Perfume Shrine: Search results for vero profumo

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Tuesday, September 30, 2008

Vetiver Series 5: the Straight, the Strange & the Sweet

There is just something about empyreal vetiver that makes it the perfect transitional olfactory module between an Indian summer of bright blouses and the more serious tweeds of truly autumnal weather. Vetiver's shades of green oscillate between the pale jade of cooler citrusy or milky-soapy variations of the note to the subterranean raw umber of earthy persuasions, through warm hazel with the golden flecks of sweet renditions. Sometimes this improvised colour schema is dictated by inherent personalities that emerge like leprechauns out of the flacon. Othertimes it has to do with my own sensibility when I am matching a fragrance to a current mood and letting it take me over the edge of perception.

The cooler end of the spectrum has the zestiness of hesperidic touches that end Cologne-like pick-me-up mode for days when the daze of summer holidays hasn't fully escaped my mind and the rush of the academic beginnings hasn't set in properly yet. The classic Vétiver by Guerlain is such an example, while I Profumi di Firenze Fresco di Vetiver with its bright yellow Sicilian lemons pushes the boundaries of freshness even more ~hard to picture it in cooler weather~ while still having vetiver sing its persistent basso continuo. On the other hand Vetiver by Floris although pleasantly grassy and citrusy lacks the distinction of more bracing compositions.

Some fragrances that bear the grassy root name on their fancy bottles bear little relation to the smell of either the dried roots or the potent essential oil rendered from them. You would expect from Le Labo, makers of Patcouli 24 that smells perversely of tarry leather, to compose a scent that bears no accuracy between label and juice: their Vetiver 46 is cool incense smoke with no root in sight! Patricia de Nicolai's Vetyver buttresses the root with jolting spice (black pepper, clove, coriander and cumin) and lemon tartness to assuage the earthiness in an scent that seems misleadingly labelled, interesting nonetheless. Creed's Original Vetiver opts for a lathery approach which comes and goes like whiffs of a foamy bubble-bath escaping through a closed bathroom door. Although the root is present, the alkaline smell of soap and the crispness of citrus that wafts nicely make this more office-appropriate than rolling on the forest floor after an improptu picnic a deux. When Lanvin decided to ressurect Vetyver L'Homme from oblivion (originally it launched in 1964) they engaged Francois Robert from Synarome who used 10 all-natural ingredients out of the alleged 14 to render an understated, slightly fruity variation that makes me wonder how the original might have smelled. As it is it's not corresponding to the expectations I formed reading the detailed descriptions of the Lanvin site. But if Lanvin's is meak and sterile, Annick Goutal's Vetiver is the other face of Ianus, the non-smiling one. Its iodine ambience with salty overtones puts it firmly into the territory of atypical and thus stimulating.

Direct vetiver fragrances emphasize the character of the root in a straight-arrow way, hitting bull's eye every singe time. The prototype Vétiver Extraordinaire by Frédéric Malle (composed by Dominique Ropion) contains possibly the highest levels of vetiver essences on the market today: it resembles verdant wet patches amidst cobblestones in a Medieval Italian town where students of medicine sharpened their pencils with knives. Route du Vétiver from Maître Parfumeur et Gantier bursts forth with the buoyancy of a surgical scalpel: it almost cauterizes the olfactory nerve with the raw sharpness of its Bourbon vetiver, upholded with a little blackcurrant, lots of patchouli and woody accents. The dark liquid that nests inside L'artisan Parfumeur Vetiver is pure; strong and earthy Bourbon vetiver joined by oakmoss and patchouli in an engaging conversation of earthy personae with the merest hint of hesperides. In the dimuniation of the citrus effect, Santa Maria Novella went one better with their own Vetiver: earthy, strong, especially for an Eau de Cologne concentration, with not a lemon rind in sight.

Smoke often compliments the green side of vetiver with an ineffable elegance. The classic Vetyver by Givenchy murmurs the way a well-bred gentleman of another era might. Sycomore by Chanel Les Exclusifs has a celestial beauty beneath its auspicious smoke rings. Etro Vetiver opens with a strong, earthy, true vetiver note that is dry and straight with a resemblance to the one by L'artisan minus the citrusy top and little clouds of smoke in the background. The very dark-coloured Vetiver from Lorenzo Villoresi bursts forth with less grace, unapologetically and emasculatedly strong, buoyed by bergamot while sandalwood and pepper lend an appealing backdrop that peters out in smoke.

Perhaps the most interesting addition to vetiver for me is spice with its hot-cold interplay which keeps me alert and bypasses the risks of being maudlin. Andy Tauer used both clean notes (such as a composite of lily of the valley aromatics and clary sage) and strong spices sashaying around his vetiver in Vetiver Dance, a composition that is destined to become beloved.

Sweet cadenzas with hints of gourmand delights flank some of the vetiver fragrances that can be shared by both sexes: From the slight sweetness of old-fashioned feminine Kus Kus by Bourbon French of New Orleans, which recalls the aldehydic powdery facet of Ma Griffe to the roasted French blend served with caramellised sticks of Black Vetyver Café by Jo Malone. Carlo Corinto Vetyver is darkish in hue, earthy and aromatic, but with the intrigue of licorice upon twisting the cap which makes it peculiar. Although it might seem like it has some of the sharpness of Route de Vetiver initially, it softens considerably thanks to sandalwood. My personal default gourmand vetiver is none other than the nutty, almost boozy Vetiver Tonka from the Hermessences composed by Jean Claude Ellena: its coumarinic sweetness well tempered by the grassy aroma, it's easy to wear in any weather, thus panseasonal and wafting a tasteful sillage as my arms brush against my clothes. And then there is the majestic anise and sweetly-buttery amber delicacy of Vetiver Oriental by Serge Lutens, an oriental at the edge of foresty that leaps into winter effortlessly.

Last but not least there are scents including a hefty dose of vetiver so magnificently evocative of places and situations that they defy a simple pigeon-holing; you're at a loss on how to begin to describe their arresting strangeness. Onda by Vero Profumo is such a fragrance that has the power to obliterate seasons and moods.

Pic of Alain Delon courtesy of Lilydebretagne/flickr. Pic of Asian forest courtesy of Trekearth.

