When Nicolas Chabot acquired the rights to Le Galion he also acquired the original notebooks perfumer Paul Vacher wrote down his recipes in. For most of the collection perfumer Thomas Fontaine was required to lend a hand to update these formulae. Whip and Eau Noble were two of the three that were able to be reconstructed without change from what was written in M. Vacher’s notebook. Both of them share some similarities in that they are floral citrus cologne compositions. That they were separated by almost twenty years shows an interesting difference in what M. Vacher thought a cologne should smell like in 1953 and 1972.
Whip was the one from 1953 and of all of the perfumes in this very excellent collection is my favorite. M. Vacher creates a cologne full of bullwhip-like pops of percussive notes. He takes traditional cologne architecture and snaps in spices in between. Then a very green jasmine heart leads to a greener base over the supple coils of the whip.
The best colognes all have a bit of an olfactory snap to them from the first moments. Whip ups that to something that lives up to its name. M. Vacher marries lemon, bergamot and lavender but then lashes them with high concentrations of tarragon and cardamom. I really like this beginning it gets my attention and it is fascinating. The heart is jasmine and violet again lashed with a healthy amount of galbanum. This forms a floral encased in green which is dominant and very spiky. The green theme continues into the base as oak moss, vetiver, and a little patchouli usher Whip towards its end. In the very end the titular leather of the fragrant whip forms the final accord.
Whip has 8-10 hour longevity and above average sillage.
Eau Noble would be the last perfume by M. Vacher before his death in 1975. As in Whip he is again exploring a citrus floral leather trio in a cologne structure. Where Whip is all about power Eau Noble is much gentler, a more subtle perfume experience. It also reflects the prevailing trend towards citrus focused fragrances that Edmond Roudnitska has ushered into style in 1966 with Eau Sauvage.
Eau Noble, like Whip, uses lemon and bergamot on top but this time there is only a bit of galbanum to turn the citrus aspect more towards the rind than the pulp. It modulates the citrus into something softer. Lavender and sage form the heart of Eau Noble and here it takes on almost classic cologne formula with sage substituting for the rosemary. We finish with a leather accord of patchouli, oak moss, and musk. This is a soft supple leather befitting the softer nature of Eau Noble. Cedar provides a bit of woody framing at the end as well.
Eau Noble has 6-8 hours of longevity and average sillage.
Disclosure: These reviews were based on samples provided by Le Galion.
In Iris and Tubereuse, Le Galion perfumer Paul Vacher wanted to create beautiful soliflores. With 1950’s La Rose he was not interested in adding to the rose soliflores out there he wanted to create a full-throated rose fragrance that would make a larger-than-life version of the bloom. It is said in the press materials that M. Vacher smelled over 70 species of rose to find the right one for La Rose. I am not sure if perfumer Thomas Fontaine who is in charge of the re-formulation of La Rose was able to find that specific species but whatever he has found has a special character to it and makes La Rose feel like one in a million, or at least one in seventy.
The opening is violet leaf and bergamot. The violet leaf sets the stage like the green surrounding a rose bud. In the heart this imaginary rose bud bursts into life sending out waves of floral sweetness. The rose used here has a subtle fruitiness which is amplified by a bit of peach to allow it to flourish. There is also a lovely dewy quality as if this rose has bloomed in the early morning capturing dew drops within the petals. La Rose finishes with a patchouli and cedar pair of base notes and they are also very pronounced. La Rose is no soliflore it is exponentially rendered rose exquisitely done.
La Rose has 8-10 hour longevity and prodigious sillage.
When I sat down with owner of Le Galion Nicolas Chabot at Esxence to try out the line he made a very wise choice on which fragrance to show me first, Snob. First the name itself brings a smile to my face simply because I am a snob about so many things, especially perfume. As I raised the strip to my nose and smelled I immediately understood why everyone was buzzing about Le Galion. Snob was created in 1952 but this could have been created in 2052 because it seems so forward thinking in its construction and aesthetic. Snob at its most basic is a white flower fragrance but it is a perfume for a lover of fragrance because hidden throughout its construction are buried grace notes which add pleasure enough to satisfy any perfume snob. I also have to mention that M. Fontaine’s re-formulation here had to be extremely difficult to achieve this kind of delicate complexity using modern materials.
