Many of the perfumes I recommend as Discount Diamonds are examples of a style of fragrance emblematic of the time frame they were released in. What I try to do is find ones which have overcome that limitation to still feel relevant today. As I look back at those scents it is the ones which tried to be slightly different from the prevailing winds by taking a different tack. 1982’s Antonio Puig Quorum went for a lighter version of the masculine powerhouses of the 1980’s.
The 1980’s were an era of men who bared their hairy chests draped with a few conspicuously chosen gold necklaces. The fragrances to accompany that were equally aggressive. Each subsequent men’s release seemed to be seeing if it could me more macho than its predecessors. Antonio Puig Quorum plumbed the other side of the question; can there be presence without so much power? Turns out the answer is yes.
A team of perfumers consisting of Carlos Benaim, Max Gavarry, and Rosendo Mateu were responsible for finding a way to the lighter powerhouse. They did it by staying true to the tropes of the day but not doubling down and using a suite of supporting notes to keep it all less severe.
It opens with a bit of bitter herbal green matched with citrus. Rosemary, artemesia and marjoram provide the green. Tangerine is the citrus but it is not what will draw your attention to it; as it is what keeps the green notes from going too deep. The spices arrive next; coriander, nutmeg, thyme, and clove capture the opening trio and notch the volume up a bit. But this time geranium and jasmine provide some relief. A lovely lilting leather accord is matched with a traditional chypre accord all wrapped up in a tobacco leaf.
Quorum has 10-12 hour longevity with average sillage.
I have an original bottle and one I purchased a month or so ago. The main difference is that the greener notes are more the focal point while the chypre has been a bit more toned down than it was in the 1980’s version. The words above refer to the newer bottle. I think Quorum has survived to the present day because it doesn’t feel like it just came out of a thirty-year time capsule. There are inevitable reminders of that time but it fits in the now just as easily.
Disclosure: this review is based on a bottle I purchased.
There are times when I receive a collection that there is one which is so much better than the others it sucks all the air out of the room. I have always seen it as a double-edged sword. One edge is having produced something memorable is great. The other edge is the remaining members wither by comparison; maybe unfairly so. It is made worse when I pick the outlier from the group first so that the others become afterthoughts. This was the situation when I received a collection of six Eaux de Toilettes comprising the newest Carolina Herrera Confidential releases.
The Confidential collection debuted in 2015 with a collection of six perfumes designed to be combined with a companion set of three perfume oils. Those first releases were uniformly average; they were well done but presented nothing new. I can’t speak to the effect adding in any of the oils to them would have had because none of them stood out enough for me to care to explore that. Now two years later the new collection goes for a set of light volume perfumes designed for wearing during the summer. As before the collection is well executed. The difference this time is there is one which is more than that; Bergamot Bloom.
Don’t let the name fool you Bergamot Bloom has almost nothing to do with bergamot. Perfumer Alberto Morillas has made a fabulously expansive jasmine which has a corona of citrus, ginger, baie rose, vetiver and patchouli.
The core of Bergamot Bloom is jasmine as represented by the aromachemical Paradisone. When Paradisone is used it can run roughshod over everything else in the perfume. The skill of Sr. Morillas is he knows how to use the right partners to ride the dramatic expansiveness of something like Paradisone. In the early moments, it is lemon and ginger providing the brilliance of a corona. Later, baie rose, vetiver and patchouli provide the warmth. All while the jasmine explodes like a supernova. To provide the final bit of ignition Ambrox doubles down obliterating all but the jasmine in its path as the jasmine collapses around the synthetic woody ingredient.
Bergamot Bloom has 12-14 hour longevity and average sillage.
Ingredients like Paradisone and Ambrox are like wild bucking broncos which can be hard to control. It is why Sr. Morillas is the perfumer he is because he knows it isn’t just about the heat of the core but the corona is what makes it beautiful; which is what happens in Bergamot Bloom.
Disclosure: This review was based on a sample provided by Carolina Herrera.
I have long been a fan of Ormonde Jayne but I had feared their best days had passed them by. In 2014 with the release of Black Gold that hypothesis was shattered by one of the best perfumes in the entire collection. It was followed up in 2016 with Rose Gold which was a luxurious rose bridging Arabic and European aesthetics. When I received the press materials for the final release in the Gold Trilogy I thought the new one, White Gold, would be hard pressed to be as good as the other two. It isn’t; it’s better.
