New from GOTI ESSENZE: Smoke

To date, Riccardo Goti is a name largely absent from the mind of many a perfumisto. After studying design at the State Institute of Art in Firenze, Goti first stepped into the limelight with his unique fashions and use of unorthodox materials; mixing fabric with cut leather and metal hardware. With a more recent shift in focus towards jewellery design, Goti found his fame in the accessories market... his universe still utilizing raw leathers, tarnished metals, semi-polished stones and pliable materials like tin. In 2008, motivated by a desire to create unique, multi-faceted, multi-layered perfumes to accompany his accessories Goti recruited one of the oldest cosmetics manufacturers / pharmacies in the world - Santa Maria Novella. Together, they produced three GOTI ESSENZE fragrances composed of wholly natural ingredients: Black, White and Earth. Their very select distribution rendered them virtually invisible on the radars of devout perfumisti, but they created a distinct 'blip' on the screen of the fashionisti that had followed Goti's journey from the very beginning.

In 2013, Riccardo Goti has recently added two new scents to his portfolio: Gray and Smoke. But before I go on, I feel it is worth noting that the previously-launched trio have been completely reformulated to coincide with the 2013 new product launch and re-packaging of the brand. (There is no indication given as to why the previous scents are now largely unrecognisable today, but I have discovered that Santa Maria Novella are no longer producing the Goti Essences. That assignment has now been turned over to Laboratorio Therapeutico M.R., a Florentine pharmaceutical / neutroceutical firm founded in 1930, which - since the early 80's - has diversified its business by creating cosmetics and food supplements). Whilst this might have had something of an impact on the first three fragrances, we can gladly approach Gray and Smoke as Goti Essenze newcomers and take them at face value. In this blog piece I will be turning my attention to Smoke, which in my eyes, is the more interesting of the pair.

Smoke – contrary to that which its name might suggest – is not a run-of-the-mill olfactory study of charred woods and ashen embers that we perfume lovers have seen time and again. In fact, it is quite the opposite. Smoke – at least by the hand of Goti - feels more fluid, colourful, and transparent. Absent are the dark plumes of oud, birch tar and black tea that one might expect of such a scent, and in their place, a fascinating arrangement of notes that lend a curious translucency. A jewel-coloured opening of pomegranate startles with its bittersweet piquancy. This purple-red fire dances on a soft bed of cedar... a scattering of fragrant woodchips that provide a sense of combustable warmth. Moments into it's flight, there is a slightly bewildering camphorous quality that hints at the presence of blue eucalyptus or green menthol, but no such elements exist. I grasp for answers, only to realise I've discovered a penetrating yellow note of zesty ginger pooling below the surface. This ginger imbues the scent from top to bottom with an almost petroleum-like quality... it is sharp, aqueous and feels somewhat volatile and incendiary.

The foundation upon which Smoke was built includes ebony, incense and resins. The citric-orange presence of frankincense is very clear in this composition and partners well with the ginger, only amplifying it's abundance. It adds colour and dimension and lingers long into the drydown.

Riccardo Goti's interpretation of Smoke makes for an imaginative change of tact as far as smoke-themed perfumes are concerned. It feels infinitely more modern and avant garde than the majority of those that have gone before it. This genderless scent will captivate and mystify many with it's vivid colour and unique composition.

The new Goti Essences now appear in stunning, lightweight 50ml and 100ml polished metal flacons. The smaller of the two is perfect for travel, and the luxurious 100ml comes with a detachable leather bulb atomiser. A small screw cap and metal cover for the flacon are included with the larger size. Both are packaged in exquisite sturdy black boxes with tooled leather buckles. Very 'Goti' indeed.

Limited global distribution renders Goti Essenze somewhat tricky to source. 

In Australia, the complete line is available through Dilettante in Perth city and in Claremont, Western Australia.

Visit: http://www.dilettante.net for details.

