How the Perfume Market Game is Changing

 The drift into the corporate mainstream by some of the older niche brands always creates the risk of a possible (or rather probable?) diminishing of innovation and creativity as a result: Tom Ford, L'Artisan Parfumeur, Penhaligon's, Le Labo, Diptyque, you name it... We're therefore experiencing niche 2.0 with newer artisan and indie brands. Creed is the latest brand to be sold to a large luxury group, to Kering to be specific. 

Creed was a family business with a disputed past into fragrance making (the history of the Creed fragrance brand as examined for inconsistencies is laid bare in this piece I wrote). In short, Creed is a Paris-based perfume house renowned for its self-styled history and the unquenchable thirst for name-dropping. It has been possible to find and acquire in garage sales and collectors' catalogues perfumes created by Guerlain, Chanel, Caron, etc. worldwide. Yet it proved virtually impossible to find specimens of a Creed fragrance prior to the '70s.  

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In 2020 after decades of tight family management, the perfume house of Creed was sold to BlackRock Long Term Private Capital and Javier Ferrán, the Spanish businessman and chairman of Diageo. At the time, Olivier Creed said that Ferrán and BlackRock LTPC were “ideal partners for Creed, given their collaborative approach to working with their companies and their long-term orientation. I also look forward to continuing to work with all our staff, suppliers and distributors, and I know that they will continue to share in our success.” BlackRock is incidentally one of the biggest property management firms on the planet. It was around that time that Aventus for Men had become their ultimate best-seller, the best-seller to end all best-sellers, a Jean-Christian Herault composition with prominent fresh pineapple over notes of green apple, patchouli, birch and ambergris.  

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 Creed has now been bought up by a large luxury group that controls famous houses. Kering is a French multinational company specializing in luxury goods. It owns the brands Balenciaga, Bottega Veneta, Gucci, Alexander McQueen, and Yves Saint Laurent. It remains to be seen what will happen to Creed and to Aventus in particular, which latter subject has been under scrutiny for watering down by its many fans for a couple of years now... 

 

I guess we will see about that. The point is the perfume market game is changing and we'll see more developments soon. 

Creed Green Irish Tweed (1985): Fragrance Review

~by guest writer AlbertCAN

 This is my tenth year, in various capacities, within the fragrance industry. One does not come this far without hearing a tall tale or two over the years. Some printable; some unfortunately aren’t. Thus imagine my amusement a few years ago when George Clooney’s negotiation for fragrance licensing with Coty fell through, in part, because the asking fee was $30 million dollars.

Now don’t get me wrong: I’m sure Clooney had his sound rationales, and $30 million dollars would surely come in handy when buying a more secluded villa in Lake Como, with the privacy he had sorely missed when vacationing. With this being said it’s doubtful that I would need a copy of bottled George in the first place, for when I am compelled to take after the leading man —along with other cultural icons such as David Beckham, Russell Crowe, Pierce Brosnan, among others— I pull out my copy of Green Irish Tweed.

actor David Kelly in his green irish tweeds

Officially Green Irish Tweed was created by master perfumer Pierre Bourdon for yet another leading man among leading men —Cary Grant. The chronology gets fuzzy beyond this point, however. He supposedly used it, though Grant would kick the bucket within a year after the fragrance introduction. Carbon dating the scent through its olfactory blueprint would be somewhat futile in this case, for it’s a green aromatic fougère that subtly influenced the masculine market for years, pointing to the future rather than its past. (But more on that later.)

Timeless doesn’t even begin to describe this scent, for Green Irish Tweed is working incredibly well for men of all ages. Just like the same Shakespearean passage could be interpreted so many different mannerisms and contexts, Green Irish Tweed somehow manages to give off a different spark in different situations: on a young lad, the vibrant and brash green opening; on a middle-aged businessman, the all-purpose aromatic earnest; and the golden men, the classic fougère base. That’s not to say that GIT lacks character, as it opens with a bracing rush of green and citrus elements such as lemon verbena. True to namesake fabric the nuances from the crunchy green really maintain the requisite masculine ruggedness; it’s as if one is meeting a true aristocrat, but instead of in the drawing room of his ancestral home it’s a chance meeting right before his polo match, brimming with confidence and vigor. Somehow I suspect geranium is in the mix, having picked up its presence among other similarly structured colognes, yet it’s not listed in the official notes: instead we have an interesting bunch consisting of violet leaves and vetiver making rounds before settling on the aforementioned fougère base along with sandalwood, ambergris and modern musk. Iris is in the mix too, although truth be told I still cannot decide its place: Creed lists it as a top note, whereas it's more of a heart note to my nose.

