Guerlain – Shalimar

Posted on May 10, 2013 by Leah

Guerlain – Shalimar: Taking Risks

I have a photograph of my mother as a young woman in Italy on her honeymoon. She is sitting at a vanity in her hotel room, which overlooks the Spanish Steps. Her thick, long black hair is set up in hot rollers. She sits, dressed in a deep red cashmere turtleneck, applying makeup with the expertise of an artist. While most of us would protest at being photographed in this manner, just before the camera clicks, she gives my father a loving smile with all of the confidence of a beautiful young woman who knows she is loved.

If you could travel through time and step into the photograph, the scent that would pervade the room would be Shalimar, itself a long-standing symbol of romantic love. Shalimar was created by Jacques Guerlain in 1925, named for the beautiful gardens surrounding the Taj Majal built by the Emperor Shah Jahan for his wife Mumtaz Mahal. While I always admired Shalimar intellectually as the paragon of oriental fragrances, I had difficulty getting past my emotional associations with the fragrance. For years, I would try the fragrance on when passing a Guerlain counter, and yet, something did not seem right. While I loved all of the component notes in theory – a bright bergamot opening, a floral heart of jasmine and rose and a warm enveloping radiance of vanilla and the smoky amber of tonka – I experienced these as a screechy and suffocating cloud. My mother and I have somewhat similar tastes in fragrance, so I was baffled. What had she found so alluring about this fragrance that inspired her to wear it for so many years? Why did it unfold so differently on me? After some time, I moved on, and found my own Guerlain loves, until…

I had decided to take part in a perfume auction which listed a vintage Guerlain in a rosebud bottle developed in the 1950s, which had housed several of their fragrances including L’Heure Bleue, Mitsouko, Ode and Vol de Nuit. Unfortunately, the bottle had no label and the seller was not a perfume collector, so the contents remained a mystery. Given that the bottle could have contained any number of beauties which I loved, I decided to take a risk and bid on the item. Based on the color of the fragrance, which was a deep, rich caramel, I reasoned that it must be Mitsouko. I only hoped that it wasn’t Shalimar. I bid, and I won and then I awaited the arrival of my mystery fragrance.

When the bottle arrived, I scarcely made it to the car before opening the box. I opened it and inhaled. It wasn’t Mitsouko. It wasn’t Vol de Nuit. It definitely wasn’t Ode or Jicky. What was this beauty? I dabbed on the perfume and stepped into an appointment.

Over the next couple of hours, I was treated to the most opulent, gentle, unfolding of a fragrance I had ever experienced. The notes were warm and distinct, each hovering about me before softly cascading into the next. I was reminded of Monet’s series of paintings of the Cathedral at Rouen. He would sit outside all day, with numerous easels before him. As the light changed, he would move on to the next easel and paint the same façade anew. The effect of the paintings when viewed together is a soft transition of light across the face of the Cathedral. I was similarly entranced and mystified until…

Hardly aware of its arrival, there it was: the lush, vanilla drydown of Shalimar, which is unmistakable. Jacques Guerlain was known to have employed two different vanilla components to render this complex and amber-like vanilla which is unique to Guerlain, and rendered especially opulent in Shalimar. I was humbled for presuming that one of history’s greatest noses had created something less than a masterpiece, and embarrassed for not having wanted it.

While I attribute much of my new-found love for Shalimar to the quality of the vintage version versus those currently in production, circumstances certainly played a role. My ignorance to the scent’s identity and my desire for it to be something “else” allowed me to experience the fragrance without my prior personal barriers or associations. Shalimar taught me that the pursuit of fragrance sometimes requires risks, the rewards of which are often love.

Oriental

Notes: bergamot, lemon, jasmine, rose, iris, incense, opopanax, tonka bean, and vanilla.

Hermes – Eau de Gentiane Blanche

Posted on May 3, 2013 by Leah

Hermes – Eau de Gentiane Blanche

It’s hard to imagine that summer is just a few months away and that we will need to go digging into our fragrance wardrobe to pick out those warm-weather staples, beauties that are light enough not to become cloying when the temperature rises. I had read mixed reviews of Hermes Eau de Gentiane Blanc, which many had dismissed as a clean laundry scent. While I did not hold out great hope as I am not a lover of the “clean scent” genre, I was intrigued by the smoky blackness of the bottle, and felt I had to test for myself.

