Etat Libre d’Orange – The Afternoon of a Faun

Posted on November 21, 2013 by Leah

The Afternoon of a Faun by Etat Libre d’Orange

L’Aprés Midi D’un Faun or The Afternoon of a Faun was composed by the French poet Stéphane Mallarmé in 1865. The poem recounts the erotic imaginings of a Faun which comes upon two nymphs in the forest. Mallarmé was one of France’s four major poets of the second half of the 19th century, along with Charles Baudelaire, Paul Verlaine, and Arthur Rimbaud. He is noted as one of the pioneers of symbolism in poetry, and while critics argue that he often used obscure imagery to express emotional experience, The Afternoon of a Faun is very much to the point as illustrated below. Given the sexual content of the poem, one can only imagine what the “less sorrowful vapors” represent.

I adore it, the wrath of virgins, the wild

Delight of the sacred nude burden which slips

To escape from my hot lips drinking, as lightning

Flashes! the secret terror of the flesh:

From the feet of the cruel one to the heart of the timid

Who together lose an innocence, humid

With wild tears or less sorrowful vapours.

Mallarmé’s poems inspired Debussy’s tone poem (1894) of the same name, which was later interpreted into a ballet by Vaslav Nijinsky for the Ballet Russes. The 1912 ballet proved exceptionally scandalous for its unconventional choreography and graphic sexual depictions. Obviously, the use of this name for a perfume is meant to convey an entire catalog of associations and points to a highly animalic and sensual creation, and yet I cannot help but find that the perfume, while lovely, does not live up to the connotations.

The fragrance opens with a sharp and distinctly woody, herbaceous character, which is made somewhat opulent by the introduction of immortelle. Immortelle can manifest itself quite differently in different compositions, and here it takes on a sweet, tobacco-like character. At first application, I imagine myself to be in the woods with the Faun as he awakes from his slumber, but this is where the similarity to the tale ends.

As the fragrance progresses, it is punctuated by rose and the woody notes take on a more floral character, with a spicy, leathery aspect. While The Afternoon of a Faun does contain moss and leather notes suggestive of an animalic perfume, it does not reach the same depths as the vintage fragrances previously reviewed. Justin Vivian Bond and Ralf Schwieger’s creation for Etat Libre d’Orange is a decidedly modern interpretation on the Faun/Fur theme, one which touches on the lighter aspects of the forest, as opposed to the deeply sensual activities of the Faun. The perfume has an incredible sillage and potent lasting power, so a light application is suggested.

Spicy Woods

Notes: Bergamot, Pepper, Cinnamon, Incense, Rose, Immortal Flower, Orris, Jasmine, Myrrh of Namibia, Moss, Leather, Benzoin.

Bond No. 9 – I Love NY for All

Posted on July 8, 2013 by Leah

Bond No. 9 – I Love NY for All

Given my predilection for vintage perfumes, it is not unusual for me to sometimes miss new releases and on occasion entire perfume houses. One such house which had escaped my attention, in part due to the fact that it was not available in my geographic area for sampling, was Bond No. 9. Imagine my joy (as only a fellow perfumista can) of walking into my local Nordstrom one Saturday morning and finding a counter-full of their line-up.

While somewhat daunting to find myself face-to-face with such a comprehensive display of bottle after bottle bearing the iconic Bond No. 9 design, (where to begin??) I decided to start with the obvious. Housed in a black bottle, emblazoned with the well-known I Heart NY symbol, I Love NY For All is to date my favorite of the lot.

Bond No. 9 – I Love NY for All is definitely compelling, a fragrance built around a coffee accord, and what could be more NYC than a rich cup of your favorite brew. I Love NY for All starts off with a spicy floral mix highlighted by citrus which quickly gives way to warm notes of coffee and hazelnut. The juxtaposition is decidedly odd and yet it works somehow, like the woman in your office that can pull off plaid with lace and high heels. As the fragrance unfolds into a velvety base of patchouli and woods, the coffee is sweetened with a hint of vanilla.

Despite the potency of these individual notes, aside from an initial sour sensation, the fragrance overall feels smooth and is extremely wearable. The sillage and lasting power are decent, which is a relief given the fragrance’s price-tag. While this would not be a signature scent for me, I love having it in my collection when I want something really different.

