, as previously mentioned, is an aromachemical that is often used in composition in substitution for jasmine absolute, but also for the sake of its own fresh and green tonality.
It lacks the clotted cream density of natural jasmine, recalling much more the living vine and for that reason it is considered a beautiful material that offers quite a bit in the production of fine perfumes. Perfumer Lyn Harris, of the brand Miller Harris and also the independent nose behind many well-known creations not credited to her name calls it “transparent jasmine” and attributes to it the capacity to give fizz to citrus notes much “like champagne”. (see? it’s not only aldehydes which do that!)

First used in the classic men’s cologne Eau Sauvage, composed by Edmond Roudnitska in 1966, it had been isolated from jasmine absolute and went on to revolutionize men’s scents with the inclusion of a green floral note. It was so successful that many women went on to adopt it as their own personal fragrance leading the house of Dior to the subsequent introduction of Diorella in 1972, composed by the same legendary nose, blending the green floral with hints of peach, honeysuckle, rose and cyclamen in addition to the herbal citrusy notes of the masculine counterpart, all anchored by a base of cool vetiver, patchouli and oakmoss, lending a mysterious, aloof and twilit air to women who went for it.
Ten years after its introduction to perfumery, in 1976, it was the turn of Jean Claude Ellena to coax hedione in a composition that exploited its fresh and lively character to great aplomb in the production of First by jewelry house Van Cleef & Arpels (the name derived from the fact that it was their first fragrant offering, but also the first scent to come out of a jeweler too ~subsequently many followed in its tracks with notable success). In it, Ellena used 10 times the concentration of hedione used in Eau Sauvage, married to natural jasmine as well as rose de mai (rosa centifollia, which is also a crystalline variety), narcissus, orris, ylang ylang and a hint of carnation with the flying trapeze of aldehydes on top and the plush of vetiver, amber and vanilla at the bottom which accounted for a luminous and luxurious floral.

Hedione also makes a memorable appearance in many other perfumes, such as the classic Chamade by Guerlain (introduced in 1969), Chanel no.19 (1970) and Must by Cartier (1981) and in many of the modern airy fragrances such as CKone, Blush by Marc Jacobs, the shared scent Paco by Paco Rabanne or the bombastic Angel by Thierry Mugler, in which it is used as a fresh top note along with helional.


Next part will focus on other aspects of the jasmine quest.

Artwork by Godward "The new perfume" courtesy of allposters.com
Perfume ad for Eau Sauvage from 2001 courtesy of psine.net

Brave New Scents

O wonder!
How many goodly creatures are there here! How beauteous mankind is! O brave new world! That has such people in it!
~ Miranda in Shakespeare's “The Tempest”, Act V, Scene I

I want God, I want poetry,
I want danger, I want freedom,
I want goodness, I want sin.
~Aldous Huxley

The time has come again for a collective project uniting several perfumers and bloggers, who will explore new horizons in their quest for accomplished fragrances through innovative natural means.
In the Brave New Scents project, the Natural Perfumers Guild are likened to the members of Huxley’s novel. Like the starring characters in the novel, these brave new perfumers go against the grain and out of bounds, thwarting the ever-expanding regulatory nanny state in order to showcase aromatic extraction feats and use 21st Century aromatics that are not necessarily condoned in mainstream perfume society. Some of the brave new perfumers throw convention to the wind and blend perfumes that showcase their skill extracting scent from previously non-commercial plants, flowers, and substances. Others use the palette of newly-available essential oils, concretes, absolutes and CO2 aromatics; sometimes blending in their own artisan extractions, be they infusions, tinctures or distillations.

The Guild perfumers were provided with an extensive list of 100+ 21st Century aromatics, which was compiled by Guild President Anya McCoy and Guild Manager Elise Pearlstine. They recognized that before the year 2000, most artisan perfumers purchased their natural aromatics from aromatherapy suppliers. These suppliers did not carry many absolutes, and some aromatics available to the mainstream perfumers were not known, or available, to them. Suppliers for mainstream perfume houses did not carry many, if any, aromatics from India, such as jasmine sambac, lotus, champaca and other tropical scents.
Now a bounty of newly-available delightful absolutes such as aglaia flower, boronia, ambergris and many more are at their disposal. Newly-conceptualized and extracted aromatic wonders such as lilac flower and the amazing world of CO2 and SCO2 extractions are now available to the fragrance industry. Also included are the hand-extracted fragrant bounties from the gardens of the perfumers themselves, such as peony enfleurage, Grand Duke of Tuscany jasmine sambac enfleurage, and a myriad of distillations and tinctures. To make it interesting, the perfumers were allowed only one “wildcard” aromatic from the era preceding the year 2000.

