When writing this series many of the perfumes I will write about are small batch rarities by our best perfumers. The subject of this one is rare because most of it was removed from circulation due to a corporate takeover. Back in 2003 the home fragrance company Slatkin & Co. wanted to branch out into fine fragrance and beauty products. The original three releases in their foray into the world of perfume were simply named Mimosa, Muguet, and Absinthe. Perfumer Christian Truc was responsible for Muguet and Christophe Laudamiel would create the remaining two. These fragrances barely had any time to find an audience because Slatkin & Co. were acquired by the parent company of Bath and Body Works in 2005. The brand was acquired because of the home fragrance products and these perfumes were just an aberration. With no place for them to go they pretty much just disappeared after less than two years on the market.
I wish I could say I was smart enough to have discovered them back when they were released but that wouldn’t be true. I didn’t become acquainted with Slatkin Absinthe until my Editor-in-chief at CaFleureBon, Michelyn Camen, gifted me a large decant of it. What I have is one of the most treasured fragrances in my entire collection. M. Laudamiel was coming off a year when he had been part of the team behind two very recognizable fragrances, Abercrombie & Fitch Fierce and Ralph Lauren Polo Blue. The two briefs for Slatkin were his first opportunity to fly solo as a perfumer.
What he created in Absinthe is not a literal interpretation of the wormwood flavored liquor. Instead it is a night at the Moulin Rouge complete with the bohemians of the time looking for The Green Fairy to inspire them.
Absinthe opens with the anise-flavored liquor on top. M. Laudamiel squeezes a fresh lime along with the tamarine citrus base and a sprig of mint. This is an exhilarating sinus clearing opening. It is like sipping from your glass of absinthe as you look up to take in the surroundings. The smell of the rose powder of the dancing girls, the slightly urinous character of honey, the sticky green quality of blackcurrant buds all form a heady accord of carnality to go with the absinthe. The base is a woody patchouli and M. Laudamiel made some interesting choices for his woods as there is cherry tree bark, candlewood, cashmere woods, maplewood and oakmoss. This woods accord with the patchouli makes up one of the more striking woody bases of any perfume I own. It is an early sign of M. Laudamiel’s intention to use more of the ingredients of his perfumer’s organ.
Absinthe has 12-14 hour longevity and above average sillage.
I was already a fan of M. Laudamiel by the time I smelled Absinthe. It confirmed his incredible talents were present from his first moments as a perfumer. It is sad that the meager stock at the time of the acquisition was placed on discount shelves and that was it. Bottles show up very rarely on the auction sites. I have an alert for it and I would say on average two or three bottles will be available over the course of a year. Because it is such an oddity the prices are not worse than any new perfume you might purchase. I can say that if I was ever forced to pare down my voluminous collection to something much smaller there is no version which wouldn’t include Slatkin Absinthe.
Disclosure: This review is based on a decant which I received as a gift.
When it comes to discussions of the greatest perfumes ever Shiseido Nombre Noir has been claimed to be one of the top five fragrances of all-time. It is a funny thing though just like it is with Citizen Kane as it relates to being the best movie of all-time neither of these would be in my top ten all-time. I’m not even sure they make my top 25 all-time. In both cases I admire the budding auteurs Serge Lutens and Orson Welles and their precocious creations but neither resonates with me. I prefer Mr Welles’ second film The Magnificent Ambersons. When it comes to Shiseido I think 1976’s Inoui is a better perfume than Nombre Noir.
The mid 1970’s was a watershed moment for perfume and the way it was sold. Michael Edwards traces the tipping point to 1973’s Revlon Charlie as the moment perfume was marketed to this new demographic of the working woman. It also changed the perfume buying experience as these trailblazing women didn’t want to wait for a man to gift them with a perfume they wanted to go out and find one themselves. As the sales for Charlie took off many of the other perfume lines wanted to join in. In 1976 Shiseido released Inoui with the advertising line, “It’s not her that’s beautiful; it’s how she lives her life that’s beautiful”. Even on the Shiseido website they admit it was designed to “target the contemporary career woman”. What did Shiseido think this thoroughly modern woman wanted? A green balsamic chypre.