Snob opens on a pedestrian combo of bergamot and mandarin but just underneath there is something decidedly less ubiquitous as saffron and crisp apple turn the pedestrian into provocative. It was this initial sniff which made me think these Le Galion perfumes were going to be special. The heart breaks out a chorus of floral notes centered on jasmine and orange blossom radiating their indolic beauty. Iris adds powdery contrast while rose adds a hint of spicy floralcy. Together they proudly lift their floral nose high in the air the better to look down on those other mere perfumes. The base is sandalwood and a cocktail of white musks. There is not a moment when I am wearing Snob that this feels like a creation from 62 years ago it feel like it was from 62 minutes ago.
Snob has 8-10 hour longevity and significant sillage.
Disclosure: This review was based on samples provided by Le Galion.
The second soliflore from Le Galion is Tubereuse and it was these creations of specific soliflores that inspired perfumer Paul Vacher to branch out on his own. As a perfumer he was drawn to the creative challenge in essentially creating a perfume featuring one singular note. What I have always enjoyed is seeing the different visions every perfumer brings to their version of a fragrance of a single flower. M. Vacher’s vision for Tubereuse is very different than most other tuberose soliflores out there. Tuberose is a floral that is hard to like, for many, and one of the reasons they will cite is that it is too much, too bold, too flowery. In short tuberose is a pushy note. M. Vacher wanted to display a softer side of tuberose and he has made a downy soft version of it in Tubereuse.
M. Vacher, I believe understood that the natural exuberance of tuberose, if turned inward, could create a special effect and so the construction of Tubereuse is all about taking the showy aspects of tuberose and calming them down. The taming of tuberose starts with a fruity foil of raspberry and pear. You might think this would make the tuberose sweeter but it has an effect here of adding a crisp fruity quality more than sweetness. Galbanum and mandarin also provide opposition to the sweeter nature. It takes all of this to keep tuberose from getting out of control and it works surprisingly well. In the current day of fruity florals this exudes a sophistication not often seen within the genre. Tuberose displays its floral charms in the heart but it also has competition from rose and orange blossom to, again, temper the tuberose. The base uses cedar to add a clean woody outline to allow amber and musk the opportunity to welcome tuberose to the finish.
Tubereuse has 8-10 hour longevity and modest sillage, unusually modest for a tuberose fragrance. If you’re looking for an office friendly tuberose this might be the one.
There are three of the nine fragrances in this re-launch of Le Galion which were able to be re-made from M. Vacher’s original recipes, 1947’s Special for Gentlemen is one of them. At this point Le Galion has survived World War 2 and France was beginning its post-war revival as the center of style. M. Vacher has positioned Le Galion as a major perfume player in that. Along with Jean Carles he would create the iconinc Miss Dior also in 1947. For his own line he wanted a gentlemen’s fragrance that also exhibited a savoir faire. I wonder if he envisioned a stylish Parisian couple wearing these two fragrances walking alongside the Seine as he composed Special for Gentlemen. It is definitely a throwback to a time when men wanted a fragrance that was less clean and had some oomph to it.
Special for Gentlemen opens on a duet of lavender and galbanum. I like this combination a lot as galbanum reminds me that lavender has a bitter underpinning lurking underneath the more familiar floralcy. Cinnamon and labdanum hold the central part of the development and as with the tuberose in Tubereuse M. Vacher makes the cinnamon atypically soft. The use of the labdanum is what makes this work as it provides foundation for the cinnamon to push against. The base is castoreum modulated with a bit of vanilla, oak moss, and patchouli. This is the kind of animalic finish masculine fragrances had until the words “Sport” started showing up on bottles. Special for Gentlemen reminds me how much I miss those perfumes and how happy I am that the pendulum might be swinging back a bit.
Special for Gentlemen has 6-8 hours of longevity and moderate sillage. This is for a night out on the town.
Disclosure: This review was based on samples provided by Le Galion.
If you remember anything about Le Galion you probably remember Sortilege. Sortilege was the first perfume Paul Vacher created for his brand new Le Galion line in 1936. By this time the use of aldehydes had become de rigeur in perfumery and M. Vacher wanted to create his version of a floral aldehyde as his first fragrance. M. Vacher created three distinct floral layers before his base notes set things into a deep musky foundation. Thomas Fontaine’s challenge in re-formulating was to get that layered effect and to keep the depth in the base while using modern ingredients that could replace the restricted earlier ingredients.
