Review: Tom Ford Vert d’Encens — 5.0 points

I admit that I am rather jaded of exclusive lines. Nowadays, every brand seems to have this so-called ‘special offerings’. They come in similarly packaged flacons and tend to arrive in sets of a few fragrances, much like variations on a theme. There are simply too many of them to catch up, and too often, they are outrageously priced. A prime example would be the Private Blend of Tom Ford, whose entire range I tend to simply skip  altogether.

But with Vert d’Encens (Tom Ford, 2016), it was such a momentous discovery. Truth be told, I had imagined it to be yet another banal interpretation of the Corsican coast, as the accompanying description would have me believe. Little did I know when picking up Vert d’Encens for a quick sniff that I would end up discovering a hidden gem in the sea of launches.

tom ford

What makes Vert d’Encens memorable is its fierce duel of green and incense. However, to describe it as such would be simplistic. The notes that revolve around this juxtaposition of cool green and warm incense are orchestrated in layers, creating a complex and almost baroque sensation. Take a look at the first stage: it is never plain green, but it morphs instead from bright chartreuse to deep green at heart. Citrusy shades of lemon and bergamot segue into cool Provençal herbs of lavender and sage before arriving at the intense bitterness of galbanum. And, only then does the glorious battle commence.

Swirls of resinous incense begin to exude and pulsate throughout the development. So, the next stage, as you might have guessed, is a warm oriental bed of sweet vanilla, benzoin, and heliotrope. It is a familiar chord, but when accented with cardamom and pine needles that echo the green stage, the result is surprisingly original. The dry down is also smouldering, with sober incense slicing through cosy vanilla and heliotrope. In the end, the oriental sweetness is offset nicely by the dry woody notes of vetiver.

The idea of green versus oriental in Vert d’Encens alone is sufficient to grab attention, but it is in the elaborate arrangement of its components that it truly spurs my passion. It makes me want to discover the filigree and ornate columns of its green and incense cores. That being said, it will appeal to those who like strong contrasts and ornate arrangements. If you, for instance, like the galbanum and animalic-leathery oriental of Must de Cartier (1981), chances are you might adore Vert d’Encens. It defers to some of the by-gone notes of perfumery — the galbanum, the dark oriental — and does so without being contrived. You can enjoy the fiercely green galbanum and sober incense easily for a whole day and without having to smother passers-by. You can appreciate the dramatic interplay and discover also how beautifully the battle unfolds.

Source: tomford.com

Review: Jacques Fath Green Water — 4.0 points

Eau de cologne is a family of fragrances which are very widespread and well-known so much so that we know this summer staple by heart. From cool citrus and herbs to warm woody, ambery note — you know how it unfolds and what to expect. Its seems that nothing more could be done to improve upon this universally beloved harmony.

But when that happens, it offers a pleasant surprise. Such is the case with Green Water (2015), which was re-launched along with the revival of Jacques Fath brand. Reportedly, perfumer Cécile Zarokian set about bringing back the spirit of Green Water by frequently visiting the perfume archive Osmothèque to smell the original 1946 formula of perfumer Vincent Roubert. As she could not bring back a sample for analysis, she worked closely with perfumer and founder of Osmothèque, Jean Kerléo, who also happened to be privy to the formula. Whether the result is close to the original, I cannot say simply because I have not smelled the original. But, I can surely say that the re-launched composition makes me re-think the possibilities eaux de cologne have to offer.

green water.jpg

That Green Water is an eau de cologne is no doubt, but it is in the special accent and restraint that set this eau de cologne apart from its brethren. The first spritz is of fresh citrus and neroli, and these hesperidic notes are accompanied by a lot of sweet mint and its coolness. This gives Green Water a unique refreshing effect. Next is a subdued orange blossom that lends a subtle but persistent floral touch. And, typical of classical eaux de cologne, a sprinkle of herbs and spices, such as basil, tarragon, and a cuminic note, imparts an agrestic accent. Everything is rendered with such softness and balance it feels elegant.

The cool citrus and herbs are classically paired with the warm rough-hewn notes. A grapefruit-like vetiver note reciprocates the citrusy idea of Green Water and remains until the dry down. It is complimented by mossy and ambery notes that gives a nostalgic vibe of an old-school eau de cologne.