I have never been able to determine who the perfumer is behind Inoui. Serge Lutens had not arrived by 1976. It was supposedly created by a joint effort between the American, Italian and Japanese staffs of Shiseido. If this was a team effort I really would have liked to overhear the conversations as each mod was passed around to finally arrive at Inoui.
Inoui is a fantastic green fragrance and its beauty is in the uncompromising way it develops from a galbanum heavy opening into a pine heart to finish on an oakmoss and civet base. It is a near perfect green perfume.
Inoui starts with the galbanum, juniper, and a bit of cypress. There is a green accord that adds texture to the galbanum and just when all of this green might be a little much an imaginative use of peach turns it into a softer sweeter beginning. The pine grows right down the middle of Inoui oozing sap and throwing off green facets as it strengthens. A bit of green cardamom and thyme add spice to the pine. Then just like the peach in the top notes jasmine adds softness and sweetness before we hit the big chypre finish. Myrrh adds its opulent resinous quality and then oakmoss and civet bring Inoui to a close on a feral green accord.
Inoui in the eau de parfum version has 10-12 hour longevity and very close sillage as would befit that career woman it was marketed to.
Inoui was a failure as it was pulled off shelves in less than ten years. It was never able to find traction with those early career women as they clearly wanted the florals of Charlie over the anti-floral green of Inoui. Was it ahead of its time? I don’t think so I actually think it is quite a good example of the kind of perfume making going on in the late 1970’s. I think it was a case of not finding the right target demographic to market it to.
Inoui can be found on eBay but people are catching on and its price has been rising steadily over the last few years.
Finally I want to end on a personal note. My discovery of Inoui was through one of those people that make our perfume community so wonderful. Linda Beth Ross and I would spend random hours on Facebook chatting about old vintage perfumes and after a discussion of how much I like green perfumes she sent me a sample of Inoui. Earlier this year she passed away after a long battle with cancer and every time I wear, or think, about Inoui I also remember my friend in fragrance.
Disclosure; this review is based on a bottle of Eau de Parfum I purchased.
Olivia Giacobetti is one of my very favorite perfumers because of that transparent style she imparts to things that shouldn’t have that lightness of being. Many of the most striking fragrances I own, for that sheer fragility, are signed by Mme Giacobetti. Her style has now been refined that it almost deserves its own adjective, Giacobettiesque. There have been other perfumers who are able to make perfume that is Giacobettiesque but it is her creations which stand the test of time.
When I looked back for the year where this style began to coalesce I found 1996 to be a good year to observe this. In that year Mme Giacobetti would release two fragrances for L’Artisan Parfumeur, Drole de Rose & The Pour un Ete. Both of those were perfumes where the style was still a work in progress. The third release in 1996 is one of Mme Giacobetti’s enduring masterpieces Diptyque Philosykos as all the elements that make her a great perfumer come together for the first time.
The two fragrances for L’Artisan were her third and fourth for the line. Drole de Rose is a much lighter rose but here Mme Giacobetti lays down a layer of powdery notes as the heart note of orris turns this closer in style to iris-scented lipstick. The skeletal concepts of Mme Giacobetti’s style come with the honeyed leather in the base. It is the base which I think is the best part of Drole de Rose as once the powder is figuratively blown away what is left is this opaque sweet leather. Mme Giacobetti would find a rose scent which did fit her style with the discontinued Opone for Diptyque in 2001.
The Pour un Ete was meant to be a jasmine green tea fragrance as if it was being served in a chilled glass dripping with condensation on a summer day. The Pour un Ete is perhaps too simple for its own good. It starts with a sprig of mint and lemon floating on top of the jasmine tea accord all of it resting on a cedar and sandalwood coaster. The Pour un Ete feels like the axis of a great fragrance was here but by not adding in contrapuntal notes it just sits there like that proverbial glass of tea watching the beads of water slide down the glass monotonously. Tea would become the focus of another of Mme Giacobetti’s best compositions L’Artisan Tea for Two, which is one of my all-time favorite tea perfumes.
