Fall: 101 posts

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

Serge Lutens Borneo 1834 proves once again that the genius of  Serge Lutens and Chris Sheldrake lies in the interpretations of particular notes by exaggerating their qualities and ornamenting them in such a way as to reveal the most unexpected and arresting element. By way of example, the odd camphorous note serving as a prelude for the sensual floral heart of Tubéreuse Criminelle is a note present in tuberose absolute, a hot rubbery darkness that suffuses white floral opulence. Smooth cinnamony sweetness of Cèdre intensified by tuberose recalls a caramelized floral note present in certain types of cedarwood oils, particular Himalayan cedar.

Borneo 1834 takes the sweet winey effervescence of patchouli and layers it with silkiness of chocolate and darkness of resinous woods. The top notes shock like vapors from a glass of rum. The hot wind that stuns senses upon the first inhale whips up a scintillating cloud of patchouli, which settles slowly in swirling patterns—one moment, it is a sweet golden (not earthy) patchouli, the next, it is a dark balsamic resin. The intoxicating warmth is interspersed with sweet incense smoke, which segues into the bitter chocolate. It is not a sweet luscious gourmand note of chocolate that made Angel a success, but a dark mélange of cocoa powder, bits of rubber and rosewood dust. The end result is a composition of remarkable contrasts—weightless darkness, smoky sweetness and eerie sensuality of patchouli.

Borneo 1834 is a newest Salons du Palais Royal exclusive fragrance. Wax samples of this fragrance seem to be more representative of the drydown. However, the best aspect of the fragrance is a fascinating interplay between almost palpable gradations of heat, which are revealed best in the liquid perfume. The notes include Indonesian patchouli, white flowers, cardamom, camphor, cistus, galbanum, cannabis resin, cocoa accord. The name refers to the place and the year marking the period when patchouli first entered the West.

Photo: Borneo 1834 limited edition bottle from Serge Lutens’ fan site (thank you, C!).

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

Angélique Noire created by Daniela Andrier is one of the three new fragrances released by the house of Guerlain for the reopening of their 68 Champs Elysées boutique. The compositions of these fragrances are radiant and refined, recalling the elegant precision of classical Guerlains as well as elements that are rather un-Guerlainesque. The resulting aura of these fragrances is redolent of neoclassism and heightened by some modern touches.

In a neoclassisist attempt, Angélique Noire takes up the bergamot-vanilla pairing of classical Guerlains and builds the composition around it. It opens with a spicy accord jeweled by tart sharpness of bergamot, which fades into the milky bitterness of almond. The peppery austerity of the top notes contrasts beautifully with the honeyed undercurrent that rises up to enfold the heart. Creamy vanilla punctuated by a dark citrus note is what forms the main facet of Angélique Noire. Its somber richness is transparent enough to notice a swirl of almond and spicy sugared angelica, with a whisper of bergamot lightening the vanillic veil. While Andrier did not create another Shalimar, the fragrance possesses a soft and gentle character, creating a sensation of warm silk and hot flower petals. Therefore, perhaps, it is more correct to classify Angélique Noire as a Romantic composition, rather than a Neoclassisist one, in its hazy and sensitive handling of the notes.

Currently, the fragrances are exclusive to 68 Champs Elysées boutique, however they can be ordered by emailing Antoine-Olivier Metz, the store manager, at [email protected]. 75ml is priced at 140 euros.

Painting: One of the neoclassisists, Pierre-Paul Prud’hon. Head of the Virgin for Annunciation. 1811. The Hermitage, St. Petersburg, Russia. abcgallery.com

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

Serge Lutens Cèdre (2005) is a flame caressing hot cedarwood curls. Its pairing of tuberose and cedar settles into a dark warm composition, with rather soft woodsy notes. Once again, Sheldrake&Lutens flight of fancy results in an enchanting Arabian vignette, taken from the One Thousand and One Nights. The sensual fluidity of the composition transports one from the fragrant pillows of Middle Eastern palaces through the spice stalls of the souks and into the confines of a tea house, where steam rising from the cups swirls amid heated conversations. Tuberose shimmers against the dark backdrop of resinous juices dusted with cinnamon. Heated by a hot breath of spices, the floral notes attain a clove ornamentation. This soft whisper of cloves echoes through the dark sweetness of wood. Ambery warmth suffuses the sonorous melody of the composition, adding an autumnal feel to the cedarwood foundation.

Picture: Limited edition bottle of Cèdre.

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

The desire to capture a place impression in a scent has inspired many fragrances. One of the most trendsetting perfumes, Coty Chypre introduced in 1917 was an attempt to capture the scents of Cyprus (Chypre, in French). Similarly, Parfums de Rosine Rosa Flamenca (2004) was inspired by Marie-Hélène Rogeon’s visit to the rose gardens of Andalucia. My expectations were of hot red rose embellished by spices, however the fragrance is a powdery soft rose in the 18th century boudoir seduction vein–lace over powdered décolletage. Orange blossom paired with soufflé of roses appears in the top notes, however, soon the fragrance warms up, conjuring an impression of powdered hot skin. Although sensuality with the lady-like elegance is a combination that is rarely encountered, Rosa Flamenca manages to convey both, without accenting either characteristic too much.

Notes: orange blossom, bergamot, petitgrain, jasmine, rose, fig leaf; sandalwood, benzoin, musk.

Painting: Pierre-Auguste Renoir. Gabrielle with a Rose. 1911. Musée d’Orsay, Paris, France. abcgallery.com.

Guerlain Mitsouko is the scent of golden autumn days, ripe peaches and burnished wood. Created by Jacques Guerlain in 1919, Mitsouko was a variation on the avant-garde fragrance of the period–Coty Chypre.

Chypre was based on the startling contrast among the bergamot top notes, the jasmine heart and the richness of oakmoss. Though undoubtedly beautiful, Chypre was brutal in its impact. Guerlain took the idea behind its famous forerunner and made it elegant and refined. A soft accent of peach skin gives Mitsouko a tender quality and a teasing gourmand impression. A classical Guerlinade accord of tonka bean, vanilla, iris and rose further refines and rounds out the composition. Mitsouko is a kiss to Coty Chypre’s slap in the face, and for this reason, its popularity endures to this day.

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