Ineke Gilded Lily: fragrance review

Ineke Rühland follows a nifty idea concerning her niche brand: an ABC of fragrance so to speak, each new scent named after the next-in-line initial letter. So after some of her earlier work (reviewed here) and last year's Field Notes from Paris (click here for review), the latest fragrance is called “Gilded Lily” after G.

According to the press info which we had announced a while back: "When Ineke read about the scent of the Goldband Lily of Japan (lilium auratum), she felt compelled to order a few for her garden to study their fragrance. This note became the heart of Gilded Lily.[...] Gilded Lily’s "fruity chypre" structure opens with sparkling top notes of pineapple and rhubarb followed by the goldband lily, and closes with patchouli, oakmoss and amber".

I admit that as far as I'm concerned, Gilded Lily doesn't conjure a fruity chypre in the manner of classic Femme, Diorama, or Mitsouko to my mind (or even a contemporary fruity chypre like Esteban's Modern Chypre, YSL Yvresse or Chypre Rouge by Lutens), but rather a rather unisex floral demi-fougère. The former are peachy-plummy symphonies of creamy millefeuilles and golden light getting deflected from a window pane at the 6th arrondissement on a bright autumn afternoon when chic tailleurs are thrown in haste on a heap on the parqueted floor and ties are used as impromptu blindfolds... Gilded Lily is a cool blonde walking the streets towards the museum of Modern Art in New York City, her arms getting goosebumbs from the cool air holding a white lily with frothings of retro greenish shaving cream on its heavy petals in a papier-mâché vase, a Magritte-worthy scene.

What I mean: Although advertised as a lily chypre fragrance, I get no big lily bouquet, the kind of thing that I was used to receiving while giving piano recitals in my university days. Those were engulfing, very floral-spicy affairs and ~if inhaled too much~ they tended to give a migraine, despite their uncontested beauty. Nor do I get the dark mossy autumnal forest floor that I associate most with chypres. Gilded Lily needs no gilding in fact, nor is it particularly embellished. It's neither sweet nor too floral, but rather after a short floral-fruity top note (which is NOT like most of the mainstream swill at stores right now, thank heavens!) goes straight for a woody liqueur-like clean patchouli drydown of modern proclivities which would have men notice it and claiming as their own, even though it's touted as a feminine.
After seven fragrances Ineke emerges as possessing a distinct style of her own, a sort of "signature", which one either loves or dislikes; there's no in-between. Gilded Lily is certainly very much within that style and shares elements with other creations of hers. Fans will be pleased and the rest would know what to expect.

Gilded Lily is available as Eau de Parfum and along with the rest of Ineke's line (After My Own Heart, Balmy Days & Sundays, Chemical Bonding, Derring-Do, Evening Edged in Gold and Field Notes from Paris) are sold worldwide at the stores listed on her website, http://www.ineke.com/

Painting Les Amants by René Magritte

Ineke Guilded Lily: new fragrance

Ineke, the San Francisco-based niche brand, presents “Gilded Lily” , the next installment in her ABCD series.
“Gilding the lily with sparkling fruits and cypriot woods"”
Ineke Rühland announces the latest eau de parfum
in her alphabetical line of fragrances, called “Gilded Lily”. When Ineke read
about the amazing scent of the Goldband Lily of Japan (lilium auratum), she felt
compelled to order a few for her garden to study their fragrance. This note became the heart of Gilded Lily. Historically, Victorian plant hunters discovered this lily growing wild in the mountains of northern Japan, where it is known as “yama yuri”, and brought it back to England. Afterwards, it became the basis for many of today's lily hybrids.
Gilded Lily’s "fruity chypre" structure opens with sparkling top notes of
pineapple and rhubarb followed by the goldband lily, and closes with patchouli, oakmoss and amber. Gilded Lily is the quintessential well-groomed scent,
accompanied by a head-turning deliciousness.
The phrase “gilding the lily” was coined by William Shakespeare in his play,
King John. Ineke feels it is an apt description for perfumery in general since perfumers are always looking for ways to embellish the beauty of nature. To
convey the intersection of Elizabethan England and modern Japan, the artwork for Gilded Lily has a “Shakespeare meets manga” theme.
Gilded Lily and the rest of Ineke's line (After My Own Heart, Balmy Days &Sundays, Chemical Bonding, Derring-Do, Evening Edged in Gold and Field
Notes from Paris) are sold worldwide at the fine stores listed on her website,
www.ineke.com. Gilded Lily will be available in late September 2010.


via press release

Ineke Field Notes from Paris: fragrance review

Field Notes from Paris is the latest installment in the alphabetized line by San Francisco-based independent perfumer Ineke Rühland, a woody oriental inspired by her early days studying perfumery in Paris and at the Versailles, her strolls at le Marais and the fervour of trying to accumulate knowledge of her craft. The first four fragrances, alphabetized from A to D, came out in 2006. Two years later came Evening edged in Gold with its unusual candied and hypnotic Angel’s Trumpet floral note. And now the first scent to depart from the sharper flowers' schema into a more shadowy alley: Field Notes from Paris. The advertising slogan of "Life measured out in coffee spoons" recalls of course T.S Eliot and where else but in Paris, coffee capital of the world probably, would this hold any more true (romantically and not cynically so, I might add)?