Monday, July 14, 2008

Top 25 of current fragrances we can still enjoy!

So often we perfumephiles come together online and discuss how things were different back then and how older perfumes were somehow deeper, richer, better. I always thought this makes us an anachronism! Most of us have not even lived that far back! Of course there is solid argument that the way ingredients' restrictions, mercenary cheapening of the formula, old names pastered onto completely different things and all around derivative creations are cropping up, the future of perfumery isn't too bright. So many fragrances have been discontinued as well, not to mention the crazy fashion of limited editions which leave the loyal fan seriously crestfallen when they finish the bottle with no hope of easy replenishing.
But in this joint project ~inspired by Perfume Posse's call to readers and my friend Denyse~ which we undertook with the Non Blonde, the Smelly Blog and Savvy Thinker, we tried to focus on what is out there still available, still in good form, still gist for our mills. We tried to celebrate the little gems that are awaiting our litte paws to gingerly open and apply!

Compiling lists can be both exciting and frustrating, though. There are just so many things one wants to include, but obviously some form of elimination should take place. I had to eliminate beautiful creations which were limited editions, such as the sublime Fleur de Narcisse by L'artisan. Some older classics which are still around and I loved dearly have changed dramatically with questionable results: Cabochard and Ma Griffe, for starters. Then there are those which are on precarious soil: Alpona is perhaps destined to discontinuation due to the heavy restrictions on oakmoss? The jury is still out. And some like Pontevecchio W by Nobile 1942, although I loved them, just couldn't fit into the alloted limit no matter how hard I tried to cram them.

So without further ado, here is an aplhabetical list of 25 fragrances I really love! By no means comprehensive and not highlighting their historical importance in perfumery (you can take a peak at my take on what marked scented history here). Just what has me always sighing with pleasure, my psyche elated and my mind appreciating, every time I open the bottles. Some are mainstream, some are niche, some are feminine, some are masculine, some are shared.
{Those which are highlighted have been reviewed on Perfume Shrine, the rest will get their share soon!}

1. Angélique Encens, Creed (nose: Henry Creed)
2. Avignon, Comme des Garcons Incense Series (nose: Bernand Duchaufour)
3. Bandit, Robert Piguet, in edp (nose: Germaine Cellier)
4. Carnal Flower, Frédéric Malle (nose: Dominique Ropion)
5. Chant d’arômes, Guerlain (nose: Jean Paul Guerlain)
6. Cruel Gardénia, Guerlain (nose: Randa Hammami)
7. Cuir de Russie, Chanel in extrait (nose: Ernest Beaux)
8. Déclaration, Cartier (nose: Jean Claude Ellena)
9. Diorella, Christian Dior (nose: Edmond Roudnitska)
10.Diorling, Christian Dior (nose: Paul Vacher)
11.Fifi, Fifi Chachnil (nose: Jean Guichard)
12.Film Noir, Ayla Moriel (nose: Ayala Moriel)
13.Fleurs d’oranger, Serge Lutens (nose: Chris Sheldrake)
14.Grand Amour, Annick Goutal (nose: Isabelle Doyen)
15.Iris Poudre, Frédéric Malle (nose: Pierre Bourdon)
16.Jasmin de Nuit, The Different Company (nose: Céline Ellena)
17.L’air de Rien, Miller Harris (nose: Lynn Harris)
18.L’air du desert Marocain, Tauer Perfumes (nose: Andy Tauer)
19.La Myrrhe, Serge Lutens (nose: Chris Sheldrake)
20.Mitsouko, Guerlain in extrait and edt (nose: Jacques Guerlain)
21.Narciso Rodriguez For her, edt and extrait (nose: Francis Kurkdjian)
22.Onda, Vero Profumo (nose: Vero Kern)
23.Opium, Yves Saint Laurent, in edt (nose: Jean Louis Sieuzac)
24.Vetiver Tonka, Hermessences (nose: Jean Claude Ellena)
25.Vol de Nuit, Guerlain, in extrait (nose: Jacques Guerlain)

Which fragrances comprise your top 25 list?

Please don't forget to check out the lists on The Non Blonde, Smelly Blog and Savvy Thinker as well.

Pic courtesy of jilly1964/photobucket and manipulated by me

Wednesday, April 2, 2008

6 Tips on How To Sample as Many Fragrances as Possible

Getting to try out lots and diverse fragrances can be a daunting task, not least because there is the difficulty of keeping up with all the new releases and of getting actual samples to try out at home.
So here are some tips to help you out!

1.Map out your destination: do you want to go mass market testing or upscale boutique? It makes all the difference in the world in the proceedings, as you will see. I would suggest you make a list of coveted fragrances for each itinerary and then follow my suggestions for each.
And above all: forgo perfume and anything scented on that day. You want to have as much "virgin" skin on exposure as possible.

2.If you choose to go the department store/Sephora way. There is a specific code of conduct for this, so pay attention.
We all know that one of the major obstacles in unobtrused testing is sales assistants and their sometimes predatory jump-up on you with their "can I help you?". To avoid that without having to say 10 times "I'm merely browsing" there are several techniques. One of which is to dress as unconspicuously as possible: too expensive and fashion-forward and you look like someone who needs someone on his beck and call; too shabby and you look like a possible shoplifter. You want to mix with your surroundings, be a little bit anonymous.
Avoiding eye contact also works great. Take a little basket at hand if you're at Sephora -or anywhere they offer those- and browse the fragrance aisles unobtrused, spritzing to your heart's content, swifting to another bottle if you see a sales assistant coming your way: no one will bother to stop you. Should they do and you're in a good mood, you can assume your girliest look and say pleadingly: "Can I play just a little bit? It's such fun!"

3.If you want to actually get samples from a department store for testing at home. First of all, preferably go when you actually do need to make even a tiny purchase (say, a nail polish). Then when you do ask for the item, you can also interject questions about the fragrances you need samples of. They do have them if it's something new no matter what they might say and they are intended for your use, so be a little persistent, although always polite. Ask questions and be prepared to hear the wrong answers. You're not there to outwit them, you're there with a mission. Make them like you. Questioning shows that you have an actual interest in the scent and you are a potential customer, not just a sample hoarder, so the sales assistant will be more receptive. If they do not have sample vials to give (it can happen once in a while), you can bring your own and ask for a fill-up from the tester. Sephora in particular offers this as a standard practice, so don't be afraid to at least suggest it.
If your interest is on something older, it's probably hidden under the counter and you have to ask for the tester. Be brave and do it, they will produce it for you.