WENDY & JIM: Drop No. 01 Eau de Parfum

Austria has produced a number of artisanal houses that have brought exquisite perfumes to market in recent years... and it is safe to say that Viennese fashion legend Helmut Lang might have paved the way.
Lang's "universe" is comprised of fashion that is relaxed and formal in equal measures - it is not so much the idea of high fashion, but rather, a sensitivity towards correctness and detailing in garments that appeal as basic items. Few designers can take casual clothes to the precipice of being avant garde, without being "fussy", in the manner way Helmut Lang can. Lang's portfolio of perfumes followed suit... they were explorations in simplicity and refinement; understated, minimalist, and keenly edited.

One can feel Lang's DNA present in the Austrian fashion label Wendy&Jim - a new-fangled fashion house with creative minds Hermann Fankhauser and Helga Ruthner at the helm. This design duo met during their tutelage under Helmut Lang at the Viennese University of Applied Arts in 1999, and have been showing their Men's and Women's collections in Paris since. Their non-conventional designs remain high atop fashionista shopping lists in Hong Kong, London, Tokyo, Berlin, New York, Vienna and Stockholm.
In April 2013, the pair launched Drop No. 01 Eau de Parfum to accompany their fashions.

An overture to wanton sensuality, Drop No. 01 Eau de Parfum is described as:

 "...the result of an orgiastic night, a warm, dark and sparkling fragrance for sophisticated, modern and cosmopolitan women (and men)."

When first applied to skin, one is immediately awash with a zesty, bitter citrus accord, and a rush of Indian jasmine... star-shaped blooms heavy with indoles create a sultry, devoutly feminine aura around the wearer. There is nothing apologetic about this floral opening - it is every bit as 'present' as Robert Piguet's famed Fracas. Amongst the narcotising white florals I sense a ribbon of green - lily of the valley perhaps? - and a soft pink band of rose. Deeper below, a fragrant woody-resinous foundation of amyris / elemi amplifies the sexually-loaded context of the perfume, and brings with it a more masculine facet. There is a certain sexual alchemy at work as the womanly floral facets and vigorous masculine aspects unify. A warmer, ambery characteristic is furnished by fragrant myrrh in the trail.
This fragrance - in its style and approach, at least - shares a similarity with those of Fankhauser and Ruthner's mentor, Lang. It is straight-forward, linear, and uncompromising.

Drop No. 01 boasts 99% natural ingredients, 95% of which are of certified organic origin, making it one of the first (if not the first) natural designer perfumes in the world.

If the description of the scent itself doesn't completely enchant you, then perhaps the flacon will! With a tip of the hat to Austrian craftsmanship, Wendy&Jim have collaborated with the second-oldest porcelain manufacturers in Europe, Augarten of Vienna to produce the magnificent Vulpini "Fox's Head" flacon. The stunning skull receptacle is sold independently of the perfume, and can be refilled at will. It is available in "White" and "Wiener Rose". The fox's skull was chosen as a totem of strength and cleverness and serves as the perfect vessel for a perfume of such a bewitching nature.



Drop No. 01 is available in 30ml and 50ml sizes at a cost of €110 and €180 respectively.
The Vulpini fox skull flacons start from €370.

For further information, visit the Wendy& Jim website and facebook page.
www.wendyjim.com

Parfums Divine - L'Homme Infini

I don't know how Parfums Divine have managed to slip stealthily beneath my perfume radar until today, but I, for one, am thrilled that their brand new masculine L'Homme Infini created a blip on my monitor.

Their promotional literature reads:

"Simply by word of mouth, DIVINE perfumes have magically entered the lives of women and men all over the world".

And so it has, mine.

Parfums Divine have received much praise, it would seem, for both their masculines and feminines. L'Homme de Coeur and L'Homme Sage are the notable forefathers to L'Homme Infini - their latest offering, earmarked for a November 12th release. Parfums Divine Creator / Perfumer Yvon Mouchel appointed perfume maestro Yann Vasnier to bring to fruition his most recent innovation. Vasnier's impeccable resumé includes the creation of scents for Tom Ford, Comme des Garcons, Arquiste, and many, many more.