Ineke aimed to capture "the romantic, nostalgic feeling of sitting at a café and writing in a journal while lingering for hours over a cafe crème". I can just picture her starting her day sipping one at Au Petit Fer à Cheval on Rue Vielle du Temple on her route to book shopping at the nearby La Belle Hortense. And what better (and more standard accompaniment) to coffee than a puff of a cigarette, preferably the unfiltered ones which Parisians love to drag on still? It's no accident that F.Malle commissioned perfumer Carlos Benaïm with a home fragrance called "Coffee Society"!
Conversely to the retro cool ashtray note that several old-fashioned chypres convey with much flair (just think of Cellier's Bandit in Eau de Parfum), the tobacco featured in Field Notes from Paris is cuddlier and sweeter, unlit, devoid of its tough exteriors in an enigmaric warm and comforting embrace of a little smooth, aged patchouli and hay (but no coffee notes to speak of), but ~wait! is there a delicious whiff of leather, some honey and some lavender somewhere in there? The impression I am given is of a mellow masculine fougère, feathered out to its woodier extremities, especially in the opening which features the most interesting mentholated little wink.
Judging by the retro fougère resurgence which we are experiencing in the niche sector lately (Geranium pour Monsieur, Fourreau Noir), I think Ineke is on to something; let's not forget how tobacco in perfumes is becoming the only acceptable way of getting your fix now, the launch of Havana Vanille and thevery densely tobacco-ish Bell'Antonio by Hilde Soliani other examples of the genre. Ineke's fingers are firmly on the pulse!
The finishing off in sweeter Virginian cedar (just a touch) and the rounding of lightly vanillic, resinous tones makes Field Notes from Paris wearable by both sexes, if so inclined, although women who usually go for smoother, more powdery vanillas in the woody oriental scheme (such as Trouble or Brit) and surypy thick ambers might have their expectations not met at all. The rest can breathe with relief; money well spent.

Notes for Ineke Field Notes from Paris:
Top: orange blossom, lemon and coriander
Heart: tobacco blossom, patchouli and cedar
Base: tonka bean, benzoin and vanilla

Field Notes from Paris is available in 75ml/2.5oz of Eau de Toilette for 88$ directly from the official Ineke site.
In the interests of disclosure I was sent a sample in a cute "matchbox" by the perfumer as part of a loyalty scheme.
Pics via anxietyneurosis.wordpress and pinksith.com

Ineke: Fragrant Presentation

It is often that I am taken by surprise in not having sampled lines which are making a ripple in the pond of niche perfumery: After all one can test only so much! My surprise turned into elation when I got the Deluxe Sample Pack that contains samples of all the current collection by Ineke. Not only is the presentation modern and aesthetically fabulous, it has the distinct air of care and understated luxury printed all over it. Coming in an anthracite box of velvety feel it opens like a matchbox to reveal five small cardboard boxes with different designs on them which you slide to open. Inside are little spray vials (actually there's quite enough quantity in each to allow for numerous tests!), each wrapped in correspondingly coloured paper. So cute! Perhaps the loveliest presentation of fragrances I have seen in sample form and a lesson for all niche brands.
The fragrances themselves reveal vignettes in Ineke's mind which she was searching a way to communicate to the public, given her preceding love for literature.

Ineke Rühland is a Canadian perfumer, the soul behind the Ineke line. She is a classically-trained perfumer who creates beautiful, original scents in her independent studio in San Francisco. She studied perfumery at ISIPCA in Versailles, France (the only official school of perfumery), under the guidance of Yves de Chiris who also helped her train at Quest thereafter and with formidable mentors such as Dominique Ropion and Isabel Doyen.
She apprenticed for three years at a fragrance house in Paris, making pilgrimages to Grasse, perfume capital of the world. Ineke finally decided to move to San Franciso, where she makes her luminous, modern fragrances.

The innovation of the collection is that each fragrance begins with a consecutive letter of the alphabet: A - After My Own Heart; B - Balmy Days and Sundays; C - Chemical Bonding; D - Derring-Do; E-Evening edged in Gold (the latest which came out recently). This original concept allows for both a little literary word play as the fragrant stories pick up from a word starting with each letter and it also serves as a wonderfully practical reminder of which perfume is the latest one, easing the customer into experiencing the evolution of the line.