When it comes to the perfumes of this era there is almost a “No.5” like intensity to any aldehydic perfume and the early moments of Sortilege are no different. The aldehydes carry energy and power with which to elevate the floral layers to come. The first layer is muguet, lilac and ylang ylang. Muguet provides a bit of green, lilac a bit of light floral and ylang ylang sweetness. The second layer is provided by jasmine, narcissus and a tiny bit of mimosa. This is indolic white flower territory and it is pure and extensive reaching for the bass notes of the florals. The remaining aldehydes add a bit of St. Elmo’s Fire crackling around the perimeter. The last floral layer is rose and iris and the transition from indolic to pure beautiful rose underpinned by the powdery aspects of the iris is striking and it occurs languidly as the rose seductively pushes its way forward and eventually the trailing iris catches up and adds to the effect. The base leaves all of this floral stuff behind as sandalwood, musk, vetiver, and amber combine into a musky woody finish. M. Fontaine pulls off the musk here especially well as it has the power of the old nitro musks M. Vacher undoubtedly used in 1936 but M. Fontaine cannot use in 2014.
Sortilege has 10-12 hour longevity and prodigious sillage.
M. Vacher followed up Sortilege a year later with his first soliflore Iris. Iris is a deceptively simple construction with much of the pleasure coming from the places where the simplicity of the phases overlap. Iris reminds me of something much more modern and it is hard for me to accept that this was made 77 years ago. If I sniffed this blind I would spend a lot of time naming current perfumers for whom Iris feels like their style. This is also one of the many reasons I like the whole Le Galion line so very much. While these are vintage fragrances made fresh through M. Fontaine’s efforts they feel much more contemporary to me. Iris perhaps is the one which carries this characteristic the most of any of the Le Galion fragrances.
Iris opens up with the iris and it is matched with green mimosa and ambrette seed. The iris used here is very powdery and these notes accentuate that quality. Galbanum adds a green intermezzo before lily and rose return the powdery feel. The base notes are cedar and amber which provide a delineated framework for the iris to take root upon.
Iris has 8-10 hour longevity and modest sillage.
Disclosure: This review was based on samples provided by Le Galion.
Editor’s Note: Sortilege has never been out of print in the US because Irma Shorell of Long Lost Perfume has provided her re-formulation of Sortilege for many years and she holds a US Patent for the rights to Sortilege in the US. As such that might mean the Le Galion Sortilege reviewed above may only be available in markets outside the US.
It is exciting to be in a place where you can feel an organic groundswell of approval begin to form. When I attended Esxence in March of 2014 I watched this happen. Esxence is one of the largest perfume expositions in the world and their well curated exhibitors show off the best of niche perfumery. As such it attracts a pretty knowledgeable crowd and as you meet people the most common question you ask is, “Smelled anything good?” Everyone usually has a different answer but when you start hearing the same answer from a number of people you might want to make sure to check it out. This year the answer to that question was almost overwhelmingly, “Have you tried Le Galion yet?” I met Roja Dove in the lobby of our hotel on the morning of day two and this was the exchange we had. I had already heard enough the previous day and so set out to visit the booth.
When I arrived Nicolas Chabot greeted me and told me the story of the line. In 1936 perfumer Paul Vacher purchased Le Galion so he could produce his own fragrances. M. Vacher was most known for his Lanvin fragrances that he co-created with Andre Fraysse; Scandal and Arpege. He would work for other houses as he continued to expand Le Galion, most notably working with Jean Carles to create Miss Dior in 1947. M. Vacher would guide Le Galion through the post-war world and continue to make perfume for Le Galion until his death in 1975. The brand was sold in 1980 and was mismanaged into oblivion; another classic line of perfume lost, or so it seemed.
M. Chabot acquired the brand and began the work of resurrecting it. One bit of good fortune was unearthing M. Vacher’s original notebooks containing the recipes for all of the perfumes he created for Le Galion. Obviously one of the challenges for bringing back to life perfume that was created originally in the early 20th century is the sourcing of some of the raw materials and the restrictions don’t allow for the ability to just use the same ingredients. M. Chabot had to turn to a current perfumer to help with those and he chose Thomas Fontaine. M. Fomtaine is currently taking on the monumental task of re-formulating the classic Jean Patou collection and his early efforts there have made me hopeful. After experiencing the six fragrances he worked on for Le Galion I am now more than hopeful as M. Fontaine has done a fantastic job for Le Galion. There are three of the new Le Galion that didn’t need any re-working as their raw materials were still able to be used. The real proof of how well M. Fontaine did is I wasn’t able to pick out the three “untouched” ones as being different from the rest of the collection.
