Review: by Kilian Noir Aphrodisiaque — 4.5 points

Chocolate is a challenging note. The sweet chocolate with which we are familiar is created with the help of vanillin, a principle odorant of vanilla that is used to flavour chocolate, but tuning that up alone would make for an intensely sweet milky bar. The rich overtones of fruits, flowers, spices, and woods are needed to bring out a grand cru chocolate, but the dense note of cocoa can also mask these, leaving the composition flat. For this reason, I am amazed by the sumptuous chocolate accord in Noir Aphrodisiaque (by Kilian, 2016) replete with complexity and glow.

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The subtle layers of notes add to the nuances of dark chocolate, making it rich and decadent. Bergamot, juicy lemon, and citron provide a bright prelude that quickly makes way for the confection. Chilly iris lends its cool, dusty texture of chocolate, whilst fruity jasmine bestows its voluptuous, narcotic scent.  A dusting of cinnamon serves as a spicy contrast that balances the languorous richness. It feels as though I had just had a bite into Choc-Abricot of Sprüngli: the dried apricots reveal their intense fruity and floral notes wrapped in bitter-sweet chocolate from Santo Domingo cacao.

These largely confer refinements to the chocolate, but the secret to a bitter chocolate impression lies in patchouli. Its warm, woody, balsamic facet is the perfect foil for the chilly, dusty iris, and its diffusiveness helps lift the composition. The effect is similarly observed in Dior Homme (2005), Coromandel (Chanel, 2007), and Borneo 1834 (Serge Lutens, 2005).

As it develops, it furthers explores the nuances and becomes most addictive. The bitter chocolate impression led by patchouli is softened by creamy and tantalising smoky notes. Here, sandalwood provides the milky chocolat chaud fantasy and tonka bean lends the sweetness and warmth of toasted almonds. The dark woody tang contrasted by a mellow baked good suggestion keeps the dry down engaging and airy.

Perfumer Calice Becker authored Noir Aphrodisiaque, and her signature luminosity and layered complexity are telltale.  It is chocolate from beginning to end, but it does not feel dense and flat. Instead, it peels away in layers to reveal nuances of citrus, floralcy, spice, wood, and vanillic sweetness. It is polished and each transition seamless. I can imagine wearing it at just about any occasion; it is just as alluring and elegant.

Sources: fragrantica.com

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Review: Memo Italian Leather — 4.5 points

I once lavished praise on Chanel N°19 (1970) and argued for why it deserves a place on the pedestal of classics. Perfumer Henri Robert employed aroma ingredients and sumptuous natural materials—galbanum, iris, May rose and jasmine, and vetiver—to explore and extrapolate the ideas of superb contemporaries, such as Cabochard (Grès, 1959) and Aramis (1965). He wove together an idiosyncratic accord of green galbanum, buttery orris, and mossy woods, and gave an inspiring successor to the old-school chypre perfumes. In a similar vein, perfumer Aliénor Massenet draws on this backbone and carves out a niche for Italian Leather (Memo, 2013) 

Despite the name, it is not so much an interpretation of leather from Italy as a road trip in Italy, which is the vision of Clara Molloy, the founder of Memo. The very first note that strikes is the piercing green of galbanum, but it is quickly softened by aromatic clary sage so that the impression the green accord gives is of sticky tomato sprigs. How fitting. After all, a road trip in Italy must surely involve tomatoes? 

The green lingers, gradually tempered by the buttery iris that emerges. There it is, the marvel of Chanel N°19 revisited. Whereas the galbanum-orris accord in Chanel N°19 is joined by dark woods, the green tomato leaf and soft orris in Italian Leather transition slowly into a complex oriental accord. If this were an Italian road trip, it would be in Tuscany, where the gentle zephyr carrying the scent of the evergreen cypresses tempers a warm summer afternoon

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After that oriental languor comes the sweet vanillin, the long-awaited climax of the act. But if it were just that, Italian Leather would not be nearly as compelling as it is. Joined by benzoin and warm labdanum, darkened by myrrh and balsams, and rounded by musks, the accord is faceted and rich, with a hint of molasses. I particularly cherish the part one hour into the development, in which opoponax lends much of the powdery, velvety comfort. And, all this while, the green sap of tomato sprig sticks, keeping the heft of the oriental accord grounded.  

It bears a relationship to Chanel N°19 and a more recent release, Vert d’Encens (Tom Ford, 2016). It borrows the galbanum-iris interplay from the former, whilst in the latter, the bitterness of galbanum is tamed with citrus and herbs and a peppery frankincense is thrown into the oriental accord. If you relish these and their original, multi-faceted accords with challenging green notes, you may well revel in sniffing Italian Leather. And, like these two other fragrances, it possesses great lasting power.  

