Czech & Speake reissue: Dark Rose

This week I received notification that British aromatics creators Czech & Speake are set to re-release a trio of sophisticated and beautifully presented scents in their Prestige Floral Collection of fine fragrances. The line up celebrates the return of three classic Czech & Speake scents: the vibrant and youthful Rose (1988), the sensual floral Mimosa (1986) and the exotic 2003 launch: Dark Rose. I have been hoping to try Dark Rose for a number of years now, but with its deletion from the C&S portfolio several years ago, it made it almost impossible to source.  At last my opportunity finally arose this morning when I received a very generous C&S sampler from London, comprising each scent from their aromatics line.

Dark Rose is a tenacious blend that excites from the get-go. The opening is sprinkled with fragrant saffron before the strikingly rich rose, precious woods, synthetic oudh and white musks combine to create a perfume that is unmistakably Indo-Arabian in nature. It is not unlike every existing  Montale aoud/rose release in both its style and composition. To a Western nose that has had little exposure to middle-eastern inspired perfumery, Dark Rose will excite and bewitch; but for those familiar with Montale's aouds and true Arabian mukhallat oils, it may fail to impress.

In August last year I blogged about Mukhallat El Emirates - a robust and opulent elixir that now to my nose, I regard as the absolute kissing cousin to Dark Rose. Comparing the two back to back, I am almost unable to determine any differences in smell... any variation that does exist, I would likely attribute to the quality of materials used in each composition. The mukhallat contains natural oils and extracts, whereas the C&S release is comprised of a long list of copy-cat synthetics (many of which are clearly declared on the back of the sample card). Dark Rose's persistence and sillage are fleeting (perhaps 2 or 3 hours, tops), whereas a few drops of the Arabian oil will imbue the air around you for the better part of an entire day.

I would be very interested to obtain a sample of the original 2003 Dark Rose cologne, just to determine if there are any nuances (both subtle or obvious) that differ from the reissued formulation. I might say that Dark Rose 2009 does manage to cut a path amongst many banal mainstream and niche releases, and its interpretation of Indo-Arabian perfume is sound; however when given the opportunity to measure it against the real thing, Dark Rose falls just a little short.

By Kilian - Straight to Heaven

In 2007 I stumbled across a compelling image of a £50 million diamond-encrusted skull exhibited by English artist, Damien Hirst. This profound artistic statement in celebration against death instantly reminded of ornamental El Dia de los Muerto skull depictions prevalent in Mexico; as well as rich pirate iconography common in Caribbean cultures. At the time, I was wowed by the way Hirst had transformed a human skull into an extravagant objet d'art. I'd long since filed this image away in the repository of my mind, however it skipped into my consciousness again just a few weeks ago, when a friend introduced me to a fragrance from the By Kilian perfume portfolio. The scent in question: Straight to Heaven: white crystal. 

Straight to Heaven, is a scent inspired by Martinican Rum - the alcoholic life-blood of the Caribbean islands. Its opening is dark and fruity - thick with the semi-sweet aroma of fermenting sugarcane and dark molasses, distilled and stored in old wooden barrels. With it, there is a sense of a warmth... like the radiating sting of an aged rum as it slips down the oesophagus.  Several accords drop anchor at the heart of this fragrance - most notably, cedar and Indonesian patchouli: each of which contribute a dense earthiness to the mix. But it is over a swelling tide of white musk that this composition stays afloat... the musk is sharp, crystal clear and well-refined.

When experiencing the total sum of these accords, one can easily visualise the ghosts of marauding buccaneers patrolling the Spanish- American coastline with the jolly roger hoisted high above their heads. It is a scent that is nostalgic and in the here-and-now. It is a fragrance that is commanding and masculine, but also one executed with enormous care and delicacy.

