Opulent: 185 posts

There are some varieties of rose that smell fresh and delicate at first and then reveal a piquant, peppery bite. You pull away from the blossom with a start, the tingling sensation still in your nose and can’t help yourself leaning in for another inhale. My first impression of Oud Ispahan, a new addition to Christian Dior’s La Collection Privée, was similar—the compelling sparkle of the top note contrasted dramatically with the darkness of patchouli and oud.

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The beginning of my interest in fragrance coincided more or less with a momentous year in perfumery:  1981.  It was in that first year of what would later be called the Big Eighties that a Beverly Hills boutique released an eponymous scent housed in a box with yellow stripes that evoked the store’s awning. Giorgio was an immediate and a ubiquitous smash, a powerhouse floral so outsized that restaurants were said to refuse seating to Giorgio-wearing patrons.

Giorgio was only the beginning of what would prove to be the last era of “big” perfumes.  By the time super-scents Calvin Klein Obsession and Dior Poison were released in 1985, women were already wafting KL and Vanderbilt (1982), Ungaro Diva and Yves Saint Laurent Paris (1983), Chanel Coco, Paloma Picasso Mon Parfum, and Forever Krystle (1984).

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The curious part about sampling a lot of fragrances is that contrary to my expectations, my tastes have gotten more eclectic, rather than more constrained. When I started writing articles here at Bois de Jasmin, I had very strong opinions on what I liked—jasmine (hence, the name of my blog!), iris, sandalwood and what I avoided—vanilla, fruit, anise. Well, seven years later, I realize that I like vanilla sweetened perfumes as much as I enjoy heady jasmine and cold iris perfumes. When I first tried Rochas Alchimie a few years ago, I didn’t even give it much chance. It contained every single thing I thought I disliked—rich vanilla, sweet caramel, juicy red berries and a sprinkling of sugared anise seeds. I thought it would be best as a dessert, not as a perfume.

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

The Muse

Elsa Schiaparelli was a designer who set lasting trends in fashion with her richly embroidered jackets, shoe shaped hats and lobster dresses, but I discovered her whimsical side through Shocking, a perfume she released in 1937. Shocking was a dazzling collaboration between Schiap, as she was known, Jean Carles, who created the perfume, and the Surrealist artists Marcel Vertes and Salvador Dali through whose drawings the sultry fragrance came to life.

This month, the Metropolitan Museum in New York opened the exhibit “Schiaparelli & Prada, Impossible Conversations.” Running until August 19th, the collection explores the work of two designers in a compare-and-contrast setting. It was the first time I’ve seen Schiaparelli’s work close up, and I was mesmerized. The clothes weren’t simply beautiful; they offered a glimpse into the designer’s vibrant imagination.

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The first time I tried Manoumalia, a perfume from the niche fragrance house Les Nez, I was so repulsed by its heavy sweetness that I immediately ran to scrub it off my skin. The same thing happened when I tentatively approached it again. How could anyone enjoy something that smells like rotting fruit and wilting flowers, I wondered? But in spite of myself I kept my sample around and from time to time I would pick it up and sniff the cap until one day it dawned on me that Manoumalia isn’t so much a pleasant scent as a whole sensory experience. It smells so realistically of the tropics that wearing it is like stepping off the plane into the dark Indian night. It’s a sensory rollercoaster.

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