All of this elegant transformation happens subtly and close to skin. That being said, the only complaint I have against Green Water is its extremely fleeting and quiet nature. I have at most an hour of wear before the show is over. But while it lasts, I revel in its layered complexity and subtleties, from the refined citrus, mint, neroli, and herbs to the warm mossy vetiver. I imagine old-fashioned glamour rendered with a soft touch. Now, a copious splash from the 200-millilitre flacon might just be the volume one needs.

Source: spirale-rp.fr

 

Review: Liquides Imaginaires Succus — 4.0 points

Despite what its Latin name might imply, Succus (Liquides Imaginaires, 2015) by perfumer Shyamala Maisondieu does not readily recall any kind of sap. The eclectic layers of fruity, herbal, and woody notes are far removed from the bitter green note typical of tree saps. Rather, they lend themselves to an arboreal fantasy, and I find myself wishing if only such a tree existed…

moodscentbar

What first strikes me is its fruity grapefruit note. It does recall grapefruit, but is not so much as citrusy, and has the sweet accent of pineapple. Its fruity top has a distinctive tone that intrigues me and that continues towards the dry down. And even if you, like me, are not so enthusiastic about fruity notes, you should still give Succus a try simply to see its interesting direction.

But unlike other perfumes that resort to hard sell with their top-note whirlwinds and end up being anti-climactic, the excitement of Succus continues. The next layer is a blend of rustic herb notes: rosemary, juniper berry, cedar leaf, and bay leaf. These are also interspersed with incense. The bright, camphoraceous character recalls that of Saltus (Liquides Imaginaries, 2015), another in the Eaux Arborantes series, but is not nearly as glaring. This layer of herbs creates a curious twist to the fruity grapefruit, and the pairing between these notes gives Succus a unique and enjoyable character that I cannot quite find a comparison.

But as the bright note of herbs dims, the composition reveals a luminous base of dry woods and radiant musk. Its vetiver harmonises with the accent of grapefruit and the cedarwood lends its distinctive note of wood shavings. The musk note here is rich, but also remains in keeping with the pleasant dryness. This dry woody and musky layer persists well on skin.

The idea of Succus revolves around a pleasant duel between grapefruit and herbs, but the composition also seemingly peels away from fruity and aromatic to woody layers. It certainly gives an interesting arboreal portrait, but more importantly this peculiar character is what keeps me coming back to it. A perfume that keeps one pondering is, I feel, a perfume worthy of exploration. Succus is one such composition that arouses curiosity; it leaves me wondering what that mythical tree would be. We surely need more compositions like this.

Source: moodscentbar.com

Review: By Kilian Moonlight in Heaven — 4.0 points

Now is the hottest time of year in Thailand, but I am still forgiving of its scorching 38°C because this is the time when mangoes become ripe and I can enjoy the fine treat of mango sticky rice or Khao Niao Mamuang. The comforting dessert pairs juicy mango with creamy glutinous rice and coconut milk, and Moonlight in Heaven (By Kilian, 2016) evidently takes up this vibrant contrast.

terence ong

‘Khao Niao Mamuang’ — mango sticky rice

The tropical air of mango is suggested by a tart note of blackcurrant. Peppery and lemony notes lend their bright clarity to it, whilst a creamy nuance of fig softens its tang. A vivid green contrast recalling the green ivy of J’adore (Dior, 1999) tames the fruity sweetness. Perfumer Calice Becker is the creator behind both J’adore and Moonlight in Heaven, and her finesse is reflected in their fruity accords, which seem to possess the supernatural perfection of a Dutch still life.

Soon, the powdery sweet accord of glutinous rice dominates, rounded by floral hints of jasmine and orange blossom. A creamy note suggests the rich flavour of coconut milk, much like the sensuality of a moon-lit woman in the photograph by Patrick Demarchelier that also inspired the composition. The floral and milky rice powder juxtaposed with a tart mango is the lively tropical idea of the composition until the dry down, in which the sweet tonka bean of coumarin and the woody nuts of vetiver complement the idea.

k

The contrast between sour fruit and powdery sweetness gives it a vibrant character. The mastery with which its radiant fruity accord is woven alone is worth exploring, and its toasty sweetness is just as refined. I especially like the way its tart cassis courses through to the dry down of sweet powder. And unlike most sweet fruity bombs, Moonlight in Heaven is composed. Yet, it is tenacious enough for the hottest days of Bangkok, during which I have been wearing it. Moonlight in Heaven proves that a dessert-inspired, fruity perfume does not have to be another boring tutti-frutti: it can be just as evocative.