I am drawn to it not only because of the strength of its character but also the depth of its accords. Massenet did not simply take the backbone of Chanel N°19 and tweak it to give us a pastiche. On the contrary, attention has been paid closely to the notes that make up and balance the accords.  The harsh character of green galbanum is softened by clary sage. The oriental accord is a complex plot of multiple shades and textures, from luminous to dusky balsams. Ingeniously, the duality of orris—its chilly crunch and buttery facet—is used to bridge the transition. In Italian Leather, Massenet achieves an equipoise of green and oriental notes rich in nuances.  

sources: fragrantica

Review: Jacques Fath Bel Ambre — 4.0 points

Bel Ambre (Jacques Fath, 2015) is literally ‘beautiful amber’. As the name might already suggest, the bulk of the composition rests on a classical blend of vanilla and labdanum, which is called ‘amber’ for its rich, golden brown hue resembling the precious tree resin. One could be forgiven, therefore, for thinking that the name betrays yet another classical sweet amber perfume, but this is not case. This is because Bel Ambre certainly has a few beautiful surprises up its sleeves.

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Of course, the main impression is traditional. The beloved warmth of this perfumery accord indeed already makes itself evident in the top notes. Juniper berry, which is often used to flavour liquor, imparts a boozy note to the bright citrus and savoury herbs. Cumin lends its complementary spicy note. The sum is like the warmth of a strong liquor coursing through your veins.

But the surprise that soon sets in comes as a chill. Buttery iris note creates an interesting cool contrast to the warm amber composition, and along with an animalic overtone of castoreum and smoky leather, they meld into a soft leathery note. It develops in the dry, smoky side, which will suit those who prefer their amber a little less opulent.

The pleasing amber accord reveals itself fully towards the dry down. The powdery sweetness of vanilla, tonka bean, and musk creates a cosy, ever-so comforting cushion. The balsamic note of labdanum imbues the composition with much warmth here. And in the background, a vetiver note offsets the sweetness nicely with a bit of a woody touch.

Bel Ambre is a gentle take on classical amber with a twist. For me, the overall warmth recalls that of Ambre Sultan (Serge Lutens, 2000), but it is quieter in terms of volume and slightly sweeter. Of course, there is also the soft leathery and animalic tinge. Its lasting power is great enough to be enjoyed throughout the day. If you are looking for a taste of classical amber but with a chic twist, this is it. And, I am sure that fans of classical amber will hardly find fault with such a beautiful amber, and that applies to me as well. Even when I constantly look for novelty in compositions, a familiar accord that is well-executed such as this one has already won half of the battle for my affection.

Source: spirale-rp.fr

Review: Bvlgari Eau Parfumée au Thé Bleu — 4.5 points

Who would have thought that a rejected proposal would turn out to be a successful milestone in perfumery? The idea of green tea and citrus had been declined by many brands until Bvlgari decided to pick it up and launched it as Eau Parfumée au Thé Vert (1992). It would become the trendsetter for tea accords that we know in perfumes like CK One (Calvin Klein, 1994), Thé pour Un Eté (L’Artisan Parfumeur, 1995), or Green Tea (Elizabeth Arden, 1999). That Bvlgari would continue with a portfolio of tea accords makes therefore perfect sense, and Eau Parfumée au Thé Bleu (2015) clearly follows in the footsteps of its great predecessor.

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In the same vein as Thé Vert, Thé Bleu renders an excellent illusion of tea in a citrus eau de cologne. This time, however, the tea is Oolong, which possesses a heady floral nuance and a hint of roasted aroma. In keeping with this tea character, citrusy notes and lavender provide a fresh, aromatic introduction with a floral overtone. There is also plenty of bright cardamom to last through to the dry down, imparting its green and roasted accent.

The rich floral connotation of the tea, then, unfolds seamlessly. It begins with mimosa. Its green facet is a logical transition from cardamom, whilst its floral and honey aspects are reciprocated by powdery violet and iris. In contrast, a tart cassis and a green, almost minty note hum along in the background.

If these floral notes of Thé Bleu give the impression of a heavy and opulent composition, I assure you that it is not. Its creator perfumer Daniela Andrier is renowned for her distinctive powdery floral accords, such as those found in Infusion d’Iris (Prada, 2007) and Infusion de Mimosa (2016), because they are firm yet delicate at the same time. Likewise, the same soft-hued, wispy tone applies to the dense violet and iris. Even in the dry down, its soft musk and a hint of tonka bean that wrap the florals will not distract from the pastel tone, and Thé Bleu remains just as ethereal as the swirling steam of a brewing cup.

It offers a twist in its tea accord, but also nicely preserves the beloved hallmark of its forebear. The surprise for me is the floral overtone from lavender, violet, and iris; it is interesting to find lavender in a soft and floral context in contrast to the fresh fougère. I also take to the familiar combination of its citrus, woody cardamom, and musk. Much like Thé Vert, the original citrus-tea fragrance, the unique take on a tea accord and transparency of an eau de cologne are what I love about Thé Bleu.

Source: bulgari.com

Review: Chanel 1932 — 3.5 points

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In 1932, Gabrielle Chanel debuted her fine jewellery with Bijoux de Diamants collection. The pieces contained motifs of her inspiration — constellations, comets, and her star sign, Leo — and were designed such that they seemingly embodied the sense of liberty inherent in her couture. They were free of clasps and fastenings, and could be worn in different styles, for example, like a necklace or a fringe tiara. In exhibiting the collection, moreover, she opted for life-like wax mannequins with ravishing eyes and real hair instead of the traditional trays. And, all this happened at a time when the economy was still recovering from the Great Depression. How could she be so audacious and tread so lightly with such hefty carats?

