Christopher Sheldrake: 57 posts

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

Reading reviews and impressions of Serge Lutens Muscs Koublaï Khan can be both frightening and hilarious. Just consider Tania Sanchez’s “the armpit of a camel driver who has not been near running water in a week!” Out of my respect for your sensibilities, I will spare you further colorful descriptions I have found. All I can say is that I do not get why Muscs Koublaï Khan instills the same fear as the Mongol horde once did. Either I have had enough of clean fragrances or have enjoyed too many animalic ones, but I find Muscs Koublaï Khan glamorous and sophisticated in the style of great oriental classics like Dana Tabu, Myrurgia Maja, and a more recent vintage, Calvin Klein Obsession. Unlike these “Venus in furs” fragrances, however, Muscs Koublaï Khan is drier and sharper, which makes it more modern. If your tolerance for animalic notes extends only to the soft suggestion of “freshly laundered linen,” then Muscs Koublaï Khan will be offensive. On the other hand, if you love the sensual richness of animalic notes, it is a must try perfume.

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

Some fragrances need to be well-tested over time to become classics. Guerlain Nahéma was an utter failure when first launched in 1979, but today its ripe, voluptuous accord of ylang-ylang, rose and sandalwood is considered archetypal. Serge Lutens Ambre Sultan, on the other hand, has achieved the status of an amber gold standard in a mere decade. Created as an interpretation of a classical sweet amber theme, today it is among the most imitated and recognizable amber fragrances. The genius of Serge Lutens and perfumer Christopher Sheldrake lied in layering a sweet, unctuous amber accord with the camphorous brightness of herbs. The result is a fascinating sweet-savory interplay that evokes as much caramel ganache as tomates à la provençale (tomatoes grilled with parsley and oregano.)

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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 Nuit de Cellophane arrived under a big perfume house label, I would probably not have smelled it more than a couple of times and forgotten it, but it is a testament to the pull of Serge Lutens’ name that despite my initial disappointment, I kept revisiting it. I suppose that I have held hope that one day I would smell this bland fruity-floral and will figure out what Serge Lutens was trying to achieve with it. It has been a year since I have first smelled Nuit de Cellophane and no such revelation has occurred—it still smells like shampoo to me and I still do not care for it.

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

I find it easier to describe Vitriol d’Oeillet, the newest fragrances from Serge Lutens, by describing what it is not, rather than what it is. It is not a romantic perfume nor is it an austere perfume. It is not modern, yet it is not old-fashioned either. It is not femme fatale nor is it a wallflower. It oscillates between woods and spices, and only occasionally does Vitriol d’Oeillet veer into the floral domain. Sometimes it is a spicy carnation, but a moment later it turns into a prim English tea rose.

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

Fleurs d’Oranger is an orange blossom that pretends to be a tuberose. Or perhaps vice versa. Either way, this Serge Lutens composition dispels any illusions about flowers being sheer, pretty and delicate. Fleurs d’Oranger is sultry and opulent and is one of the most dramatic floral compositions, oscillating between the honeyed sweetness of white blossoms and the salty muskiness of sunwarmed skin.

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