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

I blame the American lingerie brand for the joke that I occasionally hear when I introduce myself. “Victoria, so what is your secret?” is not even funny the first time around, but it quickly gets old. Then, I have an issue with Victoria’s Secret perfume names. Pink All My Heart and Pink with a Splash Sweet & Flirty convey some pink tinted land that frightens me. It is a universe where Breathless and Sexy Little Things squeal Oh What Fun is Pink and demand Pink, More Pink Please. By contrast, I prefer the fantasy world of film noir. But then my fair Libran side kicks in and reminds me that as a perfume blogger I should be more open-minded.

So, readers, I headed to the nearest Victoria’s Secret store and smelled perfumes that I would not have tried under normal circumstances—Sexy Little Things, Love to Dream Freesia and Whipped Vanilla, Very Sexy Hot, etc. I came home feeling light-headed and dizzy from the pink sexiness of it all. I sprayed on some Bulgari Black. Then I realized that my mission was successful. I did not discover perfumes that made me want to give up my stash of dark and brooding favorites, but I found out that Victoria’s Secret fruity-florals can give the big brands a run for their money.

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During the course of my love affair with fragrance, I have grown to enjoy many types of perfumes, but I have always had a soft spot for classics. I gravitate to classics in my other interests too—books, films, music, dance, so it is not surprising that the retro aesthetic appeals to me in scents. Even some of my favorite modern fragrances like Serge Lutens Bois de Violette, Chanel 31 Rue Cambon, Bulgari Black and Frédéric Malle Carnal Flower are rooted in the classical tradition which they’ve reinterpreted in novel ways.

The other day as I was sighing with pleasure over Guerlain Après l’Ondée, I wondered what makes me enjoy classics so much. I came up with this list. Reading it through, I realize that I keep juxtaposing classical and modern perfumery, sometimes to the disadvantage of the latter. The perfumery has changed tremendously over the past few decades, and some changes have not benefited the output, while others resulted in more choices and new fragrance styles. When it comes to the perfumes I wear day to day, my selections lean heavily towards the modern blends. That being said, I cannot imagine my perfume shelf without the classics, and here are my ten reasons why.

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

The new Armani Privé Cuir Noir, a fragrance from La Collection des Mille et une Nuits is starting to appear in stores (recently spotted at Harrods.) Cuir Noir was created by perfumer Nathalie Lorson and includes notes of Bulgarian rose, nutmeg, coriander, guaiac wood, leather, oud, Australian sandalwood, ambergris accord, benzoin.

My overall impression–and it can apply to the whole collection–nicely done, but not mind-blowing enough to warranty the price of 180 British pounds. Cuir Noir starts out as a big sweet amber and leather in the style of Tom Ford Amber Absolute or Annick Goutal Ambre Fétiche. There is a distinctive rose note that lingers from top to drydown. The medicinal, smoky oud is such a rich accent that it makes the leather play a second fiddle. Fans of oriental blends will enjoy Cuir Noir, but if you are looking for a smoky rich leather, it will not satisfy the craving.

Even if you’ve never smelled myrrh, a gum resin obtained from Commiphora myrrha trees native to Yemen and Somalia, its aroma contains so many familiar hints that it is not likely to seem exotic. Strange, maybe, but not completely foreign. Imagine the scent of raw mushrooms and black licorice, then add a bit of smoldering damp wood and bakery exhaust fumes. For some people it is also reminiscent of cool church stones, since myrrh is often used in liturgical incense blends.

Among the notes in the perfumer’s palette, some materials have a reputation of being challenging. Myrrh is one of such difficult, but exciting notes. It has so much character that unless a perfumer is a skilled technician, myrrh ends up smothering the fragrance. As perfumer Calice Becker observes, myrrh for a perfumer is like butter for a chef; it enriches the flavors.  A proper balance of myrrh with other ingredients results in a sensual, haunting character. The dose can range from a delicate accent to a heavy-handed stroke, but in all cases, myrrh indeed deepens the composition.

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Jo Malone first launched Red Roses cologne for the Valentine’s Day in 1996. This classical rose composition was created by perfumers Lucien Piguet and Patricia Bilodeau who framed a sweet rose accord with notes of lemon, violet leaves, spearmint, clove, sandalwood, musk, and honeycomb.

In time for this year’s Valentine’s Day holiday, Nordstrom is once again promoting The Red Roses Fragrance Chronicle™, a coffret of three accords used in the original Red Roses. “Sweet Lemon brings tantalising transparency; Scarlet Velvet Rose adds richness; and Honeycomb, a nectar-like warmth.” They can be layered or used individually.  The coffret contains Red Roses Cologne (1 oz.), Sweet Lemon Cologne Accord (0.3 oz.), Scarlet Velvet Rose Cologne Accord (0.3 oz.) and the Honeycomb Cologne Accord (0.3 oz.) and retails for $110. There is also a new Red Roses Bath Oil (8.5oz, $65). Via Nordstrom.