Creative Director Linda Pilkington has really outdone herself overseeing her longtime collaborator Geza Schoen on White Gold. Now that there are three releases it is easier to see the central axis upon which all three were constructed upon. The top accord was citrus combined with clary sage. The heart accord was a carnation, jasmine, and orchid triad which would be accentuated with other florals. The bases all contain ambrette seeds and their botanical musk. As I’ve now had the opportunity to compare them side-by-side it shows the precision of Hr. Schoen to take that spine and choosing different support and keynotes make it very different on a macro level while remaining the same on a micro level. Once I recognized the commonality it was hard not to notice it upon subsequent wearings of all three.
For White Gold, we begin with mandarin as the citrus source for the herbal clary sage to wrap around. The herbal quality will be enhanced using baie rose and a green leafy aromachemical. The effect is of trying to find a ripe fruit among the leaves. What makes it fun is as you search through those leaves what appears is jasmine. For White Gold jasmine is a keynote; more than just a component of the central spine. This is a gorgeous source of jasmine fully fleshed out with all its many facets on display. Hr. Schoen brings a bit of orris in to refine the effect. The base is a fabulous duet of botanical and synthetic musks as the ambrette seeds are met by some of the white musks from the laboratory. They rapidly find some common ground which cedar, vetiver, and tonka provide a sweet woody finishing flourish.
White Gold has 10-12 hour longevity and average sillage.
The jasmine in White Gold is so beautiful that there are times it seems like it is a soliflore but that is an olfactory illusion. It is more that it is the most compelling ingredient in the room and it is difficult to remove your attention from it. You should because what surrounds it is every bit as good. The three perfumes which make up the Gold Trilogy are among the very best Ormonde Jayne has to offer and the best of those three is White Gold which finishes the effort strongly.
Disclosure: This review is based on a sample I purchased.
I grew up with rock & roll. It existed from the moment I could recognize music on the radio until today. I listen to music every day. It is astonishing that there is over fifty years of music and styles for me to choose from now. I have always enjoyed finding out the history and background of the story behind the music. There isn’t a lot of it shown anymore but the recent four-part series on HBO called The Defiant Ones spanned the fifty years of popular music through the stories of two men; Jimmy Iovine and Dr. Dre.
The series begins with their triumphant moment when they sell their Beats brand speakers and headphones to Apple for $3 billion in May of 2014. The deal was agreed to on a Friday with Apple asking the men to be quiet and allow them to make the announcement in the following week. Only to have Dre and Tyrese post a video, after partying, leaking the deal late Saturday night. The next 48-hours were both men worrying if it would cause Apple to renege. That they didn’t turn on each other shows the bond which had formed.
Jimmy Iovine (l.) and Dr. Dre
What struck me throughout the series were that both men were successes because they never stopped hustling. By the time they became partners there was nothing these two couldn’t achieve.
Mr. Iovine’s story is of working from cleaning up at the legendary Record Plant recording studio to finding a seat behind the mixing board. He works with some of the most influential musicians of the 1970’s. Throughout he never lost the drive to keep earning his seat in the studio. Dr. Dre started off as a DJ on the club scene in South Central LA constantly hustling until he uses the small studio behind one of the clubs to begin forming the sound that would become west coast hip-hop. Just like Mr. Iovine his drive would take him up the ladder always earning respect at each level because of his work ethic.
That’s just Part 1. The remaining episodes chronicle their rise before combining their talents when Mr. Iovine folded Death Row Records into his Interscope label along with Dr. Dre. Together the two men realized their shared vision of the music business could transform it. The remainder of the series tells that story through the roster of artists they championed.
If you are a fan of rock music The Defiant Ones is going to remind you of the DIY mentality that the best who operate in that world bring to it. The Defiant Ones proves if you never stop hustling there are no limits.
They say everything old is new again. In other words, live long enough and everything you own is eventually on trend. One of the trends that has begun taking hold in fragrance is that of the simple combination of three or four ingredients. I think that this style of perfume while simple is not facile. The perfumer must be very precise to get the correct balance. When there are so few notes each one carries more weight. Because of this I started thinking back on which perfumes from the past might have become new again. As soon as I began this process one jumped right to the front of my thoughts, 10 Corso Como.
