Hermes Un Jardin sur le Nil: fragrance review

 My friend Chandler Burr unfolded the story of how the charming and cerebral Jean Claude Ellena was inspired for this fragrance in a New Yorker piece which catapulted a series of events for both him and perfumery reportage. Looking for the starting point of inspiration in Aswan, traveling the Nile, aquatic plants gave way to unripe mangoes as the team of Hermès travelled up to the roots of the great river. An aura of coolness enveloped the French perfumer: he now had the idea!

 via

 Un Jardin sur le Nil was the second of the Hermès Garden series, following the bitter green smelling one, Un Jardin en Mediterranee inspired by a plate of figs offered in a Moroccan garden.

  This unisex Hermès fragrance, Un Jardin sur le Nil (a garden on the Nile) smells more like claw-wound grapefruit than the green mango inspiration behind it. This idea of grapefruit has been on the mind of Jean Claude Ellena ever since In Love Again for Yves Saint Laurent. He has been toying and toiling with it in Rose Ikebana, for the Hermessences boutique exclusives and in Cologne Eau de Pamplemousse Rose. The idea of a lasting, fresh, juicy grapefruit which retains the tartness and subtle bitterness underneath the citrusy quality is a holy grail for him. Here it is triumphant and energizing, effervescent almost, a bullwhip for the flesh. 

via

But Un Jardin sur le Nil soon settles into a woody and starchy serenity that lends some welcome peace of mind (and courage) to a very hot day. Its incense aura lasts...and lasts...and lasts...as long as the journey to the sources of the Nile itself.

Beautiful in any season and very welcome in a hot spell. 

Hermes Eau de Basilic Pourpre: fragrance review

 Hermès launched another vegetal, light, and airy fragrance in its Cologne collection in July 2022. Eau de Basilic Pourpre represents a sunny and summery Mediterranean scent, inspired by basil at a farmer's market, a very common occurrence in open air spaces in the south of Europe and temperate climate Middle Eastern countries. 

 

The composition was created by in-house perfumer Christine Nagel, who describes it as an instant burst of pleasure and freshness. Rather than imitating the scent of basil itself, the perfumer relied on her memory of a smell she once experienced and the impression she remembers.

 The fragrance of Eau de Basilic Pourpre focuses on basil's invigorating and herbal scent, combined with light touches of bergamot from Calabria, geranium (in its geraniol rosy-green-minty facets), a hint of patchouli, and warm peppery-clovey spices. Purple basil is the main ingredient, as it takes center stage in the composition.

The spicy component in Eau de Basilic Pourpre is recognizable as soon as the bottle is sprayed. It's an invigorating scent that many people smelling it identify as mint, actually, but that is probably because they cannot pinpoint accurately, over-acclimatized as they are to functional scents from toothpaste and chewing gum. Which is strange in a way, because people around the Mediterranean are well accustomed with the scent of potted basil - but there you have the poetic interpretation we were talking about stirring Nagel's imagination and creativity. The variant used or the combination of spicy notes is not immediately a thought of a basil salad and that's what makes the scent very wearable. In fact it also bonds with the rest of the heritage in that it replicates elements of the dry-down of the original 1979 Eau d'Orange Verte, (also known as Eau de Cologne Hermes); that impression of a hesperidic peel being clawed on with a cruel fingernail. Nagel plays homage, clearly. 

 

After the initial spicy jolt the scent development of Eau de Basilic Pourpre calms into a chord that recalls the classic Cologne structure with clean musk and the distinction of a floral note; in this case that's geranium, making it perfectly unisex and to most women leaning unto masculine because of the distinct lack of sweetness overall.

Luxury and the Hermessences: Fragrant Musings

Hermès has always seemed to me the height of luxury: not just a status symbol to carry around, but a brand organically grown out of that most aristocratic accoutrement, horse riding and its paraphernalia. As saddlers, Hermès have distinguished themselves in the axiom of "beauty serving functionality", a sort of van der Rohe "less is more" philosophy where every touch is truly meaningful, truly essential. Their fragrances are a reflection of this effortless luxury, diverting from bourgeois spick-and-span, and speaks of old money, not new. 

 

The fact that Réna Dumas (née Gregoriadès), architect and mother of Pierre Alexis Dumas, was of Greek extraction, alongside her pushing a Hellenic aesthetic to the brand through collaborations with artists and illustrators, has solidified this classical approach in my mind. She detested pomposity, she embraced serenity and douceur de vivre.

 

This fusion of functionality and douceur (softness) is what is also reflected in Jean Claude Ellena's work for Hermès, especially in the Hermessences, their boutique-only line of fragrances which are simple like haikus, harmonious like the Parthenon, but never simplistic, nor unnecessarily imposing. They retain a human closeness, a sort of philosophical proximity with the culture of light, a message read on the pure blue skies of a life bathed in inherent goodness.

 

The Hermessences line, essences by Hermès literally, is comprised of laconic names, often with a double entendre, focusing on unexpected facets of a given material, rather than trying to highlight its stereotypical olfactory profile. They do not rely on in-your-face exclusivity or luxury, like other designer lines, but rather a desire to explore new pathways to pleasure.

After all these years, I'm still taken with their subtlety, their grace, their effortless nod to luxury, a suspension of time. 

Hermes Elixir des Merveilles: Revisiting my Fragrance Review

Elixir de Merveilles came out ages ago and we have all -I hope- tried it out in the shop. But are we still grasping its genius? It's the rare fragrance which possesses that odd twist: the woody structure is given a steeping into sweeter materials, yet the resulting effect isn't really sweet at all. The chypre-reminiscent earthy note of patchouli gives a grounding to the orangeade of the original Eau de Merveilles, with its more summery facets; in fact the perfumer coerces Elixir into recalling more of the rind of the fruit than the juice.

via

The rind of the hesperides fruit is by its very nature resinous, thus colliding with the other resinous materials in the background, providing that much needed liaison. But because orange rind is lightly bitterish and refreshing, akin to the scent of fresh sweat, Elixir de Merveilles becomes perfect for intimate wearing when one's body stills retains a little sweat, mingling with the humidity of the environment, the overripeness and the loaded pong of the vegetal matter, but retaining its lived-in chic.


