Eyes of the Tiger, GUCCI (Alchemist's Garden)

I recently discovered the swooningly lovely amber of The Tiger's Eye by Gucci, from their new series The Alchemist's Garden.

It's beautifully produced visually, expensive - the materials used are all very high-quality and at £240 per 100ml I won't be buying a bottle any time soon! Thanks to a generous assistant at Edinburgh's Harvery Nichols though, I walked away with a 2ml sample in an exquisitely designed little box.

Medieval alchemy is the inspiration for the series - an irresistible aesthetic for me as I've always had a penchant for all things Medieval.


In the Eyes of the Tiger I experience the alchemy of perfume turned to gold, metaphorically anyway. As the perfume aficionados among you will know, amber is the term used to describe an accord of tree resins, such as Labdanum or Benzoin, in accord with vanilla. It originated in the east and was gradually incorporated into Western perfumery.

The key to good amber is quality of ingredients and this is part of what makes the Eyes of the Tiger last on skin, a little goes a long way. It's sweet in dry-down, but with a lightly torched quality that's almost creme brulee-like. The texture and colour impression is of gold-dust; soft, velvety, light and warm.

Alberto Morillas is the 'nose' behind The Eyes of the Tiger. Something of a giant in the perfume world who created Bulgari's Omnia and Cartier's Le Baiser du Dragon, also other popular classics including Daisy, Light Blue and Kenzo's Flower.

It's one of those perfumes that's delightful on a silk or wool scarf where it retains the more crackly, woody and less sweet notes, or on skin, where it melts into sinuous gold-dust toasty amber sweetness!

Orange Blossom and Neroli

Synonymous with sunshine and the Mediterranean, also weddings, orange blossom is a popular note in perfumery, either in the background as part of a floral perfume bouquet, or as a soliflore.

Image from http://www.marissahyatt.com

In absolute it's slightly animalic, milky and sweet, but often in perfumery it's accompanied by other parts of the orange tree; leaves, twigs and bark (petitgrain) lending a more astringent green scent, also orange itself (from the peel, though aroma-chemicals may be added for a transparent effect to mimic orange juice).

Orange blossom is also referred to as Neroli, and it's true that both orange blossom absolute and neroli are both from the flower petals of the tree. The difference is in extraction method; neroli is from steam distillation, orange blossom absolute from enfleurage which involves steeping the petals in odorless fat.

Neroli is somewhat sharper, more green, though still floral. As mentioned orange blossom absolute is milkier, sweeter and more animalic (i.e. it has similar qualities to jasmine and contains indoles which lend what's known as a fecal aspect which can be enhanced or decreased according to the perfumer's aims). The effect in perfume is a creamy yet tangy floral.

It seems to me that neroli is so often accompanied by orange blossom, or vice versa that it's best to include both together in this post, though I'll highlight the true soliflores where they show up. Neroli has more top note aspects, also it's a stronger scent in many ways - or more noticeable, whereas orange blossom absolute is more a middle or base note - longer lasting and rounder in tone.

There's also a cross-over into the eau de cologne style of perfume - the classic European refreshing toilet water that's popular in hot weather - eau de cologne tends to utilise the orange oil and petitgrain aspects of the orange tree alongside lemon and herbs - more bitter/citric than floral, so I won't include those here.

Nonetheless, many orange blossom or neroli perfumes have an eau de cologne-like tone. So I'll list some noteable orange blossom/neroli perfumes below, ranging from sharper and more citric or fresh, to the more floral sensual perfumes ...

Fresh and uplifting

Aqua Allegoria Nerolia Bianca, by Guerlain
A unisex cologne-like yet floral perfume, this includes fresh bitter aspects of petitgrain and bitter orange alongside neroli and orange blossom. The fact it doesn't contain the classic herbal notes of eau de cologne differentiates it as more of a fresh floral. While it's not particularly unique or unusual, it's very light, with a bittersweet quality that makes it an ideal choice for hot weather.

Knot, by Bottega Veneta
Again this has similar aspects to eau de cologne (lime, lavender and orange)  but peony, rose, tonka and musk round it out to a far more full or complete perfume. Very elegant, and again though it's reminiscent of other orange blossom/neroli perfumes, it holds its own thanks to beautiful balance from top notes to dry-down. This would be ideal in work scenarios, yet it's pretty enough to be an elegant choice for evening too. 

Neroli Portofino, by Tom Ford
This is the first in a range of eau de cologne-like perfumes created by Tom Ford, this is the most classic. To my nose it's a sweeter, stronger version of eau de cologne, combining a floral bouquet of jasmine and orange blossom with herbs and citrics. I tend to perceive Tom Ford perfumes as party-time perfumes - glamorous and amped up - ideal for evening.

Soapy 

Since neroli is often included in soaps for its fresh uplifting qualities, the association with neroli in perfume can often be soapy - clean and fresh from the shower, in effect.

Infusion de Fleur d'Oranger, by Prada
Not very imaginative in style maybe, but nonetheless very easy to wear in its way - Infusion de Fleur d'Oranger veers clearly away from eau de cologne with the addition of a subtle tuberose, but remains quite fresh. It's a soapy white floral, but unlike most classic white floral perfumes it has a clean edge - very fresh-showered in mood. When I've worn this friends have described it as soapy, and assumed that it was actually the smell of soap I'd used. So if you seek an all-day shower-fresh scent, during hots days at work or travelling for example, this will suit

Eau de Néroli Doré, by Hermès  
This has a nice neroli opening, followed by old fashioned soap scent, similar to Savon de Marseilles, with saffron maybe giving it a medicinal touch. It reminds me of the scent of a linen-suited older gentleman you'd encounter somewhere cultural in mainland Europe,  it's pleasant, low key and elegant, if old school in style.

