Sorcery of Scent

Mona di Orio - In Memoriam

2011-12-10T02:02:00.002+01:00

Sweet sleep, Mona. (1969 - 2011)

Sorcery of Scent on Permanent Hiatus

2011-11-27T08:20:00.005+01:00

After more than 4 years and several hundred perfume-related articles, Sorcery of Scent is soon to be committed to the annals of perfume blogging history.

What started as a creative outlet for me in 2008 rapidly grew into something far greater than I had ever expected. In the years since its commencement, Sorcery of Scent has attracted over 4,000 site visitors a month and has amassed a finely-scented league of loyal readers... for that I am truly humbled, and feel incredibly blessed. To know that others felt there might have been some measure of merit in my indulgent rantings was an extraordinary gift for me. I have had the honour and privilege of your time, and that of some of the most respected perfumers in the industry, including my dear friends Vero Kern and Olivier Durbano. I thank each and every one of you!

Of course, authoring a perfume blog has not been without its challenges. Whilst the vast majority of people I've had the pleasure of interacting with through this medium have been incredibly friendly and supportive; I am somewhat taken aback at how competitive, envious and mean-spirited other 'perfume-lovers' and indeed, perfume bloggers can be. I ponder for a moment about what might have caused them to be this way, and I am utterly confounded... perhaps somewhere along the way their topnotes simply turned.

Fortunately, I sign off for the last time knowing I leave behind me a small legacy - a tiny cross-section of words and insights that are wholly my own, and ones that I hope might still serve to intrigue or inspire you. After all, perfume - as intimate and personal as it is - is simply nothing unless it is shared with someone else.

Warmly,

Dimitri

Sorcery of Scent

November 27, 2011.

Nov 2011: Exclusive Interview with Vero Kern

2011-11-20T07:04:00.026+01:00

Strolling the streets of Zurich well before breakfast on any given day, you might just be fortunate enough to find perfumer Vero Kern walking her adorable jet-black Petit Brabancon Isidor whilst taking in the morning. And if you were to strike up a conversation with her, you would find her warm and obliging. One of four children from a cultured bourgeois family, Vero's parents were very close to nature and instilled in their children a strong "consciousness of being"... a feeling that is intensified whilst she meanders the empty laneways as many still lie in their beds.

For one who might be invited to visit her modest two-room apartment, they would find a space which carries Vero's distinctive fingerprint: a sanctum which communicates her love of interior design, her appreciation of Art Deco objects and furniture, and her eye for the quirky and avant-garde. The walls and ceilings of her abode she has meticulously painted by hand... a shining starscape of Arabic letterforms adorn the ceiling of her corridor, and a dreamy pool of Japanese lotus flowers the ceiling above her bed; one that she can "dive into when I wake up and open my eyes in the morning".

A second room blooms with Rosa Centifolia motifs - a design she applied after completing her studies in Paris and started her life as a parfumeur-créateur.

Whilst a basement room is used chiefly as a showroom, Vero's kitchen serves as the creative epicentre of her work; her kitchen table peppered with aromatic materials and instruments which serve as the building blocks of her craft.

"Creating perfume - the use of aromatic material - to me is similar to cooking".

I ponder for a moment, recognising the kitchen as the heart of the home, and Vero as a master chef. I resolutely believe she has put her heart into every bottle she has blended and manufactured by hand.

Vero's long strawberry-blonde tresses have more recently been cropped into a tidy short do, and she cuts a striking figure in clothes which she hand picks for their eccentricity and/or conventionality.

"I love fashion and especially designers like Martin Margiela, Dries Van Noten and Rick Owen. I also find my dresses in second hand shops and at flea markets".

Her love of travel, reading, cinema and music serve as inspiration for the way she approaches her scents. I pose the following questions to her...

First of all, tell us about the name Vero Profumo.

Vero Profumo is a play on my name, and the Italian word "vero" which means "real / authentic / pure". I was originally inspired by a movie by Dino Risi in the 1970's; the name was "Profumo di Donna" or "Scent of a Woman". The idea that every woman with her individual skin, her sensuality and eroticism, has her own smell fascinated me, and so it all started - to dive deeper into olfactive sensations, to know about perfumes and then finally the decision to become a perfumer and make my own erotic scents.

Is there an underlying philosophy that pervades your work?

I try to create high quality fragrances both artistically and aesthetically speaking, which have to satisfy my high standards as well as those of my clients. I try to go my own way 100% and do not follow any trends. I'm looking for originality, opulence and eroticism in scents. They have to surprise and touch me. I'm not interested in 'clean' scents - I need scents with character both in my creations, and on the wearer. Besides this, I love everything that reminds me of the smell of skin.

How do you challenge yourself when it comes to conceiving and producing a new perfume?

For me, creating is like a drug, a complete passion. So ideas for new creations can arise at any time, and anywhere. I do constantly write down what is inspiring me and later use this as an important creative resource. I am very inspired by most unique raw materials that I discover. Because the extraction of fragrances always become more careful and more efficient, there are more and more wonderful raw materials to be found. Unfortunately however, these are often very expensive and thus remain just something to dream about.

Perhaps your unique selling point are your stunning extraits. Some might consider it a risky decision to debut with a series of pure parfums, but you have been amongst the very first to do so and succeed. What was the thought process behind this? Why extraits over the perhaps more conventional EDT or EDP?

The main reason for this decision was my longing to compose high-quality scents in a classical style, but also to find an exclusive niche. The extraits - which at this time are very rarely manufactured - was, and still are, my niche. They are a relic of classical Haute Parfumerie. For me, it means the most sensual way to be perfumed and I am still fully convinced about this. Another reason was that the extraits allowed me to produce all myself in small amounts in-house. Later, for the eaux de parfum production, this was no longer manageable - neither in quantity nor logistically.

Speaking of the Eaux de parfums, with their release also came a new packaging solution for all your perfumes. What was the reason for this? Where are your beautiful new EDP bottles produced?

The new packaging across the line was necessary for the production of the Eaux de Parfums. The new EDP line is a direct result of multiple requests from different clients of mine. The cultural differences with regard to scenting oneself are numerous. Perfume application by dabbing as I offer it with the extraits, is not something very known in certain countries. A further reason for the EDP production was also the high price for the extraits.

The eaux de parfums are also well crafted, and the selected raw materials and special packaging make the final product no less expensive. Unlike commercial mass production, the costs of the eaux are very high and therefore also as a final product are found in a high price segment. For my bottles I was searching for a long time. Usually there are only a number of large 'mega companies', offering standard bottles in thousands of units. Boring and not affordable. After a long search in 2006, I finally found a small company in French Normandy. Still in the hands of same family for almost a century, they manufacture flacons using ancient styles and methods, in reasonable quantities (from 1000 units), and importantly for me - also in coloured glass. Entirely coloured throughout with pigment - not simply sprayed onto the bottle with paint. I always wanted coloured bottles... they protect better against light and preserve perfectly the fragrance also. To have coloured bottles was also an aesthetic choice. Both bottles - extrait and eaux - come out of the same range and have quite their price. The mould I have chosen is from the 1940s. The way they work with glass, as they have done for almost 100 years seemed to me to be pure alchemy - powerful and archaic.

When you set out to create a new scent, do you think of it in terms of "creating a perfume for evening" or "for winter"? Do you feel fragrances are seasonal or specific to a certain time of day?

I never think in these terms. I understand wearing fragrance as a personal extension of the wearer. My term would be: 'reasonably compatible with one's own body and skin chemistry'.

This can now vary seasonally, for example, by sweating more in summer or by eating different food in winter - it can thus change our skin chemistry. However, olfactory perception is completely subjective and individual and this includes the choice of a fragrance that I can't influence with "seasonal" creations. I can understand that you can have different smell 'likes' and from time to time these can change. This being said, I never did understand why one might change their fragrance three times in one day. For me, it is the absolute highlight of olfactory sensation if the chosen scent connects completely with the person's character and style - like a single form of identity.

On a previous occasion you once divulged to me that you visited L'Osmotheque in Versailles on numerous occasions to study vintage perfumes and reveal their secrets. What have you learned from the classic perfumes you've studied, and how has it influenced the way in which you created your own?

The visit to the Osmotheque for me is a journey through time and the past; a revelation, a highly artistic and unique olfactory dream inspiration. Classical compositions usually contain a relatively high proportion of natural raw materials which together with the synthetic components build up a high degree of complexity and unique erotic aesthetics which I find contemporary perfumery mostly lacks. I try to bring back this idea, this kind of aesthetic in my own creations. Not only do I share a great love for the classic scents, it is also true that I have limited or zero access to some modern materials. At the Osmotheque, I studied the works of Francois Coty, Ernest Beaux, Germaine Cellier, Jean Carles and Jacques Guerlain. I admire all of them for the beauty and unique originality of their compositions.

From your own line, which perfumes speak to you the most on a personal / emotional level? Besides your own, what are some of your favourite scents (either found in nature or commercially produced)?

I love all three of my compositions. Each of the scents is a part of me and for this reason, there aren't any favourites. Because there is a permanent smell in my immediate environment, I do not get very often perfumed. However, if I do, when walking the streets I feel sexy and I float like Sugar Kane in the movie "Some Like it Hot" - 50cm above the ground - missing only the ukulele!
I love fragrance compositions that touch me in some way. Fragrances that bare a secret and affect me erotically. I also like scents with animal notes like honey, castoreum, civet, ambergris, opulent floral scents, rose, tuberose and jasmine.

How has Vero Profumo been received in the international marketplace?

The brand is developing very well and I am happy and grateful for this. Sometimes I think I am dreaming. I never thought I would be, within three or four years, just as far as I am now. Success doesn't usually come overnight. It not only needs good ideas, but also a lot of patience, perseverance and good luck to be able to participate in an international market which is known to be fully saturated.

How important are industry events such as Exsence to you and your business?

The Exsence expo sees itself as a platform for niche products. Here, new brands find potential buyers which will be nicely presented and communicated accordingly to an interested audience. In addition there is a program with themed presentations (for example, about the future development of perfumery and cosmetics) for an interested audience. The press, in turn, are also interested in the presence of perfumers, and particularly with personal presentations and interviews. Their press reviews are creating the needed attention to the product, which is highly appreciated by the distributors of the relevant brand... in my case this is Campomarzio70 in Rome. But I feel that my presence at these events is not always necessary. When I am in attendance, I do give great importance and attention to personal presentations in those stories selling my products.

In terms of marketing your business, have modern technologies (social networking, blogs etc) played a pivotal role?

The blogs were of great help to get my brand known. I was and still am very grateful to their interest and writing about my products. For me, it would have been absolutely impossible to start big advertising campaigns - I simply cannot afford them. The regular press is usually only willing to write editorials in simultaneous large advertisement orders.

In 2007, when I started with my brand, there were just a few blogs - mainly in the USA - who shared this 'passion'. Meanwhile, the number of writing perfume lovers has grown tremendously.

In light of the global economic downturn, have you felt it directly impact your business? If yes, in which ways? What do you feel will be the long-term effect of this crisis on the luxury perfume market?

In the beginning of the economic crisis, my sales broke abruptly. Mainly the online sales to America. Later, the situation recovered again but never went back to the old days. There are countries more affected by the crisis than others. But I think a certain luxury market will always exist. I even think that the top luxury segment could grow even more in the coming years. Sales fluctuate pretty much in the middle segment.

Can you please tell me what is on the cards for the next 12-18 months? Are there any new creations planned?

I'm working on a new creation. A green scent. I got the inspiration from the wonderful garden of the Villa d'Este in Tivoli, Italy, where I spent a holiday in 2009. For me, its a magic place that charmed me completely and ever since I visited, I've had this almost hurting longing to create some green scents. But being a perfectionist it will take some time until I'll be satisfied with the result. The scent should be launched sometime next year though. There are other interesting projects on the table, but at the moment it's still too early to talk about. In addition I am working on special presentation concepts to be announced at a later date.

I feel both humbled and gratified that Vero has taken the time to address my questions about her perfume artistry. Many know that her creations are amongst the very few that I hold truly dear - ones that speak to me on some higher state of cognisance. With a new perfume in development, 2012 proves to be an exciting year for Vero Profumo and lovers of her work. One can only anticipate olfactory influences gleaned from the pillars of classical perfumery, and a deft consciousness of luxuriousness and sensuality. I, for one, cannot wait.

All Vero Profumo creations can be found via the Vero Profumo website, or via Campomarzio70 in Rome.

Men's Grooming Charity Event: GROW A MO'

2011-11-02T08:06:00.023+01:00

Yeeeeee-haw! Its open season people!

In the interests of good grooming, this Movember, Sorcery of Scent and a group of other male perfume bloggers will be growing a moustache to benefit prostate cancer research and to aid male depression. This global initiative runs the length of November and has raised millions of dollars since its inception in 2003.

At the start of the month, male participants (known as Mo Bros) register with a clean-shaven face, and then have the remainder of the month to grow and groom our mo's whilst raising awareness for men's health issues. Sure, there are bound to be some dodgy days where we are sure to look psychotic, but lets face it... it's all for a good cause, and its all about changing the face of men's health!

Of course the Mo Movement depends on your support, so if you can spare a few dollars for this worthy cause, visit our Mo Space pages and show us some love! (Yes, they take paypal).

Perfume Bloggers participating include:

Sorcery of Scent (click here)

Arome d'Ailleurs (click here)

Basenotes (click here)

To keep abreast of the amounts raised around the world this month, visit the Mo Money page, and check out the staggering totals. It's only been open season for 2 days at the time of publishing this article, and a whopping $8.5 million AUD has already been collected.

Come November 30th we hope to have raised plenty of awareness and also a tidy sum... and you can be sure that by then, we will be looking forward to having a good shave and splash of something smelly!

More info can be found at www.movember.com.

Sisley - Eau d'Ikar

2011-11-01T04:18:00.047+01:00

Perfumes inspired by mythological themes have always had some appeal to me. Most probably, in part, because of the enduring legacy the legend itself has enjoyed. But when one hears of a scent named after a god or a titan, one can only imagine a perfume both monumental and vast. Chanel's Antaeus, Paloma Picasso's Minotaure and Coty's Styx each communicate a somewhat accurate sense of these figures in folklore. Now, French perfumers / phytocosmetologists Sisley are memorialising the iconic Icarus, as they launch their first-ever men's fragrance: Eau d'Ikar.

Artist:
Jeff Barson, Utah

Eau d'Ikar is beautifully bottled in a thick glass flacon designed by Polish sculptor Bronislaw Krzysztof with a man's torso and wingtips deeply etched in reverse relief. The juice is a sparkling sunshine yellow, in keeping with the legend of the character in Greek mythology who flew too close to the sun. Conceptually, according to the press release, "Ikar - (is) a name that embodies our poetic ambition, the deep desire in man to fly - not in defiance of the heavens, but rather to rise above the ground, for lightness, intensity, freedom".

Whilst some marketing prose can occasionally border on the absurd, something can indeed be said for Eau d'Ikar's capacity to feel light, sun-speckled and resolutely Mediterranean in style.

This eau de toilette uses mastic as its feature component - a tree resin collected from evergreen shrubs of the pistachio family that are native to the island of Corsica, parts of Greece and Asia Minor. Mastic has been used for millennia by ancient cultures for its medicinal benefits and is still used today to flavour dental products, food and beverages. It has a unique minty / lemony / resinous olfactory profile; one that is very pleasant, and not easily forgotten. Eau d'Ikar uses mastic in all three facets of the olfactory pyramid - with sparkling citruses in the topnotes, warmer, denser florals in the middle notes, and with cistus, vetiver and sandalwood in the base.

This fragrance opens with a mastic/citrus blend that is almost dry in texture... it is slightly bitter and has a hint of green earthiness, thanks in part, to a carrot seed accord. With the opening spritz, one imagines walking along a grassy/sandy path through the pines by the sea. A heart of jasmine and iris sends a huff of light florals spinning on the air, which feel almost feathery in texture. More mastic and orange pekoe tea lend a grounding earthiness that diminishes the impact of the florals and provides complexity. These accords rest over a velvety green cistus/vetiver/mastic base and trail off well into the drydown.

Keeping with Sisley's tradition of crafting exceptionally fine scents, Eau d'Ikar evokes an idea of vast Mediterranean landscapes and sultry summer heat. In terms of its style and its tenacity, it is no Antaeus, nor Minotaure - one must be mindful that it is, in fact an 'eau'.

This being said, I feel Sisley have done themselves proud in capturing the scent profile of a much-loved part of the world.

This will be my go-to scent, as summer soon reaches us here in the southern hemisphere.

Book Review: Turin & Sanchez "Little Book of Perfumes" (2011)

2011-10-18T08:19:00.055+02:00

When Luca Turin and Tania Sanchez launched The Guide in 2008, I'm certain neither had any cognisance of how it would serve to split the perfume world in two. There were those who sought and found gospel between it's pages, and others who found disenchantment. The Guide - a book of 1,800 different perfume reviews, was hailed as conclusive fact by some, and self-indulgent fiction by others. With one swift swish of the pen, Turin and Sanchez memorialised the perfumes that they preferred, and damned those they didn't. As an active member of a 50,000-strong online fragrance community, I saw first-hand how the opinions of this pair influenced the global psyche, and had a surprising knock-on effect at the cash register.

Who could predict the polarising impact this book was to have on perfume aficionados the world over? Such is the incredibly personal nature of perfume!

Three years on, Turin and Sanchez are set to launch "The Little Book of Perfumes - The Hundred Classics", a petite compendium of their 96 most-adored scents already appearing in The Guide, plus 4 new reviews.

Many might ask: why publish a book where 96% of its material was already examined in 2008... and to be honest, this very question teeters on my tongue too. A quick scan of the blurb reveals that this time round, Luca and Tania have added new notes expressing their continuing fondness or swift dissatisfaction with each scent, particularly in light of tightening IFRA restrictions and the impact they have on the use of raw materials found in perfume formulas. And it is true... their insights in the additional notes are interesting to read as the pair tend to confirm or deny the innermost fears of every perfumista whose beloved scent just doesn't quite "seem right" these days.

This being said, one tiny criticism, however, would be that only 40% of reviews have included new information specific to 2011.

In the years since the release of The Guide, Turin and Sanchez have recognised the wisdom in the old adage "if you've nothing good to say, then don't say anything at all", which - to me at least - is a blessing.

To my mind,"The Little Book of Perfumes" is perhaps what The Guide ought to have been. It is a concise and fascinating collection of subjective insights and positive recommendations that one can use as a basic blueprint to navigate their way around their local perfume hall. It will prove a very handy reference for fledgling aficionados, but one wonders if it's few additional insights will make it of value to owners of The Guide and staunch perfume loyalists.

"The Little Book of Perfumes: The Hundred Classics" is on sale at a RRP of $18 on October 31st, 2011.

Trick or treat!

Penhaligon's sample winners

2011-10-15T00:32:00.004+02:00

Our sincere congratulations to:

Effy

Mimi Gardenia, and

Layla

...for winning a carded sample each of Penhaligon's Juniper Sling!

Sorcery of Scent will be contacting you in the following days to retrieve your information so that your samples may be sent!

Thanks to all members who left comments, and stay tuned for more reviews & giveaways.

Have a wonderful weekend,

Dimitri

One Seed - Courage and Beauty in Botany

2011-10-07T03:35:00.029+02:00

As a student of natural botanical perfumery, I recognise how difficult it is sometimes to work with natural components. Many perfumers swear by the inclusion of synthetics in their formulas to lend stability and pizzazz, but Australian Handcrafted Botanical Perfume outfit One Seed have triumphed in creating exceptional scents without a scrap of synthetic interference.

