Patchouli: 49 posts

‘Please see my review of Viktor & Rolf Flowerbomb‘ — this is how I originally started my post on the newest Lancôme perfume La Vie Est Belle. This big Lancôme launch takes a lesson from its flop Magnifique and does everything by the book: a fetching package (check), something pink (check) and a safe, easy to like perfume (check). It’s even better if you tag on a well-known spokesperson (check, Julia Roberts looks gorgeous in the ads).

While my initial reaction was to dismiss La Vie Est Belle as another copycat, after wearing it for the past couple of weeks I’m not so sure what I think. The citrusy top notes laced with tangy raspberries were facile, but addictive, while the gourmand drydown tempered by earthy iris was surprisingly mellow.  I readied myself for another cheap fruit compote, but I discovered a trendy and likable perfume. I would have had an easier time making up my mind if it smelled cheap, but it doesn’t.

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As far as the French language goes “Pamplelune” is a portmanteau that combines the French word for grapefruit (pamplemousse) with the French word for moon (lune). In the perfumista’s lexicon, however, Pamplelune denotes the 1999 fragrance by Mathilde Laurent for Guerlain for its original Aqua Allegoria line.  As a grapefruit scent, it is both revered and feared; whether one can wear this take on sulfuric citrus depends on whether one associates grapefruit with fruit or with funk.

Although the Aqua Allegoria line is meant to showcase lighter, less complex fragrances, Pamplelune is anything but simple.  After the explosive opening it follows through with tart/sour bergamot and twiggy petitgrain notes before morphing into a cheerful black currant-accented floral that is tethered to a sweet and vanillic patchouli base.

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There are some varieties of rose that smell fresh and delicate at first and then reveal a piquant, peppery bite. You pull away from the blossom with a start, the tingling sensation still in your nose and can’t help yourself leaning in for another inhale. My first impression of Oud Ispahan, a new addition to Christian Dior’s La Collection Privée, was similar—the compelling sparkle of the top note contrasted dramatically with the darkness of patchouli and oud.

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When you approach the Estée Lauder counter you will see the slender bottles of Pleasures, the heavy flacons of Knowing, the ribbed orbs of Sensuous. Occasionally, you spot an hourglass bottle filled with dark as molasses Youth Dew. But to smell Azurée you often have to ask the sales associate for the tester. At many Lauder counters I’ve visited it is kept under the counter, reminding me of Soviet-era shopping. “From under the counter” was the magical phrase that produced things rarely seen on the store shelves. Something as commonplace as a packet of sugar obtained in this way seemed even sweeter.

Its special “under the counter” status isn’t the reason I crave Azurée. It’s big and bold, with a distinctive presence. Since it has been around since 1969, it bears a whiff of the era—you will not mistake this moss festooned beauty for another pink fruity floral, but it’s stunning. Anyone who loves woods, earthy notes and leather would enjoy Azurée’s generous presence. Among great chypres (the mossy and earthy perfumes that are the scent equivalents of film noir), Azurée holds a special place.

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

First, please let me get it off my chest. I am angry at Fendi for discontinuing Theorema, one of the perfect spicy fragrances—it smells like pomanders and smoky roses. I am disappointed that Life Essence, a brilliant perfume of mossy cedarwood, cardamom and geranium was axed. And I still don’t understand why Asja, the spicy jasmine set in amber, had to go as well. So when Fan di Fendi landed on my local Sephora shelf, I tried my best to ignore it.

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