Elixir des Merveilles by Hermès is a Oriental Fougere fragrance for women which was launched in 2006. The nose behind this fragrance is Jean-Claude Ellena. The fragrance features scent notes of Peru balsam, vanilla sugar, amber, sandalwood, tonka bean, patchouli, Siam resin, caramel, oak, incense, orange peel and cedarwood.

Hermes Le Jardin de Monsieur Li: fragrance review

Musing by Guest Writer AlbertCAN

创新是什么? 可以吃吗？
What is innovation? Is it edible?
—Contemporary Mandarin humour*

和谐 (Trad. 和諧)
Pinyin: hé xié
1. harmonious; harmony
2. (euphemism) to censor

Of all the celebutantes the fragrance world has attributed to—Jicky, Madame Rochas, Misia, Monsieur de Givenchy, Liù, just to name a few—I have a particular affinity to Monsieur Li, an eponymous personality penned by Jean-Claude Ellena, the now-emeritus master perfumer for the iconic French design house Hermès.

As with everything in life, timing is everything: I have befriended Li in the spring of 2015, during an relocation to Vancouver’s historic Chinatown district, not only working as a financier to a heritage bank, but also living mere blocks away from Dr. Sun Yat-Sen Classical Chinese Garden, the first Suzhou-style garden established outside of China and aptly named after the Father of the Nation in the Republic. Corner office befitting a financier? Check. Tasteful requisite objets d'art for a banking office? Of course. (Can you expect any less?) Ambient scent of choice, in the heart of Chinatown ? Hermès Le Jardin de Monsieur Li (2015).

At this juncture of the musing let’s get something out of the way: This Monsieur Li is a fictional character. And to any native Chinese speaker, this man is a gentle synecdoche to Mainland China . Please do not reduce this surname as an exercise in economy—any native Mandarin would instantly attribute this man as a Mainlander. (As opposed to Lee, who are most likely not.) In fact, under such context, this gentleman is somewhat of an everyday man, arguably China ’s cultural equivalent of Mr. Smith from North America, Monsieur Durand France . Given such logic, the name for this fragrance betrays a poetic subtext: A Garden of Everyman.

Hermès, Everyman? As I can hear the gentle murmur amongst you, dear audience. Ringing the affirmative is the answer. If I shall name one outstanding quality of Monsieur Li, incredible sociability comes to mind. Master perfumer Ellena has selected gentle note contrasts as the foundation of his jardin compositions, and this citrus aromatic is no exception. The garden here opens with kumquat, a beguiling citrus the Chinese often fondly savour during happier times—as confits during Lunar New Year, even serving along a variety of preserved foods from lotus to coconut, melon, ginger to the all important Chinese deities, as a mean to sweeten their tongues (lest them bad-mouth the mortals upon returning to celestial abodes for the holiday). Kumquat trees are also often a staple in Chinese and Vietnamese Lunar New Year celebrations, as they symbolize good fortune and prosperity. The inclusion of jasmine here, of course, is somewhat of a foregone conclusion, given the exalted status of the flora in China . Although, mind you, this jasmine is also resoundingly à propos in its political correctness, arguably not just because of the utilization of Hedione High Cis: I suspect any concrete conjuring of the real deal may be misinterpreted as a reminder of the Thou-Shall-Not-Be-Named failed coup d'état, with its moniker attributed possibly related to the flora in question.** White musk and mint round off the harmonious bouquet. The overall sillage persistently optimistic, the mellow diffusion a study of calibrated cheerfulness. The aromatic bone structure murmurs excellent breeding. Its gentility evident; its silken elegance aplenty.

Does Hermès Le Jardin de Monsieur Li, complete with its effortless joy, complement the Les Jardins series? Yes. Can this Monsieur Li potentially be a kissing cousin to another? That’s also a yes.

“Why are you choosing my signature fragrance as your office scent?” 

Soon after debuting my ambient choice a Financial Planner discreetly confronting me so. The issue? Her signature scent in question is Green Tea by Elizabeth Arden. That discussion eventually turning into a passionate side-by-side scent development mini symposium—amongst two financiers, no less. (The absurdity of that situation is completely lost upon me.)

Years after that rhapsodic episode the underlying issue is worth a sombre second thought here. This garden is not the Chinese of yore. Ellena can choose from a wide range of Chinese landmarks—many of which UNESCO certified to boot—yet this isn’t the case. The aromatic elements mentioned are of Chinese origin, yet under different contexts they can also be interpreted in a very modern fashion. In fact, this fragrance is decidedly modern—androgynous, versatile—and there’s a delicate sexual fluidity underneath its aromatic pulse. (A scent referencing a gender, however unisex, cannot be devoid of sexuality altogether, no?) Likewise, the garden of Li is neither composed of imperial peonies nor sandalwood. Simply put, this is for Modern China, period.

Style wise I actually consider this fragrance to be in complete alignment with Rhythm of China (2007), the first ever Chinese-themed Hermès silk scarf designed by a Chinese artist. Just look at it. There’s an air of electricity permeating throughout. Perhaps the traffic lights during the day, or is it neon lights by night—perhaps both? And yet, wrapping it around a Kelly or a Birkin bag, or simply wearing it as is, the jolt transforms into something else, something decorative. There’s something harmonious about such ambiguity.

It’s no accident that we have referenced the concept of harmony, or hé xié in Mandarin, several times throughout this article. While it’s an important principle of design in its own right, harmony is no trifle matter within contemporary Chinese culture. I am going to reference Wikipedia here, since it succinctly summarizes the heart of this matter:

The "Socialist Harmonious Society" concept represents a new direction of Chinese communist leadership that signified the transition between Jiang Zemin and Hu Jintao. Although on the surface, "socialist harmonious society" seems benign, many scholars believe that General Secretary Hu has a vision for a deeper reform of the political system in China . In addition, the idea of scientific development stresses on scientific discovery and technological advance, engines for sustainable growth in the long run. Sustainable growth is a concept in macroeconomics that signifies GDP at potential (i.e. all that is produced is being consumed and there is no cyclical unemployment) for years to come.

