Tag Archives: patchouli

Les Néréides – Patchouli Antique

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Les Néréides – Patchouli Antique

the-university-club-library

Perfumistas are nothing if not passionate. After all, it takes considerable dedication to be a perfume collector, especially when your beloved fragrances are niche or worse – discontinued. While each certainly possesses her favorite scent or fragrance genre, there are those notes which are certain to provoke impassioned responses.

Patchouli is among the more polarizing scents. It offends on a wide range – those who dislike its sharp medicinal qualities, as well as those who cannot escape its hippie era associations. For those of us who adore patchouli however it is often these very qualities we find irresistible. While some fragrances use patchouli sparingly to impart a woody, slightly dusty quality to balance a fragrance, Patchouli Antique is more a study in patchouli.

Patchouli Antique starts off with a slightly green medicinal tang, the perfect introduction to the rich, woody warmth of patchouli. The aptly named Patchouli Antique calls to mind the deep aroma of damp earth and musky dustiness, not unlike unearthing a treasure trove of antique books in a dark attic.

The fragrance softens and mellows like a warm wooly shawl thanks to a hint of vanilla and musk, which play perfectly on patchouli’s hints of chocolate. Truth be told, I am personally not a fan of vanilla in fragrances but in the case of Patchouli Antique it serves to smooth over the slightly bitter herbal beginning in a manner reminiscent of Shalimar, rendering the fragrances as warm and enveloping as a soft robe.

When compared with Chanel’s Coromandel or Serge Luten’s Borneo 1834, both of which are patchouli powerhouses, Patchouli Antique is more one-dimensional. It is a fairly close rendition of the type of high quality patchouli oil you can find in a specialty store, but with a calming, powdery warmth in the final notes.

Notes: Patchouli, Vanilla, Musk

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Gucci – Rush

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Gucci Rush

Gucci Rush

Like many dedicated perfumistas, my fragrance collection spans a wide variety of genres: from the ultra-rare and “très cher” to the timeless and chic, without discrimination for cost, high or low as it may be. After all there are still bargain fragrances out there, and while the folks at Chanel would have us forget, there was a time when Chanel No 5 could be found in drugstores.

All of this by way of introduction. While some fragrances are no doubt contemplative à la Serge Lutens or intellectual (here’s looking at you Guerlain), we must all leave a bit of room for pure, unadultered joy.

No fragrance lends itself better to this category in my opinion than Gucci Rush. Though it has references to some of the great classics, like Mitsouko and Diorella, they are delivered with the tongue in cheek, larger-than-could-possibly-be-tasteful style of Gucci under Tom Ford’s reign.

Gucci Rush starts off with a blast reminiscent of hairspray and fruit – in fact it feels like poking your head into a young woman’s room as she is preparing for a fun night out with friends: scented bath gel, fruity shampoo, hairspray, perfume and body lotion. Rush is like a cacophony of scents that should not work together but absolutely do, as evidenced by the number of suitors this young woman has attracted after a night of dancing.

Rush’s white florals are sparkling and playful, leaving the heavier indoles to its more serious floral sisters. A hint of coriander lends dry spice and drama to the fragrance and keeps it from veering into a traditional fruity floral. The drydown is pure, if not strange, olfactory heaven.

Rush morphs into a synthetic milky peach which lacks Mitsouko’s solemnity but is nevertheless beautiful. Similar to Dior’s Diorella, Rush’s peach is warmed and mellowed by patchouli, but Rush manages to maintain a modern, slightly plasticky edge.

Rush is a terrific fragrance for going out, or for those days when the gravity of life is too much to handle. Despite the beauty and elegance of its composition, Rush does not take itself too seriously (as evidenced by it’s plastic, cassette-like flacon) and maintains a joyful edge.

While with most posts I search for an image to convey the visual equivalent of the olfactory sensation, Rush couldn’t be contained to a two-dimensional image. Embedded then is a link to a remix of French singer Yelle’s “A Cause de Garçons” – the perfect combination of fun, trash, brash and the simple joy of movement. What a genius Michel Almairac has proven to be.