The brand itself is the culmination of French cognac heir and perfume marketer/developer Kilian Hennessey's efforts, and furnishes men and women with exquisite fragrances of unrivalled elegance and uncompromising luxury. This is clearly evident in the quality of the materials used, and the treasure chest-like presentation of the flacon in a satin-lined box with a lock and key closure. I am also very taken with the 1 litre barrel-shaped fountain, that allows you to refill your bottle at home. 

Such treasures I would also regard as objets d'art, and feel they would certainly take pride of place in any self-respecting pirate's plunder!

Molinard Pour Homme II

This year, the celebrated perfume house Molinard will celebrate 160 years of perfume production. Founded in 1849 in Grasse in Provence, France; Molinard remains to this day France's oldest entirely family-run business. Known in over 40 countries internationally for their vast history and well-crafted perfume portfolio, Molinard have enjoyed many successes spanning the decades, including the ever-popular and completely bewitching Habanita (1921) which is a cherished scent that is still in production today. In years gone by, this house has presented their enchanting aromas in opulent Lalique glass and Baccarat crystal flacons... an indicator that their olfactory artistry deserves to be treasured and revered.

On a recent visit to Vienna I was introduced to a number of perfumes from the Molinard line. As has now become tradition on any trip abroad, I look forward to the opportunity to purchase and wear one brand new scent for the duration of my visit, so that memories of my stay will easily be conjured at a later date with one single sniff from the bottle. In Austria I visited countless perfumeries and grew tired of the same offerings from store to store... that is, until I stumbled upon the Molinard Pour Homme series. Presented as a trio of scents packaged in stylish flacons as white as a sugared almonds, I sampled the line and fell instantly for Molinard Pour Homme II.

Product images sourced from www.molinard.com

Pour Homme II is a sensual woody fragrance that evokes a feeling of immediate presence... bold, polished and assertive. A delicate balance of Sicilian mandarin, and juniper provide an aromatic opening top note, however one can instantly recognise fragrant cedar and bourbon vanilla being at the heart of this scent. It represents an interesting paradox... MPHII is thick with lush accords of Brazilian orange and Crimean coriander; yet somehow husky and arid - displaying deep pastel tones of patchouli from Singapore, vetiver, and dry hay from La Crau.

As the scent dries down, the vanilla takes a step to the side, and the richer woody/patchouli notes come to the fore.

If I were to liken it in style to an existing release, I would suggest that this offering is parallel to Yves Saint Laurent's Kouros, though completely devoid of the civety, animalic accords that render Kouros a 'love it or hate it' cologne. It does have a pronounced 'dustiness' though, that is akin to the YSL release. I can also see Pour Homme II as quite possibly being the inspiration behind Gaultier's Fleur du Male - though again, without the somewhat thick, disorienting, almost animalic orange blossom.

With the scents from the Molinard Pour Homme line, exceptionally good value for money can be found. PHII is a wisely constructed fragrance that draws upon the company's 160 year-old perfume narrative, and translates it into a vernacular still very valid and relevant today.

ZARA Perfumed Water - Vetiver

In fragrance circles, often the question is asked whether or not the price of a perfume directly equates the quality of the scent itself. Certainly, the cost of materials and oils used in perfumes vary depending on their source, scarcity and character, but on the whole, there are still some extremely well constructed scents to be had for just a handful of coins. With the global economy in crisis, consumers as a whole are now looking for alternative purchasing options that won't break the bank. The Perfumed Water series from Spanish design house ZARA is a prime example of how just a little money can be well spent.

Teaming up with fellow Spaniard Antonio Puig, Zara have created 7 perfumes in the line to date - 3 for men (Vetiver, Ambar and Sandalo) and 4 for women (Lirio de Agua, Rosa Bulgaria, Flor de Azahar and Tierna Peony). The range offers essences cleverly constructed using 3 main accords that are declared on the box, in 50ml and 200ml bottles. Zara's strategy here is to offer strikingly beautiful perfumes, using a minimum of ingredients, which ultimately makes them very affordable. Exactly how affordable? I hear you say... well, I have noticed a tiny variation in cost from country to country, but the 50ml is offered at approx €13 ($16 USD) and the very generous 200ml bottles at around €20 ($25).