Castile, by Penhaligon's 
Very soapy indeed!

 
Full blooms

Orange Blossom, by Jo Malone
A very pretty orange blossom that's almost a soliflore but freshened and given tang with citrus, its floral aspects heightened with lotus (an aroma chemical that lends a dewy/watery note, alongside fresh juicy clementine). It's day-time in mood, uplifting and nicely balanced though simple in style.


Seville a l'Aube, by L'Artisan
Possibly the most distinct of all the orange blossom perfumes, Seville a l'Aube combines a blast of dewy, heady orange blossom and jasmine alongside honey, tobacco and the fresher aspects of lavender and petitgrain. It feels predominantly floral and sunny but the underlying notes retain freshness, and a waxy note thanks to honey and beeswax. (The perfumer who designed this, Bertrand Duchaufour, followed the instruction of his client who wanted a perfume to remind her of her love affair during a religious festival in Spain during the orange blossom season). I find it uplifting and unusual, it blossoms particularly well in hot weather when its warmer aspects come to the fore.

APOM, by Maison Francis Kurkdjian
APOM stands for 'a piece of me' and was inspired by Kurkdjian's family connections in the Lebanon. It's very floral and uplifting (florals generally tend to be uplifting in mood, due to associations, hence their description as 'euphorics' in aromatherapy)

It's also quite powerful silage-wise, and although it does have an aspect of the middle east in its uplifting ylang and Lebanese cedar alongside orange blossom, it would also be absolutely at home at a posh lunch or wedding. Polished, impactful, pretty and uplifting.

Kurkdjian created the more mainstream Le Parfum for Elie Saab which also contains similarly large and fluffy orange blossoms - it's less woody though, more obviously bright and floral. I personally prefer Le Parfum Intense version which is rounded out with a beeswaxy honey.
 
Fleurs d'Oranger, by Serge Lutens
A powerful orange blossom with its floral aspects heightened by fleshy tuberose. The animalic properties of orange blossom absolute are enhanced with a touch of spicy/sweaty cumin. How much you enjoy this will depend on your enjoyment of big white florals and sweaty notes! I find that the cumin lends this interest - making it less a mainstream style of perfume - perhaps less easy to wear for some, it is very pretty, but the spices (including the fresh woody note of nutmeg) make it either slightly more unisex, or more interesting depending on your perspective.



 

Bulgari Black, Bulgari

Yes, another review of Bulgari's Black to add to many more out there!

I refer to this perfume throughout this blog yet haven't dedicated a sole review to it, though it's been a favourite of mine since 2002 or thereabouts. It was launched back in 1997 but the style hasn't aged in my opinion, since smoky or leather perfumes are as popular as ever. Unisex perfumes even more so.

It's rightly perceived as a modern classic, though it's also true to say it's a bit marmite-like in that some folks hate it and others adore it.

 I fall into the latter group since I love the scent of anything 'phenolic' - the term used in perfumery to describe smoky or bitter/tarry notes - such as woodsmoke, creosote on fences, coal-tar soap or bitumen and the like. I do actually breathe in deep when a road's being re-surfaced - who knows why each of us enjoy such odd aromas! Worryingly I even like the paraffin scent of firelighters, and stopped using them not only because they're not kind to the environment, but because it's a mildly addictive substance that's really not healthy to inhale!

Returning to the more normal or healthy realms of smoky scents though, Lapsang Souchong tea is what lends Bulgari Black its smoky note (it's the idea of the tea - an aroma chemical - rather than a natural note no doubt in this perfume). Bergamot is also present, so in short this adds up to my favourite loose-tea blend; Two spoons of Earl Grey (bergamot scented) and a quarter teaspoon of Lapsang Souchong = tea bliss.

As fellow appreciators of Lapsang Souchong know, its scent is almost like burnt rubber, and that's no doubt what inspired the car-tyre black rubber of the perfume bottle, also the association with male perfumes (Black is regarded as unisex).

It does have distinct vanilla in drydown though, so depending on how the perfume behaves on skin, it can feel too sweet for some men if they prefer something more traditional, or, the smoky notes can put of women who prefer prettier scents.

This perfume is far from simple though - it's not just the unusual combo of play-dough-like vanilla (distinct to Bulgari perfumes I think) and smoke that makes this perfume stand out; The perfumer or 'nose' who designed it - Annick Mennardo - has balanced it in ways that only the geniuses of the perfume world achieve! She's added a green floral aspect with rich rose and jasmine, into drydown the softness of sandalwood is a subtle presence, adding warmth, oakmoss lends a musky haze alongside a more conventional white musk skin-scent quality.

The effect is contemporary, yet reminiscent of classic perfumery in its balance and abstract French style (though Mennardo is obviously Italian as is the house of Bulgari).

Drydown is soft smoky and salty vanilla - a light musky haze like clean cat fur, and perhaps a distant waft of  driftwood fire.

It's a perfume that nearly always attracts compliments, particularly from men, interestingly. Maybe its the smoky tyres and vanilla, conjuring up birthday cake and new car!

