A re-orchestration: Baghari by Piguet, fragrance review and comparison

Reformulation seems to be the new name du jour for perfume companies. They sometimes miss terribly (Dioressence) while sometimes they invent something amazing (Femme). Baghari by Piguet seems to stand at the middle, being neither atrocious or disloyal to the original, nor the innovative masterpiece that could be the be all and end all. Taking that into account however it stands as a perfectly lovely little aldehydic floral that is sure to be enjoyed by lots of people. Not what one expects from the house of Piguet, who has churned out such controversial fumes as the lethal white femme of Fracas and the leathered dominatrix rolled in grass of Bandit.

The original, now vintage, Baghari was created in 1950 by Francis Fabron, creator of Nina Ricci L’Air du Temps (1948), Balenciaga Le Dix (1947) and Givenchy L’Interdit (1957). This venerable french "nose" composed elegant scents with polished and powdery notes echoing an aura of romanticism and the feel of the feminine New Look that had been introduced just 3 years prior by Christian Dior. The vogue became one of feminity packaged as a lady who lunches discreetly with crinoline skirts a little below the knee, cinched waists, little hats and gloves for all occasions. Baghari was marketed in 1950 as a discreet and fresh fragrance for a young lady, but of course perceptions have changed so much (not to mention fashion trends) that it is impossible to imagine what the audience of BlackEyed Peas or the consumers of Miami Glow might find elegant anymore. Nevertheless, this is not an affirmation written in an attempt to look down on our day and age as is so prevalent among perfume boards, blogs and articles. Our age has also got its classics (Narciso for its loveliness, Angel for its innovation, Voleur de Roses for its unusual mix of rose and patchouli and a few others). Their time of reverence will come...

Not to divert from the point however, the new Baghari is a playful spin on the original. It was reorchestrated in 2006 by Aurélien Guichard of Givaudan, famous for his acclaimed Bond no.9Chinatown. The main difference with the vintage is in the top notes and less at the base. The stark glaring white aldehyde of the original is replaced in part with sweeter notes, encompasing a little violet, a note which is witnessing a rebirth this year after eons of exile in the darkest corners of the perfume hall of fame. On a blotter it has a slightly spicy note that is deceptive. It really properly blooms only on the skin.

The notes for the original are: aldehydes, bergamot, orange blossom, lemon, rose, lilac, ylang-ylang, lily of the valley, jasmine, Bourbon vetiver, benzoin, musk, amber, vanilla.
In contrast the new one has: bergamot, neroli, aldehydes, violet, jasmine, orange blossom, rose Damascena, rose Centifolia, iris, vetiver, amber, musk, vanilla.

As the new Baghari unfolds its secrets there is a clean, almost soapy smell that is very becoming, like crispy linen on a laundry day, starched collars and preppy shirts laid out on the bed for inspection before donning them. It then sweetness considerably with the full revelation of the jasmine and orange blossom heart. The dance of rose with jasmine and violet is never ending, going on and on and on, into the territory of romantic and old-fashioned elegance of wisps of satin petticoats underneath. This is most definitely a floral for soft personalities, a little shy perhaps, a little wistful. There is a silent lucidity about it, that resembles a piece by Debussy. Full of emotion that is expressed in a tender and innocent, shining way; shielding our core and our memories from the ravages of the mundane, affording us a slow drive to sunny gardens.
The woodiness of the base has a hefty dose of powdery iris, a very expensive ingredient, lending an earthy dry afterfeel that lingers like the memory of a kiss on one's flesh, a skin-like aroma that seals the deal and makes this one reformulation worthy of its launch.
The comparison with Chanel #5, Le Dix by Balenciaga, Guerlain's Vega or Liu is not far off and indeed somehow Baghari seems a little redundant to me, since I already own Chanel #5 in parfum/extrait, which is a little muskier and woodier than this one, making it more seductive and secretive in my mind. But that's not to mean that the new Baghari isn't a lovely scent.

It can be had in a bottle of 50ml/1.7oz of Eau de Parfum at Bergdorf Goodman, Neiman Marcus, Harvey Nichols (UK) and Les printemps (France).