At those prices, why wouldn't you want to indulge in the big one?

I personally was very taken by many scents from the men's and women's line, but the standout edt for me, was Vetiver. Whilst Puig's interpretation of vetiver here might be far from "true vetiver" in a niche or botanical sense, it does conform to Zara's ideal of producing highly appealing scents for the mainstream market.

The opening spritz reveals bracing grapefruit and tender orange blossom which immediately revivify the senses, and of course the third accord forming the base: vetiver. The effects of this scent are felt instantly... sharp, crisp, and uplifting and is much in the same style as a lively splash cologne that exemplifies a state of pristine clean and immaculate grooming. (Perhaps the same instantaneous effect can be enjoyed when applying Thierry Mugler's Cologne; though Vetiver I feel is less 'transformed' than Mugler's creation; and somehow more aromatic).

In contrast, I have since added Ambar to my personal collection of Zara's Perfumed Water as to me it represents the antithesis to Vetiver. It is a wonderfully warm, spicy honey-like winter indulgence that evokes thoughts of blazing fires and comfort food. I am sure to revisit the ladies line again too as I feel there is much to enjoy from this series.

Le Feu d'Issey / Waldemar Kolbusz

Occasionally, I reflect upon my life, and consider myself very fortunate in many regards. I am happily married, am blessed to have my health; work for myself, and have an insatiable appreciation for perfume, art, music, gastronomy and literature. As a graphic designer by profession, I also regard myself as being profoundly visually literate... taking in colour, form and dimension, and recalling it with photographic clarity. The same can often be said for my nose (and the noses of many with a healthy appreciation of the perfuming arts), where my sense of olfactory recall is exemplary. I will often be transported back to a particular point in my life when reacquainted with smelly molecules that I have been exposed to long before.

This was the case with my recent re-introduction to the über-rare Le Feu D'Issey by Issey Miyake. This scent was launched in 1998 as the followup to the phenomenally successful L'eau D'Issey, but surprisingly, managed to become a colossal commercial flop. Suddenly, after a life span of almost 3 years, it was stripped from shelves the world over. Many were quick to claim "too avante garde", but it was few that actually mourned the death of this perfume. As for me, despite my wife working with Parfums Issey Miyake at the time; I was indifferent.

Fast forward to yesterday, ten years on. I was visiting a local out-of-the-way perfumery, sampling at the rear of the shop, when suddenly I smelled the very discontinued Le Feu D'Issey cart-wheeling on the air. I recognised it instantly - vivid pictures blazed behind my eyes of summers spent with friends, good food on hot balmy evenings, cold champagne, and lazy afternoons spent sprawled on grassy lawns. I was amazed (and a little overwhelmed) at my immediate sense of recall... I spent moments rearranging the pictures in my head, trying to achieve a sense of order. By olfactory association with the scent my wife used to wear, I was suddenly at a sundowner lawn party in 2002, held by the internationally acclaimed West Australian artist, Waldemar Kolbusz. Champagne and canapés were circulating freely, and  I recalled the long evening shadows criss-crossing the lawn. It was a hot Perth night, and the parakeets were chattering excitedly in the trees across the road. Warm bodies in crisp-ironed clothes mingled effortlessly - our necks and decollitages moist with perspiration, thanks to a setting desert sun.

As I stood in the perfume store, immersed in my recollections, I thought what a fitting scent Le Feu d'Issey was in having inspired this particular daydream. Le Feu after all, was a fragrance release that celebrated the elemental force of fire.

