Friday, July 29, 2016

An encounter between two symbols of excellence: Baccarat Rouge 540 by Maison Francis Kurkdjian

Baccarat Rouge 540 by Maison Francis Kurkdjian

Few weeks ago when I walked in Harvey Nichols to see what's up among new flacons, my eyes suddenly detected an outstanding display among Maison Francis Kurkdjian booth. A scarlet label honored with the same name and font of prestigious Parisian house of crystals and jewels of Baccarat. I immediately got a couple of samples after first try. I can't clearly say it was a distinct work from other members of MFK collection in the first whiff but it gave me something new which I have been waiting from this house for a long.

Baccarat celebrates its 250th anniversary with an eponymous eau de parfum presented in only 250 flacons. I have not seen the original flacon but the pictures published on internet show an extremely glamorous hand made bottle with a crimson crystal needle to rub the perfume on skin. The fragrance which has been launched in 2014 has released again in Maison Francis Kurkdjian settings in greater number. In fact the actual perfume seems to be a semi-bespoke they dealt to introduce to public. A fragrance that should evoke blend of clear crystal and 24 carat gold powder mingled in 540 degree, a scarlet smell, a warm sensual art piece of glass.

I remember this amazing citrus opening with blood orange and silent citrus peel the day I gave it a go for the first. Same fluent citrus and sugary notes plus warm jasmine, the top layer has an impatient sparkling aura like bubbles of champagne trapped underneath cork! Champagne is a polite note. It brings ready-to-made luxury and divine class with kind of cute naughtiness. You feel a cogent luxury in the beginning, a transparent and gentle aura presenting a settled fame and prestige. This of course could not be materialized by a natural jasmine, cause this tiny flower bears wild indolic carnality. Therefore, hedione® is employed to fabricate jasmine and evoke sense of opulence. This note has also more vivid texture than natural jasmine. Mature sugary (and almost leathery) dimensions which I guess to be from saffron notes (as appeared bolder in Carolina Herrera CH Men) develops the opening into grown and wealthy level. It also is an introduction for ambery heart (the house declared woody amber or ambergris and Fragrantica declares amberwood) and I get more creamy, wealthy, feminine, rich, saline ambergris notes. This amberosial atmosphere has faint woodsy base, yet until the very deep dry down it is jasmine and citrus accord who define amber's identity with sheer floral and translucent citrus features.

Baccarat Rouge 540 is a super luxury yet modest woody floral fragrance which doesn't tend to over-expose. What is luxurious, appeals by default. This is the logic! And you see how eluding this logic is! The fragrance has an extremely comfortable, pleasing and trust-giving air which is more uplifted in cold weather, yet controlled use in warm (not so humid or hot like Dubai) brings the gem to the extent of seductive sillage. For floral and wood/amber theme it may leans more to feminine but it's not a mere tendency. It looks more feminine because of wealthy dose of ambergris and un-indolic jasmine.

Francis Kurkdjian himself has my utmost sense of wonder. He's a genius nexus who brings classic perfumery in modern boundaries and excels first hand luxurious compositions. Some of his creations nail the top (like the actual fragrance or Satin Oud), some others, like Aqua Universalis Forte, lack identity and integrity as to be produced halfway. I'm sure I'm not the only one who thinks this way about the justly talented nose. Many perfumistas believe many niche perfumeries (including this house) have reached to an end and have faced the same flaws that the so called designer ones did, yet they run the business with price hoax. Unfortunately, I join them in many examples and some of Kurkdjian's works potentially increase the same judgement. Not about Baccarat Rouge 540. It's a liquid gold made by most measured materials.

Carpe Odor!

Saturday, July 23, 2016

Opulent chocolate: XJ 17/17 Symphonium by Xerjoff

XJ 17/17 Symphonium by Xerjoff

Xerjoff luxury house of perfumes has recently launched three new exclusive fragrances for British Fortnum&Mason boutique. Aubres is a new member of Shooting Stars so as Emery, and Symphonium enlarges XJ 17/17 collection.