Pic courtesy of touteenparfum.

Beautiful bottles in time for Christmas

Just in time for Christmas, perfume companies have issued or re-issued beautiful bottles for their precious fragrances to entice us to buy perfume for ourselves and others. The packaging of perfume does play a part in our choosing a particular fragrance and although I for one would go for my holy grail even if it were packaged in a milk carton, I have to admit that pretty bottles and evocative design does make me daydream. Sometimes the bottle proves to better than the scent, which seems like a disappointment but at least you are left with a beautiful bottle on your dresser, which is better than being left with a bad one (and aren't there lots of those?) That's some sort of consolation for the visual part at least.
Some of the bottles that have caught my eye recently are the following. I amassed them here for your delectation.

First comes the limited editionCaprice de star by Thierry Mugler, the new bottle for his infamous Angel for Chistmas 2006, pictured above. ‘Caprices de Star’ translates as “On the Whims of a Star” and is the bottle for the parfum/extrait. A stunning blue-and-white star-shaped crystal objet which cradles an ultra-concentrated scent (and Angel being what it is, you can only imagine) built around the eau de parfum’s mouth-watering oriental facets. The parfum retails for €160 for 20ml or 2/3 fl.oz. Available from major department stores.

The Dior offering for this Christmas, named Midnight Charm, is a fresh and sparkling departure that mingles Italian mandarin orange with green and fruity notes. The heart reveals a "peach-skin accord" blooming over a floral bouquet of Egyptian jasmine and Moroccan rose. The base has a mouthwatering touch of "glazed chestnut" (a French Christmas specialty; marron glacé which is really really yummy, it makes me salivate as we speak), amber and the musky sweetness of "skin" notes, all enclosed in a bottle that is inspired by the classic Dolce Vita bottle, now interpreted in silver and mauve. Avaialble at major department stores.

For our gentlemen friends the bottle that has captured my fancy is none other than that of Victor and Rolf's Antidote. "While Flowerbomb (for women) is preventive, Antidote is a cure", the advertorial on Osmoz says. Which explains how avant-garde couturiers Viktor & Rolf chose the name for their first foray into men's fragrance. An olfactory extension of their ready-to-wear line Viktor & Rolf Monsieur, Antidote has a complex construction, like a bespoke suit. It blends sensuality, freshness and elegance by using an amber-wood potion; the emerald-hued juice is contained by a black cap with a wax seal that seems about to reach meltdown and is very much to my liking indeed.
Antidote is described as a lush woody Oriental, overloaded with flowers. It has been built around 4 facets. A floral facet, (encompassing a bouquet of jasmine, violet, peony, freesia, orange blossom and more), a spicy facet (blending cinnamon, cardamom, black pepper and nutmeg), a woody, almost leathery facet (blending patchouli, gaiac wood, white cedar, sandalwood and oak moss) and for the final course the amber facet, tinted with vanilla and musk. Fragrance designers: Alienor Massenet and Pierre Wargnye, IFF. Available at major department stores.

The bottle of Nuit d'amour, the latest boutique Guerlain following Plus que Jamais from last year, on the other hand is very exclusive; but it is so old fashioned and heavy in its bacarrat crystal that is bound to procure little cries of excitement by the lucky lady that receives it. The juice purpotedly is not as interesting, which is a shame, but today we are focusing on the packaging and the superficial rejoice of seeing a pretty bottle, so for once I am willing to bypass that. For those interested however it includes notes of pink pepper, lychee, rose, violet, iris, sandalwood, musk. Available from Bergdorf Goodman in the US and directly from the Guerlain boutique in Paris. The baccarat crystal flacon is priced at $2600; while the regular 60 ml size is $390. It might as well stay on the screen for all I care...

On the contrary, the limited edition of Mure et Musc by L'artisan parfumeur is a re-issue of one of their best selling fragrances and the succulent crystal bottle is good enough to eat which prompted them to bring it back again for those interested in adding it to their collection. A very tempting, gorgeous presentation. Available at Aedes in the US and from L'artisan boutique.