Eau de Gentiane Blanche exceeded my expectations. A prototypical Jean-Claude Ellena fragrance, Gentiane Blanche is both complex and diaphonous, audacious and delicate. Gentian root was traditionally cultivated for use in various tonics and medicinal concoctions and this was my first experience with it in perfume. The fragrance has a slightly green, herbal opening which has all the bitterness and milky unctuousness ofdandelion stems. While iris lends a powderiness to the fragrance, it is devoid of sweetness and could be carried off beautifully by a man.

The sillage is fairly light, true to its cologne composition, and yet Gentiane Blanche has suprising tenacity, escpecially with liberal application. The warmth of the musk is tempered by a light incense, which keeps the fragrance dry enough for even the most humid summer days. With the exception of vintage Guerlans flacons, I am not typically swayed by bottle design and yet the stately Hermes bottle rendered in smoky black crystal looks positively elegant and mysterious.

Green woods

Notes: gentian, white musk, iris and incense

Serge Lutens – Iris Silver Mist

Posted on May 1, 2013 by Leah

Serge Lutens – Iris Silver Mist

There are certain perfumes which so perfectly capture the essence of a particular flower that they achieve a level of cult status that makes it nearly impossible for other fragrances to contend with. For the deep velvety rose, there is Guerlain’s Nahema. For the lovely tuberose, there is Fracas by Robert Piguet. And until I am fortunate enough to make the acquaintance of the mythic Iris Gris by Jacques Fath, there is no single perfume which so fully captures the essence of iris as well as Iris Silver Mist.

Iris Silver Mist was a collaboration between Serge Lutens and Maurice Roucel, the nose behind Hermès 24, Faubourg, and Musc Ravageur from Editions de Parfums Frederic Malle. The story goes that Lutens pestered his nose to devise the consummate iris – and Roucel reciprocated by creating a fragrance incorporating every iris note available – an iris to end them all. The result is fairly magical, like witnessing the plant’s evolution through all its stages of growth. Iris Silver Mist starts out with a rooty, carrot-like note that is all iris bulbs, vegetal and earthy with a slightly spicy snap. As the fragrance evolves, we make our way up out of the earth, along the sharp, crisp green stalk of the plant. Once it is warmed by the skin, the floral aspect becomes more prominent and we are treated to the iris flower in all its splendor: metallic, dusty, powdery, soft and slightly ghostlike, with hints of its green stem and soil-covered bulb hovering in and out of focus.

Although Roucel may have taken direction from Lutens with respect to the creation, the fragrance speaks to me of another perfume house. While Iris Silver Mist certainly shares some of the bold characteristics of other perfumes in the Lutens line, it felt like their version of a Guerlain, though perhaps with a touch of irony. Iris Silver Mist has good longevity, though its sillage is lighter than many of Luten’s other creations. Many Serge Lutens fans often comment that his perfumes come on too strong when sprayed as opposed to dabbed, and this may be one of the exceptions. While Iris Silver Mist comes in one of the gorgeous “bell jars”, I personally felt compelled to decant it, so I could spray with abandon. Breathtaking.

Notes: iris, clove, cedarwood, sandalwood, vetiver, white amber, labdanum, musks, benzoin, incense.

Robert Piguet – Fracas

Posted on April 29, 2013 by Leah

Robert Piguet – Fracas

There are some fragrances which are love at first sniff, as though the scent satisfied some intense longing we never knew we had. And there are those which we struggle with, knowing conceptually that they are the stuff of legacy, but which we are nevertheless unable to embrace. While most would pass on a perfume that failed to capture their immediate attention, many perfumistas have confessed to a struggle with one classic or another until either the relationship ended, or a lifetime romance began. For me, it was Fracas.

Perhaps it was not the fragrance itself as much as it was tuberose, the heady white flower which when used injudiciously can evoke images of a Hawaiian luau. The name also befuddled me, as fracas implies a noisy conflict or quarrel and I found none of that here. I had a vintage bottle which I kept for reference purposes mostly, taking it out every now and then to re-test, which I did regularly over the years. Perhaps there was some half-forgotten association from childhood, but whatever the reason, the lovely little bottle went unloved for many years.

And then something magical happened. The way an old friend who has waited patiently in the wings while you date the more flashy suitors, I found myself thinking of Fracas and wondering if there might be something there, some magic spark. Magic indeed. Fracas was created by Germaine Cellier in 1948, one of the few female noses and a master of her craft. In addition to other memorable Piguet fragrances, she was the genius behind Balmain’s Vent Vert.

