There are many fragrance styles which have taken hits due to the ingredient restrictions handed down by the European oversight agencies. The one ingredient which has caused the biggest change is that of oakmoss. Full oakmoss has been proscribed from being used in perfumes. When something like this happens in perfumery it initiates a two-pronged approach; one scientific and one creative. The scientific part is to find ways of making synthetic alternatives. The creative way is to create accords which give the same effect as oakmoss. Le Labo Mousse de Chene 30 is an example of both coming together.
Fabrice Penot and Edouard Roschi
Mousse de Chene 30 is the city exclusive for Amsterdam. Like all the other city exclusives don’t strain yourself looking for a connection; it might require an advanced yoga pose to find the right perspective for that. Despite that many of the city exclusives are among the best perfumes with Le Labo on the label. For Mousse de Chene 30 perfumer Daphne Bugey with creative directors Edouard Roschi and Fabrice Penot want to make a “neo-chypre”.
The loss of oakmoss was a blow to the chypre style of perfume; being one of the main ingredients. Over the last ten years I have seen many good versions without oakmoss in them. Mousse de Chene 30 is another of them. In this case two prominent synthetics from Firmenich, Clearwood and Crystal Moss, are used with low-Atranol oakmoss and patchouli to form an evolutionary chypre.
Before we get to the meeting of synthetic and natural we start with a spicy flare of cinnamon, baie rose, and bay leaf. This is a curtain raiser to the main event. Low-Atranol oakmoss caries the green but the loss of the Atranol takes some of the “bite” out; to get that back Crystal Moss is used. I find it is like the effect Ambrox brings to woods. Crystal Moss is a spiky green synthetic which has to be used in moderation or that sharpness can overwhelm. Mme Bugey uses it well in Mousse de Chene 30 it returns the bite to the oakmoss accord. The patchouli when paired with Clearwood, itself a patchouli derivative, enhances the woody nature of the patchouli while attenuating the deeper aspects. Together they create a fresher patchouli accord for the oakmoss accord to interact with. As they come together at first it creates a more expansive type of chypre which over time contracts to a denser version as the synthetics begin to outlast the naturals.
Mousse de Chene 30 has 14-16 hour longevity and average sillage.
Mousse de Chene 30 shows science employed by a top-notch creative team can build a 2017 chypre which is compelling as any other modern version of that style.
Disclosure: This review was based on a sample I purchased.
There have been several attempts to bring those who have been innovators in niche perfumery into the mainstream market. I would say they have been a mixed bag as far as success in the marketplace has gone. From the perspective of translating the creativity of niche that success has been more easy to discern. One of the earliest examples of this effort was Kate Spade Live Colorfully.
Kate Spade is a fashion brand established in 1993 selling handbags. Less than ten years later they were rapidly expanding in to other areas; one of which was fragrance. The first release in 2002, Kate Spade, was a pretty floral fragrance around muguet. It was discontinued about the same time the second fragrance, Twirl, was released in 2010. Twirl was an aggressive fruity floral which put me off for that forward nature.
Fabrice Penot and Edouard Roschi
Because of the uneven success of the first two releases the brand made a decision to try something different. For Live Colorfully the two creative directors from Le Labo, Fabrice Penot and Edouard Roschi, were joined by putative “lipstick queen” Poppy King. Working with perfumer Daphne Bugey they together worked on a mainstream perfume that could carry some niche sensibilities along with the safer aspects. What they produced was a fragrance more recognizably mainstream than niche but in a couple of places the independent streak peeks out.
Live Colorfully opens with a pairing of mandarin and star anise. Mme Bugey allows mandarin the lead role but the star anise adds an odd complementary sweetness. The real niche aspect comes in the floral which opens the heart; as waterlily is set afloat on a pond of coconut water. It is the kind of accord you find in niche regularly. Here it is an outré watery floral accord. The perfume quickly gets back into safer waters as orange blossom and gardenia form the floral accord which is where Live Colorfully spends most of its development. Mme Bugey finishes this with a warm amber and vanilla accord.
Live Colorfully has 12-14 hour longevity and above average sillage.
Live Colorfully has become a standard presence on the discount perfume points of sale usually going for around $25. It is a good spring perfume at that price.
I would have liked to been in the room as the decision on the final form of Live Colorfully was decided. I would be surprised if there wasn’t one version which was more niche-like. The final decision probably came down to a brand which wanted the opportunity to create a tentpole fragrance which is what Live Colorfully has become spawning two flankers in the last two years. Even with that said Live Colorfully still has those moments of rebellion within its typical architecture.
Disclosure: This review was based on a bottle I purchased.
Two years ago, Le Labo was acquired by Estee Lauder. The brand started in 2006 by Fabrice Penot and Edouard Roschi had grown into such a presence within the niche sector it wasn’t really a surprise. Le Labo made a mark in the burgeoning niche market by being unafraid to do something daring. The name of each perfume has a note and number. The digits represent the number of different ingredients. The note; well sometimes it is what you smell and other times it is just a supporting player. This is a brand which I have enjoyed from the moment I first tried them ten years ago, the distribution of Le Labo is beginning to expand a bit because of the new partnership with Lauder. Thus, I thought because they are going to become more readily available it was time to let you know which five should get you started.