Symphonium is a warm oriental woody fragrance with delicious heart made over chocolate and woody spicy notes, but this heart owes deeply to exceptional citrus accord of the top layer. Opens with taste of orange sweetened with cacao, plus strange, classic, sporty yet grown warm zest named Spanish mandarin (possibly a variety of clementine). This note donates some dimensions to the overall effect and reminds me of tangerine in opening of Frédéric Malle Monsieur. Sort of dusty smell blended with pleasing soft bitterness that doesn't spoil sweetness, appears and merges into Belgian chocolate of middle phase.

Chocolate on skin, from Pinterest

Chocolate in Symphonium has a recognizable musty aroma; partially leather'ish and dark, partially sweet and bitter, it has a wealthy and capricious character made over warm citrus and sweet dark notes. This aspect begins with opulent powdery and fresh smell in the opening of fragrance, like a chandelier full of crystals, and develops with struggle between citrus, sweets, and spicy bitterness. But eventually what transmits to vanillic and musky base is chocolate. What is significant about this chocolate is its wood-phil manner. A mix of Laotian and Thai oud elaborately envelopes the chocolate. White musk and vanilla and slightly ambergris render the base and soften chocolate oud.

Success key of Symphonium lies behinds its mystique gourmand aura. Gourmands are usually taken less serious but their dimensions and varieties are enlarging thanks to oriental fashion in perfume trend. Serge Lutens' quaint dates: Arabie; Jovoy's nasty patchouli: Psychédélique; Humiecki&Graef's weird woody: Blask; are all examples of professional perfumes with gourmand character.
Talk around chocolate fragrances may take so long. This note covers a vast category from two penny chocolate bars to Italian luxe chocolates costing a fortune...

Symphonium is enigmatic dark, deliciously sweet and fungal sour, very joyous and active, amusing, adventurous and wealthy. I'm afraid to call it a modern fragrance though chocolate is almost a new item in perfumery. It has faint classic attributions.

The fragrance opens so massive and immediately covers a vast area and like many Xerjoff fragrances this projection equals to a powerful performance on skin, up to over 20 hours. As routine of XJ 17/17 series, Symphonium is labeled with Dalmatian jasper stone.

Carpe Odor!

Monday, July 18, 2016

Perfume is intense form of memories: Extraordinary citrus Part II, Dilettante by Hiram Green

Dilettante by Hiram Green

The day I was leaving Iran I clearly knew I miss something I left behind. An identity from in my tiny foggy green hometown by the Caspian sea. It was not only my farm which I have inherited from grandpa, but also millions of impatient orange blossoms remembering my childhood yells of delight every late-April. For me, and for my hometown, orange blossom is shield to European coat of arms. And it was my orange farm which I have left behind.

Hiram Green with his latest creation; Dilettante; delivers an unforgettable memory which startled me at the first whiff like the scene in Ratatouille (Pixar 2007) when the acerbic food critic Anton Ego teleports to childhood memories by the mouse's recipe. Dilettante cruises me back in years ago in mid-May with a big white linen curtain in hand to gather over-grown and near to decay orange blossoms and bring to mom to make orange blossom jam. Green respects all features of nature in this perfume and his rational point of view captures carnal and earthy and dirty olfactory texture of orange blossom; while this material is usually implemented to emerge divine and innocent air.

©Pierre de Nishapur ©Hiram Green ©Dilettante

Instead of listing notes in hierarchy his composition allows me to fluently talk about my impression on this precious fountain of beauty. I have tried over hundred neroli and orange blossom perfumes - pure or mixed within context of fragrance collaborating with several other ingredients - but honestly I haven't seen such simplistic and nature-loving around this blossom before. Scent of orange trees in full bloom is so sparkling, deeply indolic and sort of skanky animalic with slight stinky air which gives fungal delicious smell of blossom a deep dimension. The opening is rendered by elaborate touch of orange and petitgrain within neoli. Some of these features are coarsely demonstrated in Jean Paul Gaultier Fleur du Mâle's opening, but unlike rude neroli in JPG's the base of Dilettante is directed by soft and murmured woodsy phases to keep the blossom and petitgrain away from decline.

Plus essence of twigs and leaves of citrus, his orange blossom has floral boundaries. It's cute, a little bitter, highly sweet damp, floral, and narcotic. And just like the blossom in nature, the fragrance has incredibly enormous sillage. It immediately leaves a track of floral indolic sweet smell of overly-ripe orange blossom behind. As well as its power of projection, its tenacity on skin is so great.

