Light is one of those words I use a lot to describe perfumes. Sometimes I mean the strength of the composition. There are certainly many new releases for whom this applies, especially recently. I use light to often describe those accords and fragrances which feel sunny; citrus, aquatics, or fougeres can all be full of light. Then you encounter a perfume which has as its stated goal to explore light in fragrance and in that experience, realize all those previous ideas of light didn’t tell the whole story; Parfum D’Empire Le Cri de la Lumiere is that one.
Parfum D’Empire is one of the most successful independent perfume brands because of the creative force behind it, Marc-Antoine Corticchiato. M. Corticchiato is not the most prolific perfumers but each of his releases are among the best of the year they are released. Le Cri de la Lumiere qualifies as that for 2017. The name translates roughly into “Cry of Light”. If you look at that you might think the perfume carrying that name would be a full-throated olfactory scream. M. Corticchiato instead works with a minimalist’s efficiency using only four ingredients to create this. It places a burden on those ingredients to not have any rough edges when coming together with the others. In this case, with this perfumer, that is hardly a problem. Each ingredient is chosen such that it provides its own part of the spectrum that become Le Cri de la Lumiere.
The opening moments are dominated by ambrette seeds. These are the most commonly used botanical musk. As a result, they are almost always blended with other notes which tend to cover up the nuances inherent in this ingredient. If you smell ambrette essential oil you will get a definitive vegetal and pear undercurrent. In Le Cri de la Lumiere M. Corticchiato gives the early going exclusively to the ambrette and both of those aspects rise to be noticed. In this form it can focus the musky parts into something less diffuse. In the press materials it is described as “crystalline” but I kept thinking “laser pointer”. There is also a subtle powdery quality which provides the transition to iris in the next phase. You might not think of iris as a “light” note but here it is the powderiness which expands into a bright globe of particles illuminated by the ambrette. Just as it seems this can’t get better Turkish rose appears in a transparent concentration as it colors the pink a deeper shade of red. Once this all comes together it is a lightness I’ve never experienced previously. There is a bit of woods, in the base, but it is this ambrette-iris-rose accord which is the story.
Le Cri de la Lumiere has 8-10 hour longevity and moderate sillage.
Le Cri de la Lumiere is another brilliant creation from M. Corticchiato which has given me new things to think about in my definition of light as it pertains to perfume.
Disclosure: This review is based on a sample from Parfum D’Empire.
If there is something I feel very sure of is that when a perfume I didn’t care for in its first release reaches its fourth iteration; I am not going to feel any differently. Of course, I wouldn’t be starting with that sentence if I hadn’t found an exception. This exception is particularly noteworthy because the version that was released just a few months before it was particularly wretched. This exceptional exception is Valentino Uomo Noir Absolu.
Valentino began their Uomo collection in 2014 with a particularly pedestrian interpretation of the masculine iris fragrance. Last year was an equally uninspired Uomo Intense. At the beginning of this summer Uomo Acqua was described in the press release as evoking the “fading grandeur” of an Italian palace. This had nothing grandiose about it as it was a harsh mixture of aromachemicals that was repellant. When I received my sample of Uomo Noir Absolu I remember thinking, “It couldn’t be worse.” I was right; it was amazing because they chose to go for a real Oriental instead of the faux attempts which preceded this.
Perfumer Sophie Labbe has been responsible for the Uomo collection after Olivier Polge did the original. Mme Labbe breaks through with Uomo Noir Absolu because she actually goes for a darker opulent style of perfume which is diametrically opposed from any other perfume with Valentino Uomo on the bottle. This works by diving straight away to the essence of an Oriental, the base accord.
A spicy duet is the opening movement as Mme Labbe combines cinnamon and black pepper. They are combined in an accord which has presence while also conveying a simmering heat. Incense swirls through this as it is particularly good with both top notes. I’ve always found the combination of black pepper and incense to work together but the cinnamon is also lifted by the resin as well. The iris, which is the connective tissue within the collection, shows its face here as the rootier less powdery version. It is not a focal point but it is also not a complete background player either. It rests on a rich woody base of sandalwood lightened with guaiac wood.
Valentino Uomo Noir Absolu has 10-12 hour longevity and average sillage.
Uomo Noir Absolu is one of the best mainstream fragrances of 2017. It is the ideal perfume for scarves and sweaters as the air turns colder. I should have been able to ignore this collection but Mme Labbe has turned out an exceptional exception of a fragrance.
Disclosure: This review was based on a sample provided by Valentino.