4.If you choose to go the niche boutique/upscale store with exclusives. A completely different approach is needed here. Dress as eclectically or classically expensive as you can, without going overboard of course. Drop the tacky fake items at all costs and look tidy: a tidy exterior has been scientifically proven to inject the idea that the person is organised and knows what he/she wants.
If you have actually shopped in the same shop before, it is a good idea to carry a little shopping bag of the store (with your sunglasses or your scarf inside): it lets them know instantly you're a customer and they will be extra friendly! If not but you have a small shopping bag from a comparable store, carry that instead: they will perceive the competition and strive to get the sale themselves.
Let them approach you and then state your purpose clearly. "I came to sample the new Chanel fragrances" or "I have read that the new Amouage has just come in!" They will be glad to show you.
When the difficult time of actually requesting a physical sample vial comes, you can always pretend you already have a perfume on and would prefer to sample at the leisure of your home. If they seem a little obstinate, claiming they have no sample vials, you can produce your own from your (expensive) purse and politely ask them to fill up from the tester. If they cannot do that, you can at least ask for blotters to spritz and sniff at home: you can have your own blotters and little envelopes to put them in seperately in your purse. They might look at you funny at this point, pay no attention.
If they decline, have the good manners to smile and thank them anyway. These people just work in a luxury shop, they don't own the things, plus they're on their feet all day. Don't envy them!

5.Befriend a competent sales assistant at your favourite store. It can't be stressed enough. She is worth her weight in gold! She will tell you about all the lasest news (those that she knows, at least), when items arrive and if there is a waiting list she will phone you when it's still getting started, so you do have a chance to get your item in time. Not to mention she will fill your handbag with samples following any actual purchase you make at the store!

6.If you're generally bored/daunted/sick of the whole shopping experience and want to do everything from home/desk.

a) You can swap for them on any perfume board for afficionados, such as Makeup Alley, or Basenotes. There is a technique involved here too: first amass some samples you think people will want to trade you for, then browse for those you wish for and get into the fine details. Preferably choose established swappers with good feedback and always make clear what each one's end of the deal is before sending. Swapping is a matter of trust and supposed to be fun. If you feel weird during the proceedings, better let it pass.

b) You can order niche samples from several fragrance sites directly, such as Aedes de Venustas, Luscious Cargo, Luckyscent and First in Fragrance. They make the bulk of their revenue out of samples anyway, I suspect (if their bestseller lists are any testament to that!).
Unsniffed purchases of whole bottles is strongly discouraged. You can be stuck with something you hate and no one wants! Don't be swayed by the ad copy just because it's not a magazine you're reading it in. It's still ad copy!
I would also personally advise against purchasing things that come only in nanodrops for exorbitant prices. Time and again has proven that those are ultimately disappointing and they soon crop up in people's swap lists anyway, so you can save the bucks and go route a (see right above).

c) You can email/write to perfume companies directly and ask for their sampling programme. Sometimes they have wonderful sample packs that will delight you. Its' worth it! Ormonde Jayne, Nobile 1942, Vero Profumo, Etat Libre d'orange (with their set of 17 miniatures) and others are such companies.
Some even have free giveaways such as Tauer Perfumes who frequently does so through his blog, which is the ultimate in a joyous experience.
Artisanal perfumers generally are very willing to send samples of their work for a nominal fee: try Abdes Salaam profumo.it, Anya's Garden, Aftelier, Sonoma Scent Studio, Ayala Moriel, Michael Storer, Liz Zorn/Soivohoe fragrances.
Also major companies have cottoned up to the power of the Internet and began to harness it by launching seperate pages for their new scents, often hosting sample giveaways and contests with prizes. Googling a new perfume name along with the sample/giveaway/contest tag will make those pop up. Example: here. I simply entered "Chloe new perfume sample" on Google!

d) You can also buy from respected sellers online, such as The Perfumed Court, The Posh Peasant and Fishbone fragrances. They have a great selection, but as prices are a little expensive, you might want to keep this for things you can't lay your hands any other way. You're guaranteed good service.

e) Last but not least, every time you make an online purchase at any site that carries fragrance, no matter what the purchase is, you can write at the comment form that you would appreciate fragrance samples with your order. They will oblige and send a little something, most of the time.

Pic courtesy of theage.au

Monday, February 11, 2008

Valentine's preparation: movie and a fragrance

Valentine's Day might seem rather corny to you (and to me): after all, isn't the point in celebrating love every day? But the pleasure-factor of watching a romantic film hand in hand with your loved one, silently hunched onto each other in a dark theater or at the abode of one's home and enjoying an accompanying fragrance shouldn't be shunned due to such esthete concepts as mentioned above. It gives us a wonderful excuse to indulge into a little cinematic game, of which Perfume Shrine never tires. Hopefully, neither have you, dear readers.

So, without further ado, here is what I came up with for today: Let's pick some trully romantic movies, watch the clips I selected and match the mood they exude with a perfume to wear. Shall we?

One might as well begin with the sacred cow that is Casablanca: not because of its screenplay and acting so much (although they too are wonderful), but due to its superb direction and editing, it should be taught in every film school. And it is. The final shots of Ilsa boarding the plane should be taught in every fashion school as well, but I digress. The story is eternal, the repercussions of such decisions echo in eternity and any other ending would be colosally less brilliant.

(uploaded by kayjae)

There is really nothing that can be worn lightly in view of such a torrid affair as the drumroll of war is marching on. Perhaps the introspection and melancholy of Après L'ondée by Guerlain suits the mood more than other scents. Another choice would be the suave 31 Rue Cambon from Chanel Les Exclusifs with its inherent veil of elegance over human warmth and tenderness or the white, heartbreaking beauty of Un Lys by Serge Lutens. All trully Parisian scents, the Paris they will forever cherish in their hearts.

