Chanel – Cristalle

Chanel – Cristalle

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I largely put myself through college via a combination of scholarships, student loans, and numerous jobs to supplement whatever assistance my parents could provide. While this would teach me the importance of careful planning and budgeting, it left little room for personal items, especially those which were not absolutely vital. Exacerbating the situation was the fact that I was attending college in Manhattan, a city not necessarily known for its reasonable cost of living.

Dedication to my studies was not as difficult for me as it was to some of my classmates. I was enrolled in a very challenging school, in one of the toughest cities of the world. I knew that I wanted to be bright and sharp and to do that in such a competitive environment would really require all of my effort to shine. While this did not reconcile well with my love for fragrance and for Chanel in particular, it was a great motivator for success.

During my first year of school, while attending a chemistry seminar, I met a young woman who ultimately became my best friend. She had a similar upbringing and we shared many of the same goals, both scholastically and personally. This included, not surprisingly, a love for Chanel. Given that we were both struggling to meet our immediate needs, together we devised creative ways of sampling and purchasing a few special items. This largely involved two activities which most of us master in childhood: dress-up and pretend.

My friend and I would save up for bus fare to Bloomingdale’s (which cost a dollar in those days) but made it a point always to walk back home. After all, we only needed to look presentable upon arrival. No one needed to know the many blocks we would walk back to return to campus uptown. To prepare for our excursion, we would put on our best outfits and make ourselves up to be sure we looked the part. We also did our research, which in those days involved pouring through magazines at the library. We needed to ensure that we seemed extremely knowledgeable when we arrived at the fragrance counter.

As we sampled the latest releases (which was not the terrifying task it is today), we came up with creative escape clauses for those we did not like, so as not to put off the eager sales associates who were so generous with the vials of liquid gold we so craved. “Oh, my mother just purchased that for me for my birthday” or “My sister wears that one and I could not bear sharing the same fragrance”. With these intentioned hints, we were often able to come away with considerable samples of the fragrances we did want, having given the impression that we were certainly able to afford any of these fragrances at a moment’s notice.

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It was during one of these excursions that I happened upon Cristalle. It was unlike anything I had ever smelled before, though I have since seen it reincarnated to some extent in the magical Calyx by Sophia Grojsman. Henri Robert’s 1974 masterpiece was perfectly named, for it is the scent of something sharp and bright – precisely everything I longed to emulate. Cristalle cuts a sharp plane of light with its bergamot opening but it is the complexity and range of the green notes which is most alluring. These range from savory to sweet and grass-like thanks to a vetiver note. While the EDP version later introduced by Jacques Polge in 1993 pushes the floral accords into a sweeter, headier territory, the original 1974 release achieves in my opinion a greater balance by not allowing the floral notes to drown out the composition.

While Cristalle is often cited on top ten lists for summer and spring fragrances, it is a wonderful winter scent and shall forever remind me of cold Manhattan days and of the power of imagination to forge our destiny.

Chypre

Notes: lemon, bergamot, basil, petitgrain, galbanum, jonquil, jasmine, hyacinth, oakmoss, rosewood, and vetiver

Christian Dior – Diorissimo

Christian Dior – Diorissimo

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There are times when life’s trials become a bit much, and we crave some comfort or small happiness. While for many, the first thing that comes to mind may be food or drink, I find that fragrance often has the power to be an uplifting presence and bring a smile to my face. In these times, I will often reach for a scent that is beautiful in its unadorned simplicity, rather than provocative or challenging. One fragrance which can always bring a smile to my face is Christian Dior’s Diorissimo. Diorissimo perfectly captures the scent of the lovely Lily of the Valley, so much so that it seems one is wearing a living flower, and yet the fragrance is a ruse: for it is not possible to extract the scent of this beautiful white flower.

Diorissimo was the magical creation of Edmond Roudnitska, the nose behind the beautiful Femme, as well numerous perfumes for Christian Dior. Given the impossibility of utilizing actual Lily of the Valley extract, Roudnitska’s work is nothing short of an optical illusion. More than any other fragrance, Diorissimo truly captures the scent of Lily of the Valley, to an astonishing degree. The creation relied heavily on Hydroxycitronellal, an aroma chemical with a sweet, green, soapy scent which very closely resembles that of the flower. As with many other vintage beauties, Diorissimo has suffered greatly at the hands of the IFRA regulations regarding potential allergens, as the use of Hydroxycitronellal in fragrances is restricted, because of potential sensitization.

