Suzanna: 65 posts

In 1978, Estée Lauder launched White Linen as a part of a trio called “New Romantics.”  The New Romantics also included Celadon (a green floral) and Pavilion (a white floral).  The three New Romantics scents were pioneers in the concept of fragrance layering.  The ad copy promised “three incredibly pretty fragrances designed to interact with each other.  Wear one.  Wear two.  Wear all three together.”

Celadon and Pavilion have been mostly lost to time, but Sophia Grojsman’s White Linen was an immediate blockbuster that is still in the Lauder line-up three decades later.  To me White Linen smelled like nothing else out there while bearing a stylistic resemblance to Chanel No 22 (immense use of aldehydes over abstract white floral heart).  It smelled nothing like the big Orientals that had just taken hold, and if it were meant to be worn concurrently with Celadon and Pavilion the result would have been explosive (think about combining Pleasures and Beautiful). On its own, White Linen had a massive and imaginative signature.  To combine it with another scent of equal power would be unthinkable—in today’s terms.  In the late 1970s, perfume was still constructed and worn boldly.

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Part 1: Florals ~ Rose
Part 2: Florals ~ Jasmine and White Florals
Part 3: Florals ~ Lily of the Valley and Violet
Part 4: Florals ~ Blends
Part 5: Essentials
Part 6 : Orientals

Autumn is the time of year when I reach for woods fragrances from my collection, hoping to recall memories of crisp leaves, curls of wood smoke, and the bracing green of pine. Woods fragrances may include sandalwood, cedar, oak, pine, and cypress (plus more), and also include for classification’s sake patchouli and vetiver.  Some woods fragrances smell like the outdoors, while others smell like an antique treasure chest and still more use wood as a basenote, skipping the ambient quality and using wood as a background support.

Wood notes are used in both male and female fragrances and may be interpreted differently.  In male fragrances, woods can suggest rugged masculinity (Coty Wild Woods) or they can be smoothed over with elegance (Chanel Égoïste).  A large amount of sandalwood in Samsara enhances the seductive nature of this Guerlain classic.  I enjoy the dryness and sharpness that wood notes can bring to fragrances, and their combination of elegance and sensuality.

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Poison:  Nearly 30 years after its debut, the name still causes a chill up the spine or a frisson of fear among those whose nasal passages were assaulted by Christian Dior’s titanic fragrance.

Launched in 1985, Poison entered a world of big perfume.  It was the era of flamboyant, often bombastic scents.  Even in this context, Poison made an immediate name for itself.  Whether this was cause for celebration or not depended on who was doing the smelling.  Poison, like Giorgio Beverly Hills, had as many vocal fans as it did vehement opponents.

I remember the first time I smelled it.  I had recently started wearing Obsession, Calvin Klein’s new-at-the-time Oriental that had a hair tonic note in the base.  But during a holiday gathering a cousin arrived, or Poison arrived with the cousin, shrieking in like a comet to the Thanksgiving dinner table.  Gone were the typical holiday aromas:  chestnuts, turkey, and pumpkin pie.   We were served Poison alongside roasted yams and it was all anyone could talk about; even the old aunts clucked—in appreciation.

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Neela Vermeire Mohur is a modern interpretation of a classical theme in Middle Eastern perfumery—the combination of rose with oud. It is one of a debut trio from the Neela Vermeire Creations line.  Ms. Vermeire is an Indian woman living in Paris who weaves the heritage of her native country around personal history to create perfume narratives.

Mohur takes its name from a gold coin minted during the Mogul era in Indian history. It is influenced by the story of the empress Nur Jahan, who not-so-secretly became the power behind the throne of her opium-addicted second husband.  After her husband’s death, Nur Jahan took up the art of perfumery while under what amounted to a house arrest.  Although the perfumes Nur Jahan created are lost to history, the story is not and it is this that Neela Vermeire has taken as inspiration.

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I have a friend who will not wear rose fragrances.  They remind her of her grandmother, and this opinion is one often echoed through perfume discussions.  But ask a rose lover for his or her favorite rose fragrances and the discussion opens up to a world scented by roses—reds, pinks, yellows, and whites; Rosa damascena (damask) and Rosa centafolia (cabbage); Bulgarian, Moroccan, Iranian, Turkish; soliflores or blends; attar of roses or rose absolute; the most realistic, the ultimate rose…

Most rose lovers agree that there is no such thing as the ultimate rose; as is true with the flower itself there are simply too many perfume variations to ever settle upon just one.  From creamy to clear, from spicy to green, rose fragrances are as simple or as complex as can be imagined.  Some settle on the skin as if one is wearing a bouquet, while others announce their presences in operatic registers.  Still more are dark and earthy and others smell rained upon.

While for me nothing approaches the experience of the scent of the bloom on its thorny stem, I wear rose fragrances more than any other.  Here are some of my favorites:

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