Gourmand

Notes: Bergamot, Lily of the Valley, Pepper, Coffee, Patchouli, Leather, Sandalwood and Vanilla.

Robert Piguet – Bandit

Posted on July 1, 2013 by Leah

Robert Piguet – Bandit

Leather scents rank highly in my top fragrance choices, but they can be difficult for some, especially as the weather turns warmer. On days when I want the daring, provocative rebellion that only a leather can deliver, but without the heaviness, Robert Piguet’s Bandit is my fragrance of choice. Created by the fragrance mastermind Germaine Cellier, the woman responsible for Fracas and Balmain’s Vent Vert, Bandit is a fine balance between bracing leather and green florals.

Legend has it that the perfume was inspired by a symbolic post-war runway show, with models dressed up in masks and carrying toy weapons, like cross-dressed outlaws. Whether or not this legend is true, Bandit clearly has a foot squarely in each the masculine and feminine realms, giving the fragrance a subtle androgynous character and driving home its bad-boy image.

While the post-2012 reformulation is surely miles away from the 1944 original, the magic of Bandit lies in the interplay of leather and chypre, smokiness and green depths, masculine and feminine. From the first moments of its sharp galbanum opening until its rich smoky roots, Bandit is a beautiful marriage of opposites, like a tussle between James Dean and Marilyn Monroe. It’s elegant, bitter and beautifully unconventional.

Notes: galbanum, artemisia, neroli, orange, ylang ylang, jasmine, rose, tuberose, carnation, leather, vetiver, oakmoss, musk, patchouli.

2012 reformulation sample courtesy of Bergdorf Goodman.

Lubin – Idole Vintage

Posted on June 13, 2013 by Leah

Lubin – Idole Vintage

After Gilles Thevenin (Guerlain’s former director of creation) rescued the Lubin perfume house from bankruptcy, the group has been hard at work creating a bright future with the release of several new perfumes, in collaboration with the talents of Thomas Fontaine, Delphine Thierry and the supremely talented Olivia Giacobetti. While the quality and creativity of their new line is undisputed, I have a soft spot for the firm’s vintage creations. So while the internet is flush with reviews of the spicy and almost decadent Idole created by Giacobetti, this review is for the vintage Eau de Parfum released in the 1960s.

Idole was originally released in 1962, and while the modern release bears the same name, this was more a reference than a reformulation. The vintage Idole is a floral chypre, rendered in the elegant and somewhat understated Lubin style. The fragrance opens with a rich, almost fruity, bergamot which seems to be deepened by drop of peach – our first hint of the sensuousness of this creation. Although the fragrance features a heady jasmine rendered velvety and somewhat opulent by a lush Lily of the Valley note, Idole never becomes cloying or over-powering. There is a slight hint of woods emanating from the heart, giving the perfume just a touch of smoke and depth. I have found Lubin’s vintage fragrances to be extremely well-crafted, with an emphasis on quality ingredients and thoughtful compositions. In Idole, Lubin achieved a lovely balance between the rich floral notes by interposing a warm animalic base redolent of leather and moss.

Idole is certainly more unabashedly “feminine” than other Lubin fragrances I have tested, and this fragrance seems to me their version of the femme fatale parfum. That being said, the fragrance maintains a type of discretion that keeps it lady-like in the midst of its sensuality. If you have not had the opportunity of sampling any of Lubin’s vintage fragrances, I would highly recommend seeking them out via a decant service. Kudos to Thevenin for resurrecting this house and for developing what will no doubt be the next generation of vintage masterpieces.

Floral Chypre

Notes: Bergamot, jasmine, lily of the valley, woods, leather and oakmoss

L.T. Piver – Cuir

Posted on June 11, 2013 by Leah

L.T. Piver – Cuir

While not well-known in the United States, the French L.T.Piver house has been producing fine fragrances for over two centuries. The firm dates its origins back to the court of Louis XVI and has continued through the to the twenty-first century, adapting many of its traditional fragrances to a modern sensibility. Similar to the houses of Lubin and Guerlain, L.T. Piver became an official purveyor to the royal court of Louis XVI and later expanded to the other royal families of Europe.