My belief is that Miyake's creation was well ahead of its time. It was launched on the heels of countless androgynous, unisex releases of the mid 90's, and in terms of its style; embraced qualities that represented the polar opposite of those scents that had found their success at that time. A perfume that honoured fire, (and indeed one fashioned in true Issey Miyake minimalist style) was simply dismissed as unconvincing, unimaginative and characterless. However, if the truth be known, Le Feu d'Issey may be more relevant to perfumery now in the "noughties", than it was in the nineties. Miyake lent heat to this composition with sichuan pepper, amber and benzoin - yet with a delicate hand, he reduced the volume on the combustible warmth with golden Japanese lily, bulgarian rose and milk accords. Exotic guaiacwood and coriander also contributed a radiant piquancy to the mix. 

In hindsight, Le Feu was forging new bounds in perfumery that perhaps at that time, the world wasn't fully able to comprehend. I wonder whether if resurrected and re-released tomorrow, yesterday's failure might in fact, become a modern-day triumph.

So, as I purchase the one remaining precious bottle of Le Feu d'Issey in the perfume store, my mind returns once more to the intimate gathering on that steaming Perth afternoon. With many guests retreating to the shadows beneath the trees, I am led inside to take a look at Wal Kolbus'z work with my wife, who is wearing the same resplendent elixir that I now hold in my hands. I Find it fitting that the artist himself embarked on his expressionistic journey whilst travelling through the parched Arizona and Nevada desert. His canvases exude an intensity of emotion, and his use of striking colours are so exciting, they emit a certain volume - and indeed a certain temperature. 

Miyake's olfactory palette - much like Kolbusz's artistic one - infuses his work with colour, beauty and abstraction. Le Feu d'Issey is perhaps an abstract ideal made tangible when the world was looking the other way.

* Artwork: Slicker oil on linen, 183x66cm. Waldemar Kolbusz homepage: www.kolbusz.com.au

KORRES - Saffron / Amber / Agarwood / Cardamom EDT

I've just returned from holidays in Athens, where I was first introduced to the Korres Natural Product line. Korres is a Greek company whose roots lie in Athens' first ever Homeopathic Pharmacy, and since 1996, has offered safe botanical products for hair and body. With a number of light Body Water products already to their credit, I was delighted to learn that they were launching 3 brand new eau de toilette fragrances at the time of my visit...

Rose Wood / Blackcurrant / Cyclamen

A feminine scent, rich with dark rose petals, fragrant cyclamen, dark berries and green leaves.

Saffron / Amber / Agarwood / Cardamom

A scent for men, bold, warm, exotic and commanding with its notes of saffron, agarwood, and cardamom.

Pepper / Jasmine / Gaic Wood / Passionfruit

A bracing unisex perfume, carefully balancing piquant peppercorn, rare Gaic wood and soft fruity florals.

Though I secretly wished Korres had come up with a series of less complicated names for their new edt's, I can understand their desire to strip each scent back to its botanical basics. For a series of fragrances whose formulations do not contain phthalates, polycyclic-musk compounds and nitro-musks, the "natural product" tag certainly rings true. All three offerings are well-composed, and excellent value for money.

I was particularly taken by the men's edt: Saffron /Amber /Agarwood /Cardamom. 

With a lineup of components as such, one might imagine a stink-bomb of dizzying accords, but Korres has approached this cologne with astonishing sensitivity. The saffron is present from the get-go, as is the agarwood and cardamom. I would comfortably draw parallels between this edt and YSL's M7, though, perhaps with the volume turned down. The amber note it contains - composed of botanicals - does not lend the honeyed heat one might expect from a scent containing amber... rather it establishes a feeling of semi-transparent warmth, upon which the cardamom, saffron and agarwood rest comfortably. It is a scent that can be applied liberally without fear of offending others in close contact with the wearer. In some regards it is a cleaner, truer version of its more famous competitor.

I ran across this cologne whilst buying cold and flu caps at the local pharmacy in Piraeus. With only small change in my pocket at the time, I postponed my purchase until a later date. At a mere €34 for 100ml, it was certain to reside comfortably in my collection. The SA mentioned there was a Korres boutique at Athens airport, and I decided I would grab a bottle or two upon my departure. Some days later, I checked in my luggage, squeezed through security with my liquids allowance under careful scrutiny from Greek customs, and made my way for the store. Imagine my disappointment when learning that the boutique had sold out of Saffron / Amber / Agarwood / Cardamom! 