Sources: bykilian.com, wikimedia commons by Terence Ong

Review: Hermès Épice Marine — 3.5 points

Épice Marine (Hermès, 2013) was conceived as a result of the dialogue between perfumer Jean-Claude Ellena and chef Olivier Roellinger. They first met in 2011 in Cancale, the hometown of the Breton chef, and collaborated for eight months. Ellena took inspirations from the spices that arrived in Cancale, and he was also particularly enamoured of the roasted cumin. Meanwhile, Roellinger insisted on l’odeur du brouillard — odour of the mist — in the composition. These would come to shape the character of Èpice Marine.

epice

The fresh misty ocean comes through in the form of bergamot, bitter orange, and a marine accord. Then, the spices arrive with the punch of sweaty cumin, the sweet accent of cinnamon, and the characteristic cardamom. That the cumin is roasted is conveyed by a touch of sesame. There is also a hint of aged whiskey, as if to suggest the long sea-bound journey. The theme of mild spices and marine notes form the character of Épice Marine, and it remains until the dry down, which is accented with a touch of vetiver.

The juxtaposition of aquatic notes and spices is executed with polish, but the idea itself feels a little too familiar. It is not that far from his earlier brainchilds like Déclaration (Cartier, 1998) or Un Jardin après la Mousson (Hermès, 2003). And, however much I enjoy Épice Marine, I cannot help but think that I could simply layer Déclaration, Un Jardin après la Mousson, and perhaps Cologne Bigarade (Frédéric Malle, 2001) for the same effect, or rather better with more projection and tenacity.

Therefore, one should not expect to find the unexpected in Épice Marine. But if one is in search of a well-executed composition with curious accents, this will not disappoint. It is a nicely done variation on the theme of soft spices.

Sources: hermes.fr

Review: Chanel Sycomore — 5.0 points

I have few vetiver perfumes that I love and admire. These are Vétiver (Guerlain, 1959), which is an all-time classic, and Encre Noire (Lalique, 2006), which I have come to think of as a modern classic. But, they are not the vetiver that I mostly reach for. That honour goes to Sycomore (Chanel, 2007).

chanel

Sycomore is likely named after Sycamore (Chanel, 1930), an aldehydic floral created by perfumer Ernest Beaux. However, Sycomore was composed by perfumers Jacques Polge and Christopher Sheldrake, and it features vetiver as the main woody note.

But, just as important are the layers of accents that shape the vetiver. From the bright green pines in the opening to the smoky and roasted notes, the vetiver is so skilfully embellished that the composition feels like an abstraction that blooms and glows on skin. I find its subtle character of green pines, smoky notes, and soft woods sublime. And it stays smoky and roasted for a long time

Sycomore is just as elegant as it is versatile. The vetiver is carefully chiselled, and nothing is overdone that would compromise its subtleties. Wearing it, I feel as though I dressed myself up, but remain comfortable. For this reason, it acquires a special place even amongst my favourite vetivers and wins hands down when it comes to the frequency of use.

Source: chanel.fr

Review: Chanel N°19 — 5.0 points

Mademoiselle Chanel once told the press an anecdote of how a stranger had stopped her on the street outside the Ritz, where she lived, just to inquire what her amazing perfume was. ‘Not bad at my age,’ thought the mademoiselle. She was eighty-seven years old, and the perfume was Chanel N°19 (1970) named for the date of her birth.

Chanel N°19 deserves its classic status, not the least of which is its quality materials that range from Iranian galbanum, Florentine iris, to May rose and jasmine from Grasse. More importantly, however, it is the way perfumer Henri Robert creatively explored the brilliant ideas of his contemporary, namely  in Cabochard (Grès, 1959) and Aramis (1965), that gave birth to a milestone in perfumery. He created an object of fascination and contemplation even amongst perfumers.

chanel fr

The piercing verdancy of galbanum, tinged with bitterness, is a hallmark of Chanel N°19. This addition of galbanum to the chypre structure is perhaps a reference to the green galbanum opening of both Cabochard and Aramis. And, despite the non-aldehydic nature, it still feels like being splashed with a pail of cold water.

As Chanel N°19 develops, a rich bouquet of rose and lily of the valley unfurls. A hint of rich jasmine absolute dallies with the floral heart. These are backed by as much as 13% Hedione so that the florals diffuse and come to life. Interestingly, orris butter at 1%, especially noticeable in the extrait de parfum, provides a contrast of soft rooty powder to the sharp galbanum. Moreover, it is backed by ionones. Together they sweeten the chypre accord of Chanel N°19 and act as a bridge between the floral heart and the woody fond.