Now at this point readers with a modern olfactory palette would need some contexts before smelling this fragrance for the first time, for its idioms have been widely utilized ever since. The bookends of this fragrance, the green and the fougère, was to me referenced in Chanel Platinum Egoiste (1993), albeit in an arguably more acrid, slightly more high-pitched incarnation. Of course, Bourdon would also famously reprise the structural integrity of GIT by plugging in Calone into the mix, producing the watershed Cool Water for Men in 1988, just three short years after the release of the Creed.

Comparing Green Irish Tweed with Cool Water for Men is indeed a gentlemen pursuit worth partaking, for the differences are quite interesting. To me GIT is gentler in character, less intrusive than its marine sibling. Both perform quite well in diffusion and sillage, although Cool Water for Men balances out the freshness from Calone with a more assertive base in my humble opinion. Now much has been said about the use of Calone, the synthetic chemical first discovered by Pfizer in 1966 but left on the shelves for decades due to its bizarre slant: in high concentration its scent has been described as oyster like! Yet at a lower pitch it gives off a fresh marine impression with, depending on the context, melon or cucumber with a slightly saline dent. Yet Calone isn’t the magic pill within Cool Water for Men, as its similarities with the Creed imply. Of course, the Davidoff is more budget conscious, done with broader brush brushstrokes, but Bourdon’s signature touches are decidedly present in both. After all, the instrument alone doesn’t make a concert: neither in perfumery does the overdose of a novel ingredient take away from the thought process. We also pay for the perfumer’s time, not just for the sum of the bottled ingredients.

One notable difference, however: GIT layers very well with other masculine scents, not only with eaux de colognes but also quite interestingly with MUMAs. Because it doesn’t come in deodorants I tend to combine it with Terre d'Hermès deodorant stick. Mind you, I have even layered it beautifully with Chergui by Serge Lutens, with Chergui at the base and GIT right above, though looking back the combination is a tad assertive for my taste, fortifying the amber of the Lutens to an opulent, diffusive place I don’t normally venture—but then again conventional rules are out of the door at Lutens; I just dare not go that far.

For more information please refer to Creed’s official website.

Creed Vanisia: fragrance review

Vanisia by Creed does not smell like pure unadulterated vanilla as the name would lead you to believe, thank heavens. It reminds me more of a lighter Égoïste by Chanel if that one put the sandalwood into the boudoir and puffed it and puffed it with lots of ambery rose-jasmine powder that gives a golden shimmer over mounty breasts. T

The resinous depths of its core, a complex and satisfyingly rich amber accord, recall the play between light and darkness in the paintings of the Spanish masters; dramatic expanses of vivid motion, shadowy corners that hide small details with significance that doesn't pass unnoticed. The double whammy of a misleading name and the wrong company (few houses are more derisive!) just conspired it to make it a very under the radar fragrance. Which is exactly why I decided to get the scalpel and start surgery on this page.

The "barbershop" effect makes its presence known in Vanisia via a faint lavender note (a classic combination, best appreciated in Pour Un Homme by Caron which is almost solely lavender and vanilla) as well as what smells like cedar, which makes it wearable for men as well.

Women will naturally gravitate to it for its sexy factor, best appreciated in the depths of the base notes, although I need to stress that you need to be a lover of ambers to appreciate it. It's quite powdery in a mature, retro way, with hints of soap as well, an oxymoron amidst the sultry tonalities that remind classic references with more than a hint of ambery"skank" such as Bal a Versailles and Tabu. Lovers of Guerlain Samsara might also find a complex beast to like and claim as their own. But they should be warned that it smells unashamedly mature, probably best reserved for those who already have other youth-ammunition under their belt; this is not a "spritz me with grapefruit and let me fool you into believing I'm 7 years younger" gimmicky. It's said by Creed that Cher likes this one and wears it: figures...

I am personally a little bit at odds with Vanisia: On the one hand I like the tempered amber character that doesn't imbue everything with a sticky candy floss note and includes that familiar ambergris Creed base. On the other hand I find there is some incongruence between the after-shave accord on top and the floral oriental core. Lately I have been unlucky into coming across bottles that seemed to be a little off, metallic and more "masculine" than I recall the scent to be. I am not sure if we're facing a reformulation or not (the tester bottles didn't look pristine brand new) or if there is fake stock circulating, which is surely the case for other Creeds. It would be interesting to hear from you in the comments if you have other experiences with that matter.

Vanisia was launched in 1987, supposedly for a Spanish queen, and is mostly unknown/unacknowledged till this day, although one of their more rounded fragrances.

Notes for Creed Vanisia:
Top: bergamot
Heart: jasmine and Bulgarian rose
Base: sandalwood, amber and vanilla

Painting The Parasol by Francisco de Goya.