L'Homme Infini - conceptually - is a man who has the horizon of life stretching far before him - a man who can invent the future. And whilst this reads somewhat as simple marketing prose, L'Homme Infini the fragrance, does in fact, feel rather optimistic. It has a very engaging opening... lush aromatic greens of coriander leaf and elemi feel abundant and proffer a sense of open space. It is deeply aromatic, with warm oaky tones and a prickle of pepper that meets the nose from the get-go. Whilst not listed amongst the official olfactory notes, there is almost a hint of dried bay leaves present too... the opening synthesis of accords skipping alongside other arresting offerings like Monacle x Comme des Garcons Scent 2: Laurel.

A cozy cedar/vetiver heart lends some staunch masculinity, and a subtle huff of agarwood, a deeper complexity to the nucleus of this perfume. There are ambery, resinous nuances in the trail, furnished by fragrant benzoin.

On skin, and after a time, L'Homme Infini wears very much like a favourite piece of clothing. A comfortable woolen horse-riding jacket, perhaps... one imbued with the smell of the trees, rushing wind, dewy mornings and leafy dales. Somehow, it feels deeply individual... a perfume that essentially becomes bonded with the wearer. A wearer who has the horizon of life stretching far before them - a wearer who can invent the future.

L'Homme Infini launches in Parfums Divine boutiques and in their e-shop  on November 12.
It will be made available in 50ml, 100ml and 150ml sizes.

Olivier Durbano - Héliotrope

This image is the author's own, so please do not use without permission.

French jeweller/perfumer Olivier Durbano has an insatiable approach to his work. His eye-popping collars of semi-precious stones are constructed with both a masterful hand, and a keen consciousness of the raw materials he is working with. In 2012, Durbano chose the stone Heliotrope to feature in his work, and true to his own tradition, it also served as the inspiration behind his latest perfume release, which he revealed at Fragranze in Italy last month.

Heliotrope is known perhaps more commonly as Bloodstone, or Dragonstone; a variety of chalcedony which is chiefly a deep green colour, speckled with rich red jasper. Worn as a talisman to protect against the evil eye, and to aid with blood-related disorders, it has been a stone coveted throughout the ages by both Christians and pagans.

As with all of Durbano's perfumes - one can't help but recognise a hint of antiquity at hand. Not antiquity so much in the sense that his creations are like the classical pillars of perfumery, but rather "antiquity" defined in a primitive sense. Heliotrope is such a scent... one that commands instant reflection... it conjures scenes from archaic ages... of warring empires and primordial battles; of far-flung cities buried in the sand; of the prehistoric asclepions and sanctuaries of healing.

Perhaps more than any other of his accomplished perfume releases, Héliotrope not only memorialises this semi-precious stone, but also tells an ancient narrative.

One does not quite know what to expect when first applying this deep crimson juice, or perhaps if one does, I am almost certain their assumptions would be wrong. Heliotrope opens with a sharp mandarin accord, but it is instantly diminished by a combustable chilli-pepper warmth. A component of many fragrances from the Near East, saffron is a major player here... it is heady and piquant. It's texture is syrupy, almost medicinal in nature, which adds complexity and a sense of luxuriousness. I sense florals - angelica, magnolia, heliotrope - swimming at its heart, but there is also a curious sense of green. 

A damp, sodden woodsy green, like the smell of the forest floor after a deluge. I've not smelled Nagarmotha as an isolated raw ingredient, but it is listed as a component here, and I recognise it from other scents like Amouage's Opus VI and Mona di Orio's Oud, and I feel it contributes to this grassy, woody, slightly astringent aspect. Notes of sandalwood and cedar also bring with them a bountiful sense of comfort.

As it develops, Heliotrope feels multi-tiered with layers of warmth and coolness... a huff of musk lends a luke-warm "organic" feel... like the smell of skin at blood-temperature. I ponder for a moment, wondering if this was a deliberate (and genius) attribute to include. Durbano's remarkable and much loved "house accord" of incense and tree resins makes a firm appearance in Héliotrope's drydown... lavish tendrils of myrrh, oliban and benzoin which furnish each of his perfumes with an exquisite earthy, mineralic quality.

