Refreshing: 98 posts

The smell of sun-dried linens is one of those scents that invariably make me feel like all is well in the world. At the root of it is a childhood recollection of my grandmother’s linens (the memory conveniently blots out the less romantic realities of doing laundry by hand in a house with no running water). The aroma of starched fabric heated in the sun is so comforting that I look to the perfume bottle to satisfy this craving. An unexpected addition to my “sun and summer” fragrances has become Jo Malone Rain and Angelica, a recent debut from the brand specializing in simple, easy-to-wear scents.

There is no reason to expect that something called Rain and Angelica (an unsubtle nod to Frédéric Malle ‘s rain drenched angelicas, Angéliques Sous la Pluie) would smell of sun warmed sheets or even anything summery. When I checked the list of notes well after trying and wearing the perfume for several days, I was surprised to find little resemblance between the cold, aquatic elements on paper and the warm, soft perfume on my skin.

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Intended or not, Frédéric Malle Eau de Magnolia is an answer to two challenges: creating a novel cologne and capturing the elusive aroma of magnolia. The first is complicated, because cologne is one of the most popular genres, and recasting it in a new way requires some creativity. The second is due to the magnolia’s character. The scent blends citrus, rose and soft leather, but the main impression you get from smelling the waxy white petals is not of heady, lush perfume, but of exhilarating freshness and fizz. You can almost feel the champagne bubbles bursting before you notice all other facets.

Translating this sparkling effect into fragrance is more complicated than it seems in our age of high-tech tools. I smelled through a fair share of magnolia accords at one point to conclude that 90% of them smell either like furniture polish or bear no relation at all to magnolia. Which is why Eau de Magnolia comes as a surprise. It captures the nuances of magnolia, while setting them into a frame of citrus and moss. It makes for a beautiful arrangement.

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Cologne was never one of my favorite fragrance types. You see, when you start out exploring perfume, citrusy blends (eaux de cologne) are suggested on the grounds that they’re “fresh and easy to wear.” Except that I found most colognes to be neither. They smelled either too dry, too sharp or evoked an unfortunate association with furniture polish. I admired the ease with which some women could douse themselves in Hermès’s Eau d’Orange Verte and project an aura of casual elegance, but for quick refreshment, I reached for either light florals or green perfumes. What changed my mind about colognes was Christian Dior’s Eau Sauvage and Jean Patou’s Eau de Patou.

Much has been written about Eau Sauvage, one of the most revolutionary fragrances in recent history, but Eau de Patou has kept a lower profile. Perfumer Jean Kerléo created it in 1976, and when you smell the original version, it’s remarkably modern and luminous with its generous dose of sheer floral notes wrapped around classical bitter citrus and moss. A touch of sweetness takes the sharp edge off the lemon and lavender, and the drydown of damp woods and powdery amber is comfortable and graceful.

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Atelier Cologne’s challenge is to take the citrus cologne idea and spin it into several guises–rose, patchouli, iris, vetiver, and even leather. The most successful variations, on the other hand, are the brand’s perfumes that dance around the classical citrus but smell modern and distinctive. Orange Sanguine does the seemingly impossible with its long lasting juicy orange, and now Cédrat Enivrant reinvents the bitter lemon.

Citron, cédrat in French, is a large fruit with tart flesh and sweet, edible peel. It smells like lemon peels crushed with dry Mediterranean herbs and a handful of cherry blossoms. In comparison, the ordinary lemon is downright boring. For Cédrat Enivrant, perfumer Ralf Schwieger took the floral citron and accented it with enough lime and basil to give his fragrance an instant bracing effect. It’s as if you had crushed  lemons and limes for a pitcher of lemonade and then took a deep inhale of the messy, oily pile of peels. The initial jolt is enough to wake you up!

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Andy discovers how refreshing and uplifting Elizabeth Arden’s Green Tea can be.

Potent is the last word I’d associate with Elizabeth Arden’s Green Tea, yet when I first tried it, it felt like a jolt of something refreshing and uplifting. It was very early in my fragrance journey, when I wanted to build a small fragrance wardrobe without spending too much. I can remember picking up a bottle of Green Tea for $10 during a sweltering May heat wave, ravenously ripping the packaging open in my overheated car, and spraying myself liberally. To this day, I still reach for Green Tea whenever I need some immediate relief from the heat, or for no reason at all, because it is both refreshingly simple and pleasantly sparkling.

Elizabeth Arden launched Green Tea in 1999, following dozens of other fragrances (like Tommy Girl and Ck One) in the trendsetting footsteps of Bulgari’s Eau Parfumée au Thé Vert. But in comparison to Thé Vert’s nuanced, misty interpretation of green tea, Elizabeth Arden’s Green Tea, composed by Francis Kurkdjian, smells somewhat one-dimensional. As a result, Green Tea can be considered neither revolutionary nor particularly outstanding in composition, but instead it seems to me a study in technical expertise, of making the most out of a formula that is composed of relatively few ingredients while still smelling complete.

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