In addition, the Socialist Harmonious Society concept was a response to the problem of social inequality/ wealth gap, which if not dealt with immediately, could lead to social unrest and even turmoil. A key reason contributing to a widening wealth gap was social injustice, which features collusion between entrepreneurs and officials. Through collusion, entrepreneurs were able to buy land from farmers and then sell it at high prices. Furthermore, with the protection of local officials, private coal mine owners ignored safety regulations to cut production costs. As a result, thousands of miners are killed in accidents.

Since the Tiananmen Square protests of 1989, the leadership has been extremely sensitive about maintaining stability. General Secretary Hu's focus on stability and openness is the central model addressed in the book The J Curve: A New Way to Understand Why Nations Rise and Fall by Ian Bremmer. According to Bremmer, the Chinese government is trying carefully to avoid instability by jumping from a controlled social environment on one end to complete openness on the other. The "J Curve" model is applicable to the political development of most nations and presents a choice between stability and openness. The concept of "Socialist Harmonious Society" is said to include both elements of the model. Hence, Hu's "socialist harmonious society" has an underlying message of establishing political reform as well as safeguarding social justice and equality.***

So how does this affect the aesthetics of Monsieur Li? Further notation from the same article:

While initially the public's reaction to the idea was positive, over the years "Harmonious Society" has emerged as a euphemism for "stability at all costs," and has garnered its share of critics. The government often uses "Harmonious Society" to justify the suppression of dissent and the tight control on information in China . Some social commentators have pointed out the irony that in building a "harmonious society" the country has become less just, less equal, and less fair. Meanwhile, some of Hu's critics say that application of the "Socialist Harmonious Society" concept has resulted in anything but itself. China scholar Cheng Li said that Hu's failure in implementing the Socialist Harmonious Society program has been his "gravest pitfall" during his tenure. Critics cite the increased wealth gap, higher internal security budgets, and unprecedented corruption in state-owned industries as evidence that Socialist Harmonious Society has failed in practice.

The term "River crab" (Chinese: 河蟹; pinyin: héxiè) has been adopted as internet slang in Mainland China in reference to Internet censorship. The word river crab sounds similar to the word "harmonious" in Mandarin Chinese. In addition, the word "harmonious" can itself also be the placeholder verb for "to censor", most often referring to posts on a forum that have been deleted because of its unacceptable content, or the censorship of stories reporting sensitive issues in the press. Something that has been censored in this manner is often referred to as having been "harmonized" (被和谐了).***

Yet I have digressed. Let’s talk corporate bottom line, shall me?

Ellena, no matter how much of an exalted figure in perfumery, could not afford to miss boat here. Especially after Un Jardin après la Mousson (2008). And with this Chinese garden being one of his swan songs, a failure to launch would have been disastrous. This is really not the time to experiment, to innovate.

Traditional China might sound romantic to some, but that crowd has never been the core of the Hermès growth—it’s the nouveau riche that has kept the financial engine humming.

There’s no doubt in my mind that Ellena’s stature in perfumery is reassuringly beyond reproach. At this same time, as much as we would like to think that the Mida’s touch is in spades, this launch is stacking up to be much too expensive for a risk. What it’s all said and done, harmony reigns supreme.

Now I am really not in a position to surmise development details of the Hermès Le Jardin de Monsieur Li, though I often wonder if its lack of assertion ends up serving as a footnote on the general zeitgeist of Modern China, however breath-taking its metamorphosis may be.

Often when I visit this Chinese garden, I wonder what my friend Monsieur Li looks like. Willowy of course, impeccably decked in Hermès no doubt. Graciously open-minded yes, perhaps generous to a fault. Good looking, yet with a somewhat forgetful ordinarity about his charm. However personable he may be, his words are diplomatic, action always calibrated. I think there’s a fluidity in his way, but I think he keeps it out of joint. Never putting his heart on his sleeves, never speaking his mind directly to anyone.

Hermès Le Jardin de Monsieur Li is a Citrus Aromatic fragrance for woman and men, and available in select Hermès boutiques and Point of Sales worldwide.

This fragrance review is based on a sample personally purchased by the writer in 2015 at an Hermès boutique.

Photos by Hermès and Wikipedia Common.

* Any arbitrary concept can be substituted into this modern sarcasm, to denote the futility of a particular idea—especially since sustenance is the cornerstone of Chinese culture.

** I’m absolutely in no position to comment on anything related to this matter. Googling “jasmine contraband New York Times” shall suffice—should your region allows so.

*** https://en.wikipedia.org/wiki/Harmonious_Society

Hermes Un Jardin sur la Lagune: fragrance review

In old novels, in the time of Balzac and thereabouts (as I have written in detail before), or even prior to that time, there is the well-known trope of the poor relative, usually female, who receives the second hand clothes of their elders and betters in social status, with the acceptance of keen appreciation of their circumstances. Governesses, school mistresses, nurses, or beneficiaries of a small income of a few pounds or francs a year, thanks to the generosity and sense of due of an almost unknown yet benevolent antecedent. In the world of perfumes, this situation is usual and usually ignites the same condescending acceptance: "close, but no cigar; divested of the elements which make the original truly flamboyant or plush, bon pour l'Orient."

via

It's with great pleasure that I found out that Un Jardin sur la Lagune by Hermes (a spring 2019 launch) is an exception to that scenario. One of my favourite and closest to heart fragrances, Lys Méditerranée by perfumer Edouard Fléchier for the niche brand of Frédéric Malle, has a little cousin; one who does not ape the greater one, nor does it deign to wear the elder's hand-me-downs, Un Jardin sur la Lagune by Hermes.

An abstract feeling of petals from flowers of another dimension, of champaca and bliss, unfolds into space like cones which embraces with arms opens wide, with the piquant joy of citrusy touches and the blissful cocoon of white musk.