As I mentioned above it seems at this point in her career it took two tries for Mme Giacobetti to really find her voice on a particular note. In 1994 she had done Premier Figuier for L’Artisan and it was a fig fragrance centered on the creamy ripe qualities as she used almond and coconut milk to enhance that aspect. It is beautiful but it wears sort of heavily. By the time she took a second stab at fig in Philosykos she wanted to go greener as this time not only the fruit but also the leaves and the tree itself were meant to be represented. She tilts the fig greener with galbanum early on. Then the leaves pick up the green and this time she uses only coconut milk as a complementary source of the ripening pulpy inside of the fig. She finishes off Philosykos with a breeze of benzoin and cedar.
Mme Giacobetti is now one of the most reliable perfumers functioning and both for her Paris exclusive line IUNX and the rare commissions she takes her style is unmistakable, Back in 1996 it was just coming together,
Disclosure: This review is based on bottles of all of the fragrances I purchased.
I realize that I am becoming the prototypical old man when I see things changing and wish for them to stay the same. I have been exchanging e-mail with one of my earliest perfume acquaintances who has recently retired. Back in the late 1980’s I was really just starting to broaden my fragrance horizons. In those days of yore there was no such thing as smartphones and the internet to look things up at the speed of your data connection. What passed for that resource was the Senior Sales Associate at your favorite department store. Carolyn was that Doyenne of the Perfume Counter for me.
Carolyn presided over her fragrant space with grace and patience. She would explain and then give me strips to illustrate the difference between chypre and fougere. As we carried on an almost thirty year affair she knew what I liked and what I probably wouldn’t. I would often go in on a weekday just to have a little more time to chat. We started out as eager student/teacher and finished as peers. Nothing made me happier than to receive an e-mail from her on one of my latest reviews. I valued her opinion and was thrilled that she came to value mine. She was the one who taught me that even if the bottle has bows and flowers on it if I liked it I should wear it.
(Illustration: Zohar Lazar via GQ)
Upon her retirement I inquired if she had trained a replacement and her answer was, “No.” Her department store was going to use an assortment of line representatives instead of having a permanent position in charge of fine fragrance sales. This seems to be the way things are evolving. Since I moved to the Washington DC area I haven’t found the counterpart to Carolyn here. I certainly did in Boston but I suspect once those Doyennes retire those positions will, as well.
Like landlines and compact discs the day of a single person curating a department store’s fragrance department is a quaint old-fashioned notion. The necessity in our immediate information gratification society is certainly reduced if it is just the facts you are after. What I think this generation of perfume lovers will miss is the opportunity to create a relationship around a common love for perfume. Now, to find the same interpersonal service, it requires you to have a small fragrance boutique in your city. The owners of those businesses are more interested in creating a long-time customer over a one-time sale.
With Carolyn’s retirement I realize it will be far too soon that I will have little reason to visit the department store fine fragrance department. All things change but it is human nature to wish that some of them might be immune to evolutions of style. I wish Carolyn the best of her retirement and her extra time with her grandchildren. Her child of the perfume counter will miss visiting with her.
If there was a perfume line I was thinking really needed a Perfume 101 Montale Paris would be top of the list. Since 2003 eponymous perfumer Pierre Montale has been producing a prodigious amount of fragrances. His line was one of the first to really explore oud in all of its myriad configurations. M. Montale’s fascination with that note continues to the present day. Oud is so connected to the perception of the line that many are unaware there are some pretty amazing fragrances within the collection that do not have a drop of oud. One warning about this line, it is not for those who like their fragrances light or subtle; M. Montale creates extroverted powerhouses. It is that pedal to the metal attitude which makes Montale Paris one of my favorite lines. Here are the five I would start with if you are new to the line.
Black Aoud was my introduction to the classic oud and rose combination. This is so classic that to get Forest Gump on you it goes together like peas and carrots. All of the rough edges of oud are consumed in an inferno of intense rose. There is some patchouli and musk here but the sheer power of the rose and oud overwhelm everything. This was also my introduction to Laotian oud and the hint of floralcy within that particular version makes Black Aoud the perfect duet.
