New Perfume Launches: 168 posts

When I first smelled the Atelier Cologne fragrances Rose Anonyme and Vetiver Fatal, I immediately fell for the sheer, smoky roses and left the vetiver to languish on my desk. Perhaps that day I craved more flamboyance and more glamour which Rose Anonyme amply delivered. But a week or so later, I absentmindedly dabbed Vetiver Fatal on my wrist–there was no other perfume around–and curled up with War and Peace. Well before Natasha Rostova appeared on the scene, I abandoned the book and sat with my wrist glued to my nose. The scent on my skin was bright but moody, rustic but sophisticated. It smelled of sliced oranges, damp earth and fallen leaves–a little vignette of late summer.

At first, Vetiver Fatal makes me think of green tangerines, complete with their leathery leaves–verdant, zesty and tart enough to make my mouth water. The vetiver takes form stealthily, until you distinctly smell its characteristic scent of earth covered roots and milky hazelnuts. Perfumer Jerome Epinette makes a seemingly simple choice by pairing vetiver with citrus (vetiver oil naturally has a  grapefruit-like accent in its top notes), but the harmony and the addition of other elements makes Vetiver Fatal stand out.

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After months of media buzz, Lady Gaga Fame has finally been launched.  You probably know by now how this celebrity perfume thing works.  Some celebrities—like Sarah Jessica Parker—get down and dirty in the design process, vetting the concept, going through the mods, arguing for dirtier musk, losing argument for dirtier musk, announcing that next time things are going to be different.  Then there are those under whose noses you presume a scent strip has passed, but who have not attended that endless cycle of developmental-phase meetings.

Lady Gaga appears to be of the assertive former type.  Early reports had it that the singer wanted her perfume to be based on blood and semen.  These notes, which might seem shockingly brave, are not new: Etat Libre d’Orange has already done both in Sécrétions Magnifiques.  But as happened with Parker’s dirtier musk, these notes didn’t make the final cut.  Instead, Fame, billed as “the first ever black eau de parfum,” contains “pulverized apricot, crushed heart of Tiger Orchidea, and tears of belladonna.”

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I love Amouage, a unique perfume house that has created some of the best fragrances in the niche category. Amouage Gold is not just a grand parfum, it’s one of the best perfume symphonies.  The Jubilation duet blends wistful loveliness with edgy glamour. Wearing both Lyric perfumes, I finally grasp how it is that ‘bold and dramatic’ can also be ‘elegant and suave.’  Homage Attar transforms the lavish Middle Eastern oud and rose idea into a wearable but nevertheless sumptuous variation. Interlude, on the other hand, leaves me cold.

The fragrance opens with a sharp green, leafy note that smells at once like paint thinner and lawn clippings. It’s a bold move to overdose a fragrance with this rough and raspy note, and for a while it keeps my interest. After all, the diesel fumes that crown the top of Serge Lutens Tubéreuse Criminelle are similarly hard on the nose, but it feels like a natural part of the tuberose in the composition. Here, the green notes layered over the woods and incense feel jarring.

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Oranger en Fleurs (“A celebration of the orange tree”) is a new release from Houbigant, a perfume house with a history dating back to 1775.  The company’s perfumes have for several decades been identified with drugstores, but the release of Oranger en Fleurs signals a return of Houbigant to the luxury market.

Oranger en Fleurs is a fully realized orange blossom fragrance that presents the honeyed floral note in a tableau of leaves and twigs, jasmine, rose, tuberose, ylang-ylang, nutmeg, cedar, and musk, along with something called “eau de brouts” (an absolute with a sharp, green orange blossom aroma).  The moment I sprayed it, the resemblance to Serge Lutens Fleurs d’Oranger was unmistakable.  Substitute Lutens’ cumin for nutmeg and give the composition some airiness and you have, for the most part, Oranger en Fleurs.

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Take Thierry Mugler Angel and dilute it with sheer, lemony jasmine till all you have left are the pastel colored outlines of the original gourmand patchouli. Shake it up, label Yves Saint Laurent, and you have Manifesto! I complained that Lancôme La Vie Est Belle is unexciting, but next to Manifesto it’s downright avant-garde.

My qualm with Manifesto is not that it’s a bad perfume, but that it doesn’t have much character. Smell it once, smell it ten times, I guarantee that you won’t remember it. Of course, not every single fragrance needs to make a statement–mild, unobtrusive blends do have their place, but Manifesto could be inside any bottle: the latest celebrity launch, Escada, Calvin Klein, Coty, Avon or even Bath and Body Works. It’s not entirely clear what makes this perfume Yves Saint Laurent. It doesn’t have the bravura of Opium nor the voluptuous beauty of Paris. It lacks the sensuality of Cinéma or the moodiness of Nu. It smells trendy, like a scent you’ve noticed  many times before at the mall or inside a crowded subway car–a cotton candy laced patchouli, with a soft blur of flowers.

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