What is extraordinary about Dilettante is the perfume highly tends to chypre compositions. With natural beauty and full HD quality, indolic dimensions, and floral aspects, it has great capability to be implemented in a perfect chypre floral blend. Although I'm not fond of over-grown orange blossom in perfume (cause it leans to feminine side with effervescent floral aura and stays away from soothing air of greener nerolis) but no other orange blossom perfume have ever triggered such response in me. Just to name an example of overall space, Jo Malone Orange Blossom Cologne demonstrates fresher and greener neroli plus floral dimensions yet not that pure neroli.

But why Dilettante, when I asked Hiram, he replied "My goal was to make a fragrance that smelt simplistic. The wearer should be able to find their own meaning in the name. It goes without saying of course that there was nothing derogatory meant about calling the fragrance Dilettante." Simplistic yet thick and flawless, monotone yet natural and comprehensive, and modest in composition yet fourhand in quality, the perfume is. He aimed to make a simple fragrance, I can't stop talking about its glory.

Special thanks to dear Hiram for such unique olfactory convey.

Carpe Odor!

Sunday, July 17, 2016

The perfume of intimacy: Sex and the Sea by Francesca Bianchi

Sex and the Sea by Francesca Bianchi

Ernest Chiriaka - saved from Noir Whale

Couldn't be happier when Francesca Bianchi, a self-made perfumer friend whom I'm proud of, sent me a link in which she prepared a short acknowledgment to thank people who inspired her to appear in the world of perfumery with her new brand perfume collection: Francesca Bianchi Perfumes. More than seeing my name among others, I was happy her effort justly fruited. I have been witnessing her progress since a year ago, when she first sent me a set of compositions named by numbers. All dense, warm, stabilized and mystique. A light flashed in my mind at the time and I believed she will have a shiny star soon... the next set was a set of samples named intriguingly (Let Me Be Your Toy, Angel's Dust, etc.) with dense quality, more profound, more settled, and several steps higher than the first generation. She now appeared in the trend with three perfume: Angel's Dust, Dark Side, and Sex and the Sea.

Among the three perfumes I'm infatuated by Sex and the Sea. This perfume has a distinct type of smell which is so familiar but quaint, like a name on tip of your tongue! The perfume is highly integrated like a single element but in fact it is compilation of essential notes that cast to emerge feeling of sensuality, intimacy, warmth, and damp air of seaside. Notes according to webpage are: mimosa, pineapple, coconut, immortelle, rose, iris, sandalwood, myrrhe, labdanum, benjoin, ambergris, civet, vanilla.

©Pierre de Nishapur, ©Francesca Bianchi
Taken by Francesca Bianchi

Sex and the Sea cracks with peculiar dusty smell merged within lactonic and woodsy dimensions. It's wild floral with immortelle and mimosa in the first level. Bitter, astringent with mimosa and immortelle, apothecal and intriguing, ready to embrace a strong touch of zest: coconut and pineapple. However, pineapple participates just very slight, while coconut vibrantly and constantly emphasizes of carnality with its oily and creamy aura. This nut/fruit has a great potential to illustrate intimacy air. It's fat, skin-mate, tanned, saline, zesty and sultry sweaty like all these aspects as in real.

By a touch of iris and muted dry rose the perfume gets in a new phase. The dusty or pseudo-dusty smell of intro now gradually subdues to exuberant yet calm powdery layer. But iris - or in general the powdery effect - is not so feminine or maquillage-smelling here. It's natural and leather-leaning; that's why Sex and the Sea smells so skin-like like muscled up sweaty body. Something extremely salty that directly reminds sea salt crystalized on tanned skin, collaborates like bass guitar in dead metal band. It brings coconut forth and gives realistic dimensions without self-exposing. Furthermore, this salty quality is the joint between the bizarre and enchanting opening, and woodsy ambrosial base.