Suggestions:
Season - Autumn/Winter
Suited to- evening/informal
Mood/style - soft/skin-scent/intimate/intriguing/unusual

Iris Silver Mist, Serge Lutens

One of the most notoriously 'irisy' of the iris perfumes! (read my post on iris in perfumery Here if the subject interests you).

I find Iris Silver Mist highlights the rooty, carroty aspects or iris (it's the root or rhizome of the plant that's used). It's slightly woody, though 'nutty' describes it better, a sort of savoury hazelnut aroma. The vetiver and sandalwood are adding a velvety softness too.

It's pretty too in some of its facets -  the make-up vintage cosmetics note that iris always seems to have - a slight violet flower smell. There's also a touch of sweet, slightly undercooked bread dough. And it's quite moist/green in feel - something like wet grass..

I don't find it funereal or sad, as other reviews have described, it must be something to do with associations -  to me it's gentle

But I'd say it doesn't have quite the elegant mystique of, say, 28 La Pausa by Chanel (a far more cool and elegant perfume). With just a little more violet this would remind me of James Heeley's lovely Iris de Nuit. Iris Silver Mist is less fey and fairy-tale like than Iris de Nuit though. (Click link to iris perfumery above to read more about iris perfumes mentioned here)

The only thing I'd say is that the longevity isn't amazing. 28 La Pausa would win the sillage battle, though it's not heavy.

Very nice though, far more comfortable to wear than I was led to believe, light for the price perhaps?

Suggestions:
Season - Autumn/year round
Suited to- any occasion depending on how much you like the perfume
Mood/style - unusual, elegant, refined

Collection Extraordinaire Bois d'Iris, Van Cleef & Arpels

I love woody perfumes and orris/iris, so I was bound to enjoy this.

I also liked Traversee du Bosphore (iris/rose/amber/sweet) which this reminds me of slightly, except that Bois d'Iris is less sweet, far more woody, though soft and floaty like TdB.

This is natural, with a soft yet definite presence. It opens with a very distinct high quality iris/orris note that reminds me of Iris Silver Mist by Lutens, but then becomes more woody, very cedary, also sweet - a bit nutty, like nougat and rice paper.

The general impression is soft and gently elegant. It's one I'd wear if I didn't want to wear something too 'perfumey', for example on holiday in the country it would work beautifully, enhancing the natural smells around you yet lending a very pleasant aura.

If it was a colour it would be soft green or mauve, yet it's also quite sunny and uplifting unlike the more melancholy iris-based perfumes (I love those too, but I think Bois d'Iris is warmer thanks to the sweet, soft woody aspects)

I could imagine an author or composer wearing this while musing in a sunlit library. Lovely stuff!

Suggestions:
Season - Autumn/year round
Suited to- daytime/low-key events/relaxation
Mood/style - relaxed, elegant, gentle, casual

Felanilla, Pierre Guillaume

I can't think of anything more suited to Autumn now it's getting chillier.

I'm immediately reminded of Shalimar, and Musc Ravageur, though this is softer than Shalimar and less animalic than Musc Ravageur. If you've tried those you'll know that this means there's a slightly vintage air to this perfume.

The saffron and hay bring it into more contemporary realms though, the iris adds to these smooth, dusty dry background effects. I also notice cinnamon, possibly clove though they're not listed here.

The drydown is a lovely toasty vanilla/amber and I also notice the banana leaf more in dry down, subtle though it is, which makes it all slightly gourmand, perfect for eating out on an Autumn or Winter evening I think. Lovely on skin or emanating from a cosy wool scarf.

What I most like about this perfume is that it has a warmth and tingly presence without being too heavy or obvious - no loud spiciness as in Opium or Coco, no patchouli/fudge.

It's inspired, easy to wear, quite 'come hither' in its cosy warmth - full bottle worthy as the perfumistas say!


Suggestions:
Season - Autumn/Winter
Suited to- Evening
Mood/style -warm, spicy, sensual, dark, unusual, vintage

Camellia, Aroma M

A gracious, pretty, refined floral scent.

The touch of incense is powdery, like Japanese incense. The florals feel absolutely natural (the rose reminds me of Un Rose by Frederic Malle) but there's a lovely bouquet of florals in Camellia. It does remind me slightly of high quality soap, but the incense makes it softer, more lingering, and it really smells lovely on skin as other reviews have noted.

Porcelain china springs to mind - delicate and luminous. The geranium is subtle, soothing, and the drydown seems to bring out the jasmine and incense.

Sillage quite soft, longevity a few hours, fades to floral, very mildly animalic (jasmine grandiflora maybe?) As with all Aroma M perfumes, this is predominantly composed from natural absolutes (though some aroma chemicals are used to 'open up' the perfume).

Probably my favourite from the Aroma M perfumes so far, though all are distinct and high quality. You can read my interview with Aroma M founder Maria McElroy Here 

Also reviews of more perfumes in her collection Here  and Here 


Suggestions:
Season - Spring/summer/year round
Suited to- daytime/evening events if worn more heavily/any ocassion
Mood/style - elegant, refined, feminine

Hermessence Poivre Samarcande, Hermès

This to me has something in common with Diorama, which also contains caraway, but this is drier, less floral of course. I'd also say it leans a bit towards masculine.

The opening notes are quite sweaty and animalic but pepper is there too giving a nice edge.