The participating perfumers are:
Anya McCoy of Anya’s Garden Perfumes (Project Coordinator & Natural Perfumers Guild President)
Adam Gottschalk of Lord's Jester
Ambrosia Jones of Perfume By Nature
Charna Ethier of Providence Perfume Company
Christi Meshell of House of Matriarch
Elise Pearlstine of Belly Flowers Botanical Perfumes
Jane Cate of A Wing and a Prayer Perfumes
JoAnne Bassett
Liz Cook of One Seed
Rohanna Goodwin Smith of  Ascent Natural Perfumes

**Please visit Anya’s Garden Perfumes for a chance to win a bottle of Sweet Water or Wild Rose!**

The participating bloggers are:
All I Am – a redhead
Ça Fleure Bon (Several writers)
Donna Hathaway at the Examiner
Feminine Things
The Perfume Critic
Perfume Shrine

Expect to see giveaways and reviews on these pages soon!

Nahema by Guerlain: fragrance review

Nahéma...The sonorous name comes from the 1001 Nights, in a story by Scheherazade recounted on the one and only day of her storytelling. Scheherazade is also the name of a symphonic suite by Rimsky Korsakov, worth exploring; nevertheless the effect of Nahéma more closely resembles the climactic experience of Ravel's Bolero. The Arabian story involved the fate of two abducted princesses: one warm and compassionate, the other called Nahéma, meaning “daughter of fire” of a passionate disposition. No one on the various boards actively bothers to find out the name of the other one, but here at Perfume Shrine we like to question the unquestioned and support the underdog. Mahané was the name of the other princess, then. So now you know, in case you wondered!

Created in 1979 with Catherine Deneuve in mind by Jean Paul Guerlain who had been fascinated by her in the film "Benjamin", Nahéma follows the fiery character of the fictional heroine who was ruled by passion and the imagery of Deneuve in a gold cage surrounded by roses (as depicted in the film) aiming to express the duality of woman. Although La Deneuve has been tied with Chanel #5 to the collective unconscious, largely due to the hyper successful campaign (that aimed to the American market though and not France), she proclaims to be deeply into all things Guerlain naming her signature scent as L’Heure Bleue. However she is a regular perfume collector too and has an extensive collection indeed that can be viewed on my Celebrities and the Perfumes they Wear list. This comes as no surprise and definitely justifies my opinion that Nahéma doesn’t really suit Deneuve’s icy exterior, which forms however a significant part of her appeal. On the other hand there are other devotees of Nahéma who love it with a passion: “I feel completely unlike myself if I don’t wear Nahéma. It’s a strange scent, but I love it, and I confess it’s a luxury I can barely live without.” Thus waxes poetically about it Shirley Manson of Garbage rock-group-fame.

However Nahéma didn’t do very well, sales-wise ,and thus is not so easy to find at Guerlain counters, but of course it is not extremely rare either. Its being a commercial flop might be attributed to the fact that it was ahead of its time, introducing the fruity floral concept 20 years before its heyday. It came out at a time when light streamlined chypres like Charlie had already established the image of the independent woman and the new thing were the spicy, mysterious orientals that followed the success of Opium. Nahéma was neither.