Creed Spice & Wood: fragrance review

Creed is celebrating 250 years of family business apparently and therefore have issued the Royal Exclusives line: Notice the cunning use of Royal accolades for something completely new which surely can't have been commissioned by any royal personage? Especially since this is a release for the American market who is dazzled by royalty. We, Europeans have a much different view on them, having known them from all the bad angles, I'm afraid... Anyway, there's nothing wrong with a little bit of marketing on the part of Oliver Creed, so I won't insist on this minor point.

So after Sublime Vanilla,
Creed Spice & Wood marries two of the favourite themes of many perfume lovers, thus also hinting at an "old school" thematology. Would the material be treated in a such a way?
The inspiration was reported to be the pairing of Antony and Cleopatra and I couldn't but recall of the line about Marc Antony's sexual tastes which leaned "more to the molded cheese than the pure one off the cheesemaker's" as jotted down by Octavia, his 3rd wife and antagonist of his GrecoEgyptian lover. I guess Creed missed that part.

So, is it? Is it not? Who cares...saying that a fragrance was inspired by some perfume that Cleopatra or Marc Antony wore, or from fragments of anything that belonged to them, might cut it with the average consumer.

What matters is the fragrance itself. And alongside the promised spices and woods there is a more esoteric accord, which runs through some of the Creeds, a bit metallic, a tad salty. There is also a touch of a Cuir de Russie pungency, thanks to white birch featured, but nothing out of this world. The dominant wood is cedar, both austere and a little sensual, with a bit of that petroleum note which it takes in many modern compositions instead of the pencil shavings that we're accustomed to think of when cedar is mentioned. The base overall has some similarities with Aventus, a previous Creed fragrance with which it shares notes on paper, as well as Original Santal (a modern offering despite the "original" in its tag line), differentiated by the spiciness ~nowhere near Baie de Genievre alas~ which comes across as peppery-clove-y (iso-eugenol) and an abscence of sweetness. Overall, despite the expectations, it's a subtle, delicately warm fragrance without old-fashioned richness, more transparent and modern than anything; like they're pulling an Hermes on us, only with royal insignia to boot. I guess it works for the intended audience.

Parthian shot: Is it very masculine, you ask? Creed says: "Spice and Wood is the luxury asset hand made for men -- but also intensely enjoyed by women". Two birds with one stone, but of course!

Notes for Creed Spice & Wood:
Top: bergamot, lemon, Italian Court Pendu Plat apples from Rome
Heart: angelica root, Luxor rose, clove, desrt pepper, patchouli, white birch
Base: Egyptian iris, cedar, oakmoss, musk.

Creed Spice and Wood is available in Eau de Parfum in a 250ml/8.4oz bottle made by Pochet et du Courval with a spray mechanism for 550$ from the Creed boutique and soon from retailers who distribute the line. Erwin Creed, 29, seventh generation of Creed and its future head, visits the U.S. in November, upin which occasion he will make public appearances at Bergdorf Goodman and select Neiman Marcus stores coast to coast, presenting the fragrance to the public for the first time and signing bottles. Please see all the dates and places of Erwin's US tour dates on this article.

Pic by Antoine Helbert via Chateau Thombeau

Leather Series 4: A touch of Regal Stench

by guest writer Denyse Beaulieu

For centuries, leather and scent have gone hand in hand; and for centuries, that hand was sheathed in the finest of gloves… Like his predecessors on Western thrones from Catarina di Medici onwards, King George III (1738-1820) – the English monarch whose reign was interrupted by his descent into madness - shielded his regal nose from stench with a wave of a fragrant glove.

But things had changed in the realm of perfumery, and the strong animalic aromas favoured by his forebears had fallen out of favour half a century before he was born. Many still believed that the putrid miasmas emanating from cadavers, cesspools and the very earth were responsible for plagues, and that bathing, by ridding the skin of its protective coat of grime and immersing the body in hot water would expose one to maladies by opening up the pores. However, a change in sensibilities was drawing the aristocracy and the rising bourgeois classes towards lighter floral scents conjuring images of nature. Perfumes were no longer though of only as invisible shields: their poetic essence spoke to the very soul. Animalics were reviled and thought harmful: musc, for instance, was associated to the smell of excrement.

It is thus quite surprising to find that the first documented leather scent, now known as Royal English Leather was composed in 1780 for King George III by James Henry Creed at the height of the fashion for delicately scented colognes and powders.

Was the King’s master perfumer inspired by the flower-treated leathers still in vogue at the time? If so, he may have been the first to think of introducing a note not found in nature into the vocabulary of perfumery, a full century before the invention of synthetic aromatic compounds. Creed also seems to have been the inventor of an association which would persist up to the present day, the citrus-leather blend. “Seems to have been”, because the scent was apparently reformulated in 1805, at a time when stronger, animalic perfumes were enjoying a revival: at the outset, it may simply have been a floral hesperidic blend used to treat the King’s gloves…

Royal English Leather has none of the astringent bitterness we have come to associate with later, birch-tar based scents. Indeed, the leather note might have originally been created with styrax and castoreum, although conclusive info is not divulged.