On my latest scavenger hunt at the discount store I was surprised to see the subject of this month’s column, Montblanc Legend Intense, on the shelf. I had always seen this perfume as correcting all the flaws I found in the original Montblanc Intense which deservedly has been in the discount bin for years. Most of the times flankers are either cynical seasonal editions or complete re-workings. Montblanc Legend Intense was something different.
Montblanc Intense was released in 2011 by perfumer Olivier Pescheux. It was a wan attempt at a fruity fougere using pineapple and apple. The whole composition felt thin like it was missing something in support. It wasn’t anything I was going to remember until a couple years later while walking through the mall and being handed a strip. As I sniffed I thought this is very good, I asked the sales rep and she showed me the Montblanc Legend Intense bottle. I realized that this was the new and improved version of Legend. Now all the empty spaces were filled in to create something to remember.
In the original the opening of pineapple was given no help by the addition of coumarin and verbena. For Legend Intense M. Pescheux switches those out for cardamom and Pepperwood. What these notes do is lift up the pineapple into a crispness which was never apparent in the original. For the heart apple is again the keynote. This time M. Pescheux again goes for a crisp effect around the fruit using cedar, and the rose-apple aromachemical Pomarose. Everything about the opening is better it has clear delineated structure around a set of two fruit notes. The base is even better for the changes. This time M. Pescheux goes all in with a mixture of the most powerful woody aromachemicals mixing a potent cocktail of Ambroxan, Karanal, and Okoumal. These combine to form a long-lasting woody foundation.
Legend Intense has 16-18 hour longevity and average sillage.
I always think of Legend Intense as M. Pescheux’s second bite of the pineapple. I certainly believe it is a much better perfume in every way that I can quantify that statement. I had thought it to be a perennial best-seller but perhaps its days at the mall have passed. So much the better because it makes Legend Intense a Discount Diamond.
Disclosure: This review is based on a bottle I purchased.
Of the many things I learned working with Michelyn Camen, the EIC of CaFleureBon, was an appreciation of how visual art intersected with olfactory art. Her addition of just the perfect choices of visual cues to match the words of the writers who worked for her has made that one of the signatures of CaFleureBon. One of the things I enjoyed most was when she would give me some deep cuts in artists I thought I knew well. One of those was Gustav Klimt. I knew of the famous “The Kiss” but there were others from his “Golden Phase” which I would learn of. One was a portrait of Adele Bloch-Bauer which has been called the Austrian Mona Lisa. They are paintings which feel like naturals to be paired with fragrance. Kilian Hennessy also must believe that too as they become the latest inspiration for the newest collection from By Kilian; From Dusk to Dawn. The one called Woman in Gold is the one attached to the painting of Adele Bloch-Bauer below.
Adele Bloch-Bauer I by Gustav Klimt (1907)
M. Hennessy collaborates again with his most frequent perfumed muse Calice Becker. They were looking for “the contrasts between shadow and light”. I would also remark they were looking for the golden glow of Hr. Klimt’s paintings, too.
Mme Becker opens with a rich bergamot oil to give off a golden sunburst. This is not the typical opening as the bergamot has a shimmery quality which reveals a multi-faceted rose underneath. This is where the shadows reside in Woman in Gold. Geranium pairs with the rose to provide a translucent green lens to observe it through. The whole construct turns warm with vanilla as it infuses the floral heart. Then Mme Becker takes the patchouli bio-isolate Akigalawood to provide a slightly spicy version of patchouli which bridges the rose while contrasting the vanilla. It settles in to a powerful accord of all three in perfect harmony.
Woman in Gold has 12-14 hour longevity and above average siilage. This is one to be cautious in spraying, a little goes a long way.
This is a cold weather rosy vanilla it reminds me a lot of another rose creation in the brand Rose Oud. In both cases the keynotes are given the room to shine. In the case of Woman in Gold I guess I should say it glitters.
Disclosure: this review is based on a sample provided by By Kilian.
A few years ago, I went to the museum to see one of the more macabre exhibitions I have attended. From the moment archeologists began to excavate the city of Pompeii covered under the ash of the volcano Vesuvius’ explosion in 79 AD they discovered the bodies were preserved in a protective shell of ash. If they cautiously poured plaster inside that delicate framework they could create something solid from the ashes. To see the results of this work gathered in exhibition is to see a snapshot of death. Besides that, there was much to discover from these plaster casts which continues to the present day. Just a couple years ago they used 3-D techniques to determine the people of Pompeii were remarkably healthy some of them with “perfect teeth”. I remember having it inhabit my thoughts for days afterward thinking how death becomes an historical document through the shape of ashes. I was reminded of these thoughts by Mendittorosa Talismans Osang.