One of the lighter, funnier romantic comedies I have been enjoying every chance I get has been Down with Love with Renee Zellwegger and Ewan McGregor from 2003: a superb homage to the Doris Day-Rock Hudson movies.
In a very accurate (down to the last detail!) retro early-60s-style it tells the story of Barbara Novak. A feminist advice author, she shuns love only to get caught under the spell of Catcher Block, a playboy who, disappointed when no longer able to pursue his affairs due to her book's success, goes undercover in an attempt to "break" her and prove the falacy of her axiom. I will leave the end for you to discover if you haven't yet.
Pure unadulterated, unapologetic fun and with the usual amazing singing by Ewan, who could be an excellent singer any day.

(uploaded by catalinadarling)

Since this is about the eternal battle of the sexes and so firmly set in the 60s I suggest you watch it with a good swooooosh of nearly unisex Eau Sauvage by Christian Dior. This light, citrusy spell with a fresh whiff of jasmine aroma will have you longing for spring days of love.
Or you could go for Parfumerie Generale Eau de Circe, a potion for a light-hearted hip seductress and Pillow of Flowers by Parfums Armando Martinez which is as luminous as a string of pearls over a colourful, tailored shift dress.

The way we were (1973) by Sydney Pollack is arguably one of the better known tearjerkers in cinematic history as we all feel a pang of silent pain as we watch the determined heroine unexpectedly meet the object of her younger days adoration in the arms of another woman years later, simply stating: "Your girl is lovely, Hubbell". Their separation due to different goals in life holds a moral tale: Jewish Katie with her leftish views doesn't quite fit on the arm of WASP Hubbell who is a promising writer who ultimately compromises his talent. But as her personality shines through in the duration of the film, his own shortcomings, despite the smashing looks, become poignently apparent.
However I chose not to show you a clip of the film in question, but off the beaten track rather go for a glorious reference of it in pop culture: from the finale of season 2 of Sex and the City , in which Carrie identifies with the heroine. Be sure to watch this in its entirety, it is trully funny and sensitive.

(uploaded by denysa25)

If you want to pop in the DVD and watch it (again or for the first time), might I suggest you bring out the quite good scent by Sarah Jessica Parker herself, Lovely: musky but refined, it doesn't quite fit the last lines, but it is very pretty. As much as Sarah Jessica's gown with all those blonde curls are in the final scene.
If you are after the wild mood suggested by the final line however, you should choose Vero Profumo Onda: a beast of a scent that is trully untamed!

Romantic tales couldn't be left without one of the most lyrical films in the history of cinema: Elvira Madigan (1967), a Swedish film of the doomed affair of a circus acrobat and a married lieutenant with kids. Set to the ethereal 1st movement of Mozart's piano concerto No.21 it utilizes the beauty of swedish midsummer nature as the backdrop of its beautiful heroes.

visit videodetective.com for more info

Dzing! would be the obvious choice if you want to evoke the atmosphere of the circus, yet somehow the scenery is too beautiful for such a quirky (albeit fabulous) scent. The hay stacks, the summer skies, the youthfulness of both protagonists' features call for Extrait de Songe/L'ete en douce (the name it has recirculated under) by L'artisan Parfumeur. Perhaps the tragic tale behind Fleur de Narcisse, the limited edition of L'artisan from 2006 is even better suited to the fateful end of the two lovers.

Sometimes, romance comes with the feeling of a well-worn slipper. What I mean: Sometimes, love is under our own nose and is someone we're taking for granted. Just like Harry and Sally and their meeting. Or rather series of meetings which culminate into genuine friendship. And then romance. And then...
But surely, you have watched this modern classic about relationships!

(uploaded by agizemk)

And there is even a perfume reference in the very end: "I love that after I spend the day with you, I can still smell your perfume on my clothes". What other declaration of true love could you ask for?
A fragrance that can be worn casually, with conviction and flair, secure in the knowledge it suits you like your favourite sweater, then. Like Marc Jacobs Amber Splash. Or Tauer's Reverie au Jardin, the softly envelopping of fresh lavender by velvety musk, which can be shared between you two.

Last but certainly not least, my own favourite: the fourth story in the Greek classic film The counterfeit sovereign (Kalpiki lira) from 1955 by Yiorgos Javellas/ In four chapters a counterfeit sovereign is made by an honest engraver guiled by a dishonest seductress to fall into the hands of a beggar and a prostitute and then to a wealthy miser.
In the final chapter, with a gut wrenching performance by Elli Lambeti and Dimitris Horn, a young struggling artist falls in love with a rich girl when they meet at said miser's New Year Eve's dinner when they win a gold sovereign while cutting the traditional lucky pie of the day: upon it they pledge their love, never to sell it and decide to marry. He paints her portrait when he is inspired by her casual "I love you" one day. But hardships come their way and they split, for her to remarry in line with her social class this time. We can feel the bitterness as the former husband says in the gallery: "Unlike the model that posed for it, this is not for sale! This is all mine."
Years later they meet again:
-"The sovereign on which we pledged our love was.....
-Counterfeit.
-Counterfeit...But our love was true, Paul."

(uploaded by elliniki kardia)It never fails to move me...The yearning and poignancy remind me of the delicate silk faille of Pontevecchio W by Nobile 1942...and of course the eternal Mitsouko.

What fragrance would you choose to match the mood of these or your own favourite romantic films?
I'd love to hear.

Tuesday, January 15, 2008

Magicians and Pharaohs: Djedi by Guerlain (fragrance review)

Lore has shaped the imagination of many in reference to the secrets of the Great Pyramid of Egypt: hidden passages, curses cast upon intruders, mystical symbols and astronomical calculations far ahead of their times. More Sphinx-like than the actual Sphinx, the Great Pyramid still holds some of its secrets to this day.

Djedi by Guerlain ,"the driest perfume of all time" according to Roja Dove and the "tremendous animalic vetiver" for Luca Turin, is an analogous example in perfumery. And it takes its name after an ancient Egyptian magician related to the Great Pyramid. It is as magical, as soulful and as strange a perfume as entering an ancient burial place hidden behind rocks in a far away desert.
But you might need magical powers to have a bottle procured; or very deep pockets…Or better yet a dear friend like mrs.Kern who is so amazingly generous and kind that she sent me a little of her own.