It becomes altogether softer after half an hour, less animalic,then the oakmoss starts to do its thing and exudes a lovely hazy dry, sophisticated elegant musk. (in another review ISO E musk was mentioned, I'm not sure I recognise that but this does have a muskiness that's not altogether natural so that must be it, it's not harsh to my nose, but it depends how sensitive you are to synthetic musks)

The oakmoss is definitely what gives this perfume its classic style, but it feels contemporary too - not too complex. Also the woody notes are lovely - the nutty scent and pencil shavings effect of cedar and the dryness of oak, but there's something soft and milky there - what perfumers describe as 'lactonic' I suppose.

All in all, a perfect unisex perfume for those who enjoy woodiness with a bit of complexity. I'm pleased to have discovered this some time after it was released because I love woody perfumes but so many are too harsh, too simple, or not natural.

This is quite lovely, it has a subtle complexity thanks to oakmoss, the caraway is subtle, not too spicy (to my nose anyway) the woods natural.

It seems fairly light, but don't underestimate the carrying effect of oakmoss (or ISO E etc).


Suggestions:
Season - Autumn/Winter
Suited to- daytime/low-key events/
Mood/style - relaxed, elegant, casual

Nirmal, Laboratorio Olfattivo

If you're seeking the hazy perfume mystique of iris Nirmal doesn't quite offer that, it's more the rootiness of iris that you'd find in Iris Silver Mist by Lutens, then the carrot enriches that aspect and violet lends a clear green floral that blends in a way you might call vegetable-like.

Heeley's Iris de Nuit has similar notes, but is totally different - far more poetic, gentle, inky and green in mood. Nirmal is more earthy and autumnal to my nose anyway.

The overall effect is rich, deep, woody and sweet but not at all sugary. Unlike a lot of niche perfumes, it smells like a proper perfume - it's quite abstract, also sophisticated but not heavy or obvious.

I think this perfume would appeal to those who like a classic with contemporary edge. I tend to go for lighter, green irises and the richness of this would only work for me in the deep of winter, but it's lovely, and if you seek depth, elegance, and enjoy woody, rooty perfumes, this is absolutely worth testing. There's something about it that makes me think of leather, suede and dark fruits - which is odd since it has none of those.
For today's tastes I'd say it's fairly gender neutral, neither girly nor macho!

Galop d'Hermes

A moderately powerful Hermes, silage-wise. I'd also say quite sophisticated and feminine - maybe due to a powerful rose and noticeable osmanthus which gives that soapy bright floral (rose) and peachy softness (osmanthus) combined.

The leather is noticeable up front - dry, slightly suedey and very nice, but it does fade a bit into dry down after an hour, lending a softly animalic background. (For more on leather perfumes, you can read my earlier post Here if you like).

Mostly what's wafting up from my arm is rose. The osmanthus and suedey leather give it a ladylike aura, almost vintage in feel, I think.

If you can imagine a more feminised Cuir de Lancome, more powdery and a little more sweet, that's quite close.

To compare to L'Artisan's Dzing! I'd say it's more floral, more classically feminine, probably less sweet.

It speaks of a well groomed woman, I'd probably prefer something a bit more casual, less 'money' in feel, maybe more unusual, but this feels very good quality

Silage and longevity good to moderate.


Suggestions:
Season - Autumn/year round
Suited to- all occasions - depending on how much sprayed.
Mood/style - elegant, poised, refined

New short reviews ...

Though it's early Autumn I've indulged in a little spring-clean of this blog - among other things some of the links are missing from my 'A to Z of perfumes'.


Also, on Fragrantica I have reviews dating all the way back to 2007! So what I've decided to do is add some of the more interesting reviews from my Fragrantica page, but they'll be short and sweet in contrast to my usual long rambles.

For those who enjoy a long ramble though, you can still look up those longer musings in the 'A to Z' list from the menu above.

Hope you'll enjoy all the new short perfume reviews coming up! ...

Back again! Perfumes for Autumn ...

I decided to take a break from blogging about perfume recently. Partly because perfume collecting/sniffing can be an expensive hobby, but also recently the priority was setting up my new house and focusing on painting so it's been a really busy time (if you'd like to check out my art blog here's a link -  Rose Strang Artworks).

I've only researched a few recently, including Ideo Parfumeur's Last Canto...

It's appealing in many ways - as the title suggests, it's a flirty dance with a slight difference -  ultra femme in a coquettish slightly pink way, with touches of warm spice and animalic cumin.

If you're sensitive to cumin you'll get the sweaty tones, but it does stay pretty - warm with cinnamon, powdery with iris, mostly just the right touch of sweet, and a bit tasty with milky gourmand almond and fluffy heliotrope. I like that it touches on the contemporary mood of slightly retro powdery scents, while not being too predictable - a fairly imaginative perfume that stays pretty while being different and subtly sensual.

Having said that, there are some perfumes you know you can always wear, they just feel comfortable and right for any occasion, Last Canto wouldn't be one of those perfumes for me because although I find it pretty, it lacks the elegance and easy-to-wear feel of my favourites - it's slightly sweet and a touch sweaty - on some days I'd find it a bit sickly I think.

Today I'm testing out perfumes to wear for autumn - I had most of my perfumes in storage over summer months while I was traveling and I was surprised by the fact I missed my perfume collection since I thought I'd grown less fascinated by perfumery in general (fellow perfume aficionados will understand!) Turns out I just needed a break from it.