The creative director Stefania Squeglia grew up in Naples with Vesuvius able to be seen on the horizon. The name Osang comes from the annual San Gennaro festival in the city during which the dried blood of the saint is presented to the public. If it liquifies all will be well but if it stays dried….well Vesuvius is waiting. This is in keeping with the Talismans collection where the perfumes are inspired by artifacts which ward off the bad things in life.
Sig.ra Squeglia has created a very personal fragrance to the point that she does not reveal the perfumer she worked with on it. Osang is what she promises it to be except instead of it liquefying into the blood of San Gennaro Osang comes closer to representing the ashes portended by the blood staying dried. It leads to some very odd choices of ingredients which successfully accomplish the effect of a sky full of ashes.
The keynote to Osang is a fenugreek extraction being used in overdose. It appears right away and in the first moments it is sort of a watery vegetal effect which strengthens rapidly into a urine-like pungency. That effect is enhanced by using honey which also can feel urinous. The other note in the early going which provides the breath of fire is Szechuan pepper. This ingredient has been used a lot over the last couple of years but the use here comes closest to mimicking the real thing. It imparts a heat while also adding a kind of choking mustiness. This all transitions into a set of resins and balms in the base accord. Benzoin, styrax, incense, and peru balsam combine to form its own sort of ashy burn. Sandalwood seemingly provides some comfort, until oud joins it, charring even that short respite.
Osang has 12-14 hour longevity and moderate sillage.
I admire Sig.ra Squeglia’s dedication to her vision. Osang is an expertly constructed piece of perfumed art which achieves its stated goals. On that level it succeeds. On the level of “do I smell good?” it is more problematic. Because of the nature of the perfume I found it wasn’t comforting but that it put me on edge the days I wore it. Even smelling it on a strip to remind myself of it while writing this I can feel it provoking some of those feelings again. Which leads to a greater question about the art of perfumery. I think Osang is as good as it gets in realizing its artistic ambitions. It is just not something I would want to wear often. It is similar to my visit to the exhibition of the Pompeii plaster casts; the shape of ashes are disturbing but you can’t look away. Osang is great art within a delicate shell of ashes and death.
Disclosure: This review is based on a sample provided by Medittorosa.
Every year I attend New York Comic Con it seems like I discover a new comic while standing on line for something else. This year it was author Delilah S. Dawson who was sitting at the Boom! Studios booth. In front of her was a comic named Ladycastle. By the time I had moved away I had the first issue in my bag. I would download the remaining three issues on my bus ride home to finish the series.
I knew of Ms. Dawson through her urban fantasy series on the world of Sang where she fuses steampunk, vampires, and romance together. They were good reads but it isn’t one of my favorite series in the genre. When I asked what Ladycastle was about I was told that the men all rode away on a quest only to be killed leaving only the women behind to defend the castle from the monsters. I am a fan of twists on fairy tale formulas so that was enough to get me to buy the first issue.
Delilah S. Dawson
What greeted me on the pages drawn by artist Ashley A. Woods was better than that description. It is what happens when the women of Mancastle realize they’re in charge; first the name changes. The opening of the comic is Princess Aeve who wakes up and immediately breaks into song. Through her overture we meet the other women in the story while we learn Aeve is only valuable to the kingdom as part of a marriage. Aeve is the prototype princess. When the news is given to the women there is a moment when the new Queen goes up and releases Aeve from her room atop the tower. She asks, “Can I come out now?” when she is told she can there is a moment where she stands in front of a mirror and cuts off her flowing hair signaling the princess is ready to do her part in the defense of Ladycastle.
Ashley A. Woods
Ms. Dawson crafts a fun twist as the women are not all bluster and bludgeon. They find more creative ways to deal with the monsters who show up. It is another in the string of pop culture female empowerment stories which have remembered a message can also be fun. Ms. Woods’ drawing style is assured with a fairy tale palette of colors it is what this story needs to go with the words.
If you like the television show Once Upon a Time or you found the movie Wonder Woman another fun tale of women taking charge I think Ladycastle will be something you’ll enjoy. The four issues of the comic have just been collected in a single trade paperback volume so the entire story is available to read.
Nature offers up some wonderful contrasts of extremes. None more surprising and ephemeral than snow in the Sahara Desert. It has happened twice in the town known as “The Gateway to the Desert”. Ain Sefra in Algeria. Once in 1979 and again in December of 2016. For the most recent occurance photographer Karim Bouchetata was there to capture it. When you look at the picture below it almost looks like exotic dessert instead of desert. The perfumer behind The House of Oud was inspired to create perfume based on this called Wonderly.