Francesca Bianchi, taken by Leonardo Perugini

Dry down in Francesca Bianchi's works (not only these three fragrances but also earlier editions) spins around and original, mystical, dark and warm amber accord that indicates on carnality without mentioning a word (of course the title of this perfume is exception). It's daring and generous use of materials from animalic realm to dark natural resins and balsams. She badly loves resins and I strongly suggest you to try Angel's Dust to discover an unique amber profile.
The dry down of Sex and the Sea is dark, woodsy, highly resinous and soft animalic with Shalimar-loving smoky vanilla. I have experienced such amber accords only in professional artisanal houses like Sonoma Scent Studio, or in higher class niche creations like Boadicea the Victorious.
Her amber accord is resin-structured, labdanum-full, smoked and sweetened by myrrh. This woody basement is quite supernatural if you look for a genuine amber structure. It's strong and pungent yet not punch in your face. Fluent, oriental and sensual. Means, Sex and the Sea, more than to be around coconut and wild flowers of the top, is around the nut and amber base to evoke intimacy air.
Many perfume houses emphasize on sexuality with title, ads, descriptions; sex sells and it sells good. But if you're interested to see how a perfume does seriously make a move take my suggestion and try Sex and the Sea thoroughly. It's a devil in bottle with great long lasting skin-embracing tenacity and mellow projection.

Carpe Odor!

Tuesday, July 12, 2016

Extraordinary citrus Part I: In the mood for embracing the sea, Matin d'Azur by Bissoumine

Matin d'Azur by Bissoumine

Totally surprisingly, this summer I have tried several extraordinary citrus-optimizing fragrances that entirely changed my point of view through citrus compositions. Citrus group (whether neroli-based, fruit-based or classic petitgrain blends) are usually taken not seriously considered because of their cologne type of quality and for their modest smells. They are innocent and compared to amber family or leather compositions, they are too loose to be considered. But here's the first member of those extraordinary citruses, Bissoumine's latest release: Matin d'Azur.

"The inspiration was the Mediterranean light, once opening the windows in the morning, here in the French Riviera, and seeing the blue sky and breathing this morning fresh air", says the nose. Kitty Shpirer captures the sun and translates it with citruses to deliver a message from a distinct point of earth with its unbearably beautiful spectra: Mediterranea. More than a sea. A mother to great civilizations, a vast bounteous water who shelters several cultures and languages, but one unified spirituality.

This painting gives me the ultimate joy Matin d'Azure delivers.
Raoul Dufy, Nice, Baie des Anges, 1927

Matin d'Azur surges with effervescent smell of an unique citrus accord composed of fresh lemon leaves, juicy sour bergamot and bitter citron. The trio is incredibly natural, mouthwatering and delectable. This opening is the main identity of the fragrance: a weird citrus, quite natural, bitter, sour, juicy and sweet, with slight touch of something camphorous in background... It's way perplexing and highly intriguing. Honestly, I haven't seen such citrus fruit accord before. It has a brimming energy of life and passion of summer in this level. An exuberant touch of citrus and woody tones, a real Carpe Diem!

From this dusty and effervescent opening the fragrance gets in a sudden shift and settles with citron bitterness. Citron has a distinct characteristics from other citruses. Its divine and luring scent confronts its ugly shape and bitter, hollow, and unfavorable fuzzy taste. While I can't get rid of this fruit in the opening, my wife is badly in love with its grown smell towards the heart of composition where lactonic shades of osmanthus and peach come up (this means I need to refresh my shopping bag and prepare for a surprise for her). She says "this perfume is like a labyrinth you're afraid to get in. You don't fear of getting lost, you love to get lost in it. It invites to to a mesmerizing convey". This apparently comes from clash of citron and leathery lactonic sequence of heart of composition. She loves lactonic smells unconsciously. Specially when they merge with fizzy or smoky auras. Matin d'Azur might not be smoke but with shades of guaiac wood and cedar in basement it persuades with a slight hint of pseudo-smoky atmosphere.

Matin d'Azur is in fact a simple composition with enormous impact. A touch of elaborately picked citruses that bring vibe of joy and deep inner feelings. It is conceived with profound wish to deliver optimistic and positive energy. It has great tenacity on skin and murmured sillage which makes it a personal perfume with small radiance of projection. I hesitate to name any similar perfume. I honestly don't know any near example. This is a mandatory perfume if you're curious about natural and distinct summery compositions. Matin d'Azur exhibits citruses' natural and wild facets.

