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Caron – Bellodgia

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Caron – Bellodgia

caron bellodgia

There are certain fragrances which are like a revelation for us, sending our senses reeling as our minds attempt to catalogue all of the myriad impressions they inspire. Bellodgia, created in 1927 by the perfumer Ernest Daltroff, the nose behind such classics as Tabac Blond and Nuit de Noel, is truly revolutionary. While it is often referred to as a study of carnation in all of its spicy glory, and meant to invoke all the beauty of the lovely, sunny seaside town of Bellagio, Italy, Bellodgia’s beauty runs much deeper.

The carnation certainly takes center stage during the opening, and its vibrancy nearly blinds us to the other important figures arranging themselves onstage. The piquant spice of the carnation and lily of the valley is enhanced by a smoky facet with such intensity that it reminds me of the charcoal trail fireworks leave behind. The carnation begins to smolder with the spice of clove, which melts and softens into a creamy, powdery cloud.

In fact, this combination of carnation and clove works so well that it found its way into another incredibly successful fragrance which I shall post about soon. For those few of you fortunate enough to have smelled Guerlain’s Bouquet de Faunes, the clove in Bellodgia takes on a similar character, miles away from its interpretation in Diptyque’s L’Eau.

While with its exotic name, Bellodgia is meant to transport us to summery climes, for me Bellodgia is all about winter. It possesses a deep and embracing character which feels perfect with cashmere and thick, plush scarves and while I can imagine it being worn by elegant women with fur stoles and opera length gloves, it just as beautifully dresses up a pair of blue jeans.

Bellagio Italy

Unlike some of the other vintage Carons, the vintage extrait version of Bellodgia can be found online for a reasonable price. If you are a carnation or clove lover, the vintage is worth seeking out. Unfortunately, I cannot much recommend the modern reformulation which is dissimilar to the original, due in great part to restrictions on many of the original ingredients.

Notes: Carnation, Rose, Jasmine, Violet, Lily of the Valley, Clove, Sandalwood, Vanilla, Musk.   

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.

Creed – Fleurissimo

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Creed – Fleurissimo

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There are few women who have walked this earth that come close to possessing the elegance, beauty and talent of Grace Kelly. A shining star of American film and theater until her fairytale marriage to Prince Rainier III of Monaco, she conducted herself with such finesse that she truly lived up to both her name and her title.

Small wonder then that the perfume house of Creed consented to Prince Rainier III’s wish to commission a fragrance for his young bride’s wedding day.  The result, Fleurissimo, was a floral bouquet centered around tuberose, the heady, white flower responsible for the likes of Fracas.

While tuberose can be a difficult note for some, it is most successful in fragrances that harness its lush, buttery quality and use it to bring depth to a fragrance. Unfortunately, Fleurissimo accomplishes none of this. After a promising bergamot opening, Fleurissimo, which translates roughly to “extreme flower” is anything but. Instead, it is a pinched, slightly synthetic-smelling white floral which (thankfully) dissipates quickly.

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I wish I could transport myself back to 1956 and smell James Henry Creed the Fifth’s original creation. I have to imagine that the vintage fragrance privileged enough to grace the Princess’s wrist must have been superior to what is produced today. Sadly, the modern Fleurissimo does not do justice to the beauty and decorum of its muse.

Notes: Bergamot, Tuberose, Bulgarian Rose, Violet, Iris, Ambergris.

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Guerlain – Aqua Allegoria Figue Iris

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Guerlain – Aqua Allegoria Figue Iris

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By now you have surely come to the conclusion that perfume is one of my guilty pleasures. The way other people reach for a cocktail when they get home to unwind, I grab a bottle of a different kind and apply liberally to melt away the stresses of my day. I am sure all perfumistas have some fragrance in their wardrobe that is a guiltier pleasure than they would like to admit to. For me, it’s Guerlain’s Aqua Allegoria Figue Iris.

While the Aqua Allegoria line started out as an exercise in minimalism, somewhere along the way (i.e. after the departure of Mathilde Laurent), the entire project went haywire, resulting in odd and sometimes abrasive compositions. With a few exceptions, such as this here, many of the fragrances had a light, delicate character that made them good introductory Guerlains.

