Bergamot: 7 posts

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Now and again, walking down a street in Paris, I catch a whiff of Shalimar. According to the latest bestseller lists—compiled by companies whose entire business rests on the arcane practice of counting doors and tracking fragrance sales—Guerlain Shalimar remains among the top ten best-selling perfumes in France. If that is true, then excellent. Few perfumes deserve to be worn, loved, and admired as much as Shalimar.

What makes Shalimar extraordinary is its paradox. It is sumptuous, yet startlingly modern; ornate, yet almost linear in its construction. One could even call it a precursor to the Sophia Grojsman style: a bold block of high-impact materials, softened and ornamented with delicate flourishes.

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It’s easy to get overtaken by the flood of newness and to forget about the trusted old favorites. The other day I found a neglected bottle of Eau de Fleurs de Cédrat in one of my fragrance drawers and put it on more as a reflex than because of any desire to wear it. It had been a while since I had tried it, but smelling its zesty lemon top notes reminded me what a gem it is and how refreshing it feels on a hot day.

If Eau de Fleurs de Cédrat were a color, it would be pop-art yellow. The initial impression is of grated lemon zest and lots of it. The bitterness of bergamot and lime add an additional twist, but it doesn’t happen until a few minutes into the development. Also, despite the “citron flowers” promised by the name, the composition is not particularly floral. It’s as classical of a cologne as you can find.

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I sometimes notice that coffee smells better than it tastes–or that it doesn’t taste the way it smells.  Even the aroma of coffee, for instance, is difficult to sum up–sweet, bitter, spicy, acidic, toasted, burned, with hints of blackcurrants, chocolate and hazelnuts. Even more difficult is to render coffee notes believable in a perfume without making one smell like a badly washed coffee mug, or worse, a piece of grilled meat. Coffee notes are stubborn. I’ve been on a search for successful coffee perfumes for a while, and this fall I’m adding a new contender to my collection, Atelier Cologne Café Tuberosa.

The idea behind Café Tuberosa is clever–take a creamy tuberose accord, brighten it with bergamot and give it a bittersweet rush with coffee. All three are bold, strong notes, but the whole fits together so harmoniously that it makes me wonder why this motif is not more explored.

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My tastes for white florals are indiscriminate, encompassing everything from vulgar things like Guerlain Mayotte to prim school governess types like Jessica McClintock. But even I can get tired of the genre and retreat to other pastures for a change–dry woods and damp mosses, perhaps. This is what happened for most of last year, when I was so satiated with white florals that I declared a moratorium on new acquisitions. But it’s a testament to Pehnaligon’s Ostara’s loveliness that despite my best intentions, I ended up breaking my resolve.

Ostara shines brightly to me for its surprising combination of the lush, decadent heft that makes lovers of white florals swoon and the exhilarating springtime freshness. Perfumer Bertrand Duchaufour built the composition around the theme of narcissus, a flower that on a stem smells honeyed and indolic, but when turned into essence becomes leathery, musky and somber. Ostara melds both facets, but it stays on the sunny side.

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Where do the perfumery ingredients come from? How are they produced? What do they smell like? Out of all aspects of fragrance, the composition–or rather, what’s exactly in a bottle of perfume–remains the most mystifying and interesting. While the following films from Dior are heavy on marketing, they nevertheless give a glimpse into some of the most classical ingredients in a perfumer’s palette–rose, jasmine and bergamot.

If you don’t see English subtitles, click on the CC button under the video, next to the volume controls.

Unsurprisingly, my favorite film is the one dedicated to jasmine. You visit fields in India with Dior’s chief perfumer François Demachy who explains the difference between jasmine sambac and jasmine grandiflorum. “Sambac has something animal and powerful about it. A slightly orange-like and more sensual quality. Grandiflorum is more delicate, more radiant.” He then takes you to a flower market, a place every visitor to India finds exhilarating.

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