Herodotus, the Greek historian, had visited Giza in about 450 BC, where he was told by Egyptian priests that the Great Pyramid had been built for the pharaoh Khufu (Cheops to the Greeks) second god-king of the Fourth Dynasty (c.2575–c. 2465 BC). It weighed 6 million tons, the weight of all Europe's cathedrals put together and it was the tallest building in the world up till the start of the 14th century AD.
Khufu and the Magician is a tale of Egyptian magic which appears in the Westcar Papyrus (Second Intermediate Period - around 1500 BC), housed in the Berlin Museum.
Pharaoh Khufu's sons are amusing their father by telling tales of magic:

“Djedi is a man of one hundred and ten years~the tale went. Every day he eats five hundred loaves of bread, a haunch of ox is his meat, and he drinks one hundred jugs of beer as well. He knows how to reattach a severed head and how to make a lion follow him with its leash on the ground. And he knows the number of secret chambers in Thoth's temple."

Khufu orders his son to bring the magician and then a prisoner brought, to lop off his head and see Djedi's magic in action. But the magician protests that he could not sacrifice humans for his magic. So a goose is brought on which Djedi could perform his magic on. The morale of the story is transparent: some things are just too sacred to be trifled with.

Khufu had wished Djedi to fashion his mausoleum under his guidance, but to no avail. In the words of Zahi Hawass, upon excavating the pyramid, courtesy of guardian.net:

“I never thought we would find anything behind the door discovered 64 metres inside the south shaft of the Great Pyramid in 1993 by Rudolf Gantenbrink . […]But when we used the ultrasonic equipment and learnt that the thickness of the door was only 6cm, I said that this was a surprise and there must be something there. […] We sent the robot into the second shaft, and as it traveled through we could see […] it stopped in front of another door with two copper handles: Some believe these doors have a symbolic meaning because it is written on the Pyramid Text that the Pharaoh must travel through a series of doors to reach the Netherworld. […] I would like to suggest that these doors hide Khufu's real burial chamber. […]
About 900 years after the reign of Khufu we have a story called "Khufu and the Magician". Djedi knew everything about the secret chambers of Thoth, but he did not reveal the secret. I therefore believe that the burial chambers were hidden behind these doors”.

The perfume itself is a strange and perfume-y mineral affair of dry leather and ambery, animalic decomposition that almost defies description. Its opening is jolting, disturbing, the weirdest thing; yet it beckons you to continue smelling till the end of the prolonged journey into the night. There is deep grief manifesting itself through bitter herbs, artemisia-like, and copious amounts of earthy vetiver with cold air which reminds one of the strange feelings upon first trying Messe de Minuit by Etro. Those elements fan out into feminine, yet dusty, almost musty rose and a powdery base. This is no opulent rose for a bourgeois eager to show off her wealth or powdery sweetness for an aristocrat who wants to keep her man in difficult times. This is a regal lament for the loss of a favourite son, perhaps lost forever in the cold waters of the battle of Salamis or the trenches of the World War I, no matter; this grief transcends cultures.
Pungent leather with its slightly sour edge and powdery musk act like whalebone does to underpinnings, supporting, exuding an image of bravery and humaness at the same time.
This is unmistakenly Guerlain, unmistakebly animalic with a rather fecal warmth at the end, exuding the grandeur of another, elegant era. Reminding me of my grandmother who had her clothes tailored in Paris and her jewels made in Smyrna and who always smelled ravishingly opulent.

Although its strange, intense greeness and dryness have a passing relation to the classic Bandit eau de parfum, the closest to it that I have smelled is Vero Profumo’s Onda; although the latter is a tad warmer and sexier with its catty whiff and coriander/mace spiciness. However, while Onda has a certain modernity that puts it firmly into the realm of a contemporary piece of art, Djedi is stylistically a product of its time and recalls an era that is past us.

Djedi was created in 1926 by Jacques Guerlain and re-issued in 1996 for only 1000 bottles. Today the vintage is extremely rare and goes for astronomical prices rivaling the mathematical achievements etched on the pyramid walls itself. The re-issue, using the formula of yore, is also quite rare and costly.

But it lets one glimpse one into the abyss and back. If one dares…

Notes: rose, vetiver, musk, oakmoss, leather, civet and patchouli

Pic of Great pyramid by inderstadt/flickr. Painting "And there was a great cry in Egypt" by Arthur Hacker courtesy of art.com. Bottle of Djedi courtesy of Guerlain

Monday, July 30, 2007

Interview with a perfumer: Vero Kern from Vero Profumo

It was with the greatest pleasure that I introduced you to the new exclusive perfumes by niche swiss line Vero Profumo a while back here on Perfume Shrine. Today it is my even greater excitment to introduce you to their creator: the masterful Vero Kern, a lady of high olfactory pedigree who agreeded to an interview for the reading pleasure of Perfume Shrine's many readers. Vero with her long salt and pepper hair and her deep gaze that denotes a wise soul is a sight to behold. Her attention to detail and her hesitation regarding correct use of english were endearing to me. I assured her that we would be thrilled to know what's on her mind. And so, here we are!

PS: Hello Vero! You are a relative newcomer to this world, yet your perfumes denote complexity and experience. Could you care to explain how this happened?

VK: Hello! I started my perfumery career almost ten years ago. And I’m working with aroma material for twenty years now. The desire to create perfumes was strongly rising during my aromatological training and the final decision for this to be shortly ten-years-passionate-love-affair was above all a distinct curiosity, even a straight on Faszinosum on scent phenomena, but also a great zeal to know and learn all. For almost two years I was making the itinerary Zurich-Paris and back once a month. There, in the same school where Lyn Harris {of Miller&Harris} also went, I was initiated in the secrets of classical perfumery. I‘m blending with natural and synthetic essences. So absolutely novel and most important for me was to learn all about synthetics.
Creating perfumes in a classical way as I do needs a lot of time, patience, endurance and many, many tries until the definitive product is born. Complexity in perfumery requires besides technical know-how also imagination, intuition and some shameless artistic liberty to bring up important influences in material choice, accent setting and originality.

