Aldehydes: 36 posts

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

Serge Lutens La Myrrhe is the essence of the moment when the sunlight enters through the stained glass windows of an old church, bathing its cold stone in iridescent glow and lending a jewel-like splendor to the liturgical vestments and the vessels of the altar. The contrast between the light and the dark is what makes the fragrance one of the most intriguing compositions resulting from Serge Lutens and Christopher Sheldrake’s partnership.

The classicism of La Myrrhe (1995) is of misleading nature as it orchestrates its accords in a modern manner. The opalescent white veil of aldehydes that unfolds in the top accord almost hints at the floral waterfalls that are about to cascade softening the chilly breeze. Yet, instead of bergamot, rose, jasmine and ylang ylang of classical aldehydic compositions, La Myrrhe’s icy aldehydes become overlaid with sweet citrus, before falling into the heart spiced with anise. ….

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

Among the fragrances André Fraysse created, none can rival Arpège, which the perfumer composed in 1927 for the French couturier Jeanne Lanvin, in collaboration with Paul Vacher.  Scandal (1932), Rumeur (1932), and Pretexte (1937) followed after the success of Arpège. Jeanne Lanvin dedicated Arpège to her musician daughter, Marie-Blanche, who picked the name for the fragrance.

The original 1927 formulation of Arpège is true to its name–a musical concept of arpeggio–in a sense that individual notes are played distinctly one after another instead of simultaneously. Rose dusted by opalescent aldehydic shimmer unfolds first, followed by rich jasmine.

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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 breeze entering the windows suddenly brings a scent of something bittersweet and sharp. A wave of melancholy overcomes me as I noticed the yellowing leaves and the chill that forebodes the change of seasons. I want to hold onto the time as it passes, and the best way to do so is to envelop oneself in a fragrance that speaks of another era.

Created in 1947 by Francis Fabron, the perfumer responsible for such fragrances as the original 1957 version of Givenchy L’Interdit, Monsieur de Givenchy, and Nina Ricci L’Air du Temps, Balenciaga Le Dix is like a beautiful vintage dress that has lost none of its splendor, despite the passage of time. In fact, time only adds to its beauty.

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

A burst of sharp fruity aldehydes is not an opening that would I expect of Menard L’Eau de Kasaneka created by a Japanese perfumer Shuji Suzuki, a fragrance described as spicy floriental. A wave of candied orange rind swells up before softening into creamy sweetness underscored by ginger candy and a dusting of nutmeg. Rich powdery heliotrope, or rather heliotropin, lends its sweet and buttery character to the composition, creating an association with a dessert that is a cross between violet scented candy and a cherry pie. The heart of the composition cannot be described in any way other than cloying.

However, the drydown is rather pleasant, with its softly powdered base of sandalwood and cool vetiver. The sweetness is toned down substantially, and the fragrance embraces the wearer gently, like a soft cashmere scarf. Ambrette (or hibiscus) seed is considered to be the closest substitute for animalic musk. Lending fragrances tenacity, it smoothes the base notes with its elegant and sensual feel. In L’Eau de Kasaneka, it is a soft anchoring point that brings balance to the composition. If there is a reason for me to own L’Eau de Kasaneka, it would be a lovely bottle designed by the famous Japanese painter Shozo Shimada.

Notes include hamanasu (Japanese rose), basil, ginger, nutmeg, cardamom, bergamot, orange, carnation, heliotrope, jasmine, ambrette seed, sandalwood, vetiver, cedar, vanilla, musk.

Print: Cherry by Shodo Kawarazaki, 1951. www.japaneseprintsandbooks.com/ kawarazaki10.html

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

Divine L’âme Sœur creates an illusion of opalescent dust falling on dewy petals. The veil of aldehydes is, at first, hazy and opaque, however almost instantly it begins to fade revealing tropical opulence of ylang ylang and rich fruitiness of jasmine. While ylang ylang is a heady note, aldehydes render it ethereal and elegant, smoothing its rough edges and softening its sharp lushness. Indeed, Ernest Beaux was the first perfumer to discover the unique affinity between aliphatic aldehydes and ylang ylang, when he created Chanel No. 5.

L’âme Sœur, which means “Soulmate,” was created by Yann Vasnier for Divine, a fragrance house founded by Yvon Mouchel in Dinard on the northern coast of Brittany. If it is possible to conceive of a perfectly elegant fragrance that nods to the classical tradition without being repetitive, L’âme Sœur is it. A beautiful rose note lends an appealing sweetness to the heart of the composition, complementing the crisp white shimmer of aldehydes.

Once the fragrance dries down, a luminous note of ambergris resurfaces to support the composition. In L’âme Sœur, the peculiar winey and stunningly sensual scent of ambergris is present as a wave of warmth that softens the lush florals. Where rose was tempted to appear as heavy and sweet, it is rendered as sun drenched and delicate. The juxtaposition of sensual warmth with the cool aldehydic opening is what makes L’âme Sœur particularly exciting. The final result is not so much powdery as one would expect from an aldehydic fragrance, as it is reminiscent of cashmere. Cashmere softness that caresses the skin and holds its warmth is the association that the dry down of L’âme Sœur brings to mind.

Mary Cassatt. At the Theater.. 1879-1880. Pastel on paper. The Nelson-Atkins Museum of Art, Kansas City, Missouri. Abcgallery.com