The Deluxe Sample Collection contains spray samples of all 5 fragrances wrapped in a beautiful soft box with almost the tactile feel of brushed suede and the price is fully redeemable with any product purchase: A great way to try the scents!

After My Own Heart, which Ineke describes as "the scent of fresh lilacs floating on the early breeze" will get a full review shortly. To whet your appetite, I will merely state that it is a soft, subtly sweet, realistic enough lilac scent full of the airy feel of mid-spring. Lilac is an elusive blossom (because it can't be successfully distilled or a true essence extracted) which I dearly hold close to my heart indeed, so some more attention will be given to this one on Perfume Shrine. It has notes of bergamot, raspberry, green foliage, lilac, sandalwood, heliotrope and musk.

Balmy Days and Sundays veers towards a green floral scent with a lightly earthy backnote. It derives its name from The Carpenters' song "Rainy Days And Sundays" but it is in fact its antithesis. Sunny, optimistic and laid back, not rainy at all. Officially described as "a perfume about perfect moments on a relaxing Sunday, lying in the grass, breathing the smells of sweet scented flowers and fragrant leaves", it encompasses notes of freesia, leafy greens, grass, honeysuckle, rose, mimosa, a chypre accent and musk. There is an ozonic note mingled with the freesias that somehow doesn't clinch it for me, although I have to admit that it is not the usual screechy ozonic that we have come to associate with 90s perfumery. The feel is limpid and airy, without the dreaded feel of getting your nose hairs singed by the intense icy "freshness".

Chemical Bonding has uplifting citrus notes with a powdery, clean musk dry down. It is a fragrance that "playfully juxtaposes Chemistry 101 principles with human attraction", comprised of notes of smooth citrus cocktail, tea, blackberry, dewy peony, vetiver, amber and powdery musk. Although musk (as well as powder and vetiver) always catches my attention and I was fully prepared to love this above all others, it proved to be my least favorite in the lineup. Perhaps it is the wrong feel of fresh, a little too high pitched for what I imagined as a soft powdery and earthy with the grass musk. However I can fully see how it fits a summery mood of laid-back lifestyle, cotton clothes drying in the breeze and a cool juice sipped on a bright morning shared between a loving couple.

Derring Do is "an ode to the literary rogue" and comes from old English; a masculine with aromatic touches in the fougère family. Built on a fresh citrus blend, rain notes, cyclamen, magnolia, fougère accents, cardamom, pepper, guaiacwood, cedarwood and musk, the composition is really pleasant, soft and nicely unisex with its subdued woods and spices.
With its effortless character it managed to garner two compliments the day I wore it and its remnants on skin were beckoning me to apply again and again.

Evening Edged in Gold is a departure for the line in that it misses that sparse and translucent feel of the Jean Claude Ellena and Olivia Giacobetti school of thought going instead for a full bodied floriental that aims at serious evening seduction. Like munching Life Savers and plums under a blossoming tree in the heart of summer, it shows that Ineke has diversity and explores new horizons. Who knows what the next one will bring! It comprises notes of notes of osmanthus, plum, angel's trumpet, saffron, cinnamon bark, midnight candy, leather and woods. Angel's Trumpet and Midnight Candy are both plants (poisonous! closely related to datura) which project their sweet smell far in the evening breeze to aid pollination. Their magic is rendered through synthesis and married to the heavenly apricoty aroma of osmanthus, a flower prized in the East, they render a charming composition with a subtle leathery, slightly spicy and woodsy drydown that holds the whole in check, vaguely reminiscent of Daim Blond by Lutens.

Fragrances come in a sparse, hefty glass bottle of 75ml/2.5oz Eau de Parfum concentration and retail at 88$.
They are available at: Beautyhabit, Takashimaya, Begdorf Goodman, Fred Segal, Louis Boston, Luilei online, Holt Renfrew in Canada, Liberty in the UK, Bioty Bar in France, Sundhaft in Munich and Department Store Quartier 206 in Berlin, Germany, Profumeria Scarazinni in Milan, Italy and with plans to expand in many more countries (take a look for full list of stores)
To try the Ineke Deluxe Sample Pack, click here.

Pics through Ineke.

Art by Women: an Equal Opportunity Manifestation?