Notes: Gardenia, Freesia, Jasmine, Rose, Coriander, Vanilla, Patchouli, Vetiver.

 

Clinique – Aromatics Elixir

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Clinique – Aromatics Elixir

aromatics elixir limited edition bottle

Aromatics Elixir 2011 Limited Edition Flacon

Perfumistas are nothing if not passionate. Researching fragrances and scouring stores and the internet for treasure requires dedication and persistence. As we all know, negative passions can be equally strong, if not more so, and many perfume boards are filled with rants against one or another fragrance.

With its bold lemony opening and bitter, slightly medicinal herbal quality, Aromatics Elixir is often the subject of vitriol. Its minimalist flacon and sunny packaging are somewhat misleading, as this elixir has deep and dark undercurrents. This 1971 creation by the masterful Bertrand Chant is clearly a product of its times with its emphasis on earthy oakmoss and patchouli, though its potent sillage seems to foreshadow the oversized perfumes of the 1980s.

And yet, smelled today, Aromatics Elixir feels new and compelling. Where fragrance after fragrance in today’s market copy Angel’s groundbreaking patchouli theme to play out variations of the sweet, fluffy gourmand, Aromatics Elixir seems austere and intelligent – a sort of bookish brunette. The fragrance delivers a bit of everything: citrus, florals, herbs and woods and yet is so masterfully blended as to create a seamless impression. If some creations shower their wearer in a veil of scent, Aromatics Elixir wraps them in a thick tapestry.

aromatics elixir

While the opening is bold and brash, as the fragrance starts to unfold, the more subtle interplay of rose and patchouli become apparent and this is where love strikes. The volume comes down to more muted tones, allowing the beauty of patchouli-tinged woods to shine through.  While many complain of the fragrance’s volume, Aromatics Elixir maintains a crisp, dry quality that prevents the patchouli from becoming overly earthy and heavy. Indeed, it is a wonder how Bertrand Chant was able to create a fragrance that is at once both supremely rich and yet light. 

The bottle shown above was a limited edition issued in 2011 to commemorate the fragrance’s 40th birthday. For those not brave enough to try the original, an update called Aromatics Elixir Perfumer’s Reserve was issued which focused on modernizing (and lightening) the original. For what constitutes a reasonably priced fragrance in today’s market, the quality of materials seems superb – perhaps a byproduct of the simple packaging and minimal marketing.

Notes: Rose, Chamomile, Oakmoss, Jasmine, Lily of the Valley, Ylang Ylang, Patchouli, Musk, Amber, Sandalwood.

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Coromandel – Chanel

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Coromandel – Chanel

Chanel Coromandel 2

Walk into a Chanel boutique anywhere around the globe, and you are immediately transported into a world of the utmost luxury. The stores are beautifully appointed and the staff is knowledgable about Mme Chanel’s indelible mark upon fashion, and indeed upon society itself. From the various biographies I have read of her, it is said that Mme Chanel understood the importance of imbuing her visitors’ experience within her boutique with a sense of grandeur and magnificence – to render the visit a flight from the ordinary.

It is this sense of precise luxury that Messrs. Polge and Sheldrake sought to convey in the Les Exclusifs line. While most would agree that they were successful in nearly all instances, Coromandel, named after the chinoiserie lacquered screens which Mme Chanel so favored in her personal decorations, seems to squarely hit the mark.

Part of Coromandel’s success is in taking patchouli, a note which many struggle with given its strong correlations to 1960s counter-culture and elevating it to luxury status. While Coromandel is proof that patchouli can certainly be used to enhance an exotic and sensual fragrance, in the wrong hands it can be heavy, earthy and perhaps slightly musty.

coco chanel by horst reclining coromandelCoromandel is a rich woody oriental based on a central theme of patchouli, with a haze of ambery powder and vanillic warmth. Coromandel’s initial citrus burst is short-lived and tempered by frankincense, a scent with exotic implications of faraway lands. The fragrance unfolds to reveal a warm base of patchouli and woods with a hint of powdery softness from benzoin, a resin with light vanilla tones.