An hour or so later, I boarded the plane, savouring the spritz I had released from the tester onto the back of my hand. Despite all her treasures, I have found yet another reason to return home to Greece. Toute suite!

Thierry Mugler - Cologne

I can't pinpoint exactly why I have been putting off writing about Thierry Mugler's unisex masterpiece Cologne. In some ways I feel I have been avoiding it because I felt my words simply won't do it justice. This is a scent that I celebrate with every fibre of my being! A scent that has never once been absent from my fragrance wardrobe since its launch back in 2001.

I was fortunate enough to be working as a Mugler Ambassador at the time of Cologne's release. I had been hired by Mugler's distribution company to man the Theirry Mugler counter in one of West Australia's flagship department stores. I was known as "that guy who works for Angel" by shoppers, who would pass me by, exchanging odd stares between themselves, and snide remarks spoken in whispers. But I was undeterred... I was already a dedicated disciple of the Mugler Universe, and took pleasure in working with a luxury brand that I adored and admired. Up until its release, I had worked for more than a year with the Mugler portfolio of perfumes that had surrounded me in twinkling glass stars and shining metal flacons that held elixirs violet-blue in hue. Angel and A*men were scents that were daring and dramatic, and either repelled or attracted people around me, like orbiting celestial bodies. 

When it was finally announced that Mugler was to launch a "universal" scent for both men and women, I was excited. I attended my Cologne training with enormous enthusiasm... and was stunned to find monolithic flacons of vivid green juice had replaced the thorny violet ones.

Thierry Mugler's approach to creating Cologne, was to draw upon the historic culture of cologne, and thrust it forward several hundred millennia into a far-flung spacescape. He wanted to create a synthesis of fragrant molecules that would unify men and women, and honour the idea of androgyny. This, he succeeded in evoking with the striking imagery that supported the launch: a depiction of a two-headed figure that share the one body, and whose limbs are intertwined in a grotesquely inorganic manner. Curiously though, it is an image that also succeeds in communicating an astonishing sense of harmony and balance.

This dramatic paradox can be said for the juice as well. Its fluorescent fluid is an interesting contradiction... communicating something noxious or wildly unnatural; whilst the very nature of "green" insinuates something restorative and replenishing... as though drawn from a spring or fountain of youth. The bottle, also implies opposing elements:  its broad, sloping shoulders suggests something futuristic and regimental, whilst at the same time, echoes pre-historic symbolism (compare the monolithic statues on Easter Island, for example).

The perfume itself is also an oxymoron... it is brimming with clean, striking, soapy freshness - drawing upon the pristine vitality of mother earth - though much of its composition is synthetic in nature. At the surface of this scent, re-energising citruses dominate, but beneath, the heart is very organic in nature. Cologne is said to emulate the smell of freshly scrubbed skin, and the molecule used to suggest living matter is the now-famous "S-note", trademarked to the house of Mugler. During my training session, Cologne's individual fragrance accords were passed around in tiny vials for the sales associates to smell. The "S note" however, was packaged as a molecule-soaked cushion kept in a screw-top container. We were warned prior to opening it, that most of us would find it challenging to the nose. With trepidation each of us sniffed the container and inhaled what all could effortlessly recognise as post-coital secretions. We were all instantly appalled and intrigued. This famed accord encompassed the most fundamental odour of life itself! It became clear to me, why the house of Mugler had endeavoured to build Cologne around it. It is genderless. It is familiar. It is basic. Regenerative.