There is something resolutely personal about how this perfume blossoms over time... it feels both intimate and curative. I imagine an ancient spa or asclepion with clay pots full of salves, unguents and balms that are rubbed into tired muscles and anoint the wounds of ancient heroes and heroines. Héliotrope, the perfume, stays true to the stone's metaphysical purpose... is indeed reparative and protective. 

Once again, Monsieur Durbano's incomparable cognizance of stones and their spiritual meaning makes for a compelling and thought-provoking creation.
One of his very best.

One Seed - Courage and Beauty in Botany

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).

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.

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.

Christos Man & Christos Woman by Christopher Chronis

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.

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

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.

Donna Karan Signature

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.

Very Good Wood: Comme des Garcons - Wonderwood

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

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

Shalimar Reincarnated

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

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.

Vero Profumo: Rubj Extrait and EDP

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.

Profumi di Pantelleria

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.

Vero Profumo: Onda

Whilst penning my somewhat indulgent Sorcery of Scent perfume narratives; seldom do I ever find myself at a complete and utter loss for words. Occasionally though - very, very rarely in fact - I am moved monumentally by a perfume so much so, that I cannot even begin to articulate my adulation. At a guess, many thousands of scented molecules have been waved under my nose on paper strips and dewy forearms over the years, but perhaps less than five have managed to stop me dead in my tracks...

So today, I am here to sing the praises of Onda; my voice representing only one in a growing choir that rhapsodize about this extraordinary release.

Swiss perfumer Vero Kern stands firmly at the helm of her company Vero Profumo; a brand whose olfactory proclivity aligns itself with the classic perfume houses of the early 20th century, and one which is rapidly gaining ground in the luxury perfume market. Choosing not to do anything by halves, Vero stepped onto the world stage in 2007, surprisingly with three extraits in hand; Kiki, Rubj and Onda.


Kern's trio of pure parfums are something to be treasured. If not for the stunning flacons and exceptional quality of the raw materials used, then for Vero's sensitivity to the art of blending and consummate craftsmanship. Whilst all three scents deserve lustrous accolades, Onda in particular, serves as a thought-provoking reminder as to what the perfuming arts are really all about. Just one afternoon spent with this incredible extrait is all it took to force me to reconceive what is really important about perfume... to look beyond the physical: (bottles, labels, packaging and oils suspended in alcohol)... and to give in to the invisible and the implied.


Onda is timeless in a hauntingly beautiful way: it speaks of antiquated eras filled with lush Art Deco architecture, art, clothing and style. It puts its olfactory bookmark right between the pages of history where the Jazz Age was in full swing; a time of glamour and defiance where "Flappers" wore brief skirts and bobbed hair, and where black & white silent movies finally found their voices. It was a dynamic period following the horrors of WWI, marking a break with tradition and renewed social and artistic expression.


Onda is a spectacular leather perfume that is composed of warm honey-like amber accords, sharp ginger and dry vetiver - a mixture that inspires rememberance and nostalgia. Whilst it offers a deeply moving sense of familiarity, it also reveals a hollow pang of sadness and despair... much in keeping with the style of Guerlain's Vol de Nuit and L'Heure Bleue - two perfume triumphs of that age. Tender iris lends a soft dryness which works in unison with the vetiver and leather base to furnish Onda with a vintage "airless" closed-over-the-ages feel.

The chypre-style amber/patchouli base is warm and enduring... sitting on my skin for close to 24 hours. As the final whispers of Onda dissipate from my arm, so too do the images of the 'flappers' and the 'sheiks' in my mind's eye. Their smiling sepia faces fade like ghosts from a vintage photograph, leaving only the depiction of a grand Art Deco music hall behind.

Sometimes words simply can't articulate that which the human nose and mind knows. Onda is a perfume whose masterful execution and fathomless beauty sets a benchmark that other perfumers should aspire to achieve.


