Coty – Ex`cla-ma`tion

Posted on February 15, 2013 by Leah

Coty – Ex`cla-ma`tion

Continuing with the Coty theme this week, Ex`cla-ma`tion was launched by Coty in 1988 and is truly a product of its time. Ex`cla-ma`tion was created by Sophia Grojsman, the extraordinary nose behind such innovative fragrances as Estée Lauder White Linen (1978), Prescriptives Calyx (1987), Calvin Klein Eternity (1988) and Lancôme Trésor (1990). One of the hallmarks of Grojsman’s creative process is her ability to weave groundbreaking scents out of minimal ingredients. While it is not uncommon for perfumes to be a formulation of hundreds of different scents, Grojsman’s typical fragrance may contain fewer than 10.

While violet is not listed anywhere in the official notes, my overall impression of Ex`cla-ma`tion is of a powdery, light, woodsy violet with vanilla overtones. The fragrance opens with a fruity mix of apricot and peach, brightened by the effervescence of bergamot and green notes. The beauty of Ex`cla-ma`tion appears in its middle notes, a combination of orris root, jasmine, heliotrope, lily-of-the-valley and rose, which together create a light, innocent floral sensation. As the base notes appear, the main impression is of a lush vanilla rounded out by woods thanks to sandalwood and cedar. The woodsy impression is enhanced by notes of amber and musk, however, the fragrance maintains an overall floral character.

Ex`cla-ma`tion would be perfect for a young woman just beginning to explore the world of perfumery. It is delicate enough to be age-appropriate, and yet has sufficient depth to serve as a gateway perfume.

Floral

Notes: apricot, green notes, peach, bergamot, orris root, jasmine, heliotrope, lily-of-the-valley, rose, sandalwood, amber, cinnamon, musk, vanilla and cedar.

François Coty

Posted on February 12, 2013 by Leah

François Coty

Over the course of the next week or so, I will be posting a series of reviews on fragrances developed by Coty, so I thought it would be helpful to provide some background on the company and creator first. Coty was formed in 1904 by François Coty (1874–1934). In addition to perfumes such as L’Origan and Emeraude, Coty created the groundbreaking Chypre in 1917. The original Chypre fragrance, which would later come to define an entire category of perfumes, was centered around a combination of elements: citrus notes, floral notes, oakmoss, woods, and some form of musk.

François Coty was born and raised in Corsica, a French island in the Mediterranean Sea located west of Italy, and southeast of the France. Coty relocated to Paris in 1900 where he began work selling women’s fashion accessories. Ever the entrpreneur, Coty diplayed an interest in creating fragrances. At the encouragement of a chemist friend, he sought formal perfumery training at Grasse, where he was fortunate enough to be accepted to the school run by Chiris, one of the largest and oldest perfume houses. Within the year, Coty had returned to Paris, eager to try out his hand at creation. While Coty’s initial attempts at marketing and selling his fragrances were not well-received, his audacity and business acumen soon propelled him into the spotlight.

Coty acheieved considerable fame and fortune during his lifetime (eventually becoming France’s first billionaire) and in addition to his success as a perfumer, Coty acquired two Paris newspapers to advance his sometimes unsavory political views. Today, Coty has a global presence in more than 130 countries and territories, with offices in more than 30 countries and are guided by CEO Michele Scannavini. Coty’s fragrance, fashion and beauty brands include such prestigious names as Balenciaga, Bottega Veneta, Calvin Klein, Cerruti, Chloé, Chopard, Davidoff, OPI, Sally Hansen, Vera Wang and Vivienne Westwood.

Elie Saab – Le Parfum

Posted on February 8, 2013 by Leah

Elie Saab – Le Parfum

Each morning, as I prepare for the day ahead, I run through an inner dialogue to determine what scent will accompany me through the day. I live in a warm climate which does not offer much temperature variation or seasonal variety, but I am still drawn to certain scents at certain times of the year. I often find however that my selection is based on my mood. Am I introspective or bold today? Do I have to make a presentation at work for which I want to feel confident? Perhaps it is raining and I crave the fragrance version of comfort food. I go through a similar ritual in the evenings when I return home in order to select a second fragrance for the evening. The converse is also true. There are certain fragrances which have the ability to impact my mood instantaneously, like a liquid mood-enhancer and I am careful to keep lots of these gems around.