When 10 Corso Como came out in 1999 it became a cult fragrance. Initially only available in Europe it began to be as desired as Coors beer used to be East of the Mississippi. I can’t remember when I finally tried it but I certainly saw it spoken of in the early perfume forums. I do remember being fascinated at how this simple perfume was so compelling. It was one of those early perfumes which seemingly affixed my wrist to my nose.
10 Corso Como is named after the fashion line overseen by Carla Sozzani. Sig.ra Sozzani wanted to add a fragrance to her fashion boutique in Milan. She turned to perfumer Olivier Gillotin to produce that. What they came up with was a triad of sandalwood, incense, and rose.
10 Corso Como opens with sandalwood paired with an incense accord made up of vetiver and oud. It is a fascinating choice by M. Gillotin. Straight frankincense would have been too austere against the sandalwood. Instead the vetiver-oud accord forms a softer version of incense which settles on top of the sandalwood. This combination is what made 10 Corso Como stand out early on. It provided an alternative to the church incense style which was becoming popular. The rose takes some time to insert itself into things. Again M. Gillotin adds some geranium to add a bit of green to it all which then accentuates the green within the vetiver. At this point as the vetiver decouples from the oud that note starts to provide a slightly medicinal contrast to the sandalwood. A few musks are sprinkled in at the end.
10 Corso Como has 4-6 hour longevity and above average sillage.
I have enjoyed 10 Corso Como for years because of its simplicity. If you are enjoying the current trend take a look back in time and under the radar for 10 Corso Como.
Disclosure: This review is based on a bottle I purchased.
I don’t know this for a fact but I suspect that Mary-Kate and Ashley Olsen have been successful because they have a clear vision of their brand. That vision seemingly is not compromised by anything as the women collaborate on a burgeoning fashion empire in which their celebrity is being replaced with a reputation for quality. I think, besides knowing what they want, they also get involved to insure it happens. This has been true for their fragrance brand Elizabeth & James.
The name comes from their other two siblings; the less famous ones. Starting in 2013 they have released two previous pairs of Nirvana scents. The debut pair were Nirvana Black and Nirvana White followed by last year’s Nirvana Bourbon and Nirvana Rose. The brand style has been to feature a tight core of three keynotes. I have found the first four to be some of the best things to be found at Sephora. When I received my new Sephora box and found samples of Nirvana Amethyst and Nirvana French Grey they were the first thing I tried.
Mary-Kate and Ashley Olsen
Just as before I found another set of perfumes designed around three simple notes. I didn’t wear French Grey for the time necessary to review it but I found the mixture of lavender, neroli, and musk well done. I mentioned this in my review of Nirvana Bourbon that a simple construction like these fragrances are risky because they will fall apart if there is one part out of balance. French Grey shows the care necessary to pull this off.
Nirvana Amethyst was always going to be the one I gravitated to because tobacco was one of the notes. Honeysuckle and cedar provide a clean floral canvas upon which the rich narcotic tobacco can coat. This is where these notes must be so precisely chosen. The honeysuckle is kept at a medium volume while the cedar is a bit louder to provide a solid foundation. The tobacco is the trickster as it intersperses itself throughout the other two notes. As I focused on the honeysuckle the sweetness of the dried tobacco was apparent. The cedar brought out the darker facets as it contrasted the tobacco. Eventually it is all tobacco over the last couple hours.
Nirvana Amethyst has 8-10 hour longevity and average sillage.
I have been unable to find who the perfumers that are behind the Elizabeth & James line; whomever they are they are doing excellent work. The entire Elizabeth & James line of fragrance is one of the very best bang for your buck brands. They are sold in an array of sizes including rollerballs that allow you to buy all six for the price of a normal bottle of another brand. The marketing is as smart as the perfume. I am going to be adding a bottle of Nirvana Amethyst to the other three I own.
Disclosure: This review was based on a sample provided by Sephora.
As soon as I see “noir” in the name of a fragrance I have learned to temper my expectations. I feel much like Inigo Montoya saying “You keep using that word, I do not think it means what you think it means”. If there was one offender I would consistently point at, it was the Tom Ford Noir collection. It was something which was a pleasant perfume but in no way “noir”. If I was to define “noir” I would want it to be a shifting style of perfume, innocent and dark, throughout its development. The literary and cinematic form which spawned the word are tales of moral ambiguity often accompanied by the corruption of innocence. So, imagine my surprise when the new flanker Tom Ford Noir Anthracite gets it correct.