Royal English Leather opens with a solar-sweet trumpet blast of the juiciest mandarin studded with cloves, peeled open in a study lined with leather-bound books. The mouth-watering citrus yields to a slightly soapy jasmine that can nearly be tasted, as though sipping jasmine tea – the tannic oakmoss produces the tea-like effect. In the dry-down, the scent subsides into a skin-like, salty leather drizzled with violet powder fallen from the royal wig… The merest touch of aristocratic stench pervades Mad King George’s bespoke fragrance: like its brasher descendants, from Eau d’Hermès to Miller Harris Cuir d’Oranger, Royal English Leather displays a virile disdain for the niceties of the floral-loving bourgeoisie. Leather scents, from then on, would firmly claim their elitist stance.


Portrait of King George III by Sir Joshua Reynolds, 1780 courtesy of royalacademy.org.uk

London Calling...part 1

The way of the pilgrim is long and arduous like that in a Chaucer tale, the sound of the Clash, echoing memories flowing in furrows inside my mind. London was calling. And with the low brow of a pilgrim I followed the call.

The UK has been in the whirlwind of unforeseeable events: what with the floods, the temperamental climate that exceeded all previous recollections of caprice I had, the bovine disease resurgence... And yet, the Albion is still there, still making me reminiscence of youth days spent in alternative laziness and studious frenzy.
Not to mention the shopping opportunities. Of which you are about to share a slice.

The inside of Les Senteurs (020 7730 2322, Les scenteurs link) is no stranger to its posh Belgravia residence in the centre of London, as row upon row of glass bottles in various sizes and colours shine like jewels under a magician’s hand or the rose panes of an old cathedral lit under a northern sky .
A kid in a candystore, Alice in Wonderland and let’s see how deep the rabbit hole gets. Men with suave manners and heavy- set rings are there to help you along in choosing the mystical passage to your inner core, the fragrant touch that will put the z to your pizzazz, the (French pronounced) h to your panache.

There lay some rare Caron treasures to try: Narcisse Noir, which has proven to be so temperamental like a shrewd that never quite became tame despite the undoubted charm she possesses that makes me try again and again and again; or N’aimez que moi(=love only me), the sine qua non of old-fashioned femininity, even in eau de parfum concentration which is no small feat.

I want brightness, light, exhilaration in liquid form. To these demands Neroli sauvage (=wild neroli) by Creed and Virgin Island Water are presented. Although the former is intended for the stronger (or is it?) sex I find that its zestful combination of bergamot, petitgrain, hesperides, neroli and verbena on a base of sandalwood and ambergris give a metallic tonality that is both clean, slightly floral and subtly sensual. Lovers would love to partake of a shared ritual. I am torn. I like this.
Virgin Island Water on the other hand is much more a beach scent in a city with no beaches, unlike my own. A beach scent with jasmine laced with white bergamot and a pinch of coconut for the tropical feel that makes it somehow more mainstream than it would like to be for its own good.

And then comes Tubereuse Indiana which is curiously a revelation: smooth and intense, very floral, yet truly different than most tuberoses I have tried. Created in 1980, it is non indicative of the decade of excess, certainly not of said flower’s intense profile and it does not scream its lovers over the rooftops in hysterical fashion in the manner of –say- Fracas. The curious juxtaposition of rose with a little unidentified fruit enhances the smoothness without adding powderiness and the typical musk and ambergris background of most Creed fragrances lies there like the remnants of long forgotten sins. A slight whiff of amber rounds it off warmly and invitingly. Maybe the climate in London is very much agreeable to it…

Whatever you do, if in London, Les Scenteurs is a must. Not just the Cartier perfume, but truly: so much more.


Next installement with more perfume discoveries to follow shortly...

Pic of Creed display courtesy of their official site

Upcoming launches that caught my fancy

From August onwards there will be a frenzy of new launches according to Woman's Wear Daily to titilate the consumer into trying new versions of beloved fragrances or re-issues of older vintage fragrances of a bygone era or yet still new and supposedly original compositions.
The proof is in the pudding, but for the time being these are the launches that have got my heart going in quicker palpitations.

THE RE-ISSUES

The re-issues of legendary Givenchy perfumes, Les Mythiques(=the mythical ones): If you recall, Perfume Shrine had the scoop on the scheduled re-issues a long time ago .

These three are scheduled for October:
Givenchy Eau de Vetyver (at $65 for 100ml).
Givenchy Monsieur , the personal favourite of mr.Hubert de Givenchy, kept into production on his behalf and now re-issued ($65 for 100 ml).
and Givenchy Xeryus harking back from the early 80s ($65 for 100 ml).

All of these will be available from Nordstorm in US in limited distribution (16 doors).
No other confirmation on re-issues (especially the much anticipated L'interdit) thus far.