In Un Jardin sur la Lagune, inspired by a secret Venetian garden which Christine Nagel, in-house perfumer for Hermes, discovered thanks to the writings of a blogger, the feeling of solace and silent contentment is palpable.

The scent of far away algae is delicate in Un Jardin sur la Lagune yet there, the salty water which hits the lonely craggy shore or the foundations of an old building immersed into the water, possesses that sort of introspection, a very humane sense of disorganisation and an ironic look on the state of the Human Condition that even Balzac would be jealous of.

Les Jardins series in the Hermes portfolio is a line of easy and lightweight fragrances which began its course in 2003 with Un Jardin sur la Méditerranée, the impression of a mediterranean garden where people nibble on freshly cut figs. Next came Un Jardin sur le Nil (2005), inspired by a trip to Assouan, in Egypt; then Un Jardin apres la Mousson (2008), evoking the watery landscape of Kerala, India, after the passing of the monsoon; Un Jardin sur le Toit (2011), inspired by the war-time garden on the terrace of the flagship Hermes boutique in Paris, and Le Jardin de Monsieur Li (2015), a minty citrus evoking a special eastern garden. 
All prior Jardin fragrances have been composed by legendary perfumer Jean Claude Ellena (an interview of whom I had the honour of taking HERE), and therefore Un Jardin sur la Lagune is Christine Nagel's first entry in the series. 

Hermes Hiris: fragrance review

Once upon a time, concubines in the Far East were fed animal musk, so that their bodies would sweat in sweet fragrance. Nowadays they feed themselves angelica roots, boiled carrots, and almond baked in tin foil, with the tin foil intact. They spray themselves absent-mindedly with an obsolete hairspray that engulfs them in musk, sending electrical sparks like a loose train set on liquid tracks, running in the storm to nobody knows where. They work under azure skies which never betray the greyness of their gaze. They dream of "Et la lune descent sur le temple qui fut". Some girls nowadays are fed Hiris by Hermès...

Hiris: from the flower to the fragrance, the modern and refined mindset of a unique soliflore, all devoted to the splendor of the iris. A perfume of emotion and subtlety conceived by perfumer Olivia de Giacobetti in 1999, it expresses its charm with an infinite delicacy; sometimes floral, sometimes powdery or plant-like, always one of the olfactory wonders of nature.

The quintessential dry powder scent, Hiris by Hermès is the yardstick against which orris scents can be measured in a sweetness to dryness climax; this one is set on ultra-dry. For sheer uniqueness it could only be compared to the cold melancholia of Iris Silver Mist by Serge Lutens, but it's less gloomy, less sombre, warming a bit through the skin-like ambrette seed. It's for INFP types for sure.
And it falls naturally into the pattern set out by Hermès, a house that caters to an effortless sensibility of quiet sensuousness, of subtle sexiness, of refined intellectuality. A precious keepsake.

Fragrance notes for Hermès Hiris:
Top Notes
Iris, Coriander, Carrot
Heart Notes
Iris, Neroli, Rose, Hay
Base notes
Honey, Almond wood, Vanilla, Cedarwood, Ambrette seed

NB. The older bottles are in blue frosted glass packaged in an orange carton. The newer ones are in a transparent glass bottle with gold cap and a blue label, packaged in an orange and blue carton. 

Hermes Eau d'Hermes: Thoughts on Revisiting a Classic

Choosing an Hermès fragrance is, to me, an embarrasement of riches. The brand is among my very favorites for several reasons; most important of all is that their axiom of effortless luxury is very simpatico to my own aesthetic values. I love so many of their fragrant canon...In the end if put into the position to choose, I have to distill the exercise into a search for clarity. In that field, two clear contestants came head and shoulders above: Terre d'Hermès and the original Eau d'Hermès. After all the latter is advertised as being "l'eau de la terre d'Hermès depuis 1951" (i.e. Hermes's essence since 1951)

They're both unexacting on the wearer, feeling like lucid impressionistic creations that manage to be abstract without coming across as maudlin, nor conspicuous. In the ensuing bras de fer the progenitor rose triumphant in those stakes, even though the child, Terre, is stellar on its own merits. Eau d'Hermès for the ride then!

This old creation from 1951 was a composition by the legendary perfumer Edmond Roudnitska, and since such a huge part of the Hermès modern legacy has been composed by Roudnitska's magnificent pupil, master perfumer Jean Claude Ellena, it was long due to pay respects to the fountain that brought forth such scented marvels. Additionally, Ellena has overseen the perfectly decent modern reformulation of the vintage composition with his customary attention to detail; a feat in today's world of watered-down reformulations that leave new perfumephiliacs in a query as to what we, rather more seasoned aficionados, see in the monuments of the past.

Eau d'Hermès is predominantly a fresh and the same time sensuous scent for both sexes, with emphasis on both qualities. Nowadays these might seem mutually exclusive, but they definitely are not by default; it's culturally imposed to view them so. The inspiration couldn't have been more Hermès if it tried: the soft insides of a luxurious leather handbag where a spicy citrus mingles with the odor of fine leather. The important addition of cardamom, a "cold" spice which pairs exceptionally well with both leather and citruses, and which gives a cool feeling of freshness alongside the spiciness, is pre-empting several of Ellena's spicy arpeggios, inclusive or exclusive of Hermès fragrances.

At the time of writing, Eau d'Hermes has ONLY 4 PEOPLE naming it as a signature scent on a popular database of millions of viewers, which I think must be a record for a scent from a major fragrance house. It's high time more people talked about Eau d'Hermès and tried it on for good measure. I hope my update accomplishes that and ensures a continued production of this silent strong type of a scent.

