Orange Blossom & Neroli: 64 posts

Big, bold, sexy? Elisa is not convinced.

You can learn a lot from reading the comments on perfume blogs. Recently, I learned the term “freakum dress” from a woman who commented that she was searching for a “freakum perfume.” I had to look up the term on Urban Dictionary: “similar to a ‘lil Black dress’…A HOT ass dress that demands ones attention!”

I think Tom Ford decided that his mid-range line needed a freakum perfume: something loud and sexy for 20-somethings to wear when they go out clubbing. Unfortunately, it got interpreted as “cheap floriental.” I’ve generally respected Tom Ford’s releases even when I didn’t want to wear them, but with Velvet Orchid, I’m having trouble making eye contact.

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Andy on some of his most versatile orange blossom perfumes. On the difference between neroli and orange blossom (and other fragrances with these notes), please see an entry in our Perfume Lexicon.

It’s often that I look at my bevy of perfume bottles, samples, and decants, and wonder which one I might choose if I could only wear a single fragrance, day in and day out. After some consideration, I’m often apt to think Atelier Cologne’s Grand Néroli would be a perfect choice. My first instinct is usually to think I’d select a perfume that I could be sure would surprise me with unexpected twists and take me on an infinite journey every time I wore it, but Grand Néroli is none such a perfume.

In fact, when I think more practically, I realize that owning only one perfume bottle would require that my scent be interesting yet simple, and versatile enough to suit every occasion while still possessing a memorable appeal. In light of this theoretical dilemma, I don’t hesitate to choose Grand Néroli, because this refined, fresh fragrance always feels like the right thing to wear, no matter what.

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Jean-Paul Guerlain, the last perfumer for the house carrying the family name, once memorably said that one could be a Shalimar woman or a L’Heure Bleue woman, but not both. Of course, he made the statement in his usual provocative manner, but the idea was that the two perfumes had such different characters that you loved either one or the other. I had all the makings of a L’Heure Bleue woman, having fallen for its older sister Après l’Ondée, but then I met Habit Rouge. One encounter was all it took for me not only to be captivated by its velvety orange blossom doused in incense and bergamot, but also to understand the allure of Shalimar.

That Habit Rouge is marketed to men should make no difference to women. In 1965, when Habit Rouge was created by Guerlain, the collection had many splendid feminine perfumes like Jicky, Shalimar, L’Heure Bleue, and Mitsouko, but the offerings for men were considerably less outstanding. The exception was Vétiver, which Jean-Paul Guerlain created a few years earlier. His solution to draw gentlemen to the perfume counter was to take the basic outline of Shalimar and its famous accord of citrus and sweet oriental notes and give it a dandy appeal with leather and green orange blossom. The result was a less sweet, less curvy and less ripe version of Shalimar, but with all the elegance and panache of its great ancestor.

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The main argument you hear from brands launching one bland, derivative perfume after another is that consumers like this sort of thing and that it is impossible to come up with an easy to like and uncomplicated perfume that holds the attention and smells interesting. But Bottega Veneta Knot, the new fall launch, proves that this reasoning doesn’t have much merit. If you want a fragrance that is as versatile and stylish as a little black dress, then this radiant orange blossom has much to recommend itself.

Bottega Veneta’s first perfume was a leather-moss blend attuned to today’s fashions, with emphasis on radiance, softness and bright top notes. Knot’s basic idea is sheer as tulle orange blossom edged with vanilla and musk. Orange blossom is derived from the flowers of a bitter orange tree, and depending on how it’s processed–melting the flowers in a solvent or distilling the essence with steam, the result will be different*. The former gives you orange blossom absolute with its sweet, sumptuous notes, and the latter–neroli oil redolent of green buds of spring. Knot blends both of these essences and sheers them out with citrus juice and featherweight musk. The result is as fresh as a classical cologne, but with a curvier body.

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Cologne was never one of my favorite fragrance types. You see, when you start out exploring perfume, citrusy blends (eaux de cologne) are suggested on the grounds that they’re “fresh and easy to wear.” Except that I found most colognes to be neither. They smelled either too dry, too sharp or evoked an unfortunate association with furniture polish. I admired the ease with which some women could douse themselves in Hermès’s Eau d’Orange Verte and project an aura of casual elegance, but for quick refreshment, I reached for either light florals or green perfumes. What changed my mind about colognes was Christian Dior’s Eau Sauvage and Jean Patou’s Eau de Patou.

Much has been written about Eau Sauvage, one of the most revolutionary fragrances in recent history, but Eau de Patou has kept a lower profile. Perfumer Jean Kerléo created it in 1976, and when you smell the original version, it’s remarkably modern and luminous with its generous dose of sheer floral notes wrapped around classical bitter citrus and moss. A touch of sweetness takes the sharp edge off the lemon and lavender, and the drydown of damp woods and powdery amber is comfortable and graceful.

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