One Seed pride themselves on their use of 100% natural ingredients, and in doing so, are planting a seed for change. Their philosophy is to focus on releasing small handcrafted batches with a cognisance of remaining wholly organic, sustainable and against animal cruelty. Armchair perfumistas might scoff at such a scenario, however One Seed have proven with their unique and compelling lineup of eaux de parfums, that olfactory excellence is not compromised by "being green".

Five fragrances currently reside in their permanent perfume portfolio: Courage, Devotion, Freedom, Hope and Grace, and only yesterday I came across them in a charming boutique here in Western Australia. Whilst there is much to explore in the line, I was won over instantly by Courage: a rich, resolutely unisex floral oriental.

Seldom am I 'wowed' from the get-go. And I mean "wowed". Courage has an abstract opening that lends itself more to lush, complex perfumes of yesteryear... there is an olfactory 'temperature' that places it amongst other gems like vintage Miss Dior, or Vero Profumo's Onda. Moments out of the bottle, you could almost swear there is a soft leather note evoking a napped suede texture, but the top notes comprise of sweet orange and magnolia. A dense muskiness swells from below... ylang ylang and opulent indolic jasmine huddle at its heart, furnishing this perfume with a glimpse of times gone by. These stirring blossoms are masterfully blended; so much so that they feel cashmere-soft in hushed hues of peach and nude, where a carnal presence simmers just beneath the surface.

Some time after it first dances on skin, a delicious Shalimar-esque oriental facet emerges... one composed of vanilla and honey-like amber. These lip-smacking qualities linger well into the drydown and leave a lingering impression. Courage is a rare find in this age of cookie-cutter synthetics and head-space creations.

One Seed products have very select distributorship in Australia. Australian perfumistas can visit their website for store locations and to purchase samples with free shipping.

West Australians looking for a memorable excursion can find One Seed products at Storia in Guildford - a charming emporium of unique and inspiring hand-selected wares (tel. 9379 9370).

Penhaligon's - Juniper Sling Review + Giveaway!

2011-10-05T07:24:00.036+02:00

With all things Art Deco proving terribly de rigeur right now, September 2011 marks the introduction of a new fragrance to the Penhaligon's perfume portfolio: "Juniper Sling" - a scent inspired by the widely revered spirit London Dry Gin, and one that pays hommage to the Art Deco age.

Responsible for such iconic perfumes as Thierry Mugler's Angel and Christian Dior's Dune, Olivier Cresp is the nose behind this creation. When approaching Juniper Sling, Cresp has drawn upon his vast history and knowledge to create a scent which not only tips its hat to a celebrated cocktail, but also embodies an entire era - the colourful roaring 20's.

Juniper Sling is a startlingly smooth blend which opens with a bit of 'razzle-dazzle'... a shot of crisp gin, sappy juniper and a scattering of black pepper fire up the senses, whilst soft leather, cinnamon and dusty iris give the scent a tranquil, narcotising quality. There is no doubt that this perfume smells like an exceptionally good cocktail... it is somehow diaphanous, yet complex. I find its biting orange brandy note and huff of angelica make it delectably fragrant, whilst a hint of black cherry and brown sugar in the base lend themselves to a lip-smacking drydown. Despite these food-like accords, Juniper Sling veers away from the gourmand and maintains its vibe more as a delicately-refined tipple. Vetiver and ambergris (Ambrox) in the base also lend a sense of clean, green transparency.

Decidedly unisex in style, this is a cocktail I'd like to swallow whole and then come back for more. If applied liberally on the skin (as it tends to be a little fleeting), Juniper Sling will have you love-drunk before the night is over.

Below, the playful marketing video in support of the launch.

Giveaway!

Three lucky Sorcery of Scent readers will win each a carded sample of Juniper Sling (pictured below). To enter the draw, simply leave a message in the comments field below, explaining why you'd like to try Juniper Sling. Please ensure you include an email address in your answer or on your linked profile so that you can be contacted if you're a winner. Winners names will be drawn at random and posted on the website next week.

Good luck!

L'Abeille de Guerlain - the fragrance world abuzz with jewels.

2011-10-04T11:21:00.020+02:00

Perhaps you're wondering what to ask your significant other to buy you for Christmas this year?

Here is a sneak peek at Guerlain's stunning new bijoux fashioned on the L'Abeille de Guerlain flacon. The piece comes as a pendant and it is made exclusively to order with your favourite perfume.

Information is still rather scant, but Luxury Launches reported in May this year that this meticulously-crafted object of desire is composed of pavé set diamonds and polished rock crystal in a solid platinum setting. This project represents a marriage of three artisans: the jeweller, of course the perfumer, and a watchmaker... the latter of which has designed a clever mechanism to pop open the wings to reveal an ornately-decorated body. The jewellery will release your preferred scent for approximately 6 months whilst you wear it.

Apparently, 500 hours of craftsmanship has gone into each piece, making this Guerlain's most exclusive (and undoubtedly expensive) treasure yet.

Kinda makes the Christmas ham taste like cardboard, right?

Photo credit: Luxury Launches website

Olivier Durbano: Citrine

2011-09-29T05:28:00.049+02:00

For almost 5 years, I have had the pleasure of watching French jeweller/perfumer Olivier Durbano's tireless efforts in creating his Parfum de Pierres Poèmes - a series of olfactory interpretations derived from semi-precious gems. As a devout Durbano perfume loyalist, he has managed to capture my heart, my imagination (and my nose!) with his unexpected and inventive perfume renderings, each of which demonstrate his astute understanding of his gemstones both physically and symbolically. Now, upon the release of his seventh (and final) stone poem Citrine, I find myself at a crossroads: brimming with excitement, yet bemoaning the end of an era.

Citrine is a quartz variety that varies from pale lemon yellow to a deep smokey amber, and metaphysically, is believed to purify and dissipate negative energy. It's golden hue evokes a feeling of celestial warmth, inner fire and and opulent radiance... characteristics which I feel Monsieur Durbano has sought to capture in the bottle.

Citrine (the perfume) - as the name might suggest - opens with a spark of wild orange and sicilian lemon, but in trademark Durbano style, veers off into something unexpected and unique only moments after it dances on skin. A burnt-sienna note of elemi resin and carrot seed bring a richness and depth to the topnotes, dispersing the citrus components and turning what might have been anticipated into the unforseen. Warm mimosa, beeswax and fragrant woods imbue the heart with a blonde solar radiance, whilst a huff of myrrh and ambergris furnishes the perfume with its signature mineralic feel. There is definitely a feeling of antiquity here... one can imagine priceless Incan gold struck from the brown earth, refracting sunlight for the first time in millennia.

Citrine is classified as an amber woody spicy fragrance, and I feel this classification is right on the money. Citrus notes only play a supporting role in this extraordinary creation... one that I feel is the most thought-provoking in the series, and certainly amongst Durbano's best.

So, here we stand at number seven... sadly the last perfume in Olivier Durbano's series. As with all of his creations, Durbano's approach to his art is always carefully considered... number seven is a figure with spiritual and ancient importance, symbolising (to the ancient Egyptians at least) Eternal Life.

I like to think in some way, that Olivier's 7 stone studies have come full-circle, creating a never-ending wheel or seven-pointed star; one whose uniqueness and innovation will shine like a faceted gem and endure all the ages.

Available soon through select retailers in 100ml size.

Fruitful Fleamarket Pickings

2011-09-23T09:55:00.007+02:00

I am often asked where one can best source vintage perfumes for very little money. When buying online, there is always the chance that a scent has spoiled, which makes online vintage purchases from sites such as ebay a rather risky (and costly) affair.

This week I returned from vacation with my cases stuffed with vintage bottles and scents... all of which have been sourced from flea markets and junk shops during my travels. The beauty about picking through nic-nacs and junk is that occasionally you stumble upon some staggering finds for just one or two euros. The photo above reflects my vintage perfume finds, including many rare and discontinued extraits, and flacons designed and manufactured by Lalique, Baccarat and Viard.

So, next time you have a hankering for all things vintage, don't hit the 'bay and pay through the nose: have a look in your local a secondhand store, antique shop or street market, and be prepared to bargain a little. Chances are, lady luck might just smile upon you.

En Vacances

2011-08-15T09:09:00.004+02:00

The 1920's and 1930's saw a marked shift in the global psyche. In a time of renewed social consciousness and artistic expression after the horrors of World War I, travel became popular once again as people took to the seas and the skies. The vessels which had just a few years earlier become the tools of untold destruction - were now being used for pleasurable excursions.

This movement is reflected in the Art Deco era of perfume advertising where well-known houses encouraged their audience to travel to new horizons... be it physically or through fragrance. Some of these images are amongst my favourites from this age.

Sorcery of Scent is on a short hiatus for vacation, and will return with more news, reviews and thought-provoking commentary soon.

Bonnes vacances!

Calé Sample Winner!

2011-08-04T14:23:00.005+02:00

Congratulations to Alessio - our winner picked at random to receive carded samples of both Fulgor and Roboris!

Alessio, please contact me from the email address you supplied with your entry using the email associated with my blogger account, and I will send you details on how to claim your prize!

Many thanks to all readers who participated.

Stay tuned for more giveaways and reviews to come!

Molton Brown - Navigations Through Scent - 5 Reviews

2011-08-02T11:41:00.071+02:00

British toiletry giants Molton Brown have stepped up to the mark in 2011 and produced 5 brand new fragrances in a compelling "Navigations Through Scent" line. This series marks a natural evolution towards catering to the fine fragrance market for the first time in the company's 40 year history.

"Navigations Through Scent" celebrates the origins and history of perfume and the importance of the rare ingredients used. Following some of the ancient and modern trade routes, Molton Brown's perfumer Jennifer Jambon spent over a year exploring each site, identifying the raw materials that best represent each location on the map. Egypt, China, Indonesia, England and Canada have all been referenced, with their longitudinal and latitudinal coordinates marked out cleverly on the bottle and box.

Sorcery of Scent is pleased to briefly review each new fragrance from the line.

IUNU

Inspired by Egypt, Iunu is a voluptuous perfume which unifies bewitching oriental facets and enchanting spices. A dancing heart of Egyptian jasmine absolute and ylang ylang is afire with piquant black pepper, nutmeg, cinnamon and clove... the result an interesting play between pure innocence and unashamed carnality. A wonderful ribbon of incense and myrrh lends a weightless esoteric quality, whilst sandalwood and patchouli anchor it to the earth again. A perfume which is constantly evolving - twirling like a naked dancer - Iunu is an intricate scent of empowerment and carnal collusion.

LIJIANG

A Chinese love story told in hushed whispers, from behind cupped hands. Lijiang is a beautiful, diaphanous perfume that's as sheer and delicate as a fine paper lantern and has the stunning tactile quality of shot silk. Crisp white tea and Chinese osmanthus feature in this scent, which have been masterfully blended with shimmering bergamot and transparent white musk. Pink berries also provide a soft vermillion blush across Lijiang's milky white cheeks. Luminous, ceremonious and unostentatious, this perfume is as good as osmanthus and white tea gets! A true beauty.

SINGOSARI

Indonesian patchouli is the protagonist of this perfume; a recital of olfactory chiaroscuro where the tropics are speckled with sun and shadows. Singosari is dewy - like a rain-soaked landscape drying swiftly under the equatorial sun. There is a slightly cool, 'minty' quality to the perfume furnished by the patchouli, and this is played off against a clean vetiver background. This perfume doesn't feel too far removed from Tom Ford's White Patchouli in its approach, but a faint huff of spice and incense takes it to another territory, adding a slightly darker layer.

Singosari feels harmonious, sensual and warm.

APULDRE

Fancy a tipple? Apuldre won't disappoint with its armoury of accords from gin juniper, to fermented grapes to absynthe! Perhaps it's no coincidence that Apuldre means 'Appletree' in old Saxon english, because Apuldre's striking green opening notes capture the feeling of rolling hills and open English countryside... it is grassy and sappy, but also boasts a floral / aromatic huff of lavender. In a sense, Apuldre feels both traditional and resolutely contemporary at the same time. A slight hint of cedar wood conjures images and impressions of a damp forest floor.

ROGART

A scent of contradictions, Rogart is both austere and embracing, frigid yet comforting. Taking its inspiration from Canada, Rogart has a lip-smacking maple syrup note at its core, evoking feelings of warmth and comfort. Obversely, elemi, coriander and juniper lend a chilled, "crisp-air" association, and the two qualities lock horns like a pair of mountain stags. The contrast is profound. Fir balsam and a whisper of smoke lends a feeling of familiarity and having "just stepped in from the cold" to a raging fire in the range. Rogart is a unique paradox between opposites with woody, slightly gourmand qualities.

Interestingly, Molton Brown have chosen not to use a rigid perfume classification (EDC, EDT, EDP), for these scents, asserting instead that across this range their perfumes contain an average of 11.6% perfume concentrates. (Personally, I, the author, find most of these on par with a standard EDT or EDP).

The Navigations Through Scent series launches in Harrods this month and widely in the UK from September.

Calé introduce Roboris & Fulgor + Giveaway

2011-07-28T05:57:00.029+02:00

Authors of the Calé Fragranze d'Autore range of eaux de toilettes, Italian perfumers Calé are soon set to release a new duo of perfumes in the line. These will not only compliment Calé's existing portfolio of perfumes, but also usher in a new dilution for the line: Les Concentrés.

Roboris and Fulgor are fragrances with a particularly high perfume concentration... greater than that of eau de parfum. Both were inspired by Director Silvio Levi's experience in the blistering heat in Death Valley, when from out of nowhere, a sudden thunderstorm struck and raging flashflood appeared. The experience left a two-fold mark on his soul: the first immediate, violent and wild, and the other; thoughtful, harmonic and embracing.

Fulgor, created by Maurizio Cerizza & Silvio Levi, channels a sensation of imminent, grandiose unstoppable power ready to burst forth... a violent manifestation of nature in all its bone-chilling glory. Fulgor embodies the relentless desert heat, but the air is also charged with electricity. Deep blue-grey clouds are heavy with rain and a zephyr picks up... a precursor to the impending deluge. Opening notes of fig and green tangerine rush over a warm heart of saffron, magnolia and narcissus - these components lend a 'can't-catch-your-breath' feeling of oppressive heat. Patchouli and incense bring an earthiness to the perfume, whilst two very unique 'graphite' and 'pyrite' accords suggest a sense of dryness, like porous desert stone and sand. If struck together, one would expect sparks to appear and a wink of light.

There are opposing elements at play here... contrasts in humidity and temperature which make Fulgor a very unique and compelling perfume.

For Roboris, Levi teamed up with perfumer Mark Buxton to explore a different aspect of the desert thundershower... a interpretation as much spiritual as it is physical. Levi's narrative details a Native American Indian in a desert highland, giving thanks for the imminent rains... the life source that will ensure renewed growth and prosperity for his family. Roboris is a scent which unifies delicate florals such as jasmin, violet and wisteria with cactus flower, vetiver, sandalwood, tonka and ambergris. It feels much greener in its approach, however a sense of the parched, thirsty land lying underfoot is also very vivid. It is a fragrance which is etherial, in celebration of the Great Mother and all her gifts; but it also remains earthbound. This is a perfume that expresses positive strength and gratitude.

In addition to this brand new fragrance duo, Calé continue to explore concentrated dilutions with the re-release of several of their eaux de toilettes, now in concentrated form. These include: Allegro con Brio, Ozio, Assolo and Brezza di Seta.

Giveaway!

Sorcery of Scent is giving one reader the opportunity to win 2 carded samples of Roboris and Fulgor.

To enter the draw, please leave a comment on this article about which of the two scents appeals to you the most, and also which of the other perfumes in the vast Calé Fragranze d'Autore portfolio that you enjoy or would most like to try.

Please ensure you include an email address on your response or blogger profile as a means to contact you if you're a winner. One winner will be drawn at random and published next week. Good luck!

Andy Tauer - Pentachords

2011-07-21T10:03:00.020+02:00

This year, Swiss Perfumer Andy Tauer has been busy creating a brand new library of scents - scents which urge one to ponder "How many ingredients do you need to use to create a beautiful and distinctive perfume"?

Andy's answer: Five.

His Pentachords perfumes strip away everything that is nonessential, and rely wholly on only 5 components of exceptional quality in each. They are a celebration of minimalism, without compromising beauty and enchantment.

PENTACHORD White

Chords: Violet blossom, Orris root, Bourbon vanilla, Ambergris, Warm wood.

White is a thought-provoking marriage of notes, the sum of which are remarkably true to the perfume's name. Opening with very dry iris and bourbon vanilla at the fore White communicates an interesting contradiction: a clever play between a thirsty, parched orris root, and juicy, lip-smacking vanilla. A very serene violet note sits in contemplation, furnishing the perfume with the idea of a sunny corner of a garden on a crisp fall morning. There is a blanched, almost sun-bleached quality to this scent, thanks in part to its orris and warm rosewood base. For all intents and purposes, White is not a sweet perfume as one might expect - in fact a hint of ambergris lends a slight saltiness to the composition, as well as an overall solar radiance.

Pentachord White is distinctly gender-neutral and an absolute favourite of the author.

PENTACHORD Auburn

Chords: Citrus blossom, Warm cinnamon, Fruity tobacco, Dry amber, Creamy sandalwood.

Auburn opens with a bright orange blossom note which is infused with rich amber and sprinkles of powdered cinnamon. There is a delectable warmth present - a whisper of tempting cinnamon scrolls and honeyed fruitcake. A slight puff of tobacco and the creamy sandalwood base breathes more depth and a sense of coziness to the perfume.

Readers familiar with Gaultier's Gaultier2 may draw parallels between the amber facet in Auburn and the radiant bubblegum/amber quality in Gaultier's 2; which is not necessarily a negative. A scent for both men and women, Pentachord Auburn feels like a stirring autumnal overture.

PENTACHORD Verdant

Chords: Dewy leaves, Suave leather, Brown tobacco, Sweet earth, Vibrant amber.

Every bit as green as the name suggests, Verdant is an olfactory Eden of lush emerald. Its 'dewy leaves' note feels both minty and moderately bitter; this facet dominates the composition right through until the drydown. One can sense an earthiness at hand, as one would if working damp dirt with a trowel in an overgrown green garden. A feeling of warmth permeates through the dewiness, furnished, in part, by the dry brown tobacco and subtle amber notes.

Also suitable for both sexes, Pentachord Verdant is not a 'green' fragrance comparable to "reference" green scents like Chanel's No.19 or Sisley's Eau de Campagne... instead it treads an uncommon path featuring moist, dripping wet greens.

Andy Tauer's Pentachords are available exclusively until September 2011 through Campomarzio in Italy, after which they will be introduced worldwide.

Comme des Garçons + Artek: Standard

2011-07-01T05:15:00.042+02:00

Have your ears ever been flooded with the sound of nothingness? The ear-splitting hum and jet-engine buzz of silence? Indulge me and imagine, if you will, a vast wintery landscape in northern Finland... a place still unspoiled by the invasive tendrils of man, where the sky is fathomless, and the point at which it meets the horizon, vitreous. Nature, in its purest, most undiluted form, has a drone of its own... one you're never truly conscious of until you train your ears to it. It's like the thrum of the refrigerator in the next room. Resolute, cold and unabating. It is in this particular environment that the Nordic nations have flourished for millennia, and indeed one that has influenced their culture, lifestyle and design vernacular.