The time-tested creative direction of Karyn Khoury is combined with perfumer Honorine Blanc. This is the first Tom Ford fragrance by Mme Blanc. The concept on the website is to explore the “light in the dark”. I would say Noir Anthracite explores the struggle of light within the dark.
Mme Blanc opens with the first bit of light as bergamot sparks Noir Anthracite to life. Then she uses Szechuan pepper to add in the dark. It would have been so easy to just use black pepper here. Szechuan pepper carries a different piquancy along with a kind of subtle muskiness. It works especially well here because Mme Blanc also uses ginger as a foil to the sunny bergamot too. This is a very different top accord from most of the other mainstream offerings which this will be next to on the fragrance counter. I enjoyed it a lot but I am curious if this is going to be generally accepted at the mall. The heart is another unique accord as galbanum acts as an overarching green presence to which a light application of jasmine and tuberose are used to provide some lift to it. The galbanum is so powerful you might not notice the florals. This is what I mean as the scrubbed clean white florals never really overcome the green of the galbanum. The base is a straightforward sandalwood and cedar.
Noir Anthracite has 10-12 hour longevity and average sillage.
Noir Anthracite is quite different from the other Tom Ford Noir releases. I think if you are a fan of those you might not find Noir Anthracite as nice as I did. Although if you are looking for a perfume which calls itself noir, and means it; Noir Anthracite seems to know what the word means.
Disclosure: this review was based on a press sample provided by Tom Ford Beauty.
I am in full agreement with the thesis that Italy has taken the lead when it comes to artistic perfumery. One of the reasons I believe this is true is there is a refreshing ideal where the brands and artists seem unafraid to make a perfume that does not try to smell like anything else. Which of course is a bit of high-wire act, easy to fall off if you lose your balance. One of those brands is Sammarco overseen by the independent perfumer Giovanni Sammarco. The latest release is called Naias which shows both the highs and the lows that can be hit.
Naias is described on the website as “not a violet perfume, you can recognize a violet aura”. It is exactly what I have enjoyed about the work Sig. Sammarco’s contemporaries have achieved. There has been an almost dedicated movement towards re-examining the cornerstones of modern perfumery. That Sig. Sammarco was going to do this with violet, one of my favorite notes, was exciting. I should have been paying attention to the phrase “violet aura”.
If I was going to describe Naias I would call it a tale of two very distinct phases. One of the most intensely pleasant fruity floral constructs which transitions into an irritating, almost painful, mixture of unpleasant woods and animalic notes. As much as I love the first few hours, is how much I dislike the final hours.
Sig. Sammarco opens Naias with an incredible apple note. I don’t think I’ve ever smelled this in overdose previously to Naias. There is probably a reason as Sig. Sammarco pushes it right up to the edge of being bearable. Just as it runs the risk of becoming annoying Sig. Sammarco plants a giant red lipstick kiss on top of it. This is a classic lipstick rose accord. It is here the “violet aura” appears. It is mostly a violet characteristic of its use in cosmetics. The lipstick rose is as luscious as a pair of lips coated in moist carmine lipstick. It leaves lip prints all over the apple. This early accord is clever, balanced, almost perfect. If only there was a way to stop what comes next. Over time the apple and rose begin to fade which allows the other ingredients to come forward. One is blackcurrant buds which again seem to be used in high concentrations. It provides a funky green stickiness which runs through the other base notes like an erratic javelin missing the mark. It unbalances everything that has come before. It makes the osmanthus and sandalwood into grating versions of themselves.
Naias has 10-12 hour longevity and average sillage.
It is rare that once I choose to wear a perfume for the two days I use to assess it for review I regret it. On day two of Naias I had to get out the alcohol scrubs because that was how unpleasant I found the final hours. What was more tragic was there are remnants of the apple and lipstick rose which made it all seem worse. I can say for the first few hours Naias is one of my favorite perfumes of the year I wish the rest of the fragrance lived up to the “kiss my apple” top.
Disclosure: this review was based on a sample I purchased.