Before I start the list I am not going to include the city exclusives. Le Labo has perfumes which they only sell in a particular city. The Tokyo release Gaiac 10 would have been a cinch to be on this list but because of the exclusivity I am not going to add it.
Ambrette 9 composed by perfumer Michel Almairic is sometimes called Baby Ambrette 9 because it is so pure and simple it could be used on a baby. This time the botanical musk of ambrette is front and center. It was my experience with this perfume which opened my eyes to the soft beauty of ambrette. M. Almairic uses pear and other synthetic white musks to get up to nine. When they call something baby soft this a fragrance which exemplifies it.
Iris 39 by perfumer Frank Voelkl is an example of where the other 38 notes create something quite different than a perfume named Iris 39 should smell like. M. Voelkl wanted to remove the powder and accentuate the rootiness. The main ingredient he uses for this is patchouli. The full-bodied patchouli provides the earth that the iris rhizome is buried in. A bit of lime brightens the early moments while a mix of civet and musk take Iris 39 deep into the topsoil. If powdery iris has always turned you off let Iris 39 provide a fresh perspective.
Santal 33 also by perfumer Frank Voelkl is one of the flagship perfumes of the brand. It was meant to evoke the rugged Marlboro Man of the cigarette ad campaign of the 1970’s. It is a primary mixture of leather and sandalwood. Ambrox and cedar pull the woody aspects. Iris, cardamom, and papyrus layer the leather. By the end, it is the Ambrox and sandalwood which remains. Santal 33 is a perfect example of what Le Labo Is all about.
Lys 41 also composed by M. Voelkl is not a lily fragrance it is a duet around jasmine and tuberose. Most of the lily character comes from the inclusion of Tiare which has the ability to twist the boisterous white flowers into a simulacrum of lily. The base accord is built around a very comforting vanilla surrounded by woods. There are other stronger florals within the line Lys 41 is the gateway to discovering them.
I finish with the other flagship scent of the brand Rose 31 by perfumer Daphne Bugey. I hesitated to include this because Rose 31 is a masterpiece of perfumery but it is not as welcoming as the other four on this list. I decided to include it because there is no Le Labo perfume which captures the brand aesthetic better. I like describing Rose 31 as an English Tea Rose who falls in with a group of bad influences which leave that rose taking a walk of shame the next morning. Mme Bugey opens with that dewy rose until cumin, oud, and vetiver invite her out for a spin. By the time she returns home she has transformed in to a Bulgarian rose trailing the spices of the night before as she stumbles in the door. Rose 31 is one of the great perfumes of this century which is why you should allow it to be one of the perfumes which opens the door to the brand.
Take these five out for a sniff when you see them on a shelf near you.
Disclosure: This review was based on bottles I purchased.
Le Labo is perfume brand which likes to keep its customers guessing with its naming. All Le Labo perfumes have a note followed by a number representing the number of ingredients. There are a few of them where that note is readily apparent. Most of them have the note named on the bottle in a discernable position within the fragrance framework but not the keynote. Then there are the ones I call the “bait and switch” releases where I believe the listed note is there but I never smell it. The newest release The Noir 29 is one of these.
Fabrice Penot (l.) and Edouard Roschi
These are certainly interesting times for the brand founded by Edouard Roschi and Fabrice Penot. It was almost a year ago it was announced this flagship niche brand was acquired by the Estee Lauder Group. There was a lot of written and said about that covering all possible reactions from happiness to rage. I fell in the middle with a “wait and see” attitude. While I imagine The Noir 29 was probably already in the pipeline prior to the acquisition it is going to be looked upon as the first data point. Which is why I admire Messrs. Roschi and Penot for deciding to go with a perfume that displays everything that is offbeat about Le Labo.
They worked again with perfumer Frank Voelkl who since 2009’s Oud 27 has composed eight of the eleven releases since then. M. Voelkl is definitely a perfumer who understands Le Labo as he has made releases in all the styles I mentioned in the first paragraph. For The Noir 29 it is about fig, smoke, and wood definitely not tea.
The Noir 29 opens with a healthy amount of bergamot and a similar amount of bay leaves. There was a moment in the very early moments where this smells like the old bay seasoning used in cooking. That seasoning then gets sprinkled on fig. This is what forms the top accord. As the fig gains more traction the bay leaves start to smolder with a smoky quality. The smoke is even further enhanced with a cigarette tobacco accord. Hay adds a needed bit of balancing grassy sweetness. It all comes to rest on a vetiver and musk base. The vetiver is defined more to its woodier aspects by adding in cedar. The musks provide some depth to what has been a pretty opaque development for most of the time.
The Noir 29 has 12-14 hour longevity and above average sillage.
I am pretty sure The Noir 29 does not provide the tea leaves necessary to know what Le Labo will look like under the Estee Lauder umbrella. The Noir 29 feels like part of the family which came before it. I believe Messrs. Roschi and Penot wanted to make sure all those who were worried would see things weren’t changing. I think The Noir 29 is really going to appeal to those who loved M. Voelkl’s Santal 33 from 2011. This is a different kind of woodiness entirely complimentary to that perfume. There may not be any black tea in The Noir 29 but the smoky figgy woods more than make up for it.
Disclosure: this review was based on a sample provided by Le Labo.