Rose: 149 posts

Some fragrances have great top notes, others tempt with you a gorgeous drydown, but without a beautiful sillage, the pleasure of wearing them is nil. The French word sillage refers to the perfume trail you leave behind, a spell cast on others as well as you. Martin Margiela’s Lazy Sunday Morning is nice enough on paper, but to fully experience the sheer chypre, you need to try it on skin. If you’re lucky to have a friend who wears it, you can experience how well Lazy Sunday Morning diffuses and the soft, gauzy wake it leaves behind them.

Of course, this is true for many perfumes, which are composed of volatile essences, with unique rates of evaporation. This unromantically sounding idea, of molecules floating off your skin at different speeds, is what creates each scent’s aura, its melody and form. The intriguing aspect of Lazy Sunday Morning is that it’s part fresh cologne and part rosy chypre, oscillating between vivid aldehydes and dark moss, velvety rose and bitter patchouli. This interplay, well-modulated by musks, orange blossom, and green notes, is what gives this perfume its layered effect.

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Divine is a perfume brand from the region of Dinard in the north of France. It’s niche in terms of distribution, which is pretty much only the Dinard shop in Brittany and a couple of online retailers, but if your definition of niche is avant-garde and quirky, then Divine doesn’t fit. The collection is classically themed and understated. What makes Divine such an appealing brand is quality and polish. Nowhere is it more obvious than in its latest release, Spirituelle.

Created in collaboration between Divine’s founder Yvon Mouchel and perfumer Richard Ibañez, Spirituelle is a rose. If you use perfumery jargon, an oriental rose, which merely means a rose laced with spices and incense. Since rose has a perfect affinity with dark, rich notes, there is nothing particularly unusual about Spirituelle’s theme. It hints at its sultry personality, but it’s still understated and soft. The allure of Spirituelle unfolds when lulled by its mild charms, you wear it to the office and suddenly, in the middle of another long, stressful day, find yourself wrapped in layers of petals and amber. It lingers for many hours on skin, changing ever so slightly, but every facet, every layer of it is delightful.

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Misia Sert and Coco Chanel shared deep affection for each other. Sert comforted Chanel when her lover Arthur Boy Capel died in a car accident. She inspired the designer and introduced her to a glittering circle of artists, writers and musicians. Misia’s salon in Paris attracted such luminaries as Marcel Proust, Claude Monet, Pierre-Auguste Renoir, Odilon Redon, Paul Signac, Claude Debussy, Stéphane Mallarmé, and André Gide. She was a talented pianist, captured by Toulouse-Lautrec at the piano, but she was also a cultural icon and a muse. In this last role, the spirit of Sert returns to the house of Chanel in the form of a new perfume, Misia.

Imagine a vintage silk purse that still holds the aroma of violet bonbons, rose scented lipstick and rice powder. This, in a phrase, is Misia. Tender and romantic, the fragrance settles on skin in a soft powdery layer, and if it suddenly makes you feel like painting your lips a retro crimson and watching The Red Shoes, I wouldn’t be surprised. It’s a perfect vintage vignette fantasy.

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Burberry has done all it could to sink Brit Rhythm for Women. The awkward name, the cliched marketing lingo of sexy, rock-n-roll, and edgy, and its place of honor as the nth flanker to Brit don’t inspire much excitement. This is a shame, because Brit Rhythm is a sophisticated, quirky lavender wrapped in peony and sheer amber. It’s the most interesting and distinctive fragrance in Burberry’s collection, although you’d never guess so based on its bland trappings.

If your idea of elegance is casual and understated, Brit Rhythm will be a good fit. At its core is a complex lavender accord, a brave choice for a feminine perfume. A common presence in masculine colognes and skin care products, lavender has acquired a staid and dull reputation. That lavandin, a harsher, brasher note, is often used instead of real lavender doesn’t help matters either.

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The news of Frédéric Malle selling his Editions de Parfums house to Estée Lauder reminded me that I haven’t gotten around to writing about one of the most intriguing fragrances from his collection, Portrait of a Lady. Why intriguing? Well, consider the name. If it brings to your mind the cool elegance of Henry James’s heroines, then you’re not alone. I also expected something along these lines–ultra refined, sophisticated and feminine. Except that it is all wrong. Portrait of a Lady is interesting precisely because the scent is not at all what you expect. It’s a twist on a Middle Eastern theme, and it’s not all that lady-like.

If you’ve already smelled traditional Middle Eastern perfumes or western blends inspired by them (Amouage, Kilian’s ouds, Armani Privé Rose d’Arabie), then you might recognize similar elements in Portrait of a Lady. It has a generous dose of classical “oriental” notes–sandalwood, amber, patchouli, dark woods smoked over incense, and of course, rose. It has a similar dramatic and mysterious character that makes this perfume genre so distinctive.

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