Artek is a Finnish furniture company that has existed for over 75 years, and one which prides itself on the preservation of conceptual design sensibilities and technical expertise in production. Doing away with frivolous ornamentation, their aesthetic embraces the pure and simplest forms and materials found in nature. In 2009, Artek collaborated with designers/perfumers Comme des Garçons to create Standard; a fragrance whose intent was to remain analogous with Artek's design ideology.

Standard is a unisex scent, packaged in a stone-grey matte glass flacon, which is surprisingly cold to the touch. Although at first glance the bottle perhaps resembles an uninteresting basic building block, it is distinctly Scandinavian in style: straightforward, stark and unadorned. The scent itself is equally as austere, and I think therein lies its beauty. Comme des Garçons are masters of their craft... here they've created a scent that captures the bleak cold of a Scandinavian night; frigid, unpolluted and unrelenting. There are fascinating synthetic accords of metal and corrosion present that speak of Artek's architectural / manufacturing heritage, which are cleverly juxtaposed against components from the natural world. There are crisp lemony / green nuances that are played off against tea leaves, blonde woods and saffron. I feel if there were ever such a thing as 'green frankincense', then it would smell like this.

Standard, though flinty and somewhat unemotional, is a triumph in that it represents the clever marriage of conceptual ideas from both celebrated houses. It embraces the avant garde for which Comme des Garçons are renowned, but also pays hommage to the landscape and aesthetic enjoyed by the Finnish.

Standard lasts approximately 8 hours on my skin, even if applied sparingly. One to be tried.

Olivier Durbano: 2 New Launches for 2011

2011-06-02T09:03:00.024+02:00

Ambassador of eye-popping bijox and otherworldly perfume, Olivier Durbano is set to launch his final scent in a series of seven olfactory "stone poems" inspired by his gemstones.

This September, Durbano will release Citrine, an eau de parfum based on this quartz variety that ranges in colour from pale yellow to deep amber brown. A stone of success and abundance, Citrine promises to follow Olivier Durbano's tradition of creating unique perfumes of uncompromising quality. Whilst one might anticipate a scent based on citrus accords, Mnsr Durbano's ability to delight and surprise will simply keep perfumistas guessing until the end of the European summer.

In the meantime, for those among us who can't wait that long, up for August release is Durbano's very first extrait de parfum. Olivier rectraces his steps and brings the Midas touch to the very first scent in his series, Rock Crystal. Boasting a very generous 40% concentration, Rock Crystal extrait de parfum will be presented in a luxury box and will be released in 30ml size.

Olivier Durbano's six Stone Poems to date comprise of: Rock Crystal, Amethyst, Black Tourmaline, Jade, Turquoise and Pink Quartz.

New Mona di Orio "Les Nombres d'Or": Vétyver, Vanille, Tubéreuse and Oud

2011-05-20T05:18:00.063+02:00

The perfumes launched under the Mona di Orio name are arguably amongst the finest you will ever find. After all, the French perfumer after whom the brand is named was the protégée of master perfumer Edmond Roudnitska. With a stunning portfolio of perfumes already to her credit and an insight into the art of perfume-making that few will ever attain, Mona di Orio is now set to add four new fragrances to her "Les Nombres d'Or" range.

Based on the principle of "the golden ratio"- a precise mathematical formula used by artists for centuries - "Les Nombres d'Or" is a line of perfumes that interpret a single scent, but in a most unconventional way. Cuir, Ambre, and Musc were welcomed to the world stage in 2010; each of them a unique study of raw components used traditionally in perfume. This year, Mona introduces four new scents to the "Les Nombres d'Or" library: Vétyver, Vanille, Tubéreuse and Oud.

Vétyver is a verdantly green scent with zesty ginger and grapefruit in the opening which immediately suggests a vetiver fragrance with solar radiance. It has a lightly aromatic/spiced heart of nutmeg and sage, though these exist chiefly to play off the dustiness of the vetiver and intensify its lovely leafiness. A light musk component brings this perfume a fresh, semi-diaphanous crispness that I find irresistible.

Notes include: Ginger, Grapefruit, Nutmeg, Vetiver Bourbon, Labdanum, Musk, Patchouli, Sage.

Vanille is a very atypical portrayal of a traditional perfume theme. Much like mint, vanilla can prove to be a tricky component to work into a formula without it taking over. Here, Mona di Orio has created a striking blend which paints an exciting abstract portrait of vanilla. It has a delicate composition, opening with bitter orange and petitgrain but with a pale chocolate-brown ribbon of guaiac wood, rum absolute, sandalwood, rooty vetiver, clove and leather meandering beneath. A delectable creaminess comes through with sandalwood, tonka, and the vanilla from Madagascar, but surprisingly, Vanille is not very gourmand in nature. It is elegant and sophisticated. This is unorthodox in style, and an extremely compelling blend.

Notes include: Bitter orange, Rum, Petitgrain, Clove, Vanilla, Guaiac Wood, Vetiver, Sandalwood, Ylang-Ylang, Tonka, Leather, Musk, Amber.

Tubéreuse is a soliflore interpretation which has been done with a great degree of sensitivity. Often known for its polarising effect in perfume, Mona has created this perfume around a tuberose absolute from India. Joyful and well-behaved, this tuberose is blended with spicy pink pepper and sunny bergamot which bring a spirited 'spring-time' vibe to the fragrance. It feels just like the blossoms are turning to face the morning sun as it climbs in the sky. Not a hint of headiness or dirt... but a very fetching floral.

Notes include: Pink pepper, Bergamot, Tuberose absolute, Benzoin, Heliotrope, Cashmeran.

All of these scents are beautiful renderings in perfume, but I am admittedly wholly and completely taken by Oud.

For perfumistas who have never smelled true oud, you're in for both a treat and an education. Forget the M7, the Montales and the tasteless Bond No9's... Mona di Orio's Oud is set to become the yardstick against which all other mainstream and niche 'oud' releases in the western world ought to be measured. Mona dared introduce pure oud to a western perfume, and it is an absolute triumph!

Oud is a beautiful and mysterious fragrance which opens with a brief note of mandarin before the oud is unveiled... it reveals itself much like a rare Arabian treasure might from beneath an ancient magician's blanket. It has an infinitely unique odour profile - one which is both woody and animalic, with deeply earthy, balsamic qualities. Contrary to many perfumes inspired by the middle east (and in particular those using oud), there is surprisingly no rose used in Mona's mix... instead, her oud is flanked by jasmin and osmanthus, all of which diffuse through a deeply resinous opoponax core. The composition is spiritually intoxicating, and one finds themselves drawn into an imagined landscape of full rising desert moons, flickering fires and colourful twirling Dervishes. An ambery, mossy base provides a rich, enduring backbone to the perfume, and ensures well-above average longevity on your skin.

Oud was a perfume Mona di Orio was not entirely enthusiastic about making - I assume in part because of the prolific number of oud releases in recent years. However, her middle-eastern clientele demanded it, and I for one am thrilled that she relented. Mona's sensitive approach to her craft and her unique intuition have once again resulted in a perfume that can easily be measured against the masters.

Jacomo Art Collection: #08

2011-05-18T09:07:00.040+02:00

After 40 years of perfume-making to modest international acclaim, US perfume house Jacomo enjoyed somewhat of a renaissance in 2010 with the launch of their colourful Art Collection series: a trio of perfumes launched to explore an olfactory dialogue between perfume and art. The fragrant threesome have each been assigned a number, and both individually and collectively offer something unique in the Jacomo gallery of scent.

#02 is described as a tactile Oriental Leather Gourmand, and includes notes of bergamot, tonka, vanilla, patchouli and suede. Graphic artist Cecilia Carlstedt drew inspiration for the packaging artwork from her time in New York.

#09 is a colourful Woody/Fruity/Spicy scent with notes of lemon zest, orange pulp, pink pepper, mango, cinnamon, praline and vanilla. Swedish watercolour painter Stina Persson is the artist commissioned for this release.

But of the three, I am particularly fond of #08 - a deeply aromatic eau de parfum that draws its inspiration from the vibrant and colourful cities of Bengal and Madras. Swedish illustrator/artist Daniel Egnéus created the artwork for the packaging which suggests strong links to the east.

#08 surprises with its asian-influenced opening of crisp ginger and black tea, through which a startling and enduring spicy cardamom accord emerges. It instantly speaks of the cuisine of northern India, and resolutely plays a preeminent role for the first 10 - 15 minutes. A milky accord in the heart of the perfume, coupled with warm notes of sweet cinnamon both furnish the perfume with a delicious 'iced chai latte' vibe. But there is abundant colour present too... luminous freesia, golden honey, and dewy fruit pulp all lend a vibrant lip-smacking quality to the scent.

To my nose, #08 is the olfactory equal to the religious Indian Holi Festival held each spring; a celebration in which brilliantly coloured powders and coloured water is hurled between worshippers. It is spirited, colourful, fun, and something in which both men and women can partake.

One would assume that more numerically-assigned fragrances might soon emerge from Jacomo in the Art Collection series. These offerings are rather exciting to explore, and seem to offer a 'niche' fragrance experience on a mainstream budget.

Vintage Tobacco: Chérigan Fleurs de Tabac

2011-05-12T08:13:00.001+02:00

I grew up around old people, and as a child of nine years whose mother worked as a sole charge nurse in a number of aged-care homes, I got to know many of the patients by name. A bespectacled lady called Daisy taught me how to knit, a mute named Sylvia to write with my left hand, and Sam... well, he taught me not to smoke.

Sam terrified me every time he would follow me down a hallway with his emphysemic rattle and persistent wheeze. Gaunt and ashen, he had been a heavy smoker all his life. I would watch my mother dispense his daily allowance of cigarettes (usually three) with his medications after breakfast, but also knew he rolled his own thanks to contraband smuggled in to the resthome by other patients. But that was our little secret.

Right up until the day before I found him lifeless one morning in his bed, I would watch Sam roll his illicit cigarettes and would always indulge if invited to push my nose into his outstretched bag of stringy cured tobacco. It smelled pungent and sweet. Now, some 30 years after Sam's passing, I recall that distinct odour... though not by way of a bag of tobacco.

Chérigan Perfumers is a company for which there is little recorded history in the public arena. It was said to be established in the 1920's in Paris by a Czech immigrant named Ota Polacek whose Champs Elysées address was shared by so many influential perfume houses of that age. In 1929, no less than three perfumes were launched to the house's credit: Mascarades, Chance, and Fleurs de Tabac. Examples of all three perfumes (as well as a number of others released in the 1940's) still exist to this day, though they are found quite infrequently. Fleurs de Tabac is a wonderful example of the European penchant for tobacco-inspired scents in the 20's and 30's, and is the cause of today's vivid recollection from my youth.

It is often Tabac Blond - the masterwork of perfumer Ernest Daltroff and founder of the house of Caron - that is seen as the yardstick against which all other tobacco scents are measured, however Fleurs de Tabac emerges as a strong contender for the ultimate tobacco accolade. Whilst Tabac Blond was primarily marketed to women, Fleurs de Tabac was geared towards men; although it is fair to say that both perfumes seem to have a shared respect and appreciation across both genders.

Fleurs de Tabac is a paradigm of masterful blending. Without any olfactory notes to refer to, I follow my nose and enjoy a brisk citrus opening and am instantly charmed by a dry, smokey vetiver which swells from beneath. There is an 'unaired' mustiness that the vetiver brings and it possesses a certain 'olfactory temperature' that I immediately recognise: Guerlain's illustrious Djedi instantly springs to mind. Star-shaped tobacco flowers and jasmine tippy-toe over generous splinters of cured tobacco leaves, and a spicy warmth spreads laterally across the heart of this perfume. Here is where Fleurs de Tabac and Tabac Blond converge slightly in style (though the former lacks the punchy clove and leather notes that the latter possesses). A rich amber/vanilla base can be felt through a a light haze of smoke, and as the perfume dries down it becomes increasingly fleecy and powdery. A sensual muskiness reveals itself - one that can be likened to the sensation of burying ones face in the plush fur or hide of a magnificent beast. With it's final whispers, Fleurs de Tabac becomes a cas fortuit of carnality.

When coming to know this perfume, it is an important revelation to discover that Ota Polacek opened a second outlet after the store on Champs Elysées was established, and that was in Havana, Cuba. I would speculate that the raw tobacco materials used to create Fleurs de Tabac might well have been sourced (and even distilled) locally, and a retail outlet created to meet the demands of the Cuban contingent. Whatever the case, Fleurs de Tabac is a virtually unknown tobacco perfume which possesses all I love about the Art Deco age.

Although not having made a splash in the industry for decades, it is interesting to note that Chérigan Paris have a basic website, registered through a company in the Netherlands.

Revisiting D&G By Man

2011-04-28T10:13:00.038+02:00

Five or six years have passed since Dolce and Gabbana By Man was withdrawn from sale, but, as is the case with many discontinued scents, it remains highly coveted now several years on. Fetching prices that border on the absurd, in recent years By Man has taken up residence next to Guerlain's Derby and Jean Patou Homme in the Obsolete Men's Fragrance Hall of Fame. Whilst one can only speculate as to why it vanished in the first place, I thought it necessary to revisit this eau de toilette and see for myself if it is indeed all that and a bag of chips.

Launched in 1998 whilst couturiers such as Dolce and Gabbana and Roberto Cavalli were on design safari, drawing their inspiration from animal prints from the natural world, By Man was packaged in a striking zebra print presentation and described as an aromatic woody fragrance. A swift departure from the stinging citrus/pepper composition of its slightly more mature predecessor Dolce & Gabbana Pour Homme, By Man proved a more narcotising bouquet of hushed lavender, warm nutmeg, creamy sandalwood, and soft leather imbued with sensual wisps of ambrox and amber. It was considered seductive and mysterious... qualities which endowed it with a certain sex appeal, and made it an instant favourite amongst men and women alike.

Whilst 'on trend' and rather modern in the late 1990's, By Man's very conspicuous zebra print wrap (now, in 2011) tends to summon thoughts of the Art Deco age - a time where travel to far-flung landscapes such as the Orient and Africa was the norm. Perhaps if there was ever a poster-boy for Dolce and Gabbana's By Man in the 1920's, it would be Rudy Valentino... a man who lived hard and died young, and whom was looked upon as an icon of style and virility. By Man is much like the actor himself; charismatic and appealing. Women want him, and men want to be him... it is an elixir that is both carnally desirable and desperately unattainable in equal measures.

As is the case with other perfume masterpieces such as Le Feu d'Issey, By Man seems to be one of those scents launched well ahead of its time, and sadly suffered for it. In hindsight, I feel By Man now seems to have come of age... it speaks of the past, but in a very fluid, modern vernacular.

Certainly one to add to your collection, if, of course, you can find it.

Zeta Winners

2011-04-07T12:30:00.007+02:00

Congratulations go to our 3 winners of a carded sample of Andy Tauer's new Collectible scent "Zeta". The winners selected at random are:

Abi, AdaPie888 and Effy.

We'll be in contact with you shortly and advise you how you can claim your samples. Thanks to all who commented and joined the draw. More to come soon on Sorcery of Scent!

Dimitri.

PS: Perfumistas in Toronto Canada have the opportunity for an organised meetup next Saturday April 16. Read more here.

Andy Tauer Collectibles: ZETA + Giveaway

2011-04-01T04:59:00.032+02:00

As the southern hemisphere finally shifts away from the sun and into the welcome embrace of autumn, Swiss perfumer Andy Tauer is the chattering bird that ushers in the northern spring with his brand new eau de parfum, 'ζ' ('Zeta'). With it's name borrowed from a letter of the Greek alphabet, Tauer was inspired to call it thus when he glimpsed the tiny blossoms tumbling from the tree... their delicate forms as they zig-zagged to the ground drawing this delightful letter in the air.

A striking new green flacon holds the flourishing elixir of summer: a fragrant hommage to the warmest season of the year. This, the first of Tauer's Collectibles, represents low volume manufacturing, and perfumes with exceptional quality ingredients that shift and change from harvest to harvest. Zeta is an ode to linden blossom - a fragrant flower that embodies the solar warmth and spirit of summer.

A glimmering citrus opening of lemon, bergamot and sweet orange provide a lip-smacking prelude to a compelling floral heart. Where one might expect the citrus tartness to dominate and linger, in actuality, it recedes rather swiftly and invites the blossoming core of ylang ylang, neroli, rose and linden to shift forward. This very tender nucleus gives the whole composition a soft-as-mohair quality... and with a base of creamy vanilla, orris and Mysore sandalwood, it becomes even more fleecy. I easily imagine weightless clouds of lemon-coloured Persian fairy floss dissolving on my tongue, or the sensation of cashmere brushing across my skin.

Zeta has been approached with great sensitivity. It has the hallmarks of a trademark Tauer scent, but also speaks of a new course in Andy's scented studies. Zeta will be available for purchase in 50ml size only, from mid April. Visit the Tauer Perfumes website for more info.

GIVEAWAY

In the meantime, however, Sorcery of Scent is pleased to offer 1 carded sample of Zeta to 3 lucky readers. Just leave a comment to this post and tell us which tree or flower you feel best epitomises the scent of summer. 3 names will be drawn on April 7th, and published here. Please be sure to include a means to contact you, if you are indeed a winner.

Good luck!

The Scented Handkerchief: A call for a Renaissance

2011-03-16T07:52:00.042+01:00

Latterly abandoned for being regarded unhygienic, the handkerchief has fallen from grace in recent decades. Sadly, it has been cast aside in favour of disposable paper tissues; something I find rather wasteful, and in terms of history, something I consider an enormous shame. As I was growing up, my mother would always advise I carry a handkercher on my person... not for blowing my nose, but rather so that I may offer it to a woman in distress if ever needed. I always found a little romance in this suggestion and often wondered if I would ever find myself a protagonist in such a scenario. So, for many years I carried one in my pocket, often to the ridicule of my peers and my own chargrin. As an adolescent, it did enjoy some use though... chiefly as a means to wipe sweat from my brow, or as a tampon for a bloodied nose.

Most likely derived from ancient folk theatre and dance rituals, the handkerchief reached it's heights of popularity in the 16th century when delicate, ornately- decorated squares of silk, cotton, or linen were drawn from the depths of pockets and put on parade, rendering them the essential accessory of the age. Historically, they have been referenced in art and in literature time and again, and have played an important role in perfumery; acting as a textile canvas upon which toilet waters were blotted and sprinkled. These were then more often than not held over one's nose and mouth to veil the stench of the cities before our modern infrastructure had evolved. The scented molecules were easily retained in the absorbent pile, and often lasted longer than when applied directly to skin.

Recently, I received a lovely vintage perfume by post from an elderly gentleman in France... he had wrapped the unboxed pristine flacon carefully in a monogrammed linen handkerchief, which he had scented with a dash of the parfum. Long after the bottle had been opened and admired and the postal packaging tossed away, my house remained redolent with these few drops from a vintage age.

Since then, I have often spritzed linen curtains and opened windows on opposite sides of the house to allow the scent to meander through my home. I have also placed a scented handkerchief in my suitcase when travelling so that my clothes are imbued with perfume when I finally arrive at my destination. The handkerchief - in my eyes at least - is once again proving to be an indispensable item.

So, I call for a renaissance - a return to a bygone consciousness that saw men and women luxuriate in carrying a 'kercheif sprinkled with their fragrance du jour.

