Christopher Sheldrake: 57 posts

Star rating: 5 stars–outstanding/potential classic, 4 stars–very good, 3 stars–adequate, 2 stars–disappointing, 1 star–poor.

Serge Lutens La Myrrhe is the essence of the moment when the sunlight enters through the stained glass windows of an old church, bathing its cold stone in iridescent glow and lending a jewel-like splendor to the liturgical vestments and the vessels of the altar. The contrast between the light and the dark is what makes the fragrance one of the most intriguing compositions resulting from Serge Lutens and Christopher Sheldrake’s partnership.

The classicism of La Myrrhe (1995) is of misleading nature as it orchestrates its accords in a modern manner. The opalescent white veil of aldehydes that unfolds in the top accord almost hints at the floral waterfalls that are about to cascade softening the chilly breeze. Yet, instead of bergamot, rose, jasmine and ylang ylang of classical aldehydic compositions, La Myrrhe’s icy aldehydes become overlaid with sweet citrus, before falling into the heart spiced with anise. ….

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Star rating: 5 stars–outstanding/potential classic, 4 stars–very good, 3 stars–adequate, 2 stars–disappointing, 1 star–poor.

Christian Dior Dolce Vita is what I would call an abstract dessert, a fragrance that has a mouthwatering effect without smelling like a candy bar. It is a cedarwood compostion delicately layered with stewed peaches and dusted with cinnamon and vanilla. Created in 1996 by Pierre Bourdon (with Maurice Roger), the creator of Iris Poudré, Yves Saint Laurent Kouros (1981), and Shiseido Féminité Du Bois (1992, with Christopher Sheldrake), Dolce Vita opens up with magnolia and watery lily, the transparency of which allows a glimpse of a hot cinnamon note. The presence of cedarwood hints at the connection with Shiseido Féminité Du Bois (1992), but  the heart of Dolce Vita is miles away from the plummy darkness of its predecessor.  Dolce Vita strays into the spiced peach territory. Where Féminité Du Bois is brooding, Dolce Vita is sweet and bubbly.

The composition dries down to an elegant blend of cedarwood and sandalwood layered over balsamic vanilla and oakmoss. Its almond notes give the drydown a delicious sweetness that vacillates between a flaky pie crust and an almond candy. The dark resinous notes temper the sweetness, preventing the composition from becoming overly sugary and gourmand. Although designated as a feminine fragrance, Dolce Vita would be ravishing on a man.

Christian Dior discontinued Dolce Vita in the States, but it can found at various discount stores online. There is also a lighter version, called Eau de Dolce Vita (1998), with the emphasis on jasmine and orange blossom.

Star rating: 5 stars–outstanding/potential classic, 4 stars–very good, 3 stars–adequate, 2 stars–disappointing, 1 star–poor.

Serge Lutens Fumerie Turque is the scent that pervades Eugène Delacroix’s Algerian themed paintings, in which the darkness of shadows frames rich colors. Both the painting and the fragrance are romanticized visions, focusing on the sensual elements. The eye beholds a group women reclining on embroidered pillows, with a narguile smoking next to a bowl of sweetmeats. One woman looks directly at the viewer, the other gazes to the side, as her companion leans closer. What captured is but a moment of an afternoon filled with heat and languor.

Likewise, Fumerie Turque, created by Christopher Sheldrake in 2003, is a composition of sensual character that develops slowly. Nevertheless, its every facet harmoniously segues into another, despite the dark and seemingly uncompromising nature of each accord. Smoky notes soften slowly revealing tobacco leaves soaked in honey and caramel redolent rum.

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Star rating: 5 stars–outstanding/potential classic, 4 stars–very good, 3 stars–adequate, 2 stars–disappointing, 1 star–poor.

If fine leather were to be woven into a wreath with a few stems of jasmine and dusted with sweet spices, the result would capture the essence of Serge Lutens Cuir Mauresque (meaning Moorish Leather). Composed by Chris Sheldrake in 1996, it alludes to the ancient Arab tradition of exquisitely perfuming leather with citrus, musk and attars.

The dark resinous top note is caressed by orange blossom, jasmine, and mandarin, an arrangement that creates interplay of shadows cast upon a floral bouquet. Darkness pervades the luminosity and sweetness of orange blossom, with the smoky notes providing a grounding touch. Smooth tangy notes of leather begin to take shape slowly, all the while revealing a new facet, be it a warm breath of amber or a spicy shimmer of cinnamon. This stunning composition would suit both men and women, although its soft and floral element can be increased by layering Cuir Mauresque with a little bit of Fleurs d’Oranger.

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Star rating: 5 stars–outstanding/potential classic, 4 stars–very good, 3 stars–adequate, 2 stars–disappointing, 1 star–poor.

Serge Lutens Borneo 1834 proves once again that the genius of  Serge Lutens and Chris Sheldrake lies in the interpretations of particular notes by exaggerating their qualities and ornamenting them in such a way as to reveal the most unexpected and arresting element. By way of example, the odd camphorous note serving as a prelude for the sensual floral heart of Tubéreuse Criminelle is a note present in tuberose absolute, a hot rubbery darkness that suffuses white floral opulence. Smooth cinnamony sweetness of Cèdre intensified by tuberose recalls a caramelized floral note present in certain types of cedarwood oils, particular Himalayan cedar.

Borneo 1834 takes the sweet winey effervescence of patchouli and layers it with silkiness of chocolate and darkness of resinous woods. The top notes shock like vapors from a glass of rum. The hot wind that stuns senses upon the first inhale whips up a scintillating cloud of patchouli, which settles slowly in swirling patterns—one moment, it is a sweet golden (not earthy) patchouli, the next, it is a dark balsamic resin. The intoxicating warmth is interspersed with sweet incense smoke, which segues into the bitter chocolate. It is not a sweet luscious gourmand note of chocolate that made Angel a success, but a dark mélange of cocoa powder, bits of rubber and rosewood dust. The end result is a composition of remarkable contrasts—weightless darkness, smoky sweetness and eerie sensuality of patchouli.

Borneo 1834 is a newest Salons du Palais Royal exclusive fragrance. Wax samples of this fragrance seem to be more representative of the drydown. However, the best aspect of the fragrance is a fascinating interplay between almost palpable gradations of heat, which are revealed best in the liquid perfume. The notes include Indonesian patchouli, white flowers, cardamom, camphor, cistus, galbanum, cannabis resin, cocoa accord. The name refers to the place and the year marking the period when patchouli first entered the West.

Photo: Borneo 1834 limited edition bottle from Serge Lutens’ fan site (thank you, C!).