Skin Scent: 35 posts

Cuir d’Ange is the most recent addition to the Hermès Hermessence collection, a line of fragrances sold exclusively at the house’s boutiques. The idea is to capture the nuances of famous Hermès leather, which smells of flowers and musk. The perfumer behind it is Jean-Claude Ellena, a master of the most ethereal and delicate compositions, and as you would expect, Cuir d’Ange, Angel’s Leather, stays true to its name. It’s wispy and sheer, as if the leather that inspired it was polished to remove any traces of animal funk and made to smell like someone’s clean skin.

Cuir d’Ange is pure comfort. Although I like to think of myself as someone unafraid of the raunchiest animalic scents, my favorite leathers in perfume bottles are soft and cuddly. I’m more in the camp of Bottega Veneta than that of Robert Piguet Bandit on most days. So, here you go. For this reason, the first time I smelled Cuir d’Ange, I felt that I discovered my ideal leather–creamy, suave, and mild. On the other hand, if you want the odor of a beaver in heat and don’t wish to settle for anything less, Cuir d’Ange will strike you as wimpy and bland.

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The main argument you hear from brands launching one bland, derivative perfume after another is that consumers like this sort of thing and that it is impossible to come up with an easy to like and uncomplicated perfume that holds the attention and smells interesting. But Bottega Veneta Knot, the new fall launch, proves that this reasoning doesn’t have much merit. If you want a fragrance that is as versatile and stylish as a little black dress, then this radiant orange blossom has much to recommend itself.

Bottega Veneta’s first perfume was a leather-moss blend attuned to today’s fashions, with emphasis on radiance, softness and bright top notes. Knot’s basic idea is sheer as tulle orange blossom edged with vanilla and musk. Orange blossom is derived from the flowers of a bitter orange tree, and depending on how it’s processed–melting the flowers in a solvent or distilling the essence with steam, the result will be different*. The former gives you orange blossom absolute with its sweet, sumptuous notes, and the latter–neroli oil redolent of green buds of spring. Knot blends both of these essences and sheers them out with citrus juice and featherweight musk. The result is as fresh as a classical cologne, but with a curvier body.

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Summer ends the same way for me. It seems that only yesterday I made vacation plans, unearthed a swimming suit from a pile of winter clothes and bought an extra bottle of sunscreen. And then I wake up at the end of August and see that the local stationery store is advertising “start of school” sales and tall lindens lining the avenues in the city are slowly changing from green to gold. If I could hit a pause button for a moment, I would, if only to capture this languid, golden sensation of late summer days. But everything rushes forward inexorably, and the most I can do is reach for bottled summer fantasies, such as Parfums de Nicolaï Musc Monoi.

Monoi (also called tiare) is a tropical blossom that smells creamy and intensely sweet. It’s macerated in coconut oil to capture its heady perfume, and the scented oil is used on skin and hair. If you’ve ever seen a fragrance or body product advertised as having a tropical fragrance, then this monoi-coconut combination is something you’ve already encountered. In France, summer scent often means sweet orange blossom, such as L’Oreal’s classical Ambre Solaire sunscreen, and in Musc Monoi, perfumer Patricia de Nicolaï weaves both Mediterranean and tropical inspirations.

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As a kid I used to love puzzles and I spent many evening looking for the right jigsaw piece to complete the picture. Occasionally I feel that with perfumes I’m still playing a jigsaw puzzle game as the same fragrance reveals something new whenever I smell it again. This was the case with Cacharel Loulou. When I first smelled it as an 11 year old on my mother, I remember thinking, “the cherry compote.” It was the only part of Loulou I could recognize, because at that point I hadn’t smelled any gardenias or ylang ylang or incense. They didn’t figure in my Eastern European childhood.

Revisiting Loulou some years later after I had already worn gardenias tucked in my hair as someone tried to kiss my neck and having smelled pungent Indian incense, other pieces of the puzzle fell in place. I discovered with surprise and pleasure that it was not a juicy cherry, but a candied white blossom dipped in vanilla liqueur. I loved it just the same, except that it no longer seemed innocent to me. Loulou was quite a vixen, and though I wasn’t one at all, I liked to dab the parfum on my neck and play the part.

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Marni is a ready-to-wear Italian fashion line that recently launched its namesake fragrance, Marni. Rather than attempting to decipher the label’s appeal and its relation to the new fragrance, I will simply say that some qualms about lasting power aside, Marni is excellent–wearable, chic, and refined. And now I want other people to smell a haze of Marni around me and follow me down the street asking, demanding to know, what this marvelous fragrance is.

Perfumer Daniela Andrier created Marni in collaboration with Consuelo Castiglioni, founder and designer of the fashion house. Andrier is the author of Prada Infusion d’Iris, Maison Martin Margiela Untitled, and Guerlain Angelique Noire, among others. Like many of her creations, Marni is a weightless, ethereal blend, despite the fact that the fragrance is based on rich woods and sweet spices.  At its heart Marni is a rose and incense fragrance, something that became clear to me half an hour after I applied it and began to get small gusts of a dry and woody rose rising from the back of my hand.

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