Tuberose: 48 posts

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

Fruity-floral can be a tired category, since too many of them inundate the market at the present. Rochas presents something different. Poupèe (2004), meaning “doll” in French, is an example of tuberose and fruit marriage. Anne Flipo, a nose behind many of L’Artisan Parfumeur fragrances, including La Chasse Aux Papillons, Jacinthe du Bois and Violette Vert, paired white floral accords against a pure yellow of pineapple. The top notes are a rainstorm of orange blossom and tuberose, both of which quickly melt into the sweetness of tart fruity shimmer. The fruity jam stage is my least favourite part, however it does not last particularly long, before giving tuberose a center stage it rightfully claims, accompanied by a hint of powdery violet and soft nutty notes. The final bars are those of a vanillic warmth of benzoin. I find Poupèe to be too sweet for me and perhaps too pretty, but it is still a nice example of the modern fruity floral.

Notes: Orange blossom, pineapple, gardenia, green jasmine, hazelnut, tuberose, sandalwood, benzoin, amber, balms.

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

While tuberose can be restrained by a masterful blending, its sensual dark side reigned in, the true beauty of the flower is best evident in the dark fragrances. One such example is Serge Lutens Tubéreuse Criminelle, a lush, unusual creation. It includes notes of tuberose, orange blossom, hyacinth, jasmine, musk, vanilla, styrax, nutmeg, and clove.

If one tries it on expecting sweet creamy tuberose, the reaction will be that of pure shock since the top notes are not unlike a mix of menthol and gasoline. It is completely unexpected and almost disconcerting. And then cutting through the icy veil, tuberose grows brighter and hotter. It is a rather representative rendition of tuberose, complete with its unique unpredictability, sweet creamy layers, rubbery accord and warmth of human skin.

If one judges fragrances by the top notes, this is a perfect example of the need to rectify that practice. Weathering the initial opening is worthwhile, since the ugly duckling can turn into a beautiful swan. Personally, I find the petrol redolent opening accords beautiful, much like I enjoy atonal compositions by Schoenberg. They provide a cool backdrop, against which the tuberose unfolds its dark sensual beauty. If I were forced to have only one tuberose, Tubéreuse Criminelle would be that selection.

Serge Lutens Tubéreuse Criminelle is at Les Salons du Palais Royal in Paris, at sergelutens.com, Aedes, Barneys and Luckyscent.

Painting: Two lovers by Riza ‘Abbasi, Isfahan, 1630. An examplary piece of Safavid dynasty art, featuring a favorite subject of the time–human body and its sensual expression.

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

Tuberose is a sensual perfume note, redolent of dusk and warm skin. Its extreme and often shocking sensuality is likely to evoke diametrically opposed responses in people. While some recoil in horror at the thought of being smothered in its heady embrace, others lose themselves in its sensual layers. Robert Piguet Fracas, as its name indicates, is nothing short of stirring powerful emotions. Created by a perfumer genius Germaine Cellier in 1948, the fragrance is dominated by an arrestingly sinister tuberose.

After the initial overture by citrus and orange blossom—an olfactory calm before the storm, the darkness begins to gather forces. Tuberose undulates slowly and sensually, emerging under the veil of sweet delicate notes. It overshadows the radiance of orange blossom, which nevertheless remains in the background, glowing like traveling lights in the marshes. The sweet creamy note of tuberose is ornamented beautifully by jasmine, violet and iris, which lend a somber introspective quality to the composition. Lily of the valley is a surprising touch of spring-like freshness, teasing and evanescent as if carried by the wind–one moment it is distinct, the next it has vanished. The composition is ornamented by woods and oakmoss, which provide a dark counterpoint to the lush floral orchestration.

Germaine Cellier (1909-1976) was also responsible for Robert Piguet Bandit, Balmain Vent Vert, Balmain Jolie Madame, Monsieur Balmain by Pierre Balmain and Coeur-Joie by Nina Ricci. She was born in 1909 in Bordeaux and subsequently came to Paris to study chemistry. Her unique talent and utterly original vision place Cellier among the most avant-garde perfumers. Fracas was discontinued and then eventually reintroduced in 1996. The original is more aggressive and animalic, but the current version is very close. The notes are bergamot, orange blossom, greens, peach, tuberose, jasmine, violet, iris, lily of the valley, carnation, sandalwood, musk, oakmoss, and cedar.

L’Artisan Parfumeur La Chasse aux Papillons is a mist of bright floral notes, underpinned by the coconut sweetness of tuberose.  Created by perfumer Anne Flipo in 1999, it is still the company’s top seller. The citrus notes set the stage for the floral adagio dominated by orange blossom. It is an uplifting, cheerful fragrance, and although I have been wearing on and off for several years, it still thrills me whenever I smell it. I cannot sulk wearing La Chasse Aux Papillons, just like I cannot feel blue looking at Pierre-Auguste Renoir’s works. Both are full of light and serenity. La Chasse aux Papillons is far from a fragrance masterpiece and it does not last long enough on skin to score full five points, but it is such an effervescent, happy scent that I forgive it its poor tenacity.

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

Parfums de Nicolaï Number One was the first fragrance to inagurate the line created by Patricia de Nicolaï and her husband Jean-Louis Michau in 1989. Number One won the prestigious Mouillette d’Or du Prix International du Meilleur Parfumeur, or Golden Scentstrip Award of the Best International Perfume Creator upon its debut. One whiff of this voluptous white floral composition, and it becomes clear why it received such an honor. De Nicolaï’s creations have an aura of grand parfums, while their structures are modern and radiant. Number One is a particularly harmonious blend of floral notes with a sonorous timbre of soft woods. After the initial sparkle of honeysuckle, the jasmine unfolds with its banana jam sweetness. Contrasted with sultry tuberose and green narcissus, the jasmine gains both complexity and sensuality. Iris with its powdery-rooty character lends Number One a caressing character. Its mixture of elegance and nostalgia is haunting.

Painting: Paul Gauguin, Bouquet of Flowers, 1896. Oil on canvas. National Gallery, London, UK.