Serge Lutens: 45 posts

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

Serge Lutens Jeux de Peau, which translates from French as “play on skin” or games “involving skin,” certainly engages in plenty of olfactory tricks. Christopher Sheldrake and Serge Lutens have never been shy about exploring difficult notes. I still marvel at the technical genius of La Myrrhe, in which a traditionally heavy, unctious and dense note of myrrhe seems effervescent and luminous. Or the harsh, diesel fuel note of methyl benzoate in Tubéreuse Criminelle that makes the white tuberose appear even fresher and brighter. In Jeux de Peau, the notes that are pushed to the point of discomfort are the caramelized, charred accords that evoke toasted bread.

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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 L’Eau baffled me. A friend urged me to read the marketing information, saying it somehow helped him to understand L’Eau. “..these ruptures are at a given moment absolutely necessary if I don’t want to collapse, fall — if you will — in a cliché of myself and finish dying of boredom…” (WWD, 2/19/2010) Basically, if I want Serge Lutens to continue his dark mysterious tales, I need to put up with something different from time to time. Fair enough! Many of the previous Serge Lutens lite offerings have actually been quite interesting—the wholesome sparkle of Fleurs de Citronnier, the delicate opalescence of Gris Clair, the luminosity of the modern white musks in Clair de Musc. The main issue I have with L’Eau is not that it is a clean floral, but that it is not particularly interesting or original as a fragrance in this genre.

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

Although many Serge Lutens fragrances are based on a similar oriental accord of balsamic amber, violet and pale woods, I cannot resist yet another new interpretation of Lutens’ trademark exoticism. Five O’Clock Au Gingembre fashions the darkness of amber and patchouli into a piquant morsel by building the composition around the classical gourmand notes—chocolate, honey, vanilla and sweet spices. In any other hands this would have resulted in tooth numbing sweetness, but perfumer Christopher Sheldrake (who created most of the Lutens fragrances) manages to strike a balance between oriental amber fantasy and gourmand richness. Dark and rich, Five O’Clock Au Gingembre nevertheless remains effervescent from top to bottom.

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