Perfume Reviews: 873 posts

Tom Ford’s Private Blend Collection is a mixed bag. It’s too large and hard to navigate. Some fragrances are excellent enough to justify the high prices; others barely stand out. I can list further complaints, but the truth is that I keep returning to the collection and smelling all of its launches, because when Tom Ford scores, he really does offer something impressive. Such is the case with Fleur de Chine.

When I first tried Fleur de Chine, it intrigued me, but I wasn’t quite sure what to make of it.  Shanghai Lily from the same Atelier d’Orient collection (it also includes Plum Japonais, Fleur de Chine and Rive d’Ambre) was an instant hit for its lush white flowers and generous dose of spice. Fleur de Chine wasn’t going to open up so easily, though. I loved its baroque, ornate character and its hints of retro glamour, but it took its time to grow on me.

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Lady Gaga the performer is all about provocation and surprise, but her first fragrance, Fame, was anything but dramatic. When it came to creating Eau de Gaga, the singer was apparently much more hands-on, and for better or worse, offered plenty of opinions. So, what do we get in the elegant black bottle?

Spray Eau de Gaga liberally on your skin and take a deep inhale. If you expected candies and fluffy musk, then you’ll be surprised. It’s not sweet. It’s not fruity. Eau de Gaga is a green tea cologne, with a big dose of violet. A 21st century CK One, if you will. It has a bright and inviting introduction laced with lots of peppery citrus and green violet leaves. It’s sophisticated and polished.

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Patricia revisits Calandre, a metallic green rose with a chypre heart.

Nineteen Sixty-Nine was a year in which I watched with my family as men walked on the moon, 400,000 young people crammed into the then little known town of Woodstock, NY for a three-day music festival, and the hugely unpopular war in Vietnam was escalating with accompanying casualties on both sides of the conflict. In the same year, Calandre, an avant-garde perfume from the fashion house of Paco Rabanne and created by nose Michel Hy, was launched.

Betty Friedan, considered by some to be the mother of the second wave of American feminism, had written The Feminine Mystique in 1963, and the sixties provided fertile ground for the growing Women’s Movement. Perfume styles were changing as well. The more formal floral style of the fifties and early sixties was giving way to more modern interpretations.

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Simple. Lemon with a touch of lavender and piney rosemary. Not a perfume to wear if you want a big trail. Not a perfume that will make you ponder the mysteries of life. Just a good, no-nonsense cologne that smells bracing and sharp and makes you feel clean and energized. And the name is straightforward too, just four numbers. 4711.

When I first smelled 4711 at the now defunct pharmacy on New York’s East Side, it smelled so familiar and traditional that I could picture my grandfather slapping some on his shaved cheeks or my grandmother adding it to her bath. This was, of course, pure fantasy. 4711 didn’t exist in my Ukrainian childhood, but because the scent of a classical cologne–and 4711 is anything if not classical–has such a recognizable form, it feels as if this German cologne has always been around.

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Jean-Paul Guerlain, the last perfumer for the house carrying the family name, once memorably said that one could be a Shalimar woman or a L’Heure Bleue woman, but not both. Of course, he made the statement in his usual provocative manner, but the idea was that the two perfumes had such different characters that you loved either one or the other. I had all the makings of a L’Heure Bleue woman, having fallen for its older sister Après l’Ondée, but then I met Habit Rouge. One encounter was all it took for me not only to be captivated by its velvety orange blossom doused in incense and bergamot, but also to understand the allure of Shalimar.

That Habit Rouge is marketed to men should make no difference to women. In 1965, when Habit Rouge was created by Guerlain, the collection had many splendid feminine perfumes like Jicky, Shalimar, L’Heure Bleue, and Mitsouko, but the offerings for men were considerably less outstanding. The exception was Vétiver, which Jean-Paul Guerlain created a few years earlier. His solution to draw gentlemen to the perfume counter was to take the basic outline of Shalimar and its famous accord of citrus and sweet oriental notes and give it a dandy appeal with leather and green orange blossom. The result was a less sweet, less curvy and less ripe version of Shalimar, but with all the elegance and panache of its great ancestor.

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