Not so with Figue Iris. The first time I smelled it, I was slightly horrifed, as I was expecting a light green fig enhanced by magical iris dust. What I got instead was a dense, surreal impression of the inner pulp of a fig: juicy, ripe, heavy and pungent which segued into a very lush (and slightly plastic) iris, with a hint of violet deepened by a rich vanilla. No subtlety, no light romance, just FIG and IRIS in mile high pink letters.

A f ew months went by and I was sorting samples and came across it again, and applied it absent-mindedly. This time I liked it, almost in spite of myself. I admitted my bizarre newfound affection to a fellow collector who was slightly horrified as well, but we agreed that it was no worse than any other fruity floral on the market. I finished my sample and found myself longing for this plush, plastic fig.  Before I knew it, the search was on to try and track down a bottle because this 2008 release had long been discontinued.

While I cannot help but wish Guerlain would have served this up as a traditional perfume and invested the resources to make it more complex, when it comes down to it, it smells really good. While it lacks the sophistication of say a Diptyque or Hermes fig, ironically, this is one of the fragrances that I get the most compliments on when I wear it, which is on rare occasions given that I had to track my bottle down halfway around the world from a seller in Spain who had one to spare.

Fruity Floral

Notes: Citrus, Violet, Iris, Fig, Milky Notes, Wood Notes, Vanilla, Vetiver.

 

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Heeley – Iris de Nuit

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Heeley – Iris de Nuitthe-nomad-hotel-by-jacques-garcia-1

Located just north of Manhattan’s Madison Square Park district, in the NoMad Hotel, is an incredible boutique called  Kitsuné. The NoMad recently underwent a major overhaul, where it was restored to its former European splendor thanks to the careful eye of architect Jacques Garcia. The shop, like the clothing line it houses, is an exercise in elegant restraint. In addition to its super-chic clothing line, Kitsuné has some incredible accessories, ranging from bags to fragrances. Prominently featured in the shop was the full line of Heeley Eau de Parfum fragrances, which I happily sampled with the assistance of its  happy, helpful staff.

Kistune_store8While I was not able to get samples of all the fragrances, they left strong impressions. Esprit du Tigre is an innovative melange of camphor and mint, buoyed by woods and spices. As its name suggests, Verveine d’Eugène is a bright lemon verbena, softened by jasmine and light musk. Sel Marin, starts off with a lemony freshness, which morphs into a salty aquatic, that reminded me slightly of Secretions Magnifiques. Ophelia has the depth of white florals, lightened by green and aquatic notes.

My favorite of the lot, which I was fortuitously able to get a sample of, was Iris de Nuit. Heeley’s interpretation of one of my favorite notes does not disappoint. Heeley combines the chilly grey notes of iris with violet, angelica and ambrette, giving it a fresh and lively feeling. Ambrette has a fantastic, unique plummy scent, which those familiar with Chanel’s Égoïste and No 18 may be familiar with. Rather than shy away from the rooty, carrot-like impression common to orris root, Heeley takes a bold move and emphasizes the sensation by adding carrot seed. At this stage, Heeley’s Iris de Nuit reminds me somewhat of Serge Lutens masterpiece Iris Silver Mist, but the comparison ends there.

In the drydown, Iris de Nuit takes a sensual turn, revealing a warm, luxurious base of cedar and grey amber. While many of my favorite iris fragrances suffer from poor sillage and longevity, Heeley is positively perfect, with nice projection that feels sensual and yet elegant. If you are in NYC, be sure to check out Kitsuné and the Heeley line.  If NYC is not in your travel plans anytime soon, Heeley fragrances can be purchased at several online retailers or here.

Notes: Angelica seed, ambrette, iris, violet, carrot seed, grey amber and white cedar.
iris-de-nuit

Maison Kitsuné at NoMad

1170 Broadway, (212) 481-6010; kitsune.fr.

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Guerlain – Aqua Allegoria Rosa Magnifica

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Guerlain – Aqua Allegoria Rosa Magnifica

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I recently read somewhere that the fragrances produced by Guerlain should be experienced in reverse order if one is to make any sense of the progression of the perfumes released by this great house. One would start out with the simple and accessible post-LVMH La Petite Robe Noir and Aqua Allegoria series, move on to the more sophisticated yet youthful fragrances created by Jean-Paul Guerlain, graduate to the ground-breaking beauties composed by Jacques and Aime Guerlain, until finally experiencing the creations of Pierre-François-Pascal Guerlain which won the house the honor of being royal supplier to the crown. While I wholeheartedly agree with this assessment (and have been wracking my brain to recall who the inspired genius who penned this was) there are a few newer fragrances released by the house which I have found captivating, in spite of their simplicity.