Carpe Odor!

Thursday, June 23, 2016

Safeguarding her legacy: Bohea Bohème by Mona di Orio

Bohea Bohème by Mona di Orio

My major is restoration and conservation in architecture which has always granted me specific vision to judge and safeguard physical or intangible assets. Few years ago a debate about a development in the incomplete tenth symphony of Ludwig Van and firm objections of orthodox musicophiles against the project was topic of our session. The argue happened around extending the legacy of an artist after his death and there were two main ideas: it is guilt because no one can deliver the exact feeling of the opus but the artists himself, or it is development in music. I opened the review with this intro to give the clue about possible vistas around Bohea Bohème.

The house of Mona di Orio, a couple of months ago, has announced for a new perfume named Bohea Bohème which is the fruit of collaboration between Jeroen Oude Sogtoen (the house's director) and Fredrick Dalman whose portfolio surprisingly is that empty that Behea Bohème is allegedly his official debut.

The idea of creation comes from traditional pine-smoked Wuyi tea of northern Fújiàn province in southeast China, which is trademarked as Bohea and is globally know with the trade name. Wuyi teas cover a vast variety from black tea to traditionally heavily fired oolong tea and for that they have sharp smoke flavored taste and smell. The leaves are cured generally by conifer smoke to permanently protect the products from biologic attack like moths during long way transportation.

Men carrying tea, Ernest Wilson, 1908

From the first whiffs Bohea Bohème promises for smoky heart. The top layer spins around chamomile and coniferous atmosphere intimated with cardamom/bergamot to freshen the smoky and frown semi-apothecal chamomile/fir. To give the comfortable air of tea, Dalman adds tea, laurel and juniper to the top. By the rise of honey, nuances of animality imparts but it's not all. You may now have realized how crowded the beginning of Bohea Bohème is. Let me add some extra: you also get extreme woody dimensions of poplar and oak that amplify smoky patch. Personally I like the poplar in the first phase. It gives a birch tarry boost to tea that I die for as I do for Masque Russian Tea.

The fragrance has a very bright and showy opening, promising and extravagant arrangement of notes but every element of composition is finally doomed to decline. Surprisingly the core of the performance meets a hollow fuliginous aura with spicy and murky scent. An almost unidentified accord of smoke; acrid, bitter, dark and spicy with cooperation of cardamon. The fragrance loses power in dimensions and the extravagant opening reaches to monotone smoky theme that pertains somewhere between experimental apothecal smoke of indie perfumes, and exceptional woody spicy gems of designer groups that appear once a decade and never relaunch again. Anyway, it looks so masculine with bold opening, mediocre longevity and almost unfavorable performance.

Now, apart from the discussion of olfactory, an intangible part starts a hot argument just like all other discussions on similar cases: legacy of an artist. Jerome Oude Sogtoen has probably shaken hand with Fredrick Dalman to guarantee the young infamous nose has less tendency to leave his own track in the perfume so this way the heir of the maison can preserve Mona di Orio's signature. This is what exactly happened in Robert Piguet's house of perfumes with Julien Rasquinet.
Mona di Orio's creations are famous for a common persona that is a chiaroscuro tone of odor; a battle of dark and light shades that runs all her souls. This clair-obscur render is mostly attainable in Vanille and Vetiver which is clearly absent in Bohea Bohème. The actual perfume not only lacks the strong heart as her works used to own, but also lacks her heritage; lacks identity. It's a smoky fragrance that could be released by anyone else but Mona di Orio.

Carpe Odor!

Monday, June 13, 2016

Perfume is part of us even before we exist: Seminalis by Orto Parisi

Seminalis by Orto Parisi

"Scent has always provided a direct path to the soul", says Mandy Aftel. But what happened that scent and sense of smell has become foreigner part of human being? As mankind began to walk on feet, whoever he improved his sight, he drifted his nose apart from ground where he used to follow scent trails. He also lost his olfactory capabilities. Sense of smell, nevertheless, in species who participated less in evolution is still a pivotal characteristic in hunting, alarming for danger, regeneration, and miles away migrations.