I had been eagerly awaiting the release of Elie Saab’s fragrance which made its debut in mid-2011, though it took it a bit longer to reach my local Nordstrom for sampling purposes. Elie Saab, a Lebanese designer, is known for his elegant and romantic haute couture. His dresses feature beautiful, intricate lace and sweeping silhouettes, reminiscent of eras gone by. His designs have received numerous honors and he has distinguished himself as an established designer for various royals including the Crown Princesses of Sweden and Greece, as well as Queen Rania of Jordan. While beautiful execution in fashion is no guaranty of success in other mediums, certain houses such as Chanel and Dior have historically produced equally spectacular and memorable fragrances, so I had reason to hope.

Press releases revealed that the fragrance itself would be encased in a beautifully unpretentious crystal orb suggestive of a diamond, with the equally simple moniker of Le Parfum. The fragrance, created by Francis Kurkdjian who has designed for Narciso Rodriguez, Guerlain and Kenzo, was described as a flowery-woody composition featuring orange blossom, jasmine, cedar, patchouli, and rose honey. I tend to enjoy woody compositions, as well as several of Kurkdjian’s creations, so all seemed to point to an elegant, warm floral. In fact, I fantasized that the fragrance would be the equivalent of the dress below.

The opening started well enough with a fresh orange blossom that seemed like familiar territory. As I walked around the fragrance department in Nordstrom looking for a sample vial, I began sensing a pleasant swelling of jasmine and rose, leading me to believe that this fragrance might have potential. My excitement mounted. I filled up my vial and continued on my way. After about ten minutes, I started feeling irritable and almost angry for no reason whatsoever. I rechecked my wrist and there it was: a blast like a wounded trumpet played by an amateur at point-blank range. This assault bore no relation to the fragrance’s opening but definitely heralded its end. Suddenly, the beautiful crystal orb seemed more like a grenade I had pulled the pin from and forgotten about it until it exploded in my pocket. I have read that the dry-down features a nice clean musk which I might have enjoyed, but this one did not make it past the next ladies’ room sink.

Since I am by no means infallible, and since Elie Saab Le Parfum by Francis Kurkdjian won the 2012 French FIFI awards for Best Feminine Fragrance, Best Feminine Bottle, and best Feminine Media Campaign, you may wish to experience it for yourself at Nordstrom and Bloomingdales. I will stick to the creations Kurkdjian releases under his own name, which are excellent.

Floral

Notes: orange blossom, jasmine, cedar, patchouli and rose.

Guerlain – Chypre 53

Posted on February 6, 2013 by Leah

Guerlain – Chypre 53

There are moments when life proves serendipitous and sends unexpected opportunities our way. A friend of mine recently asked me for my assistance in transporting some precious cargo to him overseas. He had acquired an extremely rare bottle of Guerlain’s Chypre 53 but experienced some complications in having it delivered. Always willing to lend a hand, I agreed to have the perfume sent to me in order to ship it safely on to my friend.

Chypre 53 was created by Jacques Guerlain and released by the house in 1948. While I am fortunate enough to have some vintage Guerlains in my possession, this one is quite a rarity and indeed not among those in my collection. In fact, I have had great difficulty finding any information on the fragrance. Imagine my excitement then when my friend requested that I open the box for inspection and repackaging prior to forwarding on to him!

The bottle and box were in pristine condition, unused and close to half full of beautiful, deep brown nectar. I will admit that holding the magnificent quadrilobe bottle in the palm of my hand without opening the familiar Guerlain string and seal took all of my humanly restraint. While the bottle was sealed, given the level of fluid in the bottle, it was evident that some of the perfume had evaporated, and here was where I was given the greatest gift, second only to being the owner of this beauty. Where there is evaporation, there must be some means of escape for the fragrance inside between the neck of the bottle and the stopper. On the odd chance that I might catch the briefest glimpse of this heaven, I held my face close to the bottle and inhaled deeply. I was greatly rewarded.

To my surprise, despite the wide gulf between the dates of their release, Chypre 53 is not unlike Mitsouko. While there was no discernible peach note and a subtle floral smell a la Guerlain, much of Mitsouko’s overall structure was present. This brought to mind L’Heure Bleue and a number of variations on its theme which were released by Guerlain, namely Fol Arome and Pois de Senteur, the latter being released by Guerlain five years after L’Heure Bleue. While Chypre 53 was not released until nearly 30 years later, it is not implausible that it represents a variation on a theme, subtly adjusted to match the trends and sensibilities of a post-WWII world. Indeed, thematic variations have been explored by perfumers and musicians alike and my brief experience with Chypre 53 brought to mind a Mitsouko rendered slightly more ethereal by a subtler tonality, a soprano to Mitsouko’s alto voice.