I've honed the collection down over the years quite a bit, so most of it consists of perfumes I'll definitely wear at some point. Over summer I survived on Prada's Infusion d'Iris and Cartier's Baiser Vole (I say this tongue-in-cheek, I do have some sort of perspective on life I hope!) but I did get a bit bored between those two perfumes, perfect as they are for any occasion in summer.

I found myself missing Ponte Vecchio for Women by Nobile (reviewed in my previous post - Here). I associate it with summer, but I think I'll have a few more wears of this into mid September, since it has a woody warmth deep down, also the dominant note of iris suits most seasons for me, except coldest winter. It does have a fairly bright white floral aspect though, and for me those develop best in warm weather when the soapier aspects soften, or blossom on warm skin, or the soapiness is refreshing on hot days.

I'm looking forward to wearing Rahele by Neela Vermeire this Autumn (also reviewed in my previous post Here) though I won't be buying a full bottle as I'd rarely wear it and it is pricy, like most perfumes made by independent niche houses. It's perfectly suited to early Autumn I think - with soft, spicy leathery notes against the powdery apricot fuzz of osmanthus.

I bought my decant of Rahele from the excellent online sample site 'First in Fragrance' which is based in Germany - link here - https://www.ausliebezumduft.de/

I'll be testing a few samples each month or so, so look forward to resuming posts here on a monthly basis at least.

I'll leave you with a photo from my recent trip to the beautiful area of Ardnamurchan on the west coast of Scotland, just imagine the lovely scent of wood and salty sea I experienced in this as yet unspoiled wilderness - breathe it in, aaaah!...

Rahele

'Red Boats, White Sun'. Rose Strang 2012

Rahele, launched in 2016 by Neela Vermeire, was inspired by the famous 17th century French travel writers Tavernier, Bernier and Thévenot and the idea of an 'east meets west' Europe/Orient perfume aesthetic.

I immediately think of colonialism and E.M. Forster novels with such concepts! But in this case it's from an Indian perspective, since Neela Vermeire is herself Indian. 

Vermeire created Rahele in collaboraiton with the rockstar 'nose' of perfumery, Bertrand Duchaufour, but I can sense her influence strongly here since Duchaufour perfumes are usually very characterful, with notes that recognisably stand out, whereas Rahele is more reserved and speaks of grace and balance.

If you want to unpick it, I suppose the 17th cent. 'west' aspect is here in the form of oakmoss (always present in chypre perfumes and very much a French influence), violet and violet leaf (characteristically temperate zone, slightly aquatic, green and 'cool' in tone) and iris; powdery, refined and mysterious, and again absolutely characteristic of classic European perfumes. 

Think Chanel classics such as No 19, 28 La Pausa, Cuir de Russie - all of which feature prominent iris, though going back much farther, iris featured prominently in ancient Greek and Roman perfumery.

We're well accustomed nowadays to the combination of Oriental and European perfume notes,

though these perfumes tend to open with the lighter citrics and florals, drying down to an ambery vanilla base. Rahele offers somthing different; a smooth blended quality throughout from start to finish in perfect balance.

The key to this might be in the way green notes of violet and violet leaf harmonise with the green intensity of cardamom. The powderiness of iris with the suede-like texture of osmanthus (a classically Japanese flower) in addition to woody, powdery sandalwood. Add the scent of mandarin, to blend with the apricot fruitiness of osmanthus and the whole blends together in a beautiful and quite unique way.

Osmanthus seems central to this composition, the scent of the flower is a perfume in itself really, it's smooth, golden, savoury/sweet - almost like apricot tea if you can imagine such a thing, but it's mostly the sense of texture that makes it such a lovely addition to perfume; it's very soft-edged (though not delicate) and it's often described as having a suede or leather-like scent.

Though this perfume is quite unique, it does in fact remind me of the dry down of Coco Chanel (though not the modern-day version which has hardly anything in common with the original 80s perfume).Those of you who were teenage or older in the 80s will remember those two pillars of 80s perfumery: Opium by Yves Saint Laurent and Coco by Chanel. I always prefered the latter, because although it shared all the spicy ambery impact of Opium, it was considerably softened by rose and, similarly to Rahele, featured a generous helping of osmanthus. I have very fond memories of wearing Coco, especially in my late teens when I lived in Greece with my boyfriend at the time, who was re-building an ancient village in the hills of Paros over-looking the vivid blue Aegean. 

'Blue Bay', Rose Strang 2012

We lived on the building site in a long brick building with rough cement floor and a huge hammock bed, but in the midst of this (cough) charming rural scene, I kept my make-up and bottle of Coco Chanel in a little wall-niche on a slab of polished Paros marble! Maybe its powerful aroma helped keep the moths and lizards at bay! Anyway, by the time I returned to Scotland in the late 80s, this Baroque and dark style of perfume was making way for the minimalist chic of CK One and Issey Miyake's L'eau d'Issey. (I never did love those aquatic-style perfumes!).

Into dry down Rahele is softer, definitely more powdery than Coco, but that suits me fine since Coco in eau de parfum, as it was, would blow your socks off in comparison to the lighter styles of perfume worn today! Rahele is also slightly sweeter, and if I could change anything about this perfume it would be that ubiquitous vanilla dry-down, thankfully though, the osmanthus is still very present, ading its soft suede texture and warmth.

I haven't yet mentioned that Rahele is diferent in style from Vermeire's earlier launches, of which I've tried just one - Trayee. But her debut perfumes were absolutely India-oriented, in fact Trayee reminded me of kulfi ice-cream (she really does do wonderful things with cardamom!) though against a backdrop of beautiful sandalwood and incense.