When I was five -years old; and when I had hair, I was not one of those children who resisted going to the barbershop. My father and I would go every four weeks. I would get a crew cut and he would get a shave along with his trim. This was in the mid 1960’s before barbershops tried for cachet. They were functional emporiums who took more pride in turning the chairs over efficiently. I think, unlike some of my other friends, I enjoyed my visits to the barbershop because of the scents within. There was lavender, orange blossom scented Florida Water, the talcum powder, polished wood, and for me a piece of vanilla taffy after I was done. I can close my eyes and still smell it all over fifty years later. I haven’t encountered a perfume which captured this until I received my sample set of the new Franck Boclet releases. In there, my memories were waiting.
Franck Boclet is a European designer of men’s clothing. Starting in 2013 he began a fragrance line with four debut releases. Each perfume was named for an ingredient which would be the putative keynote. Which in most of the cases it was. I have found the perfumes to be a solidly executed concept through all the ones I have tried. I am interested enough that the samples don’t get shunted aside when they arrive because I always sort of expected there would be one which would resonate for me. The new release Geranium is that perfume.
This works because it is not just geranium and a bunch of supporting players. It is a fragrance of three distinctive phases which perfumer Sebastien Chambenoist blends together quite pleasantly. The geranium is more like the first among equals.
Geranium opens with a tart citrus and lavender top accord. It is like a bracing tonic. The lavender elevates the lime and grapefruit. Orange blossom connects the top accord to the geranium in the heart which is then given a light powdery finish with heliotropin. The base is sandalwood sweetened with vanilla and deepened with a bit of musk.
Geranium has 8-10 hour longevity and average sillage.
Everything about Geranium has crisp attached to it. It is an all-business versatile fragrance that could easily be used for any occasion. When my dad and I would walk outside after our haircuts he would look down and give me a wink. Geranium feels like that wink turned into a perfume.
Disclosure: this review was based on a sample provided by Franck Boclet.
If there was a word cloud about how I am described by other people; impatient would be one of the larger words. That quality has sent me chasing after so many perfume blind buys with a low percentage hit rate you would think I might have found a way to make that word shrink some as I’ve aged. That is, of course, an incorrect statement. It rears its head most often, recently, when there is a European release that is months off, or never, in the US. When the service I use to buy for me lets me know a trip is in the offing I start looking. For the trip in March I noticed that there were four new additions to the Prada Olfactories collection being sold in the UK exclusively. Despite my internal voice howling at me to “get it now!” I managed to pass. Then I made a phone call to the Prada flagship boutique in New York and got the typical lack of knowledge about their own exclusive luxury perfume line. My little voice was saying, “told you so!” The June trip approached and I was asked again; this time I decided to allow my impatience to win and asked for a bottle of Prada Olfactories Soleil au Zenith.
This group of four Olfactories are given the subheading of Mirages. In-house perfumer Daniela Andrier has described this overall collection as “potent concoctions of the unexpected”. The Mirages are meant to be explorations of the themes of the Orient within fragrance. Each perfume is given a name and a style parenthetically. The names are Dark Light (Amber), Midnight Train (Patchouli), Miracle of the Rose (Oud Rose), and Soleil au Zenith (Spices). Of those four it was always going to be the one labeled “spices” which would entice me to take the plunge.
Through the original nine releases the Olfactories seem to have broadened Mme Andrier’s experimental nature. It is a collection where I would be surprised to find that there is a person who is in love with all nine but for the ones which connect it is a real love affair. It is that way for Double Dare and Pink Flamingos for me. It is exactly Mme Andrier’s hand at using spice notes which makes Double Dare the reason I dared to get Soleil au Zenith based on a list of spice ingredients.
Soleil au Zenith opens on a cloud of peach aldehydes which are coated with allspice. If there was any doubt the opening moments washed them away. One of the concepts Mme Andries seems to be exploring within the Olfactories is the duality of expansiveness and density. In Soleil au Zenith, the heart accord coalesces around a very full ylang-ylang which is first combined with nutmeg. That combination is a neat transition from airy to grounded. To further tether it cinnamon and cumin add to the nutmeg providing some heat to the effect. The base is a luscious sandalwood and vanilla really amplifying the sweet creamy nature of the wood.
Soleil au Zenith has 10-12 hour longevity and average sillage.
Soleil au Zenith is so good it seems like a reward for a character flaw. It has become a fast favorite of any of the discontinued Exclusives and the Olfactories. The only upside is it will definitely hold me over until the Mirages make it Stateside. Although that little voice is talking to me again.
Disclosure: This review is based on a bottle I purchased.