When asked to name my favorite amber Blue Amber is the one I name. Unlike Black Aoud where M. Montale just let the magic happen between the core notes. In Blue Amber he spends time surrounding the core with notes that complement and contrast. Geranium supports the spicy core, coriander contrasts it with green edges. Vanilla sweetens the amber only for patchouli to take it darker. If you love amber and have never tried this one add it to your list.
Red Vetyver has been described as Terre D’Hermes on steroids and while I understand that as a surface description I would say there is more going on here than a more intense imitation. A very pungent grapefruit is on top and this is the full grapefruit with the slightly sulfurous aspects on display. M. Montale then adds elemi to allow its lemony cool to soothe and a slug of black pepper to provoke. This is the place where Red Vetyver becomes its own perfume and the cedar and vetiver finishes it on a clean and green accord. This is one of the few citrus based fragrances I wear in the winter because it has a heft unusual within the genre.
Sweet Oriental Dream is M. Montale’s take on a gourmand. He makes the choice to recreate a vanilla rosewater confection adding in honey and almond for good measure. Of all of the gourmands I own this one is the one which makes me hungry.
As I said M. Montale is renowned for his capacity to use oud in so many ways. I would also venture he is even more proficient with vanilla as that note shows up throughout the collection and he knows how to tune it for the effect he is looking for. Vanille Absolu is what he thinks a vanilla soliflore should smell like. He takes a rich vanilla heart and swirls cinnamon, clove, and sandalwood around it. This is what I want vanilla to smell like rich and spicy.
Montale Paris is a line which can intimidate just by the sheer number of fragrances in the collection. You shouldn’t let that stop you from discovering one of the perfume lines which truly reflects one perfumer’s aesthetic. It really is a journey worth taking and any of the five suggested are good places to take your first steps.
Disclosure: This review is based on bottles of these fragrances I purchased.
One of the purposes of Under the Radar is to give me a chance to extol the virtues of a fragrance which might have fallen through the cracks. I’m also using it to make sure the fragrances that got bumped and moved off the review schedule get a second chance to be discovered. I really enjoy the opportunity I have to try new perfumes but sometimes their getting into my hands can be a story in and of itself. The three The Different Company L’Esprit Colognes, South Bay, Kashan Rose, and White Zagora seemed like they were never meant to be in my hands. The initial samples were lost in transit then I couldn’t seem to get a sample from the stores carrying them. It wasn’t until meeting creative director Luc Gabriel at Esxence that I finally had the set to try. It turns out that was the first fortuitous event in this complicated tale.
The L’Esprit Cologne collection are all signed by perfumer Emilie Bevierre-Coppermann and it is one of the best nouveau cologne collections of the last couple of years. Of the new ones Mme Bevierre-Coppermann has added to the original three and helped define the evolving new aesthetic for the lowly cologne. The one which does this the best is South Bay.
In South Bay Mme Bevierre-Coppermann chooses to turn in a very citrus focused fragrance over an intense bed of woodiness. There is a floral transition within the heart where South Bay transforms from fresh citrus into clean woods. Throughout the development South Bay is energetic and sunny.
South Bay uses grapefruit as the main citrus note and Mme Bevierre-Coppermann takes mandarin leaves to add leafy green and to accentuate the sulfurous aspects of the grapefruit. Tamarine base provides the juicy sweetness of tangerine and clementine. This a gorgeous citrus fantasy and I enjoy this opening so much it almost beckons me to re-apply often, which I do. Grapefruit wood begins the transition to the base and it is joined with freesia and a very mannered application of Eglantine Rose. That very sweet rose contrasts the grapefruit and complements the Tamarine with the grapefruit wood completing the transition. The base of South Bay is simply sandalwood and vetiver. The sandalwood is dry and creamy and the vetiver is woody with a green tint. There is nothing terribly groundbreaking here. Sometimes a perfumer needs to know when to keep it simple and Mme Bevierre-Coppermann has made the correct choice here.
