The rose is wrapped in amber and warm balsamic notes, but the start is fruity and bright. Although Rose Absolute has a classical rose character, it is  a modern flower. The roses are rendered in vivid and rich hues. Smelling the perfume on skin, I keep craving rose jam; Rose Absolute evokes crystallized petals suspended in translucent honey. The sweetness, on the other hand, is tempered by woods and patchouli. As Rose Absolute develops, it becomes darker, earthier and warmer. It never loses its sophisticated aura, but the character is lighthearted and vivacious. Wearing it is a pleasure.

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“Tell me what you eat, and I will tell you what you are,” said the great French epicure and gastronome, Jean Anthelme Brillat-Savarin. If I were to divine this via my great grandmother’s recipe books, the answer would not be simple. Contrary to the popular stereotypes of Eastern European food as dense and heavy fare of cabbage and potatoes, generalization are impossible to make. Certainly, 70 years of Soviet rule have made an impact upon the cuisine in all of the former Soviet republics, but even before the revolution of 1917, the regional differences were quite pronounced and the cross-influences distinctly felt. The picture is even more complex if one considers the class differences in terms of food preferences. The yellowed pages of the notebooks which my great grandmother kept ever since she got married in the 1930s contain a fascinating array: poppy seed rolls, plum stewed meats and sour cherry vareniki (boiled stuffed dumplings) reflecting classical Ukrainian fare; walnut cream tortes alluding to influences from the former Austro-Hungarian provinces of Ukraine; and spicy meat and eggplant dishes betraying the love affair with the vibrant cuisine of Georgia, an affair that started since Georgia became a part of the Russian Empire in the 19th century. What better way to understand the culture than to eat through it!

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

Though it is Serge Lutens at his classical best, Bois Oriental from the sumptuous Les Eaux Boisées range* did not immediately appeal to me. The elegant Bois de Violette and the luscious Bois et Fruits were the more likely choices, leaving Bois Oriental to languish ignored. Yet, Bois Oriental deserves its moment in the sun as well, and it turned out to be just as complex, opulent and seductive as the rest of Les Eaux Boisées. …

Serge Lutens excels at weaving images from the Moroccan souks, Arabian Night tales and Moghul palaces. While Bois Oriental is certainly born in that tradition, it seems to possess a certain softness that I do not find to such an extent in the other Les Eaux Boisées. It flows like a tale that Scheherezade might have been told after knowing that the Sultan Schahriar had fallen in love with her, enchanted by her stories and kindness. Where the woods in Bois de Violette, Bois et Musc, and Bois et Fruits cradle a dominant note, be it a soft musk or caramelized fruit, Bois Oriental is a lavish tapestry of spices.

Wrapped into the creamy foil of vanilla, the hot spices of Bois Oriental feel warm rather than fiercely searing. Nevertheless, their opulence and harmony assure a dramatic statement. Moreover, adding to the excitement of Bois Oriental are the abstract gourmand touches, evoking the ruby hued candied quince, rose sherbet, and cardamom almond halwa. Yet, the smooth warmth of the base notes tones down the sweetness in a rather elegant manner, leaving one with only a faint impression of something delectable.

The lovers of Les Eaux Boisées and Shiseido Féminité du Bois will find Bois Oriental enchanting. Moreover, if you enjoyed Arabie for its Middle Eastern gourmand character, but found it overwhelming, you might like to explore Bois Oriental. The fragrance is very tenacious and long-lasting like all of Les Eaux Boisées, a range with a strikingly beautiful sillage. Bois Oriental includes notes of violet, peach, plum, rose, cardamom, cinnamon, clove, musk, Atlas cedarwood, and vanilla. It is available from Les Salons du Palais Royal.

Les Eaux Boisées range includes Bois Oriental, Bois de Violette, Bois et Musc, and Bois et Fruits, Un Bois Sépia, Chêne, and Santal de Mysore.

Scheherazade Telling the Tales by Kay Nielsen (1922).

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

Among artisanal lines, Etro stands out for its innovative twists on classical themes. In a sense, it is the Victorian aesthetic turned rock-n-roll. Thus, Messe de Minuit is a blend of exoticism and peculiar familiarity—old books, mildewy stones and ecclesiastic incense motifs. In Royal Pavillion, the ornate opulence of floral and green notes conjuring the atmosphere of a green house is wrapped into a warm animalic breath. The brightness of citrusy notes in Shaal Nur is dimmed by resinous herbal notes and the truffled facet of opopanax. Although Vetiver (1989) is not as daring and unusual as other Etro fragrances, it is nevertheless compelling. The vetiver is layered with herbs and woods, accentuating the fresh hazelnut aspects of the note. …

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It would not be an overstatement to call Messe de Minuit the most arresting of Etro’s line. While it may not be the most approachable composition due to the musty touch of patchouli, malted warmth of honey and the aggressive sharpness of galbanum, the fragrance compels due to the harmonious blend of these diverse elements. There are no dramatic shifts between the vibrant citrusy tartness of the top notes and the honeyed musk of the base. Created in 1994 by Robertet’s Jacques Flori, Messe de Minuit strikes one somber note after another, allowing one to fall under its spell. …

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