Onda, Kiki and Rubj are all available as extraits via retailers listed on veroprofumo.com, and are something to be truly experienced. Campomarzio70 in Rome, Italy are exclusive worldwide distributors of Vero Profumo and besides stocking the extraits, also exclusively carry 50ml eau de parfums of the trio, as introduced at this years Esxence expo in Milan. It is worth noting that the EDP's are not simply diluted versions of the extraits - Vero Kern has made a conscious effort to highlight the EDP's topnotes, without compromising the unique and timeless charm of the extrait. Having sampled both the extrait and the eau de parfum, I can attest first hand to her success.


Onda / Kiki
€199 - 15ml extrait
€135 - 7.5ml extrait
€110 - 50ml EDP

Rubj
€210 - 15ml extrait
€145 - 7.5ml extrait
€135 - 50ml EDP

AGONIST (Parfum Nordique): The Infidel

So few successful perfume houses have emerged out of Scandinavia, which to me - someone living in Denmark - is something of a mystery. One might reason that Scandinavia is perhaps best recognised for its simple, clean, unembellished style and one might further suggest that perfume (a rather complex creation), somehow contradicts the widespread notion that function is perhaps more esteemed than excess here in the Great North. Fortunately, Agonist Parfums, based in Stockholm Sweden, is the second major Nordic brand to enter the international fragrance market in recent years, and is one that represents a marriage between modern Swedish handcrafts and perfumes that are exceptional in nature.

In close collaboration with professional perfumers in Grasse, Agonist is a new Scandinavian fragrance brand launched in November 2008 that creates gender-neutral eau de parfums that embody a sense of Nordic climates and cultures: full of dramatic contrasts and artistic exactness. Agonist Parfums' bond with with glass artist Åsa Jungnelius who works with Sweden's most prestigious, oldest glassworks Kosta Boda has resulted in stunning artistic interpretations of each fragrance in glass. Her unique flacon designs are individually fashioned for Agonist in Kosta Boda's raging furnaces.

To date, Agonist have released 2 perfumes. The first, Kallocain (2008), was presented in a stunning black glass flacon with tapering neck - a design that was exhibited worldwide and is now a part of the permanent collections at the Röhsska Design Museum in Sweden. The second, named The Infidel (2009) was originally presented as a limited edition figural pair of artglass flacons, and recently re-realised in stunning vermillion red.

If the truth be told, prior to my sampling, I could not have imagined the elixir that any of these remarkable vessels held. Perhaps I had expected something typically Scandinavian: understated, architectural, sanitary; but I most certainly was not prepared for my experience with The Infidel. This perfume reveals a dignified citrus opening with flourishes of semi-transparent black currant, but almost immediately steps off the abyss and plunges towards a fathomlessly deep heart of aromatic cumin. Under normal circumstances, I might have winced at such a heavy-handed use of cumin, but here it resides amongst a narcotising scattering of aromatic florals, which do well to transform the sweaty skank into something camouflaged and hypnotising. As the cumin continues to establish itself, a blossoming magnolia accord reaches out with its powdery pink tendrils over a creamy tonka core. Some time later, there is a sensation of growing heat that presses up from below... an insolent ember of amber and rockrose that provide a residual background warmth. The Infidel as it's name suggests, is a non-conformer. This perfume represents all that I had not imagined I might experience when applying it to my wrists. It is rich, spectacular and imposing.

The Infidel continues to evolve over many hours, and at some point, doubles back on itself. Where most perfumes work through their olfactory pyramid from top, to middle, to base; I felt as though after a time, it worked its way back again. Nine hours after application, the amber and cumin have dissipated and I am left with the faintest huff of floral greens on my skin.

Whilst many perfumistas might argue that the Kosta Boda presentations are inessential (and many glass collectors feel the same about the perfume), I feel Agonist have succeeded in unifying two spectacular works of art.

Visit the Agonist Parfums website for more information on the brand, and how to order Agonist products.