It is one of the more frequent conversations I have with husbands about their wives’ perfumes. They ask me to recommend something. I respond, “What do they wear now?” Probably the most common answer I get is “Clinique Happy”. Happy has found the right combination of easy-to-wear along with modest price. As a fragrance brand it has been content to soldier on with flankers for twenty years. It has been so long since something with Clinique on the label has caught my attention; until a recent visit to Ulta.
There was a grouping of six brightly colored tall thin bottles which caught my eye. When I got to the display I saw they were part of the Clinique My Happy collection. The concept was to make these six perfumes “layerable” in such a way that you could create your own version of My Happy. I am not a fan of layering because I expect my perfumes to stand, or fall, on their own. Plus, when I see “layerable” it usually is synonymous with linear. Meaning you need to buy a few to have a perfume which actually develops over time. As I sprayed each of them on a strip in the store I was pleased not to find linear fragrance in search of being a perfume but actual perfumes in each bottle.
Cocoa & Cashmere sprinkles cocoa on an expansive synthetic jasmine. Lily of the Beach loads a pile of salicylates on top of florals to create a light beach style fragrance. Peace & Jasmine uses green tea as the contrast to fuller jasmine. Peony Picnic is a fun fruity floral with plum providing its part of the equation. Splash is a citrus floral that is a clear relative of Happy minus the woody base. You might notice that is only five. The sixth, Blue Sky Neroli, is the one I purchased and took home; along with a sample set.
Blue Sky Neroli is exactly what you expect from a name like that. Perfumer Celine Barel uses the commonly used ingredients to create her effect, but it works very well.
It opens with a mixture of ozonic fresh air ingredients brightened with lavandin, cardamom, and citrus. It is the judicious use of those last three which provides some texture to the same old blue-sky accord. The same happens in the heart as neroli finds some rose support. The base is a fresh vetiver riding on a white musk accord.
Blue Sky Accord has 12-14 hour longevity and average sillage.
The whole My Happy collection is moderately priced, and you can get a sample set for the same price as a bottle. It makes these perfumes great bang for the buck for being well executed perfumes. When you’re out and about give these a try you might end up with one in your shopping bag like I did.
Disclosure: this review is based on a bottle and samples I purchased.
When I was growing up in the 1960’s many of the men around me wore perfume which had a central leather component. If I had so desired I could have easily concluded that leather is what a man smells like. I can joke about it but there is a bit of truth underneath the humor. The mid 1960’s well into the 1970’s was the age of the powerhouse cologne marketed primarily to men. Because men were the target audience perfumers would have to sneak some notes, like flowers, considered feminine underneath the more stalwart suspects. One of the exemplars of this style of perfumery was 1965’s Aramis composed by perfumer Bernard Chant.
Aramis was a powerhouse leather mostly supported by herbs and spices led by thyme and clove. My very stylish uncle was an Aramis man. As I would begin to expand my fragrance horizons I would discover there was an entire collection under the Aramis name. As the niche explosion arrived the brand has been having some difficulty staying relevant. It was why when I received the press materials around the new release Aramis Modern Leather I was more interested than normal.
According to the press materials Aramis Modern Leather was meant to be a modern re-telling of the original Aramis. I was wondering what the team at Aramis thought a twenty-first century powerhouse smelled like. The name clued me in that it was leather. What else did perfumer Celine Barel think makes a modern powerhouse? She returns to the herbal notes of the original but she also believes men are more comfortable with a floral heart fifty years later.
Mme Barel opens with thyme as the original started with. The main difference is basil overtakes it rapidly as if making the case for being the modern man’s herb of choice. Where the original dove deep into spices Modern Leather constructs a proper floral heart accord around geranium and orange blossom. Mme Barel uses some violet leaves to constrain the florals from becoming too expansive. The base contains the leather. Mme Barel’s leather accord is refined leather; very modern compared to the leather accord in Aramis. This one in Modern Leather is supple luxuriousness. The only attempt to put a tiny amount of edge into it comes from some vetiver and labdanum but they never really lay a hand on it.
Modern Leather has 10-12 hour longevity and average sillage.
Modern Leather posits the hypothesis that a modern powerhouse smells like this. It is a good version to see if there is a market for a fragrance like this. I can find a spot for it right next to its original stable mate.
Disclosure: This review was based on a sample provided by Aramis.
If I was to offer up a pop quiz and ask this question, “Name the first American designer fragrance?” I bet, notwithstanding looking at the title of this article, few would come up with the correct answer. Norell was the first American designer fragrance. Charles Revson of Revlon and perfumer Josephine Catapano were the creative team behind the perfume representing fashion designer Norman Norell. Norell became the first perfume to feature a huge amount of galbanum in the top notes. It was a trailblazer in many ways. In 1968 it was debuted in the luxury department store Bonwit Teller. It sold $1 Million dollars in its first year. Today heavily reformulated it can be found in any drugstore franchise fragrance cabinet.
