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“I don’t like colognes. They scream hygiene and wholesome, boring cleanliness to me,” said a friend the other day, explaining that she wants a perfume that feels fresh but still sensual.  Classical citrus colognes are very much about zest and refreshment, but it’s not hard to find options that do much more than this. For instance, Parfums de Nicolaï Eau d’Été.

Eau d’Été has been around since 1997, but wearing it today I discover that it hasn’t lost any of its appeal. Yes, its blend of orange, lime and bergamot is as refreshing as a sip of iced lemonade, but the sprinkling of cinnamon and jasmine adds a sultry touch. There is nothing boring about it.

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The first time I smelled Guerlain’s L’Homme Idéal, I chuckled, because clearly, their ideal man is wearing a little black dress. Yes, L’Homme Idéal is a masculine twist on La Petite Robe Noire. But this kind of borrowing, right down to the toasted almond and praline details, is clever rather than boring. This is not just another bland and safe sports cologne, that’s for sure.

The quest for an ideal man is nothing new, in life or in perfume, and Guerlain’s approach to L’Homme Idéal is rather humorous. Instead of using notes that for reasons of accident and culture came to be seen as the only ones appropriate to men, like lavender, herbs, cedarwood or mild spices, perfumer Thierry Wasser loads the composition with gourmand accents.  It tries to tempt men with the same delicious notes that made La Petite Robe Noire such a success. Continue reading →

Patricia on Acqua di Parma Colonia and other citrus favorites, from Parfums de Nicolai and Annick Goutal to The Different Company and Guerlain. 

Colonia by Acqua di Parma is a fragrance with a past. Created in 1916 as the first fragrance of a small perfume factory in Parma, Italy, it was first used to scent the handkerchiefs that men carried with them at the time. Later it was the darling of worldwide celebrities seeking Italian chic in the early and mid twentieth century. Acqua di Parma then fell on hard times but was revived, along with Colonia, in the 1990s.

I must confess a partiality for aromatic citrus fragrances. Like one who works out real-life problems at night through recurring dreams (being caught unprepared for an examination is a personal favorite), I repeatedly buy citrus colognes very similar in nature, the most recent of which is Colonia, purchased on a hot sunny September afternoon in the South of France.

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Mandarins smell unlike any other citrus fruit. Cradled inside their zesty, bright aroma is a sweet orange blossom, and this nuance gives mandarin essence complexity and richness. (For fragrance nerds: this orange blossom note is given by methyl anthranilate, an aromatic compound also present in Concord grapes and wild strawberries.) Because of its sweetness and juicy effect, minus the strident sharpness, mandarin is used in many fragrances as a top note. It’s inviting and refreshing, and it works in many different contexts.

By contrast, mandarin based colognes are less common, with bergamot, orange, and lemon forming the trifecta of favorite cologne citrus. Mandarin can be used generously, but I have often craved more than most colognes offer. And here comes Mandarino di Amalfi by Tom Ford.

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Elisa on a surprising marriage of rose and coconut.

By Kilian, founded in 2007 by cognac heir Kilian Hennessey, is a luxury brand whose perfumes are organized into several concept collections: L’Oeuvre Noire, or Black Masterpiece, with 11 fragrances including gorgeous florals like Beyond Love and Sweet Redemption; Arabian Nights, with five variations on oud; Asian Tales, featuring lighter, more aquatic scents; and In the Garden of Good and Evil, a more feminine collection bottled in white flacons.

Both Victoria and I have found several scents to love in these collections. But for all its attractive qualities, By Kilian could perhaps be accused of playing it safe. Without exception, the line is thoughtfully composed (by perfumer Calice Becker) of high-quality materials. What they are not, for the most part, is weird. The goal of these fragrances is to provide a very beautiful, well-made rendition of a familiar idea – the rose oud, the lavender vanilla – not to shock or surprise. (See Etat Libre d’Orange for an example of a line that sometimes favors shock value over beauty.)

But Liaisons Dangereuses  (part of the L’Oeuvre Noire collection) breaks the pattern, and “dangerous liaison,” or dangerous affair, is a useful metaphor, as it combines two notes that in theory could be disastrous: rose and coconut. It’s surprising because it’s so unexpected, and even more surprising because it works.

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