While Cellier used a perfume base in her creation of Fracas, a dense, luscious tuberose dominates the landscape and indeed, it appears that any other flowers are there to support tuberose in its leading role. Upon application, one notices immediately that Fracas is like no other. The citrus opening is miles away from the ordinary, lush and rich, rather than sparkling. As the tuberose unfolds, it seems impossibly large, buoyed by the presence of jasmine and violet, which lend to the fragrance’s deep indolic quality. There is an unctuous sensation to the fragrance, as though the tuberose had turned to syrup. While iris helps to temper the creation slightly, Fracas envelops you in a thick velvety haze that is indolic one moment and pure butter the next. Fracas is tuberose on the point of turning, with animalic references throughout enforced by the depths of oakmoss and woods.

Fracas feels both sophisticated and sensual. It is a fragrance which one must give oneself over to, as it is completely enveloping, to the point of rapture. And now that I have given myself over, there is no turning back.

Floral

Notes: bergamot, orange blossom, greens, peach, tuberose, jasmine, violet, iris, lily of the valley, carnation, sandalwood, musk, oakmoss, and cedar.

Guerlain – Chant D’Aromes

Posted on April 17, 2013 by Leah

Guerlain – Chant D’Aromes

Chant D’Aromes was the first solo creation of Jean-Paul Guerlain after the retirement of his grandfather Jacques. Chant D’Aromes was released in 1962, before much of the social and political upheaval which would come to define the era. The name, roughly translated as “Song of Scents” is especially revealing for me, because within Chant D’Aromes, I detect the seedlings of all of the magnificent creations Jean-Paul would cultivate throughout his illustrious career. If Aime Guerlain was innovation, and Jacques contemplation, Jean-Paul would soon prove to be flirtation.

While overall, Chant D’Aromes gives the impression of a light-hearted floral bouquet with rich peachy undertones, within the opening notes, I detect the slightest sharpness that would be the unforgettable introduction to Chamade. As the seedlings begin to unfurl out of their sharp green hyacinth cases, the radiant fruity warmth of what would become Nahema is apparent. Chant D’Aromes also has a slight animalic note that would re-appear in many of Jean-Paul’s creations, subtle enough not to cloud the overall innocent impression of the composition, yet an unmistakable nod to the scent of the woman whom these flowers adorn.

While Chant is a lovely fragrance in its own right, it conveys all of the exuberance of youth not yet tempered by long years of experience. Chant is jubilant and smells of a celebration, as though Jean-Paul was able to distill a thousand disparate thoughts about love and perfume and harmonize them into a glorious nectar. While his later fragrances would achieve a level of sophistication comparable to that of his predecessors, Chant is a beautiful creation that captures the excitement and passion of a young man in love. This by no means is meant to imply that Chant is an amateurish creation – on the contrary, Chant D’Aromes reflects a level of craftsmanship that surpasses many of the perfumes available today.

I am fortunate enough to have vintage versions of the extrait and eau de cologne which are similar in character, with the eau de cologne being slightly more powdery. I have not sampled the most recent reformulation, but understand that it bears a closer resemblance to Chant D’Aromes than prior attempts.

Floral Chypre

Notes: bergamot, mandarin, peach, tuberose, ylang ylang, , gardenia, honeysuckle, jasmine, helichrysum, iris, cedar and sandalwood, musk, oakmoss, frankincense, vetiver, and tonka bean.

Editions de Parfums Frederic Malle – Iris Poudre

Posted on April 15, 2013 by Leah

Editions de Parfums Frederic Malle – Iris Poudre

Iris is one of my favorite perfume notes, so I am constantly seeking out fragrances where it is prominently featured. The 2000 launch of Iris Poudre taught me, however, that not all irises are created equal. Indeed, Iris Poudre, while undoubtedly lovely, is not very iris-like, nor does it contain much poudre (French for powder). The nose behind this fragrance is Pierre Bourdon, the man behind behind such classics as Yves Saint Laurent’s Kouros, as well as Feminite du Bois in collaboration with Christopher Sheldrake.