Burberry seems to be on an roll with their hugelly successful Brit scent witness the limited edition of Brit Red last year) and for this Christmas they brought out a trully spectacular limited edition bottle with golden tassels on a faceted crystal to resemble the brand's plaid in relief. Available from major departement stores.

The 24 Faubourg extrait is not new, but it is so beautiful in its crystal bottle with the golden drop of the jus inside that it merits a place in this post today. Trully classy scent of orange blossom on a bed of amber and one could not go wrong with getting some. One of the cases when there is no deceptive apperance. A modern classic that never fails. Highly recommended.

And because no crime is accomplished if the starring culprit isn't yet involved, Yves Saint Laurent parfums have gone out of their way to present this smashing new collector's edition of their mesmerising Opium fragrance. Enamel designs of oriental flowers over the solid lacquered black of the bottle, it's eye-catching on the screen as it is live in the shop, making mouths water from the loveliness. Which begs the question: do I need to add this to my massive Opium stash? I guess it does.


Pics come from: Escentual, Amazon, Guerlain rep, L'artisan rep and fashionmag.fr. Many thanks!

Maquillage: the sweet scent of makeup

It’s always so gratifying to get samples from less known perfumers who put their heart into their perfume instead of marketing analysis and assorted research and development findings. Such is the case with Maquillage, the very likeable scent by amateur perfumer Armando Martinez. Over the few months I have been writing my blog, people have been asking me to review perfumes for their reading enjoyment, reviews that maybe they wouldn't see in any other perfume blog in some cases as the perfumes were not known and the sources were obscure and did not list notes. It has been my joy and pride to do so for them. This however is not such a case. In fact I was the one who asked tentatively if I could sample this perfume when I heard about it and Armando obligingly sent a sample along.

Armando has been dabbling with oils and essences and some synthetic aromatic materials as a hobby for a long time, being interested in the magical world of perfume for years. The scented memories of his life have been fodder for his experiments and his love for the vintage masterpieces of yesterday such as My Sin, Scandal, Tabac Blond or Shocking de Schiaparelli has not been eclipsed by his ardent love for all things nouveau niche such as Lutens’ Ambre Sultan, Chergui or Bond no.9 New Haarlem.

His fragrance for women was baptized Maquillage from the French word for makeup and is redolent of his love for perfume in general. In an early first effort that was a homage to Jean Paul Gaultier's Classique, sweet scent of femininty trapped in the torso bottle that has in turn been inspired in looks by Shocking, Armando has captured the essence of a lady’s makeup paraphernalia and more prominently the aroma of face powder and satin cream lipstick in old bullet-style packaging. Oh, so elegant and glamorous, the times of bygones brought back with a nonchalant flick of the puff.

As I picked up the little bottle with the clear and oily liquid sample of the perfume my mind strayed into the avenue of a reminiscence of my own. I thought about the glamour of my grandmother’s trousse de toilette, all gold gilded bottles, often brought back from Paris. This was one hell of a glamorous grandma who used to order her clothes to the best tailors in town and her evening gowns to French ateliers, lavishing Madame Rochas and Miss Dior parfum with elegant gusto on her unstoppable person.

Maquillage would fit such a person. It begins its soft glamorous and nostalgic journey on a very soft, citrusy, bright and lightly sweet rose and honey note that is soon aligned to the candied scent of violet. Such a combination has a very feminine and cuddly smell, redolent of the mood that L’artisan’s Drole de Rose recalls. Frederic Malle’s Lipstick Rose is another rose-violet combo that could be referenced, and yet, Maquillage is not as sweet neither is it as penetrating making it infinitely more wearable in my opinion (because I prefer more subtle florals); although its great flaw is the lack of staying power compared with the monstrous tenacity of Lipstick Rose. The fact that Maquillage has a slightly oily texture indicates that it is not a lack of the proper aromatic materials, as I generally perceive this as a good sign, but maybe a matter of dilution which needs to be lower.
The drydown phase after about 20 minutes on my skin is a very soft musky powdery affair of the amorous pairing of iris and musk of a synthetic nature that warms up the whole, making it soft and pretty, with the merest touch of vanillic nature, just enough to render it charming and winsome.

