Opulent: 185 posts

The news of Frédéric Malle selling his Editions de Parfums house to Estée Lauder reminded me that I haven’t gotten around to writing about one of the most intriguing fragrances from his collection, Portrait of a Lady. Why intriguing? Well, consider the name. If it brings to your mind the cool elegance of Henry James’s heroines, then you’re not alone. I also expected something along these lines–ultra refined, sophisticated and feminine. Except that it is all wrong. Portrait of a Lady is interesting precisely because the scent is not at all what you expect. It’s a twist on a Middle Eastern theme, and it’s not all that lady-like.

If you’ve already smelled traditional Middle Eastern perfumes or western blends inspired by them (Amouage, Kilian’s ouds, Armani Privé Rose d’Arabie), then you might recognize similar elements in Portrait of a Lady. It has a generous dose of classical “oriental” notes–sandalwood, amber, patchouli, dark woods smoked over incense, and of course, rose. It has a similar dramatic and mysterious character that makes this perfume genre so distinctive.

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I’m not sure why exactly I decided to revisit Caron En Avion after so many years, but it might have been inspired by my reading of Miklós Bánffy’s The Transylvanian Trilogy. An epic novel set in the Austro-Hungarian Empire just before the First World War, it paints the vanished world of the Hungarian aristocracy, the era that was quickly coming to a close. There is something equally poignant and nostalgic about En Avion, a perfume created by Caron’s owner Ernest Daltroff in 1932, just a year before Count Bánffy started writing his masterpiece.

En Avion, as the name suggests, was inspired by the first pilot women such as Helen Boucher and Amelia Earhart. It was a luminous but dark orange, dipped in the sweetness of jasmine and the incense-like warmth of opoponax. It was spicy but also cool and mossy. The kind of fragrance that could only have been the product of Daltroff’s eccentric pairings and the era’s penchant for perfumes thick as fur coats.

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Tom Ford’s Private Blend Collection is a mixed bag. It’s too large and hard to navigate. Some fragrances are excellent enough to justify the high prices; others barely stand out. I can list further complaints, but the truth is that I keep returning to the collection and smelling all of its launches, because when Tom Ford scores, he really does offer something impressive. Such is the case with Fleur de Chine.

When I first tried Fleur de Chine, it intrigued me, but I wasn’t quite sure what to make of it.  Shanghai Lily from the same Atelier d’Orient collection (it also includes Plum Japonais, Fleur de Chine and Rive d’Ambre) was an instant hit for its lush white flowers and generous dose of spice. Fleur de Chine wasn’t going to open up so easily, though. I loved its baroque, ornate character and its hints of retro glamour, but it took its time to grow on me.

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Andy’s recipe for a decadent and richly scented skin treatment

Last summer, I found myself surrounded by fragrant blossoms on a trip to the Florida Keys. By the time I came home, I simply could not take my mind off all of the gorgeously fragrant flowers I had experienced. All of a sudden, I was in search of something to preserve my memories of endless sunshine and clear, warm waters, and to my great fortune, I stumbled upon monoï.

Monoï is a handcrafted creation from Tahiti, made by infusing coconut oil with fresh tiaré (Gardenia tahitensis) blossoms. When the velvety white petals are infused into coconut oil, the result is an exquisitely perfumed beauty elixir that smells like a night in paradise.

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The first time I smelled Guerlain’s L’Homme Idéal, I chuckled, because clearly, their ideal man is wearing a little black dress. Yes, L’Homme Idéal is a masculine twist on La Petite Robe Noire. But this kind of borrowing, right down to the toasted almond and praline details, is clever rather than boring. This is not just another bland and safe sports cologne, that’s for sure.

The quest for an ideal man is nothing new, in life or in perfume, and Guerlain’s approach to L’Homme Idéal is rather humorous. Instead of using notes that for reasons of accident and culture came to be seen as the only ones appropriate to men, like lavender, herbs, cedarwood or mild spices, perfumer Thierry Wasser loads the composition with gourmand accents.  It tries to tempt men with the same delicious notes that made La Petite Robe Noire such a success. Continue reading →