The dry down of Chanel N°19 is a dusky combination based on the woody-musky 12% Vertofix Coeur, vetiver notes, sandalwood, and guaiac wood. There is also a spicy carnation accord. These are darkened by a rough-hewn accord of oakmoss, mossy Evernyl, and a bit of leather based on isobutyl quinoline. In addition, the use of animal tinctures such as natural musk, ambergris, and civet in trace amounts probably provides the sumptuousness in the vintage composition. The chypre dry down recalls those of Cabochard and Aramis — leathery, mossy, and woody.

Chanel N°19 certainly has a striking character. Its leathery chypre is atypical of feminine perfumes. And, whilst its florals and woods may recall a floral aldehydic perfume, the abundance of galbanum and orris, the oakmoss, and the overdosed Hedione beg to differ. Interestingly also, its chypre accord contains little or no patchouli and musks. It also has little or no aldehydes, floral salicylates, and vanillin. These alone are perplexing.

And through the imaginative use of such materials and structure, perfumer Henri Robert cemented the classic signature of Chanel N°19. The verdancy of galbanum is set against the soft powder of orris, contrasting the texture. The green of galbanum also contends with the dusky woods. This potent ménage à trois of galbanum, orris, and chypre in Chanel N°19 is so original that few perfumes can remotely be considered as successors of this style. And, by a stroke of ingenuity, he added a large dose of Hedione, setting the composition aloft and diffuses its florals — it was the highest dose of Hedione used at the time since its introduction in Eau Sauvage (Dior, 1966). The result firmly established Chanel N°19 amongst the great milestones.

Of course, Chanel N°19 has been reformulated over the years since its creation. With its galbanum, for example, sourcing from Iran was problematic in 1979 when the revolution erupted. Natural animal tinctures that used to give Chanel N°19 its complexity have been excluded from the composition. The rich floral absolutes are now reserved only for the extrait de parfum due to the rising costs. Even the source of its orris is different as Chanel now uses the rhizomes of both Iris pallida and Iris germanica grown in its own fields in Grasse instead of the Iris pallida traditionally sourced from Florence, Italy. Despite all of this, Chanel N°19 is still recognisable and easily puts many modern creations to shame.

Its originality and quality are so enduring it deserves a hall of fame. And, the words of perfumer Christopher Sheldrake reaffirms that notion: ‘Chanel N°19 is a perfumer’s perfume, a connoisseur’s fragrance, it is a great tribute that so many people have been inspired by it’.

A note on the concentrations: The richest formula of Chanel N°19 is no doubt the extrait de parfum. Here, the galbanum is round and complex, with green and musky notes. The richness of roots and dusts in orris is palpable throughout the development. The florals are sumptuous with the luscious confit note of May rose absolute and fresh lily of the valley complex competing for attention. The dark mossy woods, the vetiver, and the leather accent buried within feel round and mellow at first, but gradually become dramatic. The interplay of verdant galbanum, rooty iris, and dusky woods is sublime, not only because of the dramatic contrasts, but also with each part unveiling subtly its facets and complements. The extrait is incredibly rich and complex it deserves a place on the pedestal of classics.

The eau de parfum formula created by perfumer Jacques Polge in the 1980s is the most diffusive, with sharp floral notes and rough woods. The verdancy of galbanum is penetrative, but short-lived. The floral heart is bright and diffusive, but not rich and buttery as in the extrait. The lack of orris is certainly felt. The fond features a rough-hewn accord of leather, vetiver, and mossy woods. The emphasis falls on the juxtaposition between verdant florals and dusky woods.

The eau de toilette follows the development of the extrait closely, save for its more radiant style. The sparkling green of galbanum is bolstered by the freshness of citrus. The floral components fuse into a well-blended accord. The dusts of orris is noticeable – even more so than in the eau de parfum. The leather accent is also buried amongst subtle vetiver and mossy woods. Overall, the eau de toilette feels balanced and substitutes the brightness for the richness in the extrait.

Sources: chanel.fr, savoirflair.com, faz.net, vanityfair.com, Scent and Chemistry The Molecular World of Odors, Perfumery Practice and Principles, SweetspotQC’s videos