The Body Shop Red Musk: fragrance review

When I first discovered The Body Shop I was a teenager. This also happened to be a time when the company was run by its founder, Anita Roddick, and not by the conglomerate that is L'Oreal. It gave a wholesomeness to the concept which I sorely miss.

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I also miss (sorely!) some of those fabulous, early perfume oils with imaginative and totally incongruent names: Japanese Musk, Azmaria, Ananya and Woody Sandalwood (the latter was a huge hit on my crush!). These are no more... Thankfully, in an array of mainstream and much more forgettable scents that get discontinued at seemingly lighting speed, there are still a couple The Body Shop fragrances that manage to capture my interest. The latest has been Red Musk.

I discovered Red Musk on the recommendation of a friend from a fragrance board and I thank her for it. I bought the perfume oil on the spot and didn't regret it. The advertising copy insists this is a spicy and unconventional fragrance for fiery situations, but what I get is the cozy core of the original White Musk powdery scent drydown, ornamented with the lushest tobacco and dried fruits overlay. In a way it's like a lighter, subtler Burberry London for Men, a very fetching scent in its own right. Red Musk is like a fluffy terry robe that a handsome man who smokes pipe tobacco with apricot flavor has worn for a few days; it has that soft, enveloping lived-in feeling that is both a consolation and a longing, and I happen to be a total sucker for this kind of scents. Maybe you are, too?

Tom Ford Santal Blush: fragrance review

Sandalwood comes with all the trappings of voluptuous legends told off the cargo ships coming from the Indian peninsula. The myth of the imperishable sandalwood (so sacred even termites abstain from it) informs many an old tale in the East, where sandalwood is the oriental wood scent par excellence.
 

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Among the many scents inspired by this mystical material Tom Ford's Santal Blush is a gorgeous, clean, dry and creamy sandalwood fragrance with an immediate message of sensuousness and no boozy aftertaste. Both beautiful and wearable, it was composed by talented perfumer Yann Vasnier.

The bet wasn't an easy one: Composing a sandalwood fragrance evocative of the Indian splendors of the Mysore variety, revered for centuries, but without actually using the raw material due to its regional restrictions on use as an endangered species, was a Herculean feat. The result however more than compensates, entering into sandalwood fragrances' Hall of Fame, a genre always popular with perfume lovers. If you like Tam Dao, but prefer a luxe rather than bohemian presentation, this is a refined take on that scented cult memory.

Dependent on skin Ph acidity, the opening spices (I pick fenugreek and cumin especially) might be acrid or nicely piquant and maple-y on the skin. You probably need a small skin test before you get out that credit card.

Fendi Theorema: fragrance review

Now that perfumer Christine Nagel is at the helm of Hermès, looking back on her work for various brands reveals her core aesthetics; at once saturated and filled with light, like a Joseph M.W. Turner painting that foreshadows what's to come, namely Impressionism. Judging by her newest Eau de Rhubarbe Ecarlate and Galop, this heftiness-shot-with-brightness continues the sun path to its natural apex.

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With Fendi's Theorema, Italian for theorem, a proposition that has been proven to be true based on previously established statements, Nagel has taken a theme and brought it into its culmination. Namely the "Oriental perfume" that feels as comforting as nibbling chocolate by the fire, while at the same time retaining the plush luxury and sophistication that a proper womanly perfume fit for the salon should exude.

Fendi's Theorema, inexplicably discontinued much too soon (at least before the brand discontinued its entire line in order to bring out the newest project on the shelves) and at least as clamored for a resurrection as Laura Biagotti's Venezia, opens with the delectable alliance of orange and chocolate. The effect of the former is apparently accounted by two unusual citruses: tangelos and thai samuti. The chocolate is folded with sweet spices, amber and warm milky woods, such as sandalwood and rosewood; there's none of the austerity that woody notes usually provide. A touch of a classic, orientalized bouquet of flowers (orange blossom, ylang ylang, jasmine) gives just a tinge of ladylike proclivities. But Theorema is too good to stay on the ladies alone...and is extremely ripe for a resurrection as well.

Berdoues Cologne Grand Cru Assam of India: fragrance review

If travel-inspired fragrances usually hint at the region via their name mainly, then Assam of India corresponds to...India, naturally. As one might surmise it's an evocation of black Assam tea, typical to India, in this case aromatized by a tantalizingly mouthwatering citrus top note that evokes the bergamot addition of Earl Grey tea. Being a firm devotee of this very aromatic blend, the lacing of the southern Europe citrus fruit a welcome addition to the peaty scent of classic black tea, Assam of India by Berdoues didn't have to fight an arduous fight to earn a place of pride on the vanity table.

The perfumer set out in search of these black Assam tea leaves grown at a very low altitude – sea level – that reveal an exceptional character that mirrors India. It is the result of the unique blend of citron from Menton, tea from India and sandalwood from Mysore. The citron from Menton is characterised by very fruitful branches that bear up to twice as many lemons as other varieties. Its half-acid, bitterless flavour gives its essence intense aromas.

Berdoues Assam of India is exactly the sort of thing to pick up on a hot and sweltering day, spraying from head to toe to revel in the tannic and citric notes that cut through the humidity like a scimitar. Beautiful, extremely cute bottle too!

Acqua di Parma Colonia Ambra: fragrance review & draw

Tucked among the crags of western Portofino Promontory is the town of Camogli, which the novelist Charles Dickens once declared "the saltiest, roughest, most piratical little place. " Its sea dog mercenaries were sought after to rival the fleet of the ally city state Genoa. Ambergris, that adventure in a bottle for armchair mariners, is at the very core of inspiration for Colonia Ambra by Acqua di Parma, which I discovered this year and immediately liked.

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That's not coincidental, as ambergris, the prized animal exudation from sperm whales for perfume, is a scent I could (and do) wear neat on my skin in alcohol tincture. Dedicated to a gentleman who loves to travel and explore new cultures, Colonia Ambra is part of the "ingredients themed editions" of the classic Colonia by Acqua di Parma (The other two editions include Colonia Leather and Colonia Oud, also good).