Alessandro Gualtieri, in his youngest perfume line Orto Parisi, obsesses with the lost part of humanity and manifests "the parts of the body that carry more smell are those where more soul is collected". Actually not entirely lost, we still have our personal body odor.

Orto Parisi his time wants to create a scent that goes deeper than exterior body odors - the smell of odor inside our bodies. A fragrance (or imaginative odor) which seems to stimulate sexual attraction of female to male. Based on researches that claim female eggs release aromatic aldehyde scent near to smell of muguet flowers and send olfactive message to male sperm. Sperms' olfactory receptors follow the track to penetrate egg. This way Seminalis declares that perfume is part of us even before we exist.

To talk about the content of smell, Seminalis appeares much different to the rest of the collections and stays less The Nose'ish than other creations of the three perfume lines by the artists. First of all, since no one has yet written a blog review on this perfume, let me indicate this is not another Sécrétions Magnifiques type of oddity. Seminalis, in fact, is kind of controversial and familiar odor accented in peculiar aura. A warm woody heart with conservatively scrumptious citrus top.

Seminalis unfurls with a creatively implemented accord of citrus which entwines with warm woody floral heart from the beginning. A compilation of mandarin, neroli, lemon and soft bergamot, are all in high contrast with milky floral sandalwood and lily (not pretty sure) in the heart. The introduction; though fresh and juicy; leaves the scene for heavily oozing accord of milkiness and spiky floral theme. Hints of narcotic jasmine and musk increase camouflaged indolic and animalic nuances to deliver carnality. Meanwhile, I wonder. If bourgeonal should smell lily of the valley to picture olfactory attraction between egg and semen cells, why Seminalis proceeds in sandalwood and milky floral accords? Of course, while lily of the valley might be carnal to sperms, the flower certainly doesn't evoke any in mature human! That's why scent doesn't merely overlap the idea and Gualtieri abstractly illustrates the atmosphere by warm, damp, and fat sweet animality to emerge that renown carnality which sandalwood is responsible for. Yet, rationally or upon notion, few raw feedback in forums indicate to its carnal impact. Certainly, it differs from individual to individual.

The warm woody floral theme exhibits signs of Gualtieri's famous signature that appeared strongly in Boccanera and Black Afgano under name of oud accord, nevertheless, it is insufficiently bold to be another hit in the collection. That mysterious smell which Gualtieri put a great deal of effort to personify, reminds me painter who himself is more a debatable topic than his art. After China White from Nasomatto line, Orto Parisi Seminalis; with very slight sign of the common spawn; is the least Gualtieri'sh fragrance from the nose. Wearable, honestly nice, friendly yet weird, with strong longevity on skin and mediocre sillage.

Carpe Odor!

Thursday, June 2, 2016

Bloody flowers of Persia: Fêtes Persanes by Parfums MDCI

Fêtes Persanes by Parfums MDCI

To illustrate an olfactory journey through orient from lands of great empires and ancient civilizations where sun never set in their territories, the French house of Parfums MDCI has recently launched the third part of a trio dedicated to scented travel on Silk Road. Cécile Zarokian, who formerly delivered Cio Cio San and Les Indes Galantes for the collection, is responsible for Fêtes Persanes which takes place somewhere in ancient Persia.
For Fêtes Persanes, I worked on the sensation, the feeling and texture of silk, to evoke a silky fabric, satin, something soft and comforting, like a velvety impression. I was thinking of brocades and caftans, picturing caravansary and spices along the road. I wanted a fresh opening with bergamot, pepper and clove, followed by warmer spices like cinnamon and cardamom, to surround a silky and velvety rose, with cedar wood, vanilla and musk for a creamy and soft dry down.
Mentions Cécile Zarokian. But the title comes from Claude Marchal's impressions from French composer; Jean-Philippe Rameau's famous 17th century eponymous opera ballet: Fêtes Persanes. The house also presents the perfume in flat square flacon ornamented by Ottoman tile motifs in 100ml quantity as well as conventional 75ml column bottles.

