Rose: 149 posts

This spring is promising to be rose scented. Every other flanker, a sequel to the original big launch, seems to be reinvented in rose tinted prettiness.  From Kenzo to Cartier, every house has been thinking pink. Flankers are not known for being daring, and when I dutifully smelled through the whole lot, I felt that I was smelling the same perfume over and over again. Fruity, sparkling, instantly forgettable. In the end, I picked six fragrances that stood out, although you will see that in some cases this is an underhanded compliment.

Why bother then? Most of these fragrances will not appeal to perfume lovers used to the opulence of florals or the tinge of animalic notes hidden among the fleshy petals. By contrast, all six rose perfumes I’ve selected are clean and dewy. Some of them are better than others, but overall, this selection contains nice options for anyone who prefers their florals fresh and sparkling, without the cloying sweetness that’s a common theme in most feminine new launches. Simple and pretty are not negative qualities, and occasionally, this is exactly what hits the spot.

Today, I’m reviewing three fragrances that pair rose with white florals: Valentino Valentina Acqua Floreale; Kenzo Amour I Love You; and Juicy Couture La La. The white florals, be it tuberose or gardenia, have a creamy sweetness that contrast well with a sheer, citrusy rose accord.

Valentino Valentina Acqua Floreale

Valentina Acqua Floreale follows in the footsteps of its older sister, Valentina. The bubble gum tuberose of the original is sheered out, made less cloying and thick. It reminded me of a milder Juicy Couture. The vibrant start of citrus and orange blossom fades to a soft, musky drydown that goes by the “sexy clean” moniker in fragrance houses. On the other hand, Valentina Acqua Floreale is so perfectly well-behaved and inoffensive that I doubt one can have a strong opinion about it. It’s radiant, sheer and coy. It would make a sophisticated fragrance for a teenage girl. While it’s not a drama queen, it’s a good quality perfume, with smooth development and decent longevity.  Continue reading →

After my mixed experience with Lys Fume, I approached the rest of Tom Ford’s Jardin Noir collection reluctantly. As I wore the fragrances  over these past few months, I grew to like them very much, especially Ombre de Hyacinth and Café Rose. While Tom Ford promised that Jardin Noir would be abloom with twisted, dark florals, the collection is neither twisted nor dark. Instead, it features elegant, polished fragrances on four different themes: lily, daffodil, hyacinth, and rose. The lack of drama is a minus, especially given the concept of this quartert, but these interpretations of classical florals are so smooth and refined that they are worth sampling.

Café Rose was created by perfumer Antoine Lie, who also worked on Azure Lime and Violet Blonde for Ford.  It is the darkest perfume from Jardin Noir, but it has a distinctive Middle Eastern flair. The woods are so pronounced that they compete with rose for top billing, while the incense gives the perfume an exotic twist. The main reason I enjoy Café Rose is for its contrast–it feels sophisticated, but at the same time, it has a flamboyant air. Too much elegance can be boring, after all.

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In 1978, Estée Lauder launched White Linen as a part of a trio called “New Romantics.”  The New Romantics also included Celadon (a green floral) and Pavilion (a white floral).  The three New Romantics scents were pioneers in the concept of fragrance layering.  The ad copy promised “three incredibly pretty fragrances designed to interact with each other.  Wear one.  Wear two.  Wear all three together.”

Celadon and Pavilion have been mostly lost to time, but Sophia Grojsman’s White Linen was an immediate blockbuster that is still in the Lauder line-up three decades later.  To me White Linen smelled like nothing else out there while bearing a stylistic resemblance to Chanel No 22 (immense use of aldehydes over abstract white floral heart).  It smelled nothing like the big Orientals that had just taken hold, and if it were meant to be worn concurrently with Celadon and Pavilion the result would have been explosive (think about combining Pleasures and Beautiful). On its own, White Linen had a massive and imaginative signature.  To combine it with another scent of equal power would be unthinkable—in today’s terms.  In the late 1970s, perfume was still constructed and worn boldly.

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Neela Vermeire Mohur is a modern interpretation of a classical theme in Middle Eastern perfumery—the combination of rose with oud. It is one of a debut trio from the Neela Vermeire Creations line.  Ms. Vermeire is an Indian woman living in Paris who weaves the heritage of her native country around personal history to create perfume narratives.

Mohur takes its name from a gold coin minted during the Mogul era in Indian history. It is influenced by the story of the empress Nur Jahan, who not-so-secretly became the power behind the throne of her opium-addicted second husband.  After her husband’s death, Nur Jahan took up the art of perfumery while under what amounted to a house arrest.  Although the perfumes Nur Jahan created are lost to history, the story is not and it is this that Neela Vermeire has taken as inspiration.

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Wishing that all of my US friends stay safe, dry and prepared as the storm approaches! I’m keeping my fingers crossed that everything will be ok. I’m thinking about you!

Florabotanica is a good illustration of where most big brands, even those that start out with good intentions, end up as they chase market success. The first launch by Balenciaga, Balenciaga Paris, was a transparent violet leaf composition that wouldn’t be out of place in the L’Artisan Parfumeur collection. Not surprisingly, it didn’t take off that well. People need time to appreciate something unfamiliar, and the only way to do this is to support the brand and spend resources on educating the staff. In other words, you need time, money, and some new marketing tactics, all of which are in short supply at most fragrance houses today.

So, after the perfunctory flanker to Balenciaga Paris, L’Essence, we  have Florabotanica. It was composed by perfumers Olivier Polge (who also created Balenciaga Paris) and Jean-Christophe Hérault. The inspiration behind Florabotanica is described by Balenciaga as “not just a pretty flower, but a pretty dangerous flower.” This time Balenciaga took no risks. If you find transparent roses dangerous, then yes, I suppose that Florabotanica is right on the mark. I found it just pretty and meek.

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