The mention of the other editions is not without merit; if you like Colonia Oud, this edition, Colonia Ambra, is like the oud base has been stripped off but the smoky woody goodness remains, layered rich and thick and nuzzling on the skin. The cypriol addition makes its presence known (as does patchouli) and the warm materials shift the direction into a woody oriental, milder and softer than Colonia Oud. I could very well wear this frequently; it's refined and lasting without elbowing anyone out of the way, yet it is no wallflower either.

Although the skeleton for the classic Colonia is one of stark freshness, the citrus fruits in Colonia Ambra have purposefully lost their sparkle in order to solely render a "lift" to the warm, musky aura of ambergris, musk and patchouli which are at the very nucleus of this composition. One can't really describe the notes one by one, as the blend is relatively tight and the overall effect is one much more refined than the allusion to Camogli would suggest.

Fans of amber and vanilla scents in men's fragrances should explore Colonia Ambra. This is marketed to men, but I find that it can be shared by women perfectly, like boyfriend jeans or a nice velvet jacket for evenings over one's chiffon top to keep the chill out.
The projection and sillage are moderate, but the staying power is very satisfying given the posh price.

Fragrance Notes for Colonia Ambra by Acqua di Parma:
Top Notes: Orange, bergamot, petit grain
Heart Notes: Rose accord, cypriol, virginia cedarwood, patchouli
Base Notes: Ambergris, sandalwood, cistus labdanum, vanilla, musk

This is what Acqua di Parma says about the scent of Colonia Ambra:

"An original, elegant fragrance inspired by the distinctive combination of two olfactory themes that are bursting with personality - the citrus notes of Colonia blend with deep sensuality of Ambergris, an ancient essence that is extremely rare and precious. Its characteristic scent is owed by the effect of the ocean and the wind, shaping and caressing this precious substance for many years before casting it ashore on the world’s beaches. The zesty citrus top notes of orange and bergamot evolves into a warm heart with cedar wood, rose and patchouli. Sublimated by the perfect harmony of Ambergris with sandalwood, warmed by the soft accents of vanilla, this new Eau de Cologne Concentrée reveals its unique personality in base notes of inimitable elegance and refinement."

This edition of Colonia Ambra comes as a natural spray of Eau de Cologne Concentrée, encased in a beautiful luxurious fabric-covered box, available in a 100ml or 180ml size.

One lucky reader will receive a 5ml vial by leaving a comment below this post, stating their views on fragrances inspired by animal essences. Draw is international and ends Wednesday 23rd midnight. 

Related reading on PerfumeShrine:
Ambergris: Definition and Musings on "Whale Vomit" (?) 
Perfumes with Ambergris, the mysterious "grey amber" note
Acqua di Parma: fragrance reviews & news
Frequent Perfumery Questions on Perfume Shrine
Cypriol/Nagarmotha: Smokiness of Wood

Annick Goutal Les Absolus 1001 Ouds: fragrance review

Not unfittingly I had waited till I had written my articles on myrrh resin before writing my full perfume review of the latest Annick Goutal 1001 Ouds fragrance in the Les Absolus range. That's because rather than being a fully fledged oud/aoudh fragrance this oriental elixir features myrrh in a key player position.

photo Vitor Schietti

The trend for oudh has been going strong and every brand has embraced the innovations of the fragrance industry. Some say this particular trend is an unpardonable sin (and indeed only Chanel seems impervious to the flummox as of this moment) so an oud-centric perfume from Annick Goutal did not spell optimism in my heart of hearts. Especially as the combination of oudh with rose has been the hallmark of tried and tested combinations surgically transplanted from Middle Eastern perfumery -where they thrive in local blends- and then watered down for western usage.
Nevertheless 1001 Ouds in Les Absolus d'Annick Goutal managed to not fulfill the desire for apostasy that ran in the back of my mind. Two key ingredients which are featured in a clever way by perfumer composer Isabel Doyen are responsible for the rekindled interest.

Myrrh resin, bittersweet and poignant, is restraining the stomping boots of the oudh note. Thankfully as most contemporary oudh compositions, lacking the complexity of a traditional oudh perfume essence, run the risk of coming across as rather aggressive (the dreaded Band Aid note) and a little too invasive, like a stranger in leather gear on public transport making intense eye contact out of the blue. The woody effect given by papyrus wood is slightly smoky, the feel of a distant campfire rather than having the barbecue right on the lawn.

Rose phobics or those who do like rose but dread the engulfing tentacles of it when combined with usual suspects sandalwood or oudh in an Arabian setting need not be scared. The rose in 1001 Ouds by Annick Goutal is providing a softened, mellowed bridge between the more challenging ingredients, polishing the corners and smoothening the edges. This well known perfumers' trick works especially well here; one doesn't really discern the rose, only the humming warmth and glow that resembles a copper-toned lipstick on an olive skinned lady.

As might be suspected by the notes 1001 Ouds leans to the shared fragrances side of the spectrum and men and women alike would enjoy it without problems. In fact the creative team at Annick Goutal present the Les Absolus trio as a lovers' shared sensuous experience and they couldn't be closer to the truth. These are warm, soft, enveloping fragrances to share with those you cherish the most.

As with the rest of Les Absolus, beautiful presentation, demanding prices.

Related reading on Perfume Shrine:
Annick Goutal fragrance reviews and news
Oud/Aoudh/Agarwood: perfume raw material
Les Absolus d'Annick Goutal: perfume reviews 

The Truth About Patchouli Chypres or Floral Patchoulis: Not So Recent After All

Many perfume aficionados have noticed the ubiquitness of patchouli oil in modern fragrances; either in the form of the "fruitchouli" fragrance where the dominance of patchouli is given a sweeter overlay of usually berry fruits or in the form of the "floral patchouli" which we affectionately call the "nouveau chypre" (or "pink chypre" perfume). Technically nevertheless at least the latter is not as recent as all that.