As I wrote in my wrap-up of Esxence when I named my top 10 fragrances from the whole exhibition I could have just listed these nine and added one more and been done. The Le Galion collection might be the best Nouveau Retro collection to be released so far. I have spent the last two months getting to know these fragrances and want to share that. So for the next week I am going to give extensive reviews on all nine perfumes in the “new” Le Galion line.
We currently live in a world where the power brokers like putting their names on things, often as big as they can get it. The size of the sign somehow has something to do with the size of the influence, I guess. Not that competition among the wealthy is anything new it has been going on for centuries. Each trying to have the biggest and/or grandest whatever is important in that era. I am reminded of that every year when I attend a scientific conference in Newport, RI.
Chateau sur Mer
For the burgeoning American industrialists of the late 19th century the competition was for the biggest house with the most exotic building materials designed by the premiere architects of the day. For the architects these had to be half dream project-half nightmare. The dream part was having a client who could acquire any material you wanted to be incorporated into the design and you would be encouraged to push the envelope on that design to be wholly original. The nightmare part must have been the pressure of not delivering to the most powerful families in America, if they weren’t satisfied you were probably done as an architect. I’m sure the same thing is true for bespoke perfumes as the perfumer has some freedom to create singularly but if it misses what the client is hoping for then the perfumer will be seen as untalented for not being able to deliver.
One heavy concentration of these mansions is located in Newport. The influential families of the day had decided that Newport was where they wanted to spend their summers and they had to have homes which confirmed their status. The acknowledged first mansion was called Chateau sur Mer which was built by the Wetmore family who had made their fortune in the shipping business. Chateau sur Mer was built in 1852 but it was barely twenty years later when they asked architect Richard Morris Hunt to redesign it in what was called the “Second Empire” style. The Wetmores had started the race.
Once it had been started the two most prominent families of the day, the Astors and the Vanderbilts, had to enter. What is funny is the same architect, Mr. Hunt, was used almost in succession as the Astors employed him to renovate Beechwood. William Vanderbilt would hire him to build Marble House only to have his older brother Cornelius outdo those all by having Mr. Hunt design The Breakers.
My conference is at Salve Regina University and it sits next door to The Breakers while the once Carriage House and stables of Chateau sur Mer now make up Wetmore Hall. Making an interesting bit of historical bookends to my daily walk back and forth across campus.
Richard Morris Hunt
One final thought about all of this was none of these were the main residence for any of these families they were referred to as “cottages”. They spent 8-10 weeks a year here. The influence of this summer society is still apparent today as their preferred method of play was sailing and tennis. Even there the competitive nature would rear its head and the early beginnings of the America’s Cup and tennis’ US Open were borne out of this endless trying to be on top.
The names may have changed and the area of competition may have evolved but the game remains the same.
I often find that disparate influences converge to put me in a place where I stop and look back. My personality is to mostly look towards the horizon to find out what is around the next bend in the path. I believe it is that drive which makes me a good scientist. I definitely believe it is that desire to find something new that fuels my fascination with all things fragrant. Tomorrow is Father’s Day in the US and I have also been wearing DSH Perfumes Metropolis a lot in preparation to write my recent review. The confluence of the two events allowed me to consider the length of my perfumed path and where it all started.
When it came to my father when I was a young boy he carried a few unmistakable aromas around with him depending on what day and what time you met him. He worked at The Miami Herald as a typesetter setting the plates which would be used to print the pages of each day’s edition of the newspaper. When he came home after work he smelled of ink and paper. It was mostly an unpleasant smell but I associated it with a job done well. A man smells of his own satisfaction with his life.
Once my dad arrived home he would sit down in his recliner and pack a pipe full of different fragrant pipe tobaccos. As he lit up and smoked the living room would fill up with this pleasant smoke. A man smells of his favorite things.