While it is unlikely that I will enjoy a day of wearing this fragrance and experiencing all of the surely beautiful facets explored in its drydown, the very fact of its closeness to Mitsouko was some consolation that perhaps I knew something of this beauty after all. If anyone has any experience with Chypre 53, I would love to hear about it!

Chanel – 1932 Les Exclusifs

Posted on February 5, 2013 by Leah

Chanel – 1932 Les Exclusifs

I was thrilled beyond description to receive a sample of the newest Chanel Les Exclusifs release from the lovely Isidora at the Chanel Bal Harbour boutique in South Florida. As I posted earlier here, there was much speculation over the past year regarding this fragrance and whether or not it would indeed be released to the public. Happily, it is now available in the standard 75 ml and 200 ml Eau de Toilette sizes from the Chanel boutiqes and online, via their website at Chanel.

According to information provided by Chanel, the fragrance was named to commemorate the release of Gabrielle “Coco” Chanel’s first high jewellery collection. The nose behind the creation, Jacques Polge, took his inspiration from the collection and rendered it in Jasmine. In 1932, Europe was between two world wars and Amelia Earhart had completed the first transatlantic solo flight by a woman. The Great War fueled significant advances in aviation which would make commercial air travel a more distinct reality. What had once been a novel concept, now became a reality for the rich and elite. By the end of the era, known as the “Golden Age of Flight”, air transport would seem a necessity.

Necklace from the original 1932 collection

As a result, people’s minds were on the skies. Caron launched En Avion in 1932 and Guerlain would release its Vol de Nuit one year later in 1933. No small wonder then that Chanel’s exclusive jewellery release would be inspired by the heavens, with its falling meteors and constellations. Where Chanel had previously promoted faux glass jewelry to counteract the pretensions of the 1920s, her flight to quality following times of strife reflected her pursuit of the “greatest value in the smallest volume“. It is this insistence on quality that is one of the hallmarks of Chanel perfumes and 1932 is certainly no exception. The fragrance is an unique and inspired creation, highlighting the different aspects of Jasmine, one of Chanel’s signature flowers.

1932 opens with a sweet citrus accord, a melange of orange and lemon notes which seem to float on the air. The aldehydes in the opening are not as effervescent as some of Chanel’s vintage creations, giving the fragrance a more modern feel. The fruity opening quickly gives way to a slightly spicy, green floral accord that calls to mind stems and juniper berries. While in theory, I thought the fragrance might head into the Chanel No 19 territory, the Lily of the Valley and subtle Hyacinth notes reminded me slightly more of Cartier’s Baiser Vole’s opening notes: sharp, bright and light, much like the brilliant collection of diamonds for which the fragrance is named, though more subtle and fruity than Mathilde Laurent’s 2011 creation.

Diamond ring from the modern 1932 jewelry collection

If we imagine the green accords to be the outer casing of the Jasmine bud, as the fragrance develops, the rich and slightly indolic jasmine petals unfold, revealing a heart deepened by a slightly waxy rose and the slightest spice from geranium. Here the fragrance is at its most hypnotic, softly undulating, all the while wearing closer to the skin. While usually reserved for a basenote, I detect a coumarin note present throughout, giving the fragrance a sweet, hay-like note with just a touch of vanillic warmth.

What I found to be the most beautiful aspect of the fragrance was unfortunately the most fleeting. As the jasmine settled into a soft floral whisper on my wrist, a singular vetiver note hovers in and out of focus, supported by the slightest hint of musk, as though a tiny drop of Chanel’s Sycomore had been allowed to penetrate the signature Chanel flacon. I can only imagine how lovely this combination of the palest jasmine with a touch of woods would be in a stronger concentration. Unfortunately, as flowers are ephemeral, so is 1932. As with some of the other Les Exclusifs, particularly 28 La Pausa, Jersey and Bel Respiro, the initially powerful sillage diminishes to a wisp of a fragrance that I long to experience again.

Many thanks to Isidora Kostic of Chanel for providing me with a sample. If you are in South Florida, I highly recommend visiting Bal Harbour’s Chanel boutique at 9700 Collins Avenue, where you can view and sample the entire Les Exclusifs line.

Fruity Floral Woody

Notes: Bergamot, petitgrain, lemon, lily of the valley, hyacinth, iris, rose, jasmine, vetiver, coumarin and musk.

