Elegant: 198 posts

Neela Vermeire Mohur is a modern interpretation of a classical theme in Middle Eastern perfumery—the combination of rose with oud. It is one of a debut trio from the Neela Vermeire Creations line.  Ms. Vermeire is an Indian woman living in Paris who weaves the heritage of her native country around personal history to create perfume narratives.

Mohur takes its name from a gold coin minted during the Mogul era in Indian history. It is influenced by the story of the empress Nur Jahan, who not-so-secretly became the power behind the throne of her opium-addicted second husband.  After her husband’s death, Nur Jahan took up the art of perfumery while under what amounted to a house arrest.  Although the perfumes Nur Jahan created are lost to history, the story is not and it is this that Neela Vermeire has taken as inspiration.

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My first impression of Parfum d’Empire Eau Suave was that it was a rose fit for a king.  I was therefore surprised to find out that I was utterly mistaken and that Eau Suave was inspired by Josephine, love of Napoleon, and was meant for empresses and other women.  I had it backwards. This is the kind of trouble that you get into when you don’t bother to read anything about a perfume but simply smell it from a vial, taking a cue only from the name and more importantly from the vial’s contents.

In this case, “Eau Suave” seemed like the name of a cologne for a dandy or for a dandy’s modern equivalent.  I opened the vial and out rushed a red, red rose that had a pitch characteristic to me of male fragrances.  Shows what I know.  But it did make me think about how we perceive fragrances as masculine or feminine and what signals or clues we use to arrive at that decision.

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Tom Ford must love Guerlain Habit Rouge with a passion, because we have already seen its incarnation in Private Blend Bois Rouge, and now in Tom Ford Noir. You can compare this fragrance to others perfumes in Ford’s collection or to a dozen other plush orientals, but you only need to smell Habit Rouge for everything to fall into place. From the fizzy citrus top notes to the leather, tonka bean and vanilla inlaid drydown, Tom Ford Noir wears its Guerlinade well.

But Tom Ford Noir isn’t a boring copycat; it’s polished and well-crafted–Tom Ford is known for putting plenty of money into his perfumes–with enough darkness to satisfy most fans of rich, oriental notes. Women who love Guerlain Shalimar and all things “noir” should disregard Ford’s male oriented marketing and try the new fragrance. As much as I want to say that one Habit Rouge is enough, kudos to Tom Ford for taking such a classical idea and launching it as a mainstream fragrance. In contrast to the classical but dull Tom Ford for Men, Tom Ford Noir has plenty of drama.

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What is it about the combination of iris and leather that makes it so irresistible? Perhaps it’s the contrast between the austere iris–the earthy, half-frozen root, not the lush flower–and the salty sweetness of tanned hide. Perhaps it’s the natural harmony they form, since leather has some green nuances, while iris has a subtle hint of suede. In Cuir de Nacre, a fragrance from the collection by Paris jeweler Ann Gérard, the iris-leather duo receives an elegant treatment. It smells enveloping and effervescent, casual and chic.

Cuir de Nacre was created by perfumer Bertrand Duchaufour, who also was responsible for Ciel d’Opale and Perle de Mousse, the other two perfumes from the line. Ann Gérard sold Cuir de Nacre previously to her clients as Pleine Lune, and the limited edition was so well-received that she decided to launch a trio of perfumes. Perle de Mousse and Cuir de Nacre captured my attention immediately for their refined, polished character.

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Today’s guest post is brought to you by Anne-Marie. She is a museum curator and historian living in Canberra, Australia. Her mother wore Yardley’s April Violets for over fifty years, and this is what sparked Anne-Marie’s interest in perfume. You  can also find Anne-Marie’s reviews at Beauty on the Outside.

“Oh, it’s from my private collection.”

Thus would Estée Lauder reply when people asked her about the intriguing perfume was wearing. It could not be bought. At first she shared it only with Princess Grace of Monaco and the Duchess of Windsor (Wallis Simpson). In 1973 Mrs Lauder was finally persuaded to put the fragrance on the market and she kept the name, Private Collection.

Whether or not this is true, Private Collection is a brilliant example of fragrance marketing. Its story makes me think of Givenchy’s L’Interdit, a bespoke fragrance created for Audrey Hepburn and launched commercially in 1957. We are told that Estée Lauder tried to keep Private Collection “to herself”, just like Hepburn, who upon heard the proposal to release her fragrance cried, “But that is my perfume, I forbid it! (Mais c’est mon parfum, je vous l’interdis!)”

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