PS:Your aromachologist background means that there is some sort of spiritual appreciation of the energy of living things. You work with naturals. Myself I find that fascinating and quite hard. Do you think that more traditional perfumes as opposed to simple aromachological blends are also beneficial in providing health and mood benefits?

VK: The sense of smell is linked with our limbic system that controls our feelings and emotions. So I believe that all smelling things provide an emotional reaction: To like it or not to like it - here is the question. I think that enjoyable and enchanting smell experiences, no matter the original resource, always create great mood benefits.
Blending my perfumes in a more traditional way was 100% an artistic and aesthetic decision.

PS: You know, I got the mood elevating vibe especially from your Rubj{click here for review}. Was this intentional when creating the scent or just a pleasant side-effect?

VK: It wasn’t intentional at all, but I’ m very pleased if you tell me so. Creating rubj, I had something like a very erotic skin scent in mind. Finally it ended up with the combo of almost narcotic Orange blossom absolute, sensual musk and Jasmine. Could also be a scent for Lovers - urban Lovers - like this couple, that are stranded in this small downtown hotel-bed and watching there lovely beach sunsets on a pink portable TV. {she laughs} I had this kind of frantasy while creating. {laughs some more}. This scent blooms wonderfully on sun-kissed summer skins.

PS: I can very well visualise that. {I am also bursting with mirth now}
Now, a question I always ask when dealing with perfumers ~ do you find that the quality of the ingredients is of lesser, equal or greater importance than the innovation or beauty of the formula? In short: could one create great art with paints or great music with garbage like Stomp do, if we translate the concept in perfumery? Or is this impossible?

VK: The combination of movement, percussion and comedy in a new, innovative and never seen before performance is really unique. Unique artwork needs innovative ideas, the right material going with, techniques and the ability to transfer that into creation.
To translate the Stomp concept into today’s perfumery is very difficult. Most of today’s perfumes, including some niche products, are drawn up for global markets. Global marketing goes with global advertising. The advertising costs must be tremendous and innovation is required and focused on all kind of concepts. I think they can’t be too artistic thus. I never went too deep in this, but it would be very interesting to hear from an industrial perfumer how this works in reality.
Basically, I believe, that a beautifully touching-you-and-me perfume formula, can only be achieved by using high quality material AND innovative new ideas - in both, concept and creation. Consequently this demands a more complicated, longer development and production and that also has its price.
It’s my fervent intention to create beautiful scents - scents with soul. I think soulful scents bear a unique secret.

{At this point I am almost swooning, this is such a beautiful thought...}

PS: Onda {click here for review}is a very unusual and daring composition with a deeply animalic tonality. Do you think people nowadays are ready to move on from the cult of the clean and venture again in the Napoleonic decadence of musk and richness? I see the pendulum swinging myself, but I want your expert opinion.

VK: Apparently the sense of smell is the sense of paradoxes. Paradoxical and ambiguous, it’s the sense of the refinement and the animal, the brutish. This sense also evokes strong emotions, moods and impressions. Working with scented materials creates the most bizarre pictures in my head. Onda is a good example. The original idea was to create a leathery Vetiver surrounded by flowery and chypre notes and I had a fantasy like this going with:
Isabella Rossellini as mystery Dorothy Vallens, wearing this beautiful blue velvet gown, and Johhny Depp as Ed Wood wearing Glenda’s {from the character "Glen or Glenda" film by Ed Wood}sexy glamorous white-haired wig, dancing together a very slow Tango Argentino at Manhattan Roseland Ballroom.{she laughs at the image}
A divine picture, but unfortunately the material didn’t match with. LOL… I had to find some other lines… and so on.

{I am laughing playfully at this fabulous image myself! What a concept!}

To come back to your question, I think the little naughty animalist or erotic touch in my creations is more a kind of signature or personal preference than a marketing decision. Actually the clean watery concept never did interest me much. “Clean smell” means to me a beautiful big Olive-oil Soap coming direct from Aleppo, Syria - not perfumed at all.
I don’t know if time is ready for more daring styled scents. But with the latest perfume launches ~I refer to the very dark Tom Ford Private Selection or the soon up coming dark Sarrasins by Serge Lutens~ there might be “something” going on in this direction. We have to wait and see.

PS: Since we are on that note, as you brought up two very different concepts, do you perceive a difference of aesthetics between American and European fragrance audiences? How would you define it?

VK: I am still trying to find out possible differences. Comparing to the very active US perfumery forums, I couldn’t find much similar European ones so far. So it’s difficult to give a clear statement about this. Maybe Americans dream sometimes of naughty animalic scents, but in reality they prefer to buy more fresh, glamorous fragrances. What I can see in all these audiences is the phenomena that everybody is constantly hungry for new staff showing up. Heated up by fancy media advertising they create a big hype ~almost hysteria~ around a new product and suddenly it’s all gone again - Nada Mas. Amazing!

PS: I can't help but agree with you. It's terrifying how quickly they churn out new products! But enough of that.....I read that you trained under the great Guy Robert. How was this experience for you and do you find it has influenced your style? How would you describe your own style?

VK: Guy Robert was of great help for me. I first met him years ago in Paris at his latest book promotion: Les Sens du Parfum. His book was something like a professional highlight for me and has certainly influenced my composing and styling. Later we corresponded. I sent him my mods to judge and he gave me useful feedback and tips on them. He also encouraged me during the long development process, but he was never "teaching" me. He is a kind of spiritus rector and a mentor for me, I’m very thankful for his help.
To describe my own style is very difficult. Using rare high quality raw material, for instance the natural Ambre Gris and other precious stuff, as well as handmade techniques, I might consider them as New Traditional for Connoisseurs.

PS: And so they are! Are there any perfumes from other noses that you admire and revere and which ones are those?

VK: Once a year I travel to the Osmothèque at Versailles to study the great compositions of the perfume Giants. I love and wear the following Extraits de parfum: Jicky Guerlain, Tabac Blond Caron, Shocking Shiaparelli, and Fracas Piguet.
The styles of Aimé, Jacques and Jean-Paul Guerlain, Ernest Daltroff, Jean Carles and Germaine Cellier have effectively influenced my own creations.

