Iris: 79 posts

When I reviewed Annick Goutal colognes recently, I mentioned that the trio would be great for those who are new to this fresh citrusy genre. The Hermès cologne collection would be my other recommendation. You can have a cologne flight starting from the champagne dryness of Eau d’Orange Verte and continuing with the white wine effervescence of Eau de Pamplemousse Rose. If you’re ready to try something more challenging, Eau de Gentiane Blanche offers a cocktail of green peppers and milky sap oozing from dandelions.

With Eau de Narcisse Bleu and Eau de Mandarine Ambrée having recently joined the collection, you have even more interesting choices. The fragrances round out Hermès’s cologne offerings with the elegant interpretation of spring flowers and sweet citrus. Both fragrances are polished and refined in a way that is typical of most fragrances by Jean-Claude Ellena, and either would be equally suited to both men and women.

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Do you know the feeling when you try an outfit and can’t decide whether it suits you or not? You think, “maybe it would be fine if I were to add a different purse or wear my hair up…” Those are the kind of pieces that end up gathering dust in the closet. Perfume is not exactly like clothing, because some fragrances don’t cast their spell on you immediately, but as my recent experience with Chanel 1932 proved, sometimes the first instinct is the correct one.

I admit to having a certain reverence for Chanel. Its perfume collection includes some splendid gems like No 5, Bois des Iles, Cuir de Russie, and No 19, and even releases like Allure and Coco Mademoiselle have the kind of attention to quality that one rarely finds at department store counters. For this reason, I wasn’t ready to give up on 1932, a new addition to the Les Exclusifs collection, but when I first tried it on my skin I found it to be pale and limpid.

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I keep misreading Bottega Veneta Eau Légère as Eau de Lingerie. Perhaps not such a strange mistake considering that it’s a silk slip of a perfume.  Sheer and delicate, it wears close to the skin, and just like a beautifully crafted lingerie, it makes me feel sexy and alluring. Designed as a variation (read, flanker) on the brand’s debut perfume, Bottega Veneta Eau de Parfum, Bottega Veneta Eau Légère has a similarly elegant character.

Elegance is something I fully expected from Bottega Veneta, but I didn’t anticipate anything interesting from its flankers. Brands rarely spend enough effort to develop original ideas, and since the rewards for flanker launches are small, perfumers often have few incentives to try very hard. Bottega Veneta Eau Légère is neither avant-garde nor trendsetting, but it’s made well enough that it stands on equal ground as the beautiful original. It only depends whether you prefer rich and glamorous or gauzy and sophisticated.

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When I bought my first bottle of L’Heure Bleue parfum as a teenager, I remember a sales associate, a tall woman with an impeccably coiffed chignon, mentioning that in her opinion Guerlain women fall into two main categories–those who wear Shalimar with panache and those on whose skin L’Heure Bleue smells like hot kisses and orange blossom marshmallows. I have worn my way through the whole Guerlain collection, including Vétiver and Habit Rouge, but L’Heure Bleue and Après l’Ondée are two fragrances that make my heart skip a beat. They are polished and elegant, but at the same time, they feel like a second skin.

This year L’Heure Bleue celebrated its 100th anniversary, and Guerlain and its perfumer Thierry Wasser decided to create a a new interpretation of the classical fragrance in three different concentrations. The velvety Eau de Parfum called Le Zénith eventually ended up as L’Heure de Nuit, and this fragrance is now a part of Guerlain’s Les Parisiennes collection. Why is there a need for another take on L’Heure Bleue, you might wonder, as I did. Don’t we already have Insolence? But for perfume wearers not used to the plush, heavy retro style, even Insolence is too rich.

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What is it about the combination of iris and leather that makes it so irresistible? Perhaps it’s the contrast between the austere iris–the earthy, half-frozen root, not the lush flower–and the salty sweetness of tanned hide. Perhaps it’s the natural harmony they form, since leather has some green nuances, while iris has a subtle hint of suede. In Cuir de Nacre, a fragrance from the collection by Paris jeweler Ann Gérard, the iris-leather duo receives an elegant treatment. It smells enveloping and effervescent, casual and chic.

Cuir de Nacre was created by perfumer Bertrand Duchaufour, who also was responsible for Ciel d’Opale and Perle de Mousse, the other two perfumes from the line. Ann Gérard sold Cuir de Nacre previously to her clients as Pleine Lune, and the limited edition was so well-received that she decided to launch a trio of perfumes. Perle de Mousse and Cuir de Nacre captured my attention immediately for their refined, polished character.

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