South Bay has 6-8 hour longevity on me and average sillage.
I just returned from my summer beach vacation and South Bay was frequently my scent of the morning, afternoon, and evening. As I mentioned above, the opening is enchanting and topping it up multiple times a day allows me to keep enjoying it. The rest of the development is no slouch, as well. The opening is just magical for me. If you’re looking for a new summer fragrance don’t overlook South Bay even though it has been around for a year.
Disclosure: This review was based on a sample provided by The Different Company at Esxence.
There are many things about the current state of artistic perfumery that irritate me but there is one thing that is top of my list. I genuinely look forward to seeing what has come in the mail every day. I live for the potential of trying that next new great fragrance. There is a dark side to that and it happens when I open the envelope and see it half-filled with multiple vials. I emit a sigh because another “collection” has found its way to me.
My biggest objection to the term, and the practice. is I think it is 99% marketing and 1% inspiration. The majority of these collections have only one thing connecting them, the name on the bottle. What is even more frustrating is it is apparent there was zero effort in trying to have a coherent aesthetic or theme. Heck I would even accept if it was made up of connected pairs. Instead it feels like a box checking exercise where the perfume line covers all of the expected bases. This would be great if the creative direction was focused enough to provide an interesting viewpoint. The other collateral damage to this collection obsession is it feels like the line can’t be bothered to make up their mind what is polished and ready to be released. Which is why within a collection there are many entries where my reaction is, “Why didn’t you take the time to get some feedback and really add a final edit?” Many of these feel like the perfume equivalent of reading the first draft of a novel before an editor gets a hold of it to tighten it up.
This leads to the second issue they are asking the consumers, us, to be their evaluators for them; at full price. Over the last three years as this ploy of releasing multiple perfumes in a collection has become more prevalent I’ve noticed a couple years on there are only a couple of them still on the shelf. I believe those are the ones which sold well and the majority were discontinued because they didn’t sell. This means they make us pay for the right to beta test their perfume and that should be their job not ours.
From a store perspective this also puts them under tremendous pressure to decide whether they have enough shelf space for a dozen new perfumes. The lifeblood of the indie and artistic perfume community are the small stores which cultivate customers who return to find out what the store owner has identified as worth trying. These new lines approach the stores and ask them to carry all of them or none of them. There is a bit of fallacious thinking that these lines are just on the cusp of being added to Bergdorfs, Neiman’s, or Saks by the line owners. They fail to see that success in those venues has almost invariably happened from a more conservative approach where you build the line over a number of years. These small stores which the purveyors of these collections hold hostage are the very people who will create the repeat customer and buzz for the brand that will open those magic retail doors they dream of.
I am sure there is a collection heading my way which I will be thrilled to explore fully but I expect to be sighing a lot more before that happens.
The advent of Sport Fragrances began in 1972 with Estee Lauder Aliage Sport Fragrance and based on today’s market you might be surprised to know it was made for “active women”. It wasn’t until 1987 with the release of Boss Sport that the Sport Fragrance business started to shift to the guys. The fragrance which would start the men’s sports fragrance snowball rolling was 1993’s Polo Sport. Perfumer Harry Fremont really ran with the idea of a fragrance for an active man as he set the formula for many masculine sport fragrances to follow. Citrus on top followed by light florals made more manly with spices; finishing with woods and musk. The use of Sport in the name was supposed to make it easier for a man to want to buy fragrance, and it worked. Polo Sport immediately became a best-seller and is still one to the present day.
Over the last twenty years there have been many, many sport fragrances released and most of them are flankers of flagship fragrances for the particular brand. The unfortunate part of this is most perfume producers took the wrong lesson from the success of Polo Blue. They decided that Sport meant light almost to the point of insipidness. Most Sport fragrances are an embarrassment to the other name on the label as everything that makes something like Encre Noire great is gutted in Encre Noire Sport. With all of this you might think this is an odd subject for The Gold Standard but there is one which shows it can be done right while hewing to the template set down, Guerlain Habit Rouge Sport.