Rober Piguet is also hot on the re-issue front, after his much beloved Baghari re-issue of the aldehydic classic which although different than the vintage managed to smell enticing, elegant and poised. Read a full review here.
For October the house plans on launching re-issues of Visa, a women's fragrance available exclusively at Le Bon Marchι in Paris and Harvey Nichols in London priced at $190 for 30ml/1oz. parfum, $65 for 50ml1.7oz. eau de parfum and $95 for 100ml/3.4oz. eau de parfum. The vintage issued in 1945 was an animalic fragrance of potency that was anchored by an orientalised base, so the anticipation on how the new one will live up is palpable. Givaudan's Aurelien Guichard has adapted initial perfumer Germaine Cellier's original for today's market and it includes the following notes: White Vineyard Peach, Pear, Violet leaves, Italian Bergamot, Yellow Mandarin, Ylang-ylang, Rose, Orange flower absolutes, Patchouli, Sandalwood, Vetiver, Moss, Vanilla, Benzoin and Leathery Notes (according to Basenotes)
Also click here for official info.

And the men's Cravache available in specialty store distribution in about 150 doors internationally at $55 for 50ml/1.7oz. and $85 for 100ml/3.4oz. eau de toilette. The original, issued in 1963, was labeled a spicy floral chypre and was characteristic of the era. It remains to be seen how it will be accepted by today's discerning customers. It contains notes of Mandarin, Lemon, Petitgrain, Clary sage, Lavender, Nutmeg, Vetiver and Patchouli. The modernised version will be available as 50ml and 100ml Eau de Toilette, 100ml After Shave and a 200ml Dual-purpose Shave Cream/Body Wash (according to Basenotes). Also click here for official info.


NEW VARIATIONS OF POPULAR FRAGRANCES

It has been very common these past year to launch the so-called "flankers" ~new fragrances that take the name and/or image of a previous successful perfume and give it a twist (sometimes rendering the smell unrecognisable) to appeal to the consumer who loves the old version but craves something new as well. Usually these flankers do not succeed in delivering, however there are some exceptions and with that in mind I have these two from Guerlain on my must-try list:

Guerlain Shalimar Black Mystery (a limited edition). It will be available in 1400 doors (Saks, Sephora, Neiman Marcus, Bloomingdale's, Bergdorf's, Nordstrom, Macy's and Dillard's) at $110 for 75ml of eau de parfum. Scheduled to launch in October.

Guerlain My Insolence. It will be available in 1400 doors (Saks Fifth Avenue, Sephora, Neiman Marcus, Bloomingdale's, Bergdorf Goodman, Nordstrom, Macy's and Dillard's) at $45 for 30ml/1oz, $62 for 50ml/1.7oz, and $89 for 100ml/3.4oz of eau de toilette. Scheduled to launch in September.

Another flanker that sounds promising is Agent Provocateur's Strip (taking the name from the naughtily illustrated candles they had issued along with their eponymous fragrance some years ago). It will be available in Bloomingdales and on their online site at $65 for 50ml/1.7 oz of eau de parfum.

And last but not least, Chanel is revamping the No.5 line with No. 5 Eau Premiθre , which will be available at department and specialty stores and on chanel.com at $125 for 150ml/5 oz. To be launched in October.
Not super excited for something in such a big bottle, but worth trying something new in the formidable stable of No.5. After all the Sensual Elixir in this fragrance proved to be lovely. Let's see...

And the NEW FRAGRANCES

From Guerlain, Spiritueuse Double Vanille which will be available in four doors (Neiman Marcus San Francisco, Bergdorf's, Epcot in Orlando and The Breakers Hotel in West Palm Beach) at $200 for 75 ml. Sounds like an exclusive to me and those always build some anticipation. To be out in November.

Jo Malone White Jasmine & Mint Cologne . It will be available at Jo Malone Shops and jomalone.com, specialty stores (Bergdorf's, selected Neiman Marcus and Saks stores)and also at Holt Renfrew in Canada exclusively. It will retail at $50 for 30ml/1 oz or $95 for 100ml/3.4 oz and will launch in October.

Bulgari is launching Eau de toilette Rosee in September. It will be first available exclusively in Macy's, followed by Bloomingdale's, Bergdorf's, Lord & Taylor, Saks, Neiman Marcus, Sephora and Nordstrom. It will retail at $69 for 50ml/1.7 oz. or $98 for 100ml/3.4 oz

And Creed is introducing Amalfi flowers in October, available exclusively at 19 Saks doors at $270 for 50ml/1.7oz. or $450 for 8.4oz in an eau de parfum bottle signed and numbered by Olivier Creed.


I hope you have taken notes as I did and are thinking about what your sniff-list will be this coming autumn. Hopefully Perfume Shrine will be around to offer a considered viewpoint to these new launches and help you along in your choices.