On Friday night my father would escort my mother out to do something. I would often “help” him as he shaved and got ready. He would spray some Noxema on my face and I would use my finger as a straight blade to scrape it off and flick it into the sink. At the end he would pick up this heavy square bottle with a huge chunky wooden top, Dana English Leather, and rub some into his hands and slap either side of his face, followed by mine. I liked the smell but at this age I didn’t understand the purpose of it. I got the tolerant smile that fathers know it will be all too soon that the boyish innocent that asked that question would disappear. What he told me was, “your mother likes the way I smell when I wear it and I like the way your mother smiles when I wear it.” A man chooses to smell good because the people he loves like him to smell good.
My father passed away in the summer of 1983 and at the viewing I made sure to have all of the things he taught me on hand. One of his co-workers gave me a fresh printed page with his obituary which smelled of fresh ink and paper. I had his pipe in my pocket which smelled of the cherry tobacco he had been smoking most recently. When I finished shaving you know I put on English Leather. Three very important life lessons were wrapped up in those scents and to this day those lessons have stuck even though I’m more likely to wear Metropolis than English Leather.
To all the fathers, and the sons and daughters, out there; Happy Father’s Day.
When it comes to the perfumes I find that are supposedly targeted to me as a man I am very disappointed. With Father’s Day coming my trips to the mall have been especially dispiriting as the reps are spraying these aggressively overloaded woody fantasias or citrus cocktails more suited to the bar than my skin. I know woody or citrus is what I as a man should desire but it isn’t what defines me as a man. What I want is a fragrance that exemplifies my modern exterior but never forgets underneath there is an uncultured beast who wants to be let out from time to time. Those fragrances are few and far between and no mass-market perfume brand is going to be interested in selling something like that these days. Which is why I am always thankful for the community of independent perfumers as they don’t have to hew to the popular and can let their imagination and creativity hold sway. Dawn Spencer Hurwitz is one of my very favorite indie perfumers and her latest creation, under her DSH Perfumes label, for men called Metropolis is a spectacular example of what I want in a men’s fragrance.
Dawn Spencer Hurwitz
On her website Ms. Hurwitz sets out what she wants Metropolis to be, “Modernism. Minimalism. An abstract masculine design with notes of brushed steel, glass, and motor oil.” She achieves all of that as Metropolis has a very modern glossy feel to it at first but later on there is a steady beat of a strong human heart beneath all of the contemporary trappings.
The brushed steel is represented by a combination of bergamot and aldehydes; a bunch of aldehydes. Very often in this kind of concentration they give off a hairspray aspect but Ms. Hurwitz chose her grouping well and it is the metallic aldehydes which are dominant. The bergamot is like the afternoon sun glinting off the surface with a single point of brightness diffused across the metallic surface. Geranium and oakmoss adds a greenish tint to it all like you’re looking at it through sunglasses. Then the glossiness gives way to something more primal as castoreum, patchouli, leather, and musk take Metropolis into something human. Ms. Hurwitz wanted this to be a motor oil accord and there are times I get a hint of that but I am more enchanted by the animalic ingredients separately and so the petroleum products never coalesce for me and I prefer it this way.
Metropolis has 8-10 hour longevity and moderate sillage.
I would pay a lot of money to arm a faux sales rep to stand next to the real ones in my local department store and spritz them with Metropolis. I think they wouldn’t get a lot of takers but for those few who did stop they would be entering a brave new world of perfume appreciation. I entered Ms. Hurwitz’s world many years ago and it is still one of my favorite places to visit. Metropolis, and Ms. Hurwitz, make my kind of men’s fragrance.
Disclosure: this review was based on a sample of Metropolis provided by DSH Perfumes.
When I speak with Michael Edwards on the beginning of niche perfumery he can accurately names L’Artisan Parfumeur in 1978 and Annick Goutal in 1980 as the first niche lines. When I think of when niche perfumery really managed to breakthrough I go back to 2000 when Frederic Malle released the first nine perfumes in his Editions de Parfums brand. These were the first perfumes to feature the name of the perfumer on the bottle. It really was the beginning of my starting to take a stronger interest in the people behind the perfume. Over the last fourteen years and 21 total releases I can say that this is one of the strongest collections of fragrances on the market. There is not a mediocre one in the whole group. A particular style might not be to your taste but the quality and creativity is always prominently displayed. This is one of the best places for anyone interested in niche perfume to start and here are the five I would suggest you begin with.