Hunting for Bottles

Posted on February 2, 2013 by Leah

Hunting for Bottles

Today I went to an antique show at the Miami Beach Convention Center. The show, known as the Original Miami Beach Antique Show, is stated to be the largest indoor antiques show in the world. While the show contained hundreds upon hundreds of incredible exhibitors, needless to say, I was on the hunt for perfume.

While there were several vendors with impressive displays, few had examples that still contained fragrance, which is where my interest lay. The most impressive by far was a group out of New York called DJL Lalique. The group specializes in pieces by René Lalique, a French glass designer known for his elegant, and often illustrated creations.

Lalique’s Deux Figurines from DJL Lalique
www.djllalique.com

While I was unable to take any post-worth pictures, I highly recommend visiting their website to view their collection of Lalique bottles. The bottle displayed above was especially beautiful and unique, as the center of the bottle is indented – allowing the perfume to pour around the two women at the center of the disk. Unfortunately, at an average cost in excess of $10,000, I did not return home with any of these beauties but I felt extremely fortunate to see them in person and learn a little about their history.

One of the collectors, Takashi, was kind enough to take the time and give me a little of the history of the bottles, which included bespoke creations for Roger & Gallet as well as Vinca, a perfumer which unfortunately I was unable to locate any information on.

The show runs through Monday and is a must for anyone with an interest in antiques.

Serge Lutens – Gris Clair

Posted on January 31, 2013 by Leah

Serge Lutens – Gris Clair

I will start out this post with two admissions. First: I do not tend to view fragrances as “masculine” or “feminine”, rather as well-composed and beautiful, or not. There are several fragrances which I appreciate from both categories, one of my favorites being Chanel’s Egoiste. That being said, Gris Clair is definitely suited to being worn by a man. Second: I have a degree of synesthesia, which means that I perceive abstract things as having color. For example, the number One is white. The letter E is green. While I do not experience this to a degree that is disruptive (unless you consider not being able to wear certain fragrances while dressed in a certain color disruptive), it does sometimes create confusion when my perceived impression is challenged. Case in point, the fact that Thierry Mugler’s Angel was blue-colored was shocking to me, because it was so obviously in my mind the smell of all things deep, delicious and brown. Why I raise this will become clear.

The first time I set out to conquer the masterful body of work that is the Serge Lutens line, I started small. Not in volume, just in size. I obtained a number of sample vials based largely on description and personal inclination. As part of this bounty, I requested a vial of Gris Clair. When the samples arrived, I immediately smothered myself in Tubereuse Criminelle and Ambre Sultan and was out of commission for the rest of the evening. The next morning, I opened the Gris Clair vial and was immediately surprised by the novel treatment of lavender. I liked it well enough, but then I put it away to further explore the more immediately and blatantly intoxicating fragrances.

Then a funny thing happened. Days went by, and I could not stop thinking about Gris Clair. Was that a hint of smoke I detected? How did the interplay between lavender and a certain ashy sensation play out? Like a handsome stranger one sees fleetingly before the train doors shut, I could not stop thinking about this mysterious beauty. I had to seek it out and investigate further.

While I generally associate lavender with warm sunshine, sweeping fields and the fresh-scrubbed innocence of childhood, Gris Clair’s lavender did not fit into any of these categories. This is an adult, refined lavender with a shadowy, ghostly aspect. Gris Clair has a certain chill to it, not unlike the smell of dry burning wood on a cold winter night. While tonka and amber round out the smokiness and give a spark of life and depth to the fire, the predominant impression is that of alternating wisps of lavender and incense smoke. Neither impression dominates, the two just alternate and envelop each other throughout the day in a magical smoky dance.

While the sillage is more serene than some of Christopher Sheldrake’s creations for the Lutens line, the tenacity is no less impressive. It stays with me through the day without my needing to hunt for it. While I would be loath to attempt to pit one Serge Lutens fragrance against another in comparison, this is quite different than many of his creations. Circling back to the synesthesia discussion, I see the entire Serge Lutens line as a color wheel, where certain shades congregate at one part of the circle versus another, grouped by commonalities in composition. Blues and purples here, yellows and greens there and round again for red and orange. Exchange certain elements of the composition and you no longer have blue, you have orange.

I sometimes have the sense that the house views the fragrances this way as well, given the deep and provocative hues they select for the fragrances. Gris Clair is in fact, light grey and falls to the end of a certain spectrum in the line, closer to a Five O’Clock at Gingembre and a tiny glimmer of Ambre Sultan. If you prefer the other end of the color wheel inhabited by A La Nuit, this will probably not be for you, unless like me, you have room enough in your heart to love them all. Gris Clair… definitely inhabits the other-worldly domain of grey where the sharp lines between black and white fade to abstraction: it is neither lavender nor ash. It is both and yet neither, warm and cold, calm and yet arresting. If I had to select one word to complete the space after the ellipses in the name, the suggestion that there is more to this fragrance than initially perceived, it is this… haunting.