Through the course of history, men have left a more prominent relief on the gauze that seperates present from past deeds. Even the term "history" is arguably problematic, a priori denoting a heightened importance to gender.
Expanding this thought into the realm of art and more specifically perfumery, it is easy to see that the emblematic fragrances of modern perfumery have been mostly conceived and composed by men, with the notable exceptions of pioneers Germaine Cellier (nose behind Vent Vert, Fracas, Bandit and Jolie Madame, among others) or Joséphine Catapano (the true creator of Youth Dew, despite tales to the contrary). Later on of course women took the reins and composed many interesting fragrances. I was inspired to think on those matters for today's post by the very interesting interviews of women perfumers hosted by Osmoz, which brought many facets of le métier into focus.

Before proceeding, however, one has to think about art by women: Is it any different in its structure and message than men's? And more importantly, should it be and why/why not? Is there some substance into the differentiation of feminine vs masculine produced Art?

In my opinion, which I had the chance to find out is also shared by Václav Havel, leader writer of the Velvet Revolution, it should not and should it do it ultimately becomes inferior Art. Because appreciation should focus on the content and not the creator it does not, in my opinion, make a lot of difference whether the artist is a woman or a man. I am personally no more lenient to art created by women and/or for women than I am with the equivalent by men (interestingly, you never see that latter advertised as addressing mainly men, do you?) This might explain why I do not generally read chic lit (the term is mirth-producing), but perhaps this is besides the point.

To revert to our question: Does a fragrance created by a woman reverberate into some subconsious desire and need di femina that is mostly incommunicado to men? Do women perfumers hold the secret to what other women desire in this most effervescent of arts?

Dutch-Canadian Ineke Rühland, founder of the INEKE line, is adamant on that point: "I honestly don’t see gender as being a major influence on my work", seguing to elaborate that the only difference is in her creating process for masculine fragrance ~she envisions how she would like men to smell rather than guessing how they themselves want to smell like. Clara Molloy of Memo fragrances agrees:

"I think it’s quite difficult to assign a gender to fragrances, characters,behaviors…It’s a very cultural thing. When you’re very sensitive, even the weather can influence you. Putting on a fragrance is an infinitely precious, delicate and intimate gesture that implies taking one’s time, letting oneself go, being gentle and languorous. Which can all be considered masculine too… "

On the other hand, Annie Byzantian of Firmenich, the creator of mega-blockbuster Aqua di Gio and co-author of Pleasures and Safari pour Homme, disagrees. To her, in contrast with the afore mentioned creators, being a woman plays a role in interpreting the goal of any given fragrance creation.

Perhaps the common thread running through the fabric of those artists' thinking process when creating is the importance of emotion.

Sarah Horowitz Thran of Creative Scentualisation brings the multi-sensory experience to the table, focusing on the inherent acceptance of sensuality in girls growing up. Indeed little boys are not as encouraged or condoned in their exploration of the sensual world, at least in my experience. I was especially interested by Sarah's comment that this appreciation and inspiration by the natural world has been heightened ever since becoming a mother: this is a true differentiation between women and men and as such it poses its own fascinating little questions.

Isabelle Doyen, resident nose at Annick Goutal and creator of 3 Les Nez perfumes, places highest importance to the creative effort above other things. In contrast to Nathalie Larson (who prefers soft, rounded compositions, often with rosy-woody accord, more traditionally feminine), Isabelle goes for the shorter formulae. They instigate a certain idea in no uncertain terms right from the start and thus she describes this effect as "a little brutal". Of course, anyone familiar with the Annick Goutal line might take this last bit in a less literal sense. Nevertheless I deduce that what Isabelle means is that she strives for a clear, hard-hitting vision that is immediately perceptible without roundabouts and frilly details. Quick to admit her own admiration for colleagues' oeuvre however she mentions the infamous Mousse de Saxe base used in the Caron fragrances by laboratoires Laire, but shuns the sensibility of most men's fougère scents. In this instance we could argue that her feminine disposition is showing through.

One of the most illuminating comments was made by Nathalie Larson, creator of Bulgari Pour Femme, Encre Noir and Perles by Lalique as well as Kate Moss:

"as a woman, some brands’ images suit me better than others"

This is something that has to do with the prevalent objectification of women in many mainstream brands that capitalize on a raw sexuality for the sake of shock-value; but also, I surmise, with the concern about brands projecting images that could be safely emulated by women instead of unrealistic ideals of men-imagined archetypes.


It is also interesting to note that when asked to name some of the fragrances that have made an indelible impression on them and which they would have liked to have created themselves, the choices named are composed by male perfumers. But to round out things, ending on the same note as we began, that might have to do with men gaining recognition more easily than women in the past anyway.

For two interviews with women perfumers on Perfume Shrine click here for Anya McCoy and here for Vero Kern.


I would be very interested to hear your thoughts on those questions posed.

Pics of Isabelle Doyen and Clara Molloy courtesy of Osmoz