On the contrary, Nahéma is a very feisty affair of honeyed rose backed up with intense fruity and balsamic notes such as passion fruit and benzoin, respectively. The initial start has the intense blast of aldehydes redolent of a classic French perfume, so giving it a little time before judging is strongly advised. The heart also encompasses ylang-ylang, jasmine and lily of the valley, as well as an accent of sweet hyacinth (the most characteristic blossom of Chamade): notes which take the supporting role of subtly underscoring the rose. To my nose however the real mate for the rose is peach and plummy nuances: rich and juicy and sunnier than either the note of peach skin in Mitsouko (undecalactone gamma) or Parure, here rendered by the use of lush damascones, at the time just recently discovered (damascones are natural isolates from the rose, giving rose its very rosiness). The rose-fruits combination as well as the richness of damascenones have been reprised by Sophia Grojsman, notably in Trésor in the early 90’s rendering it an instant best seller. In that case nevertheless it’s much more powdery, sweeter, overwhelming and heavy-handed in my opinion. The moderately powdery, liquor-like rose bouquet in Nahema allegedly comes from no less than five elements: Rose de Mai (Grasse or Centifolia rose)absolute and essential oil, Bulgarian rose (Rosa Damascena) absolute and essential oil and the above mentioned damascenones. However other sources, such as Luca Turin, proclaim "the rose at Nahéma's core [...] a geometric locus bounded by a dozen facets, each due to a different ingredient" making it "too rich even for analytical chemistry to make sense of" (By which I deduce he hasn't had the privilege of running this through a gas chromatograph and mass spectometer).
A little while into the drydown of Nahéma clearly detectable sandalwood, Peru balsam and that prerequisite of orientalia, so beloved by Guerlain, vanilla, make their appearance. Guerlain vanilla is unlike anything else out there – it positively smolders. Deep, rich, completely alien to the concept of teenagers seeking a low-calorie substitute to their Haagen Dazs ice cream, it manages to ignite interest even in people who do not normally appreciate vanillic scents. Suffice to say this is not for those who like lighter or “clean” scents, although I do not detect particularly naughty or indolic notes.
The Nahema parfum in the squat bottle with the quadrilobe stopper (same as Jicky, but with a red label) is rosier and smoother, as usual with Guerlain fragrances, as well as to a lesser degree is the 80s concentration of Parfum de toilette and the more recent Eau de Parfum. Yet the Eau de toilette is not unpleasant either, although the initial opening might seem completely aggressive and thin in comparison. Compared with the retro-chic and light-heartedness of Guerlain's Rose Barbare , Nahema is fiery, voluminous and single-minded to the point of stubborness but generous and expansive.

The advertising makes use of the fiery heroine, always depicting women clad in orientalised robes of red and flames shaped like a wreath surrounding the bottle.In my mind Nahéma can be polarizing, making people react viscerally to it. To my detriment, I am not truly enamored with it, mainly because I am no great lover of roses or peach or passionfruit, so another bottle of it is not in my future, however I can’t fail to appreciate the audacity and pedigree of the composition and keeping a small quantity at my side is a lesson in letting the genie out of the bottle.



Notes for Guerlain Nahema:
Top: Peach, bergamot, hesperides, aldehydes, green notes
Heart: rose, jasmine, lilac, hyacinth, lily of the valley, ylang-ylang, passionfruit
Bottom: Perum balsam, vanilla, vetiver, sandalwood


A small sample of Nahéma parfum will be given to one lucky reader. State your interest!

Pic of
The name of the Rose mock-manuscript via Wikimedia Commons. Bottle pic through Fragrantica. Clip of the 2nd part of Ravel's Bolero to a choreography of Maurice Bejart, originally uploaded by audiodeluxe on Youtube.

Guerlain Aqua Allegoria fragrances: notes, history & short reviews

It's easy to look down on the Aqua Allegoria line as an entry level for Guerlainophile wannabes. Compared with the house's megaliths, such as Mitsouko, Shalimar or Vetiver, these seem like fragrances with much less monumental heft and no aspirations for posterity. Yet this "allegorica" line hides a few gems that are more than a simple sent bon and some which manage to be memorable in themselves.
The Aqua Allegoria line began as an exercise in deduction in 1999: the baroque compositions of old were too complicated for a younger, budding Guerlainista who approached the brand from the point of reference of their mother's vanity and the fascination with their Terracotta makeup products. Guerlain was ripe for a change after influx of money from LVMH had poured into the old giant. Therefore a simpler, more joyful approach seemed like a good idea. Focus on streamlined formulae zooming onto the raw materials themselves in identical bottles was on the vanguard of a nascent approach to niche perfumery; only this time available at major department stores at affordable prices. If only things continued on that path for the perfume lover...but I digress.



Perfumers' Rift, Changes in Direction
Before perfumer Mathilde Laurent and Jean Paul had what seems like the fallout of the century (the two are never mentioned in the same breath and all innuendo that Mathilde had worked for the brand was meticulously averted for years), a bunch of the first Aqua Allegorias were composed by her. Incidentally these are the best ones, in scope of creativity, elegance of structure and flair for the individualistic streak. Some of the more modern ones, especially the solo-frutastic ones, seem like they're forgetting they're fragrances and veer too much into the flavours drawer positioning. Lately the compositions have reverted to rounder bouquets (ex.Bouquet No.1) or soliflores, such as the upcoming Jasminora and Rosa Blanca, that hark back to the original issues more than 10 years ago.