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I have both the Eau de Toilette and Parfum versions of vintage Diorissimo and each has its own distinct beauty. While the Eau de Toilette has a sharper, greener opening, as it unfolds, it becomes a gauzy Lily of the Valley, supported by a touch of jasmine with a slightly powdery feel. The fragrance is extremely light and inspiring, the scent of innocence and youth. I love this version just after a shower or right before bed.

The Parfum version is much deeper and somewhat hypnotic. I always have the impression of having crushed the flower on my wrist. The Parfum has a richness and animalic earthiness that is absent in the Eau de Toilette. It is richer, deeper and slightly indolic and an absolute beauty. diorissimo1

Floral

Notes: Green notes, bergamot, lily of the valley, ylang ylang, rosewood, amaryllis, boronia, jasmine, sandalwood, and civet.

 

 

Rochas – Femme

Rochas – Femme

rochas-femmeIt is said that Grasse in Southern France is the farthest point north at which jasmine can grow. As a result, the jasmine from the region is reportedly shorter in stature than most varieties, but the quality of its fragrance is more potent. While none of us inherently enjoy hardship or strife, it is sometimes under the pressure of external forces that humans manifest their most inspired creations.

The 1940s were an era characterized by conflict the likes of which the world hopes to never see again. While the decade was largely dominated by WWII and its aftermath, the latter half of the decade also saw several civil wars, struggles for independence and the Arab-Israeli war.

While the citizens of the world lost much of their former innocence during this time, they rebounded with sweeping advances, evidence of the strength of the human spirit. The United Nations was born from the ashes of the ineffectual League of Nations and huge advances in science were achieved. The 1940s saw the advent of computers, nuclear power and jet propulsion. On a more mundane level, new inventions such as Velcro, television, Tupperware and the microwave oven all appeared on the horizon, changing the way we would manage our lives forever. Abstract Expressionism was born, as we struggled for a way to re-conceptualize our world. The ravages of war were too sharp not to be felt, and life needed to be viewed through a new lens if any sense was to be made at all.

There were, also during this time, acts of sheer beauty. Edmond Roudnitska created Femme in 1943, in the midst of the ruins of war-torn Paris, then besieged by German occupation. It is supremely fitting that Femme was created in what is arguably one of the most beautiful cities in the world, at a time of extreme and powerful emotion. It is as though the fragrance embodies all of the intensity of its time.

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Femme speaks of the beauty of a woman in all her facets, the sublime, the sexual, the beautiful, the bold and the vulnerable: because every woman is each of these things. Femme is at once elegant and provocative, but above all expresses a respect and reverence for woman. It is a beautiful and emotional fragrance which conveys a certain vulnerability as well. It is as though Roudnitska was able to read the soul of a woman in all its complexity and distill it into a plush, velvety essence. I am deeply moved every time I smell it and am inspired by the spirit of the man who sought and created such beauty when the world seemed intent on revealing its basest qualities.

Femme has a warm enveloping presence, often likened to the smell of warm skin. Despite a spicy floral opening, the most prevalent note throughout is plum, which is harmonized and softened by wood and musk notes. While Femme conveys the richness of lush, ripe fruit, it does so in a manner strikingly different to the overly-sweet interpretations common in modern compositions. This is the spicy fruit of winter, not the syrupy, sugary fruit of summer. The scent is that of a woman, not of a girl. The depth of the composition is what I find most striking. While the sillage is potent, it is comfortable and yet I always have a three-dimensional experience of Femme. I can almost see it wafting, rising from my arm as one sees smoke rising from a high tower.

Note: Femme was re-formulated in 1989 by Olivier Cresp, the nose behind Thierry Mugler’s Angel. Part of this reformulation included the introduction of a cumin note in the opening over which there has been much debate. While I prefer the original Femme and guard my tiny vintage bottle like a treasure, I do also enjoy the peppery spark that cumin lends it. There has been much speculation over why the formula was changed in this manner. Some surmise it was a desire on Cresp’s part to bring Femme into the present and make it once again memorable and provocative. I can only offer my own impression and interpretation. The first time I smelled Shiseido’s Feminite du Bois, I was delighted to find the outline of Femme, now transformed into a woman of the eighties. A bit leaner, a bit drier for the years, but still magical. Feminite du Bois is silk where Femme is velvet. The first time I tested the reformulated Femme I was reminded not so much of the original Femme in the opening (though I find more similarity in the dry down) but more so of Feminite du Bois, as the cumin renders the overall composition drier and thinner than the original. And so the reference comes full circle.

