L'Artisan Parfumeur: 30 posts

The combination of salt and vanilla is not common in perfumery, despite the ubiquity of these ingredients in modern patisserie. For one thing, salt is a fantasy impression created by certain marine and dry woody notes in fragrances, and its effect is cancelled out by the sweetness of vanilla. Also, when a perfume promises vanilla, we expect warm, creamy and cuddly–a bowl of custard, if you will. L’Artisan Parfumeur Couleur Vanille, however, dares to be different.

While retaining the creaminess and dark sweetness of vanilla, perfumer Aliénor Massenet, who worked with L’Artisan Parfumeur on this launch, blended fresh floral and salty notes to balance out the richness. The sweet and salt facets give Couleur Vanille its personality, right from the top notes.

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Narcissus is a flower that doesn’t smell floral. In general, the perfumery palette abounds in aromatics that play tricks on the senses. For instance, an iris note in fragrance smells more of carrots than of blossoms. Patchouli, a leaf, smells like woods. And so on. Narcissus, however, is one of the most intriguing ingredients. If you expect petals, April showers and gauzy lightness, you’ll be in for a surprise.

On its own narcissus absolute smells of woods and leather and has a facet reminiscent of damp hay. If you let it develop on a blotter and sniff it the next day, you’ll notice caramelized spices–cinnamon and clove–and a hint of musk.  It’s a powerful material and it often plays the role of a supporting player in the composition, lifting up the delicate floral or citrus accords or else accenting the woods and animalic notes. Guerlain’s Vol de Nuit is one of the best examples of narcissus in classical perfumery.

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This review of Histoire d’Orangers, a fragrance created by perfumer Marie Salamagne for L’Artisan Parfumeur, continues both the Women in Perfumery and The Scents of Tea series.

Annick Goutal’s Néroli was one of my favorite orange blossom perfumes. I loved its graceful, lighter than sea-foam character paired with its robust lasting power, and it made me content. Unfortunately, it turned out to be a limited edition and the Cologne version that replaced it was pretty but flimsy. Until I discovered L’Artisan’s Histoire d’Orangers this summer, I’ve been rationing my last few drops of Néroli.

On the face of it, I shouldn’t have had trouble finding a replacement for a simple orange blossom cologne. They’re a dime a dozen. You can have a bottle for a couple of euros (Roger & Gallet Bois d’Orange) or for a couple of hundred (Tom Ford Néroli Portofino). But as my perfumery teacher Sophia Grojsman says, nothing is more difficult than a simple thing. Many orange blossom colognes smelled either too pale (Jo Malone Orange Blossom), too dry (Hermès Eau d’Orange Verte), too flashy (the aforementioned Tom Ford), or just not right (Houbigant Oranger en Fleurs). The beauty of Annick Goutal’s Néroli was that it captured all the facets of the real thing, like the honeyed softness, indolic tang, and green sharpness, but made them refined and velvety. Every time I picked up the bottle and pressed the nozzle, I imagined a shower of white petals brushing my skin.

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I love a good gourmand. Weaving notes of vanilla, caramel, and other delicious things, fragrances in this genre are my ultimate comfort blankets. The moment that days get shorter and mornings cold, the tray above my perfume drawer starts to fill up with my favorite gourmands–Pink Sugar, Lolita Lempicka, Kenzo L’Éléphant, Parfums de Nicolaï Vanille Tonka and L’Artisan Traversée du Bosphore.

The latter is interesting because the sweetness of Turkish delight and vanilla are balanced by a generous dose of crisp green notes and saffron. Created by perfumer Bertrand Duchaufour, Traversée du Bosphore is an example of contrasted gourmand I especially enjoy. Wearing it is exciting, because one moment you experience a fresh breeze and the next a voluptuous embrace. This also seemed to be the premise of Noir Exquis, a fragrance by Duchaufour that blends rich notes of candied chestnuts, coffee and tonka bean with orange blossom and citrus.

Since Noir Exquis is meant for both men and women, it doses sugar lightly and instead emphasizes the woody, balsamic layers. At first, it’s earthy and nutty, hinting at its patchouli and coffee soon to follow, but there are enough floral accents to brighten up the darkness. Based on the name, I expected something heavy and rich, but Noir Exquis is unexpectedly radiant.

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Soliflorals, fragrances based around a single flower, have a school-marmish reputation. Orange blossom and tuberose have been made trendy (Jo Malone Orange Blossom) and chic (Frédéric Malle Carnal Flower), but the idea of wearing a straightforward rose or lavender perfume still doesn’t excite many women. One might as well ask them to don an apron over a house dress and host a tupperware party. Carnation perfumes fare worst of all. Take a look at any consumer survey at fragrance marketing departments, and you’ll see all sorts of derogatory adjectives next to this classical note–“dated,” “fusty,” “old-fashioned,” or the ultimate insult, “boring.”

This is a shame, because it means that those of us who love carnations for their opulent spicy scent get a short shrift. I’ve collected a number of classical carnation perfume bases (mixtures of natural and synthetic notes that are used as building blocks in fragrance compositions) and have been on a permanent quest to find as many interesting carnation perfumes as I can. L’Artisan Parfumeur reissued Oeillet Sauvage just in time for my mission.

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