Snow in the Sahara December 2016 (Photo: Karim Bouchetata)
The House of Oud was founded by perfumer Andrea Casotti and Indonesian oud distiller Mohammed Nashi. They released their debut collection in June of 2016. As you might suspect the expertise of M. Nashi in sourcing oud was displayed throughout. Of those initial releases the most intriguing was a limited edition called Crop 2016 featuring a rare green tinted oud from Kalimantan in Borneo. I had never smelled anything like it and Sig. Casotti surrounded it with a “tea in the Sahara” theme which displayed all the uniqueness of the keynote. When I received my sample of Wonderly I was surprised to find a fragrance intent on capturing the dichotomy of snow upon the dunes.
I imagine if I asked many of you to describe a perfume trying to capture the snow and sand combination fruity floral would not be where you might start. When I first tried it on a strip I was initially thinking if this was the best choice to represent the snow. Then I realized the snow in the Sahara is itself an anomaly and a fragrance should look for something anomalous to portray the event.
The fruity top accord is the tart goji berry combined with apricot and almond flower. The accord comes off as a juicy fruity accord with some nutty facets. For Wonderly, Sig. Casotti uses white flowers as his snow; neroli and jasmine primarily. Then in a clever twist a bit of orris is applied underneath to represent the sand beneath the snow. For a long time, it is just the orris pushing against the “snow”; over time a resinous mixture of myrrh, and incense begin to figuratively provide a thawing effect. Sandalwood, vanilla, and the powdery musk Cosmone add the finish as the desert takes its normal place on top.
Wonderly has 8-10 hour longevity and moderate sillage.
I like Wonderly because Sig. Casotti didn’t bring a selection of chilly notes to represent the snow but instead took a different tack. The result is as layered as snow in the Sahara.
Disclosure: this review is based on a sample from The House of Oud.
One of the great parts of writing about perfume is the wide variety of fragrance which is available. One of the things which particularly pleases me is that even on the lower priced end of the spectrum there are some excellent perfumes being produced. Ever since I started Colognoisseur a friend I’ve known since high school has kept me supplied with the latest offerings from Avon. The brand is undergoing a transformation within their fragrance offerings getting better while following the current trends more closely. When I was sent the new Holiday offering for 2017, Prima Noir, I kept going back to the strip it was sprayed on during the first night as I was comparing to the other samples I had received in the mail. I came to the realization that on this night the best thing in front of me was Prima Noir.
This more forward-thinking approach to perfume has come under the stewardship of Isabel Lopes who has been overseeing this part of Avon since 2014. There has been an obvious uptick in the releases over that time. There has also been a more focused PR campaign which matches some of their department store competitors. Prima Noir is the flanker to 2015’s Prima both are represented by American Ballet Theatre dancer Courtney Lavine. Prima was a rose and patchouli representation of flowing pink silk as it ripples in the air during a grand jete. It was meant to be an everyday perfume. Prima Noir also has Ms. Levine as its face but instead of leaping through the air she is pirouetting in place concentrating the colors of her costume. Prima Noir mixes violet, jasmine, and vanilla in a dynamic rotation.
The perfumer behind Prima Noir is David Apel who has worked this style of fragrance for some of his niche clients. I think that shows here because he finds some nice ways of presenting the three ingredients. It starts with the violet as it dances like this perfume’s sugar violet fairy. It dances with the sweeter candied version of the flower inviting you in. The jasmine is one of the expansive synthetic versions scrubbed clean of the obstreperous indoles in place of a contained effect of pure flower power. As the violet inserts itself within the bubble the jasmine provides it is like a petaled snow globe. The depth and the noir part come courtesy of a rich vanilla base note. Mr. Apel tunes this so that it never becomes cloying it instead offers a subtler shading of vanilla. What then happens is the violet, jasmine, and vanilla all combine into a cozy winter accord which lasts for hours.
Prima Noir has 12-14 hours longevity and average sillage.
On the days I wore this I got several compliments from my co-workers. I am used to them asking me, “what are you wearing today?” Most of the time my answer is disappointing due to price or availability. This time the smiles which broke out when I answered, “Avon Prima Noir” told me my local rep was going to get some calls. If you haven’t checked out Avon in years Prima Noir is an excellent example of the changes on the fragrance side of the brand for the better.
Disclosure: This review is based on a sample provided by Avon.