If plaid cotton or linen and lace are not your 'bag', you might be pleased to know there are many modern alternatives available, such as these quirky printed silk handkerchiefs with vintage wash pictured below, available from All Saints.

To close, you might be wondering if my mother's advice was sound, and if I ever did get to offer my handkerchief to a weeping woman... well, I'm pleased to say I did. On my wedding day in 1999, mother presented me with a monogrammed handkerchief that she had bought for the occasion; one that was later passed to my new bride to collect her tears of happiness.

The changing face of Guerlain 'Muguet'

2011-03-05T07:32:00.009+01:00

Jacques Guerlain's celebrated soliflore Muguet was first introduced in 1908, and was kept in production until 1960 before it completely disappeared from sale. Fortunately though, this crisp green floral perfume has enjoyed a renaissance, when in 1999, Guerlain decided to release it again as a limited re-edition in hand-numbered bottles. Since then, every year on May the 1st, Muguet makes a special appearance in Guerlain boutiques the world over, offered for sale in a unique flacon and presentation for one day only; making it a coveted collector's showpiece.

Early 20th century presentations have included the "Flacon Fleuri" with white ribbon in both ribbed and smooth glass editions, the iconic Louis XVI flacon, and the charming 7.5ml "Parapluie" flacon of parfum extrait.

Modern re-editions have revisited the ribbed flacon fleuri and quadrilobe presentations.

Muguet's annual release represents a perfume overture, ushering in the European springtime. Its formula is tweaked ever-so-slightly each year, but the Lily of the Valley bouquet still features prominently. Muguet is soft, floral, slightly soapy, and verdantly green. Its luxurious and refreshing floral facets include cart-wheeling jasmine and rose. Muguet cannot be overlooked by lovers of Lily of the Valley perfumes, nor collectors of exceptional perfume presentations.

This year, the 2011 edition (pictured at top) will be offered in Guerlain boutiques only, as a 125ml eau de parfum, and at a price of 400 euros.

Sorcery of Scent Interview with Olivier Durbano

2011-01-30T04:23:00.017+01:00

In September 2009, I had the pleasure of meeting with jeweller/perfumer Olivier Durbano in his home atelier in Paris' Marais. Below is my interview, published in Issue #2 of Basenotes Magazine in 2010.

OLIVIER DURBANO : Architect of Stones

For a number of days now, I have felt unimaginative and overwhelmed. As I power up my iMac again - fingers strumming impatiently on my desk whilst waiting for the spiralling pixels on the screen to cease and the interface to load - I imagine the substantial task ahead of me. I double-click the file on my desktop named Olivier Durbano Visit and it opens on command. My eyes instantly narrow to thin slits as the brilliant white of the document causes my pupils to contract. The cursor flashes with a sense of urgency in the top left corner of the page. Still empty. My eyes drag around the room and across my cluttered desk, looking for welcome distractions. Quick facebook check. A rummage in my pen-jar. At the back of my mind, I wonder how I can cohesively recount my extraordinary experience in Paris with this man whom I have come to admire. I shuffle some papers around and reveal two highly polished fluorite cabochons on my desktop. I take one and close my hand around it. It is extremely cold, but not unpleasantly so. Regarded as a semi-precious stone which metaphysically encourages a sense of heightened concentration and objectivity; I sit for a moment hoping for my analytical abilities to sharpen. The second stone, I lift between my thumb and forefinger, and hold it up to the light. I look into its dark purple and emerald green heart to see if I can find my inspiration there. For just a second, I step outside of myself, and imagine what I might look like to a passing bystander. It suddenly dawns on me that I am engaging in an ancient practice that has diffused down through the millennia. For thousands of years mankind has been enchanted with semi-precious stones for their value both physical and esoteric. I set the cabochons down carefully in front of my keyboard and start typing; confident that they will inspire me as they have the man who has devoted his life to harnessing the essence of stone through both his jewellery and his perfume: Olivier Durbano.

When I first arrive outside the Parisian home of Olivier Durbano, I discover the double-doored buildings along the Rue des Francs Bourgeois conceal delightful 17th century cobbled courtyards and lush gardens. I am struck by a sense of whimsy and feel I am glimpsing at a piece of Paris that existed long ago. Monsieur Durbano emerges from a door off to my left and, with a broad smile, invites me to his home atelier on the first floor. Entering his studio, I am immediately conscious of the scent of Omani frankincense burning from a concealed censer. I stand for a moment, admiring the centuries-old exposed wooden beams across the ceiling and quaint paned windows which frame charming vistas across the central courtyard. The apartment is tastefully decorated with exotic artefacts that Olivier has collected from his travels - objects that speak their own cultural or historical narrative.

As I remove my coat and am ushered to a comfortable sofa, Monsieur Durbano asks if I would care for some champagne. I agree, and he exits the room, leaving me under the anonymous gaze of an audience of mannequins whose necks are decorated with semi-precious stones. I admire the heavy baubles of amethyst, jasper, carnelian and jade, and pour over several tiered wooden trays laiden with jewels. Daisy-chains of polished gems are delicately strung amongst raw minerals that look as though they have just been struck from the earth... the contrast of shapes and textures just beg that they be held. I extend a hand, but withdraw it immediately as Olivier returns with champagne and canapés. He sits opposite me on the foot of his bed and I thank him for granting me the opportunity to visit him in his personal space. He smiles broadly, knitting his hands together over his knee and explains "Non! This is also my workspace. It is only natural we meet here!"

Olivier, I find fresh-faced and excited, having just returned from the Pitti Fragranze expo in Florence, Italy.

"I spent many days hanging out with Andy Tauer and Mona d'Orio. We had much fun, just like school children", he says, throwing is head back and roaring with laughter. The more we speak, the more I observe this genuine boyish charm emerge.

"It was a very friendly atmosphere, and totally non-competitive" he adds. "These forums are very new but also very important to me", he says, "it is always a good idea to stay on top of what is happening in the industry".

I respond by telling him I've heard that the perfume industry is only really 25% about perfume, and he bellows with laughter again.

"This is true, this is true", he agrees, cradling his champagne flute with both hands. "In this industry...", he adds, "...there is a high road and a low road with how you can deal with things. Where many may choose to take the low road, I will always take the high one".

I feel he is sincere.

The conversation shifts to his jewellery - the inspiration behind his perfume.

"Stones have always been in my life" he says. "My parents told me that my very first childhood tantrum occurred when I was 5 years old when I saw a stone that I wanted. It is not a special stone, but I liked it, and I went crazy", he says, a little embarrassed.

"I have kept it all these years", he adds, reaching beside his bed to retrieve a grapefruit-sized grey rock. He places it in my hand and it is heavy, ordinary, and aside from a few twinkling facets, rather uninteresting. I am impressed that he has carried it with him through the years, and it is still awarded pride-of-place amongst his far more attractive treasures.

"When I was returning from the expo in Italy, I experienced big problems with customs. My pockets and bags were full of my precious stones, and I was stopped and asked: 'Do you have minerals?'. When they saw what I was carrying, they threatened to confiscate them all, and I had tears streaming down my cheeks". Olivier draws an invisible arc under each eye with two index fingers. "I am fortunate they let me take them".

I am beginning to get a good sense of precisely how passionate Olivier is about his craft.

Olivier Durbano creates jewellery for international customers - many are one-off pieces for clients in far-flung locales like Saudi Arabia. When I ask where he sources his stones from, I see his eyes drift beyond me, as though he were looking straight through the wall behind me and off into time and space.

"The earth is made of stone. Stones are everywhere. I mix a lot of sources from around the world. Sometimes I can see something special in a raw piece of stone, otherwise I design the cut of each stone, and have it fashioned. When I can see I have collected all the stones I need for a piece, I create the unique necklace in my quiet place here in Paris. I start with a pile of gems and, like an artist, compose a picture, taking into account each stone's colour, shape and size. This time of creation should be a very special moment to reflect on love and creating a thing of beauty."

We talk for a while about how he goes about recognising all the physical and spiritual attributes of a stone, and translates them into perfume.

"It is like a story; a movie in my mind. A lot of sensations, emotions and travels come from our dreams. Perfume is a translation of these. I work with a chemist and it is a very special collaboration. We learn together to search for the best way in which we can open the doors to the universe of imagination. There must be a good harmony between chemistry and creation".

My eyes fall upon the tidy display of his perfume creations by his bureau - each bottle is accompanied by a short printed blurb, and displayed alongside the corresponding gemstone that served as the inspiration for each scent. I lift Améthyste in my hands and see three genuine amethyst beads suspended in the juice. As I turn the flacon in my hands, listening to the satisfying tinkle of the mauve orbs against the glass, I wonder if the liquid has imbued the stones with perfume, or, if indeed the perfume has been released by the stones.

"Which stone will be featured as your sixth perfume?", I ask rather cheekily, knowing very well that his fifth launch Turquoise has really only just hit retailer's shelves.

Olivier's immediate response catches me off guard. "Why, rose quartz of course".

I turn on my heel sharply to face him, my eyes ballooning in size. I had somehow expected I would not get an answer, but am astonished at his matter-of-fact reply.

"For a long time, I have thought about the creation of a perfume focused on the legend and symbolism of pink quartz; in fact, since the first step of the collection. I don't know when I will launch this perfume because I like to work step by step. I take my time to find the real fragrance which will be exactly like the fragrance I have created in my mind. I don't like to rush... it is like a meeting between ideas and events. I've begun to write a lot of things down, and have begun to mix some ingredients".

When I ask if one can safely assume it will be a rose-based scent, Olivier smiles and his dark brown eyes glitter like one of his polished agate cabochons.

"You can safely assume it will be a very interesting and unexpected interpretation", he says, and reveals no more.

Olivier's fragrances have always been intended to be worn as one might wear a talisman around the neck. His collection of five scents to date appeal to me as an entire perfume wardrobe in itself - there appears to be something for any and every occasion.

"At Pitti in Florence, I wore Black Tourmaline", he confesses. "I am sometimes a shy person by nature and occasionally feel overwhelmed in rooms full of people. I had to speak with groups of industry people; the marketers and the bloggers, so I felt Black Tourmaline best in this situation. It is a stone of protection".

It fascinates me that Olivier chose to wear this perfume to empower himself in such a challenging environment, but am not at all surprised that his choices and motivations are far from arbitrary. I get a sense that every aspect of his craft is systematic, and that he relies heavily on his intuition and inner sense of what is good and honest and true. He dares to dream, and in doing so, affirms his aspirations and makes them tangible.

"I dream of opening a retreat", he says, "one with rooms associated with my stones... for example, an amethyst room, decorated accordingly and filled with stones and my Améthyste perfume".

I observe for a moment the environment in which I find myself... there is a zen-like calm in his atelier that can be attributed to the modest lighting, the hand-turned wooden bowls filled with incense, the exotic statuettes residing in shadowy corners, and dishes brimming with shells and coral-root collected from the shore. If such a retreat were to become a reality - and I don't doubt that one day it will - Olivier will most certainly leave his sophisticated fingerprint all over it. I tell him I love the idea. He willingly admits that he is not driven or motivated by money, and would just a much like to create such a retreat for his own personal pleasure as he would for others. When I also mention the extremely limited distribution of his perfumes (limited to only a handful of retailers internationally) Olivier reaffirms that the quality of his distribution wins out over the fiscal rewards of having his brand on every street corner.

"I am always open to doing business with like-minded people. I will rarely go out and search for new avenues of distribution... rather, I wait until I am approached because this way I know they are perhaps more sincere about my product and my vision. I like to build a very special rapport with my distributors."

As much as I turn it over in my head, I can't fault his professional outlook and willingness to answer to his inner voice only. He is a man who places great importance on remaining true to ones own self.

Something tells me Olivier Durbano enjoys his anonymity behind the facade of Rue des Francs Bourgeois. He wakes by 8am, drinks his morning coffee whilst looking over his email, and then sits with a pile of stones and begins to construct an ornamental neckpiece with all the deliberation and precision of a professional architect. His studio space is a direct reflection of the road he has travelled, and the road he continues to explore.

As our time together draws to an end, I fill my eyes one last time with prickling light as the halogens in the room pick out twinkling facets of stone. I feel as if his gems are winking at me and bidding me good bye. Olivier presents me with a lovely parting gift - a matte black box filled with enchanting 10ml miniatures of all his scents to date. I re-tie the beautiful monogrammed ribbon and cushion the gift in my hands. Despite this being an extremely generous gesture, I leave Olivier's atelier feeling as if the greatest treasure I received was the time I spent in his company. I cross the courtyard and push through the heavy double doors and lose myself in the bustling throng of the Marais.

www.olivierdurbano.com

www.olivierdurbano-store.com

Reproduced with kind permission of Basenotes.net.

Christos Man & Christos Woman by Christopher Chronis

2011-01-26T08:17:00.055+01:00

Three years ago I wrote this blog on the perfumes of renowned Greek-Australian fashion designer Christopher Chronis. Back then, I was waxing lyrical about the epic male and female fragrance release that stormed Australia bearing his name: Christos Man and Christos Woman, albeit my recollections were seen through the foggy smokescreen of time. Today however, I revisit these perfumes with a bottle of each scent in my hands.

I have been both shocked and surprised at the number of emails I have received over the last few years about this perfumed pair, and hence feel it time for an expanded review.

From his beginnings in 1984, Christopher Chronis sought to open doors to providing his customers with a total sensory experience. This he achieved with the quality of materials chosen for his fashion, and also by producing a men's and women's fragrance that stimulates the seductive, sexual and alluring quality in both sexes. When French fragrance house Dragoco accepted the challenge of producing both Christos perfumes and asked of him "what do you want from a fragrance?", Christopher gave one simple answer:

"When I smell Christos Woman on a woman I want it to make me want to eat her, and conversely, when a woman catches the scent of Christos Man on a man, I want her to eat him".

Following the philosophy that suggests humankind's primordial desires involve food and sex, Christopher and Dragoco set out to produce a product that would appeal to a niche market that craved a perfume that was exceptionally unique in all regards.

The Bottle

Perhaps one of the most striking flacons created in recent times, Christopher envisaged a bottle that captured his imagination and represented his name ("Christos", a diminutive of 'Christopher', also loosely translates to "Christ" in Greek), and thus his violet crucifix flacon was born! French glassmakers Pochet et du Corval baulked at the design initially, claiming that the technical difficulties of producing such a shape would require glass-blowing techniques that French had never encountered. Pochet et du Corval had never blown glass both horizontally and vertically to achieve even glass distribution. The French however, took on the challenge, knowing that the finished result would produce a bottle that was both exquisite and exceptional in form.

The Fragrances

Christos Woman: This scent is classed as a Woody Fruity Oriental and has a unique development from top to bottom. It opens with a lush, lip-smacking rush of green leaves, grapefruit, dewfruit and ripe, juicy blackcurrant... a bushel of moist fruits that are dripping with carnal allure. There is also a small sprinkling of cardamom which lends a slightly organic, musky edge. This juicy opening urges you to push deeper where a sensual, complex floral heart awaits. The scent evolves and suddenly it is though you step over the threshold into a boudoir of blossoms. Freesia, violet and rose permeate through the perfume over jasmine and neroli... there is even an unusual ozone accord which lends a sense of open space amongst the stirring florals. Then, for the second time in its development, Christos Woman takes another unexpected turn... one towards an oriental base of amber, cedar and sandalwood, tonka bean, musk and vanilla... the lasting trail being totally and utterly appetising, and devilishly arousing. Christos Woman certainly reflects Christopher's wishes that the fragrance should make the person wearing it edible. I'm in line for a second helping!

Christos Man: Christopher's approach to the men's perfume is equally as inspired. It uses a variety of components from the women's fragrance to act as a red thread that connect the two. Classed a Woody Oriental, Christos Man opens with a squirt of zesty tangerine... it is thick and pulpy, and one can imagine it spilling down ones chin... it shimmers over a scattering of green leaves and succulent dewfruit and is supported by a familiar mildly-musky foundation of cardamom. At its heart, Christos Man explores traditional facets of lavender and rose, though the transition between top and heart notes is perhaps more gradual than Christos Woman. The progressive evolution sees a familiar oriental base emerge of Sandalwood, cedar, tonka, amber and vanilla. There is a very "fleshy" feel to Christos Man... perhaps a nod to the pulpy forbidden fruits of Eden that beckon and cajole. Christopher is confident - as am I - that Christos Man fills the night with sensual, palatable promise.

A complementary body product line was produced in support of the Christos fragrances... ones that celebrate the private and sensual rituals of bathing and moisturising.

Now we've explored these perfumes in greater depth, I have some bad news... the Christos scents have not been in commercial distribution for over 10 years, and are next to impossible to source. Whilst a small amount of Christos Woman continues to be found here and there, Christos Man has sold out on a national and international scale.

City Shopping Feature: Belgium: Haute Parfumerie Place Vendôme

2011-01-16T10:58:00.056+01:00

Perfume enthusiasts visiting Belgium would do well to travel beyond the capital, approximately 80km due west to the town of Wevelgem, a small city situated just a stone's throw from the French border. In this municipality of around 32,000 inhabitants, a sparkling jewel exists to tempt and titillate the noses of all those whom step through its doors. That is Haute Parfumerie Place Vendôme.

Haute Parfumerie Place Vendôme is an inviting retreat that was created by owner David Depuydt almost 20 years ago, thanks, in part, to his love of perfume and cosmetics. Today, the lavish surroundings and exceptional interiors rival some of the most opulent and sophisticated perfumeries in Paris. David wanted to take the idea of shopping for perfume back to its roots; establishing a space of unsurpassed luxury and stocking it with exclusive products of exceptional character.

With an ever-expanding inventory of select high-end products, Place Vendôme offers consumers an unequalled shopping experience. Only 18 months ago, Place Vendôme became the very first Guerlain boutique to be owned by an independent entrepreneur. Their highly desirable range of Guerlain products include the premiere "Les Exclusifs" line with perfumes ranging from just a few hundred euros to tens of thousands of euros. In addition to a very extensive Guerlain portfolio, Place Vendôme are retailers of the Les Heures De Parfum line by Cartier, Amouage parfums and attars, Chanel, Annick Goutal, Montale, Parfum D'Empire, Parfums de Rosine and Hermés.

Besides perfume, Place Vendôme stocks a wealth of skincare and cosmetics by Guerlain, Chanel, Menard, La Prairie, Annayake, Clarins, Pure Altitude and hair products by Marlies Möller.

It is important to note that the VIP treatment is not only reserved for the well-heeled... David Depuydt has assembled a stellar team of professional perfume, make up and cosmetic consultants, all of whom believe that everyone who walks through the doors deserves 5-star service. Steven Verstraete, Daphne Vinckier, and Marius Flintoaca will ensure David's vision of exceptional customer service and unparalleled luxury are realised. David Depuydt and Place Vendôme have been featured in both print and television media as one of the top luxury destinations for exclusive perfume and cosmetic needs.

So readers, are we feeling a little geographically isolated? Well, there is some good news for those who feel a trip to Belgium is not likely to be on the cards any time soon. Haute Parfumerie Place Vendôme offers a very thorough and reliable mail order service. Having shopped with them over the internet, I have been delighted with their extraordinary service, depth of knowledge and swift processing of sales. Their unwavering patience and tireless efforts are a rare and special attribute. I would strongly encourage readers to email or visit this perfumed palace of luxury and lavishness.