Related reading on PerfumeShrine:

Edmond Roudnitska, the creator of perfume masterpieces, a tribute
Interviews and tributes to fragrance industry creators

Hermes Twilly d'Hermes: fragrance review

Perfumer Christine Nagel's style could be likened to an Italian sunset. Probably has to do with her paternal Italian side. The bleeding of the colors into the sky and the transformation of dusk into darkness could be compared with her inimitable mastery at blending luminous and bright notes into chords which resonate deeper and darker as the scent develops throughout time. You're never on a simple path with her perfumes, such as the stupendous Maboussin, the balsamic wonder of Les Larmes Sacrees de Thèbes among her limited edition perfume trio for Baccarat, or the intricately sweet Si fragrance by Giorgio Armani, and of course the stupendous Theorema by Fendi, a case study in how to make a non threatening oriental fragrance.
and there's always something to discover in the process.
I find this quality quite enjoyable in her latest creation, Twilly by Hermès, the house Nagel now acts as in-house perfumer for.

double exposure photography artwork by Antonio Mora via

Although Twilly d'Hermès possesses that optimistic flair (via its fresh citrusy opening) that people find more summery than wintery, I find that the composition veers into another direction very, very quickly thanks to the brilliant combination of fresh ginger and a floralcy which is hard to pinpoint (official sources say tuberose, but it's a totally unexpected kind of tuberose). A kaleidoscope of green, floral, and even earthy and woody nuances pass before your nostrils in quick succession, as if buoyed by the golden light of a glorious afternoon full of grace when everything seems to happily melt unto itself.

Twilly d'Hermès doesn't remind me of any other fragrance I know (which is remarkable in itself) and it's playful enough and light enough to appeal to younger women without appearing condescending in the least. Nevertheless, its very memorability lies in the delicate and rather sophisticated interweaving of fresh spiciness and carnal sensuality without recalling any particular genre: is it spicy floral? is it a citrusy woody? is it floral woody musky? It's a puzzle, but a good one.

Her last two fragrances for Hermes showcase the treatment of light and delicate juxtaposition.
Eau de Rhubarbe Ecarlate is a study in this duality, whereupon the succulent yet fresh rhubard note is envelopped in high-tech musks to give a persistent buzz like a bubblebee around nectarous blossoms. And Galop, for all its deluxe price, does not smell like it's trying too hard; a bet lost by many of the luxury segment brands nowadays, who, intent on presenting something posh, lose the golden measure and load the perfume with insurmountable heaviness. Galop, on the contrary, breathes!

Twilly increases its appeal with repeated wearings, so I suggest you give it some thorough testing before pronouncing a definitive assessment. It's young and probably not too serious in intent, but we all have our heavyweights for the days we want to immerse ourselves in existential ennui I suppose.

Hermes 24 Faubourg: fragrance review

Named after the famed "faux bourg" rue of Faubourg Saint-Honoré in the 8eme arrondisement in Paris, where the headquarters of the Dumas-family luxury house are situated, 24, Faubourg was immersed in luxury from the very beginning; to the manor born.

Like many perfume lovers I'm not averse to luxury per se. Luxury and luxuria pose an interesting thought; luxuria is the Latin name for...lust. One of the 7 deadly sins. Luxury lovers do lust over the objects of their desire, do they not?  Desire is sparked by lack. Lack creates eros, the urge to fill the lack, the platonic ideal of uniting two parts that once made a whole. It's a metaphorical concept. Explains why brands keep us on our toes searching for the part that's missing!

In rebelliousness against social class and perhaps due to anti-snobbism on my part (or is it just plain snobbism in reverse, I sometimes wonder?) I have refrained from conscious overt exhibition of the insignia of wealth and embracing the lowly and the humble on purpose. Look at that drugstore item, isn't it fabulous? And that Zara fragrance at a fraction of the cost of a designer one, yet made by Puig just the same? Who needs logos and frou frou, it's the quality in things that matters. The axiom of Coco Chanel has always guided me. It'd be quite inelegant to hang a 50 carat diamond from one's neck, as surely as it'd be gauche to hang a check from it. So why indulge in the luxuria of capitalism? Wanting more, exhibiting more?

I have been perfectly happy going for my esoteric woody incenses for everyday wear. People usually don't even ascribe the aromas emanating from my humble person as "perfume", even when they like them. It's not like Coco Mademoiselle, "hey, you're wearing perfume". I suppose it's like I just left Vespers or something or have been spending a lot of time at the library, which is not unusual come to think of it. I'm also big on white florals and on spicy orientals, though these have a harder time passing under the radar of "perfume awareness". Not that it really bothers me if they do make people notice. After all, many a time a potent scent has sparked an interesting conversation. People united by scent are people united at breath, it's a powerful connection.

The scent of 24, Faubourg is floral, undeniably floral, white floral drenched in honeyed tones, to be exact, not just "a floral".  It's the floral to end all florals, and yet it's not only floral. In its elaborate, Byzantine bouquet I can detect resins, balsams, fruit (fuzzy peaches and tangy citruses), a soft powderiness of orris, some wood, something intangible, something aching to overreach...Sounds like everything and the kitchen sink (same thought with the original feminine Boucheron ) and yet it is not that in effect. Instead, a perfectly judged, lush, satisfying, calorific, dare I say it, yes, I will, RICH effect comes out of that lovely bottle shaped like a carré silk scarf that the Dumas house is famous the world over for.
Although the orange blossom and the jasmine and the (rather less copious in the mix) gardenia owe as much to analytical chemistry as they owe to nature's laboratory, the experience feels like a silken thread woven by some exotic insect with beautiful wings in an engulfing tropical greenhouse.
The allusion to the sun is nowhere more evident than in the advertising images which reflect the golden, ambery aura of the scent. I wrote before that "solar notes" stand for warmth and luminosity and although this is not especially salicylates-focused, it does smell snuggly and jovial and reminiscent of the touch of the sun.

Perfect for the Indian Summer days and evenings we're going through then!

Twin Peaks: Hermessence and Marc Jacobs

Hermessence Poivre Samarcande isn't discontinued like some of the other scents featured in the Twin Peaks articles; it enjoys pride of place in the Hermes canon and good commercial success in Southern European countries, from what I'm told. But the price asked is rather steep.

via

In the search for something similar I came upon Bang by Marc Jacobs, surely a less deep search into the pit of one's pockets, but just as good a fresh peppery goodness. Tip for the frugal: stockpile another bottle while the running is good.