Some of these are from the Aqua Allegoria line first introduced by Guerlain in 1999 as a series of five scents, with the intention of releasing additional fragrances in the line annually. While there is little mention of Mathilde Laurent’s tenure at Guerlain, reportedly due to a falling out with management, it is no surprise to me that some of the best examples in this series were her creations. The original five releases, Herba Fresca, Lavande Velours, Pamplelune, Ylang & Vanille and Rosa Magnifica, are each inspired creations in their own right, and a wonderful introduction to the magic of Guerlain.

Rosa Magnifica is at once a new fragrance and a recollection of other Guerlain masterpieces. As the name implies, Rosa Magnifica is fragrance built around a rose note, rendered in the softness of an Eau de Toilette. Guerlain has a long history of sourcing the best materials, both natural and synthetic, and while this reputation has suffered in post-LVMH years, the rose at the heart of Rosa Magnifica is a delicious, full-bodied bloom. While die-hard Guerlain lovers will have difficulty avoiding a comparison with Nahema, which is the undisputed champion of roses, Rosa Magnifica is a softer, subtler rendition but not without its own merits. The initial difference is apparent in the opening, which is spicy where Nahema is opulent. As the fragrance develops, I am reminded of another one of Guerlain’s masterpieces, Chamade. Rosa Magnifica features a beautiful hyacinth note, giving the rose a brightness and piquancy that give it a subtle lift. Similar to Chamade’s heavenly drydown, Rosa Magnifica is rendered delicate thanks to the introduction of iris and violet, which give it a soft and slightly powdery quality. coral-rose

While Nahema remains the ultimate rose and my number one choice in this category, I enjoyed Rosa Magnifica much more than I expected and I love having a softer, more delicate rose option for those occasions that calls for a bit of subtlety. Unfortunately, Rosa Magnifica was discontinued by Guerlain, along with others in the Aqua Allegoria line which did not fare well commercially. I find this to be a real shame, as there are other newer Aqua Allegorias which I could, quite frankly, do without. Thankfully Rosa Magnifica still pops up every now and then on Ebay and is available from various decant services.

Floral

Notes: Rose, hyacinth, iris and violet

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Serge Lutens – De Profundis

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Serge Lutens – De Profundis

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De Profundis, released in 2011, is centered around the scent of chrysanthemums, a flower which is frequently associated with funerals, and which for many brings to mind somber associations. I made the point of seeking out chrysanthemum blooms to form an unbiased opinion, which I believe is consistent with what Monsieur Lutens was trying to achieve intellectually: to give this lovely flower new life through the power of fragrance. While De Profundis is a realistic impression of chrysanthemum with its spicy floral character, it is much more.

I am always astonished by the ability of the Lutens/Sheldrake team to create perfumes with so much character. Whether one enjoys the resulting creation or not is sometimes besides the point – there is no denying the complexity of Lutens’ fragrances, which always seem to evoke a certain sense of atmosphere. De Profundis goes beyond this point, conveying a sense of presence.

My first impression of the fragrance brought to mind a “paranormal” phenomena known as clairalience – a form of extra-sensory perception where one acquires information primarily through smell. People who experience clairalience will suddenly smell the scent of flowers, a familiar perfume, or some other scent with no visible or logical source, the explanation being that a deceased loved one is making their visitation or “haunting” clearly known by way of a scented manifestation.

Indeed, the character of De Profundis is so memorable as to be haunting. While there is no denying the more somber associations, I find the fragrance to be ethereal not corporeal, the scent of a spirit. The soaring, bright green opening gives way to an abstract spicy floral with a tinge of decay, like flowers past their prime. Despite the presence of indolic notes, the fragrance remains light.Screen Shot 2013-05-04 at 10.40.35 PM

The crisp opening is tempered by a subtle incense which seems to hover over the spicy, sharp bouquet, giving it a depth unusual for a floral. It is this contradiction which helps to make De Profundis so memorable, as it seems to inhabit two distinct realms at once.

