Rose: 149 posts

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

It makes perfect sense to review Yuzu Rouge alongside Un Zest de Rose, because they share some similarities, primarily the rose and citrus pairing. Parfums 06130 were created by Raphaël Haury, a young nose behind Clarins Par Amour and several Azzaro fragrances. The opening of Yuzu Rouge is a tart effervescence of citrus notes, sweet lemon and dry lime. While they do not replicate the scent of yuzu precisely, the combination is vibrant and uplifting. Tea rose with its sweet fragrance weaves in gently around the citrus notes, softening the sharpness and astringency. A touch of blackcurrant provides a juicy note that permeates pink rose petals in the heart of the composition and lends a tart green accent that makes the resulting composition light and sparkling. I find it similar to Un Zest de Rose by Parfums de Rosine, with a touch more berry in the drydown, however while Un Zest de Rose is a white rose sorbet, Yuzu Rouge is a rose flavored drink. It is difficult to decide which is one better, because while Un Zest de Rose is slightly more complex, Yuzu Rouge has become my staple due to the fact that it is very easy to wear despite heat and humidity of the East Coast summers.

Available at Aedes and Takashimaya in New York (call 212-350-0100).

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

The scent pervading the pomegranate red interior of Hôtel Costes, located at 239 rue St-Honoré in Paris, is what made me want to enter its lobby, despite the intimidatingly posh interior. The mysterious and alluring scent possessed richness of Mysore sandalwood ornamented with sheer shimmering spices. The fragrance created by Olivia Giacobetti in collaboration with Rami Mekdachi in 2004 is an attempt to capture the dark elegance of Hôtel Costes inside a garnet bottle. …

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Original:

Reformulation:

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

Playing up the stereotypes of Paris, in 1936 Caron’s perfumer Ernest Daltroff created a fragrance specifically for the American market. The fragrance was christened French Cancan in a slightly naughty allusion to the infamous cabaret dancers of Moulin Rouge, the shadowy image of which appears in the 1937 ad accompanying this review. Only in the postwar period did French Cancan returned home to Paris.

Whenever one describes a fragrance as sensual, visions of rose petals strewn across vanilla, amber haze and opulent night-blooming flowers come to mind. However, Daltroff manages to create a sensual fragrance by exploring the unique juxtaposition and slow development. French Cancan peels off one layer after another, first exposing a froth of jasmine and violet, touched by an almost gourmand almondy sweetness. Next comes a dark earthy rose, which sheds its petals slowly to reveal an arrestingly innocent touch of orange blossom. Like layers of transparent fabric change colors when arranged together, jasmine manages to darken the radiant sweetness of orange blossom.

As the fragrance dries down, cold iris dust melds the elements of the composition together. The final drydown notes take about two and a half hours to reach, although the dark Caron undercurrent is already manifesting its presence in the heart of the composition. French Cancan leaves one with silky richness of amber, sandalwood and oakmoss trio, and by endowing a composition with a degree of coolness, the effect is  alluring.

Notes: jasmine, lilac, violet, lily of the valley, rose, orange blossom, patchouli, iris, sandalwood, amber, oakmoss.

Note on reformulation May 2011: The original was a heady blend of various floral notes (jasmine, ylang-ylang, rose, lilac) on a warm musky base. The new version is a cheaper variation on the theme. The Eau de Parfum is even less interesting.

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

I might be influenced by the description of Frédéric Malle Lipstick Rose noting that Ralf Schwieger’s aim was to create a scent conjuring a woman who is half Gilda, half Silvana Mangano, but every time I put it on I envision Mangano, a sultry voluptuous Italian actress singing “Hay! Tengo ganas de bailar Un nuevo compas…” in her film from 1951 “Anna”. Intended to imitate the old-fashioned scent of lipstick, Lipstick Rose (2000) is indeed a fragrance that makes me want to pull out my tube of Chanel Coco Red. The blend of roses and violets exudes a classic femininity and elegance. It is not a fragrance that is sultry in the sense of Guerlain Nahéma or Serge Lutens Tubéreuse Criminelle, however it is unmistakably an alluring scent. It is slightly powdery initially, however the powderiness lightens once vetiver lends its earthy note. Raspberry note is quite obvious in the drydown, and it saturates the base with a sweet glow. Lipstick Rose is hardly a modern take on a rose, however occasionally it strikes me that its vintage image borders on self-conscious.

L’Artisan Parfumeur Drôle de Rose (1996), provides a similar treatment of the rose, ornamenting it with violet and raspberry. Between these two, I would choose Lipstick Rose, because its richness makes the vintage reference quite appealing, whereas in the case of Drôle de Rose, the less voluptuous body leads to an overwhelming powdery sweetness.

Photo: Silvana Mangano (1921-1989), actress of Italy’s neo-realistic period.

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

Rose soufflé with fruit salad, Parfums de Rosine Rose D’Été is a rose fragrance for those who think that rose is sentimental and hopelessly romantic. Rose D’Été is anything but sentimental. It is effervescent and vivid, in its explosion of melon and apple against the backdrop of yellow rose and honeyed flowers accord. It is exuberant, and almost too much so, veering into syrupy and cloying. The resulting outcome is a disconcerting vacillation between roses heated by the sun and a rose jam. While the latter is delicious, after a couple of bites the feeling of overindulgence sets in. The same takes place with Rose D’Été—while I enjoy the rose soufflé accords at first, an hour later they begin to irritate me with their sugariness.

Notes: apple, galbanum, bergamot; yellow rose, linden blossom, mimosa, lotus blossom; ambrette seed, musk.