The firm is named for Louis Toussaint Piver who began the Piver legacy, and helped propel it to international acclaim in England, Belgium, Spain, Austria, Russia and Brazil. L.T. Piver maintained a flower-processing factory in Grasse, plus a second facility in Aubervilliers dedicated to the manufacture of cosmetic products, of which L.T. Piver created a prodigious range. Similar to Guerlain, the firm commissioned special edition bottles from Baccarat and Lalique, which would be destined to become collector’s items.

This review is for the modern Cuir produced as an Eau de Toilette by L.T. Piver. The fragrance was originally created at the end of the nineteenth century under the Cuir de Russie moniker, consistent with that era’s fascination with Russian culture. This manufacture date makes L.T. Piver’s creation a contemporary of Guerlain’s Cuir de Russie, and indeed, the two share certain similarities. Both feature a stronger, smokier birch tar smell than either the Chanel or Lubin Cuirs, giving the fragrance a more rustic feel. The strength of their smell characters also feels decidedly more masculine, although the Guerlain Cuir softens to a floral heart in the drydown, while the L.T. Piver maintains a fairly homogenous character throughout its wear. The modern L.T. Piver Cuir is marketed to a male audience, so the emphasis on the strong birch tar aspect without a softer, floral counterpoint seems intentional, but gives the fragrance a somewhat one-dimensional aspect when compared to the Guerlain.

Cuir’s opening features a bright citrus accord of mandarin and bergamot, which serve to lighten the fragrance somewhat and create a sense of refreshment. As the smoky birch tar unfolds, I detect the spicy notes of clove and cinnamon, giving the fragrance a rich feeling, one that makes it suitable for autumn or winter use. At the heart of Cuir is a hint of soapiness, and here is where the fragrance begins to soften somewhat. At its base, Cuir features a touch of woods and oakmoss, sweetened by a honey-like note, which I imagine to be the coumarin making its presence felt.

While Cuir does possess a distinct character that makes it a natural choice for a man, this is definitely a fragrance that can be carried off well by a woman who is not afraid of bracing leathers. The fragrance is fairly tenacious, lasting well throughout the day without fading excessively. The sillage, while potent, is never offensive with careful application, though I would not suggest more than 2 sprays of the fragrance.

Leather

Notes: Bergamot, mandarin, leather, woods, spices and honey

Lubin – Cuir de Russie

Posted on June 5, 2013 by Leah

Lubin – Cuir de Russie

Lubin is one of the oldest perfume houses in continual existence. The company was founded by Pierre Francois Lubin in 1798, when he began creating scented products for members of high society and notoriety alike. Lubin, like Guerlain, was esteemed with recognition from the Imperial Court of the Bonapartes and all the crowned heads of Europe thereafter. The firm was well-known for their perfumes and bottles alike, with flacons designed by Julien Viard and Maurice Depinoix and special, luxury editions from Baccarat. The firm created a strong presence in the United States commencing in the 1830s and were especially well-received in the South where many families traced their origins back to France. The firm remians in existence today and Olivia Giacobetti is the current fragrance designer.

Of the four Cuir de Russie’s reviewed, Lubin’s interpretation of the leather theme is perhaps the most literal. I was fortunate enough to come upon a vintage sample courtesy of a fellow collector. The stopper on the bottle had been stuck for some time, allowing for good preservation of the perfume, which had condensed into an almost syrup-like consistency. After some careful engineering, the bottle finally revealed its beautiful contents.

The perfume’s opening had a medicinal, slightly hesperidic, herbal quality to it, alluding to perhaps some petitgrain and camphor notes. As the initial notes died down, the fragrance had an oily quality to it, reminiscent of fur. Based upon my first impression, I imagined that the perfume was going to be somewhat challening to wear, as it invoked visions of the oily fur of hides being prepared for leather production. Indeed, at first blush, I ascribed this perfume more for intellectual contemplation rather than actual use.

