Hermès – Un Jardin en Mediterranée

Hermès – Un Jardin en Mediterranée

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No summer reveries of fig fragrances would be complete without the beauty of Jean-Claude Ellena’s 2003 Un Jardin en Mediterranée. While I would be loathe to try and select a favorite fig scent (or a favorite fragrance for that matter), Un Jardin en Mediterranée takes me the closest to a Mediterranean summer fantasy.

Un Jardin combines all the elements of my olfactory vacation in a bottle: the salty warmth of the sea air, the sparkling bite of citrus, the earthy green tang of figs and the subtle magic of a stroll through a grove of trees warmed by a day full of sunshine.

After!

Un Jardin en Mediterranée is fairly linear. The citrus opening has just a touch of sweetness, a hint of the juicy fig to come.  While one might expect all of this fruit to be cloying for a summer-themed fragrance, the overall effect is very light, true to Ellena’s style. All throughout, woods and light musk lend a subtle twilight quality to the fragrance which keep it subdued and elegant.

Un Jardin en Mediterranée wears close to the skin, lending a sense of intimacy to its character. It is light and fairly uncomplicated, making it a perfect companion for the carefree days of summer. I can almost feel the warm summer breeze blowing through my hair…

Fruity Woods

Notes: Citrus Notes, Orange Blossom, White Floral Notes, Fig, Woods, Musk.

 

Lubin – Idole Vintage

Lubin – Idole Vintage

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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.

00482-lubin-1912-hprints-comIdole 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

L.T. Piver – Cuir

LIGNE-PIVER-CUIRWhile 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 imagesoriginally 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 140

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

 

 

Charbert – Ambre

Charbert – Ambre

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One of the challenges of vintage perfumery involves researching brands which have not survived the test of popular sentiment. Every once in a while I will stumble upon a fragrance for which I am unable to get much background on, both in terms of its composition or information on the house that created it. When the fragrance is as unique as Charbert Ambre, it can be especially confounding, as there is no explanation for why this house closed its doors, leaving this unique creation all but lost to time.

According to Nigel Groom’s New Perfume Handbook, Parfums Charbert was founded in 1933 by William Gaxton and Herbert Harris. The firm, which was based in New York, produced both perfumes and cosmetics for the middle market of American consumers. The firm had a trademark drum shaped flacon (see photo at right) which housed many of its perfumes, including Ambre. Ambre was released in 1940 and by all accounts, Charbert ceased operating approximately twenty years later in 1963.

Ambre starts off with a soapy, green opening somewhat reminiscent of Lucien Lelong’s Tailspin. These are not the soapy aldehydes of a Chanel No 5, instead, Ambre’s opening feels like the precious little soaps that one sets out in a guest bathroom to give visitors a sense of luxury. Unlike other “green” openings, Ambre feels neither overly sharp or medicinal, coming across instead as fairly soft and warm. The true beauty of this fragrance however lies in its heart and base, which reveals a warm, vanillic amber, soft and velvety smooth. The base reveals subtle hints of spice and woods, but they serve to round out and deepen the amber, without competing for dominance.

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For those accustomed to bold amber fragrances such as Serge Lutens’s Ambre Sultan or even L’Ambre des Merveilles by Hermes, Charbert’s interpretation may seem somewhat tame. The fragrance features an average sillage and longevity, making it suitable for wear in various situations and occasions. This makes it an amber fragrance uniquely suited to the Spring and Summer months, when this fragrance category can feel a bit stifling. If anyone out there has more background on Charbert, I would love to hear about it.

Amber Oriental

Notes: Green notes, aldehydes, vanilla, amber, spices, resin, woods and musk.

Cartier – Eau de Cartier Goutte de Rose

Cartier – Eau de Cartier Goutte de Rose

 

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Twelve years after the launch of their best-selling Eau de Cartier, Cartier has released Eau de Cartier Goutte de Rose, the latest flanker in the line that brought us Eau de Cartier Essence de Bois (2011) and Eau de Cartier Essence d’Orange (2010). The January 2013 release is sure to be extremely popular as the temperature rises, as it is a light and easy-to-wear fragrance. On the morning I went to obtain my sample, the SA at my local Sephora had sold 8 bottles within the first 20 minutes of opening.

Goutte de Rose is based on the general Eau de Cartier storyline, a light woodsy fragrance with a touch of amber. Goutte de Rose which translates as “drop of rose” is true to its name, adding a slight rose note to the original creation. The fragrance has a crisp green opening which feels similar to the house’s other creations but more mellow in scope. The rose quickly comes to the forefront, though it very light, as though one entered a room and smelled a bouquet of roses set on a mantelpiece from afar.

As the fragrance settles, the original Eau de Cartier makes its appearance as the fragrance takes on a woody character, warmed by amber and a light vanilla note. The rose seems to hover in and out of focus, but on my skin the wood and amber are predominant. Eau de Cartier Goutte de Rose was created by the uber-talented Mathilde Laurent, in-house perfumer for Cartier since 2005. Goutte de Rose is a lovely, light fragrance that reflects the understated elegance of this house. I only wish Goutte de Rose had a little more heft. For a comparison of Eau de Cartier Goutte de Rose against other current rose releases, be sure to check out the review by Bois de Jasmin.

Floral

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Mathilde Laurent

Notes: Rose, woods, amber and vanilla

 

Lucien Lelong – Balalaika

Lucien Lelong – Balalaika

Lucien Lelong

One of the advantages of having friends who share an interest in perfumery, is the exponentially increased access to various fragrances, especially vintage or niche items. A friend of mine recently acquired a bottle of Balalaika by Lucien Lelong and was kind enough to allow me to sample for review purposes. Named for a three-stringed, triangular, Russian folk instrument, the name alone held the promise of the exotic.

Lucien Lelong was a French coutourier who gained considerable popularity between the 1920s and 1940s. He favored a fluid, draping style for women, one that would move with its wearer. As a result, many of his creations appear distinctly modern today. Lelong did not create his own designs, rather, he oversaw and directed a team of designers which included Christian Dior at one point. He is credited with rescuing the Parisian fashion scene from forced migration to Berlin during the Nazi occupation, arguing that talent of this quality and calibre had taken generations to develop, and could not simply be reproduced or taught overnight. The Lelong house began producing fine fragrances in 1924 and is still in existence today.

While Balalaika did not smell too promising to me upon first application, my patience was rewarded. While I do not have another sample for comparison purposes, my impression was that the Mandarin top note may have deteriorated slightly, as it came across a bit brash and pungent.  This impression was brief however as the fragrance soon took on a lovely warm character. At the heart of Balalaika is an earthy, woodsy quality made lush by a combination of rosewood, gardenia and violet, just as the name might indicate. The wood and musk basenotes appeared fairly early on, giving the fragrance a distinct earthy odor, reminiscent of ancient tomes in a vast library. Despite the strong opening, the fragrance is fairly mild-mannered and light, however, I only tested the Cologne concentration. While the fragrance lasted through the day, it wore close to the skin, with minimal sillage. I have no doubt that Balalaika’s unique combination of woods and flowers would be exquisite in a parfum concentration, but for now, I will have to content myself with my imagination.

Natalie Paley, wife and muse of Lucien Lelong

Natalie Paley, wife and muse of Lucien Lelong

While many vintage perfumes are still widely discussed, I have seen little mention of Balalaika. It may be that the musty, earthy quality renders it too “dated” for some but it nevertheless is an artful creation and one which I consider myself supremely fortunate to have experienced.

 

Notes: Gardenia, Woods, Mandarin, Musk, Rosewood, Vanilla, Violet