What is your most versatile perfume that suits most of your moods and occasions? 

Many of us have experienced moments when we stand in front of a closet full clothes and decide that we have nothing to wear. Well, unless you have a well-edited perfume wardrobe, you can suffer the same indecision. For work, I have to keep a big library of fragrances on hand, but for pleasure, I’ve narrowed down my choices to a more manageable level. Deciding among dozens of perfumes is even more difficult than deciding among several outfits. You can’t easily try all of them on!

Once I’ve streamlined, I realized that a few fragrances please me nomatter what: iris, orange blossom, soft musk or dry wood, such as Serge Lutens Iris Silver Mist, Annick Goutal Néroli, Estée Lauder White Linen and 10 Corso Como. The dry woods like Olfactive Studio Autoportrait, Serge Lutens Santal Majuscule, Van Cleef et Arpels Cologne Noire and Chanel Coromandel, depending on what I’ve set out on my dresser on any given week, hit the spot anytime. It doesn’t mean that I wear these more than some of my other favorites, but if I ever have a moment of indecision, they are my favorite “fall back” choices.

Photography by Bois de Jasmin, Chanel display at Place Vendôme Haute Parfumerie.

Ramón Monegal is both the name of a perfumer and a perfume house.  Monegal is a Spaniard with a strong background in perfumery.  His lineage is the House of Myrurgia, a preeminent Spanish house based in Barcelona—the family business—with which Monegal was associated until he decided to embark upon his own projects.  The perfume house has just entered the market in a big way with the release of 14 perfumes!

The most striking thing about the line overall is the stages of development each fragrance goes through. This came as a surprise to me, since many modern fragrances come at you in a rush of notes.  With the Monegal line, what you smell at first may be dramatically different from the various stages of the fragrance.

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The first thing that I found interesting about Brussels was not its Manneken Pis mascot (chalk it up to the uniquely Bruxellois sense of fun) and not even the common sight of beer drinking at 8am (chalk it up to the grey weather). It was the dense concentration of beauty and hair salons. Every street, whether elegant or run down, has several of them, ranging from omnipresent franchises like Olivier Dachkin to tiny hole in the wall places that look like someone’s living room. Judging by the perfectly coiffed and perfumed grandmothers, age has no bearing on the desire to be beautiful.

The women in my family take their beauty rituals seriously, but spas and luxury salon treatments rarely tempt them. Ask my mom or my grandmother about their tips for silky hair or luminous skin, and you will get a lecture, along with handwritten recipes. My great grandmother left behind several thick notebooks filled with beauty and health advice. Nothing can inspire me to take better care of myself than leafing through the yellowing pages that smell of vanilla and sawdust and wondering if as a young woman, my great grandmother really made hair masks of egg yolks and cognac and rubbed her hands with cucumber juice, as she advises in her delicate, loopy handwriting. The recipe I follow most often is a simple almond oil treatment. The note next to it says, “will make your skin as lustrous as mother of pearl,” and it was all the incentive I needed to go to the store and buy a bottle.

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At one time “drugstore” simply signified the place a fragrance was purchased rather than a pejorative comment on its worth. Consider this–in 1975, Revlon chairman Michel Bergerac pulled the Revlon brand from department stores and placed it into drugstores, at a marketing level known in the trade as the mass market.  Now available at Rexall Drug were Charlie, Revlon’s wildly successful modern chypre; Intimate, Ciara, and Norell. Bergerac made the move when the competing Estée Lauder brand outstripped Revlon in the department stores, where the mid-priced Revlon lost sales to the higher-priced, “premium” Lauder products.

The move enhanced, rather than hurt, the Revlon brand. Its newest fragrance, Jontue, became a bestseller, as did Enjoli a few years later.  Shopping at the drugstores, I would find an array of both classic and modern fragrances that ranged from Dana Tabu to New West for Her to the blockbuster franchise of Elizabeth Taylor. The three decades from the mid-1960s to the mid-1990s were halcyon days for drugstore scents, with many of the fragrances becoming near-instant classics, immediately recognizable in their ubiquity and proudly worn by thousands of women. Continue reading →

When I first smelled the Atelier Cologne fragrances Rose Anonyme and Vetiver Fatal, I immediately fell for the sheer, smoky roses and left the vetiver to languish on my desk. Perhaps that day I craved more flamboyance and more glamour which Rose Anonyme amply delivered. But a week or so later, I absentmindedly dabbed Vetiver Fatal on my wrist–there was no other perfume around–and curled up with War and Peace. Well before Natasha Rostova appeared on the scene, I abandoned the book and sat with my wrist glued to my nose. The scent on my skin was bright but moody, rustic but sophisticated. It smelled of sliced oranges, damp earth and fallen leaves–a little vignette of late summer.

At first, Vetiver Fatal makes me think of green tangerines, complete with their leathery leaves–verdant, zesty and tart enough to make my mouth water. The vetiver takes form stealthily, until you distinctly smell its characteristic scent of earth covered roots and milky hazelnuts. Perfumer Jerome Epinette makes a seemingly simple choice by pairing vetiver with citrus (vetiver oil naturally has a  grapefruit-like accent in its top notes), but the harmony and the addition of other elements makes Vetiver Fatal stand out.

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