Since the success of Mugler's Cologne, other perfume houses have borrowed from the concept - some choosing to append various accords (the topnotes of Jasper Conran Man), and others, unashamedly attempting to recreate it (Creed's Original Vetiver, and Gaultier's Monsieur eau de Martin). In my eyes however, Cologne will always be revered as the yardstick against which copycat creations will henceforth be measured. Mugler's meticulous eye for detail, and his breathtaking ability to tell a story with perfume are second-to-none. 

If Cologne is anything to go by, we should look forward to the next time the house of Mugler transports us off to extrasolar landscapes around the Mugler galaxy.

Ambergris / Ambre Gris

Whilst the idea of using authentic animal products in perfumery is enough to enrage animal rights activists the world over, there is comfort in knowing that the much sought-after Ambergris (grey amber) is one of a few substances that can be sourced without inflicting any harm to the creature itself.  Au contrare...  this waxy grey/white material is uncommonly ejected from the intestinal tracts of sperm whales, bringing much relief to the beast in the process.

The trouble is, that ambergris is difficult to come by. Occasionally, some very fortunate beachcombers stumble upon lumps of varying sizes in the dunes, and others have scooped the floating material from the open seas with nets - but whatever the method of collection, ambergris will be sure to net you a tidy profit. In recent years, a 15kg lump that was found on a beach in South Australia, has been valued at a whopping $300,000. Its rarity and desirability for use as a basenote and fixative in perfume sees suppliers shell out top-dollar to secure this rare commodity. Its deeply earthy, semi-sweet balsamic aroma intensifies fragrances, and increases longevity.

For decades perfumers have been inspired by this rare and precious component, and many have put their own twist on the ambergris theme. One which I am particularly fond of, is the 2008 Balmain release, aptly named Ambre Gris. Enchantingly presented in a weighty grey glass flacon and twinkling gold crown, Ambre Gris is an opulent elixir that displays characteristics of both a gourmand perfume, and one with a mild animalic edge.

It opens with a rousing floral accord that shifts quickly into a candied fruit note... but thankfully one which is not too saccharine in nature. A permeating honeyed warmth seeps through the topnotes, and is followed by a husky iris-like dryness. It is at this point where the scent lingers in an unusual narcotising state of limbo where the balsamic ambergris materialises as if from the murky depths, and is suspended like a shining lure at the end of a fisherman's hook. It is sensuous and smouldering. Wonderful curls of resinous benzoin lend a deep caramel warmth, and myrrh; a soft soapiness to the scent. The edible quality is thick and luxurious like ribbons of golden syrup, but the ambergris at the heart denotes something more organic. Its tranquilizing voice sings through the layers of this perfume like a Siren, beckoning, coercing, ensnaring.

Many hours later, Ambre Gris is still evolving. There are fleeting moments of synthetic rubber such as those found in Bvlgari Black,  leather much like that present in Acqua di Parma's Colonia Assoluta, and vanilla/musks akin to those in Gaultier2. It is a perfume that has been made for the mainstream market, yet it has all the olfactory indicators that could liken it to many niche releases today. It can be celebrated for its above-average sillage and titanic persistence (8+ hours on me, after 2 discreet spritzes), but more so for its charming take on this prized treasure from the sea.

Thanks go to Liz, for sending me with this bottle. A very kind gesture, and much treasured gift.

Washington Tremlett - Black Tie

For a little over a year now, I have been singing the praises of this exceptional men's release to all who will listen. Washington Tremlett, founded in Paris in 1870, became the most prominent shirt-making company in Europe and the New World. After opening a store in Saville Row in London, the company enjoyed the exclusive patronage of Kathryn Hepburn, The Onassis family and Sam Goodwyn, amongst many other names of the European elite. With numerous contacts in thespian circles, the company went on to produce costumes for many theatrical productions, including the stage show and film "My Fair Lady".

Remarkably though, the firm is best known for inventing the seven-fold tie in 1892, and for coining the phrase "black tie". To this day, Washington Tremlett's bespoke shirts are still created under the Kilroy brand, working out of Saville Row, and the impeccable styling and distinguished nature of this label have now been translated into perfume.