Haute Parfumerie Place Vendôme

Menenstraat 2

8560 Wevelgem

Belgium

Telephone: + 32 5641 2468

Email: placevendome@telenet.be

www.placevendome.be

XerJoff Second Chance

2011-01-13T10:58:00.007+01:00

Following the success of our recent XerJoff giveaway, the good folk at XerJoff Italy are delighted to offer 10 additional Sorcery of Scent readers two (2) samples each of their choice from the XerJoff perfume portfolio!

We've just selected 10 names at random to receive these prizes from the original competition prize-pool!

The winners are:

Simmo

olfactoriastravels

Hali

MJRose

Pour_Monsieur

WillC

CALERO

wolfrb

Le Grand Duc

Plowtrainstan

These readers will be contacted privately by email or PM with details on how their samples can be claimed. You can choose any two different samples from the XJ 17/17, Casamorati or Shooting Stars collections.

Congratulations once again!

XERJOFF: Competition winners announced!

2011-01-08T00:39:00.008+01:00

Luxury seldom comes knocking at your door, however this week Sorcery of Scent was honoured to host a giveaway of epic proportions as sumptuous scent kingpins XerJoff offered lavish prizes to our dedicated readers.

XerJoff Director Sergio Momo and Sorcery of Scent are delighted with the response to the competition and are elated to award prizes to the following entrants, selected at random:

First Prize Winner of a 50ml bottle of their choice from either the Casamorati 1888 or XerJoff Shooting Stars collections: Diamondflame

Second Prize Winner of a Deluxe Discovery Set of their choice: Adapie888

Third Prize Winner of a set of XerJoff samples: Shadesofbleu

Our warm congratulations to the winners! You will be contacted shortly with more details!

Thanks to all those who entered but missed out this time - but don't despair - Sorcery of Scent will be hosting more giveaways in 2011. Become a follower of this page or subscribe to receive SoS posts by email, and be amongst the very first to learn of new contests and offers!

Happy Days!

Discover XerJoff & Your EXCLUSIVE chance to WIN!

2011-01-03T03:54:00.048+01:00

Italian creators of luxury perfumes XerJoff will launch a stunning new series of deluxe fragrance discovery sets later this month. Voted "Best Emerging Luxury Brand" in the Sorcery of Scent 2010 Roundup , XerJoff have been in the business of making exquisite perfumes and flacons for several years now and have select distribution in Italy, UK, the USA, France and Russia. Their quality materials and meticulous attention to detail has resulted in 3 lavish fragrance lines to date: XJ 17/17, XJ Shooting Stars, and the XJ Casamorati 1888 heritage line.

The new Discovery sets will include all the perfumes from each collection in generous travel-sized atomisers. XJ 17/17 will contain 6 x 13ml atomisers including XerJoff Homme, XerJoff Elle, XXY, Irisss, Damarose and Richwood.

The XJ Shooting Stars collection - inspired by a meteor shower over Siberia in 1947 - comprises two individual discovery sets: the first containing 6 x 15ml bottles including Ibitra, Shingl, Esquel, Dhajala, Lua and Oesel, and the second: 6 x 15ml atomisers of Dhofar, Modoc, Uden, Oroville, Nio and Kobe.

The Casamorati 1888 Vintage Collection contains 4 x 13ml of perfume, comprising: Fiore d'Ulivo, Mefisto, Bouquet Ideale and Fiero. This quartet has been inspired by the glamourous fragrance houses of Italy founded in the 18th and 19th centuries and explores the artistic preservation of perfumes from that era. Check out Sorcery of Scent's review of Fiore d'Ulivo here.

So, if you've no time for the self-appreciating austerity of Creed and don't care for the faux affluence that is Bond No.9, you will find XerJoff are swiftly storming the international luxury market not only with their stunning perfume presentations, but also with their down-to-earth, accessible approach to doing business.

These discovery sets will be available for purchase online from mid-January at the XerJoff online boutique. XJ 17/17 will retail for €255, The Shooting Stars collections for €160 each, and the Casamorati Vintage line for €140.

Visit www.xerjoff.com for more information.

YOUR CHANCE TO WIN!

Sergio Momo, Director of XerJoff International is spreading some New Years joy and awarding three lucky Sorcery of Scent readers with an exquisite XerJoff prize to see in the new year!

First Prize: A 50ml bottle of your choice from the Shooting Stars or Casamorati collections.

Second Prize: A Shooting Stars or Casamorati Discovery Set of your choice.

EDITED JAN 5th: Due to the overwhelming interest in this competition, the second Discovery Set prize has been amended to also include the XJ 17/17 collection.

Third Prize: A set of XerJoff samples.

To win, just leave a comment under this post and tell me which XerJoff creation appeals to you the most and why you would like to own it. Be sure to leave a means to contact you on your post, or blogger profile page so you can be notified if you've won. Incomplete entries will be considered void. The winners names will be drawn at random by a third party, and names will be published on Sorcery of Scent on Saturday January 8th. Prizes will be sent directly from XerJoff in Italy to the winners nominated addresses.

Best of luck, and a very Happy New Year to you all!

Dimitri

New Year Blogging Event: 2010 In Review

2010-12-30T10:57:00.001+01:00

This year Sorcery of Scent is pleased to be a part of the 2010 End-of-Year blogging event in which 14 avid blogs revisit the year that was and hand out gold stars for the scents that impressed, and red crosses for those that failed to come close.

(Be sure to visit the full list of participating perfume blogs at the bottom of this post).

Here are my picks for 2010...

Most desirable Flacon of the Year: L'Abeille de Guerlain

Yes, it costs an arm and a leg, but who can argue that the spectacular bee-shaped Baccarat crystal flacon limited to only 47 pieces worldwide isn't just the bees knees? Je l'adore!

Niche Perfume of the Year - Womens: Fleur Nocturne - Isabey

Honouring their rich heritage well into the 21st century, Isabey have epitomised ageless charm and timeless sophistication with this lavish spin on their early 19th century classic 'Bleu de Chine'.

Niche Perfume of the Year - Mens: Cuir - Mona di Orio

Effectively a unisex release, Mona di Orio's Cuir is a brawny, balsamic take on leather which is sensuous, bold and commanding. Its woody, smokey quality makes for a resolutely rugged scent with animalic undertones.

Niche Perfume of the Year - Unisex: Pink Quartz - Olivier Durbano

Durbano's inspired spicy chypre Pink Quartz appeals to both men and women... its delicate rose heart is piquant with fragrant saffron and Somali oliban. It had tongues wagging all over Esxence.

Runner Up: Opus III - Amouage

Designer Perfume of the Year - Womens: Idylle EDT - Guerlain

Thierry Wasser's new eau de toilette version of 2009's Guerlain release Idylle is a gorgeous floral focusing on the Bulgarian rose facets of the original. Spirited, lively, sexy. A winner in my book.

Designer Perfume of the Year - Mens: 10th Anniversary Fragrance - John Varvatos

Citrus, cinnamon, precious woods and leather seen through a swirling incense smokescreen make JV's 10th Anniversary Fragrance an assertive and powerful mainstream release. As a 2010 limited edition, get it before its gone.

Designer Perfume of the Year - Unisex: Wonderwood - Comme des Garcons

Quirky yet classy, Wonderwood crammed every possible wood accord into one bottle, and still managed to create something understated, sophisticated, and very avante garde. Two thumbs up!

Best Reformulation of the Year: Onda EDP - Vero Profumo

The lavish old-world atmosphere of Onda extrait has not been lost in this brand new eau de parfum incarnation. In 2010, Vero Kern tweaked the topnotes in the EDP to add more infinite depth and character. 10/10!

Worst Reformulation of the Year: Opium - Yves Saint Laurent

Booooo! Hisssss! L'Oreal have destroyed an old classic. Not only does the new flacon look cheap and tupperware-like, the new Opium formula is now a sad shadow of its former self. Yves must be turning in his grave. Unforgivable!

Best Emerging Luxury Brand: XerJoff

XerJoff went from strength to strength in 2010 as they expanded their portfolio of exceptionally crafted fine fragrances. Superb craftsmanship, quality materials and meticulous attention to detail have catapulted them into the stratosphere.

On a personal Note...

This year I had the pleasure of truly discovering the house of Guerlain. It has been an infinitely rewarding experience, and one that I feel will be ongoing.

On the whole I probably spent much more money than I should have, and much more time on the internet than perhaps my family might have liked; but as Sorcery of Scent steps over the threshold and into its 4th year, I would like to thank YOU - the reader - for your valued readership, contributions, comments and support. You make what I do worth the effort and the time spent in this noisy swivel-chair!

Happy New Year! Many rewards and blessings be with you in 2011.

Dimitri.

Check out the other participating blogs by clicking on the following links:

I Smell Therefore I Am, Scent Hive, The Non Blonde, Smelly Blog, Roxana Illuminated Perfume, DSH Notebook, EauMG, A Rose Beyond the Thames, All I Am A Redhead, Schreibman's Live, Portland Fragrance Examiner, CaFleureBon, Persolaise

5 Rare Guerlains in 5 Days (Part 2) - Day V: Guerlinade

2010-12-30T01:06:00.045+01:00

In 1998, celebrating their 170th year in perfume, Guerlain re-launched Guerlinade; a Jean Paul Guerlain creation based loosely on the original perfume of the same name created in 1922 by his grandfather Jacques.

Traditionally, the name Guerlinade has become well known as the house accord or "red thread" that ties many Guerlain creations together - a series of notes (vanilla, jasmine, iris and rose) that are used in numerous Guerlain perfumes that serve as the house's own uniquely recognisable fingerprint. Jean Paul's interpretation however, does not follow the same olfactory trajectory. Rather, it is a celebration of flowers that uses a handful of the original components, as well as an abundance of others.

First of all, Guerlinade has a striking opening of bergamot (reportedly Calabrian) over rich florals. The florals are rather dense, and thus the bergamot is lost a little - really only furnishing the perfume with a crispness upon its initial application. Next, one of the featuring notes - and indeed one introduced for the first time by Jean Paul - is lilac. Bushels and bushels of the stuff! Anyone who has ever lifted the tiny star-shaped florets to their nose will instantly appreciate their use here... their perfume is assertive and almost spicy. There is also a feeling of 'rubberiness' that I glean from flowers such as lilac and hyacinth, and that aspect is also at hand in Guerlinade. Here, the lilacs are endearing and sympathetic, suggesting a slightly damp, sun-speckled morning in the springtime.

Perhaps following the traditional Guerlinade formula more closely, I detect an ample use of jasmine and rose, though the latter is possibly used less liberally than one might expect. (The rose facet is blended well, but used more as a supportive strut to underpin the more spirituous florals). There is a dry iris accord that works well, running parallel to a creamy tonka / vanilla base. The vanilla (supposedly sourced from the East-African island of Mayotte), lingers on the skin, carrying the delicious lilac through well into the drydown.

The beautiful Baccarat flacon created by Robert Granai for this 1998 edition was based on the design of a bronze Nepalese vase used in wedding ceremonies. Granai recognised the draped glass contours as being exquisitely feminine.

Guerlinade is an attractive floral oriental that is both sensual and captivating. Whilst it is not the exact same perfume as has been traditionally used to distinguish a Guerlain creation from that of another house, it is very Guerlain in its approach and appeal; an often-overlooked gem. Guerlinade has since been re-released in 2002 for a short time, and again in the Les Parisiennes lineup in 2005 (also now discontinued).

Get it while you can.

5 Rare Guerlains in 5 Days (Part 2) - Day IV: Ode

2010-12-29T02:33:00.050+01:00

It is no coincidence that the last perfume ever created by Jacques Guerlain was called "Ode", as it represented an olfactory milestone in his career; the final perfume poem in his body of work which spanned 65 years. It also marked the very first efforts of his then 18-year old grandson Jean Paul Guerlain who was set to ascend to the throne at 68 Champs Élysées.

Ode also marked a turning point in the style of perfume that was to emerge from the house of Guerlain in the decades to come. Jacques Guerlain's somewhat sombre, mature creations launched between the two world wars were soon to replaced with arguably more spirited, dynamic works of art under an enthusiastic young Jean Paul's direction.

I find the contrast in Ode's advertising noteworthy too. In one regard, the advertising almost has a funerary feel... an ashen harp-playing cherub is depicted perhaps mourning the end of an era; whilst in striking contrast, Ode is portrayed as being energetic and new-fangled against violet hues and bushels of verdant green. This visual inconsistency illustrates a perfume perhaps standing at the crossroads of tradition and modernity... one whose purpose was maybe to appeal to an existing, more mature market, whilst at the same time, was establishing a brand new one.

Ode is a bright floral perfume with one foot planted in the past, and one foot planted in the future. In 2010, we can now review all the Guerlain creations of the 20th century, and I can see where Ode embraced classic perfume styles with its use of aldehydes, jasmine and rose, but also gives us a taste of things to come... I sense a prelude of other Jean Paul Guerlain prefumes sitting just over the horizon: the likes of Chant d'Arômes, Parure and Nahema.

Ode is a rich floral that has been likened to Jean Patou's Joy, though I personally don't feel it bares much of a resemblance. Indeed, it does focus on jasmine and velvety rose, but Ode is pregnant with other surprises... I glean a very green accord lying beneath the floral fanfare in the opening spritz... a crisp green/floral accord much like muguet. This brisk virescent facet synchronises well with the aldehydes and lends a dry piquancy to the perfume. There is a slightly dirty facet too which I would attribute to tuberose... a fleeting sensation of carnal liveliness. My nose also struggles to pinpoint the cause of a rather transitory but delightful 'rubbery' facet... perhaps there is a whisper of hyacinth unfurling within. Some time later, the rose/jasmine duo recede a little whilst the aldehydes turn to powder, and a creamy vanilla base becomes apparent... there is a hint of muskiness in the base that shifts the honeyed nature of the vanilla in a more libidinous direction.

To my mind, Jacques and Jean Paul not only intended Ode to memorialise the efforts of a perfume master and mark the inauguration of a new perfume nose, but also to act as an olfactory aria to femininity itself. Now lost to time (despite ongoing rumours of a possible resurrection), Ode remains the one perfume collaboration between two perfume greats; a moving and impassioned marriage of ideas, and - of course - ages.

5 Rare Guerlains in 5 Days (Part 2) - Day III: Véga (Vintage)

2010-12-28T05:32:00.036+01:00

Few know that Jacques Guerlain had a significant interest in astronomy, and that he frequently pored over published dissertations on the subject. It is no surprise then, that in 1936 he came to draw inspiration from the 5th brightest star in the night sky, and one that has been referenced in ancient mythology for millennia: Véga.

Originally released in the iconic Baccarat "inkwell" flacon, Véga typified the new and innovative perfume stylings of the Art Deco age. Only 15 years earlier, Coco Chanel had released her aldehydic beast Chanel No.5 onto the world stage to great acclaim, which resulted in a mass tendency towards the use of aldehydes in perfumery. In answer to Chanel's ground-breaking creation, Jacques Guerlain released the aldehyde-rich luminous floral Liu in 1927, and revisited the aldehydic theme in Véga; though this time with a masterfully measured hand. Véga presented aldehydes in a vastly different manner - somehow scattered and diminished - as if the scent itself, much like starlight, had travelled for millennia across space and time.

Véga has all the markers of a classic aldehydic perfume but for one thing: a generous dose of vanilla. It opens with a sharp floral crispness that rushes to dry the back of the nose... bright neroli and ylang ylang accompany strong aldehydes through the topnotes, but a denser velvety heart of rose rests just under the surface. This strokeable rose accord harmonises with the powdery aspect of the aldehydes, and the whole heart of the perfume suddenly becomes very tactile. A dewy, thick vanilla note materialises, and adds a feeling of creamy, ambery warmth. This is where I feel Véga and other classic floral aldehydes diverge in style... it feels as if with Jacques Guerlain's interpretation, he has shifted the radio transmission a little 'off' to receive signals through a screen of white noise and static. The white/yellow florals are still there, but seem to be flourishing under a cream-coloured blanket of cashmere-soft vanilla. There is a lingering trail of subtle woods in the drydown: dry vetiver and what I expect might be fragrant sandalwood.

When pitted against the 2006 reissued version, the vintage Véga edt wins me over just by a hair. There just seems to be a celestial harmony between the notes that makes it slightly easier to wear than the modern release. As with the heavenly body itself, I feel the light of 1930's Véga might have changed ever-so-slightly in the time it has taken to reach us here in 2010.

5 Rare Guerlains in 5 Days (Part 2) - Day II: Cuir de Russie

2010-12-27T01:44:00.058+01:00

Whilst detailed information is hard to pin down, Aimé Guerlain is credited with the creation of Guerlain's Cuir de Russie in around 1875, making it one of the world's first olfactory interpretations of Russian Leather; a theme that would be revisited many times by many perfumers in the late 19th century, and appear again and again well into the 20th. In order to explore the idea behind this perfume, lets take a brief look at what was happening in Europe at that time.

By the late 1800's, internally, industry in Russia was booming and the middle class grew in number and influence, though unfortunately, in part at the expense of the peasants. As a result, revolutionary tensions were at hand. Externally however, Russia was an untouchable flourishing powerhouse whose intervention in the Balkans against Ottoman rule had clearly illustrated to the rest of Europe, their colossal strength and spirituous resolve. Russia was looked upon in envy as a glittering empire, despite her volatile political climate on the interior.

At this time of military engagement, it has been suggested that Aimé Guerlain was inspired by Russian military leather boots when producing this perfume, as Russian leather is distinguishable by its unique odour. Traditionally, real Russian leather is tanned with bark from the willow, larch or poplar trees, and then rubbed with birch-tree bark oil. The scent profile is very distinctive.

Guerlain's Cuir de Russie opens with what feels to me like orange blossom, petitgrain and galbanum; an enchanting topnote which is citrusy, floral and slightly green, but reservedly so... it tapers away rather swiftly before a dryness begins to swell from beneath. A thin grey ribbon of smoke meanders up from the heart of the perfume and brings with it a very parched sensation. It feels as dry as a dusty coal mine, with a fine black curtain of soot shifting on the air. I also recognise a very smokey tarry birch accord which is quite bitter, in keeping with genuine Russian leather style. It is somewhat animalic - I wouldn't be at all surprised if there is a tiny huff of civet present, though it is paired well alongside the rich leather facets. What I also find remarkable, is that whilst the "cuir" aspect is quite commanding, the perfume still remains a little transparent... one is not overwhelmed with the dizzying aromas of a smoke cupboard or tannery. It manages to tippy-toe the fine line between being defiantly feminine and devoutly masculine.

Cuir de Russie has remarkable tenacity. As it lingers on the skin, I feel a shift from the smokiness of the leather to a rather lovely camphoraceous chypre base of dry vetiver and oakmoss... what I would call a 'signature' Guerlain treatment. Here one begins to garner a sense of the opulence and romance of the Russian empire; the gilded halls of the Winter Palace in St Petersburg, or the patterned spires of St Basilis on Moscow's Red Square.

Aimé Guerlain not only succeeded in capturing the essence of Russian leather in his Cuir de Russie creation, but also memorialized the essence of that age.