Here however, the fragrance took a distinct turn. The heavy quality of the opening dissipated, leaving just a hint of spice in its wake. What this revealed was the mildest, most realistic and unadorned leather scent of the three. The Lubin Cuir de Russie has neither the rugged, birch-tar bite of the Guerlain, nor the aldehydic florals of the Chanel. It is purely gorgeous, buttery leather, the kind that would be used to make fine gloves for a woman’s hands. As the fragrance dies down, there is a very slight floral quality to it, as though the lovely kid gloves had retained the slightest hint of scent from the wearer’s perfumed wrist.

Having had the good fortune now to sample various vintage Lubins, the house has a singular style to all of its scents which conveys a subtle refinement that is simply intoxicating. Where Guerlain always strikes me as the House of Passion, and Chanel as the House of Beauty, Lubin’s scents possess a quiet intellectualism that I find very appealing in their subtlety. Lubin’s Cuir de Russie is no exception.

Leather

Notes: Hesperidic Notes, Camphor, Fur, Oil, Leather Notes, Floral Notes,

Guerlain – Cuir de Russie

Posted on June 3, 2013 by Leah

Guerlain – Cuir de Russie

Guerlain’s version on the Cuir de Russie theme is the oldest of the fragrances I will review and as such possesses a character which is completely unlike that of its counterparts. In fact, for my nose, Guerlain’s Cuir de Russie is more reminiscent of the tanning process itself than of the leather byproduct.

Guerlain’s Cuir de Russie was developed by Aime Guerlain in 1875. Having first been introduced to the genre by way of Chanel, the opening of Guerlain’s interpretation was somewhat of a shock. The fragrance opens with a distinctly herbacious note which is both powerful and masculine, a sharp contrast to Chanel’s classic aldehydic opening. This intense green and almost medicinal quality gives rise to the richest, smokiest leather I have ever experienced, making it evident that the fragrance was composed long before any restrictions on birch tar came into effect. The impression is of a much more rustic and prerevolutionary “Russia” than either of its 20th century counterparts, which evoke more of a “Russian in Paris” feel. Not so the Guerlain, which reminds me of the thick, rough leather boots of a cossack warrior atop a charging steed in the cold night air.

While the intensity of smoke and leather is prevalent for several hours, making me questions the scent’s intended gender audience, the fragrance does a complete about-face in the drydown, softening into a gorgeously soft floral bouquet. There is a hint of jasmine overlaying the leather which has now receded into the background, deepened by hints of vanilla and animalic notes.

It is this odd interplay between masculine and feminine elements that reveals the true magic of the House of Guerlain. These disparate fragrance themes could not have been carried out by any other perfumer, and yet Guerlain flawlessly melds the two into one, invoking the grandeur of a revolutionary fantasy with the promise of a bright and beautiful future.

143

Smoky Leather

Notes: Herbal Notes, Green Notes, Jasmine, Leather

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.

Viktor & Rolf – Spicebomb

Posted on February 22, 2013 by Leah

Viktor & Rolf Spicebomb – A Case of Mistaken Identity

I do much of my fragrance and cosmetics shopping at Nordstrom, in part because they have a wonderful points system and frequently have special gift offers. They also have a wonderful, do-it-yourself sampling system. During one such offer, I received a goody bag filled with various lotions and potions, but one in particular caught my eye: Viktor & Rolf’s Spicebomb. I will admit that I did not care much for Flowerbomb, although it is a pleasant fragrance. It was just a bit too sweet and it seemed like yet another variation on the post-Angel theme. I found the advertisement for Spicebomb very intriguing because it seemed like such an innovative way of reaching the female audience. At least I thought it was trying to reach a female audience, because no man I know would want to wear Spicebomb based on the advertisement unless he also wanted to date the model.

Confident in my assumption that the fragrance was intended for me, I began wearing it and was happily surprised to find that while it bore some resemblance to its pink sister, it satisfied numerous categories that she did not. Whereas Flowerbomb was a simple, almost one-dimensional dessert dish, Spicebomb is more like a sumptuous spiced dinner, complete with an after-dinner snifter in a soft leather armchair.