PS: Vero, what are your plans for the line in the future? Regarding additions, possible limited editions, distribution and positioning?

VK: My perfumes have only just a few weeks that have come out and of course I still have to work on promoting. Also, for better customer service I’ll provide in the coming weeks some shop facilities - on the website as well as here, at the home base. Continuation on the line is planned for sure and I have some ideas but can’t go in details yet. Limited editions are definitely not my thing! The scents will be positioned as Premium perfumes with a few selective selling points worldwide.

PS: Thank you Vero for a most elucidating interview.

VK: And thank you as well.

As we part our ways, I can see that Vero will soon be the talk of the town and not just that either. Her line will debut in the US in 2008. You have ample time to take notes and make your sniffing lists.

Pic of Vero Kern and bottle of Rubj provided by Vero Kern
Pic of Johhny Depp courtesy of johhnydeppfan.com

Monday, July 2, 2007

Vero profumo line ~Rubj: fragrance review

It is rather a sad feeling when one has completed a certain "portfolio" of work only to stumble upon something that could have been included with much aplomb but wasn't. Short of time travelling and going à rebours, this is unmanageable. Yet there is a sort of enfin revelation, a smack on the forehead kind of light bulbs going on over your head as you realise that the recent discovery is the sum of all parts that were existing in the project.
If this is sounding much too cryptic I am talking of course about my Orange Blossom homage on the blog and the recent sampling of Rubj by Vero Kern for the Vero Profumo line of niche fragrances, based in Switzerland.

Rubj is based on orange blossom, then. Not just any orange blossom, though, but the precious absolute, the thing that drips of honeyed thighs and heavy sighs and is redolent of the happiest holiday memories under groves of trees in the south. Its richness and opulence is the epitome of what an expensive, natural, clear and sonorous voice of an Hesperide can be.
If Fleurs d'oranger by Serge Lutens is a lady sitting in an orchard contemplating serious romance, then Rubj is her adversary of equal spiritual and physical magnitude.
The tart and yet sweet peel of mandarin marries the floral essences of carnal jasmine and dusky precious tuberose into a bond that intextricably makes the orange blossom melt with pleasure. Bright halos over the head of a beautiful nymph, warm and cool breeze of a garden at dusk, like Shiekh Nefzaoui's "Perfumed Garden", the forbidden classic of arabic sexuality.

"If one looks at a woman with those qualities in front, one is fascinated; if from behind, one dies with pleasure. Looked at sitting, she is a rounded dome; lying, a soft-bed; standing, the staff of a standard. When she is walking, her natural parts appear as set off under her clothing. She speaks and laughs rarely, and never without a reason.
She is not treacherous, and has no faults to hide, nor bad reasons to proffer. She does not try to entice people.
she is always elegantly attired, of the utmost personal propriety, and takes care not to let her husband see what might be repugnant to him. She perfumes herself with scents, uses antimony for her toilets, and cleans her teeth with souak.

Such a woman is cherished by all men".

As the citrusy tang of the day is slowly retreating into the approaching evening, the warmth of light musk and wood enters the equation to whisper of comfort, humanity and the plush of petals trailed on the skin of a soft arm, absent mindedly amidst a conversation that is going on all the while with an intent that smoulders, lasting for a long long time like a prolonged foreplay that is sure to end in fireworks.

The orange blossom absolute in Rubj comes from Morocco while the jasmine essence is of egyptian origin. The spirit of the South at your beck and call, at a precious drop of extrait de parfum from the curvaceous bottle.

Vero Profumo fragrances can be sampled/bought in Switzerland and neighbouring countries through the site. You can also contact Vero at profumo@veroprofumo.com.
Plans to bring the line to the US are scheduled for mid 2008.
Prices for Rubj extrait de parfum are 105 euros for 7.5ml and 165 euros for 15ml.

Pic of actress Indira Varma from imdb.
Art piece Au point du jour by David Graux courtesy of allposters.com

Thursday, June 28, 2007

Vero profumo line ~Onda: fragrance review

As we discussed the other day, Vero Kern is a very talented perfumer in the horizon of niche perfumery. She interweaves elements of surprise in her creations that astonish and make you immediately see that here lies a complex naturalistic composition that is meant for your intricate exploration.
And her talent shows through in her rich scent Onda.
Onda means wave in Spanish and Italian, while in the phrase “Que onda?” it means “what’s up”? In summary, don’t get swayed by the name, because it’s meant to signify that you should close your eyes and inhale deeply the kaleidoscopic journey that Onda is bringing on.

Deep within the Java jungle a great big tiger awaits: the rumour is that she is a man-eater, the fear and tremor of the country folk. It’s been some years that she roams the countryside assaulting her innocent victims; she’s a seasoned one, that one.
It’s very rare that you see her, hidden as she is through dark foliage, stepping on wet ground that doesn’t leave footprints behind. Yet, there she is…
It is with awe and amazement that you come to set eyes upon her when walking; her thick warm fur, her contrasting colours , her magnetic eyes that lure you and make you stare like an hypnotised novice in front of a cobra. The air is filled with the aromas of grass and roots: pungent vetiver that is uprooted, bundled and tied with ribbons, emitting a scent of earthiness and primeval dirt, like the soil on which no man has set foot on before. Mace pods have been crushed into your pocket as you stand there in your hardy leather chaps and as you put your hands out of it you suddenly realise that you are sniffable from the distance. Is your fate sealed? Will the man-eater attack? It all depends on your attitude. The bitter and carnal smell of what seems to be ambrette seeds interwoven with honeyed notes makes the approaching achingly desirable, even though you know of the grave danger you risk. The tiger approaches, sees you and appraises you. Stares you deep in the eyes with her own the colour of gems. You’d doomed. She’s one beautiful creature. And as she sits there you realise that today is your lucky day. You will be saved after all. Your amulet of Onda is safe-keeping you with its deep, erotic animalic smell. The musk that lies in its heart and makes you revert to a time of pre-lapsarian carnality with no shame.
You’re one of them! And out in the urban jungle to hunt for prey alongside her.