Several fragrances in the line are no more: official word wants the scents to have been limited edition all along, one new coming after the old one tires out. But it wasn't so clear cut in the beginning and the survivors (Pamplelune, Herba Fresca) indicate that it might have to do with actual perfume sales figures rather than with any concrete concept. Which is a pity, as a couple (Winter Delice, Flora Nerolia) have something of a cult following, but there you have it. Some can still be found on online discounters or Ebay.

Launches & Design
The original line-up comprised 5 scents in 1999, thereafter an addition or so each year, with a few exceptions, and then picking up at the steady rhythm of two per year, usually each spring with an eye to summer wearing. The original bottle design revisited a simplified bee motif: the honeycomb was embracing the top of the smooth glass bottle with the sprayer built into the cap. The original packaging used a romantic design of flowers or other materials (accordingly) on the outer box, rendered like a delicate watercolour. In 2010 the outer packaging of the whole line was revamped so as to be uniform; all white, the differentiation now only being the colour of the Napoleonic bee embossed and the vertical line crossing the Guerlain logo on the front's top. To my own eye, the older packaging is more successful, even if less coherent.

THE GUERLAIN AQUA ALLEGORIA LINE IN CHRONOLOGICAL ORDER:

Guerlain Aqua Allegoria Herba Fresca (1999): A real herbal green scent. Focusing on mint, but not quite: the dew on the leaves, the fine herbs, its beautiful grassy ambience raise it one notch up from many herbal efforts from others. A survivor, it still circulates on Guerlain counters and is always in production.


Guerlain Aqua Allegoria Lavande Velours (1999): Lavender is given the Guerlain treatment, but done lightly and softly: iris, tonka bean and sandalwood mollify the harsher, cleaner aspects of fresh lavender. Discontinued. Chamingly, it also circulated as scented linen powder sachets...

Guerlain Aqua Allegoria Pamplelune (1999): One of the beacon grapefruit renditions in the whole of perfumery. A wonderful creation that boosts the sulfurous fruit with bergamot, cassis, petitgrain, patchouli and vanilla. If you're among the lucky ones that don't turn this one into cat-pee on your skin (this is one fragrance that is testament to the diversification of effect according to skin Ph) you're set for all your summery needs. A proud survivor, it's still in production.

Guerlain Aqua Allegoria Rosa Magnifica (1999): Rose takes on a spicy mantle for a simple, but lovely interpretation of a classic theme. Miles away from classic Guerlain Nahéma of course. Disontinued.

Guerlain Aqua Allegoria Ylang & Vanille (1999): The most Guerlain-like in the original bunch, it is a floriental with great tenacity and radience. Ylang Ylang is boosted by vanilla and fanned on soft notes of iris and jasmine. Discontinued.

Guerlain Aqua Allegoria Flora Nerolia (2000): A memory of Sevillian orchards where bigaradiers and sweet orange trees sway their leaves and blossoms to the breeze. I find Flora Nerolia especially lovely, marrying as it does neroli, orange blossom and a hint of jasmine with a miniscule incense-woody facet in the bottom. (Lamentably) discontinued.

Guerlain Aqua Allegoria Gentiana (2001): Not groundbreaking, but if you enjoy the take of Angeliques sous la Pluie, you have good chances of liking Gentiana as well. Its mountaintop dry and cool air (due to wild gentiane) is a breath of freshness in a milieu where everyone is wearing something sweet and cloying. Discontinued. Was also available as scented massage oil.

Guerlain Aqua Allegoria Winter Delice (2001): The only truly limited edition, as it circulated in the autumn of 20o1 with a clear destination to be a Christmas/wintery scent, smooth, deep, sumptuous and comforting. The voluptuous depth of pain d'épices and labdanum is given a fresh counterpoint in pine (pinus sylvestris). Discontinued.

Guerlain Aqua Allegoria Lilia Bella (2002): A classic lily of the valley "clean" floral, slightly dishevelled by the inclusion of a healthy dose of lilac. Springtime and youthful floral. Discontinued.