In the meantime, expect to see an interesting interview with an acclaimed perfumer whose perfumes will be the talk of the town soon and a review of a new magnificent scent by a nose that has been already reviewed here at Perfume Shrine.
Stay tuned!!

Pic of Givenchy stamp for 2007 Valentine's day from french post.
Pics of Cravache ad and Guerlain crystal bottles come from Ebay.

Jasmine series: part 3 ~ rich jasmine suggestions

After examining the properties and usage of jasmine in perfumery it was about time to concentrate on specific perfumes that feature it in its multiple capacities. To this end, it was decided that a triplet of divisions would be opted for: rich essences with depth and oomph, mellow compositions that stand on the golden medium between extremes and fresh nuances that are welcome even on the hottest of days and would never overwhelm. Today we are focusing on the first category.

The crown jewel is of course A la nuit by Serge Lutens. However it has been adequately elaborated on at Perfume Shrine not to require further description.

On the same rich and abundant jasmine kick, L'artisan Parfumeur makes the surprise and offers us a heady bouquet in La Haie Fleuri de Hameau. It is big, opulent, operatic and orgasmic even, full of the concentrated essence of jasmine, much like A la nuit is. Created as a haunting interpretation of Marie Antoinette's garden of white flowers at Versailles by Jean La Porte, founder of L'artisan house and subsequently creator of the Maitre Parfumeur et Gantier line, it is reminiscent of A la nuit's opulence minus the heavy indolic rot.
However La haie fleuri is encompassing other floral notes as well, such as pronounced hyacinth in the drydown as well as lily of the valley and honeysuckle at the opening with a smidgeon of tuberose (subdued) that account for a multi-floral impression that like an impressionistic painting stuns you with its brutal exploitation of the light and its effects on objects. The different nuances with a little green and a little soap interjected peek through at intervals and make their presence known all the while under the baguette of the efficient maestro that jasmine undoubtedly is. Very potent and surprisingly extremely lasting (and I am saying this for those who complain on L'artisan's offerings' lasting power), it is to be used with restraint.
Although created some time ago, it still is available at the Boutique L'artisan and at select places where the brand is available in the big 100ml bottle only. Check here for prices and availability.

Jardin Blanc by Maitre Parfumer et Gantier was the next logical step in our itinerary through rich hedonistic jasmines, and not only for reasons of symmetry after La Haie Fleuri. The inclusion of tuberose shifts this one in the fecal, animalic direction when the opening slaps you across the face with its audacity and insolence, with what smells to my nose as sweet heady honeysuckle and with a nod to Fracas with its rubbery heart.
The official notes are, according to Aedes:
Top: Mandarin, myrtle, leafy green; Middle: Ylang-ylang, clove, jasmine; Base: Sandalwood, tolu, vetiver.
It doesn't come off as green or leafy, although there is the weird "freshness" that white florals sometimes possess at the initial stage, as if you have cut the stems from the vine just now, yet it is deeply earthy, sweet and potent, drying down softer, soapier and more muted which accounts for higher wearability than initially expected.


The Different Company under the direction of Jean Claude Ellena's daughter, Celine Ellena, came out with Jasmin de Nuit, an offering that could not leave Perfume Shrine and its love of all things jasmine uninterested. The official notes include bergamot, black currant, egyptian jasmine, star anise, cinnamon, cardamom, sandalwood, musk and amber. According to the house, it has unusually high concentrations of Egyptian jasmine absolute, which is a variety that supposedly has a fruitier undertone than others more commonly used.
My personal impression is that it is more spicy than intensly floral on the whole and as such it cannot but be a very intriguing addition to the sampling package of any discerning perfume afficionado in the search for jasmine perfumes. In fact many spice lovers would find the cardamom opening delectable (which is a favourite spice for the Ellena family, if I go by Jean Claude's magnificent pilgrimage to it in Declaration by Cartier). It then mellows and leaves the jasmine notes to marry with ambery undertones that linger seductively and warmly on the skin for a long time, much more than other creations of The Different Company if you're familiar with the line.

In our perusal of rich jasmine fragrances, Creed with its Jasmine Emperatrice Eugenie, a fragrance created for a real historical figure, is next on our list. Based on an original formula of the 19th century for the wife of Napoleon III, it is a triumph for the house of Creed. With its rich, suave sandalwood base and its effluvium of jasmine it is at once feminine and emancipated enough to command attention. The lightly vanillic base accounts for augmenting the warmth and cuddliness of the scent. Its character lies somewhere between Bois des Iles by Chanel, Samsara by Guerlain and Organza by Givenchy, accounting for a woody floral that is elegant yet potent at the same time.