Chypre

Notes: bergamot, peach, prune, rose, immortelle, jasmine, ylang-ylang, ambergris, musk, oakmoss, sandalwood. Femme may be purchased from many online discount retailers, as well as certain stores. I acquired my vintage version on Ebay.

Chanel – No 19

Chanel – No 19

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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.

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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.

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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.

Serge Lutens – Chypre Rouge

Serge Lutens – Chypre Rouge

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It is said that there is a fine line between madness and genius. Nowhere is this more apparent in the world of modern perfumery than in the creative duo of Serge Lutens and Christopher Sheldrake. Even the most classically beautiful of the fragrances in the Serge Lutens line have an underlying tension and subversity which make them fascinating at best and challenging at worst, but never, ever mundane.

Chypre Rouge was released by Serge Lutens in 2006 as part of his export line. I found this to be an interesting move, since the house generally releases those fragrances fit for U.S. (i.e. less sophisticated) consumption, and by many accounts, Chypre Rouge can be a challenging scent. Out of the bottle, Chypre Rouge smells thick: a plummy, jammy, spicy mash that feels more like something you would spread on toast than an actual perfume. The spices invoke all of the warmth and opulence of Lutens’s beloved Marrakech, and makes me feel completely transported. True to its name and hue, Chypre Rouge smells deeply red and calls to mind autumn leaves on the forest floor, damp and musky, with a hint of decay, sweet and pervasive like dense maple syrup.

On skin, however, the fragrance tells a different story. Similar to his Tubereuse Criminelle, Chypre Rouge’s opening belies a softer, more accessible fragrance underneath. As the intense oriental opening diminshes, the spices simmer down to a mere whisper, allowing a soft, sweet and slightly creamy woods to emerge with notes of honey and vanilla. It is in these deeper, twilight hours, that we experience the chypre aspect of the fragrance, as a light mossiness overtakes the dense immortelle-like scent, creating a sedcutive, silky veil. The sillage follows suit, wearing closer and closer to the skin as the hours pass, though as a Lutens creation, it is tenacious.

As I have found to be the case with other fragrances in the Lutens line, the aspect which I initially find most defiant in the fragrance ultimately becomes my favorite. Hours into the more demure drydown, I find myself missing the heady, viscous opening, leading me to carry around a sample vial whenever I wear it to recapture the initial assault. My sincere thanks to Messrs. Lutens and Sheldrake for creating provocative fragrances that push our limits, for it is through this olfactive adversity that we grow.

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Oriental Chypre

Notes: thyme, pine needles, honey, beeswax, jasmine, patchouli, vanilla, moss, amber, musk

 

Lancôme – La Vie Est Belle

Lancôme – La Vie Est Belle

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I anticipated the release of La Vie Est Belle with great excitement. It was developed by Olivier Polge, Dominique Ropion and Anne Flipo, a formidable team. Iris is one of my favorite notes for the ghostly, earthy, and chilling aspect it lends to perfumes and La Vie Est Belle was touted as “the first ever iris gourmand”. While there are other perfume houses that could dispute that claim, as an iris lover, this sounded profoundly promising. Nothing surpasses the beauty or elegance of iris in Guerlain’s Apres L’Ondee, Chanel’s 28 La Pausa or Serge Luten’s Iris Silver Mist. Yet despite numerous attempts and testing on blotter and skin alike, I have yet to detect any discernable iris note.

La Vie Est Belle created a bit of a dilemma for me. Perhaps I have been lulled by the fragrance’s cheerful demeanor or predictable plotline. Yes, La Vie Est Belle is well-made, more-so than many of the numerous fragrances I pass on the fragrance counters. And as must be the case with a perfume that seems to loosely follow the formula of the more seductive Angel by Thierry Mugler and the more refined Coco Mademoiselle, La Vie Est Belle is pretty. Perhaps that is where the problem lies. La Vie Est Belle feels like the pretty girl at the party who is quite nice but perhaps a bit lacking in intellect. She smiles so sweetly, perhaps a little too sweetly, I want to like her, but after speaking to her for five minutes I am terribly bored. When I look around the room, there seem to be several girls who look quite a bit like her, but perhaps have a more sultry or rebellious side that maintains my interest.