Eighty years later, 1932 was created by perfumer Jacques Polge and is intended to capture the sparkles of diamond constellations that made history for Chanel. It is a great concept, and indeed the aldehydic shimmer of 1932 (Chanel, 2012) is nothing if not sparkling. It is starchy, and has the metallic tang of a grapefruit rind. The opening of Chanel N°5 Eau Première (2008) comes to mind. Some ten minutes into development, the chills of iris emerge and soon dominate.

The aldehydic notes and iris together may conjure the sharp brilliance of cut gemstones, but beneath that austere chills is a transparent white floral-jasmine layer that softens it. Over time, the aloof character of 1932 warms up to a creamy, inviting musky note in the dry down. The sweetness of its floral is also nicely offset by a subtle vetiver note.

The magic of the Bijoux de Diamants collection is that it remains timeless. I doubt that I can say the same of 1932. Its combination of aldehydic, floral, and woody notes is a familiar tune, and one could find far more striking orchestrations of iris, such as those of verdant Chanel N°19 (1970) or chypre-esque 31 Rue Cambon (Chanel, 2007).

Nevertheless, the elegance and quality of 1932 can hardly be considered disappointing. I revel in its refinement, from the rich aldehydic iris wrapped in diaphanous layers of jasmine to the plush creamy dry down. In terms of character and performance, it may pale in comparison to its more distinctive brethren, but the quality of its materials is beyond reproach. In fact, its demure nature may yet delight those who like their perfumes soft-spoken. So, never mind the history, a perfume must above all smell good, and 1932 does exactly just that for me.

Source: chanel.fr

Review: Chanel N°5 Eau Première – 4.0 points

Few brands do justice to the re-working of their classic creations as does Chanel. This is why I enjoy re-tracing the incarnations of Chanel N°5 (1921) to see what each interpretation has to offer. Previously, I examined the verves and radiance of a young mademoiselle in Chanel N°5 L’Eau (2016). This time, I say we look back at the modern legacy of the grand dame in Chanel N°5 Eau Première (2007).

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Its cascade of notes makes for a luscious sensation, whilst its clarity lends itself to ease of wearing. One is first greeted with heady and sunny ylang ylang, and there is a dalliance with the aldehydic note, both of which are customary to Chanel N°5. This leads over to the iconic bouquet of rose and jasmine blended into a floral mélange, but with each note still lending their nuances to the mix.

As Eau Première develops, I notice the progression from a bright, crystalline layer to a warm, round and sensual one. Its powdery iris note, in particular, gives the luminous sheen and softness of silk. And in the dry down, the warmth of its vanillic, musky base is still accompanied by a lingering hint of floral bouquet. Eau Première lasts easily a whole day and continues to persist on fabric. Its radiant, indistinctly floral sillage is also recognisable.

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From top to base, the framework of Chanel N°5 is preserved: only the emphasis has been shifted. By trimming the top and base, the composition acquires greater clarity and the focus now falls to the beloved bouquet of Chanel N°5. Here, perfumer Jacques Polge seems to have struck the perfect middle ground between classical pomp and modern clarity. In other words, Eau Première is an excellent update to the original.

Sources: chanel.com

Review: Arquiste Aleksandr — 4.0 points

Inspired by the fatal duel of the poet Alexander Pushkin, the namesake Aleksandr (Arquiste, 2012) isll a story of Pushkin riding into the fir forest on the fateful day, wearing leather boots and a copious splash of an eau de cologne.

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But without reading the accompanying story, I tend to think of Aleksandr by perfumer Yann Vasnier as a leathery iris with a splash of eau de cologne-type freshness. This idea of iris for men is not entirely new, considering that it has already begun with the advent of Dior Homme (2005) that sets its iris in a cocoa and somewhat leathery theme. Nevertheless, there is always room for a good tweak.

The beginning of Aleksandr is a cool sparkle of neroli and citrus, and there is a lot of it because it veils the bulk of Aleksandr so well that I never would imagine that there is a dense theme at heart. Its bright freshness is a beautiful contrast to the dusky iris.

In a moment, the iris heart reveals itself. I first notice its green carrot vibes, followed by the sweetness of violets. Then, a leathery musky accent gives the impression of a soft suede – not exactly what Pushkin would have worn, but it has the modern appeal of soft leather that I like. The iris theme is also kept dusky by oakmoss and fir balsam, noticeably prominent in the dry down. It is gentle and understated, but it has a good lasting power.

An iris for men has a familiar ring of Dior Homme, but it is the accents that give Aleksandr a different character of its own. Its violet and suede impart a charming note. Its mossy and balsamic note has a rough-hewn appeal. And, the copious neroli makes Pushkin radiant, I imagine. Aleksandr is surely an interesting update to the masculine iris.

Source: arquiste.com