Several have drawn comparisons between Iris Poudre and Chanel No 5, however the aldehydes in Iris Poudre are more evanescent than the sparkling champagne bubbles of Mademoiselle Chanel’s iconic fragrance. Where No 5 is crisp, Poudre is shimmery. While the iris becomes more prominent in the heart, it feels overshadowed and is rendered almost fruit-like by the presence of ylang-ylang, magnolia and jasmine. Absent from Iris Poudre is the metallic tang of iris or its deep, earthy root smell. While the fragrance takes on a delicate, fluffy warmth in the drydown thanks to some delicious, nearly edible amber and musk, I found that the absence of the ghost-like aspects of iris gave the fragrance a slightly two-dimensional feel. A serious contender, but unfortunately not the winner for the top iris fragrance.

Notes: Bergamot, Orange, Rosewood, Ylang-Ylang, Carnation, Magnolia, Jasmine, Muguet, Violetta-Rose, Aldehydes, Iris, Musk, Amber, Sandalwood and Ebony.

Revlon – Fleurs de Jontue Iris de Fete

Posted on April 12, 2013 by Leah

Revlon – Fleurs de Jontue Iris de Fete

In order for a perfume to be truly appreciated, it must always be viewed within context. Similar to the world of fashion, perfume styles change, at times in conjunction with the tide of cultural sentiment, but often at the hands of those searching for the next big commercial success. While perfume releases hit department stores these days at breakneck speed, a healthy level of competition has always existed between perfume houses, making them seek out innovative ways of promoting their wares. While few self-respecting perfumistas would dream of buying fragrance in a drugstore these days, after WWII and continuing until the 1970s, it was possible to purchase Chanel No 5 at the local five and dime.

Founded in 1932 by brothers Charles and Joseph Revson, along with chemist Charles Lachman, Revlon entered the world of beauty through an innovative nail enamel product that would ultimately pave the way for what became a multi-million dollar corporation, allowing the group to expand into cosmetics and eventually perfume. Revlon’s first commercial success in perfumery came in 1973 with the launch of the iconic Charlie, which quickly became a bestseller. Revlon followed up its success with the launch of Jontue, which became the number two bestseller for the company. While Revlon initially sold fragrances in departments stores as well as drugstores, the group struggled against giants like Estee Lauder and chose to focus their efforts on the lower-tier retail market.

While still a relatively new phenomena at the time, Jontue was followed up by three variations under the Fleurs de Jontue moniker. These flankers were Fleurs de Jontue Rose de Mai, Lotus de Nuit and Iris de Fete. The original Jontue, which was launched in 1976, was a floral fragrance balanced with a touch of oakmoss and musk. The three flankers each emphasized different floral notes and could be purchased with the original Jontue as a gift set.

Iris de Fete opens with a sharp green note, which initially seems a bit artificial. This opening quickly fades, however, and the fragrance’s character immediately softens. At its heart, Iris de Fete is fairly close to an iris soliflore, a fragrance based on the scent of a single flower. While a touch of Lily of the Valley is detectable, it only serves to lift the powdery softness of the Iris. The fragrance is somewhat understated, and the dusty quality of the iris is enhanced by a touch of light musk later in the dry down, giving the fragrance a bit of warmth.

Despite the subtle presence of these other notes, it is evident that they are there to highlight the star of the show: the iris. The fragrance has a polite sillage, but the lasting power is relatively good. Iris de Fete and its sister fragrances pop up every now and again on Ebay and at some internet retailers. While Iris de Fete might not stand up in a competition against iris-heavy hitters Chanel La Pausa from the Les Exclusifs line or Guerlain’s Apres L’Ondee, it is a lovely, light, and affordable fragrance that calls to mind the beauty of Springtime and the innocence of youth. It is by far one of my favorites drugstore finds and never fails to bring a smile to my face.

Floral

Notes: Green notes, iris, lily of the valley, musk

Guerlain – L’Heure Bleue

Posted on April 5, 2013 by Leah

Guerlain – L’Heure Bleue

Vincent Van Gogh – Starry Night over the Rhone

It is often those things which we are closest to that we fail to see objectively, blotting out any shortcomings or imperfections. While this trait is certainly desirable in love, it can render a perfume review nearly impossible. 2012 was the 100 year anniversary of Guerlain’s L’Heure Bleue, which was created by Jacques Guerlain, arguably one of the greatest noses of all time. And while Guerlain released a gorgeous anniversary edition, as well as three noteworthy re-interpretations of the classic, I found myself unable to compose a single word on the subject of what is perhaps my most beloved perfume. It is only now that the anniversary has passed, and that the pages upon pages on the blogosphere celebrating this masterful creation have subsided, that I feel up to the task of dissecting the beloved.

