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

Christian Dior New Look 1947 is one of my most disappointing and frustrating discoveries this year. I say it because I absolutely love the voluptuous idea of its tuberose and violet accord and the image of red lipstick glamor that it conveys. Yet on the skin, New Look 1947 feels far too soft spoken and sheer to fully deliver on its promise of bold elegance circa 1940s Paris.

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

Judith Leiber’s idea of night is rather close to my olfactory nightmare. For a moment, I thought that I had made a mistake and sampled one of the new Mariah Carey Lollipops; the synthetic fruit, sharp patchouli, and strident floral notes seemed incongruous with Judith Leiber. The glittering image of Swarowski encrusted purses led me to expect something likewise sparkling and whimsical, but I feel that with Judith Leiber Night I have received a vulgar rhinestone imitation.

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I am currently reading Jean-Claude Ellena’s fascinating Journal d’un Parfumeur and wishing that more perfumers would share their thoughts on the creative process as generously as Ellena does. After all, understanding the creative intent behind fragrances makes one appreciate them even more. While I am on this topic, I would like to share an excerpt I loved from another book by Ellena, Le Parfum. The excerpt comes from the section “On Certain Perfumes,” a title derived from the last piece written by French author Jean Giono.

“In order to judge perfumes that have outlasted time I use the nose of today, whereas for new perfumes I use the nose of yesterday. And I realise that memory works in such a way that perfumes which are not experienced with excitement and passion, which are not linked with a personal story or, in our business, with the training of the nose, are devoid of meaning and leave no trace in the memory… In order to discover a perfume, I have to enter into it, grasp it from the inside…

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

While the average US perfume buyer is put off by the idea of an animalic note in fragrance, for many fragrance aficionados (your author included), the mention of leather, civet or horse sweat is a selling point. Whenever I read about Miller Harris L’Air de Rien, a fragrance created in 2006 for the actress Jane Birkin, it would invariably be described in terms of dirty underwear and cats’ rear ends. Perhaps I draw a line somewhere after all, because it took me years to finally try L’Air de Rien. So now I can report that the musky amber of L’Air de Rien is reminiscent more of a moss festooned garden shed, rather than an outhouse. In fact, its slightly rough charm perfectly fits my image of Jane Birkin.

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

Rub a sprig of lavender with your fingertips and inhale. Initially, the impression is green, resinous, something between salty pine needles and spicy herbes de Provence. Yet, almost immediately, one can notice a warm, sweet note reminiscent of candied almonds and vanilla. The contrasted nature of lavender lends itself to many interesting combinations and effects. In by Kilian A Taste of Heaven, the lavender stars in a main role as seductive aromatic note that bridges the effervescence of the top notes with the velvety darkness of oakmoss and tonka bean.

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