Independent perfumer Josh Meyer has been producing perfume for his Imaginary Authors brand since 2012. He has embodied that indie ethos of doing things his own way. From the start his fragrances showed a lot of promise but they also felt like we were undergoing some on-the-job training with him. This leads to a place where if there is something there all the lessons learned come together and there is a period of sustained creativity. In my estimation that happened with 2014’s Yesterday Haze. Since that release there has been not only releases for Imaginary Authors, but also a collection for Portland, OR store The Sum and a collaboration with Sam Rader of Dasein on Winter Nights. Through all of this I have felt like the work for The Sum was him experimenting with restraint which has been in short supply in his original brand. Winter Nights was a true collaboration which wove magic as Ms. Rader and he found an incredibly balanced construct. All of this comes home in Imaginary Authors O, Unknown!
The faux literary inspiration for O, Unknown! is the final installment of the Philip Sava trilogy who was the author behind Memoirs of a Trespasser and Cape Heartache. For O, Unknown! Mr. Sava is faced with his mortality he tells, “the story of a man grappling with the meaning of life as he grasps to life’s last vestiges.”
The perfume captures the final wanderings of our author as he moved from Bangladesh into Nepal, Tibet and rural China. This translates into the rich black tea found in Bangladesh and the Chinese Lapsang Souchong over a traveler’s accord which captures the final journey.
Mr. Meyer takes black tea and combines it with a tincture of Lapsang Souchong. The tincture has the effect of pulling the focus to the tea instead of the smokiness. It is there but it lilts instead of creating a fog. It is a gorgeously realized delicacy unlike any other beginning Mr. Meyer has used before. The keynote for O, Unknown! Is a rich orris butter where the powdery is jettisoned in place of the rhizomal earthiness. It is that which provides some weight to the tea accord. This all leads to a forest walk of sandalwood, moss, and musk as the last hike ends.
O, Unknown! has 8-10 hour longevity and moderate sillage.
This is the best perfume Mr. Meyer has made because he is willing to walk the tightrope of delicacy and heft. O, Unknown! has the ability to stay high in the clouds while keeping the ground below in sight. This might be the final story of our imaginary author but it the best perfume by the non-imaginary perfume author behind it.
Disclosure: This review is based on a sample provided by Imaginary Authors.
One of the fun things about the gathering of perfume lovers that the internet spawned was when lemmings were spawned. The typical life cycle for this was for someone to stumble over a press release describing a perfume to come which sounded amazing. The next stage was a general amplification of desire as it was imagined what it would smell like. Then the first people would get the chance to try it. If they came back and reported it was as good, or better, the stampede was initiated, and we rushed headlong to the cliff…um…I mean the store. The final stage was a kind of post-coital languor as we all talked about how good it was. In 2008 one of the largest lemmings ever born was Comme des Garcons x Monocle Scent One: Hinoki.
Comme des Garcons had serious perfumista cred in 2008 as creative director Christian Astuguevieille had defined what it meant to be a niche fragrance. Merging that aesthetic with a non-fragrance brand was another interesting step. Monocle was a lifestyle magazine founded by Tyler Brule in 2007, Besides lifestyle there were also international affairs stories in between the sleek furniture and cutting-edge fashion. The sensibilities seemed like a good match.
Towards the end of 2007 it was announced that the first perfume from this collaboration was going to be called Scent One: Hinoki. Perfumer Antoine Maisondieu was going to bring the juice to life. Scent One: Hinoki was meant to evoke a soak in a hinoki wood tub amidst a pine forest in Japan. What was great about this perfume when we were in the imagining what it would smell like phase of the lemming cycle was the inclusion of this top note, turpentine. Turpentine? You mean mineral spirits? Lots of debate on whether that was going to be good or not. It, plus another challenging note, would become the acid test on whether it was worth the chase.
That other note is camphor and along with the turpentine that is what you get at the start. It is challenging in a nose wrinkling kind of way. When I first tried it on a paper strip it put me off in a big way. When I finally put some on my skin it was completely different as the challenging aspects became more diffused on my skin. Then the camphor and turpentine turn into a raw wood accord. If you’ve ever worked with green wood this is the smell of that. As that fades a more finished wood appears; cypress and pine are the choices. Green is introduced via vetiver, thyme, and moss adding back some of the rawer character lost with the more refined woods ascension. In the base the incense burning just outside the tub swirls over it all.
Scent One: Hinoki has 6-8 hour longevity and average sillage.
During 2008 I was tracking what the most reported scents in the Scent of the Day thread in the forum were. On the men’s forum Scent One: Hinoki was one of the top 5 for the year. The really final stage of a lemming is it is forgotten as the crowd chases the next one. Scent One: Hinoki is good enough it shouldn’t be forgotten or found Under the Radar.
Disclosure: This review is based on a bottle I purchased.