Elegant: 198 posts

Everyone in the perfume world bristled at Estée Lauder’s recent claims that Modern Muse was its first major launch since Beyond Paradise. They may want us to forget about Sensuous, but we haven’t! Today, Elisa revisits Sensuous and its two flankers.

Sensuous

3 stars

Sensuous (2008) is one of those rare perfumes that is not (quite) as good as its flankers. It’s almost as though Estée Lauder designed the pillar with the flankers in mind – it’s a stripped down skin scent practically begging to be layered or embellished.

But simple or not, Sensuous is exceedingly comfortable and well done. It doesn’t have a pyramid-style development, just a fairly linear balance between soft white floral notes (jasmine and lily), warm woody notes, and a citrusy white musk. (Note, however, that anything with vanilla smells more vanillic as it dries down.) In classic Estee Lauder style, it radiates good taste – there’s a daytime-appropriate freshness you rarely see in amber fragrances, and the sweetness is restrained, never verging on gourmand.

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Does the world need another rose perfume? I’ve posed myself that question on many occasions, as the variety of roses keeps increasing, but I invariably end up saying, yes. Jasmine, orange blossom and tuberose, the so-called white flowers, may seduce me, but rose makes me happy. Light and shimmery or dark and velvety, this blossom in the perfume bottle is my gateway to fantasy. Enter the new rose to tempt me, Ann Gérard Rose Cut.

A jeweler based in Paris, Ann Gérard has already three perfumes to her name, Cuir de Nacre, Perle de Mousse, and Ciel d’Opale. All three were created by Bertrand Duchaufour, the perfumer whose name graces many niche offerings. Rose Cut is also his composition, and in creating it, he and Gérard were inspired by a diamond-cutting technique which gives stones a special radiance.

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Why did “the feral floral,” a tag line used by Cartier to describe its perfume, La Panthère, catch my attention? It’s not that I’m all that keen on the smell of unwashed animals; otherwise, the camel leather belt I bought for my husband in India (now banished to the outside closet) would have satisfied that craving and more. Cartier’s perfumery, on the other hand, is in the hands of talented Mathilde Laurent, and if anyone could make feral smell good, it would be her.

La Panthère was the nickname of Jeanne Toussaint, the flamboyant artistic director of Cartier jewelry from 1933 to 1968, who was responsible for some of the most dramatic examples of Cartier’s art. Named after this tremendous character, the perfume couldn’t be just another well-behaved floral, and Laurent decided on a composition based on contrasts: moss and leather; gardenias and patchouli.

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Of the three new extraits de parfum in Chanel’s Les Exclusifs collection, 1932 seemed most promising, but it turned out that Beige and Jersey held more surprises. As I mentioned in my review of 1932, if you didn’t like the Eau de Toilette, the parfum isn’t going to change your mind, but in the case of Beige and Jersey, the richness, new accents and nuances might make a positive difference for those who were ambivalent about the original versions.

Beige

I already enjoyed Beige for its understated elegance, and while I proclaim my undying love for Coromandel and Cuir de Russie, I wear this delicate white floral far more often. It certainly won’t turn heads the way Coromandel does or make you time travel to the Roaring Twenties like Cuir de Russie, but if you need a well-made fragrance that feels like a comfortable silk slip, Beige is perfect.

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Even for the accomplished perfumer, re-orchestrating a classic is a formidable task. Not only does the new version have to respect the original spirit, it needs to add a new, distinctive twist. In addition, it must also follow current regulatory stipulations on the use of ingredients, be on budget and make sense within the brand’s DNA. No wonder most remakes fall short of such high expectations.

Hermès is a more respectful brand than most others of its heritage, but I was nevertheless skeptical of the proposition to rework their classics, which include such legends as Caléche and modern gems such as Hiris. The consolation was that  the new versions redesigned by in-house perfumer Jean-Claude Ellena would live alongside the originals. The first in the series was Bel Ami Vétiver, which reinterpreted the leather chypre from 1986.

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