Leather: 44 posts

Smoky leather and green jasmine… The first time I smelled Coty Chypre I was startled by its wistful aura. For months before Chypre and I finally met I had fantasized about how dramatic and roughhewn it must have been to simultaneously set a new trend and to shock its contemporaries. But as I discovered, Chypre is alluring and harmonious, if not exactly well-behaved. I fell hard for its dark leather accord, which I subsequently spotted in Chanel Cuir de Russie, enjoyed in Robert Piguet Bandit and mourned in the reformulated Parfums Gres Cabochard. Finding Knize Ten is a flashback to the first time I dabbed a few dark drops of Chypre on my wrist and discovered that leather can be devastatingly seductive.

Knize Ten was created in 1924—just seven years after Chypre—by François Coty and Vincent Roubert, and it isn’t surprising that someone who loves the early 20^th century perfumes would be taken by it as well. (A perfume lab rumor is that Ernest Beaux also was involved, which makes Knize Ten one of the best collaborative efforts.) More unexpected is how well this gem has weathered the past century. Today the fragrances are reformulated on what seems to be a daily basis, and anything older than a year is likely to be altered. Knize Ten, however, has managed to survive more or less intact. As I’m writing this review, I have the current Eau de Toilette on one wrist and the 1950s formulation on another. The new version is wonderful.

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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 new Armani Privé Cuir Noir, a fragrance from La Collection des Mille et une Nuits is starting to appear in stores (recently spotted at Harrods.) Cuir Noir was created by perfumer Nathalie Lorson and includes notes of Bulgarian rose, nutmeg, coriander, guaiac wood, leather, oud, Australian sandalwood, ambergris accord, benzoin.

My overall impression–and it can apply to the whole collection–nicely done, but not mind-blowing enough to warranty the price of 180 British pounds. Cuir Noir starts out as a big sweet amber and leather in the style of Tom Ford Amber Absolute or Annick Goutal Ambre Fétiche. There is a distinctive rose note that lingers from top to drydown. The medicinal, smoky oud is such a rich accent that it makes the leather play a second fiddle. Fans of oriental blends will enjoy Cuir Noir, but if you are looking for a smoky rich leather, it will not satisfy the craving.

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

To all those fearing doom for today’s perfumery and saying that there can be nothing good under the sun, I say—smell Bottega Veneta Eau de Parfum. Here we have a big “prestige brand” launching its first fragrance that by all accounts should be either a copycat or a predictable crowd pleaser. Instead, it is a sophisticated, polished composition with a voluptuous character. Bottega Veneta Eau de Parfum intertwines leather and violet notes into an intricate accord that feels like warm silk on the skin, and—in a rare occasion of marketing concept matching the olfactory idea—evokes the sumptuous feel of Bottega Veneta’s classical intrecciato woven leather.

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

I will not even try to connect the Marquis de Sade (1740 refers to the year of his birth) to the elegant immortelle-leather composition presented by Histoires de Parfums, a French niche line established by Gérald Ghislain in 2000. Somehow, it speaks not of an 18th century boudoir but is rather an expression of the Folies Bergères of 1920s Paris where Josephine Baker performed her Danse sauvage. While it is dark and sensual, the aura of 1740 is really quite glamorous.

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

Anyone familiar with the provocative aesthetic of Etat Libre d’Orange will suspect at once that the fragrance named Rien (Nothing) is likely to be a dramatic mélange. The first whiff of the fragrance proves that one’s suspicions are indeed correct—Rien is a blast of civet and leather, with bitter green and earthy iris notes weaving a dark tapestry. Bold, dramatic, overwrought, it hits all of its accords at once. Yet, those who love classical fragrances and leather notes will find Rien thrilling, since it offers a glimpse into the vanishing grand parfum tradition—challenging, complicated, and memorable. Rien has the complexity of Clinique Aromatics Elixir, the intelligence of Chanel No 19, the brashness of Robert Piguet Bandit and the sensuality of Serge Lutens Muscs Koublai Khan. It is exciting in its blend of classical themes and modern effects.

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