5 Rare Guerlains in 5 Days (Part 2) - Day I: L'Abeille de Guerlain

2010-12-26T06:13:00.071+01:00

When Thierry Wasser was announced as head nose at the helm of arguably the world's most coveted perfume house Guerlain, he had some big shoes to fill. For almost two centuries, the family-run business nurtured and educated a single bloodline to sit in the perfumer's chair, passing on knowledge and expertise that remained a coveted family secret. When Jean Paul Guerlain stepped down as nose in 2002 and stayed on as advisor, much was expected of the new in-house perfumer Monsieur Wasser. All eyes were trained in his direction, and lips hushed as many sought to discover if Wasser could continue to uphold the celebrated legacy of the perfume giant. In 2008, Guerlain launched Guerlain Homme to Wasser's credit, though it suffered a luke-warm reception. In 2009 Idylle was introduced too. But in 2010, Wasser gave us L'Abeille de Guerlain, and everyone finally breathed out.

L'Abeille de Guerlain is limited to production of only 47 numbered flacons holding 245ml of perfume worldwide, hence it is not at all easy to obtain. The sculptural baccarat presentation is not only stunning to look at, but I also feel, befitting of the incredible elixir inside. Wasser was inspired by bees... the creature that has stood as the company emblem for centuries, and also represents the sovereign crown. Wasser "followed the bee" when creating this perfume, painting a picture of a summer garden speckled with blooming yellow flowers. L'Abeille de Guerlain is a tribute to verdant green, dense opulent florals and one whose queen accord is the narcotising note of mimosa.

Mimosa has a distinct honey-like perfume... it is tenacious and luxurious, but with soft, powdery qualities that render it tender and graceful. It brushes over the skin like the tickle of a soft feather, and with its yellow velvety perfume, truly epitomizes the scent of summer. One can hear the ring of cicadas in their ears, and feel the sting of the sun across their legs. L'Abeille de Guerlain shifts and caresses like a soft summer breeze where the hum of the bees is carried on the air. A warm band of honey is apparent... not at all saccharine, and melds with the mimosa seamlessly. Tiny stars of jasmine and yellow ribbons of ylang ylang cartwheel over an orange-blossom heart... they are tender and tranquilizing; lulling you to nap with a book on your chest in a hammock strung between two trees. There is a sense of monarchial romance about this perfume... an elixir that harkens back to the perfume of immaculately maintained royal gardens, or lover's games of hide-and-seek in flowering, leafy labyrinths.

L'Abeille de Guerlain is both carnal and chaste, and ever so pretty! In my opinion, Thierry Wasser has certainly done Guerlain proud.

If you are fortunate enough to sample this verdurous golden essence, heed my simple warning before you hold it to your nose: beware... you will absolutely want to own it. And with a €12,500 price tag, in this particular fairytale - unless you are extremely well-heeled - there are no happy endings.

What do you think it would take to have them release this perfume in a less expensive presentation?

Penhaligon's - Terror for the Under 5's!

2010-12-19T12:41:00.009+01:00

Prestige perfume purveyors Penhaligon's have a lot to answer to as last week they unleashed the "Olfactory Owl" - a man/morepork hybrid - on unsuspecting Londoners.

Mr. Owl is the feathered face of Penhaligon's, introduced to coincide with Christmas and who is creating a flutter all over the city as he hands out samples and vouchers, and - we suspect - frightens the bejesus out of little children. He may look very dapper in his Victorian finery, but there is no doubt in my mind that that bird-head of his is responsible for the mass terrorism of kids and adults alike. I don't know what the creatives over at Penhaligon's were thinking when they conjured this biological anomaly... perhaps they've been sniffing at the 'fumes marked with the jolly-roger logo?

Penhaligon's are trying to remain resolutely upbeat about their terrifying new member of the team, but have noted on their facebook page that reactions to the birdman have been mixed.

So what is your opinion? Friend, or freakshow?

I don't think I have to tell you which side of the fence I'm sitting on...

Andy Tauer Winner!

2010-12-12T10:08:00.003+01:00

After several attempts at drawing a lucky reader from the pool of entrants and finding they had not left any means by which to contact them (as was requested in my competition post), we have finally found a winner!

Michael_M was the first name selected at random that fulfilled all the competition criteria! Michael congratulations! Sorcery of Scent will be in touch shortly to obtain your details to pass on to Andy so you can claim your prize!

Thank you to all who entered and left comments! I hope you come back often and bookmark this blog for future reviews and giveaways. Coming up soon: another five rare Guerlain scents will be reviewed over 5 days! Stay tuned!

All the best, and happy holidays!

Dimitri

Andy Tauer Le Cologne du Maghreb - Brief Review and Giveaway!

2010-12-11T01:32:00.019+01:00

Today, Sorcery of Scent is proud to be a part of Andy Tauer's 2010 Advent Calendar Giveaway! Each day in December, Andy is giving away a 50ml bottle of his strictly limited edition fragrance Le Cologne du Maghreb. This scent is not for public sale, and has already become a highly prized perfume! More details on how you can win your own bottle below.

But first, a quick review.

When one hears the word "Maghreb" when associated with the work of Andy Tauer, one immediately thinks of his much-loved fragrance release: L'air du Desert Marocain. This fragrance release of several years ago embodies the aromas of the spice markets and soukhs and the dry, swirling desert sands. Where Le Cologne du Maghreb differs, is in its interpretation... this cologne evokes a feeling of a far-flung desert oasis... an Eden of lush green on a parched desert plane.

Le Cologne du Maghreb is a scent using 100% natural oils, and follows to some extent the format of a traditional cologne composition. It is a scent focusing on zesty citrus and dry woods, but this blend is resolutely Andy Tauer in its approach. It opens with a detonation of juicy citrus; bergamot, lemon, clemantine, grapefruit, lemon, orange blossom and neroli... each of which contribute to evoking a feeling of replenishment and rejuvenation with its lush, mouthwatering greenness. A rich heart of rose becomes instantly apparent and lends an exotic 'near-eastern' facet to the fragrance... it is velvety and soft and is balanced well against the sharp citruses. Cedarwood plays a starring role in the basenotes, as inspired by the trees of the Moroccan High Atlas Mountains... it communicates a sense of dryness... like the desert is near, just beyond the boundary of this extraordinary sanctuary.

An eau de cologne by concentration, Andy recommends it be worn liberally, as most colognes should. I find its longevity to be on par with an eau de toilette, but revel in its generous application also. Whilst it is not L'Air du Desert Marocain, it is certainly comparable as its sister scent... one that celebrates the fertile green of a desert sanctuary, whilst the dunes shift around it.

WIN!

All you have to do to win a 50ml bottle like the one pictured above, is to leave a comment after this post. Please ensure you include a contact email address so that you may be notified as the winner. Le Cologne du Maghreb will be sent directly from Andy Tauer's atelier in Switzerland right to your door. Be fast, because the winner's name will be announced tomorrow, Sunday December 12.

Good luck!

FAQ: How do I remove a perfume stopper that's stuck?

2010-11-27T04:25:00.028+01:00

There is something to be said for those spectacular vintage perfume finds... the scents of yesteryear that you might have stumbled upon at a yard sale, or triumphed over others to win in an online bidding war. Fortunately more often than not, the item turns out to be well preserved for it's vintage, but occasionally the one thing standing between you and enjoying your ultimate fragrance find is the ground glass stopper - one that simply won't budge!

Possibly the most frequently asked question I receive from antique perfume enthusiasts is "How do I remove the stopper?" ...

With so many differing opinions online, I can only suggest the methods that have worked for me with maximum results and minimum risk.

Stubborn ground glass stoppers won't shift usually for one of two reasons: either the stopper has expanded slightly inside the neck of the bottle over the decades, or perhaps perfume residue has hardened between the stopper and the bottleneck, forming a glue-like seal. In both instances, I have on numerous occasions managed to remove stoppers with the following non-destructive method.

You will need:

The perfume bottle in question

2 plastic pipettes

A soft cloth

A few drops of of cooking oil

Access to a refrigerator/freezer

A good measure of patience

First of all, its a good idea to clear a workspace. Take your time and handle the bottle and materials with care. Start by giving the bottle a gentle wipe with a damp cloth (avoiding wetting any paper labels), particularly around the neck area so that surface dust and residue is minimised.

Step 1: Take the cooking oil and a plastic pipette and draw up just a small amount of cooking oil.

Carefully pipe the oil slowly and evenly in the small space where the glass stopper and bottle neck meet. Try not to flood the area, but be sure to turn the bottle slowly and ensure you have evenly oiled the rift. (The idea is that this will act as a light lubricant when the time comes to try and remove the stopper). Once you have piped the oil onto the neck of the flacon, set it aside for 15-20 minutes. Resist the urge to twist it at this point.

Step 2: Take the perfume bottle and gently place it inside your freezer. (Frost free is ideal so that there is no risk of damage to the paper labels). Leave the perfume to sit inside the freezer for approximately 20-30 minutes. The perfume itself won't freeze due to the high alcohol content, but the glass will shrink ever so slightly. After 20-30 minutes, remove the bottle and take it back to your clean work area. It is more than likely small beads of condensation will have formed on the outside of the bottle. Hold it firmly in the soft cloth at the base, and fold the cloth over the top of the stopper so you can get a firm grip of it. Applying a reasonable degree of pressure in a clockwise direction only, try and twist the stopper. (In the case of a perfume bottle with a fluted neck, then pull the stopper upwards with a very slight twist). You may need to attempt this several times. 9 times out of 10, here is where the stopper will pop off or hiss as it lets the trapped perfumed air loose for the first time in decades!

Step 3: Here you have to work rather fast. Set the stopper down for a moment, and immediately use the cloth to clean around and inside the open mouth of the bottle. Try and wipe up as much of any remaining cooking oil residue that might be present before it trickles down into the juice. Pick up the stopper and thoroughly wipe the oil residue from the stopper too (you may even see the tiny beads of oil on the surface of the cold glass). Take a look inside the bottle and see whether you can see any tiny drops of oil floating on the top of the solution. If yes, use a clean pipette to extract it.

If the stopper has old caked-on perfume residue around it, wash it off carefully under warm water with a soft cloth, and dry it thoroughly before placing the stopper back into the bottle.

Once loosened, (provided you do not get the bottleneck and stopper coated in perfume residue again), you should be able to open your bottle without any trouble each time thereafter.

Note: I would advise you not to knock the stopper on the side of a bench in an attempt to "shock" it into shifting, nor would I advocate heating the glass bottle in any way as the results can be both unpredictable and disastrous.

In extremely severe and unfortunate cases (usually if the glass is extremely thin and delicate or if the handler is very impatient), the stopper can occasionally snap off, leaving the decorative part in your hand, and a glass plug inside the bottleneck. This link provides the best possible advice I have found regarding a method to both salvage the perfume, and repair the broken stopper.

Happy vintage perfume hunting, people!

Scent and the Sexual Division of Labour

2010-11-22T05:20:00.079+01:00

As far as perfume is concerned, have you ever given much thought as to why a the scent of a peony or a rose is immediately associated with a woman, and the aroma of leather or cedar automatically attributed to a man? For the better part of a century now, men and women have been wearing scents based on an antiquated stereotype: one that advocates men as hunters / providers (without whose efforts the family unit would cease to exist); and women as compliant (docile, uneducated) nurturers / gatherers.

The partitioning of perfume by gender is a relatively recent concept. Until the mid to late 19th century, soliflore (single flower) toilet waters were used by both men and women. At that time, a perfumer's orange water, rose water, or lavender essence was considered entirely gender-neutral. The first "blended" fragrances (one of the earliest of which was Aimé Guerlain's Jicky) using a variety of essences to create perfume "narratives" is where the division of scent based on gender began to take flight. In the instance of Jicky - it was a scent well received by men, however its wide appeal to women saw to it that it was later marketed to the female sex.

So I wonder, at which point in history were single scents assigned a gender?

Lets think about it. I surmise that it came about as a result of our social and economic climate at the time. At the turn of the last century, women were considered the guardians of virtue and righteousness and were expected to comply with this concept. With only a tiny fraction of women in the workplace (most as unskilled factory workers), they were assigned traditional roles as mothers and home-makers - those given the charge of child-baring, food-gathering and food preparation. Denied education in most circumstances, women resorted to menial methods to make money; selling handcrafts, flowers and food in local markets and stalls. Could it perhaps be then that single-scents followed suit and became associated with the roles women took on in society?

Even in modern times we describe feminine scents as 'soft', 'sweet', 'delicate', 'pretty', 'floral', 'fruity'...

Men on the other hand had greater access to education and worked as labourers, merchants, hunters, tanners, agriculturists, industrialists and so on... jobs that required brains and brawn. Is there any wonder then, why scents described as 'musky', 'woody', 'spicy', 'leathery', 'earthy', are commonly attributed to masculine fragrances? As 'blended' perfumes increased in popularity in the early 20th century, might the role of the male population at the time have had an impact on the raw materials used and the gender they were assigned?

I ask you, are we doomed to reek forever of the sexual division of labour?

Well, I don't know how soon we will move on entirely, but our social consciousness has certainly evolved some over the past 50 years. The 1960's saw a steady stream of women entering colleges and universities and emerging with degrees and doctorates; arming them with great skills and even greater ambitions. Nowadays, as we strive to find a sense of balance in our lives, our gender is playing more of a peripheral role in our careers, relationships and interests. Men are now child-carers and interior decorators, and women attorneys and fighter pilots. Perhaps this gradual turnaround resulted in the barrage of unisex scents produced in the 1990's, and continues to contribute to the blurring of lines between fragrances and their respective sexes today.

Whatever the truth, the future stands to reveal our next trajectory in perfume and the perfuming arts. I only hope I stick around long enough to observe it.

Donna Karan Signature

2010-11-11T03:38:00.044+01:00

The creative tendrils of American born fashion designer Donna Karan reached the shores of Australia in the mid 1990's following the launch of her DKNY Jeans fashion line and signature perfume 'Donna Karan' (1992) - an eau de parfum presented in an alienesque flacon designed by her late sculptor/painter husband Stephen Weiss. When the perfume launched in both hemispheres, it created a stir... its exotic and unfamiliar bottle was staunchly modern, but also vilified publicly for its provocative, phallic form. Weiss later commented:

"I didn't set out to create a bottle shaped like a penis . . . it wasn't like I said to myself, oh, how can I make this thing more penile? I did a book with 100 forms and I happened to pick the one that looked like a phallus."

Whilst initially the flacon was distinctly masculine in appearance, a print campaign in support of the launch presented the bottle in a resolutely feminine way... the media spotlight only drew more attention to this indignity, but alas it seemed the beauty of the perfume inside was not triumphing over the immodesty of the bottle. Donna Karan (the edp) was withdrawn from sale a few years later.

Over a decade on, in August 2008, Donna Karan relaunched her discontinued fragrance lines from the 1990s - this time in understated, columns of smokey brown glass; her signature scent amongst them. Now, without the obvious distraction of the bottle, Donna Karan Signature can finally reap the accolades it deserves as a wonderful dry, woody leather chypre for women.

I do not find a whole lot of evolution between the first spritz and dwindling drydown, but this suits me just fine... I adore Signature right out of the bottle. It opens with a narcotising blend of rich florals and spice accords. There is a rather luxurious lily / rose / neroli combination that tumbles over a sublime bed of patchouli, amber and creamy sandalwood. Interestingly, I find it is both embracing and warm, and yet in some ways rather solemn and unemotional. I can't help but feel I am experiencing a return to perfume stylings of the early 20th century with its hint of napped suede and a huff of pleasant soapiness. Donna Karan Signature is gratifyingly beautiful, but possesses a vacant emptiness... a pang of reflection, much like that which I celebrate in my beloved Vol de Nuit. Recommended for both women and men, Signature has definite presence and leaves a soft perfumed wake behind you.

At this point in time I feel Donna Karan has finally found her moment. It may have been almost 2 decades in the making, but her Donna Karan Fragrance Collection offers much to be explored.

Gorilla Perfumes: ICON

2010-10-25T05:35:00.049+02:00

My wife and I are hagiographers. Having both grown up immersed in Orthodoxy, we have come to appreciate the depiction of saints and angels in history through the ecclesiastic icons of the Byzantine age - and we are now painting them ourselves, using time-honoured materials and preserving ancient tools and techniques. Hagiography is an art form which has entire schools dedicated to its methodology and teachings. It is no surprise then, that our noses were twitching with anticipation when we learned of the fragrance named ICON launched by British firm LUSH under their Gorilla Perfumes guise. Co-founder of Lush Handmade Cosmetics, Mark Constantine is the perfumer behind this particular scent... just one of 21 creations in their current perfume portfolio.

Icon is a standout scent to me, because I am familiar with its inspiration. And I feel it does justice. Anyone who has ever stepped inside an orthodox church or monastery dating from the 15th century can't help but feel overwhelmed. Centuries-old wood carvings and ornamentation embellish every shadowy corner, where the air is thick with the perfume of old wood and precious resins smoking in concealed censers. The air shimmers with amber light as even the tiniest of flames from beeswax candles that have been lit in prayer, pick out the exquisite icons from the gloom. Icon (the perfume) seems to embrace much of this... there is a strong sense of chairoscuro in its composition, where dappled lights and deep shadows butt against one another. The perfume is relatively uncomplicated... and I might say "naive", but this is to it's merit - the Byzantine painting style is also often unsophisticated. Whilst an icon may be beautifully ornate and inspire awe, these were first painted in an age where perspective was still unheard of; and where natural biological proportions were as yet unexplored.

Icon deftly interprets the aroma of gold and old wood... its opening of sharp bergamot, mandarin and neroli create a glinting metallic accord. It is crisp, radiant and somewhat fragile... like the impossibly thin gold leaf that is used to glorify depictions of the saints... gold sheets that will turn to powder at the slightest touch, or be whisked away to cartwheel on the air with just a whisper of breath. Resinous myrrh lends a slightly bitter quality, but also summons images of smoke-filled churches where the valuable stones are burnt over coal discs. An aromatic base of sandalwood imbues the perfume with a sense of antiquity, representing wooden pews and ornately carved arches. Icon triumphs with its contradictory facets of golden radiance and dusky solemnity.

Mark Constantine has noted that he'd like to revisit Icon and tweak it some more, but I would prefer he leave it be. I celebrate its naivety as much as I celebrate its gloriousness.

If you would like to view some of our artwork, please visit this link.

Puredistance Antonia

2010-10-08T09:48:00.036+02:00

Luxury perfume purveyors Puredistance remain at the top of their game with the imminent launch of their second perfume Antonia; a scent made tangible by nose Annie Buzantian. Following closely on the heels of their debut release Puredistance I, Antonia is the scent that redefines the word "sweetness" with its youthful exuberance and soft, gentle character.

Rather than furnish us with olfactive pyramids and dizzying marketing prose, Puredistance prefer that the wearer succumbs to the scent itself, and leaves the perfume's personality intact. I for one appreciate the idea, as Antonia has a compassionate spirit all of her of her own. Just as the name might suggest, Antonia is a European royal... an emerging Duchess with a pure heart and wish to do good. Her laughter cartwheels on the air, and her hair is lifted delicately by a light breeze. This is the perfume of the grounds of a castle during the summertime... green leaves, lily of the valley, and tumbling soft florals dominate over a warm honeyed heart and what seems to me to be a transparent musk base. It's composition is every bit as considered and deliberate as an immaculately maintained parterre garden.

Annie Buzantian has kept this creation much in line with Puredistance I in that both share a commonality that I expect might be a house accord... a soft, powdery aspect that is staunchly feminine. Antonia is ever-present, but worn close to the skin; giggling and speaking in whispers from behind a cupped hand. It contains a generous 25% perfume and will be available at select perfume retailers from December in a 17.5ml perfume spray. For more information, visit www.puredistance.com.