Woods

Notes: iris, incense, tonka bean, amber, lavender and wood notes.

Chanel – Coco Noir

Posted on January 29, 2013 by Leah

Coco Noir – The Unloved Chanel

I must start this post with a disclaimer: I adore all things Chanel to a fault. In fact, my friends joke that I must be Gabrielle Bonheur reincarnate, so great is my passion for Chanel products, history, and tidbits. With perhaps the exception of a couple of male fragrance flankers, the truth remains that Chanel reigns supreme.

That being said, I was surprised to find so many bloggers disappointed (almost to the point of distress), with Chanel’s latest release, Coco Noir. While I understand some of their frustrations given the pre-release marketing descriptions of this product as the ultimate in Byzantine black magic, my interpretation of this fragrance was radically different.

Finding that it is always best to start at the beginning, let’s get one thing straight. Coco Noir is not, and shall never be, Coco. Coco was born in 1984 and as such, embodied all of the characteristics of that era. Noted for its sillage which often entered a room before its wearer did, Coco reflected the larger than life ideals of the 1980s. While most categorize this era as one of opulence, I would argue that another defining factor of this era was a certain innocence and hopefulness. The 1980s saw sweeping social and economic changes as a result of newly industrializing economies, creating a prevailing sense of unstoppable wealth and prosperity. Similar to other fragrances born after times of strife, the focus was on celebration and expression. This was a time when we were just being introduced to life-changing inventions such as the cell phone and Walkman, and we were exhilarated. Little did we know how these devices, then in their infancy stages, would propel us into a super-fast moving and “connected” society which would ironically erode all the time they attempted to save. The 1980s was a time characterized by luxurious enjoyment and contemplation, as opposed to the more immediate gratification desires of our current era. Perfume could take its time unfolding and wafting its charms as opposed to today’s mandate: “Need. Scent. Now”.

The majority of the reviews I read bemoaned the fact that Coco Noir was not Coco, instead of celebrating the fact that it was not Coco Mademoiselle. While Coco Noir does nod in the direction of its candy-coated sister born in 2001, I saw Coco Noir as Chanel’s attempt to claw back the territory away from the sugary lollipop flower fruit-choulis that have come to dominate the landscape, and drag the consumer back to a place of complexity, even if by baby steps only.

While Coco Noir’s top notes of grapefruit and bergamot sparkle in typical Chanel fashion, the reference is more to the newer Chanel creations under the direction of Jacques Polge than either of his predecessors. This is no magical aldehydic veil a la Chanel 22. Contained within the Chanel heart of rose and jasmine are narcissus and rose geranium leaf, which lend the fragrance a subtle spicy quality, though far different from the warm clove heart of the original Coco. The effect of warmth is enhanced once the base notes of musk, tonka bean, sandalwood, and vanilla take over.

Present throughout is the patchouli. While I understand that it is challenging to disassociate this scent from its current popular and often warped interpretations, patchouli was historically regarded as an exotic fragrance, frequently utilized in opulent incenses. Here then is the reference to the original Coco, and to Chanel’s “Coromandel culture” as referenced by Mr. Polge. The reference to Coco is not literal, only figurative. One must read between the lines. While the longevity is superior to some of Chanel’s more recent releases, it does not possess the tenacity of Coco. It does stay with me through a workday, though by the afternoon I can be caught pressing my nose to my sleeve.

While Coco conveys the organic warmth and fluidity of caramel brown, Coco Noir embodies the spirit of black: defined, contained and discrete. Where Coco is a warm cashmere wrap over a sumptuous silk blouse pulled together with a thick gold necklace, Coco Noir is a well-tailored black velvet jacket. Coco Noir hovers close to the skin unlike its sisters, creating a very personal and intimate experience of warmth, precisely what I need on days when all of my “modern” inventions are driving me to distraction.

Oriental

Notes: grapefruit, bergamot, rose, jasmine, narcissus, rose geranium leaf, musk, tonka bean, sandalwood, and vanilla.