If there is any fragrance I would’ve thought would never be amenable to sportification it would be Jean-Paul Guerlain’s 1965 men’s fragrance Guerlain Habit Rouge. Habit Rouge is a citrus/spicy/leather with the signature Guerlinade. Habit Rouge would be in my conversation of greatest men’s fragrances of all-time. When I visited the Guerlain Boutique at The Breakers in Palm Beach in the summer of 2009 I probably recoiled when I was proffered the bottle of Habit Rouge Sport. What I should’ve done was realize M. Guerlain would not stoop to make a pale simulation of his classic. Instead he uses three key additions and an overall lightening of the core to create the best sport fragrance ever.
The same bigarade focused top notes are present but they are made brighter and the first key addition, bamboo, adds a fresh light woody note which transforms this into something recognizably Habit Rouge but also something new. The heart of neroli, patchouli, and cedar is the same. Then by dialing back the mélange of spices in the original to just one, pink pepper; and adding jasmine the heart is as easy to wear as that white t-shirt. The base is identical with leather over the amber and vanilla Guerlinade but as everything else in Habit Rouge Sport it is made less intense.
Habit Rouge Sport has 12-14 hour longevity and moderate sillage.
I wear Habit Rouge often but never in the warm weather; Habit Rouge Sport is what I wear these summer days. It may be faint praise to call this the best sports fragrance ever. Let me add to it Habit Rouge Sport is as good as the fragrance with which it shares its name.
Disclosure: This review was based on a bottle I purchased.
I’m not sure if there are distinct stages of being a perfume lover but there are many common experiences we all share. One of those is trying a “vintage” perfume. What I mean by that is an original bottle of a classic perfume that is over 10 years old and often is as old as 50-60 years. The moment of trying your first vintage perfume is usually followed with a statement along the lines of, “they just don’t make perfume like that anymore”. When it comes to certain ingredients that is definitely true especially now scarce to find authentic ambergris or real musk from the musk deer. There is also another part of the equation too as many who love vintage fragrances love the depth and subtle power inherent in these older bottles. There is then a belief that what they are smelling is somehow truer than a modern version, that is the myth I am here to bust this month.
Coffee Flower Macerating in Jojoba Oil
When you are smelling an older bottle of perfume you have to take into account what has been going on over the years in that bottle. One thing that has been going on is continued maceration. When making a perfume which is high in natural ingredients there is a phase of the process called maceration. What this means is once the perfume concentrate is diluted in the desired solvent, usually alcohol, it is left to sit for a number of weeks at reduced temperature and away from light. What this allows for is these natural materials to reach a steady state where the perfume reaches consistency of odor profile. As I’ve mentioned in the past natural raw materials are not one molecule they are actually mixtures of often hundreds of different molecules. When these are combined with other natural raw materials and diluted there needs to be a settling out period. This is most often done on as large a scale as possible. The perfumer will check over time until the blend reaches a congruency from three or four different samples over different days. At this point it is transferred to a bottle. Now if the perfume is all synthetic this process is totally unnecessary as those are single molecules and need no settling out. While the early maceration is done on a large scale it does not stop once it is in the bottle. Especially when we are talking time frames of tens of years. Maceration is now a much more gradual process but when measured over many years it is still going on. This is what most often produces the softness many remark upon when trying a vintage perfume. Just like a fine Bordeaux wine a 1961 vintage is much smoother than a 2011 vintage. Time does smooth out all things. The continued maceration also accounts for the blurred less definitive transitions also found in vintage perfumes.
This sealed bottle from the 1950's was filled right to the neck when new, notice the gap now because of evaporation
Second is good old evaporation of the top notes. Top notes by their very nature are meant to be volatile and the idea that any of these still remain in a perfume that is ten years old stretches the concept of simple physics. Even if the bottle is sealed once the top notes begin to evaporate they are now in vapor form and if there is even the slightest gap out they will go. To my knowledge there is no vintage perfume which has been so meticulously sealed as to prevent this most basic of processes from happening. The effect this has when smelling a vintage perfume is you get right down to business and go straight for the heart and base notes. This is probably what gives the impression that vintage has more depth because you aren’t distracted for a second by any top notes because they are no longer there.