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In fact these so called patchouli "chypres" as many have suspected all along are not "true" chypres perfumes. Rather the dominance of floral notes plus patchouli and the relative lack of animal notes and musk places them in a slightly separate group which I had been meaning to tackle for a long whilte. That group however is none the less revered taking into account the many classic perfumes which are classified within it.

These floral patchouli perfumes have mainly become possible through the introduction of "luminous/transparent jasmine" in the late 1960s aka the Hedione ingredient which "reads" as fragrant lightly green air above the jasmine vine. The pliability of this material makes it the perfect bridge between the sweet medicinal-woody note of patchouli and the rest of the floral components. Indeed most of the patchouli perfumes with dominant floral elements are fitting neatly into the 1970s and 1980s slot: Diorella (1972). Aromatics Elixir (1972). Coriandre (1973). Paloma Picasso (1984). Knowing (1988).

If you think about it the "nouveau chypres" with Narciso for Her eau de toilette being in the vanguard didn't deviate much from this path. The patchouli is "cleaned" up of its darker chocolate and peppery aspects but the woodiness prevails alongside a modern Amberlyn (ambrox) base and the overlay of sweet orange blossoms; a noticeable floral component.  White Patchouli by Tom Ford also divests of the dirtier aspects of patchouli and increases the white flowers antel it's a prime example of the contemporary translation of this concept. There is also the new Aromatics in White by Clinique; fittingly a flanker to the original Aromatics Elixir perfume from the 1970s. I have noticed that the use of "white" in the name lately has taken to suggest a sizable slice of patchouli in the modern style.

In what concerns the Diorella fragrance by Dior the main chord is built around Hedione-Helional-eugenol-patchouli. The fact that Helional used in 5% quota in the formula carries an airy and watery hint with it speaks volumes; it's no coincidence that Diorella works very very well in the heat! Especially combined with the copious citrusy essences on top. Hedione 10% and cis-jasmone 2% plus natural jasmine absolute gave the richness of the classic Diorella floralcy. Rose only played a very very small part in the original composition. A hint of peachy note was possible through C14 aldehyde. The softness of that note plus the airier-watery components conspire to give an illusion of melon to our noses.

Some of the basic components in Diorella are also taken unto Aromatics Elixir by Clinique though the formula there takes a turn for the rosier and darker without pronounced citrus notes. Helional and Hedione again combine with patchouli as well as vetiver (for an enhanced earthy feel) and woody violets. The bouquet is further enhanced and "opened" with lily of the valley synthetics like the air seeps into a newly opened bottle of red wine and lets it "breathe". I always find that either Hedione or lily of the valley are the decisive "keys" with which a composition of formula unlocks its message.

I'm using the example of Aromatics Elixir to further discuss the likes of Aramis 900, Paloma Picasso and Knowing by Estee Lauder. These form a tight group of kinship. Not coincidentally the common perfumer at the helm of IFF and commissioned with the work for Lauder (Aramis and Clinique are both Lauder companies) was Bernant Chant; he of Cabochard (a more hardcore leather chypre fragrance) as well as of Aromatics Elixir and of Aramis classic for men. 

Knowing in particular is an undersung marvel and "reads" today as a very venerable authentic chypre thanks to its perfume-y powdery character. But its progeny must be traced into the floral patchoulis of the previous decade. Specifically Coriandre.

In Jean Couturier's Coriandre fragrance the key ingredient is the similarly jasminic Magnolione (comprising 20% of the formula) alongside 10%  patchouli. The rose base is founded on geranium making the trasition of Coriandre into a shared fragrance more easily imagined. The spicy top predictably includes coriander but also the intensely green "budding" note of styralyl acetate (the scent of budding gardenias) and ylang ylang. So it's again a floral aspect given a woody underlay (apart from vetiver and cedar ingredients there's also sandalwood; arguably the genuine Mysore variant back in the time of original launch of the fragrance.

The difference with Knowing is that the American taste for almondy fluffiness manifests itself via the use of heliotropin, while there is also the component of a white floral that makes its presence known: tuberose with its bubblegum facets turned up a notch.

In Paloma Picasso/Paloma Mon Parfum the perfume is saturated in castoreum which might trick us into believing we're dealing more with a hardcore chypre a la Cabochard than with a "floral patchouli" as we defined it in the introduction of this primer. But the thing with perception -and the point of this primer- is that it is influenced by context. In yesteryear's milieu perfumes like Knowing or Diorella were differentiated from the more tightly clustered classic chypres. In today's comparison with the syrupy fruities or even the "nouveau chypres" they seem like the end of the hardcore spectrum. Similarly the newer contestants to the throne appear like the emperor's new clothes whereas they form the distant relative to a long line of noble lineage.

If Francis Kurkdjian and Christine Nagel (both credited with Narciso For Her; Nagel specifically also the founder of the fruitchouli with Miss Dior Cherie) created something new, like Isaac Newton they must have seen further by standing on the shoulders of giants.

Related reading on PerfumeShrine:
Perfume Primers: Chypres for Newbies
The Chypres Series: History, Landmarks, Aesthetics, Contemporary Fragrances
Perfume Primers: Aldehydic Florals for Beginners
Chanel No.19: Woody Floral or Green Chypre?

Oriental Arabesque for Oud Palao by Diptyque

The newest fragrance by French niche brand Diptyque is called Oud Palao and is -you guessed it- inspired by the mega-trend that is oud. It also incorporates perfume notes of Bulgarian rose, camphor, labdanum,  rum, tobacco, patchouli, Madagascar vanilla, and sandalwood.

But what is most memorable is the gorgeous, eye-catching illustration motif. After all Diptyque started as a quirky design brand of textiles and scents...