Coty – La Rose Jacqueminot

Posted on January 28, 2013 by Leah

Coty – La Rose Jacqueminot

For today’s post, I thought I would focus on a vintage Coty fragrance based on the flower which perhaps more than others has come to symbolize Valentine’s Day: the rose. The Général Jacqueminot rose is an early hybrid believed to have originated in Roussel, France 1853. The Jacqueminot is known for its deep red petals and intoxicating fragrance. It is this rose which was the inspiration behind Francois Coty’s creation La Rose Jacqueminot. While there is some dispute regarding the date of the fragrance’s creation (some sources indicate 1903 while others have stated a later date of 1906) what remains uncontrovertible is this: the success of Coty’s vision of the beauty and depth of this flower.

In what has become a notoriously brilliant marketing move, legend has it that Francois Coty, unable to find a store willing to carry his newly-developed La Rose Jacqueminot “accidentally” let a bottle of it drop and smash on the floor of one of Paris’s most exclusive department stores, sending the ground-breaking scent wafting through the store. Women soon crowded around, clamoring to purchase the fragrance, but whether these were innocent bystanders or “shoppers” planted by Coty, we will never know. While this may be the stuff of legend, Coty was an astute businessman who went on to become wildly successful.

The fragrance starts out with a bright mix of spicy greens and soft honey, creating the impression of a rosebud preparing to unfurl and reveal its bright petals. While some sources list La Rose Jacqueminot as a rose soliflore, I find this to be far from true. As the fragrance progresses, the honey impression is punctuated by warm Autumn spices of cardamom and clove which make for a dark and complex rose. As the fragrance warms on the skin, the spices settle and the rose becomes more subdued. Thereafter, as the more animalic basenotes of musk and amber emerge, the effect is more of a chypre tinged with rose than a true rose scent, as though the rose is simply there to temper the complexity of the chypre accords. The fragrance in the Eau de Parfum concentration is fairly long lasting, yet wears close, with a subtle silage. The vintage sample I tested is identical to the bottle displayed below.

For the wearer accustomed to a more opulent, fruitier rose such as Nahema or YSL’s Paris, or a powdery rose like Ombre Rose, this will be a distinct departure as Jaqueminot appears drier, with more emphasis on the spice and green, plant-like aspects of the flower, than on the lush petals.

Notes: Rose, honey, cardamom, clove, musk , and amber.

Lucien Lelong – Balalaika

Posted on January 26, 2013 by Leah

Lucien Lelong – Balalaika

One of the advantages of having friends who share an interest in perfumery, is the exponentially increased access to various fragrances, especially vintage or niche items. A friend of mine recently acquired a bottle of Balalaika by Lucien Lelong and was kind enough to allow me to sample for review purposes. Named for a three-stringed, triangular, Russian folk instrument, the name alone held the promise of the exotic.

Lucien Lelong was a French coutourier who gained considerable popularity between the 1920s and 1940s. He favored a fluid, draping style for women, one that would move with its wearer. As a result, many of his creations appear distinctly modern today. Lelong did not create his own designs, rather, he oversaw and directed a team of designers which included Christian Dior at one point. He is credited with rescuing the Parisian fashion scene from forced migration to Berlin during the Nazi occupation, arguing that talent of this quality and calibre had taken generations to develop, and could not simply be reproduced or taught overnight. The Lelong house began producing fine fragrances in 1924 and is still in existence today.

While Balalaika did not smell too promising to me upon first application, my patience was rewarded. While I do not have another sample for comparison purposes, my impression was that the Mandarin top note may have deteriorated slightly, as it came across a bit brash and pungent. This impression was brief however as the fragrance soon took on a lovely warm character. At the heart of Balalaika is an earthy, woodsy quality made lush by a combination of rosewood, gardenia and violet, just as the name might indicate. The wood and musk basenotes appeared fairly early on, giving the fragrance a distinct earthy odor, reminiscent of ancient tomes in a vast library. Despite the strong opening, the fragrance is fairly mild-mannered and light, however, I only tested the Cologne concentration. While the fragrance lasted through the day, it wore close to the skin, with minimal sillage. I have no doubt that Balalaika’s unique combination of woods and flowers would be exquisite in a parfum concentration, but for now, I will have to content myself with my imagination.

Natalie Paley, wife and muse of Lucien Lelong

While many vintage perfumes are still widely discussed, I have seen little mention of Balalaika. It may be that the musty, earthy quality renders it too “dated” for some but it nevertheless is an artful creation and one which I consider myself supremely fortunate to have experienced.

Notes: Gardenia, Woods, Mandarin, Musk, Rosewood, Vanilla, Violet

Quintessence

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