Patricia: 29 posts

Patricia revisits Calandre, a metallic green rose with a chypre heart.

Nineteen Sixty-Nine was a year in which I watched with my family as men walked on the moon, 400,000 young people crammed into the then little known town of Woodstock, NY for a three-day music festival, and the hugely unpopular war in Vietnam was escalating with accompanying casualties on both sides of the conflict. In the same year, Calandre, an avant-garde perfume from the fashion house of Paco Rabanne and created by nose Michel Hy, was launched.

Betty Friedan, considered by some to be the mother of the second wave of American feminism, had written The Feminine Mystique in 1963, and the sixties provided fertile ground for the growing Women’s Movement. Perfume styles were changing as well. The more formal floral style of the fifties and early sixties was giving way to more modern interpretations.

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Patricia on the Boston Harborwalk, Jo Malone Wood Sage & Sea Salt and tide.

The Boston Harborwalk is a 47-mile continuous public walkway from Chelsea to the Neponset River along the Boston waterfront. Currently 80% completed, it is a treasure for locals and visitors alike, and I never tire of strolling along a small portion of it, watching the boat traffic and inhaling the briny, mineral scents that are part of a busy working harbor. The tides, too, influence the degree of intensity of salt and vegetation in the air. During high tide, saltiness predominates, and the breeze is fresher and cleaner smelling. Low tide, however, uncovers the rocky bottom, exposes wood pilings and seaweed, and adds an interesting vegetal and animalic muskiness to the air.

Wood Sage & Sea Salt, a cologne created by Christine Nagel for Jo Malone, falls within the cleaner range and is what I would call a high-tide fragrance. It opens with a refreshing blast of grapefruit and ambrette, which as it is an unusual combination of top notes, sadly doesn’t last long enough to suit me. The overall effect is one of freshness from the citrus and depth from the plant-based musk tones in the ambrette seed. Soon, the sea salt and sage come into play, and they, too, are clean and polished and not likely to offend. This stage lasts for a few hours, not changing in essential character but gradually fading to a pleasant skin scent.

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Patricia wraps herself in iris, sandalwood and amber and talks about some of her favorite fragrances from Parfum d’Empire.

Even if Equistrius, a fragrance from the French niche line Parfum d’Empire, hadn’t been named for an outstanding competition horse, I would have been intrigued by the well-balanced combination of some of my favorite notes in perfume. Although Equistrius can easily be worn year round, I find it especially suited to early fall, when the days begin to shorten noticeably, the southward-heading robins congregate in my backyard Kousa dogwood to devour its ripening berries, and the breeze carries a premonition of the chill to come.

Equistrius opens with refreshing green notes and violet, but eases quickly into a warm and buttery iris that is mouthwateringly delicious and demands frequent wrist to nose enjoyment. This is a soft, rather than a demanding iris, and perfume notes have included rice powder to convey this softness. What I get is more a feeling of rice paper: white, translucent, and richly grained, allowing the warm amber and milky sandalwood to show through, especially as the perfume continues to soften and develop on skin.

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Patricia on perfume and poetry.

For me poetry first meant the limericks and nursery rhymes in The Golden Treasury of Poetry, edited by Louis Untermeyer and containing lovely illustrations by Joan Walsh Anglund. The pages of this book became dog-eared and torn over the years, and the cover finally fell off. Once I could read, I graduated to the longer poems within, such as “The Highwayman” and “Paul Revere’s Ride.” But it wasn’t until high school, when I was introduced to a wider range of poetry, especially modern verse, that I felt the power of poetry to take one on an incredible journey within the space of only a few verses. As a teenager, the poems of e e cummings were early favorites, and I still have a copy of Poems 1923-1954, my name written on the flyleaf in loopy handwriting I hardly recognize.

The Book of Scented Things: 100 Contemporary Poems About Perfume, edited by Jehanne Dubrow and Lindsay Lusby, is a collection of one hundred original poems about fragrance written by American poets. These poets were sent perfume vials, all different and carefully chosen by the editors, and asked to “…write a poem that engages with or responds to the fragrance that we have sent you.” The editors go into detailed explanation of the book’s inception in the Introduction, and Alyssa Harad, author of Coming to My Senses, provides her thoughts on scent and literature in a well-written Preface. A very useful Contributors’ and Matchmaking Notes section appears at the end of the book and gives biographical information on each poet as well as the name of the assigned perfume.

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Patricia on Acqua di Parma Colonia and other citrus favorites, from Parfums de Nicolai and Annick Goutal to The Different Company and Guerlain. 

Colonia by Acqua di Parma is a fragrance with a past. Created in 1916 as the first fragrance of a small perfume factory in Parma, Italy, it was first used to scent the handkerchiefs that men carried with them at the time. Later it was the darling of worldwide celebrities seeking Italian chic in the early and mid twentieth century. Acqua di Parma then fell on hard times but was revived, along with Colonia, in the 1990s.

I must confess a partiality for aromatic citrus fragrances. Like one who works out real-life problems at night through recurring dreams (being caught unprepared for an examination is a personal favorite), I repeatedly buy citrus colognes very similar in nature, the most recent of which is Colonia, purchased on a hot sunny September afternoon in the South of France.

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