Transitioning Hermes fragrance from hot to cool weather: From Eau de Merveilles to Elixir and L'Ambre

The prevailing advantage of the concept for Eau de Merveilles by Hermes was presenting a fragrance marketed to women that did not emit a single floral note. True, it did include a violet ionone effect which veers into the woody spectrum, but the general impression of the scent was an orange ade-sprinkled, woody-amber, salty skin-scent. The execution was so successful that it begat its own series of flanker fragrances, among which two at least present their individual accomplishments with the excellence expected out of the master stroke of perfumer genius; so good are they, that they could be appreciated without prior knowledge of their ancestor.

Elixir de Merveilles came out in 2006 and possesses that odd twist: the woody structure is given a steeping into sweeter materials, yet the resulting effect isn't really sweet at all. The chypre-reminiscent earthy note of patchouli gives a grounding to the orange ode of the original; in fact it coerces it into recalling more of the rind of the fruit than the juice. The rind is by its very nature resinous, thus colliding with the other resinous materials in the background, providing that much needed liaison. But because orange rind is lightly bitterish and refreshing, akin to the scent of fresh sweat, Elixir de Merveilles becomes perfect for summer when one's body is slick with sweat, mingling with the humidity of the environment the over-ripeness and the loaded pong of the vegetal matter, but retaining its lived-in chic. And for reasons of having exactly that earthy, bookish quality about it, it's perfect for transitioning into fall seamlessly.

L'Ambre de Merveilles (2012) on the other hand presents a transparently warm halo on its wearer, which puts the golden light of a late autumnal day over tender skin, much like Faure's Sicilienne does for the mood of a melancholy Sunday afternoon when the hands of the clock seem stuck in molasses...The patchouli subsists, attenuated, tipsy with balsamic caramel sweetness. The traditional labdanum that provides the backbone of the "amber" chord gives L'Ambre a subtly animalistic touch, the feral eyebrows contrasting with the square-jawed heavy-set face of a rather carnal beauty. It's what one dreams of when the galloping of an imaginary carriage is drawing further away and feeling the eerie sensation of just what it takes "to win friends and influence people." The combined sense of ease and unease. Priceless really.


Related reading on PerfumeShrine: 
L'Ambre des Merveilles by Hermes perfume review
Frequent Questions: The various Hermes Merveilles flankers & limited editions
Hermes perfume reviews & news

Hermes Eau de Neroli Dore: fragrance review

Although it might seem like Eau de Néroli Doré is more masculine leaning and could be interpreted by the casual "sniffeur" as maudlin its crunchy texture is indicative of great dexterity in the treatment of ingredients and concepts.

It feels at once golden and soapy and with a leather undertone like a handsome person who just put on the world's fluffiest T-shirt and trousers in Egyptian cotton and the softest leather slip-ons in existence just to enjoy a morning view of the orchard by the sea. I'm sold.

My full review can be found on Fragrantica.

Homage Rendered: 10 Years of Terre d'Hermes

Virgil said in his Georgics, referring to agricultural labors, "Tempus fugit", i.e. time flies. And it does fly and the older I get, the more I realize I can't really keep up. But I do keep up with perfume anniversaries, because, well, my inclination for perfume archiving bodes well with both the passion and the job. I was counting the years behind some of the best perfumes around and one of them has just feted its 10th birthday.

Without further ado, I present you with Terre d'Hermes, one of the best-selling masculine fragrances in Europe, which is commemorating the anniversary with two special 2016 edition for the Eau de Toilette and the Parfum Extrait. Please read the homage on Fragrantica on this link.

Chanel Boy, Hermes Muguet Porcelaine, Guerlain Le Muguet 2016 : 3 Upcoming Fragrances to Watch

In the ever increasing pace of fragrance launches some catch one's eye due to either exclusivity cachet or brand awareness. This is the case with the three fragrances I highlight today. One is so exclusive and posh that it can't possibly justify the jumping through hoops to get it, yet a vision of the bottle (and a sample from a lucky buyer) is de riguer. The other two are less hard to get, though still preserving themselves for marriage, but coming from such collections as to warrant some getting all hot and bothered with. Without further ado I present them to you.

First we have Guerlain's super-limited annual Le Muguet 2016 edition: this year it promises to be a new formula, not just a different bottle and concentration game. The company itself, after all, is historic., so extra care is given to accuracy. More info on Fragrantica.

Then there's Chanel's Boy (probably going out to play with Dior's Girl, engaging in puberty love. All right, Chanel is probably the ONLY firm who can graft such a gauche name to their Les Exclusifs boutique line; Boy Capel, after whom the new fragrance is named, is canon after all.
The fact that the scent is masculine but could be worn by women as well is an added bonus, like the boyish cut styles Coco Chanel made her own.

 And last but not least there's Muguet Porcelaine by Hermes, them of the scarves fame, in the boutique-only Hermessences line, a green lily of the valley. Since perfumer Jean Claude Ellena, he of best-selling fragrances fame, has been working on this idea for a long time, perhaps longer that he has ever admitted to, taking into account that Roudnitska was his mentor, it should be interesting. Lily of the valley has served for soap-clean references for ages, so let's see what happens.

Revisiting the Neglected: Shop Your Fragrance Wardrobe

The notion of "shopping your wardrobe" is hot on fashion and style blogs right now. The idea of a judged frugality has something appealing to it. Like controlling someone's life, an illusion of being in control at the very least. It also makes for worthwhile discoveries at the back of the pile; that rah-rah skirt from high school can't be worn again, but looks at those leggings from the early 1990s! And the perfectly cut jean jackets from the same period, not laser-cut but just as straight and lean? (Lean and long was big in the 1990s, my friends).

Hermes campaign 2012, shot at the oldest olive tree, on Aegina island, Greece

The same principle can be applied to one's fragrance wardrobe. Imagine if we dived at the back of our wardrobes and fished the fragrances we wear little of. With huge collections for the majority of us, the loot should be highly stimulating. Thus began the "Shop Your Fragrance Wardrobe" idea!