The official notes are: lemon, lime, linden, honey, peach, rose, jasmine, violet, musk, iris, vanilla.

For a first foray into perfume, Maquillage is a very nice composition that would certainly benefit from an eau de parfum concentration. I think there is the promise of a bright future ahead of Armando Martinez if he wants to pursue it!

You can ask info and order samples of Maquillage directly from Armando by emailing at mandocmartinez@yahoo.com or on the First in Fragrance/ Aus Liebe zum Duft site.


Photo by Spyros Panayiotopoulos (courtesy of eikastikon)

Tom Ford Black Orchid (new baroque?): Fragrance Review

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Film noir: a perfume to be wary of

What perfume does a film noir heroine wear? More importantly: what perfume does a film noir cinephile wear? If the twists of plot found in a good noir are you cup of tea (or, in this case, coffee), then Film Noir by Ayala Moriel perfumes might be your hot ticket to a ride of pleasure for the evening. And many more evenings to come, if you are lucky and smart. But let's concentrate on your smarts, pal.

Ayala Moriel is dedicated to the art of natural perfumery, a niche that is witnessing a renaissance lately. Perfume Designer Ayala Moriel creates handcrafted perfumes from 100% precious botanical essences. On her site, she describes Film Noir thus:

"This perfume is as dark as a Film Noir plot; as dark as a dim-lit alley in Chinatown and musty as the sewer in The Third Man where the
ambivalent heroes and heroines find their inevitable death, over and over again.
Film Noir is as dark as the soul of the genre's script writers, directors,
actors and viewers. In fact, it is so dark that it includes only the darkest
base notes: cruelly luscious dark cacao absolute, musty-sweet patchouli and the
mysterious bitterness of myrrh. "

Built around the noble essences of dark-roast coffee and the bitterest Valhrona chocolate they combine with patchouli to render a surprising gourmand that catches the darkest images. If you have sampled the wonder that is Serge Luten's Borneo 1834, then you are already familiar with the weird attraction that such scents produce in the limbic system of the person smelling them. Although the depth is somehow bitter and musty, as if glimpsing the jaws of hell, it manages to also recall memories of cosiness and comfort in woolly seperates on a very cold day. Film Noir might have been inspired by such an olfactory memory and created to pay homage to all those inwardly dark heroines (even if they are blondes) that fester the imagination of screenplayers from the dawn of cinema but only culminated in the 40s and early 50s . The breathy voice of Lauren Bacall in "To have and have not" and her gaze as she takes the matches from Bogart. The intricate plot of "The Maltese Flacon" and the wit of "The Third man". And the great "Chinatown", the noir that summarises all the great traits of the classics without copying any of them. And then the recent greats, even if they break some cardinal rules to accomplish it: "LA Confidential" and "Sin City".
Venomous and razor sharp, the heroines emit a female mystique that leaves you shivering from the iciness and hot and bothered by the promise of fiery sex. But you'd have to sleep with a revolver under your pillow, you never know...

The dark ambery liquid reveals its assets early on, as a drop on the skin is more than enough. It then unfolds the notes with the gusto of a cutthroat assasin draped in a killer tweed suit. They did it oh so glamourously back then! Patchouli lingers in the base making it very lasting. The veil of Faye Dunaway is not raised, not will it be raised ever, the dark glasses remain firmly in place, hiding her gaze. Is it happy, is it sad? is she shedding a tear? We will never know. The mysterious aroma will linger in your memory for ever, like the infamous lines in Roman Polanski's film Chinatown when the secret is revealed between heavy slaps: "She's my daughter. She's my sister".Film Noir is our dark sister. And the daughter we should be quite worried to have.

You can read about natural perfumery and her creations and get Film Noir by visiting Ayala Moriel perfumes clicking here

Top pic is from Black Dahlia, the movie based on James Ellroy book. Pic of Faye Dunaway by Helmut Newton courtesy of temple.edu