The Scented Handkerchief: A call for a Renaissance

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

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

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

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

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

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

Sorcery of Scent Interview with Olivier Durbano

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

OLIVIER DURBANO : Architect of Stones

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

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

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

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

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

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

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

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

I feel he is sincere.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

www.olivierdurbano.com

www.olivierdurbano-store.com

Reproduced with kind permission of Basenotes.net.

Christos Man & Christos Woman by Christopher Chronis

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.

New Year Blogging Event: 2010 In Review

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

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

Here are my picks for 2010...

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

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

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

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

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

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

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

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

Runner Up: Opus III - Amouage

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

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

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

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

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

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

Best Reformulation of the Year: Onda EDP - Vero Profumo

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

Worst Reformulation of the Year: Opium - Yves Saint Laurent

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

Best Emerging Luxury Brand: XerJoff

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

On a personal Note...

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

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

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

Dimitri.

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

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

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

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

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

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

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

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

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

Get it while you can.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Andy Tauer Le Cologne du Maghreb - Brief Review

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

But first, a quick review.

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

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

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