Photo taken from Lianne Tio Parfums

Fêtes Persanes has very distinct spicy dimension. It unfurls with exuberant yet quaint touch of juicy bergamot and pepper atop cinnamon and cardamom. In the result it establishes a signature from the beginning with scrumptious saporific theme that promises of a lush chypre-inclining rose, but the flower imbues with instant bergamot and spice duet and turns to juicy rosewater. What makes me seriously wonder is the intimacy between these few elements with their great impact, provide kind of bloody metallic floral atmosphere which I have barely seen even in high-end creations. It also stays away from the main criteria of Parfums MDCI. While most of their formulas are classical and European, the latest member pumps in unique oriental vein.

I'm not sure if Cécile Zarokian have ever read Persian literature but there's an intriguing interrelation between the scentscape and role of rose and blood in Persian literature. Fêtes Persanes tantalizes with uprising camouflaged smoky vibe within rosy spicy cadence.
Didn't I explain about cloves yet? Yes it's their time to impart with piercing pseudo-animality which is enlarged by shades of guaiac wood and patchouli, and later with sheer musky hue in the base. Cloves; which has been participating from intro; establish paradox between fluffy woody base and angular spicy top. It also bring faint faunic nuances to patchouli and cedar; both mandatory to deliver the concept of a scent related to Persia.

Fêtes Persanes is an intriguing oriental spicy fragrance with pungent burst of un-chypre citrus and peppers married to chypre rose. It leans towards intense cinnamon and cardamom and hover with this duet until the perfume dries down. Guaiac wood, cedar, earthy patchouli, and stingy cloves are other motifs of this opulent Persian carpet. It has seriously strong tenacity and and extended trail of smell. I have recently discovered Xerjoff Dhajala has the same bloody smell but it is seriously incomparable. Fêtes Persanes is literally an unique olfactive experience through oriental realm.

Carpe Odor!

Sunday, May 1, 2016

Sorrow and suffering: Serge Lutens De Profundis

De Profundis by Serge Lutens

Many thanks to Ali Mellati for this nice shut.

I was going to write this article much earlier when the house sent me a 5ml dabbing jar last autumn, but for certain reasons I have postponed it to spring to match my points and perceptions. Serge Lutens who frequently looks to east for source of inspiration, in this 2011 exclusive jar perfume (it is still available in small quantity in 50ml spray bottles here and there on internet or some boutiques) deliberately closes eyes to Morocco and merely refers back to his European origin. De Profundis is perhaps Lutens' least oriental perfume, so as Sheldrake's least oriental work for the house.
"As long as I'm alive, so is my Death. Every hero on a quest for glory is racing towards the proof of his mortality.The scent of chrysanthemums and incense"
This is the current description on house's webpage. You may find longer descriptions in earlier reviews as in Perfume Shrine. My first impression is almost the same to all earlier reviewers' who stated De Profundis is not necessarily about death or grief. I hereby am indicating on impact of cultural background on perceptions and emotions cause I totally get something different; largely in contrast with Lutens' statement.

The inspiration source for the fragrance comes from æsthete Oscar Wilde to his friend and lover, Bosie (Lord Alfred Douglas) during his imprisonment in Reading Gaol.

De Profundis unleashes on skin with cold and fragile floral theme set with soprano accent that emerges petrichor smell and telluric vibes. I use telluric instead of dusty to emphasize on wet soil and fertility of the ambiance. While this mystical flirtatious and acerbic floral aura means sad mood to Lutens, it highly evokes the sense of spring and new year celebration in Persian culture that happens at 21th march, and as a result it delivers joy and vivality. By this, I don't hundred percent deny his vista through the scentscape of chrysanthemum cause more or less, I feel something's weird in this fragrance. Something unusual and out of order keeps me worrying and triggers an unnamed unease feeling. The impact of this minute-noised floral patch is that large that I would wear it in Bach's majestic funeral, if I would follow the trend. That gigantic impact comes from camouflaged animality behind green earthy note that deals in a great oddity which is Lutens' persona. It's soft, creamy and hesitatingly sweet, but opaque that hard to acquire.
Since I'm insist on distinct perceptions emerged from cultural diversities, obviously I go on regardless to the inspiration concept and Oscar Wilde's letter, however, a true judge should look through the perfume from that angle.