Rahele appeals to me far more than Trayee ultimately though, probably as I've never really been drawn to gourmand style perfumes, however authentic and classy.

As summer mellows towards Autumn, I really can't think of a lovelier perfume than Rahele right now, with its golden apricoty osmanthus, dusted with soft green powder and spice.

(If you like the paintings and photographs in this post, you can view more at my artist's website at   https://rosestrangartworks.wordpress.com/gallery/ )

Autumn pond reflections, Rose Strang 2011

Pontevecchio

It's been quite a while since I posted here as I've been more busy than usual, but with a bit more time on my hands I've started to quite miss my perfume musings!

So today I'd like to introduce my favourite perfume of the summer this year; Pontevecchio for Women by Nobile 1942 - a new discovery for me, though it was released back in 2009.

It's not a well known perfume, at least not among non perfume obsessives. I discovered it on First in Fragrance, a German online perfume and samples shop.

As always I was hunting for an ultimate perfume of some sort. Usually my searches are related to season and since it was May the search was for a summer perfume with a difference.

Sampling by post is a great way to try something unusual, I tested a few, but Pontevecchio 'spoke' to me. It's quite different from my usual style but I liked it so much I bought a bottle, though it's fairly rare for me to buy full bottles. Also I tend to go for fresher summer florals, or something more moody with shady/powdery hints of iris (my summer stalwarts being Cartier's Baiser Vole or Prada's Infusion d'Iris)

Pontevecchio refers of course to the old bridge lined with artisanal shops that spans the River Arno in Florence. The perfumers of Genoan perfume house Nobile 1942 decided on this as the name for their first fragrance, (created in 1942) for men. Pontevecchio for Women was their second.

Incidentally I'd love to try the men's version, just to see what male character images it conjures up, because Pontevecchio for women suggests beautiful images of dreamy renaissance gardens - a painting shimmering into life - Simonetta Vespucci wafting away a bee as she sits for her portrait, no longer an idealised study in static line and pattern but alive in warm sunlight. Despite its citrus and green floral notes, this perfume is definitely warm.

It smells slightly old-fashioned, though having said that I can't pinpoint it to a particular perfume I know, or have known. It just has the feel of a timeless classic. Analysying it, aside from all the poetic musings, I'm pretty sure it's to do with the perfumery methods used by Nobile 1942. From a quick peruse of their website it's clear they're painstaking about quality and authenticity.

Although the opening notes are fresh, almost contemporary (mandarin, coriander seeds) the drydown has that warm, relaxed musk that's easy on the nose -with the combination of orris root (from iris) and oakmoss (here described as white moss, so probably a contemporary version of oakmoss since the original is now banned in large amounts).

Hence its old fashioned aura - creamy, rich florals in pure absolute, authentic base notes - this couldn't be more different from the spiky synthetic freesia or peony featured in many contemporary women's perfumes, or scratchy synthetic notes such as ISO E, ambroxan or 'Cashmeran woods'. (I'm not against synthetics generally, but those mentioned can irritate the nose and throat in large amounts I find).

The official notes listed on Nobile 1942's website (those that we non-perfumers are told of anyway) are bergamot, mandarin, coriander, Florentine iris, Indian jasmine, Bulgarian rose, sandalwood, musk and amber.

At the same time I discovered this perfume, a friend of mine who enjoys giving tarot readings told me the Nine of Pentacles was featuring sigificantly in my life. I don't know how seriously to take such things! But it did make sense since this last year life seems easier for me in many ways, not just financially, but increased confidence in painting. Somehow the process of painting and exhibiting is all a bit less angsty, and since I'll turn fifty this November I like to think angst is a feature of the past. (just saying that makes me feel a bit angsty mind you!) and so it is that Pontevecchio is my perfume of summer this year  - it's tranquil, warm  and uplifting.

Most of my 'holidays' are work-related - involving painting trips into the Scottish islands up north, which I love - they're pure artistic inspiration (my latest series of the Hebrides can be viewed here if you'd care to take a look) but I think now a sunny holiday is required to fully appreciate this perfume of summery tranquility!

Oud/Agarwood

Not to be confused with the Arabian instrument of the same name, Oud is a secretion produced by the Agarwood tree (or Aquillari Tree).

It's been used in Arabian perfume for centuries and appeals to the Middle Eastern preference for strong, rich scents made from high quality natural ingredients. It's only in the past few years that it appeared as a new, trendy note in Western perfumery, intially in niche perfumery.

As such, it was very much embraced by hipsters alongside joke beards (thankfully we seem to have to reach peak-beard some time ago, though oud survives!) and it's true to say that oud gets a bit of bad press in perfumista circles for this reason. Once marketing teams decide it's a trend there's no stopping its ubiquity. I'm kind of surprised not to see it sprinkled in cocktails or salads, like pomegranate seeds.

Nonetheless it was and is a welcome change from fruity, sweet patchouli style perfumes, which I'm far from alone in loathing. Most oud in contemporary western perfume is synthetic, since the authentic stuff is so rare, difficult to make and therefore expensive. Similarly to ambergris, oud varies in quality and effect due to an ageing process. In perfume it's quite difficult (for me anyway) to tell if it's the real thing, I've only tried one or two Arabian perfumes with a touch of oud, and in my far from expert opinion, I'd suggest the real thing is more challenging, the synthetic versions seem softer-edged and seem to have added synthetic woody musk of some description.