Neela Vermeire Creations Pichola: fragrance review

The impressionistic school of perfumery seldom fails to fall victim of one or two cardinal sins. Either it won't replicate the received impression we, the audience, have of a particular referent (perversely enough there seems to be a collective "idea" of how particular places & things smell like), resulting in  confusion, despite adhering to the definition of the artistic term. Or the clarity of structure will be subordinate to the "harmonic" effects resulting in something that "falls apart on the blotter", as perfumers say. Not so with Pichola, the latest fragrance launch by the cult favorite niche fragrance brand Neela Vermeire Creations, overseen by a true perfumephile, its founder and guiding force, i.e. Neela, and composed by the steady hand of independent perfumer Bertrand Duchaufour.

Rie Rasmussen, Vogue UK December 2005, photographed by Norbert Schroeder via

Pichola was inspired by Lake Pichola in India, since the canon of Neela Vermeire Creations draw inspiration from the peninsula. But fear not, ye armchair traveler of little faith in your abilities of envisioning vast expanses of water with flowing flowers. Much as Pichola draws elements from the impressive scenery it is not a carte postale style of fragrance for Americans in need of issuing a passport. As Carson McCullers put it "We are torn between a nostalgia for the familiar and an urge for the foreign and strange. As often as not, we are homesick most of the places we have never known..."

Pichola is not a travel "selfie". This shape shifter of a fragrance has backbone, finesse and above all the charm that makes a fragrance go beyond the mere pretty into addictive.

It impressed me in that I have tried the scent three times and Pichola performed differently on ALL three occasions, which hasn't really happened before. You can blame it on Rio, I guess, but I did find that the temperature of my skin brought to the surface different elements.  The first time Pichola by Neela Vermeire projected as an intensely white floral with a cleaned up jasmine and orange blossom, plus a budding gardenia note. It gave me a nod of Pure Poison, to be honest, which was impressive since that one is a very loud (albeit beautiful perfume) and not  Bertrand Duchaufour's "style" (who is more subdued and much less obvious).
On the second testing Pichola was much milkier white floral and had a green-husks velvety touch floating about, like coconut and fig leaf (stemone, massoia lactone, something along those two lines) which did remind me of Duchaufour and his masterful translation of earthy tones and woody notes, such as in L'Artisan's Timbuktu. Third time it was distinctly orange blossom and lush, scrumptious but not really indolic tuberose, plus a sandalwood milkiness chased by a huge clean musk note.

This creature purred...and I purred with delight over it.


Fragrance Notes for Neela Vermeire Creations Pichola:
Top Notes
Neroli, Clementine, Bergamot, Cardamom, Cinnamon, Saffron, Juniper, Magnolia
Heart Notes
Orange blossom, Rose, Tuberose, Jasmine sambac, Ylang ylang
Base notes
Haitian vetiver, Benzoin, Sandalwood , Driftwood

Related reading on Perfume Shrine:
Neela Vermeire Fragrance Reviews & News: Trayee, Mohur, Bombay Bling
"Creamy" fragrances: scents of rich clotted cream 
Indolic vs. Non Indolic: White Florals of Passion
The Jasmine Series: Perfumes highlighting the King of Flowers

Win a Copy of The Perfume Garden novel: Perfume Book Draw

Several authors have chosen to incorporate perfume in their fiction lately, some of which have been featured on Perfume Shrine before. The Perfume Garden by Kate Lord Brown is a very leaf-able, flowing romance taking place in the turmoil of the Spanish Civil War with "lost love, family secrets and the art of creating the perfect scent".

I have 5 hardcover copies for 5 US shipping addresses holders that I will draw on Thursday. Please enter a comment and you will be eligible. Prizes will be shipped by the publisher directly to winners.

Here is small excerpt from the The Perfume Garden novel to give you an idea:

"Emma took a deep breath, and gazed out of the bus window. It was almost her stop. Perhaps it’s time to stop saving the best till last, she thought. She folded the note and slipped it into her mother’s Moleskine notebook on her lap, flicking on through the pages illuminated with Liberty’s flamboyant handwriting. Words leaped out at her—“neroli,” “duende,” “passion.” Her mother had pasted in cuttings alongside the notes and formulas for the new perfume she had been working on—pictures of orange groves, searing blue skies, a yellowed newspaper advert for a Robert Capa exhibition. It was the famous “falling soldier” picture. Emma traced her finger over the soldier’s face, wondered what he was thinking at the moment when death caught him running down that hill. She wondered what he saw as he fell. As she touched the paper, she felt the contours of something beneath. She flipped to the next page and laid her hand on the smallest envelope Liberty had left in the box with the letters. On it, her mother had written an address: Villa del Valle, La Pobla, Valencia, Spain. Inside, there was just an old key. I must ask Freya if she knows anything about this, she thought. Emma had lain awake the night she opened that envelope, turning the key over in her hand, her mind full of possibilities. Typical Mum, she thought, remembering all the magical mystery tours Liberty had taken her on as a child, the trails of clues she had laid for Emma to follow to hidden presents. The chase, the anticipation, was always more fun than the present itself.

Emma turned the pages, glimpsed the melancholy, serene face of a Madonna, a photo of a whitewashed wall with flaming bougainvillea spilling over it. The notes became sparser, the hand less sure toward the end. She sensed Liberty had been looking back, as well as forward. Next to a pasted label from Chérie Farouche, the perfume Liberty had created for Emma on her eighteenth birthday, she had written: “Some perfumes are, like children, innocent, as sweet as oboes, green as meadow sward—Baudelaire.” It was still Emma’s signature scent. On her it smelled like rain in a garden at first, fresh and intoxicating; then as the green top notes evaporated Emma always thought of the earth, of picking flowers in a forest with her mother. The heart note of lily of the valley and jasmine melded perfectly with the base of sandalwood and musk. Liberty always said the scent was like her—shy but surprisingly fierce. A photograph of Liberty with Emma as a baby was tucked into that page. She flicked on, unbearable longing piercing her as she looked at her mother’s beautiful, open smile. Emma paused at her mother’s final sketch of a new Liberty Temple perfume bottle, her hurried scrawl: “Jasmine? Orange blossom, yes!”