While Coromandel has the warmth of a plush woolen shawl, it maintains a dry and slightly effervescent feeling which keeps it from becoming cloying, even in warmer weather. And unlike the patchouli superstar Angel by Thierry Mugler, Coromandel has only a whisper of the gourmand.

Unlike many of its exclusive sisters, Coromandel has a tenacious longevity and imposing character. Indeed, it possesses a nearly palpable presence, making me envision Mme Chanel reclining in her rooms above the 31 rue Cambon, clicking her pearls between her fingers, seeking inspiration in her possessions.

*As a side note, when Coco Noir was released, I imagined it smelling a bit more like Coromandel and a bit less like Coco Mademoiselle. 

Notes: Jasmine, Patchouli, Woody notes, Amber, Benzoin, Frankincense

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Yves Saint Laurent – Champagne / Yvresse

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Yves Saint Laurent – Champagne / Yvresse

YSL

Nothing conveys a sense of luxury and celebration quite like champagne: the excitement of its bubbles, crisp effervescence and intoxicating aroma. Fragrance names are often selected to invoke a certain imagery or romanticism, and Yves Saint Laurent’s 1993 release was no exception. Depsite the legal battle which ensued over the fragrance’s name when the Comité Interprofessionnel du vin de Champagne sought to protect the cultural heritage of the beverage, there is nothing particularly controversial about the fragrance. It is simply luxurious, bright and perhaps a touch heady in the way of its namesake.

The opening bursts with a quick progression of notes which mimics rising champagne bubbles in a glass. Pungent nectarine, deep rose, a touch of anise and violet compete for top billing. For those who are wary of the cumin note, fear not. While the cumin adds a slight earthy quality to the fragrance which mimics the bite of champagne, it is not very distinct, and much less apparent than in the reformulated Rochas Femme.

champagne glasses

The fragrance’s heart reveals an accord that will seem familiar to Sophia Grojsman fans, as she presents another variation on her fruity rose trick. I prefer Champagne’s composition to that of her other opus Lancôme Trésor, as it feels more balanced when juxtaposed against a classical chypre base of oakmoss, patchouli, vetiver and vanilla.

Champagne’s spin on chypre is extremely accessible and quite lovely. Despite the musty, earthy smell which oakmoss can sometimes lend to a composition, Champagne manages to remain bright and light. While the fragrance certainly alludes to such classics as Mitsouko and Rochas Femme with the interplay between fruit and chypre, Champagne seems like the light-hearted, blonde younger sister of these two dark-haired beauties. Champagne in turn appears to have influenced modern perfumery, as one can glimpse hints of its structure in Chanel’s 31 Rue Cambon.

Champagne, later re-named Yvresse as a play on the French “ivresse” or “intoxication”, is an easy-to-wear, exuberant fragrance. No matter what the occasion or indeed the outfit, that always makes me feel elegant and in the mood to celebrate.

Fruity Chypre

Notes: Nectarine, Anise, Mint, Violet, Cumin, Rose, Lychee, Oakmoss, Patchouli, Vetiver, Vanilla.

Guerlain – La Petite Robe Noire

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Guerlain – La Petite Robe Noire

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Long have I put off reviewing this fragrance. In part, because I strive to give a fragrance ample time to reveal its charms, because we are all familiar with those loves that creep up on us unexpectedly. Not so with La Petite Robe Noire, released by Guerlain in 2009, at the hands of resident parfumeur Thierry Wasser. In all honesty, this fragrance never stood a chance. The name, a reference to the ubiquitous little black dress which is a must have in any woman’s wardrobe, felt like coercion: if you have only one perfume, it must be this one. The little black dress will make you instantly chic, instantly irresistible to every man in sight. You and every other woman on the planet.