Samsara by Guerlain is another stonking beat of jasmine with the rich support of sandalwood, amplified to the max. If your olfactory nerve does not numb with the potent smell I don't know what will produce such an effect. Still, it is a modern classic that merits testing. For a lovely detailed review of it, you can browse Ayala's review here

And for the grand finale, Jasmin Full by Montale is a lethal Venus flytrap that is certainly going to entangle you into a deathly grip. Very strong, yet not indolic or animalic the way A la nuit is, it lasts extremely well and lets its other floral notes like orange blossom peek a boo for the merest whiff. It has been commented to smell a little like ammonia, which could be attributed to the nature of jasmine molecular structure and emition as discussed before, still I do not perceive it as unpleasant, which is something I cannot say for some of the oudhs on the Montale line which compete for foulest sniff on my personal fragrance path. A must try for serious jasmine fans.


Next post will focus on mellow, balanced jasmine renditions.



Artwork Flaming June by Frederick Leighton courtesy of artcom.

Incense week: 3.Lush sinful incense for Holy Tuesday

As today the religious theme is the vigilance of the wise virgins who were ready for Jesus and the repentance of sinners, as reflected in the woman who washed Jesus’ feet with her hair and anointed them with myrrh, I decided to attribute incense scents that have a rich, feminine, lush nature to them and which would not be far off the notion of a sinner, repentant or not.
In greek orthodox church today on holy Tuesday "The Hymn of Kassiane", a woman who became a nun in her later life and a famous hymnograph, is being chanted: “Lord, the woman caught up in a multitude of sins, sensing Your divinity, assumes the perfumer’s role; lamenting, she provides myrrh in anticipation of Your burial. “Alas!” she cries, “for me night is a frenzy of excess, dark and moonless, a love affair with sin. You draw from the clouds the waters of the sea; will You accept the fountainhead of my tears?”
(translation from Hellenic Koine {=greek}to English by saintbarbara.org).

The tale of Kassiane herself, an educated aristocrat of her time that was to be the Byzantine emperor’s bride, only to be refuted for her intelligence and quick wit, is touching.
The tale recounted here goes thus:

“Church history becomes aware of her when she lived in Constantinople and was a regular attendant at the Royal Court of Emperor Theophilos whose mother, Euphrosene, saw in the brilliant and beautiful Kassiane a very likely candidate to become the bride of her son. The field of eligible young women narrowed down to Kassiane and another lovely girl named Theodora who hailed from Paphlogenia, apparently from a ranking family of the Empire. The final choice was to be made by the young Emperor who elected to have both the girls brought before him so that a final comparison and decision could be made. Since both were extremely attractive, the choice was not an easy one; but the one thing that Theophilos wanted to make certain that his bride not exceed him intellect.
In a custom that dated back to the Persians, years before the formation of the Byzantine Empire, a golden apple was to be given to the one who was to be the Empress. Looking at Kassiane, the Emperor stated, “From woman came the worst in the world” (meaning Eve and her original sin). Kassiane calmly replied, “From woman also came the best” (referring to the Virgin Mary who bore the Son of God”). The issue was settled then and there, and Theodora got the golden apple.”

The first thing that came into my mind therefore recalling both intelligence, rich depth and mysterious incense was Angelique Encens by Creed. As I have already embarked on a full review of it here, I won’t elaborate too much. Suffice to repeat that it is a dark, resinous oriental potion redolent of angelical demons who smell sweet and enticing, marrying angelica with the plush of vanilla and incense, hinting at the carnality of tuberose, but never succumbing to its full spectre. It has been suggested to me to try to layer it with Tabarome, also by Creed and I find that it takes an even more sinister touch that is positively addictive. The elixir of a sinner who wants to repent, deep down.

Amir by Laura Tonnato: Another lush incense perfume that has a rich heart and base of resins that fan out in velvety amber like a modern interpretation of Obsession. The presence of smoke and spice is evident although the opening stage might seem quite medicinal, but as it dissipates one is met with a mature beauty of creamy darkness. Feminine and ready for the plucking quite unapologetically. Frankincense adds mystery and you can imagine this worn before a blazing fire in a country house somewhere exotic during the winter. As the embers die away it retains its air of seduction and panache making your presence unforgettable.

Tolu by Ormonde Jayne: In a line that was sadly full of misses for me for some reason despite the undeniable innovation and good ingredients Tolu was the exception. An amber rich incense fragrance, made by Linda Pilkington, with presence and stamina that doesn’t succumb to the too sweet like some ambers do, nor to the medicinal which is the antithetical end of the spectrum in this category (which was Amber Sultan to me unfortunately). Despite the official clary sage and juniper top notes that might seem to shift it to that direction in fact I get more of a peppery and resiny warmth than anything else in the opening (which might account for the unusual reception it gets from people unaccustomed to balsams smelled per se). It keeps a delicate balance between the two ends displaying the wonders of Tolu Balsam and tonka beans over which a subtle floral heart that includes orchid, moroccan rose, muguet (lily of the valley) and orange blossom, left to emit their attractant properties. The effect is surely oriental, however and the mood is exuberant and confident without too much of a development just like the head-strong heroines that might wear this.
I would advise to keep this for cool weather.