Copyright © 2015 by Kate Lord Brown

Providence Perfume Co Ivy Tower: fragrance review

"Wow, this smells like…I've never smells anything like this" or "This doesn't smell like Dolce & Gabban's Light Blue. What do you have that smells like what I usually wear?"are a couple of the whispered comments of customers at the brick & mortar store of Providence Perfume Co, at Providence, RI 02903. I have recently written on the Aesthetic Principle which, like the pleasure principle, should, I believe, lead our choices on fragrances in an increasingly rationed world. And thus I find it pertinent that my review of Ivy Tower should follow it. Here is a green floral that is beautiful, delicate, different and missing the "herbal" component of some all naturals, which to echo its perfumer "doesn't smell like Light Blue and I'm OK with that."

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Green fragrances are a difficult bunch to render in all natural essences, mainly because the green-smelling materials fall into two groups which each possesses one stumbling block: the natural elements, such as galbanum resin, are either very hard to dose in a composition of all naturals without overpowering the blend (Chanel No.19 and Jacomo Silences are not  perfumes for wussies!) or else are so subtle that they vanish quickly, such as the cucumber-tea note of mimosa blossom.; the more convincing synthetic materials such as cis-3 hexenol with its cut-grass feeling, Ligustral (snapped leaves) and Lilial with its green lily of the valley aura are of course off grounds for a natural perfumer.

Chanel No.19 Poudre tried to reconcile the green monster with the emerald-hued polished nails with the grassy rolling waif in gauzy whites and it presents a modern "temperate" effort that is valiant, if a bit tamed, for the lovers of the original Chanel icon that inspired it. I don't recall many other contemporary fragrances in the delicate greens genre that truly made it (A Scent by Issey Miyake though quite good never met with the success it deserved, Bvlgari's Omnia Green Jade is sorta too tame for its own good), excluding the niche scene for obvious reasons.

So Charna Ethier exhibits skill in rendering a rustic rained upon scene from somewhere north; like a secluded private garden in York, in North Yorkshire, I had once visited, all rainy soaked paths and ivy climbing on stone-walls retaining the rain drops and reflecting them like giant water bubbles that make your bones chill a bit even in the dead of summer. The fragrance of Ivy Tower like those bubbles takes on shades of green, blue, and gentle lilac, depending on where it hits on a warm, blood-pulsing vein and hovers there for a while in the confluence of watery sprites and drowning Ophelias. Eventually it takes on a more customary jasmine, lilies and woodsy notes path, but the journey up to there is dreamy enough to make a heart melt a bit.

Ivy Tower  (green) is part of a new collection of natural perfume oils by all naturals perfumer Charna Ethier of Providence Perfume Co, whose Samarinda has been reviewed on these pages before. The rest of the collection includes Rose 802 (pink), Orange Blossom Honey (orange), Summer Yuzu(yellow), Sweet Jasmine Brown (blue) and Violet Beauregarde (violet). The oils are color coded, which is supremely practical when sampling. The choice of an oil format (admittedly not one of my strong suits as I usually like the abundance effect that an alcohol based format allows) stems from the customer base: people blending essences at Providence's popular perfume bar, citing a desire for portability and longevity. 

The given notes for Ivy Tower by Providence Perfume Co are: jonquil, mimosa, geranium, jasmine, narcissus, blue tansy, lily, sandalwood. Info and purchase at www.providenceperfume.com

In the interests of disclosure I was sent a sample by the perfumer for reviewing purposes. 

Evody La Collection d'Ailleurs ~Noir d'Orient, D'Ame de Pique, Ombre Fumée

La Collection d’Ailleurs is the latest chapter in the Evody story. Paying tribute to travel, the richness of nature and the diversity of different cultures, this captivating collection is brand creators Régine and Cérine’s own unique interpretation of far away places, linking their joint passions for travel and fragrance.

Noir d’Orient (from £85 for 50ml extrait de parfum)
The spice route is full of mystery – a trail of intoxicating scents, warmth, luxuriant forests and the depths of the Indian Ocean.

Noir d’Orient has been constructed around India’s olfactory diversity. The fragrance opens with a serene note of incense before revealing a heart of hot, sensual and intense spices including Cloves and Cinnamon. Finally, this heady oriental offers a rich soul of Wood, Dark Rum and Patchouli.

D’Âme de Pique (from £85 for 50ml extrait de parfum)
D’Âme de Pique is an ode to the roses from Rose Valley in the Atlas region of Morocco. Opulent and soft, exuberant and dignified these most regal of flowers are unrivalled in their beauty. Green and sparkling notes of Blackcurrant Leaf and Pear form the opening accord of this most captivating of fragrances. The heart is given up entirely to Rose, magnified by a hint of Raspberry. Finally voluptuous Sandalwood and Vanilla combine with sensual Patchouli.

Ombre Fumée (from £85 for 50ml extrait de parfum)
Drawing inspiration from the volcanic, tropical island of Reunion Ombre Fumée is a celebration of Vetiver, the intense raw material from which Reunion draws its wealth. Here Vetiver is wrapped in both fresh, green notes and mysterious, sensual notes. Invigorating Orange and Lemon give way to a soft touch of Cypress followed by a powdery note of Iris with Hot Black Pepper.

Created by mother and daughter duo, Régine Droin and Cérine Vasseur, EVODY’s distinctive fragrance collection is designed to enthrall perfume aficionados. The core range comprises eight beguiling scents, each designed to communicate the very real stories and emotions that inspired the creators. From the intensely personal Cuir Blanc, designed for Cérine when she was pregnant with her first child, to the sparkling Pomme d’Or created for Régine’s husband, a man who had never previously worn fragrance.