Second, and a far worse offense, was the bottle. The beloved, inverted-heart Guerlain flacon, home to the hauntingly beautiful L’Heure Bleue and ground-breaking Mitsouko was “enhanced” with a cartoon drawing of a little black dress, presumably to lend a modern flair to the bottle. The fragrance was then marketed with a bizarre black caricature of a disjointed stick woman. The result was cartoonish and immature. My reaction the first time I beheld it was akin to seeing graffiti on the Louvre: it felt like the defacement of a monument. Finally, it felt like La Petite Robe Noire was intentionally everywhere. Gone was the magic of Guerlain: the sense of sophistication and genteel exclusivity.

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I pushed these thoughts out of my mind and tried to form an unbiased impression of the scent. The opening reveals a dense, syrupy sweetness of synthetic black cherry, which has been described by many as reminiscent of Cherry Coke. Not being a fan of many fruity florals, the opening was difficult to endure, though subtle hints of anise waved a fan of promise. In what seemed like the ultimate irony, La Petite Robe Noir smells hot pink not black. As the sweetness subsided, a slight hint of smoky black tea signals the first turn for the interesting the fragrance takes.

The drydown, a dusky sweetened patchouli, left me somewhat confused.  It seemed to bear no relation to the uber-girly opening and in fact seemed quite masculine in its execution. I preferred it to the opening, as it possessed a certain relative subtlety, but it seemed out of place in the composition. I also found it oddly similar to Bois d’Armenie, as though Guerlain had run out of ideas. No Guerlinade in sight, or perhaps worse still, this odd woody patchouli is the new Guerlinade.

All in all, La Petite Robe Noire seems like a poor knock-off of Coco Mademoiselle with a touch of Lolita Lempicka (and about a pound of sugar) for good measure. My intense love of Guerlain scents, with a few exceptions, has diminished a notch with each release after Samsara. Unless the house gets some new ideas soon (hint: bring back Mathilde Laurent), I fear that this may be the end, with a full stop.

Fruity Floral

Notes: Black Cherry, Black Rose, Patchouli, Smoked Tea

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Guerlain – Mitsouko

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Guerlain – Mitsouko

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Despite being named after the heroine in Claude Farrère’s novel “La Bataille”, if each perfume symbolizes a woman, Mitsouko would have to be the mythological Eve, the first woman and mother of all. For it is in her composition that we can find the DNA for many beloved and wildly successful perfumes including Rochas Femme, Diorama, Youth Dew, Opium and Coco Chanel. Mitsouko was the astounding creation of Jacques Guerlain. Reflecting the world’s fascination with Chypre by Coty, a ground-breaking creation which combined the somewhat odd bedfellows of bergamot, jasmine, labdanum and oakmoss into what would ultimately become a new fragrance category, Guerlain took this novel concept one step further with the introduction of a warm, creamy, ripe peach note. The original Chypre is often described as being a bit rough around the edges, a quandary solved by Guerlain with the introduction of the newly-discovered Gamma-Undecalactone, also known as Aldehyde C-14. Without getting overly technical, there is some debate over the use of the aldehyde reference to C-14, which is technically a lactone, a term which refers both to the molecule’s structure as well as to its fragrance which often has a creamy (milky) scent. Aldehydes are often used to give a fragrance that special opening “sparkle” (imagine the first moments of Chanel No 5), whereas C 14 has a very specific golden peach tone. Nomenclature aside, the introduction of this molecule beautifully rounded out the more angular structure of Chypre into an unforgettable masterpiece.

Mitsouko is at once bold and soft, womanly and earthy. It is the smell of the fall, the warmth and spice of cinnamon and the odd sweetness of decomposing leaves. Its beauty is, quite simply, astounding. While Mitsouko is perhaps one of the most beloved and written about fragrances, it can often be a difficult one to approach if one is just developing their appreciation of vintage or more complex scents. Thanks in part to the inclusion of oakmoss, a popular perfume fixative before restrictions limited its use, Mitsouko has a certain musty smell reminiscent of library books which some find challenging upon first sniff. Ironically, it is the diminution of this same note in the modern, reformulated version, that many perfume enthusiasts bemoan the loss of.