Onda manages to convert vetiver into a leathery animal that will make you forget all the citrusy, green interpretations you have already experienced by other perfumers (Guerlain Vetiver, Carven Vetiver) and stop you in your tracks as you come back to the original meaning of it: deep earthy roots, animalic undertones, rich pungency.
It will be difficult to pull for many as it requires a very self-assured woman to wear it and one with an attitude that is as far away from prudent as possible. However it is so unique that it merits to be tested even by those who say they cannot do these formulas. Less sweet that the admirable middle-eastern version of Vetiver Oriental by Serge Lutens or the very interesting, smoothed out Vetiver Tonka by Hermes; and very potent~ it can transport you to other places and images and make a statement for which you need never be apologetic about. And it lasts and lasts. If you have “it”, set out and charge.

Vero Profumo fragrances can be sampled/bought in Switzerland and neighbouring countries through the site. You can also contact Vero at profumo@veroprofumo.com.
Plans to bring the line to the US are scheduled for mid 2008.
Prices for Onda extrait de parfum are 105 euros for 7.5ml and 165 euros for 15ml.

Next post will tackle another Vero Kern perfume.

Top pic photography by Art Wolfe courtesy of allposters.com
Bottom pic by Helmut Newton collection Sex and Landscapes courtesy of temple.edu

Tuesday, June 26, 2007

Vero profumo line ~Kiki: fragrance review

The new niche line I have promised you is none other than Vero Profumo, the spiritual child of Vero Kern, a Switzerland based aromatologist and Paris trained perfumer under the mentoring of none other than famous legend Guy Robert.
I was immensely flattered to find that Vero had been browsing my blog from time to time and as conversation about perfume has a way of broadening horizons and make leaps into the territory of the unknown, I came to virtually meet this kind, eloquent, thoughtful person and try out the precious perfumes.

The introduction that is offered on the impressive and quite artistic site (click here to take a look) is very telling of the motivation that exists behind any intelligent, artful creation. Because perfumery is commerce, but in this day and age we so often forget that it is also an art form: something that does not take account so much the name, the image, the advertising budget and subsequent campaign as the topmost qualities to determine the impact of a scent in the market, but also a product that can bring elation and beauty in one's life at the spritz of an atomiser. As Vero so rightfully says:

"Fragrances and aromas are with us all the time, wherever we go. They can touch us emotionally, even seduce us, and they influence our wellbeing.
Perfume is more than a temporary accessory. It is an unseen "calling card" representing your personality. An imaginary embrace, a "folie a deux" or maybe even a liaison dangereuse. A "je ne sais quoi" that follows like the tail follows a comet".

Indeed unravelling the ties that make up a beautiful composition is like opening up an oyster to find a luminous pearl hidden inside; hidden from the world for the delectation it seems of an inward need. Vero uses precious essences and natural compounds as much as possible realising that the quinta essentia that those materials harbour in their core is accounting for a richer, more multi-nuanced experience than the one rendered by only aromachemicals as is the case with most mainstream perfumery. Of course the synthetic molecules out of a lab can also be used to great aplomb and in this line they are not excluded, but they do not take center stage; rather aid the main act like a chorus in ancient drama ~echoing the main theme, commenting subtly on the protagonists, offering some coaxing when needed.
Her line of perfumes includes three loveable creations in extrait de parfum concentration that captured me in varying degrees: Kiki, Onda and Rubj. Each individual and unique, yet all bonded by an artistic signature that accounts for a certain style through the line. And that is usually the mark of someone who knows what they're doing.
There is a desire to revert to the classicism of yore that provided masterpieces that endure, yet seen through a modern look that makes them awaken the emotions of a contemporary sensibility.

It is in this context that I came upon Kiki, a precious gem of a perfume that has me hooked and hankering for a note that I am usually averse to: namely, lavender. As readers of PerfumeShrine may recall, Andy Tauer's Rêverie au Jardin is one of the few lavender scents that have managed to capture my heart exactly because he managed to render a soft embrace out of it, caressed in a warm scarf worn around the neck on a cool evening strolling along a peaceful garden with a loved one.

If Andy's lavender is a casual, feel good scent that is to be shared with your long-time lover while holding hands and breathing the evening provencial air, making dreams about the eminent future, envisioning a cozy existence of loving sharing, Kiki is more extroverted and naughty signifying the attitude of an illicit couple out for a good time in the city of Light, Paris.
Although lavender is herbaceous and somewhat medicinal by nature (albeit the user of most commercial mass-market products would be hard pressed to realise that, as it is usually swamped by synthetic vanillin to make it cuddly), in Kiki it is clear and distinct for a long while but never becomes bitter nor unpleasant. The undercurrent of a bodily warmth hides in there and some muskiness that retains the sweet smell of sheets in which you have rolled over with your lover and later eaten on while on a Paris tantalizing naughty trip. It is redolent of sexy but classy lacy underwear in ivory that has been kept in those powdered-scented big cardboard boxes with tissue paper, to be used with the sole intent of getting out of it real soon. And if there is some caramel suryp in the room, it will see good use as well.

As the scent progresses interweaving elements of slightly sweet fruity notes that do not overwhelm it becomes intoxicating, like a promenade along the Rive Gauche and the Monmarte, trying to visualise the infamous Kiki de Montparnasse (real name Alice Prin) and her crazy 1920s days: a model, a lover, a nightime queen.
The lasting power and sillage are amazing, as this wafts caramely whiffs with powdery opoponax-patchouli accords throughout the day and into the night, whispering sweet nothings into the ear of the object of a dangerous and irresistible affair. As it can be shared by both sexes, it becomes a memento of a time spent in pure sensualism and pleasure in the big city. Who would have thought that when saying "lavender"? I knew you wouldn't be able to come up with an answer to that one...

Vero Profumo fragrances can be sampled/bought in Switzerland and neighbouring countries through the site. You can also contact Vero at profumo@veroprofumo.com.
Plans to bring the line to the US are scheduled for mid 2008.
Prices for Kiki extrait de parfum are 105 euros for 7.5ml and 165 euros for 15ml.

Next post will tackle another Vero Kern perfume.

Top pic from film Hors de Prix, courtesy of athinorama.gr
Pic of Kiki courtesy of kaismart.com/journal