L’Heure Bleue, French for the blue hour, is named for the quality of light displayed at dusk, when the rays of the sun have softened and suffused, just before night takes its grip on the world. This hour signals the end of the day and has traditionally been associated with other-worldly events. The term has also been used to describe life in Pre-WWI Paris, a time before the baser forces of the world reared their ugly heads and interrupted an idyllic existence. L’Heure Bleue often feels for me like time suspended – the sky has given up the light of the sun, and patiently awaits the arrival of its stars – a quiet breath before the stillness of the night.

GuerlainLimited_Inline2

L’Heure Bleue is distinctly a fragrance of its time, embodying many of the ideals of the turn of the century and events preceding. If L’Heure Bleue were to be rendered in a painting, for me it would display the spirit of the Impressionists, where form was second to emotion. L’Heure Bleue is mapped out with soft, subtle strokes that meld and merge on the skin into an olfactory masterpiece. Most telling perhaps is a description of the fragrance from the mouth of its creator Jacques Guerlain: “The sun has gone to bed but the night has not yet arrived. It is the uncertain hour. In the light of a profound blue, everything, the shivering foliage, the lapping waters, is concentrated to express a love, a kinship, an infinite tenderness. Suddenly, man is in harmony with his surroundings, the time of a second, the time of a perfume” (Jacques Guerlain on L’Heure Bleue taken from the Cent Cinquantenaire anniversary book, translation mine).

In L’Heure Bleue, Jacques Guerlain was able to capture this magic of suspended time, as though he had distilled the blueness right out of the sky. In its hesperidic opening, it captures the final light of the golden orb as it dips down below the horizon. A powdery veil of heliotrope, iris and anise convey the suffusion of these last remaining rays of light, and create a sensory impression of the deepest blue. Jasmine and Bulgarian rose announce the richness of the night sky, like a velvet shroud which will drape and cover the land in its soft folds. And at its depth, the vanilla, tonka and amber shine with all the resplendence of the evening stars. L’Heure Bleue is often said to have a gourmand quality to it, as the notes of anise, heliotrope, tonka and vanillin create a patisserie-like impression. This should not be confused, however, with the modern gourmands which possess a distinctly sweet, candy-like scent. The overall effect is stunning and while the fragrance possesses a distinct character, it is one of refinement and grace. It is no wonder then that L’Heure Bleue counts Queen Elizabeth and Catherine Deneuve as admirers, the latter identifying it for many years as a signature scent.

This review is for the vintage version of L’Heure Bleue which is available from various decant services and from reputable sellers on Ebay. While I adore the parfum version, even the eau de toilette and eau de cologne are worth sampling, and the latter especially has an extraordinary powder-like quality to is which is in keeping with the fragrance’s overall character. Unfortunately, this fragrance in its current form is one of my greater disappointments in the Guerlain line, so I highly recommend seeking out a pre-formulation version.

Oriental

Notes: Orange blossom, anise, heliotrope, iris, rose, jasmine, vanilla, tonka and amber.

Prada – Infusion d’Iris

Posted on April 1, 2013 by Leah

Prada – Infusion d’Iris

Nothing imparts a sense of springtime quite like iris. The bulbs which have lain dormant, nestled deep within the earth’s rich soil, seem to smell the warmth of the sun, a signal to commence pushing their shoots upward in order to crown the day with their regal flowers. With its ethereal, haunting beauty, iris has a foot firmly planted in two seasons: the beautiful floral aspect hails the coming Spring, while the cold, dusty and earthy aspects of this note recall the Winter months it has left behind.

In Infusion d’Iris, perfumer Daniela Andrier has beautifully captured this duality of iris, conveying the bright burst of green stems and floral notes, tempered by the richness of the still-cool earth. Infusion d’Iris opens with a lovely aldehyde burst of orange blossoms and mandarin, a delicious introduction to the green and soft floral quality of its iris heart. Although the fragrance maintains a light character throughout, the iris unfolds to the depth of its earthy roots, warmed by the richness of incense and woods.

While Infusion d’Iris has a modern sensibility, the iris tinged with what smells a bit like violet feels like a throwback to many beautiful vintage fragrances containing this note, notably Apres l’Ondee and L’Heure Bleue, though without their powdery feel. My sole criticism of this 2007 release is its light nature, which is especially gentle for an Eau de Parfum. While it possesses adequate longevity, the sillage is minimal and I found myself wanting to apply liberally and frequently.

