rose: 52 posts

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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I’m drunk on roses. I’m flailing my arms around, making snow angels in the rose petals, and I’m laughing uncontrollably. The experience of sinking into a mass of soft pink petals is an exhilarating sensation, but it’s the scent that thrills me. The fragrance is clinging to my hair, my clothes, my skin. It clings to the rough cement walls in this garage filled with sacks of rose blossoms ready to be processed into essence, and it’s so rich and heady, it feels like a tangible presence. The aroma–linden honey, grated lemon zest, and warm raspberry–will follow me around for days, and even now, as I’m writing with a bowl of dried petals by my side, I can still smell the Provençal sun on them.

How many steps does it take for a flower to become perfume? I’m in Grasse, a town on the French Riviera, to get a glimpse into the intricate process of harvesting roses for the rose de mai essence. Painters express their vision with colors, but for perfumers and perfume lovers alike, the ideas acquire meaning with aromatics, so the art of making the essence is what we are to discover.

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Does the world need another rose perfume? I’ve posed myself that question on many occasions, as the variety of roses keeps increasing, but I invariably end up saying, yes. Jasmine, orange blossom and tuberose, the so-called white flowers, may seduce me, but rose makes me happy. Light and shimmery or dark and velvety, this blossom in the perfume bottle is my gateway to fantasy. Enter the new rose to tempt me, Ann Gérard Rose Cut.

A jeweler based in Paris, Ann Gérard has already three perfumes to her name, Cuir de Nacre, Perle de Mousse, and Ciel d’Opale. All three were created by Bertrand Duchaufour, the perfumer whose name graces many niche offerings. Rose Cut is also his composition, and in creating it, he and Gérard were inspired by a diamond-cutting technique which gives stones a special radiance.

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Paris jeweler Ann Gérard is introducing a new fragrance in her collection this spring.  Rose Cut was created by Bertrand Duchaufour, the same perfumer who worked on other fragrances in Gerard’s collection, Cuir de Nacre, Perle de Mousse, and Ciel d’Opale. The name derives from a diamond-cutting technique which gives stones a soft radiance.

“My inspiration for Rose Cut was a word: Allure. While beauty often fades over the years, allure lasts forever. Rose Cut celebrates women who fully embrace their personality and femininity. To reflect their many facets, I wanted an “oxymoron fragrance” that would combine opposites: femininity/strength, luminosity/depth.

In the composition, these opposites translate into luminous notes (pink pepper, aldehydes) associated with warm, balsamic, velvety notes (vanilla, peony, benzoin), and through the association of rose (wildly feminine) with patchouli (strength and character).”

Rose Cut includes notes of aldehydes, rum, pink pepper, roses, peony, patchouli, vanilla, oak wood absolute and benzoin absolute. 60 ml Eau de Parfum, $165. Via press release

Lots of roses ahead! Today, Elisa reviews two recent rose-centric flankers, Roses de Chloé and Balenciaga Rosabotanica. For more on flankers in general, check out “Flankers 101.”

Chloé Roses de Chloé 

By all rights, Roses de Chloé is what the first Chloé release should smell like. The original Karl Lagerfeld Chloé from the mid-70s was a voluptuous white floral, but Chloé relaunched it as a clean rose in 2008. The problem is, it’s too clean, with so much white musk overwhelming the formula that it smells far more like a laundry room than a rose garden.

Last year’s L’Eau de Chloé, a greener version with more patchouli, was an obvious improvement – and so is this one, with its clearer, more realistic floral accord of tea rose with gestures toward springtime-y linden and lily of the valley. There’s nothing particularly unusual about it (this is a rose soliflore folks, not a moon walk), but it smells fresh, young, and pretty without smelling faux-fruity (though I do pick up a crisp apple note) or cheap. In fact, it reminds me at times of pricier niche scents like Annick Goutal Rose Splendide, Parfum de Rosine’s Rose d’Été and Yosh Sottile. If you’re looking for a simple rose scent at Macy’s or Sephora, you could do far worse and these days, couldn’t do much better.

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