The dominant fragrance notes for the rest of the Evody line are as follows:
POMME D’OR – Bergamot, Sweet Lime, Juniper berries
FLEUR D’ORANGER – Mandarin, Jasmine, Orange Blossom REVE D’ANTHALA – Tiare Flower, Orchid, Jasmine, Vanilla BOIS SECRET – Bergamot, Black Pepper, Nutmeg, Tonka Bean NOTE DE LUXE – Jasmine, Bergamot, Ylang Ylang, Vanilla AMBRE INTENSE – Bay Leaf, Incense, Patchouli, Amber
CUIR BLANC – Violet Leaf, Iris, White Musk, Russian Leather MUSC INTENSE – Bergamot, Mandarin, Kashmir Wood, Musk

Guerlain Santal Royal: new fragrance

The upcoming launch by the historic house of Guerlain is called Santal Royal and comes in a bottle in the style of their "Eau de lit" and "Eau de lingerie" scents, but dressed in pitch dark black, with a gold filigree label and a cap and adorned with a tassel in black & gold hanging from the neck.

borrowed via Jaroslav's blog

Guerlain Santal Royal is an oriental woody perfume with spicy overtones that heralds the coming of the cooler season, in the manner of "cashmere scents" we perfumistas here on PerfumeShrine like to annotate to autumn and winter. Jan Masters describes it as "an evening scent, although I could imagine it cheering up grey days as if cosying up in a cashmere wrap."
Of course pair Guerlain and sandalwood in the same phrase and everyone thinks of Guerlain Samsara (with the lone historian reminiscing about Guerlain Santal parfum from the first years of the 20th century), but we're told this is a very different perfume.

Santal Royal is a Harrods exclusive launch for the opening of their Salon de Parfums, retailing at £125 for 125ml of fragrance and the scent is composed by resident perfumer for Guerlain Thierry Wasser. Harrods are plugging the Salon des Parfums, a new abode for perfume enthusiasts on the 6th floor, which opens on October 16th at 8pm, attendance by invitation only. The fragrance will eventually arrive on boutique counters as well.

The fragrance notes for Guerlain Santal Royal include the eponymous mystical note of sandalwood, coupled with cinnamon and fresh neroli on the top, while the deeper, denser notes of warm amber, musk and leather rise from the base. Preliminary reportage suggests also a note of rose and oud in the formula that isn't mentioned in the official breakdown.

My own addition is that now that the sustainable Australian sandalwood plantations of Santalum alba have been fruitful we're set for a new wave of sandalwood fragrances that will reprise that most prized of woody notes. Assuming of course that Santal Royal contains said ingredient.

Neela Vermeire Creations Mohur Extrait: fragrance review & draw

Mohur Eau de Parfum by Neela Vermeire Creations preceded the Extrait de Parfum version of this India-inspired rose fragrance for men and women; in fact the extract only launched last spring. But the perfume extract (extract de parfum) brings into highlight the richest in noble essences arranged in a manner that highlights their pedigree; comparing the two is like juxtaposing the silky hair of a Persian domestic cat compared to the majestic plush of the strapping Shere Khan. Mohur extrait is something of a diva! As if Mohur eau de parfum wasn't already queenly enough….but you can imagine the added magisterial effect, right?  {And now that your appetite is whetted there is a lucky draw for great Neela Vermeire Creations prizes at the end of the post, so be sure to read to the bottom!}

Rose is a fascinating, as much as a polarizing, perfume raw material due to two main reasons. For one, the natural extract can vary wildly according to the variety of rose variant used (the tea rose for instance possesses a completely different scent than that of the fruity, berry-plummy Munstead Wood), the cultivar and region (Rosa Damascena, traditionally coming from Bulgaria, is heavier and deeper than May Rose, traditionally coming from Grasse, though there are also Turkish, Moroccan and roses hailing from other regions) and the details of the method of extraction (different metals contribute their own little nuances in the end product etc). For another, rose by itself is an interesting, multi-layered oil, exhibiting facets of liqueur, wine, even pear or artichoke! Composing a fragrance based on the "Queen of flowers", as rose is affectionately named (jasmine is the King), isn't easy. This is also why most of the time there is very little, if any, natural rose essence, in perfumes. Constructing a rose bouquet with synthetics is far more elegant, in the mathematical sense of the world, allowing a precise calibration of the effect minus any distraction of off notes.

Rose is also a fragrance note that needs getting some conditioning to. At least for me it did and I know I'm not alone. Rose scents can appear too old-fashioned for their own good sometimes (not old fashioned in the glamorous vintage sense of out-of-the-mold perfumes which dare to walk on stilts, towering over everyone else, but "grannyish" sorry to say). Nevertheless everything old is new again and rose is making a comeback in perfumery as a focal note (it never went away from the secret core of most feminine fragrances anyway). Luckily for me, Neela Vermeire Creations scored Bingo with their Mohur Eau de Parfum, which manages to smell at once contemporary and nostalgic, rich in second-hand reminiscences scaterred atop its jammy, lightly powdery rose dessert from Rajastan.

It's a perfume which accompanies my softest thoughts. Now the Mohur Extrait de Parfum, rich in rose absolute, comes as the culmination of the succulence, tempting and caressing with the intensity of its purple color of the flacon; at once cool and warm, like the color purple unites the fieriness of red with the calm of blue, regal, ceremonial and mystical with its association to the Crown Chakra. Honeyed facets of the rose are folded into a batter of powdery materials (the vegetal, subdued muskiness of ambrette seeds and the iris effect of carrot seed essence) while the sandalwood note takes on creamy qualities, deftly incorporated into this rosewater-flavored barfi by Neela Vermeire Creations perfumer in charge Bertrand Duchaufour (who also gave us another rose-dusted Ottoman-palatial-leaning phantasmagoria in Traversee du Bosphore for L'Artisan Parfumeur). Although the formula for the two is the same, the Mohur extrait is overall sweeter and rather more gourmand-smelling, with less of the aldehydic top notes of the Eau de Parfum, and while I think that the eau de parfum is personally speaking a very wearable incarnation thanks to its very drape-y softness which floats around me like a golden sari, I can't deny the exquisiteness of Mohur in pure perfume. If you can afford bringing so much beauty into your everyday life without keeling over, by all means, there's no point in searching beyond this masterpiece.

