Chypre: 72 posts

Although I make accords of various materials as part of my work, they’re not what I would call “perfume.” Most of them are meant to explore combinations of specific ingredients or to showcase a raw material. Even so, I often return to some of my favorites well after the project is over to add a little touch here or there. Imagine how much more tempting it must be for a perfumer to revisit her creations down the line, but also more frustrating, since loyal clients don’t want their fragrances to change.

For indie perfumer Vero Kern the solution was to present Rubj, Mito, Kiki and Onda, the quartet that makes up her Vero Profumo collection, as three different concentrations–Eau de Parfum, Extrait de Parfum, and now Voile d’Extrait. As I quickly discovered, they could easily be different perfumes, and so I’ve waited with anticipation for Les Voiles d’Extrait.

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Elisa on roses, moss, and brocade.

Some perfumes take only moments to love, but years to understand. Such was the case for me with Une Rose Chyprée, a perfume from the indie line created by Andy Tauer. From the first sniff, I knew it was special. But I struggled to grasp why or how. It was not, to my nose, a chypre (a mossy-woody blend) at all. It was not of the sharp, haughty variety like Paloma Picasso; not chilly and green like Yves Ssaint Laurent Y or Chanel No. 19; not, like the more recent Agent Provocateur, saffron-sour up top and musky-dirty at the bottom. So what was it, then?

After spending a few years with his collection, I realized that Andy Tauer’s true muse is amber. And Une Rose Chyprée is not a straight chypre but an amber in conversation with a mossy rose, melding into its bittersweet floral-herbal personality, but not losing its own round, full, and resinous scent.

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Cool, inky, powdery, nutty, dark… It’s hard to explain what’s so compelling about the smell of moss, but Patricia attempts it here and shares her love for all things mossy and chypre.

It was many years before I learned that my favorite perfumes, for the most part, fell into a group called “chypres.” I had no idea that they had anything in common, except that I loved the combination of cool and elegant with dark and almost feral notes, the sacred and profane all rolled into one. Chypre, I found out later, referred to a distinctive accord based around several different elements, but as Victoria mentions in her article on the history of chypre, the important chypre ingredient is oakmoss.

The oakmoss is exactly why chypres are not without controversy. Due to restrictions by the  IFRA (International Fragance Association) on the use of oakmoss because of its status as an allergen, the formulas of beloved old favorites have been radically altered. Enter synthetic oakmoss and the resultant buzz in the perfume community about dramatic change of beloved chypres like Guerlain Mitsouko, Chanel No 19 and Parfum Grès Cabochard.

But my story begins much earlier when a mother gifted a bottle of Miss Dior to a young teen who wasn’t quite sure what to make of it. Was it pretty? It was. Was it sharp and nose-wrinkling? It was that, too. Miss Dior had already been around for a couple of decades when she found a place on my dresser top and had already enchanted many with her love-me-love-me-not quality. The green and peppery opening in Miss Dior progresses from gardenia and jasmine to a creamy drydown of sandalwood and dark leather. In the end, the teen decided that it was true love, and my fascination with all things mossy was born.

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Andy takes Ylang 49 from Le Labo to task.  

I sprayed on Le Labo’s new Ylang 49 with many expectations. As my first introduction to the Le Labo line, I wasn’t sure what to anticipate. But surely, with a brand name that evokes scientific paraphernalia and sterile-looking packaging to match, I reasoned, this “floral chypre” had to be some kind of cleaned-up, angularly modern twist on the classic genre. As it would turn out, I was pleasantly surprised—instead of whisking me through a laboratory, Ylang 49 took me on a nostalgic walk through a shady, rain-drenched garden on a spring morning.

True to its name, Ylang 49 opens with a glimpse of its namesake note, pairing the spicy floral with a touch of rose and some cool earthiness. I am reminded of the damp scent of a garden after a rainstorm, but as the fragrance warms up on skin, the rose takes center stage, and the damp earth transforms into a hint of warm, slightly mossy patchouli.

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I can probably be forgiven for the erroneous assumption that Givenchy Dahlia Noir might be somehow dark.  After all, the name means “Black Dahlia” and what does this suggest but a grisly Hollywood murder?  Come to think of it, Givenchy seems the last house one would think of as conceiving a scent to match the name. Most of their names are meaningless and arrive somewhere between sounding good (Dahlia Noir) and sounding silly (Oblique Rewind).

Dahlia Noir Eau de Parfum turns out to be a chypre based on rose, iris, and patchouli.  With a big citrus opening, it isn’t terribly dark, though.  Instead, it is intensely powdery, with the powder intended to describe the “femme fatale” allure of the marketing copy. To me though, the drydown of iris and vanilla is too strong on baby-powder. In its heightened use of this iris and vanilla, Dahlia Noir is somewhat similar to Guerlain L’Instant Magic.  Ultimately, the eau de parfum reveals a rosy center and a creamy patchouli base.

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