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The fragrance moves along the fruit-flowers-patchouli track, hitting you all the while with a gourmand accord of  vanilla, tonka and praline. Had the iris note been truly prominent, this fragrance would have stood a greater chance of achieving olfactory immortality. Without it, it’s just another pretty face in the fragrance crowd. The fragrance does possess an incredible sillage and lasting power however as my blotters were still going strong the next day. La Vie Est Belle is a nicely-done fruitchouli, a bit overpowering and forgettable for my taste, but it did win the popular vote in Fragantica‘s 2012 community poll. If you don’t have any fragrances in this genre and Angel and Coco Mademoiselle are too bold for you, La Vie Est Belle may work for you.

 

Gourmand

Notes: Iris pallida, iris aldehyde, jasmine, orange blossom, patchouli, vanilla, tonka bean, praline, black currant and pear.

Coty – Muguet des Bois

Coty – Muguet des Bois

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One spray of Coty’s Muguet des Bois and I am instantly transported in time: to afternoon walks in the woods and the innocence of shared childhood secrets. Muguet de Bois was created during one of history’s darkest hours, in 1942 when the dark specter of WWII shrouded the world in darkness. And yet this lovely soliflore (a fragrance based on the scent of a single flower) is the freshest breath of innocence and light imaginable.

Lily of the Valley is often associated with purity and innocence, making it a frequent choice for wedding bouquets. In France, it is customary to give Lily of the Valley as a gift on Fête du Travail, which falls on May 1st, in celebration of Spring. Tradition states that King Charles IX of France was given Lily of the V alley on May 1, 1561, as a good luck charm and he subsequently offered the flower annually to the ladies of his court. Ironically, all parts of the plant are highly poisonous. Even more confounding is the fact that while Lily of the Valley is known and treasured for its distinct aroma, the scent cannot be distilled from the flower and must be painstakingly re-created.

Muguet des Bois opens with a slight bitter green note, reminiscent of a freshly cut stem, which quickly gives way to the soft soapy freshness of Lily of the Valley. While the fragrance is for the most part a singular Lily of the Valley note, there are subtle shades of warmth from jasmine and rose. As the fragrance dries down, there is a suggestion of woods, enough to give the fragrance a bit of depth. A touch of sandalwood and musk also give the fragrance a slightly smoky quality, reminiscent of Summertime picnics. While the fragrance is not as complex as Diorissimo, it is nonetheless lovely and a believable Lily of the Valley. Muguet des Bois would make a lovely Spring or Summertime fragrance, when one is in the mood for something light and uplifting. It is also a perfect bedtime fragrance, promoting dreams of silent forest walks.

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Notes: aldehydes, orange, green leaves and bergamot, cyclamen, lilac, jasmine, lily-of-the-valley, rose, sandalwood, musk

Coty – Les Muses

Coty – Les Muses
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Continuing with the Coty theme this week, the last Coty fragrance that I was fortunate enough to obtain a sample of was Les Muses. Based on the research I did, it appears that Les Muses is the 1986 adaptation of an earlier Coty fragrance known simply as “Muse” which was released in 1945. Unfortunately, I do not have a copy of the pre-1980s release to compare it to, but it is my understanding that Coty reissues are not always necessarily true to original form. Les Muses was re-released along with Le Rose Jacqueminot and Chypre.
My overall impression of Les Muses is of a sweet, fruity, floral underpinned by a slight animalic and woody base. While I could not locate any official notes for the fragrance, most prominent is a melange of peach, tuberose and jasmine, supported by heady white florals. While Les Muses had the potential to be a terrific fragrance, this one unfortunately failed to fully capture my heart. While the white floral notes had a nice phenolic aspect (tar-like smell), once the base set in and the revealed a vanilla and amber duo, the fragrance had simply become too sweet. The fragrance seemed top-heavy and lacking in a stabilizing force. While animalic notes in a fragrance can often serve to offset sweetness, the amber (and perhaps musk) utilized were not of sufficient quality to balance the fragrance. If you, like me, enjoy the odd sweet tar-like smell of certain florals, the Shiseido’s Zen is a better option.
Fruity Floral
Notes: Peach, Jasmine, Tuberose, White Florals, Vanilla, Amber, Woods and Musk

Coty – Ex`cla-ma`tion

Coty – Ex`cla-ma`tion

 

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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.

Elie Saab – Le Parfum

Elie Saab – Le Parfum

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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.

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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.