Mohur (in eau de parfum and extract de parfum versions) is part of the niche fragrances issued by Neela Vermeire Créations which also includes Trayee, Bombay Bling and Ashoka. These Indian inspired perfumes, like Chants of India, draw upon the tradition, history and cultural milieu of that vast Eastern sub-continent in which Neela herself has roots. These are truly "transparent orientals", modern and wearable, and therefore it comes as no surprise that Neela commissioned Bertrand Duchaufour to compose them for her niche line. Her e-boutique can be accessed on this link.

I have 2 great prizes for 2 winners (shipping to US, EU and Canada):
Prize 1 is a 8ml spray bottle of Mohur extrait with ceramic logo disk (depicted)
Prize 2 is a Sampler coffret (2ml x 4 scents) of the 4 eaux de parfum Trayee, Mohur, Bombay Bling and Ashoka (depicted) plus Mohur extrait sample with ceramic logo disk

What you need to do:
1. Leave a comment below in this review (about the NVC scents, the review itself, roses & scents etc...)
2. Please like Neela Vermeire Creations FB page or follow her NVC Twitter handle (whichever you have is fine). 

Draw is open till Friday midnight and winners will be announced sometime during the weekend.

NB disclosure: The review/draw requirements/links are non affiliated. I was sent a sample vial by the company for reviewing purposes.


Related reading on Perfume Shrine: 
A Dozen Roses: Top Selection of Rose Fragrances & Rose-Smelling Products
Fragrance Reviews of Perfumes with Rose notes 
Neela Vermeire Creations Perfume Reviews 

Guerlain RE-Issues 4 Archive Perfumes for their Heritage Collection: Fragrance Descriptions & Photos

The work that Guerlain is doing lately, bringing back their catalogue masterpieces for educational purposes at Champs Elysees, adhering to the original formulae no less, is remarkable. To the already impressive line-up four more vintage Guerlain perfumes are brought to life thanks to the work of in-house perfumer Thierry Wasser and Frédéric Sacone. They are the following.

via

1900 CHYPRE de PARIS in parfum extrait 
Contrary to what many people have in mind, the Guerlain Chypres came out before the famous Coty Chypre from 1917 {For a comprehensive reason as to why, please refer to my article on Chypre Fragrances Facts and The Origins of Chypre Perfume} [N.B. There is also Guerlain Chypre 53, a different fragrance]
A top of citrus and lavender gives way to the floral notes of pink jasmine, ylang iris, orange blossom, flanked by cascarilla, calamus, mossy chyprish notes, patchouli, and spicy accents of nutmeg, cinnamon, vanilla and balsamic notes.

via

Read more by clicking here 

Patricia de Nicolai Celebrates 25 Years in Business & new fragrance Musc Monoi

To celebrate 25 years in business, niche fragrance brand Parfums de Nicolaï is launching Musc Monoï, inspired by the scent of Ambre Solaire sun products. “For many years I have been in love with Ambre Solaire oil,” said Patricia de Nicolaï, the firm’s owner, founder and perfumer.

“I always wanted to create a fragrance from which I could use this wonderful smell, synonymous with sunny beaches.” Created, like all the firm’s fragrances, by de Nicolaï herself, it focuses on the benzyl salicylate note found in ylang ylang and features head notes of neroli, lemon and Paraguayan petitgrain; heart notes of ylang ylang essence, magnolia, jasmine, coconut (lactone) and Calone; and base notes of ylang ylang absolute, sandalwood and musk.

The amber-coloured juice comes in the firm’s usual tall, elegant bottle with a gold cylindrical cap, and costs £108 for 100ml or £36 for 30ml from de Nicolaï boutiques worldwide and the firm’s website. De Nicolaï, who is president of the Osmothèque perfume museum in Paris, is a descendant of the Guerlain family. She trained at ISIPCA and helped to develop Lancôme’s Trèsor while at Quest before founding her own firm in 1989. Parfums de Nicolaï has since produced 48 fragrances.

quote & press via Patricia Mansfield-Devine, Rennes

Related reading on Perfume Shrine: 
Beachy Fragrances: Scents to Take You Away, 
Salicylates: Ingredients with Solar or Evergreen Qualities, 
Ylang Ylang: Flower of Passion & Exotica

Dolce Eau de Parfum by Dolce & Gabbana: fragrance review

One could be excused for getting all dreamy eyed and nostalgic à la Nuovo Cinema Paradiso upon watching the latest commercial by Dolce & Gabbana for their feminine fragrance launch, Dolce eau de parfum. They could be excused for erupting in twirly pirouettes filled with longing at the sight of the super pretty bottle, its flower cap, its grosgrain bow, its retro typeface. But what one can't possibly excuse is getting worked up over the fragrance of Dolce by Dolce & Gabbana itself, because, frankly, it's so programmatically "not"-so-many-things that it gets very hard to describe it.

It's not really floral, despite the ad copy and the images of orange groves in full bloom. Not indolic-smelling, which comes hand in hand with white flower fragrances. Not woody either. Nor citrusy. Not particularly feminine if your notion of femininity is not terribly challenged by a particular philosophic system of which I am not accountable for. Not anything special in the fresh fragrance slot. Not distinctive, not unique by any stretch of the imagination. Not offensive either, but that's damning it with faint praise.

"Neroli leaves" (come again?), papaya flower, white amaryllis, narcissus, white water lily, sandalwood. Where are all these things?

A clean, lightly aqueous neroli scent with a faint musky underpinning that won't get you noticed even if your life depended on it, Dolce eau de parfum projects "meh-shampoo" in a me-too-pool of similar scents for women afraid to use fragrance with any conviction. It could just be the perfect culmination of a product that looks like a perfume but doesn't perform like one for our crazy times. Even if destined to the very young or the very inexperienced, there is nothing in Dolce eau de parfum of the flush of daring and defiance that a truant teenager might indulge into, swiftly exchanging her smart pants and sweater for a cut off blouse and heels in secret at the ante-room of her house to go out with the hip crowd of her school. It's also so faint for an eau de parfum to make one seriously doubt their nose. If this gets released in eau de toilette there will be someone doing a cartoonish, evil laugh all the way to the bank, because they might as well be selling plain water for all the dilution.

