Olivier Durbano: Citrine

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

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.

Molton Brown - Navigations Through Scent - 5 Reviews

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

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.

Comme des Garçons + Artek: Standard

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

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

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

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.

Revisiting D&G By Man

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.

The Scented Handkerchief: A call for a Renaissance

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.

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.