Hermes – Jour d’Hermes

Hermes – Jour d’Hermes

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Park in Brussels – Photography by Quintessence

One of the things I love most about Europe is the prevalence of fresh flowers. While the climate where I live is warm nearly year-round, I am always surprised and cheered by the commitment to the floral arts on a continent where the weather is less conducive to plant growth. And yet flowers can be found everywhere, from gorgeous public gardens where one can sit for hours admiring the well-manicured arrangements to open air markets where one can stroll at leisure and select an armful of blooms to grace a hallway table. The emphasis on this simple and portable form of beauty appears to be everywhere. I find nothing more satisfying than setting out on foot to explore a city and coming across an intimate little flower shop, where one can admire the shopkeeper’s beautiful arrangements and take in the aroma of dozens of blooms in close quarters.

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Flower Market in Bruges – Photography by Quintessence

It is this joyful, celebratory sensation that Jean-Claude Ellena has captured in Jour d’Hermes, where we are treated to not one, but a flowershop full of scents. Ellena is truly the master of understated complexity, and his latest release does not disappoint. Jour d’Hermes is at once crisp and velvety, dry as silk and wet as moss. Upon first application, I expected Jour d’Hermes to be a fleeting floral, and yet this diaphanous beauty has an impressive longevity. It wears close to the skin which feels appropriate, for the fragrance conveys a certain sense of intimacy.

According to Denyse at Grain de Musc, Hermes and Ellena purposely withheld a list of notes to allow each wearer their own experience and interpretation of the fragrance. Jour d’Hermes is at once no flower and all flowers, an imaginary bouquet of luminosity. From my testing, the fragrance offers the zest of lemon, the green bite of lily of the valley, the powder of rose, the depth of jasmine, the darkness of ivy and the sweet, soapiness of orange blossoms. And just when I have become entranced with the lightness and innocence of this arrangement, Ellena pulls off a masterful deception and reveals a deeply sensual base.  Though it’s been a while since I fell for a bottle, the weightiness of this flacon feels simply decadent, elegance as only Hermes can deliver.

Floral

Jour d'Hermes

Notes: Be inspired. Let your imagination run wild!

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.

 

 

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.

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 – 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.

Chanel – 1932 Les Exclusifs

Chanel – 1932 Les Exclusifs

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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.

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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.

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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.

Guerlain – Chamade

Guerlain – Chamade

 

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A good friend of mine is from Iceland, which like any country, features an unique culinary tradition. Given the island’s reliance on the fishing industry, much of their cuisine revolves around fish, although their excellent dairy places a close second. Since we first met each other toward the end of the year, the subject of holiday meals came up. Always eager to learn about a new culture, I asked my friend if there were any special dishes that were eaten on the holidays, conjuring visions of holiday recipe-swapping. The response was not quite what I was expecting: fermented stingray. After clarifying that this was not a joke, my friend went on to explain that stingray was traditionally prepared by Iceland’s Viking ancestors by burying a dead stingray and letting it “ferment” (her word, mine “rot”). While I will spare you the minute details, the ammonia contained within the stingray’s body essentially “cooks” the fish, not unlike a ceviche. Needless to say, I would not be preparing this in my kitchen anytime soon.

When I asked my friend if she liked it, she said “Not the first time. The first time it smelled so awful, I thought I might get sick”. The use of the term “first time” implied that there was a second or even numerous times. She explained that while it was an acquired taste, after the initial opening stench of ammonia, the stingray was delicious. I was baffled! How did she get past that offensive opening and come to love this strange creation? It made no sense to me. And then I realized it did: Chamade.

While I am a lover of bright, intense openings and even more so a lover of Guerlain, in all honesty I must admit that the first time I smelled Chamade I thought that someone, somewhere had made a mistake and filled this beautiful, inverted heart bottle with nail polish remover. While I adore several fragrances which feature prominent hyacinth notes (Chanel’s Cristalle and No 19, Balmain’s Vent Vert) they are tempered by the introduction of other elements. Not so with Chamade. The combination of hyacinth with galbanum and blackcurrent created an opening that cut through the air like a sharp green saber which showed no signs of relenting. I put the bottle back, far into the darkest reaches of my perfume cabinet, untested.

Chamade

But something didn’t feel right about walking away from this fragrance, named after the distinctive pitter-pat of a heart in love, a nod at the Françoise Sagan novel and French film by the same name starring none-other-than Catherine Deneuve. So many had waxed poetic about its charms, and the skill of the then-young Jean-Paul Guerlain, I felt I must be missing something. I had read the fragrance notes, and I knew there was a Guerlain accord hiding in there somewhere, if I could just steel my reserve and do the unthinkable: test it on skin.

Needless to say, I was rewarded. Chamade perfectly captures the cool detachment of attraction and the growing warmth of love, but its beauty is only revealed to the patient suitor. The intense opening was merely the awkward, butterflies-in-your-stomach feeling that proceeds the sweetest and most passionate of kisses. Chamade slowly unfolds into a soft floral base of rose, ylang ylang, jasmine, lilac, and lily of the valley: for every great romance must have its tenderness. As the fragrance settles further, drawing heat from the skin, the magic of Guerlain is revealed in a soft, velvety base of vanilla, amber, iris and woods: for every great love must have its warmth. And as we overlook the idiosyncrasies of our most beloved, I am finally able to embrace the sharp opening, knowing that a warm embrace awaits me.