I unearthed something truly gorgeous which I had not been wearing for a long, long time. The reasons? I'm not exactly rewriting Das Kapital, but I do breach a bit on it, in a way. Find the article on this link and please share your own neglected fragrances which you recently rediscovered in the comments.

"Perfume does not have a function. It's more than a function. It's not necessary. It's not particularly useful."

Thus presents the aphorism perfumer Jean Claude Ellena. And Christine Nagel, co-head perfumer at Hermes perfume development, quips: "It's impossible to wear a perfume that you don't like. If you took more time to smell people rather than looking at them you would understand them better. If you took the time to do that."

A very interesting interview of both Jean Claude Ellena and Christine Nagel is uploaded on the NY Mag on this link by Kathleen Hou. They explain how we can't be with people whose smell we don't like, whether Hermes soap is superior to all the other soap around, how marketing and perfumery work in weaving fragrant stories and how the two perfumers have almost fallen in love...with each other's work that is. Read on for interesting insights.

Hermes Le Jardin de Monsieur Li: new fragrance

It is official. The final chapter in the Jardin fragrance series by the historical house of Hermes is inspired by a garden redolent of in house perfumer Jean Claude Ellena's favorite flower: jasmine. The flower he grew up with (Jean Claude was taken as a child alongside the family, working with the workers, for the dawn picking of the lush white blossoms which smelled halfway between flower and flesh, as he recalls in his Journal d'un Parfumeur/Diary of a Perfumer).

The inclusion of the unusual note of kumquat, a small citrus fruit with a rich scent favored for the preparation of a special liqueur on the island of Corfu, recalls the fruity hesperidic note in Colette 1873 by Histoires de Parfums.

The name, Le Jardin de Monsieur Li, is of course recalling a garden fantasy, as previous editions in the series did: the plate of figs offered in a garden in North Africa as translated into Un Jardin en Mediterannee (2003), the green mango and sycomore trees in Assouan, Egypt, in Un Jardin sur le Nil (2005), the monsoon in Kerala, India in Un Jardin apres la Mousson (2008), and the actual garden atop the Hermes headquarters which provided vegetables for the Dumas family during WWII in Un Jardin sur le Toit (2011).

Of course this is the swan song of Jean Claude Ellena for Hermes as well. He is to be succeeded by Christine Nagel, as we had announced on Perfume Shrine a while ago.

The new Jardin fragrance by Hermes, Le Jardin de Monsieur Li, is set to be available at the flagship Hermes boutique on Madison Avenue (in NYC) in early March 2015.

Hermes Le Parfum de la Maison Reveries collection: Hermes forays into Home Scent

An ice vault tunneling below the ground, covered with a glass panel. Illuminated objects below the glass shining with an unearthly beauty. A 18th century private home in the not-as-hip 13th arrondissement in Paris, on a side street. Touring through 5 rooms, each propped to reflect a different scentscape. This is the somptuous setting for the presentation of the latest collection by Hermès. And last Tuesday a presentation in a Manhattan mansion built in 1905 by society architect C.P.H.Gilbert, again split into 5 different rooms, decorated to a fault to reflect something which is by nature abstract.

via Mitchell Owens

No, it didn't involve either accessories, nor saddlery (on which la maison built its reputation), not even perfume, though the link with the head perfumer is hard to miss. The charming and no-nonsense Céline Ellena, 3rd generation perfumer and daughter of in-house master perfumer Jean Claude Ellena and an accomplished artist in her own right, has composed a range of home scents for the super chic French brand: Rêveries, Dreams.

Céline is said to have been inspired by Cabris, the olfactive references in her father's home there, giving the rationale behind creating a home scent line: "A home breathes and whispers, it makes noises and murmurs that cause your mind to wander" And none of the scents created are specific. "I wanted to create stories that could be olfactory murmurs". Care was taken to distinguish this home scent collection from any perfumes in the Hermès catalogue.

The 5 different Hermès home scents come in 3 formats: Limoges porcelain white faceted jars holding scented candles with a different color glaze inside for each scent designed by Guillaume Bardet, ceramic "stones" (which can be rescented) and paper origami horses that can fold flat for transport. The porcelain bowls start from $185 (they come in varying sizes), the stones start from $245 and the originami horses cost $79 for a package of 4.

• À cheval!  (Saddle Up!) is of course the one most tied to the heritage of the house, presented via a lifesize horse model amidst books and smelling of smoky leather and beeswax. 
• Temps de pluie (Rainy Day) evokes the favorite past-time of many a perfume lover, reading in the bedroom, and Celine herself, spending time with her kids on the sofa, watching movies: the misty atmosphere and the freshness of geosmin. 
• Champ libre (Open Field) is a green composition that was conveyed via a wall covered in reeds. Fenêtre ouverte (Open Window) is as literal as it is evocative of a bedroom with its window open into the fresh air. 
• Des pas sur la neige (A Walk in the Snow) smells of hay, soft and fluffy like snow, like the the artificial snow that overflowed from a Parisian bathtub. 

The collection will be available in select Hermès boutiques starting from December.

Hermes Hermessence Cuir d'Ange (2014): fragrance review

 The sum of its constellations is not one and the same as the Milky Way, and likewise holding an exquisite map is not one and the same as knowing the whole world. My exploration of Hermès Cuir d'Ange, the latest Hermessence creation by master perfumer Jean Claude Ellena, serves yet another subtle reminder to such empiricism.

~by guest writer AlbertCAN

Yes, I have been playing with Cuir d'Ange for a week now, complete with my Hermès leather notebook, leather bracelet and the latest Le Monde d’Hermès magazine. But the story goes back further.