Guerlain Aqua Allegoria Lemon Fresca (2003): The well-known diet drink called Fresca is synonymous with refreshment and energising. Guerlain took this idea, making it a tonic to spritz on, full of sour notes of lemon, lime and bergamot. A little wood underscores, while an anise touch (just a tad) adds an air de famille. But it doesn't venture far off the lemon start. Discontinued.

Guerlain Aqua Allegoria Foliflora (2003): A millefleurs effect that was little convincing. Consisting of bergamot, neroli, apricot, white freesia, gardenia, sweet pea, angelica, vanilla and sandalwood, it's nice without rippling the pond. Discontinued.



Guerlain Aqua Allegoria Anisia Bella (2004): Aniseed is a classic mainstay in Guerlain fragrances from Apres L'Ondee and L'Heure Bleue onwards and here it's given a smothering of volatile notes such as bergamot and basil which complement its melancholic spiciness, alongside sweeter jasmine, violet and the discreet backdrop of cedar. Discontinued.

Guerlain Aqua Allegoria Mentafollia (2004): The simpler side-kick of Herba Fresca, focusing on bittersweet herbs. The latter is better, somehow, more complete. Predictably discontinued.

Guerlain Aqua Allegoria Orange Magnifica (2005): This is the first of the "fruities" Aqua Allegorias that really ruined it for the rest. A lovely Calabrian orange with a discreet almond background, progressing from the fruity to the lightly floral (neroli, clean jasmine). Discontinued.

Guerlain Aqua Allegoria Pivoine Magnifica (2005): A very clean, scrubbed floral that boosts the effect with hesperidia and the mainstays of iris-violet that Guerlain is famous for. Discontinued.

Guerlain Aqua Allegoria Grosellina (2006): Fruity-candy, cassis composition that accented the whole with fresh citrus notes on top. Nothing noteworthy really. Discontinued.

Guerlain Aqua Allegoria Tutti Kiwi (2006): An odd combination of kiwi and licorice, fanned on sandalwood and vanilla for sweetness. Probably my least favourite in the line. Discontinued.

Guerlain Aqua Allegoria Angélique Lilas (2007): Aqueous floral with notes of pink pepper, lilac, angelica and bitter orange. Luca Turin calls it a "footnote on Eau d'Issey years later". I believe he means unnecessary; it's not that horrendously bad. Discontinued.

Guerlain Aqua Allegoria Mandarine Basilic (2007): Two elements that contrast, orange-y sweet and spicy aromatic with ivy tones. Still available and in production according to official site.

Guerlain Aqua Allegoria Figue Iris (2008): Green fruity scent with fig leaves and fruits, very summery, dusted with a hint of iris so as to be reminded of the heritage. Discontinued.

Guerlain Aqua Allegoria Laurier Réglisse (2008): Another unusual combination, this time laurel and licorice. This gives a soft and green fragrance that has a unique taste buds appeal. Original. Discontinued.

Guerlain Aqua Allegoria Cherry Blossom (2009): A sakura perfume, simple and spring-like. Fresh and a little bit sentimental fruity floral. [Not to be confused with the stand-alone Cherry Blossom limited edition in the Louis XV flacon].

Guerlain Aqua Allegoria Tiaré Mimosa (2009): A tropical note (tiaré) and one which is inspired by a tropical destination (mimosa is an Australia native). Spicy accents and citrus lift the sweeter base that includes vanilla, clean musk and vetiver. The popular "suntan lotion" theme. Still available.

Guerlain Aqua Allegoria Flora Nymphea (2010): The anniversary edition to celebrate 10 years of Aqua Allegoria is a floral with youthful image. I wasn't particularly impressed. Available from a bunch of places, often on offer.

Guerlain Aqua Allegoria Bouquet No.1 (2010): This was a travel exclusive edition that didn't circulate widely. A peachy white floral (jasmine, delicate fruity notes), I thought Bouquet No.1 is an elegant play on the ubiquitous fruity floral theme.

Guerlain Aqua Allegoria Jasminora (2011): A lovely and true green jasmine soliflore, with a refreshing freesia note on top. Review of Jasminora here.

Guerlain Aqua Allegoria Bouquet No.2 (2011): A tropical take on fruity notes of litchi, fanned on rose and iris for tenacity and elegance. More info on Bouquet No.2 here.  