Black Tie is a fragrance for men, based around a floral, spicy heart which descends into a base of precious woods. Saffron and rose tread the boards beneath the radiant limelight and take the starring roles in this elegant composition. It is supported by a wonderful chorus-line of floral/herbaceous accords including tuberose, peppery geranium and sage. This exquisite mix maintains the tempo and then comes to a crescendo with its smouldering basenotes of walnut, galbanum, sandalwood and patchouli. 

Black Tie can be likened in style to Czech & Speake's No.88, though I feel the afore-mentioned seems distinctly more refined and less husky than the latter. Much like a faultlessly tailored shirt, Black Tie is cut to sit very close to the skin... it is the distinguished skin scent of a man with impeccable grooming and refined masculinity.

Washington Tremlett have six scents in the range to date: Black Tie, My Fair Lady, Royal Heroes, M.P.H, and the newly launched Iris Absolute, and Neroli Absolute.

Olivier Durbano - Jade

In ancient Chinese Dynasties, Jade was revered as the imperial gem... favoured by the high-ranking members of the imperial family as an ornamental stone. Varieties of the stone can be found in hues from white, through pink to black, but the highly prized emerald green jade commonly appears in history, used in elaborate ceremonial pieces, and hand-fashioned by skilled artisans into objets d'art.

On a school trip to China in the late 80's, I returned home with several jade souvenirs... mostly trinkets really, but it is the very nature of the stone that seems to embody the country's vast history. In a bygone era, when nomads travelled the Silk Road, it was considered more valuable than gold. It is little wonder then, that jeweller/perfumer Olivier Durbano has chosen this esteemed cabochon for inclusion in his seven "stone poems".

This being said, when Jade is first applied, I do not immediately garner a sense of noble opulence as perhaps I had expected. Instead, I get a strong sense of the China that might have existed in the early 1900's - when her glory days were over, and she was a country controlled by many European nations. After several wars, and with control over most of her lucrative sea-ports lost to the Europeans, this invited foreign trade and residence. China was influenced by external powers, and the wishes of the Chinese themselves often ignored. This cohabitation meant a swing in Chinese culture was at hand, much to the resentment of the Chinese. So, how is this translated into perfume? I hear you ask... well, Jade is a clever marriage between European convention and Far Eastern tradition.

As one might well imagine, judging the vivid green colour of the juice; opening notes are initially rather medicinal... a sharp stab of lush wet mint, followed by the biting aroma of bitter green tea leaves. Whilst these accords share a starring role and have remarkable tenacity, one can also distinguish a scattering of star anise and a curl of aromatic cassia. The experience is rather like a visit to a traditional Chinese herbalist whose walls are lined with antique wooden apothecary drawers; the contents of which are collected and bundled together in rice-paper packages, and carefully tied with string. One can also identify some delicate florals and dusty iris germinating at the heart, though these are as fine as Chinese silk and transparent as hand-made paper lanterns. They merely cast light on the understated vetiver/patchouli base that lies at the floor of the perfume, and whose accords soar and fall sharply like rugged Chinese mountains.

People familiar with Durbano's previous offerings might wonder if he has captured the spirit of jade (the stone) with the same measure of excellence as he has with his other stone poems. His approach to this scent marks a shift in style: for starters, the resinous frankincense/incense accords which were at the heart of all 3 previous perfumes (ones that I felt lend the earthy/mineralic qualities to his work); are now absent. This being said, I don't feel this diminishes his interpretation of jade. After all, the Chinese use jade less in its raw mineral form, and more as a polished and finished piece. If one could experience the taste of a smooth green jade cabochon, it would taste just like this perfume smells. There are nuances of the Far East, and shades of traditional European perfumery that make Jade an enchanting scent with a wonderful vintage twist. 

Jade is currently available at luckyscent.com, and will be soon shipping from other exclusive Durbano stockists.