Photo “Hermès, 2014” by AlbertCAN, all rights reserved

More than after a decade of charting Ellena’s tenure at Hermès one would think Cuir d'Ange serves as an inevitable arc to his craft―our Elena’s initial thought on this creation is worth repeating here:

In Jean le Bleu, Jean Giono, perfumer Jean Claude Ellena's favorite author, describes the father of the narrator as "a cobbler who makes soles in angel leather". Angel leather, cuir d'ange… the newest in the Hermessences, (those are boutique exclusive fragrances by Hermès) is recalling the passage which served for the inspiration for another perfume by Hermes back in 2007, Kelly Calèche. Indeed "cuir d'ange" was the VERY expression Ellena used when promoting Kelly Calèche. And Giono had a prominent position anyway in the presentation of Cuir d'Ange to our world of journalism as pretty young men and women actors read passages from his opus in le jardin de Paraïs at Giono's house at Manosque…

There, such marvellous consistency in story telling, la clarté de l'image. Taking this notion to its logical conclusion reviewing Cuir d’Ange can be the gentlest curation for any capable fragrance writer. And indeed during the research phase of this review yours truly had it all deftly mapped out, starting with Monsieur Ellena’s initial visit to the fabled Hermès leather vault, his surprising discovery that the scent of finest leather is laced with an infusion of delicate florals. Segue into a review of the original Kelly Calèche eau de parfum, reflection of iris, violet, mimosa into leather; perhaps a comparison with my initial thoughts on the ephemeral parfum variation. Cue Cuir d’Ange, perhaps the requisite list of fragrance notes here, perhaps an impression of Jean Giono’s poetic prose there, punctuating with generous quotations from Ellena’s books. Respectfully faithful, diplomatically articulate, effortlessly pleasurable to write. One delicate problem: I could convincingly review Cuir d’Ange this way without needing to sample the scent first.

Learning so much about the aesthetics in this case one runs the danger of pondering the aesthetic experience without having an olfactory experience firsthand. Curating beautifully detailed maps in lieu of an actual exploration, if you will.

I am by no means to suggest Ellena’s paradigm, so singularly well thought out and elegant, as anything else but commendable. The master perfumer has left an indelible mark in industry with his verve, flair and panache. Nor am I wishing the Hermès communication process to be any different: the authenticity of its communication here is incredible. With this being it’s the fundamental duty of any respectable fragrance writer to compose an equally genuine and independent reflection upon reviewing any scent.

Thus to me, upon hearing so much of Ellena’s thoughts on the concept of angel leather, it’s absolutely paramount to do Cuir d’Ange justice when sampling the latest Hermessence. Assumption cannot be made that this leather fragrance is the re-edification of the Kelly Calèche base. And long and behold those two are not the same.

The most marked characteristic of Hermessence Cuir d’Ange to me is the absence of the traditional top notes. Whereas Kelly Calèche opens with grapefruit and mango, Hermessence Cuir d’Ange opens with a halo. Yes, a nimbus: There no other way to describe the creamy roundness of white musks―most notably of Ambrettolide to me―and the unmistakable depth of Ambrox. Yet Ellena deftly cues in the leather, along with its Hermès floral nuance: Violet, narcissus, hawthorn all contribute to the hologram, with a delicate depth of powder from the violet, tobacco sheen the narcissus, and honeyed sweetness the hawthorn. There’s heliotrope at its depth, too, yet more noticeable as the leather develops. Kelly Calèche, in comparison, is more floral, as climbing rose and tuberose are definitely not present in Cuir d’Ange; the vegetal verdancy of green tea and iris, too, is all just Kelly Calèche. Hermessence Cuir d’Ange, in comparison, stays ho-hum in its billowy glow; while the aura is delicate, round and soft, there isn’t a distinct leap of notes in its scent progression. In fact all things considered Hermessence Cuir d’Ange doesn’t fit into any traditional olfactory pyramidal structure, lacking the top-middle-base counterpoints (the opening musks persist even during the drydown). Now during the time of master perfumer Edmond Roudnitska such compositions would be considered more as a perfumery base, yet a light bulb went off in my head upon sampling Cuir d’Ange.

As a Hermès client who has frequented the boutiques for 12 years (and counting) I can confidently ring the affirmative: Hermessence Cuir d’Ange is truly an olfactory reincarnation of the Hermès leather, period. Even the re-emphasis of flower into leather isn’t co-incidental, as the 2014 global theme of Hermès is “Metamorphasis”, as witnessed by the venerable brand’s print communications.

Now while many would place Bandit and Knize Ten as the touchstone of the classic leather genre, namely the isobutyl quinoline school, or Chanel Cuir de Russie the rectified birch tar school, Hermessence Cuir d’Ange is unapologetically a whisper in comparison—yet that’s not the point altogether. Ellena has been dreaming of a leather Hermessence fragrance even since his 2004 appointment as the master perfumer of Hermès, and I would argue that his ten years is reflected in Cuir d’Ange: part Jour d’Hermès radiance, part sparseness of Voyage d’Hermès . In fact if I am allowed to widen the scope of this discussion I would even say that this is a re-interpretation of the fundamental idea Ellena explored in L'Eau d'Hiver Frederic Malle, namely the modernization the halo effect found in Guerlain Après L'Ondée (1906) but without the Baroque frills: In the Malle hay absolute is paired with Aubepine (foundation of hawthorn) and Heliotropin (of heliotrope) instead. Yet the same idea of roundness in shaping.Which is to say the same Ellena caveats are still decidedly present: Ellena is still not here to persuade you about, well, anything. Hermessence Cuir d’Ange glows close to the skin—in fact I’m wearing 5 generous sprays (including a spray to my clothes) in order to ensure a long-lasting halo. And similar to the other Hermessence fragrances Cuir d’Ange I find modifies once on the skin. Osmanthe Yunnan and Iris Ukiyoé sing exceptionally well on me, whereas Vanille Galante and Rose Ikebana decidedly not. I’m giving Cuir d’Ange some more time to rest on my skin as the result.

Verdict: Luminous, deftly crafted, a fantastic addition to the Hermessence collection. Best to test it thoughtfully on you before committing to it.

Photos, from top: “Hermès, 2014” by AlbertCAN, all rights reserved; Hermessence Cuir d'Ange; Hermès Fall/Winter 2014/2015 campaigns.