Approaching perfume is not unlike learning about wine: at first, one’s palate can more readily appreciate simpler, sweeter wines, but with time, one is able to appreciate the dry and more complex varieties. So it is with Mitsouko, so be sure to give it some time if you are unable to love it right away – this is one of the perfumes most worth knowing. While many have followed in her steps, Mitsouko is perhaps the finest example of the Chypre genre, if not one of the greatest perfumes of all time.

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While I have various examples of Mitsouko in my collection, each with a slightly different scent due in large part to varying ages, the new reformulated version is in some respects a distinct departure from the original vintage. While the lasting power matches that of the original (my scent strip still held scent 48 hours later) the unfolding of the fragrance was decidedly different. While it is definitely still recognizable as Mitsouko, there were aspects throughout the drydown that seemed quite foreign to my nose, and at one point I thought I had mixed up my samples. Overall the fragrance seemed thinner and while I was comparing a modern EdP to a vintage parfum, I attribute the lack of depth more to the absence of oakmoss than to the concentration, as vintage versions of the EdT or even EdC seemed to have more weight than the modern EdP.

Indeed, an overall note on the vintage EdT and EdC Guerlains (and Chanels as well) – these are often excellent and substantial renditions of the parfum (with the exception perhaps of Chant D’Aromes). While they are often a touch more powdery than the parfum (especially true for L’Heure Bleue) they are a wonderful option if one is looking for a more affordable alternative to a vintage parfum.

Fruity Chypre

Notes: Bergamot, Lemon, Mandarin, Neroli, Peach, Rose, Clove, Ylang-Ylang, Cinnamon, Oakmoss, Labdanum, Patchouli, Benzoin, Vetiver.

Kenzo Jungle L’Elephant

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Kenzo Jungle L’Elephant

18-David-Lazar-Jungle-Temple

October is officially upon us, marking the beginning of sweater weather for many. I live in a part of the world where it stays warm and humid for quite a bit longer, but the changing daylight patterns make me crave my fall and winter perfume wardrobe terribly. While there are some fragrances which will need to wait a little longer before coming into rotation, I start craving an oriental that can straddle the seasons and help tide me over until the cooler weather finally arrives.

I am always struck by how original Kenzo Jungle L’Elephant is, especially for its time. Were it to be released today (instead of in 1996), it would surely have been as a niche creation. It is without question one of Dominique Ropion’s more unique scents, a distinction it shares with Carnal Flower and Thierry Mugler’s Alien. L’Elephant is a wonderful melange of spices underscored by smoky woods and soft cashmeran. The sparkling mandarin opening is enlivened by cardamom, cloves and cumin. While I am not particularly reminded of either a jungle or an elephant, I do have the sense of being swept away on an exotic adventure.

Elephant de la Bastille watercolor by Jean Alavoine

Elephant de la Bastille watercolor by Jean Alavoine

L’Elephant’s heart is slightly anisic, the perfect interlude into its delicious woody base. While amber and cashmeran can often give a fragrance a dense heady quality, L’Elephant manages to remain light and sparkling. L’Elephant has terrific lasting power but is never overwhelming the way some of its sister orientals can be. L’Elephant can be found online for a reasonable price at several discount retailers or on eBay, where I purchased mine. It is an energizing, powerful scent which never fails to give me a lift.

Notes: Mandarin, Cardamom, Cumin, Clove, Ylang-Ylang, Licorice, Mango, Heliotrope, Patchouli, Vanilla, Amber, Cashmere.

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Bond No. 9 – I Love NY for All

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Bond No. 9 – I Love NY for All217565

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.

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Robert Piguet – Bandit

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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.bonnie-and-clyde-faye-dunaway

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.

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