So why am I even bothering to review it, you ask?

Simple. It's the first original release by the Italian brand that is not a flanker or re-issue in what feels like eons. I'm susceptible. I love Italian style.

Additionally, I can be excused for feeling a pang of what Swedes call 'smultronställe' , literally a wild strawberry patch, but figuratively a sentimentally laden spot returned to for solace, an escape from sadness.  Sicily is Dolce & Gabbana's spot. My own smultronställe has been orange groves in full bloom from my childhood like the ones shown in the romantic commercial for Dolce eau de parfum. I might be excused for seeking them into a bottle of fragrance advertised with exactly those images in neorealist style and nostalgic color saturation…

A really wasted chance, if you ask me. Bring back Sicily. 

Ayala Moriel Parfums Musk Malabi: fragrance review

Originally released to coincide with the spring equinox and Nowruz (the Persian New Year), the intoxicating floral confection Musk Malabi by Ayala Moriel is unabashedly feminine, subtly exotic and hopelessly romantic, evoking for the wearer a sensory experience not unlike a passionate love affair. Musk Malabi was inspired by and named after a traditional Middle Eastern dessert, malabi—a milk-based pudding or custard, thickened with rice flour, which israelikitchen.com describes as "You'll taste rose-flavored sweetness and a light, creamy texture that keeps you dipping your spoon back in till the Malabi's all gone". (Actually the artisan perfumer has a recipe for Malabi on her blog!).

via pinterest

The scent of Moriel's Musk Malabi is a rich, milky-smelling, lactonic musk with a lightly coolish top note, sweetly petering out to rosewater and orange flower water. The result is a succulent and sensual confection that can only be enjoyed in the context of one loving sheer, plush, sensuous scents meant to be shared between lovers; spoonful by spoonful, preferably as the final courting phase before other things happen or as an intimate refueling of energy… Although this description might tend to stigmatize a musk fragrance as being a tad too intimate for comfort (if you know what I mean), there is no such danger with Musk Malabi, because the succulence outweighs the usual funky scent of "musk". The fusion of vegetal sourced musk-smelling materials is an intricate but rewarding experience for the perfumer who ends up with a mix that alternates between warm and cool and complements perfectly with the milkier (like sandalwood inflected rose) and fluffier notes (imagine a downy soft note of orris and vanilla, even though I'm not sure orris is included in the official set of notes)

Having grown up in Israel, the sights, sounds, and smells of the Mediterranean have always been a source of inspiration for Canadian based indie perfumer Ayala Moriel. "What has always captured my imagination about malabi is its soft, evocative-sounding name, and its unique fragrant combination of rosewater and neroli water," explains Ayala. "Rose and orange blossom are such noble flowers yet oh so different."

Tunisian neroli and Turkish rose meet with musk in the heart of Musk Malabi, creating an unusual and mesmerizing triad. This botanical musk, designed to smell as close as possible to deer musk, brings an effortless fluidity to this magnetic fragrance, playing the role of Cupid in the fragrance and drawing the lovers (rose and neroli) together. There is also cardamom, coriander and blood orange on top.
As with all Ayala Moriel perfumes, Musk Malabi is all-natural and free of animal cruelty, created entirely of botanical essences. The top and heart notes of this sensual fragrance rest on a silky bed of atlas cedarwood, botanical musk and Tahitian vanilla.

Good deed bonus in purchasing: Ayala Moriel Parfums is donating 10% of sales to aid Syrian refugees.

Musk Malabi is available in eau de parfum 4 ml ($49) and 15 ml ($119) bottles on the official website of Ayala Moriel Parfums and the Vancouver Giving Gifts & Company.

Related reading on Perfume Shrine: Scented Musketeers: musk fragrances reviews

New fragrance editions from Ramon Monegal and Acqua di Parma

Spanish perfumer Ramon Monegal has been commissioned to produce an exclusive fragrance for Bloomingdale's Dubai, called Dubai Next to Me, a special edition of 50ml eau de parfum in a specially decorated box. The fragrance aims to marry the magic of the traditional Arabic perfumery with some Spanish flair, via its Spanish leather touch. The top of Dubai Next to Me contains notes of fruits (coconut, peach, melon) alongside spices (Spanish saffron, nutmeg and black pepper), while the heart is floral and resinous with jasmine, rose (oil and absolute), frankincense and labdanum. The base is resting on woody notes (oud, sandalwood) with a leather touch as well as musk, tonka bean and ambraceme absolute.

Acqua di Parma on the other hand is issuing a 75ml bottle of their Acqua Nobili across the range of the female fragrances: Gelsomino, Magnolia and Iris.

There is also a Special Edition of Gelsomino Nobile, the fragrance in an exquisite refillable bottle (above) with hand-drawn features, fine engraving and 24K gold silk-screen-print. You can watch a video of the production process on this link.  The fragrance formula remains the same.

info via respective press releases, rephrased by me.

Fragrance Reviews of the Resurrected Guerlain Perfumes for the Centenary Celebration at Champs Elysees (part 2)

This is part 2 of the perfume descriptions of the heritage Guerlain fragrances which were re-issued for the smelling enjoyment of those who visit the renovated flagship store at Champs Elysees in Paris. If you have missed part 1 you can access it on this link.

Let me again extend my thanks to the generosity of Mme. Delacourte; without Sylvaine it wouldn't be possible to go in such detail. 

 SILLAGE

EXTRAIT 1907

A floral of white flowers : jasmine, tuberose, ylang-ylang on a leather background, oak moss and again tinctures of animal ingredients. A perfume emblematic of its era.

CANDIDE EFFLEUVE

EXTRACT 1922

Read more on this link