Lists: 138 posts

Announcement: I have an opening in the workshop/seminar on Japanese Incense.
Location: Online, Zoom
Date: July 14th, Sunday 12:00pm-1:30pm EST/6:00pm-7:30pm CET
SOLD OUT

In his marvelous essay Why Read the Classics? Italo Calvino offers 14 definitions of what makes a classic piece of literature. Reflecting on his list, I thought how easily its ideas could also be applied to perfumery. The same notions of the inexhaustible sense of discovery, timelessness, and “imprints on our imagination” also define a classic scent, be it Guerlain Shalimar or Chanel No 5. It was Calvino’s 13th point, however, that struck a chord. “A classic is a work which relegates the noise of the present to a background hum, which at the same time the classics cannot exist without,” he says. They’re rooted in the present even as they transcend it.

Inspired by Calvino, I decided to draw up a personal list of perfume classics, creations that reflect their moment and yet have timeless relevance. The first I selected was Serge Lutens’ Féminité du Bois, a fragrance conceived by the artist and photographer for Japanese brand Shiseido in 1992. Lutens wanted a perfume based on the Atlas cedarwood, and he sought to convey the softness of the ingredient that beguiled him ever since he came to Morocco in the 1960s. Initially when Lutens talked to the perfumers about his idea, he encountered a lack of comprehension. Cedarwood was traditionally treated as a sharp, masculine note and few fragrance professionals understood how to reinterpret it in a different guise.

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I’m inspired by the scents of spring, but this idea has little to do with the calendar season. My ideal spring is a state of mind, which is why the perfumes that evoke an exhilarating, uplifting sensation are part of my wardrobe all year round. The most effervescent among them conjure up the color green.

Chanel Cristalle is a classic example of a green floral that has a dazzling character and radiant aura. It suggests lemon peel and shimmer, with a bittersweet twist of orange blossom and petitgrain (distilled Seville orange leaves). The Eau de Toilette offers the freshest experience, but it can be difficult to find. While the Eau de Parfum is so lavishly decorated with hyacinth and narcissus that it becomes a velvety, baroque bouquet, it has an uplifting green note that feels like champagne bubbles. Cristalle Eau Verte is another beautiful rendition, sharper, brighter, and yes, greener.

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One of the most intriguing aromas, that of roasted coffee beans, can be elusive. Anyone who has swooned over the perfume of freshly ground coffee– sweet, bitter, spicy, floral, toasted, with hints of blackcurrants, chocolate or hazelnuts—knows the frustration of capturing all of those beautiful nuances in an infusion. Coffee aficionados have challenges in brewing a perfect cup, but the task of perfumers to bottle the fragrance of Arabica is not easier.  A coffee note is capricious, and while the natural essence, coffee absolute, has an addictive aroma on paper, on skin it can resemble roasted meat and damp wood.

The solution is to approach coffee notes creatively. Instead of mimicking nature, a perfumer instead might fashion a blend that hints at coffee’s pleasing bitterness and heady richness. Such is Arquiste’s Nanban. The composition uses a plush backdrop of woods to frame the smoky, spicy notes of myrrh and incense, with an accent of coffee to lend the composition a dark, delicious twist. It teases with its smoky, nutty warmth, but it keeps its presence mellow behind layers of sandalwood and leather.

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Every spring I make a Persian rhubarb sherbet by cooking sliced stems and sugar in water. Once the flavor and pink color infuse into the syrup, I filter the liquid and add rose essence. Enjoyed from tall crystal glasses, the sherbet has a voluptuous taste that calls to mind the warm light streaming through the stained glass windows of the Nasir al-Mulk Mosque, a pink-tinted jewel of Shiraz. If you would like to replicate this experience, I invite you to take a look at my recipe.

Since perfumery has much in common with cuisine, rendering my sherbet into a fragrance accord with a similar ornate impression is not difficult. Rhubarb has a natural affinity with rose, violet and berries, because they are complementary notes (and raspberry, in a nesting doll twist, contains elements of both rose and violet, which makes it an especially felicitous partner.)  Jo Malone White Lilac and Rhubarb explores this combination by augmenting the floral layer of rhubarb with a cocktail of rose and lilac. It’s a bright and happy perfume, with a nod to retro glamour.

Rhubarb may seem like a modern note in the perfumer’s palette, but in fact, it has a classical pedigree. A subtle effect, of green crunch and mouthwatering tartness, is found in Miss Dior L’Originale and Carven Ma Griffe. Today perfumers have more ingredients with rhubarb inflections at their disposal, using tartness to temper the sugary notes currently in vogue. For a rhubarb dessert, I might select Yves Saint Laurent Baby Doll, a compote of rhubarb, grapefruit and musk, or Burberry Brit Red, a crème brûlée topped with candied jasmine petals and gingerbread.

Just as it gives an interesting twist to a gourmand, rhubarb also makes green and resinous notes shimmer. To achieve such an illusion, Olfactive Studio’s Flashback dilutes the fruit with vetiver and just enough apple for a hint of delicate sweetness. Aedes de Venustas Eau de Parfum is an even more striking composition–it tosses rhubarb slices with basil leaves and incense. The effect is neither liturgical nor gourmand, but as fresh and exhilarating as being caught in a spring rainstorm.

Another fragrance I like is Hermès’s Eau de Rhubarbe Écarlate, a creation by perfumer Christine Nagel. Nagel is well-known for her sultry compositions that wear like cashmere wraps, and with Eau de Rhubarbe Écarlate she demonstrates that it’s possible to make a cologne seductive. She pairs rhubarb with citrus and red berries, but then she adds a dollop of musk to make the drydown suave and tender. The result is similar to my sherbet—opulent, rich, and just as delicious.

What are your favorite rhubarb fragrances? Also, if you cook with rhubarb, I’d love to hear what you make. 

You have to be a sleuth to learn about perfumery. As I already mentioned several times on this blog, there is not one definitive textbook or publication that covers all of the fundamentals but if you’re prepared to search, you can find a wealth of sources. This applies particularly well to the study of perfumery raw materials. Soon enough you find yourself curious about more details than an average fragrance description provides. While articles like the kind I have published in Perfume Notes are helpful, it’s also useful to have a database reference on hand where you can look up the materials you know or scroll through the lists to discover something new. Where does the material come from? How is harvested? How is it processed?

The online raw material catalogs provided by fragrance and flavor suppliers are a great source. They’re typically compiled for potential customers, so they explain the origin of a material, its olfactory characteristics, processing and main components. They might also list regulatory stipulations and other useful details for those who work with these materials. These databases are constantly updated, so I recommend bookmarking them. For your convenience, I have compiled the databases I use the most for my work. I hope that you will find these useful.

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