Floral oriental

Notes of Turkish rose, ylang ylang, jasmine, lilac, blackcurrant, lily of the valley, hyacinth, cassis, galbanum, sandalwood, vetiver, vanilla, musk, amber, iris and tonka bean.

 

Agustin Reyes – Royal Violets

Agustin Reyes – Royal Violets

For this first review, I thought the best place to start was with my first fragrance. While I would graduate on to more sophisticated fragrances, by cultural and maternal imperative, my introduction to scent was with “Royal Violets”, or, as commonly referred to in Spanish, “Agua de Violetas”. It is common practice for children of Latin descent (i.e. Spanish, French, etc.) to wear fragrance from infancy. This practice applies to girls and boys alike, and while the composition may differ from florals to citrus-based fragrance, most products contain a mixture of both. The fragrance is often applied to the hair, a practice which many women continue into adulthood, in a manner similar to the way one would use a dry shampoo.

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Agustin Reyes

“Royal Violets” was developed by Agustín Reyes, who began his career as a pharmacist’s apprentice in Havana, Cuba. He created the formula for Royal Violets in 1927, where it was originally marketed as “Violetas Rusas” or “Russian Violets”. The original name and packaging reflect the world’s, and especially Paris’s fascination with all things Russian as evidenced by the popularity of Sergei Diaghilev’s Ballets Russes and the works of Igor Stravinsky. Cuba was often described as the “Paris of the Caribbean” and its citizens took great interest in the styles, architecture, and fashion of Paris. Indeed, much of the formerly elegant city of Havana was built in the baroque and neoclassic styles, similar to much of Europe.

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Original Packaging for Violetas Rusas

This Paris-mania extended into the ultra-luxurious realm of perfume. The perfume industry was producing radically new fragrances at this time, in part due to advances in perfume science, but also thanks to the jubilant zeitgeist that followed WWI. Styles were changing, social mores were changing, all of which was reflected in the new perfume creations of the time including Quelques Fleurs, Chanel No 5, Shalimar and Nuit de Noel.

While far removed geographically, many Cubans traced their ancestry back to Europe and maintained strong interest in what happened overseas. This extended into the world of fashion and perfumery, and indeed the famous houses of Guerlain and Caron were well-known on the island. It is in this spirit that Royal Violets was created, a factor which is apparent in its smell and composition.

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Bottle inspired by Guerlain

The scent was very well-received in Cuba, as were Reyes’s other creations including: Axil, Agua de Portugal, and Nuit de Samedi. The firm also produced their own sandalwood and lavender soaps. The original glass bottles made in Cuba were often modeled after the bottles of the great perfume houses including Guerlain. With the rise of communism in the 1950s, the recipe for Violetas Rusas was smuggled out by the Reyes family into the United States. The formula also underwent a name change to Royal Violets to avoid the painful political associations of exile that the Reyes family and numerous Cubans faced.

Given that I could not recall a time when I did not wear Royal Violets, I never considered its composition. It was simply what one wore. However, as I grew older and began exploring fragrances, I was often drawn back to this first fragrance. Indeed, my love of certain fragrances like Coco Chanel, was surely influenced by this earliest fragrance, which made me think that it was perhaps necessary to take a closer look.

While several of the more popular violet fragrances attempt to capture more of a violet soliflore, Royal Violets is closer to the experience of the entire plant. The top notes of violet are strongly punctuated by a middle accord of bergamot, giving the impression of crushed bright green leaves to the powdery violet. The violet sensation is rounded out by lily of the valley and a touch of rose, giving one the impression of a bouquet of wild flowers. Most surprising however are the bottom notes, which are both warm and spicy thanks to the introduction of vetiver, sandalwood, and orris. This spicy, almost cinnamon-like sensation is softened with a hint of vanilla, and yet remains remarkably sharp, especially when considering that this is a fragrance applied to infants. Despite being extremely affordable, indeed this item can be purchased in many drugstores, it is evident that much consideration was given to the composition. The fragrance has good sillage and a rather potent longevity.

Royal Violets still features a place in the fragrance collection of many Cuban women. Perhaps it is the need to revisit simpler times with a formula that remains largely unchanged, especially in an era when so many beloved fragrances have been altered beyond recognition. One note: please don’t be put off by the low price tag or poor website of this fragrance. We all need some affordable alternatives in our perfume wardrobe and Royal Violets is a marvelous time capsule for less than ten dollars.

Royal Violets can be purchased online at several discount retailers. Please note that this review is for the amber colored Royal Violets in the glass bottle. The company also makes a purple colored version which smells completely different, slightly reminiscent of an inexpensive Kenzo Flower.

Floral oriental

Notes: violet, bergamot, lily of the valley, rose, vetiver, sandalwood, orris and vanilla.