Floral

Notes: mandarin, orange blossom, galbanum, iris, incense, benzoin, cedar, lentisc and vetiver

Chanel – No 19

Posted on March 7, 2013 by Leah

Chanel – No 19

We are all familiar with the expression “It’s not you, it’s me”, words that have been inextricably tied to the end of a love affair. In my case, these words came to signify not the end of an affair, but a delay in the commencement of what would become one of the greatest loves of my life.

The 1980s were the era of the signature scent. In contrast to the current over-saturation of the market, fragrance companies focused on promoting brand loyalty. And while women might be lured to explore a new release, temptation typically set in only after a beloved bottle was running low. Being a young woman at this time, just starting to purchase fragrances with my own money, the concept of a signature fragrance seemed practical to me.

After a consistent affair with Chanel No 5, in the then available Eau de Cologne version, I fell in love with the sharp brightness of Chanel Cristalle. Given my utter satisfaction with Cristalle, our affair was exclusive for several years. While Cristalle still holds a very special place in my heart and on my shelf, my only regret is that I was blinded to the beauty of a more silent suitor, who stood by in the wings, waiting to be noticed.

Oh, No 19. When I fell, I fell hard. My initial impression of No 19 was so intense it bordered on off-putting, which is surprising given that Cristalle has an equally sharp introduction. The opening notes are a bold blast of green galbanum and neroli, which seem almost metallic, a quality which is psychologically reinforced by the unique brushed silver top of the traditional flask. The opening is rounded out and very lightly sweetened by bergamot and neroli. The green sensation is enhanced by hyacinth, which makes an appearance in Cristalle as well. I find that the hyacinth note in the eau de toilette version is much sharper than in the eau de parfum and versions where it takes on a sweeter quality, a sensation which occurs similarly in Cristalle, but the similarities end there.

The heart of No 19 references the smooth Chanel duo of rose and jasmine, however, they are rendered more tangy and fresh by the introduction of narcissus and lily of the valley. While the addition of ylang-ylang into this already floral heart could theoretically have pushed this into the territory of cloying fragrances, the dry, powdery sensation created by iris tempers the whole bouquet and reinforces the bright green opening.

The true magic and beauty of No 19 however lies within its base of musk, oakmoss, leather, sandalwood and cedar, which ground the entire heady creation. No 19 was marketed with the tagline “Audacious and assertive. Never conventional” and is often referred to as a “power” scent for a woman. While the opening and heart notes certainly lend themselves to this interpretation, the earthiness of the dry-down reveals a warmth which is surely the soul of this strong woman. Silent and slow to reveal itself, but present nevertheless. Despite the intended direction of the marketing, this is a comfort scent for me, one I often reach for after a difficult day. She is like a close friend, one which needs no words to understand the language of your heart.

No 19 was named in celebration of Coco Chanel’s birthday on August 19th. There is some controversy regarding the release, as it is often claimed that this was her signature scent, a theory which seems confusing given that it was released one year before her death and that Henri Robert, Chanel’s second nose in residence was credited with its creation. In her book “The Secret of Chanel No 5”, Tilar Mazzeo offers a wonderful interpretation.

During 1945, and owing to conflicts over control of Les Parfums Chanel, Coco Chanel launched a separate line of perfumes sold exclusively in her boutiques under the name Mademoiselle Chanel. One of the Mademoiselle Chanel fragrances became her personal favorite and as a result was set aside for her private use. According to Ms. Mazzeo’s research, after some reformulation by Henri Robert during his tenure at Chanel, this fragrance was later made available to the public as No 19. While we may never know the complete truth, I will relish the thought that Mademoiselle Chanel’s favorite scent is now one of my own.

Floral Chypre

Notes: Galbanum, Neroli, Bergamot, Jasmine, Rose, Lily of the Valley, Iris, Vetiver, Sandalwood, Leather, Oakmoss and Musk.

Quintessence

Perfume Reviews

Tag Archives: iris

Guerlain – Shalimar

Hermes – Eau de Gentiane Blanche

Serge Lutens – Iris Silver Mist

Robert Piguet – Fracas

Guerlain – Chant D’Aromes

Editions de Parfums Frederic Malle – Iris Poudre

Revlon – Fleurs de Jontue Iris de Fete

Guerlain – L’Heure Bleue

Prada – Infusion d’Iris

Chanel – No 19