Spicebomb’s accords range from the lightly spicy notes of cinnamon, saffron and chili to a warm, plush mix of leather and tobacco. The citrus and pink pepper opening smelled delicious but not overly sweet. The sillage was potent yet comfortable. So far, it seemed perfumer Olivier Polge had captured my attention with his version of oriental “light”, but the best was yet to come. As the opening accords settled, a subtle spicy mix warmed on my skin unfolding into richer accords of leather, tobacco and vetiver. Every once in a while, I would catch a whiff of pine from the elemi resin. Other times, the cinnamon and pepper seemed more pronounced. Had any of these elements been pushed to the forefront, the composition would have had an edgier feel, but Spicebomb is tied together in a very cohesive manner, while still allowing for the subtle impression of different notes. Overall, it is a well-crafted and attractive fragrance with moderate lasting power.

After sampling for a few weeks, I decided to commit and buy a bottle. I walked through Nordstrom, unable to locate the signature grey grenade. I approached a sales assistant, who brought me over to the men’s section. Upon seeing my bewildered look at its location within the store she explained “It’s a men’s fragrance” to which I immediately responded “Oh yes. Of course. I knew that. It’s for a gift”.

Viktor & Rolf

Moral of the story: if you enjoy a fragrance and it works for you, ignore the rubbish marketing and target audience. Despite the press caption which states: “Infusing the codes of masculine perfumery with olfactory dynamite, Viktor & Rolf Spicebomb is an explosive cocktail of virility that transforms you into a powerful, intense and daring man”. Spicebomb is not particularly explosive, nor have I been transformed into a man.

Smoky woods

Notes: bergamot, elemi, grapefruit, pink pepper, cinnamon, vetiver, tobacco notes, leather, chili and saffron.

Knize Ten

Posted on January 25, 2013 by Leah

Knize Ten

I have found that some of my most passionate and enduring olfactory affairs have started out on an intense note along the lines of “what IS that?” While I am by no means drawn to flash, there are those fragrances whose openings are so unique as to create an indelible imprint, one that I often crave to smell again and again once the initial blast has subsided and the more delicate drydown commences. Like the sultry stranger who catches your eyes across the room with a smoldering glance, only later to become your devoted and domesticated bedfellow, so it is with Knize Ten.

Knize Ten is one of several fragrances introduced by the Knize fashion design house out of Austria. The fragrance made its debut in 1925 and is still in circulation. The current version is by most accounts fairly true to the original vintage version, making it a gem among fragrances. Indeed, even the clean and simple design of the bottle and crisp black and white packaging are both timeless and supremely modern. While Knize Ten (roughly pronounced kuh-knee-shuh) features the byline of “The Gentleman’s Toilet Water”, it is largely a misnomer, since it is not particularly “gentlemanly”, nor does it suffer from poor staying power. In fact, the opening notes of this reference leather fragrance are slightly reminiscent of a leather bomber jacket strutting around a gas station. Small wonder then that this was rumored to be the signature fragrance of none-other-than James Dean.

Knize Ten starts out with a slightly bitter citrus note of bergamot and petitgrain (derived from the leaves of the bitter orange tree), which to my nose has a greener smell further enhanced by a savory note of rosemary. The opening is potent and somewhat suggestive of gasoline. While this may sound off-putting, it is this very unique introduction to what ultimately becomes a warm and somewhat powdery vanillic leather, that I find most appealing. While the dry heart note is largely woody, for me the most prominent notes are a sharp patchouli and green jasmine which reinforce the rich leather aspect. While the Knize Ten “gentleman” may come on rather strong initially, he quickly shows his soft side. The sharpness of the leather is smoothed out by orris and deepened by ambergris and castor which lend it a slightly animalic, body smell. While François Coty and Vincent Roubert designed this as a men’s fragrance to accompany the elegant and slightly off-beat bespoke designs of Knize, this can easily be worn by a woman in the style of a Tabac Blond. The bracing opening and softening drydown feel like a lingering embrace from a not-so-gentlemanly gentleman.

Ultimate Leather

Notes: Lemon, bergamot, orange, petitgrain, rosemary, geranium, rose, cedar, orris, carnation, cinnamon, orange blossom, sandalwood, leather, musk, moss, patchouli, ambergris, castoreum and vanilla.

Quintessence

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