Guerlain Aqua Allegoria Rosa Blanca (2011): More info on Rosa Blanca here.

Guerlain Aqua Allegoria Lys Soleia (2012): More info on Lys Soleia here. 

NB: Dicontinued does not mean introuvable; it means out of production. There is still old stock left, some of which I have linked on each of the fragrances.

Top pic via Le blog de la mechante. Other pics via parfum de pub.

Le Labo Aldehyde 44: fragrance review

The aliphatic aldehydes string of Chanel No.5 is what is termed "aldehydic" in perfumery parlance and characterises a whole sub-group within the floral fragrance family: C10, C11, C12 aldehydes to be exact, creating an accord so memorable it has pervaded fragrance mores for decades. [If you don't know what aldehydes are, refer to this article]. Le Labo's take in Aldehyde 44 is more inspired by the sweeter, soapier, more snowy-capped mountains seen flying above in lesser known (and more American-geared) Godzilla-aldehydic Chanel No.22 and equally American "sharp clean" White Linen by Estee Lauder than muskier-sexier-dirtier (aka Frenchier) No.5 however. Perhaps the fact that it's a Dallas,TX city-exclusive (only Dallas inhabitants and visitors of the city's Le Labo boutique at Barneys can partake of the sprakling waters!) is not totally random as imagined.This is a clean, rested, posh fragrance; depilated, smoothed and hosed and full of energy, not languor.

The opening in the Le Labo fragrance is so old-fashioned elegant and prim in its sharp biting "sparkle", with its citrusy-waxy fat top note, you will be doing a double take to see whether you have been magically transported back to 1955 and wearing a whale-boned petticoat under your skirt. But the perfume is modern, in more ways than one.
The progression is seamless and sustainaibly sour aldehydic into a somewhat metallic musky floralcy in the base, without either too much sweetness or woodiness (The idea of musk at Le Labo can be perversely illusionary anyway, as attested in Musc 25. Perfumer Yann Vasnier is using ambrettolide here in Aldehyde 44, which is a macrocyclic musk, very refined, soapy smelling-fruity in character).
What is characteristic is there is no powderiness in Aldehyde 44, as associated with other retro fragrances that utilize irones and ionones (iris and violets) to denote cosmetic products and old-school face powder. Instead it's citrusy waxy-soapy-fatty, it makes me think it's what an hypothetical child between Ivoire by Balmain and White Linen would be like: the green sudsy oiliness of the former meets the fatty sweetness of the latter, the rosy facets taking on a peppery bite with lots of buds' green, a hint of pear fruit in there too.

If you read that Aldehyde 44 contains woods and vanilla and imagine a comforting scent, you will are in for a nasty surprise: the woods only come from the C12 aldehyde (a pollen-rooty, lilac scent) and the silvery refracting amber synthetic; while the citrusy touches are reminiscent of bitterish, tangy orange rind (which has a resinous quality, not unlike some incense blends) and not marmelade. The floral notes cannot be taken apart, it's an abstract blend where no note rises above the rest. Aldehyde 44 possesses "sweetness" of another kind altogether and it can only be compared to that encountered in No.22 (especially in its less incense-y modern incarnation as part of Les Exclusifs in Eau de toilette) or the classic Lauder referenced above. The sillage is civilized, but definitely there, and the lasting power very good. Lovers of the elegant polished genre, rejoice, this is a well-crafted example; perhaps not totally necessitating the ouchy price-tag nevertheless.

The offficial Le Labo presentation states: "Aldehyde 44 is a small wonder that sits tight between an aldehyde overdose, that gives this scent a unique cleanliness to it, a sublime floral composition that is built around Naracissus, Jasmin, and Tuberose (all Absolute in case you wandered), and a bed of muscs tied with a hint of vanilla. The result is esthetically admirable and unique".

Aldehyde 44 by Le Labo features fragrance notes of: aldehydes, tuberose absolute, jasmine sambac, narcissus absolute, woods, vanilla and musk.

Le Labo Aldehyde 44 is a Dallas, TX city-exclusive, retailing at $290 for 50ml, but only for the month of November it is globally available at Luckyscent and on the official Le Labo site.

Related reading on Perfume Shrine:  Le Labo reviews & news , Aldehydes: what they are, how do they smell, where do they shine, Aldehydic fragrances

photo of Cyd Charisse