Vintage Baccarat Shalimar Bottle half-filled with air and clear to let light through
Third is if the bottle has been opened at all or exposed to sunlight for any period of time. Oxygen and sunlight are the natural predators of many perfume molecules converting them into all manner of things. Some of which still smell good and some which definitely don’t. It is either, or both, of these twin plagues which make a perfume go “off”. In the best case it can still leave something behind which smells good but anything like what it smelled like when it was put in the bottle, not likely.
Patricia de Nicolai
For me one of the most eye-opening experiences to this phenomenon was when Patricia de Nicolai of the Osmotheque exposed me to the versions of some of my favorite older perfumes from the Osmotheque. Through the help of the perfume companies the Osmotheque has original formulae for many of the classic perfumes and makes fresh new batches of them for their library. As I experienced these fragrances in their complete glory with top notes intact and lively paired with the heart and base notes in the vitality of their youth I realized these were the real vintage perfumes. We had a group experience of this at Esxence as we had an Osmotheque version of Edmond Roudnitska’s classic Rochas Femme. Everyone was surprised at how different it was to any version they had tried previously. If you love vintage perfume you must go to the Osmotheque and really smell the vintage perfumes you love it will give you a whole new appreciation for them.
I am not saying vintage perfumes are not lovely in their own right. They are also not really anything like the original fragrance put in the bottle you own either. That is the myth of vintage perfume.
There are many things that are not perfume which smell great to me. One of those things is sunbaked skin coated in suntan lotion. The Coppertone my mother slathered on me before allowing me to make sandcastles. The Bain de Soleil the European women wore poolside at the Fontainebleau Hotel on South Beach. As much as the salt and the sand it is the smell of the tanning products that evoke the beach. The five fragrances listed below all remind me of lotion coated tan skin glinting in the sunlight.
Jean Patou Chaldee began its first incarnation as Huile de Chaldee an actual sun tanning product which was mostly castor oil which Patou perfumer Henri Almeras added orange blossom, narcissus, and vanilla to make it smell better. They knew they had a hit when they found women wearing it at night as a fragrance. Perfumer Thomas Fontaine has re-formulated Chaldee and in that reworking has hewed closer to its suntan lotion beginnings, which I really like.
CB I Hate Perfume At The Beach 1966 is constructed around a central “Coppertone” accord. Coppertone was the suntan lotion of my youth exactly in 1966. The suntan lotion used an overdose of coconut to attempt to disguise the medicinal sunblocking agent. It turned into a pleasant smelling tropical laboratory accord. Christopher Brosius gets this picture perfect and he places it in a beach milieu full of drift wood, crashing surf, and sand. It is a time machine in a bottle for me.
If I wasn’t on the beach I was spending time by the humongous pool at the Fontainebleau Hotel on Miami Beach. This was where I came into contact with Europeans using this tube of orange gel called Bain de Soleil as their lotion. In Bond No. 9 Fire Island perfumer Michel Almairac captures that odor plus the sun warmed skin underneath. I can almost see the row of chaises and smell the breeze blowing this to my nose. It is another perfect rendition of a scent memory for me.
The more modern takes on the smell of less scented sun products come from two of the great fragrance producers. Estee Lauder Bronze Goddess is a very close wearing fragrance which takes the warm skin accord in the base and over the top of it adds magnolia and tiare. Perfumer Alberto Morillas turns out a summer perfume which is all about living in the sun.
The final suggestion is the new Guerlain Terracotta Le Parfum 2014. Guerlain in-house perfumer Thierry Wasser takes the same sparkling tiare flower and sandwiches it with coconut milk and bergamot on top and the signature Guerlinade of vanilla on the bottom. This is a limited edition only available for 2014 and it is as good a mass release as Guerlain has done in years. It is perfect for the summer.
I am not recommending wearing perfume instead of sunscreen as you head out this summer. If you want to carry the day into the night any of these five will keep the summer vibe going into the wee hours.
Disclosure: I purchased botlles of all the perfumes mentioned.