Floral

Notes: chrysanthemum, dahlia, lily, violet, earthy notes.

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Editions de Parfums Frederic Malle – Dans Tes Bras

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Editions de Parfums Frederic Malle – Dans Tes Bras

roucel

Violet and heliotrope are among my favorite floral notes, so the 2008 release by Editions de Parfums Frederic Malle sounded like it would be right up my alley. What baffled me was how these light floral notes could be possibly be combined with incense and pine (other favorites) into a fragrance which would be coherent, let alone beautiful. Why I doubted the artistry of Maurice Roucel, prolific creator of perfumes such as 24, Faubourg and Iris Silver Mist, I am not certain, but it is something I will not do again.

This being said, Dans Tes Bras is far from being easily accessible. What starts out as a beautiful violet opening, tinged with a lovely anisic note and slight hint of green, quickly and unexpectedly darkens into a deep and stormy brew. Dans Tes Bras, translated as “in your arms” has all the warmth and depth of a lover’s embrace, the scented equivalent of Edith Piaf’s “La Vie En Rose”. While the lightness of the floral accords recedes into the background, deep notes of pine, patchouli and incense seems to rise up like a dense vortex. The fragrance develops a creamy, warm character that lends a supple richness to the creation. Dans Tes Bras gives me the impression of being wrapped in a billowy cloud: I can see the light, yet I am enveloped within a heavy, charged atmosphere. It feels odd and safe, all at once. embrace_II_1

While Dans Tes Bras is a thoroughly modern composition, there is a soapy, powdery nuance to the fragrance that lends it a vintage character, reminiscent of Lucien Lelong’s Tailspin. My sense is that the cashmeran was responsible for this, an ambery musky note which is often described as cashmere woods in a fragrance. Perhaps my imaginary cloud is the strong, cashmere laden arms of a loved one: strong and warm, yet utterly human.

Floral Woodsy Musk

Notes: heliotrope, jasmine, woodsy notes, patchouli, pine tree, cashmeran, sandalwood, musk, incense and violet.

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Robert Piguet – Fracas

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Robert Piguet – Fracas

tuberose-blossom

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

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

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

Fracas

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

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

Floral

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

 

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Christian Dior – Diorella

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Christian Dior – Diorella

If Diorella had a face, it would be the exquisite beauty of Jane Fonda in Roger Vadim’s 1968 sci-fi, B-movie masterpiece Barbarella. Both reflect a beauty which is disarming, innocent, sensual and yet somewhat strange. Dior released Diorella in 1972, yet another masterpiece created by Edmond Roudnitska.

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Diorella first tempts you with the freshness of lemony greens rounded out with a touch of melon and floral notes, giving the opening a hint of ripeness. Were it to end there, Diorella would have been an attractive, linear warm-weather fragrance, perfect for after a shower. But as is often the case with great beauty, Diorella has an underlying complexity which must be experienced if its beauty is to be fully appreciated.

Regardless of how many times I smell the opening, I am always surprised by a sense of underlying strangeness just beneath the surface, not unlike smelling an approaching storm before one feels the first drop.  As the top dissipates, a savory note of basil begins pushing toward the surface, which seems both out of place and brilliant, hinting at the richness of soil which lies underneath. Diorella is not unlike a flower blooming in reverse, its petals collapsing onto themselves and rolling up into the stem, which then plunges below the surface back into its damp, musky bulb. Diorella takes its time unfolding, each layer becoming increasingly sensual as the earthiness of oakmoss and vetiver settle down into the warmth of patchouli and musk.

If Diorella had sisters (or daughters perhaps), for me they would be Calyx Prescriptives and Cristalle for their green ripeness and Ma Griffe for its mossy magnificence.diorella

Chypre

Notes: Lemon, Peach, Basil, Bergamot, Melon, Green Notes, Honeysuckle, Jasmine, Violet, Rose Bud, Carnation, Cyclamen, Oakmoss, Vanilla, Clove, Sandalwood, Vetiver, Musk, and Patchouli.

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