There are a plethora of citrus colognes but Jean-Claude Ellena’s Bigarade Concentree is one that stands way above the fray. There is fantastic bitter orange (bigarade) surrounded by the most gentle aldehydes. The heart is rose, cardamom, and a bit of textural pepper to coax the spiciness from the rose. It finishes with a golden hay note over cedar. This fragrance re-invigorated my interest in citrus fragrances all by itself.
Lys Mediterranee by Edouard Flechier is one of the most luminous perfumes I own. M. Flechier weaves three sources of lily raw materials to render a larger-than-life composite as the core of this fragrance. He adds orange blossom, angelica, and musk as the perfect complements to the uber-lily. If you want lily in your fragrance here is one of the best.
Musc Ravageur by Maurice Roucel has a bit of a rakish reputation as a lady-killer if you believe the stories told on the perfume forums. That has died down over time and now what remains is a fantastic ambery musk by one of the great perfumers working. Starting with a flare of tangerine and lavender which are spiced up wiith clove and cinnamon we reach the base notes which form the ambery musky accord. I was well married by the time I found this but it is one of the few fragrances I wear which generates unsolicited compliments, so maybe its reputation is deserved.
For so many years the baseline tuberose perfume was Robert Piguet’s Fracas and nothing came close until Dominique Ropion’s Carnal Flower. M. Ropion chooses an eclectic company of complementary and contrasting notes for the tuberose. He uses eucalyptus to accentuate the mentholated quality a the heart of the flower. He adds coconut to provide an oily sweet contrast. A few other white flowers join in to create the other great tuberose fragrance.
Pierre Bourdon showed that he was more than the perfumer who created Cool Water when he made French Lover (aka Bois D’Orage). When I smelled this when it was released in 2007 it felt like a more sophisticated version of my old staple Calvin Klein Obsession for Men. It doesn’t smell anything like it but it was the one fragrance I continually chose over it once it was in my perfume cabinet. M. Bourdon uses the rich spiciness of pimento to lead into a finely balanced heart of iris and galbanum. It is a greener floral because of the presence of the galbanum and it keeps the iris from getting powdery. A musk and vetiver base finish this off. If I was still prowling the night looking for a connection French Lover would be one of my choices.
As I mentioned above the entire Editions de Parfums Frederic Malle line is consistently excellent. So start here but do yourself a favor and keep on going through the whole line it is a magical ride.
Disclosure: This review is based on bottles I purchased.
It is difficult for me to believe that it has been fifteen years since I first tried Keiko Mecheri Loukhoum, her first fragrance. There might be no more emblematic first fragrance of a line than Loukhoum has been for Keiko Mecheri. In the years since Ms. Mecheri has continually explored all of the potential paths away from that original first release. I always visualize the entire line as a sort of fragrant family tree with Loukhoum as the sturdy trunk from which the other fragrances branch off of. Ms. Mecheri has found fertile ground and has tilled it incessantly turning out fascinating perfumes. The latest release Bois Satin is a little closer to Loukhoum than some of the more recent releases and as such feels like a cyclical return to the beginning and a start of a new creative cycle.
Many of the best perfume lines have a signature note or accord and what ties Ms. Mecheri’s together is the use of vanilla. Vanilla is probably the ultimate comfort scent but Ms. Mecheri has displayed its multiple personalities ably over the years. Bois Satin is a vanilla fragrance made exotic by adding in saffron. Citrus, floral, and an ambery finish combine with the vanilla backbone to create a comforting unconventional vanilla fragrance.
Bois Satin opens with a bright mandarin adding citrus sparkle over the vanilla and saffron. The vanilla-saffron axis that Bois Satin spins around smells gourmand-like at first but fairly quickly it becomes soft spicy warmth. It stays this way for the duration. Jasmine, with rose in a supporting role, provide a sweet floral accord in the heart. This is my favorite part of the development and it lingers here for a long time. The base is amber and patchouli and it is more amber than patchouli. Together with the vanilla this is an olfactory soft pillow to finish on.
Bois Satin has 8-10 hour longevity and modest sillage.
Ms. Mecheri may have been one of the original indie perfumers but Bois Satin shows the development of her aesthetic since Lokhoum. It shows a creative director still finding new paths to explore. Long may she add more branches on to this family tree.
Disclosure: This review was based on a sample provided by Keiko Mecheri at Esxence and another sample I purchased.