Vintage Guerlain Anomaly: Shalimar

2010-09-29T02:36:00.050+02:00

Guerlain never cease to amaze and confuse. With a rich 185 year-old history and countless perfume releases, Guerlain still manage to surprise us well into the 21st century.

Those whom have been bitten by the Guerlain 'bug' will know of this fragrance house's tendency to recycle perfume names. The 1933 release Vol de Nuit loaned its name to the 2007 perfume Vol de Nuit Evasion, just as the name of the 1933 scent Sous le Vent was later borrowed in 2009 for Teracotta Sous le Vent, despite each of these fragrances being poles apart in style and character. What one seldom sees, however, is the borrowing of a bottle: a Guerlain perfume which has been presented in a flacon reserved for another. Such things are rare and unique anomalies.

When this vintage 80ml extrait turned up recently, I had to do a double-take. Presented in the "bouchon cœur" flacon usually reserved for L'Heure Bleue, Mitsouko and Fol Arôme, this scarce Shalimar edition at first made me a little dubious. Nowhere before had I seen nor read of Shalimar ever being presented in this iconic flacon. So I turned to the professionals. In my initial contact with Mrs Christie Mayer Lefkowith - renowned perfume historian and author of a number of perfume books - Mrs Lefkowith validated this bottle as authentic. Further to this, perfume historian and author Ms Geneviève Fontan also confirmed its scarcity and authenticity. But neither made mention as to its vintage. I began to wonder at which point along the sweeping Guerlain timeline, this rare aberration might have appeared.

The"bouchon cœur" flacon was first designed in 1911 by Raymond Guerlain for the perfumes L'Heure Bleue (1912) and Fol Arôme (1912), and then used later when Mitsouko was created in 1919. At this point in history, glass bottles were in short supply at the end of WWI. Many basic resources were scant, which might help explain why all three perfumes were presented in this particular flacon. Whilst the "bouchon cœur" flacon was the first produced by Guerlain that reflected Art Nouveau style, it was not necessary back then to design a new bottle for every new perfume. Philippe Guerlain once said "Guerlain has created more than three hundred perfumes, but we have not found three hundred different bottles"!

Shalimar was in fact created in 1921, but was held in reserve until the Decorative Arts Exhibition in 1925, where it was presented for the first time ever in the iconic blue-stoppered fan-shaped flacon. So I wonder what might have become of it over those four long years between its origination and its commercial debut. Perhaps Shalimar was housed for a time in the only flacons immediately accessible to Guerlain: the bouchon cœur?

Or, it is quite possible that perhaps this unique presentation preceded or followed the second world war. Economic changes and the bombing of factories at that time resulted in the restricted production of the Flacon de Guerre in 1938 - a much less decorative bottle used primarily for export to house a number of Guerlain scents, including Shalimar. Meanwhile, back on their home soil could Maison Guerlain have perhaps turned to their existing repository of 'bouchon coeur' flacons as a means to move forward with production post-WWII?

I have resigned myself to the idea that I may never know the true origin of this charming perfume peculiarity. This blog piece is full of supposition, and so it remains a mystery. But really, isn't that part of the allure of the magnificent Guerlain? That there always seems to be a little folklore woven into the tapestry of its history?

Tauer Competition Winner Announced!

2010-09-28T04:12:00.004+02:00

Congratulations Candy Perfume Boy! Your name was the one selected at random from our pool of contestants! Please contact me via email and provide me with your name and address and your choice of perfume, and I will ask Andy to get it into the post STAT.

Thank you to every one who commented and entered the draw. There will be more giveaways coming soon, and Sorcery of Scent will be revisiting 3 more rare vintage Guerlain scents in the weeks to come, much like we did in our "5 Guerlain scents in 5 days" showcase.

Stay tuned!

Andy Tauer Giveaway! Win L'eau d'Epices or Une Rose Vermeille.

2010-09-21T08:48:00.033+02:00

This month, friends and admirers of Swiss perfumer Andy Tauer are welcoming the release of 2 new fragrances; both of which were introduced last week at the 2010 Pitti Fragrance Expo in Florence Italy.

Une Rose Vermeille is the second in a series of whimsical perfumes in the Andy Tauer Mémorables line, and offers a striking arrangement of shimmering citrus over a dense floral heart of rose and mouth-watering red berries. A gentle tide of sandalwood, vanilla and creamy tonka ripples below the surface and makes for a perfume which is both tender and sumptuous at the same time. It is resolutely feminine, and begs to be explored. Where Tauer's Une Rose Chyprée paid tribute to the chypres of yesteryear, Une Rose Vermeille is more a "vintage fruity floral", if such a thing existed.

L'eau d'Epices is an atypical exploration into Indian spices - one which surprises with it's hushed nuances and muted tones. First it engages you with a tangy floral/mandarin opening, then a more subdued heart of dry orris and incense. Pale waves of cardamom, clove and cinnamon wash over it in semi-transparent flourishes. This is not the type of spicy scent that will trigger a sneeze, but rather summon a tranquil feeling of recollection and reflection. This unusual blend continues to evolve through fragrant facets that run the gamut from bubblegum to rock rose! L'eau d'epices is indeed more than you might have imagined.

Giveaway!

To celebrate their launch, Andy Tauer has very generously offered to send one lucky Sorcery of Scent reader a bottle of either Une Rose Vermeille or L'eau d'Epices - so you get to choose! To be in the draw to win, simply leave a comment after this post and ensure that a means to contact you is clearly visible in the body of your comment or on your blogger profile page. One winner will be randomly selected on Tuesday September 28th, and their name published here.

Good luck everyone!

Very Good Wood: Comme des Garcons - Wonderwood

2010-09-09T05:04:00.034+02:00

Our inventive friends at Comme des Garçons have been busy whittling away the hours perfecting their most recent perfume offering Wonderwood - a thorough exploration of wood in all of its incarnations. This eau de parfum is a medley of woody accords both natural and synthetic that bewitch and bewlider... it is somehow sappy and damp, but also smokey and dry at the same time. Wonderwood is mysterious and unsettling... it fosters all the fear a child would face when finding himself lost in the woods at night, frightened and disoriented. It is black as ink, and yet still manages to evoke sensations of warmth and luxuriousness.

Supporting the Comme des Garcons avant-garde ideology, Wonderwood is unique in that the structure of the perfume is focused more on the heartnotes instead of the basenotes. It opens with bergamot, pepper, incense and nutmeg, and then shifts into a dense heart of cristalon (a rich, plummy, fruity accord), cashmeran, guaiacwood, cyprus, cedar and caraway. These aspects swell at the core of this scent and provide the framework for the perfume. Beneath, synthetic accords of javinol and pachminol (balsamic sandalwood/rose) are grafted onto true notes of sandalwood, vetiver and oud.

The result: an explosively good wood!

Wonderwood requires liberal application, otherwise if applied to sparingly, once the stunning heartnotes have diminished, you might not feel like you are actually wearing anything. But this is a small price to pay for this exceptionally good bombardment of wood. The 100ml is a wise investment.

Wonderwood can be purchased online from www.essenza-nobile.de in both 50ml and 100ml sizes.

New Fragrance: Olivier Durbano Pink Quartz

2010-09-04T00:34:00.099+02:00

Last year, I was fortunate enough to travel to Paris where I met with Olivier Durbano at his home atelier in the Marais. It was an experience I will never forget; if not for Msr Durbanio's exceptional role as host, then for the opportunity to see his workspace first hand. There is no denying that Olivier is passionate about stones... his eye-popping baubles of polished gems and raw minerals have been fashioned with architectural precision, and are exceedingly beautiful. His home serves as a monument to his travels, decorated with impeccable taste and ornamented with treasures from the natural world. On this occasion, just a couple of months after the release of Turquoise (the fifth in a series of seven "perfume poems"); Olivier revealed to me that he was already planning the next: Pink Quartz.

Today, almost one full calendar year later, I find myself wearing it.

Durbano's olfactory stone interpretations have always delighted me... they've each managed to embody the physical and esoteric properties of the particular gem in question, and this release is no different. Pink quartz is a fundamental stone of universal love and infinite compassion. Therefore, just as one might imagine, Pink Quartz is built around a beautiful heart of rose: a powerful symbol at the crossroads of our human emotions.

Pink Quartz opens with uplifting topnotes of bergamot, pink grapefruit and a sharp flash of ginger. It feels less like green root ginger, and more like a biting 'pickled' ginger; much like the salmon-pink gari, used to garnish sushi dishes. One immediately recognises an underlying, complex core of rose, but a spicy saffron facet instantly adds a piquancy to the mix. This - coupled with Durbano's signature Somali oliban accord - shifts the fragrance into a gender-neutral province. I am a big fan of this resinous aspect common to many of Olivier's creations, and feel it contributes greatly to the 'mineralic' nature of his perfumes. Here, it also 'dirties' the lavish Palma and Damas rose heart; diminishing its sweetness adding an infinite sense of depth.

As the perfume develops on the skin, a beautiful Indian rosewood emerges over warm curls of myrrh and benzoin. It evokes a sense of connectedness and spirituality, and my mind travels... I find myself thinking of the Hindu gods Parvati and Shiva; always depicted in art as the Hindu nuclear family and harmonious lovers. These sympathetic pastel nuances reside over a lavish base of patchouli, ambergris and white musk; the sum of which makes for a perfume that is well worthy of worship.

Pink Quartz is a remarkable spicy chypre that continues to surprise well into the drydown. I find it lasts 6-7 hours on my skin. It takes up residence as the sixth of seven planned perfumes, and brings with it a tender new element to the collection. This is one eau de parfum that simply cannot be shied away from, and will be relished by men and women alike.

Pink Quartz will be rolling out to a very limited number of retail stores in the months to come.

For more information on each of Olivier Durbano's "stone poems", visit www.olivierdurbano.com

Guerlain Djedi: a brief history and review

2010-09-02T09:55:00.002+02:00

Egyptology must have been to the 1920's that which features like Harry Potter and Twilight are to us today. Howard Carter's monumental discovery of Tutankhamun's tomb in 1923 directly influenced the global psyche; much in the same way as teenage vampires have penetrated our cultural consciousness in 2010. But whilst we in the here and now must suffer the commerce surrounding pasty-skinned blood-suckers and battling werewolves, our great-grandparents actually drew breath during an age of colossal cultural, anthropological and historical value. Oh, how I envy them!

The magic and mystique of ancient Egyptian dynasties certainly served as the inspiration behind Guerlain's Djedi: a captivating and rare chypre oriental perfume created in 1926, just three years after Carter's significant find. Djedi was presented in a flacon designed the sculptor Georges Chevalier and produced by Baccarat in 60ml, 125ml and 250ml sizes. The contours of the bottle (with its tall, ridged sides and gently tapering rectangular ground glass stopper) is distinctly Art Deco in style; but also suggests the form of a golden sarcophagus with its lid being raised.

Djedi was marketed in this flacon until the end of the 1950's, and also for a short time in an exceedingly rare quadrilobe presentation. It was re-issued in 1996 in celebration if its 70th year as a limited run of 1000 numbered Baccarat bottles created from the original 1920's 60ml mould.

Before I go on to review this scent, first a little background: the name Djedi is derived from references found in the ancient Egyptian Book of the Dead where the Djed is described as a pillar which was raised to maintain universal stability, balance and continuity. It is the invisible cosmic axis or "world tree" around which everything revolves... it separates the earth from the sky; and matter from spirit. The Djedi are the ancients attributed to spreading this awareness... often referred to or portrayed as formidable primeval magicians. Djedi are mentioned in historical tales of Egypt as possessing tremendous mystical powers; their shamanistic practices, still an enigma.

I feel this information important to mention as it translates directly to the perfume itself. Until Djedi's launch in 1926, Guerlain have perhaps never before nor ever since created a perfume which so precisely and faithfully depicts an age of esoteric antiquity.

Djedi the perfume is less luminous than other Guerlain offerings. It serves as a period piece honouring the ancient past... perhaps a past as archaic as the pyramids themselves. Whilst a very complex perfume, Djedi is somehow as basic and primordial as dirt and stone - the basic building blocks of man. It is earthy, elemental and possesses a certain olfactory temperature - a feeling of dwindling warmth like that thrown out by the dying embers of a bonfire. It darts back and forth across the invisible boundary of light where amber warmth meets the cold black of night. Djedi isn't 'pretty' like her sisters; instead, she perhaps represents the disfigured sibling who spends her life residing in the gloom. Something is "off". Sinister. Agonizing.

Djedi is composed using a very dry vetiver: one that furnishes the perfume with a parched, arid vibe. Combined with a measure of civet, patchouli, oakmoss and musk, this vetiver lends a dank, musty quality that evokes sensations of being deep underground; where narrow stone corridors trap the air that has not shifted over the millennia. There is a sense of being unable to catch ones breath. A commanding leather facet also brings with it a feeling of antiquity - I immediately imagine dusty animal skins stitched together to fashion a tattered ceremonial shroud. I feel as if I am witnessing the ghosts assemble at an ancient entombment; the atmosphere palpable with a sense of grief, sorrow and despair.

My nose struggles to reach for the rose and jasmine said to reside at the heart of Djedi, but Im sure they are there. Perhaps, as this olfactory requiem unfolds, my senses too have become impervious to the beauty that surrounds us all during a time of lamentation. Whilst I cannot pinpoint these individual notes, I do recognise what this resolute floral facet brings to the fabric of this perfume, and that is a contemplative moment to look back on an age of immeasurable glory and resplendence. I suspect it was Jacques Guerlain's wish to create Djedi so the world could recognise the rise and fall of one of the world's most powerful and beautiful ancient empires.

Djedi - being one of the rarest and most difficult to source of all Guerlain fragrances - threatens to be lost again to the sands of time. One might hope that the Djed is raised again, linking the material world with the esoteric one, and our prayers of resurrection are answered.

Shalimar Reincarnated

2010-08-20T16:08:00.025+02:00

This September marks another milestone for Guerlain's cornerstone perfume Shalimar. To celebrate her 85th birthday, she will be revamped and presented in her third major incarnation since her nativity.

To my mind, the stunning urn-shaped baccarat bottle designed by Raymond Guerlain for the 1925 Art Déco exhibition in Paris is close to perfection, however the good folk at 68 Champs Elysées have thought otherwise. In 2010, Guerlain commissioned jewellery designer Jade Jagger to modernise the Shalimar eau de parfum flacon and her efforts have culminated in a sleeker, more streamlined design.

The new aesthetic, frankly, has not yet won me over. Whilst the beautiful new glass balloon is lovely to hold in ones hands, I can't help but feel the tiny pedestal a little disproportionate. And whilst the softer edges around the scalloped blue cap may indeed evoke the idea of a faceted gemstone, I can't help but feel we are looking at a "photoshopped" interpretation of Raymond Guerlain's masterpiece.

Still, my indulgent criticisms will certainly not stop me from savouring the decadent amber liquid inside!

182 limited edition 20ml extraits have also been created worldwide; each piece decorated with a genuine sapphire engraved with the Maison Guerlain "G" hanging from the bottle neck in honour of the house's 182nd anniversary. The cost is $1500.

Good news for those stateside: Jade Jagger will also make an appearance at Saks Fifth Avenue New York on September 10th 2010 at 7pm to personally autograph the new Shalimar bottles purchased on the night.

Histoires de Parfums: Olfactive Library

2010-08-18T06:43:00.048+02:00

Histoires de Parfums is a unique collection of niche perfumes, each designed to be a volume in an olfactive library. Inside it, there are sixteen books... sixteen tales told of famous characters such as Casanova, Jules Vernes and Mata Hari; as interpreted in perfume by creator Gerald Ghislain. Recently, I borrowed generously from this fragrant biblioteque, and was immersed for days in Ghislain's perfumed narrative.

Reading like an encyclopaedia of dates and individuals, Histoires de Parfums explores the chronology of real and fictitious characters whom have served as the inspiration for each scent. Here is a short extract:

1876 reveals a spicy feminine rose perfume with exotic tendrils of jasmine and carnation to represent the dancing courtesan Mata Hari. It is both glamourous and carnal with its opulent rose, iris and cumin.

1840 is an invitation to pleasure thanks to the audacious writings of the Marquis de Sade... his at-times philosophical, at-times pornographic novels epitomized the libertine sexuality of that age. This perfume is a spiced woody scent with dark patchouli and curious rum-like accords which suggest debauchery and criminality.

These volumes make for fascinating reading and translate incredibly well on the skin.

More narratives reveal Ghislain's desire to translate into words the language of flowers... Vert Pivoine, Blanc Violette and Noir Patchouli each serve as fragrant metaphors where soliflores are examined and reconstructed with a measure of calculated artistic license. Also new to the library: the Tuberose Trilogy... three fascinating forays into this polarizing blossom where it stars as the heroine in a trio perfumed poems. Three tuberose facets are explored: Tubéreuse 1 the Capricious, Tubéreuse 2 the Virginal, and my personal favourite, Tubéreuse 3 the Animal.

If you think you know tuberose, then think again!

Any library would not be complete without the classics... those volumes that one returns to time and time again. Ambre 114 represents a complex 114-element composition that was created to embody the exoticism of the ancient raw material. Similarly, 1969 is a legendary year in history where carnal sensuality and eroticism is translated into perfume in the form of a spicy, voluptuous gourmand. 1889 Moulin Rouge also exemplifies its age and stands as an ode to the most known cabaret in the world. Here, powdery iris furnishes the scent with a 'face powder and lipstick" feel, whilst semi-sweet absynthe and rich damas rose accords Cancan over an enduring base of musk and patchouli. The scent is as enduring as the spectacular venue itself.

With so many volumes to explore, one cannot find fault with Histoires de Parfums' marriage between literature and olfaction. I find many of the perfumes completely engrossing, and masterfully crafted.

I am left here to wonder what might transpire in the years to come. One day could we possibly look back upon this age as we sample from a peculiar flacon of Google 2010?

Maybe Histoires de Parfums knows.

5 Rare Guerlains in 5 Days - Day V: Coque d'Or

2010-08-06T13:01:00.045+02:00

Guerlain's Coque d'Or (Golden Shell) perfume was created in 1937 by Jacques Guerlain, and is easily recognisable for its beautiful gilded Baccarat blue bow-shaped flacon. It was created in the art deco age where lavishness and opulence was the norm, and its beautiful golden perfume presentation demonstrates this. Coque d'Or was additionally released in the quadrilobe flacon, as well as goutte and papillion bottles, and is a scent that typifies the glamour and mystique of this era.

Of all the rare Guerlain perfumes I've featured this week, this is the one I have been saving until last. Coque d'Or represents for me, some of Jacques Guerlain's most underappreciated work... it is a sensuous leathery fragrance that I feel might have been a pre-cursor to another much-loved men's Guerlain fragrance; but more on that later.

My vintage Coque d'Or eau de toilette reveals a citrus opening over an aromatic floral heart. I detect rose and something like soft iris or violets and a piquancy furnished by slightly peppery carnations and notes of nutmeg or mace. However, there is a beguiling buttery leather accord that features, and it is one that I've smelled before... it reminds me of paper-thin hand-made antique gloves of the most exceptional quality. As the perfume evolves further, curls of creamy sandalwood appear and an ambery facet (labdanum and vanilla?) brings with it a glowing sense of warmth. The whole composition rests on a glorious oakmoss base that rivals the best of other Guerlain greats. Coque d'Or is a sultry skinscent that gets better and better the longer it rests on the skin.

