Spring: 105 posts

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

For anyone with interest in history, the exploration of vintage fragrances is a journey that offers one exciting discovery after another. Each bottle of perfume holds the essence of its time, artistic inspirations, and scientific advances. Coty L’Origan (1905) conjures Edwardian silhouettes and rich fabrics. Caron Nuit de Noël (1922) captures the Art Deco glamour. Robert Piguet Bandit (1944) is an avant-garde take on leather, a new style of fragrance that resonated with the post-war sentiments. Opening each vintage bottle for the first time is like unveiling a mystery, an experience that never fails to make my heart race. …

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

Wearing Jacomo Silences is like being caught in a moment before the rain, when the green sweetness of foliage becomes suspended in the wet humidity of air. The succulent green richness of Silences rendered via a classical combination of galbanum and hyacinth is foiled by the Hedione. This radiant lemony jasmine note threads the accords of the composition like pearls on a string, harmonizing the multifaceted arrangement. …

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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 newest fragrance from Diptyque, Eau de Lierre, convinced me that I have a while longer to wait for an intense green perfume as well for a Diptyque fragrance that can be compared in its originality to Eau Lente and Virgilio. Jardin Clos was disappointingly pale, Do Son was pretty, but not particularly outstanding. Tam Dao is probably my favorite out of the recent offerings; however, as much as I like its dry sandalwood accord, it is difficult to call it distinctive.

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Eau de Lierre is sheer, transparent and weightless. It reminds me of Andrée Putman Préparation Parfumée and Philosykos. It has the same peppery driftwood note that appears in Andrée Putman Préparation Parfumée, which is accented by the delicate greenness noticeable in Philosykos. However, while Andre Putnam Preparation elegantly unfolds into a composition marked by the melancholy simplicity, Eau de Lierre does not move beyond its initial gauzy prettiness. Then, like the evanescent spring beauty of cherry blossoms, Eau de Lierre vanishes leaving a musky trace behind.

Admittedly, I by far prefer the more vivid exploration of green notes in Chanel No. 19, Balmain Vent Vert (original), Balmain Ivoire and Diptyque’s own green perfection, Virgilio to anything that can be found in this new Diptyque fragrance. On the other hand, for those who like the subtlety of Diptyque Ofresia and Philosykos, the translucent green touch of Eau de Lierre might be perfect. And yet, I cannot but hope that the next Diptyque will break with their recent trend for subtle and pretty.

Eau de Lierre’s official launch is supposed to take place in May. Other Diptyque fragrances are availalbe at Aedes, Bigelow Chemists, Fourseasonsproducts, as well as Diptyque boutiques in Paris, London, Boston, and San Francisco.

Photo: Ivy, from iamtonyang.com/

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

“The icicles, which seemed to have been deliberately hung in different lengths from all the eaves, were incredibly beautiful and looked like waterfalls of crystal,” writes Sei Shonagon in The Pillow Book, a beguiling example of the classical Japanese prose from the 10th century. The silvery glitter of ice, the sparkling expanse of whiteness with an occasional glimpse of bare black branches, the metallic taste of snow on the lips–winter instills serenity and melancholy in the scenes that ordinarily would strike one as quotidian. The chill of winter in fragrances is usually expressed through the usage of the icy notes of iris, the white musk accords marked by the radiant metallic freshness as well the touches of ozonic elements to create the crisp effect of cold air.

Jean-Claude Ellena’s Frédéric Malle L’Eau d’Hiver (2003) and Paul & Joe Blanc (2003) are often compared, however while there are similarities, the fragrances are sufficiently different that a predilection for one would not necessarily mean liking for another. Yet, they both share the white powdery accord woven into the arrangement. Jean-Claude Ellena cites Après l’Ondée as his inspiration for L’Eau d’Hiver, which took the classical structure of the Guerlain classic, refined it to the essential features and added a scintillating hesperidic top. …

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

Inspired by a visit to the gardens of Beijing’s Forbidden City, Hermès Osmanthe Yunnan, Jean-Claude Ellena’s creation for Hermessence range explores the marriage of tea and flower. Yunnan tea and osmanthus is a combination of natural harmony due to the fact that the flowery rich tea tonality underscores the fruity delicacy of osmanthus. Its scent, elusive and haunting, ranges from tea-soaked dried apricots to jasmine soap crushed in a leather bag.

The hesperidic notes sparkle like sugar crystals falling into a tea cup, their astringent quality appearing as somewhat sharp on the skin. The tart orange becomes more pronounced, contrasting with the gentle richness of tea. As could be expected, the composition is quintessentially Ellena—delicate transparency paired with complexity of the final result, which is a panoramic display of the idea. The composition appears rather smooth, with none of the notes dominating, but instead melding elegantly into a transparent, yet velvety fruity-floral scent. …

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