If you're into perfume you don't need a description of how oud smells; it's very distinct. From the Arabian oils I've tried I'd describe it in its authentic form as initially sharp, tarry, medicinal, sour, very dry, astringent and smoked in effect. The medicinal quality has been described by some as smelling like old-fashioned cloth plasters, which is pretty accurate - imagine a woody germolene scent or a touch of TCP left on aged wood and that's quite close.

It sounds unpleasant, but what it seems to do is refresh the nose; the foody equivalent might be a touch of mustard. I can definitely see why it's enjoyed in the Middle East - the dry quality is astringent and the effect in hot weather would be refreshing in an entirely different way from, say, a citrus scent. Perhaps more lasting. For example (to use another food and drink comparison) you can see why green tea is enjoyed in hot countries- the tannin astringency is more refreshing than a sticky, sweet drink could be. Citrus is cooling in effect, yet it does have a slight sweetness.

I think the other advantage of oud might be that it blends so beautifully with those classic notes of Arabian perfume, such as strong rose, aber and woody resins, which is why most oud-based perfume whether Arabian or Western, usually pairs rose and oud. Personally I love the combination. It lends a little dirt and depth to rose, yet unlike patchouli (often paired with rose) it's not cloying or heavy due to its dryness and the smoke-like effect. Add incense notes to this and it creates yet another harmonious facet.

For the purposes of this blog, I've dabbed a few samples on my arms and wrists (I also tried on a couple of new ones on my travels today when I dropped into a perfume department) so here are a few below (in order of least to most liked!) ...

Another Oud by Juliette Has a Gun
Hmm, another frutichouli with oud, more like! The combination of synthetic ice-cream sundae raspberry and austere oud is utterly wrong, though humorous in a way - evoking the soberly robed Muezzin of a Mosque being accosted by a lap-dancer wearing a pink vinyl bikini. Possible in this day and age, but just wrong!

Rose d'Arabie, by Armani Privé 
Very nice - oud warmed with amber, vanilla and damascus rose, but it's far too light and fleeting for this price. If I had money to recklessly throw away, I'd buy this as a daytime oud/rose.

Oud Cashmere Mood by Maison Francis Kurkdjian, Much as I love others from MFK's oud series, this appealed the least to me, probably because it's a more masculine, harsh take on oud with a hefty dose of labdanum (a resin from the rock rose plant). I find labdanum quite goaty and sweaty, so it really depends on what it's paired with. In this case I find the combination of oud and labdanum too dirty and animalic -a bit like something left to dry on the bottom of a shoe, I'm sorry to say. For others though (and I think men more likely) this dirty aspect may have a pleasingly satanic beastiness to it.

Attar Al Kaaba by Al Haramain Perfumes 
The real deal, therefore a slightly more challenging perfume. I dab it on every so often just for that odd perfume hit which I think of as the equivalent to enjoying mustard! This is definitely medicinal at first, but into dry-down it becomes more and more like the lingering incense scent you'd expect to find on the clothing of someone who works in a Bazaar. The rose is powerful, quite clean and hard edged, the oud almost chlorine-like, but there's underlying amber and sandalwood, so that into drydown the effect is like rose-scented treacle (though not as sweet) quite more-ish. The name refers of course to the journey to Mecca and the black cube-shaped building at the centre of Islam's most sacred mosque, so the perfume is correspondingly challenging, yet rewarding in the end.

Oud Velvet Mood, by Maison Francis Kurkdjian.
If you can imagine a velvety/dusty tarry effect, I think that describes the texture and scent of this perfume quite well. Dusted with saffron and cinnamon, the effect is warm and pleasing, though the tarriness of oud remains throughout. As someone who likes leather scents (which often use birch tar notes for the leather effect) I enjoy this, but I wouldn't describe it as feminine or elegant. It's more of an outdoorsy effect, which is lovely in its way.

Arabian Nights by Jesus Del Pozo
I really enjoyed this perfume from the sample I was gifted a while back by a generous member of

Fragrantica.com. Oud is balanced by an abstract, elegant bouquet of woods, rose, herbs and grasses. The effect is a very blended oud, not in-your-face yet distinct because of oud. I wore it first on a warm summer's day nd found it highly refreshing. This perfume is described as 'for men' but I think it's quite unisex.

Oud Silk Mood, by Maison Francis Kurkdjian.
To me, this has exactly the right blend of that oud-y smoky astringent/dry bite alongside a beautiful rich, sweet rose and hazy musks, to make this elegant, intriguing and mysterious. It's very distinct and I'd say ideal for evening, especially when wearing something either ethnic and silky, or black with a contemporary, arty cut. It's stylish and unusual. Other notes include papyrus grass and chamomile and while I can't say I identify these notes alongside oud and rose, there is a haziness and dry quality that's really lovely.


Lastly my favourite so far, Santal Royale by Guerlain, combining the usual suspects - rose, sandalwood, a hint of cinnamon, leather and of course oud, but also jasmine, neroli and peach. The last three alongside sandalwood are maybe what gives this a softer edge, not so challenging, with the oud adding a small bite but not taking over. It's very soft, very unisex and perfect for cooler weather.

Tuberose

Tuberose; a divider of taste. Despite the name it has nothing to do with rose. Rose can be described as anything from soapy or pretty to dark and gothic but it's not likely to be described as fleshy, voluptuous, carnal, buttery, decadent, strident or narcotic, as tuberose is.