Next post will tackle tricky, traitorous, deviant incenses.


Art photography by Chris Borgman, courtesy of his site.

Angelical demons or how something so dark can smell as sweet?

One might wonder what a picture of the Austrian actor Helmut Berger has to do with the legendary perfume commissioned by Marlene Dietrich to the house of Creed, Angélique Encens. And yet there is an unmistakable connection.

As is often the case with Perfume Shrine, obsessions take on many forms, one of which is cinematic. Helmut Berger, né Helmut Steinberger in Salzburg, Austria in 1944 was director Luchino Visconti’s preferred actor and also partner for the length of Viconti’s last 12 years of life.
In the latter’s magnum opus “The Damned” (also featuring a very young Charlotte Rambling, another one of Perfume Shrine's fixations; the film is originally named “La Caduta degli dei”, meaning Fall of the Gods, and has influenced both “Cabaret” and The Night Porter artistically) he plays the role of Martin Von Essenbeck, black sheep of a rich family of pre-WWII steel industrialists, marxistically scrutinized in their entrapment into the Nazi rise and their role in history as they first resented Adolph Hitler, then accepted him, and at last embraced him.

His memorable tour de force as an immature, closet pedophile, perverse son to the unscrupulous arch-mother of the dynasty included a priceless segment in which he reprises the role of Marlene Dietrich in Josef von Sternberg's Blue Angel , her classic film of fatal seduction, for the delectation of family viewers.
The sight is compelling, disturbing and alarming to watch as real-life bisexual Berger, dressed in transvestite attire, down to the hat and stockings of Marlene, performs a dance and song at the beginning of the film.

Angélique Encens has an uncanny way of reminding me of that performance in its haunting quality. Created in 1933 by the house of Creed it ties in with the background of the byzantine plot of the film as well, which contributes to my fixation. Apart from Marlene Dietrich, less mysterious Marie Osmond is a great fan as well, which is perhaps something you were better off not knowing, if you recall the cute image of the latter from 70’s shows.
Today the fragrance is part of the Private Collection, a collection of scents by famous patrons, which basically translates as very expensive and hard to get perfumes, if only because they come in truly huge bottles of 250, 500 or 1000ml. That’s a lot of jus! Enough to bathe in it literally. Luckily my sources are more cunning than that and I was able to procure a "decant", perfume-talk for a small quantity taken from someone’s larger bottle; naturally at a more reasonable price than that for the entire bottle.
Although Angélique Encens was created for a woman -albeit a woman that proved to be an icon for homosexuals for so long, still to this day- I can see it effortlessly worn by discerning and adventurous men, even if they do not share Berger’s sensibilities.

Built around the dark green of the strange angelica plant, the harsh green of it tied to Chartreuse , here it couples it with sensuous vanilla and incense. Angélique Encens is an anomaly in the house of Creed, because it lacks the shrill metallic note that most of the other offerings possess; sometimes to their detriment (Spring Flower), other times to their advantage (Silver Mountain Mist). Instead it is smooth and rich from the very start, which makes for an orientalised feeling right away. The vanilla shows itself through from the very beginning. It’s as if one has taken the peeled black pods and immersed them in a seemingly innocent beverage quickly under the table, adding dashes of alcohol; some person who is trying to hide the darker side of an addiction with a wide smile, seemingly appreciative of all your jokes and ramblings but with a too bright, crazy eye.
The inclusion of carnal tuberose takes an unexpected turn that astonishes with its intricacy and pairing with the herbal aspects, as it only reveals itself sporadically at the mid phase of the development of the glorious bouquet. Each unfolding stage is a wonder of velvet plush and baroque that entraps you in its spin of strange twisted comfort (an oxymoron if there ever were one). The inclusion of ambergris and unidentified precious wood and resins makes the perfume mysterious and mesmerizing, completely fit for the colder season, just like The Nutcracker Suite by Tchaikovsky is too. A little childish amusement, a lot of dark russian soul. The final drydown of vanilla and amber lingers on and on and on, making us doubt our ability to disentangle ourselves from our obsessions.

Official notes: angelica, tuberose, amber, incense and vanilla

Available from Bergdorf Goodman in the US, Les Senteurs and Escentual.co.uk (later by phone or mail order only and not on-line)
Mail info@escentual.co.uk or call 02920 437343 (shop: 63-67 Wellfield Road, Cardiff, UK)


Top pic of Helmut Berger courtesy of Robinson Archive. Pic of Visconti's "The Damned" DVD jacket from Wikipedia.