I would not be surprised if Jacques Guerlain's grandson Jean-Paul Guerlain perhaps drew upon the aromatic leather/oakmoss marriage of Coque d'Or as inspiration behind the mens aromatic leather fougère Derby. Whilst the two have topnotes that diverge in style and composition (florals in the former vs peppermint in the latter), their heart and basenotes run somewhat parallel. Derby is heralded as Guerlain's most revered male leather scent, and has qualities I find comparable to his Great Aunt.

I think many would welcome the return of Coque d'Or in the permanent perfume portfolio at 68 Champs Elysées. For my money, I find it a must-try for each and every Guerlainophile.

5 Rare Guerlains in 5 Days - Day IV: Rue de la Paix

2010-08-05T15:07:00.035+02:00

Long before Guerlain shifted into the famous address at 68 Champs Elysées, they had already long established their business on Rue de la Paix in the voguish 2nd arronissement of Paris. Nowadays perhaps best known for its jewellers, couturiers and milliners, Rue de la Paix has always existed as superlative shopping promenade for the well-heeled.

In 1908 Jacques Guerlain created Rue de la Paix: a perfume that paid hommage to the district and the haut monde that converged there. It was first presented in the Baccarat quadrilobe bottle, and later in the cobalt lantern bottle and goutte flacon. I can only suspect Jacques Guerlain's motivations in creating this scent might have been to meet the needs of those who frequented the area, (or indeed to sell the 'high society' lifestyle to those perhaps less affluent). This might account for why so few examples of this fragrance have survived until this day.

Rue de la Paix in vintage EDT form unfurls with sharp bergamot/citrus topnotes and dewy florals. There appears to be a crisp green floral accord just below the surface (muguet, perhaps?) and a shimmering peach-like aldehyde (that is not too far removed from that used in Mitsouko) in the opening. It is a rousing opening, but one crafted with a very measured hand (it is not as imposing as, for example, her aldehyde-rich floral younger sister Liu. But then Rue de la Paix, like the gentry who visited there, is perhaps more stately and refined). A lush rose heart and scattering of white florals furnishes the perfume with an appreciable air of femininity before the drydown reveals a very enjoyable bitter leather and musky base.

This is a perfume that embodies the vibrance of a Parisian cobbled shopping street, awash with colour and vivacity; and indeed one worthy of resurrection.

Tomorrow: Guerlain's Coque d'Or.

5 Rare Guerlains in 5 Days - Day III: Jasmin

2010-08-04T15:00:00.025+02:00

Jasmin first appeared in the Guerlain perfume portfolio in 1924. It emerged post-WWI, just as the world swung into a brand new age of optimism and a renewed social consciousness.

Originally presented in the 'quadrilobe' flacon, and later in 'goutte', 'rosebud' and cobalt Baccarat presentations, Jasmin was one of Jacques Guerlain's numerous soliflore interpretations.

Perhaps what I find most beautiful about my vintage eau de toilette, is that it is not a straight-forward jasmine fragrance. For a single-flower scent, it is really rather complex.

The opening impression is of mildly indolic jasmine blossoms... rich and opulent; however its potency is somewhat short-lived. One becomes aware of a sharp undertone of lily of the valley which provides a crisp green constituent as the jasmine notes suddenly diminish by half. Five or six minutes later, a saccharine honey/vanilla accord emerges that reminds me of chewy Laudurée jasmine macaroons. Notes of pale wood bestow a slightly bitter "toasted" vibe.

One cannot deny the sweetness of this scent which, for its time, sometimes borders on the gourmand. Whilst evoking a sense of prettiness and youth, one can also recognise a more responsible, considered base of oakmoss.

Jasmin dances between juvenescence and adulthood... a soliflore that celebrates women both young, and those young at heart.

Tomorrow: Guerlain's Rue de la Paix

5 Rare Guerlains in 5 Days - Day II: Eau de Verveine

2010-08-03T11:59:00.043+02:00

Verbena (whose perennial varieties are common to both Europe and the Americas) has been used for centuries for its herbal remedial properties. Its abundant accessibility and aromatic character also saw it feature heavily in perfumes of the late 19th century.

Aimee Guerlain first gave prominence to verbena around the 1870's with the release of 3 fragrances; Verveine, Eau de Verveine, and Eau Spiritueuse Double a la Verveine. It was Eau de Verveine which re-emerged in the 1960's for a short time in the "Abeilles" bottle, and stayed in production up until the mid 80's where it could also be purchased in the flacon pictured above.

Eau de Verveine opens with a sharp, uplifting blast of citrus-green. Lemon verbena accords dominate the topnotes, which are piquant like the zest of a freshly grated lime. I find the very act of smelling this fragrance on the skin causes the ducted glands inside my mouth to flood with saliva. The shimmering topnotes are energising and bright, but below, I sense the prickle of something darker... a tiny scattering of carnation or clove perhaps; a few notes that in part, resemble the polarising "dirt" in Jicky. As the scent rests on the skin, it develops a dryness that I would liken to the aroma of dried tea-leaves. I can easily imagine deep glasses of iced tea perfumed with aromatic lemon verbena leaves, sipped as the shadows grow longer in a mossy sun-speckled garden. There is an inherent feeling of summer's end, and the chirrup of cicadas ringing in the ears.

Despite my vintage bottle being an eau de toilette, I find the longevity to be something more alike an eau de cologne. Eau de Verveine, like many of Guerlain's "eaux"; is something to be applied liberally and enjoyed for just a couple of hours.

This impossibly rare scent will quench your thirst, and leave you longing for more.

Tomorrow: Guerlain's Jasmin.

5 Rare Guerlains in 5 Days - Day I: Lavande

2010-08-02T14:31:00.056+02:00

This week I will be featuring 5 rare Guerlain scents over 5 days - an opportunity to memorialise a number of uncommon, unfamiliar Guerlain creations that are nigh on being lost to the halls of time. Some are known by name - though rarely sniffed - thanks in part to their inaccessibility; and others remain practically unheard of.

Those who love and revere this house know well that over their 182 year history, Guerlain have provided us with hundreds of perfumes; many of which are still being uncovered for the very first time today, like glinting gems from dusty attics and musty basements.

Lavande was first created in 1840 and is credited to Aimé Guerlain, though very specific information about this perfume is extremely scarce. It came to be revived again in 1920 in the "Louis XVI" flacon, and again approximately 3 years later in Pochet & Courval's swollen "Goutte" bottle. Sadly, very few examples have remained to this day.

I have not yet found any record of an olfactory pyramid either online or in print, however the vintage eau de toilette opens with an arresting, rich lavender which smells just like one's fingers do when stripping the purple blossoms from the stem. It shifts swiftly to a rather 'dark' lavender with unusual muddy green undertones... something I liken to the immortelle/lavender marriage found in Dior's Eau Noire. A murmur of lemony citrus can be detected (possibly furnished by note of fragrant geranium) which adds sharpness to the lavender topnotes.

As the drydown progresses, I begin to sense the Guerlain "red thread" prevalent in many of their earlier perfumes. I experience fleeting nuances of Chant d'Aromes, only without the aldehydes (a perfume which was not to be created for another 40 years); and a familiar vetiver/oakmoss Mitsouko base over which these floral facets are awash.

Whilst the lavender topnotes might be the first to recede, Lavande remains a fascinating blend which leaves me undecided as to whether this should be classified a chypre or a fougere. It certainly exhibits characteristics of both.

With the formula left unchanged, Lavande could easily be re-released in today's market and adored by many. Its deeply aromatic heart and exceptional mossy base sees it stand a full head-and-shoulders above most others in its class.

Tomorrow: Guerlain's Eau de Verveine.

Vero Profumo: Rubj Extrait and EDP

2010-07-25T10:58:00.056+02:00

More divine magic from the house of Vero Profumo; this time as the olfactory incarnation known to many as Rubj... a parfum whose spirited heart is every bit as crimson as her name might suggest.

Unlike her responsible older sister Onda, Rubj could be considered the black sheep of her fragrant family; the non-conforming coquette whose principles are - by some measure or another - really rather corrupt. In extrait form, she is unscrupulously flirtatious... a dancing nymph whose alabaster hips sway with calculation under sheer scarlet silk. Mouth-watering citruses, Moroccan orange blossom and opulent jasmine cavort with a very carnal tuberose and titillating musks to create an extrait that is dewy, voluptuous and provocative. To the nose, it feels plump and succulent... an olfactory venus flytrap.

Rubj's creator Vero Kern has enhanced the top notes of her eau de parfum variation without dishonouring the original. Here though, Rubj takes on another persona... one whose principles are still in tact (even if only on the surface). In this instance, she will first hold you at arms length; her cheeks flushed with coyness. The eau de parfum opens with a note much like cumin which will challenge you and act as a moral obstruction before you may be allowed to savour her fruits. Only when she is ready, she will lean in with her vermillion painted lips; as spirited and as impish as always. Rubj will romance you all night, but when you awaken, she will be gone in the morning.

Vero Kern not only manages to beguile and bewitch with Rubj, but does so by breathing an air of nostalgia and sentiment into her lungs. Much like my beloved Onda, this perfume also resonates with the classic perfumes of the early 20th century.

Rubj can be purchased in extrait form by visiting veroprofumo.com, and as an eau de parfum at campomarzio70.it.

New Fragrance: Bleu de Chanel

2010-07-22T09:25:00.012+02:00

If you are one of many anticipating the release of Chanel's first (non-flanking) men's release since Allure Homme, then perhaps I owe you an apology. I too have been brimming with hope, predicting a new Chanel smash for men. But sadly Bleu de Chanel is lacking.

Beyond the weighty smoked blue flacon and beautifully executed blind-relief packaging, there is little here to relish. Bleu de Chanel does not innovate in any way, shape or form... its cookie-cutter "blue freshness" can be found in many bottles that have come and gone before it. The opening provides a shot of zesty ginger over citrus and green accords, which taper away swiftly into a lightly spicy, woody-marine medley that fails to captivate and inspire.

If my commentary weren't already sufficient to disappoint a few; I will add that this composition does feel like another Allure Homme flanker. Somewhere at the heart of this perfume, one can detect that powdery nutmeg gaggle of accords that one finds common to the entire Allure range. It may not be center stage, but it's there alright.

The slogan accompanying the advertising campaign (in which French actor Gaspard Ulliel stars) reads: "Be Unexpected"... an unfortunate oxymoron, as Bleu is very, very expected.

Despite my ponderings, I anticipate Bleu de Chanel to sell hand-over-fist. Not because it is experimental or unprecedented; but because most people simply don't know better.

A message to Jacques Polge: in future, please step AWAY from the Allure, and perhaps veer again in the direction of Antaeus. This is getting tiresome.

On counter worldwide from August 1st.

Mona di Orio - Les Nombres d'Or

2010-07-18T04:05:00.039+02:00

For any perfumer, an 'olfactory fingerprint' is a difficult thing to acquire. One might work for an entire lifetime, and never achieve the elusive red thread that extends across his or her body of work that promptly identifies it as their own. Edmond Roudnitska achieved it with his famed 20th century compositions for Rochas and Dior, as did Jacques Guerlain with his esteemed 'Guerlinade' accord, however it is something that few noses in this day and age manage to attain.

Mona di Orio is a perfumer whose work can be recognised immediately. She approaches her work with an intuitiveness akin to the great masters. Her collection of Parfums stand both individually and collectively as a testament to her efforts and exceptional attention to detail.

Now, a new trio of eaux de toilettes are set to be released under the name Les Nombres d'Or (The Golden Numbers), which is a reference to the golden mathematical ratio by which artists and and architects have proportioned their work for centuries. As the architect of her own perfume, Mona has endeavoured to apply the same precision and concept to her three compositions: Cuir, Ambre and Musc.

Cuir is a deliciously warm and enduring leather fragrance which opens with a hint of forest green with rich, balsamic undertones. It shifts into a smokey, slightly woody facet (much like smoked woodchips) that pulls forward a sultry leather accord; one that is lavish and dark. There are fleeting moments of campfire smoke and I detect something akin to a murmur of tobacco leaf in there too. Cuir is compelling and highly appealing.

Official notes are: Cardamom, Absinthe, Leather, Cade, Opoponax and Castoreum.

Ambre is rather saccharine as it opens, but shifts into something rather multi-dimensional. It is resinous, but with burnt, honeyed qualities. As the perfume evolves, one can detect a dense floral core, which becomes slightly more powdery and vanillic with time. A soft ribbon of cedar lies within, furnishing the perfume with a melancholic aspect that is hard to describe. I liken it to the sweet powdery smell of an old mahogany grand piano, with a thin film of dust that has settled on the keys.

Official notes are: Cedarwood, Ylang Ylang, Tolu resin, Benzoin, and Vanilla Absolute.

Musc is a spirited composition that opens with a semi-diaphanous citrusy green, and a flutter of blonde florals. Whilst there is no musk present per sey, there is a sense of crisp, rounded muskiness... the anatomy of this perfume seems to be thorough, deep and considered. A creamy, mossy base lends a sense of pale woods also. Musc is a beautiful and elegant interpretation which is gentle, summery and restrained.

Official notes are: Neroli, Angelica, Heliotrope, Rose, Tonka Bean and Moss.

This collection of eau de toilettes represents an interesting new tributary in Mona di Orio's range. Each will retail for approximately 110 euros for 100ml at select retailers in Europe and the US.

Acqua di Gioia: Giorgio Armani

2010-07-14T11:35:00.019+02:00

Fans of Armani have much to be excited about with the imminent release of Acqua di Gioia - a scent that is every bit as vivifying and replenishing as a spring shower... it is a hymn to nature in all its forms.

Despite sharing a commonality with the name of Armani's bestselling men's fragrance Acqua di Gio, Gioia (meaning "joy") is a tender green, fruity, aquatic floral that adds a whole new olfactory element to the Armani perfume portfolio.

The striking opening shimmers with a zesty primo fiore lemon accord that lends a feeling of high summer; whilst a crushed mint facet furnishes the composition with a gratifying coolness. A note of gentle water jasmine imbues the perfume with a distinctly feminine aura that caresses the skin. As Acqua di Gioia dries down, lingering crisp mint notes dance over a pale brown-sugar and woody base.

Surprisingly, Gioia has above-average persistence. I see this as being a much-loved summer staple for women of all ages.

The beautiful flacon has been inspired by a drop of water... pure and pristine in nature. It represents the notion of the sea captured in a bubble of thick glass.

Acqua di Gioia will hit Australian retailers in September.

Winner of Puredistance I sample!

2010-07-13T04:25:00.008+02:00

Many thanks to all who entered the Sorcery of Scent's Puredistance I sample giveaway. Thanks also to readers who have hung in there patiently whilst I have been moving continents!

The lucky winner of the boxed Puredistance I sample selected at random is HJ!

Congratulations! I will be in touch with you soon to obtain your postal details.

Thanks again to all, and stay tuned for more reviews and giveaways soon!

Profumi di Pantelleria

2010-06-21T03:25:00.025+02:00

Few people are familiar with the Mediterranean isle of Pantelleria, located off the south west coast of Sicily. Its virtual isolation renders it a modern-day eden of unique plant species and awe-inspiring vistas that extend out over rocky bays and emerald green waters. The island of Pantelleria and its wealth of fragrances that pervade the cliffs, the paths and the surprising woods all serve as the inspiration behind Profumi di Pantelleria... a fascinating series of eight perfumes that each capture the essence of this far-flung isle.

Executed by nose Maurizio Cerizza under the diligent direction of Calé's Silvio Levi, Profumi di Pantelleria have been fashioned with a great sensitivity to the art, and, I expect, the destination. Below are my brief insights on each of the scents from this appealing portfolio.

"Il Profumo di Pantelleria" is a stirring citrusy green eau de parfum which is every bit as warm and sunny as a flourishing citrus glade where waxy leaves sparkle with morning dew and bushels of climbing jasmine and fragrant lavender are visited by humming, well-intentioned honeybees. Tufts of aromatic herbs like rosemary and and thyme furnish the perfume with a definite sense of the Mediterranean.
The Angel-esque perfume "Jailia" draws upon Pantellarian folklore of a beautiful Princess, and explores the essences of an enchanted garden. Rich and voluptuous notes of peach, tangerine and honeyed red fruits provide a lip-smacking prelude to a darker woody-amber base of vanilla, chocolate and patchouli. Jailia blankets the skin like the firm, enduring embrace of a lover... it is more-ish and compelling.
According to the notes accompanying my sample, "Dammuso" is the olfactory interpretation of the antique Pantellarian domicile; where families converge to recount their day in an ideal "buen retiro" surrounded by gardens. To my nose, however, Damusso is the Italian equivalent of a French l'eau... that is, an uncomplicated scent that vivifies and uplifts; here with shimmering citrus topnotes, and an enduring drydown of blackberry, green tea and pale musks.
"Nica" is an enchanting reference to the cornucopia of flowers, vineyards, and orchards prevalent on the island. Its opening accords of champagne grape and tangerine dance rapturously over a floral posy of yellow freesias and purple violets... the result is distinctly feminine in nature. Nica is vital and spritely and resonates in the nose in the same manner that a woman's laugh resonates in the ears.

The weightless eau de parfum "Aire" pays hommage to the shadow-speckled corners of the island where one can enjoy some welcome respite from the sun... the temperature sinks to a sympathetic degree with gentle gusts of white tea, white pepper and a tiny scattering of soft florals. Aire is as transparent as the open sky where crying gulls soar motionless on crisp oceanic updrafts. An enduring base of white musk and creamy tonka lingers on the skin like a rippling white hair-ribbon whisked away on the breeze. Aire would also serve as a spectacular way to scent your linen!
Whilst the majority of scents from this line can be easily enjoyed by both sexes, "Maestral" is potentially the most masculine of the line. I can easily fathom the inspiration for this perfume being the rugged Pantellarian shoreline, with its rocky cliff faces and wind-swept shoals. Rum, rhubarb and aromatic lavender communicate a sense of comfort and familiarity whilst cardamom, vetiver and cedarwood evoke a feeling of resilient, grounded earthiness. A tiny floret of iris and jasmine perhaps remind us that within every man there is a tenderness to be found. Maestrale is as bold and commanding as the rolling sea; yet as tranquil as the calm that comes after the deluge. A personal favourite.

"Tanit" was the name given to the goddess who was celebrated for centuries in the Mediterranean basin, and also the name given to this tenacious eau de parfum - one that demonstrates an epic strength of character. Tanit is unrelenting in its femininity with aromatic topnotes of basil and zesty ginger coupled with a variety of dramatic florals: peony, magnolia jasmine and osmanthus. A delicious undertone of patchouli and musk liken it in style to the exotic attars of Asia Minor. Just as the notes supplied with my sample suggests, Tanit represents "feminine sensuality combined with determination and presence of mind".
Finally, there is Approdo, a perfume that marries the scent of the sea with that of the land; where salty, mineralic notes lap gently against basil, tangerine, soapy vetiver and summery Mediterranean flowers. Approdo is clean and refined and evokes a strong sense of basking under a warm Mediterranean sun on the stern of a boat with a sheer spray of saltwater settling across your body.

Unfortunately, many of us will never visit the shores of Pantelleria, but Profumi di Pantelleria offers the wearer a unique and rare opportunity to experience her from afar. And for those who have had the pleasure of walking her worn tracks and who have looked out over the Mediterranean from an outcrop high above the sea, what better a souvenir to take home with you?
Profumi di Pantelleria are available from www.essenza-nobile.com and retail for 105 euros for 100ml.