In 2015 it was thought the Norell name needed to be recaptured in the fragrance sector. Perfumer Celine Barel was asked to create a new version called Norell New York. Ms. Barel has made a perfume which definitely has some of the same components but they have been altered in strength and prominence to create something similar but different.
Norell (1968) opens with that blast of galbanum. Smelling it now that doesn’t seem to be different than many very green perfumes on the market. In 1968 this was a completely unique opening. The galbanum moves into a full floral heart of hyacinth, rose, and gardenia. Ms. Catapano adds the twist of using clove and cinnamon leaves to provide a long tail on the galbanum and a real accentuation of the spicy core of the rose. In many ways this is also the trendsetter for the spicy floral heart which will explode in the 1970’s. The base is another ahead of its time piece of work as it takes a large amount of oakmoss and softens it tremendously with sandalwood, vanilla and orris. It was a supple foundation which would also not become fashionable for another 10-15 years. If there is one word to describe Norell it is green.
That is not the word I would use to describe Norell New York (2015). This time I would say floral. Ms. Barel does hearken back to the original with a bit of galbanum in the top but it is matched with an equal amount of pear. The heart is floral dominated but instead of rose Ms. Barel uses jasmine as her focal point to which gardenia and peony provide the supporting roles. Here the green has been cut off at the pass and we are in more traditional fruity floral territory with the pear and florals interacting. The place where Norell New York most closely resembles the original is in the base as Ms. Barel uses sandalwood, vanilla, and orris. Her stand-in for the oakmoss is a particularly earthy patchouli. All together it is a really excellent re-creation of the original’s base.
One final experiment I performed with a strip of Norell and Norell New York was I gave it to a group of women who are similar in age to me in their late 40’s early 50’s; four out of the five preferred the older Norell using words like “classic”. I also tried the same exercise with five women in their late 20’s early 30’s and the result was the opposite; four out of five preferred the more recent version. Those women all had a strong reaction to the original calling it the dreaded “old lady” smell. I pointed out the base was similar in the new version but they all like the fruity floral opening so much that it seems that similarity didn’t matter.
If I was presented a bottle of the original Norell in a pristine well-preserved box I would obviously choose that. But the Norell which I find at my local CVS has been cheapened by reformulation so much that it has lost much of the original verve it had. Which is why I am pleased that Norell New York exists. By using a slightly different name and allowing a perfumer instead of an accountant to modernize the brand. The new release is a much more fitting representative of the first American designer perfume.
Disclosure: This review was based on a sample of the original Norell provided by an anonymous donor. The current Norell was purchased by me. Norell New York came from a sample provided by Bergdorf Goodman.
One of Diana Vreeland’s quotable quotes was, “Style, all who have it share one thing: originality.” If you’re going to do a perfume line which carries the name of Diana Vreeland, originality should be a given. The new five fragrance Diana Vreeland line of perfumes which was creatively directed by her grandson Alexander Vreeland is almost entirely devoid of originality. Four of the five fragrances are routine reworks of popular styles of perfumes. Like a box checking exercise there’s an oriental, a rose, a tuberose, and an amber. They are all so forgettable and banal that it seems almost a crime they carry Ms. Vreeland’s name. They are all so unoriginal that as I started to try the fifth one Perfectly Marvelous I was already stifling my yawn. In a true contest of diminished expectations it is by far the best of a bad lot. As I wore it for a couple of days my attitude brightened somewhat toward it.
Perfumer Celine Barel was, according to the website, inspired by another of Ms. Vreeland’s quotes, “If it isn’t a passion, it isn’t burning, it isn’t on fire, you haven’t lived.” Mme Barel does not deliver a fire with Perfectly Marvelous but she does deliver something a bit different on a basic jasmine theme. She takes a few variations on well-understood tropes and makes Perfectly Marvelous the only one of this collection I could enjoy.
Diana Vreeland surrounded by red
Ms. Vreeland’s favorite color was red and she was known for the red décor of her home and her red nail polish. Another of the descriptors from the website was for Perfectly Marvelous to evoke red lacquered sandalwood. In that desire I think Mme Barel comes closer to the mark. She starts with a soft swirl of spices centered on pimento. The pimento is probably the most original ingredient used in all five perfumes in the collection. Mme Barel doesn’t squander it as she uses jasmine sambac as floral contrast. This version of jasmine is the kind with the indoles mostly neutered. Every time I wore this I wondered how much better this might have been with a bit of feral indole in the mix. What is here is pleasant and in place of the indole she uses cashmeran to add its very polite muskiness along with sandalwood. The cashmeran feels too proper for a trailblazer like Ms. Vreeland.
Perfectly Marvelous has 6-8 hour longevity and average sillage.
Perfectly Marvelous suffers from a distinct desire to play it safe something which can be used to describe the other four perfumes in the line. At least in the case of Perfectly Marvelous Mme Barel was allowed one tiny moment to allow Ms. Vreeland to channel some originality her way. It makes Perfectly Marvelous sort of original which is a very sad thing to say about something which carries Diana Vreeland’s name.
Disclosure: This review was based on samples I received at Sniffapalooza Fall Ball.