I fell myself in a crowded simplixity with De Profundis in a strange world like Crown of Love by Charles Hossein Zenderoudi
1972, oil on canvas

As the scent settles in core it unveils remote tinges of smoky woodsiness like a touch of incense and oriental spicy dimensions but very very soft like just wanting to make a layer to keep violet and chrysanthemum hefty and piercing. This tinge swifts ferny dewy beginning into more woody peppery floral aura with sour savory green dryness that smells amazingly natural but in fact is a great abstract painting. Underneath this layer a touch of indolic incognito flowers delivers kind of kinkiness and skankiness. What makes De Profundis rather a special case of curiosity is its unusual and apothecal ultramarine blue color of liquid which is quite unfit for a random perfume. I admire Serge Lutens' obsession with his creations about bottle, color, package, and last but not least aromas.

In a general scoop, De Profundis is a simple perfume with complex measurement like brevity of a whole love affair in a quadrant. But the result is threatened by rumors of stability and sillage. Sillage is not an excuse. I have first tried this perfume via spray samples and I join whoever thinks jar flacons are better specifically for this perfume. This is not a perfume for massive projection. But about longevity, though I personally have to issue with longevity, it plays quite enough on my skin for about 8 hours but so murmured and close to body. Rating De Profundis for public? I avoid, I found it very personal perfume and different from skin to skin. I found it very feminine, and my wife refused my theory and called it over-masculine. You definitely should try yours skin under the fragrance.

Carpe Odor!

Saturday, April 16, 2016

Giant white cloud: White Spirit by Juliette has a Gun

White Spirit by Juliette has a Gun

The French perfume house of Juliette has a Gun which has separately released a couple of tuberose-optimizing exclusives (Moon Dance and Oil Fiction) adds another member around the harlot flower of perfumery and amber accord, named White Spirit. A floralamber extremely minimalistic fragrance with chalk white powder floating in fragrance liquid that reminds shake before use medicines! It is quite intriguing, to be honest, as much as the scent itself. Unfortunately the house has not declared about the concept of white powder and its material.

To continue about perfume I need to briefly flashback to another hit of the brand that with its innovative title and quite conventional smell rose to the top of the collection: Not a Perfume. A perfume or unperfume with only one single note revealed and it is a prepared variation of extremely fresh and soft animalic amber accord.

Not a Perfume immediately evokes an extremely minimal, simplified, and type of "less is more" atmosphere that for me is olfactory equivalence of contemporary cubic concrete architecture. So white, light grey, totally inoffensive, muted, divine and weightless.
White Spirit conjures up the same mood in a floral way with more powdery effect. It is fresh grassy green and brittle floral with tamed and un-erotic tuberose that reminds me lactose-free Tetrapak milk! It's indole-free tuberose oil or something. But it doesn't mean bad! I exemplify this way to deliver my impression. The general ambiance is around tuberose but there's something largely different in the perfume that isolates it from any other kin of the flower, and it's uncontrolled and blatant use of highly earthy notes manipulated by cedar and musky nuances and the amber. This amber is definitely the same guy played in Not a Perfume. Its vibrant presence evokes a high contrast photo of a random building taken by a keen artistic camera.

I searched a lot and find the very thing I wanted taken by dear "alfarom" from "Nero Profumo" perfume blog

The contrast between shades and lights in the heart of performance turns to white and frosted vista once again. Normally such monotonic performance instantly turn me down to drop some stars but something keeps me thinking about White Spirit and that's insisting unpigmented and weightless blanch like a white balloon. It's a colossal white cloud embracing everywhere.

Parallel to this creation I find some similarities with Van Cleef & Arpels Bois d'Iris. My personal statement about Bois d'Iris on Fragrantica is "luxurious feminine porcelain skin, life-long cared by best made ever creams and washed by finest soaps, would smell such divine like Bois de Iris". Though this statement may not necessarily fit White Spirit, this perfume strongly snaps purity that comes not only by white flowers of the head - tuberose and jasmine - but also charged by arrangement of ambrocenide (a diffusive agarwoody amber), ambroxan (a replacement for ambergris) and ambrettolide (powerful musky fruity and fresh odor) and soft hint of sandalwood in base.
White Spirit has jaw-dropping longevity and projection, very linear, very constant, and strong in personality.

Carpe Odor!