Elegant: 198 posts

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

Black pepper is one of those multifaceted smells that create one expectation but suddenly emerge as something else. Expecting the rush of spice and heat, I took one whiff of Hermes Poivre Samarcande and immediately envisioned a scent of hot stones heated by the sun. It is a scent of a Japanese garden, capturing its simplicity of weathered stones amid the rippling sea of sand. The pepper vacillates between assuming woody and floral forms, all the while creating a sensation of dark, yet transparent warmth. Its initial rough edges are smoothed by undulating movements of warm dry cedarwood, slowly leading one from the sun and into the shade. The breath of vetiver, oakmoss and a whisper of cumin envelop the warmth of the composition further polishing the hot stones into the vision of radiant perfection.

Created for Hermèssence collection in 2005, Jean Claude Ellena’s signature is unmistakable, in the quiet opalescence of the composition and a warm skin undertone one finds in his other fragrances (Cartier Declaration and Frédéric Malle Cologne Bigarade, in particular, come to mind). On a man, Poivre Samarcande would be a clean, elegant scent, with a subtle sensual edge. It could definitely be worn by a woman, who enjoys dry fragrances, exploiting the affinity between woods and somber spices. Poivre Samarcande is one of my favorite fragrances for when I would like to take a break from the overt sensuality of white florals.

Photo: Japanese stone garden, from explorejapan.com.

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

The first impression of Ormonde Jayne Isfahan is a transparent sizzle of pepper, which has an interesting violet-like sweetness supported by warm citrus notes. The blast subsides quickly, with the bits of pepper dissolving into what is to become the main edifice of the composition—smooth, languidly sweet cedar, with a distinct dark coolness of vetiver. The changes that take place subsequently are few, with the composition having more of linear quality than other Ormonde Jayne fragrances.

Even if Isfahan (2006) pales in comparison to other Ormonde Jayne’s creations, it nevertheless possesses a certain charm that would make this fragrance more appealing on a man than a large number of bland masculine fragrances on the market. On the other hand, it has a sweet softness that would make it appealing for a woman as well. I would have endorsed it stronger had it possessed better tenacity, beyond a mere hour that it lasts on me.

Photo: Si-o-Seh Pol, Bridge of 33 Arches, Isfahan, Iran. One of the most famous Isfahan bridges, it was commissioned in 1602 by Shah Abbas I. There is a famous tea house among the pontoons, upon which the bridge is built.

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

Chris Sheldrake and Serge Lutens created Bois de Violette in 1992, inaugurating the stint of Serge Lutens as a leading figure of the perfume line for Shiseido at Les Salons du Palais Royal. There is a tendency both to relegate cedar to the masculine, while violet to the feminine domains. One is sharp, resinous and potent, another is soft, modest and sentimental. Yet, Bois de Violette blurs these conventional distinctions so effectively that it cannot but be appreciated for this reason alone. Of course, the ingenuity and the beauty of the composition is another reason to sample this fragrance.

The top notes settle into a mélange of violet leaves with their fresh cut grass scent and soft white cedar, which gradually allows a clear violet note to appear. At first, it is just a glimpse of violet, misted over by sweet and resinous notes, however, the adagio of violet gathers force and takes the center stage. Cedar in Bois de Violette acts like corps de ballet in Marius Petipa choreographed pieces, in which dancers in the background hold same poses for long stretches of time, with minor permutations, thus providing an essential backdrop, without which the ethereal beauty cannot be achieved. The violet is sweet enough to temper resinous notes of cedar, while cedar, in turn, prevents it from becoming a confection-type or powdery violet. It stays close to the skin, creating an olfactory vision of opalescent silk.

Photo: Swan Lake by St. Petersburg’s Ballet Theater. arts-world.co.uk. Swan Lake is an example of classical Petipa choreography.