Such is its reputation that in Victorian times it was believed it had a corrupting effect on young women, like Elvis's hips in the 50s. It was even said it could induce spontaneous orgasm, which just makes me think those Victorian ladies needed to get out more!

It's instantly recognisable. If you think you don't know the scent, once you get a whiff you'll know it straight away - most recognisable in perfumes where its most strident qualities have been amped up, two of the most notorious being Piguet's Fracas and Dior's Poison. If you hate those don't let that put you off, since (as with all perfume notes) it depends which facets are highlighted and what's in the perfume composition.

Most tuberose in perfumery is synthetic, but there are natural extraction versions, perhaps the most well-known being tuberose steeped in natural coconut oil and used as sun tan lotion, especially popular in tropical islands such as Hawai.


In the west we obviously associate tuberose with the idea of the 'exotic', or tropical holidays, and it's why a lot of tuberose perfumes contain coconut notes. Natural tuberose flowers on their own though are not very sweet. Like most tropical flowers the scent varies throughout first opening of the flowers to their point of decay.

Newly opened tuberose has what most perfumers describe as camphoraceous notes. I.e. moth balls, or an almost gas-like menthol quality. Also green. I, and many others, find the menthol aspects also petrol or diessel-like, and with some perfumes there's a hint of fruity bubblegum or (weirdly) popcorn. These scent-exuding qualities make the flower a raging success in the jungle obviously, no doubt attracting pollinators for miles around. If you add these strident qualities, the buttery or creamy effect and pretty floral aspect to the idea that beautiful flowers echo feminine beauty, you can see why so many perfumers want to capture its intensity. Its wilting notes remind me of decaying fruit (some say it's more like rotting meat, but to me it's quite similar to the decaying notes of madonna lily, or the smell that emanates from the dustbin outside a grocer's shop in mid-summer - fruit rind on the turn).

It does have some qualities in common with orange blossom, lily and jasmine, but as someone who's sensitive to tuberose (similarly to patchouli) I immediately recognise it in perfume; the difference is in that diesel/petrol butteriness - a certain cool, waxy, gassy solidity. Texture-wise I'd describe is as rounded, fleshy, with a quality I'd associate with womanly-ness as opposed to girliness. It has sophistication, but not necessarily elegance, since elegance is usually associated with a sort of 'less-is-more' contained poise, tuberose cannot be contained, hence its diva reputation!

I've written quite a bit about other perfume notes in this blog (see 'Perfume Reviews A- Z')  and if you're wondering why I've not covered the notorious tuberose it's because truth be told I find it a challenge. Many people do, and in perfume forums we're liable to be dismissed as perfume lightweights, perhaps even envious because we don't have the requisite confidence, style or sex appeal to carry off tuberose-rich perfumes. Ouch!

My excuse is that when it's strong I find it headache-inducing. I'm not into loud, strident perfumes, also my appearance and behaviour would never be compared to that of Marilyn Monroe or Madonna (both Fracas devotees!)

The most high-end, popular and contemporary tuberose perfume at the moment is Frederic Malle's Carnal Flower, which according to many perfume reviewers is sex on wheels, so I had to try a sample of course...

I did my best with it, but since a small squoosh to my left wrist was still making my eyes water and head ache after 4 hours, I gave up and washed it off just so I could get a decent night's sleep. As for its sexy reputation, well, headaches are historically a bit of a killer! I read of someone who doesn't like it but wears it on the back of her neck so she can't smell it but others can! I'm a strong believer in the fact that if you love the perfume, it loves you and vice versa. If you don't enjoy tuberose, it's never going to suit you in its more powerful forms.

Part of the effect of Carnal Flower is the menthol aspect which echoes the actual flower, it was this that made my eyes water, the tuberose (in this perfume the highest amount of tuberose absolute in perfumery) provided the inevitable headache.

Just google 'tuberose perfumes' and you'll soon discover that the population can be divided into swoon-iduced and migraine-induced reactions to tuberose. Never fear though, in the examples below I'll mention those that I find enjoyable, so if up to now you've loathed this fleshy floral with the man-eating
reputation, there are some you might enjoy ..

Powerful tuberose
Tuberose perfumes with huge heft and presence, statement perfume for glamorous events

Fracas by Piguet
Often described as the reference-point for strong tuberose perfumes, tuberose in Fracas is accompanied by a host of white florals, woody notes and musk. Tuberose dominates though and this is one of the most distinct perfumes you'll encounter. Its statement or message suggests someone who enjoys attention and it's no surprise that it's a favourite with Madonna, also Mariliyn Monroe. (Madonna lent her name to the contemporary perfume take on Fracas; Truth or Dare by Madonna

Other glamorously strident tuberose perfumes include Dior's Poison which darkens tuberose with intense purple-toned plum, also Armani's Giorgio and Amarige by Givency. 

Elegant Tuberose
Tuberose perfumes that tone down the strident effect,either through less tuberose in the composition, or with accompanying notes that soften it

Nicolai Parfumeur Createur Number One Sophisticated, slightly green yet buttery. This is a very elegant tuberose. Galbanum lends it bitter greenery while sandalwood does its thing of lending a soft velvety effect.It's less of a party tuberose, and could easily be worn in the daytime.

Amouage Honour Woman 
A pricy concoction and a silkier take on tuberose, with notes of frankincense, leather. It has the creamy aspects of tuberose and gardenia adds to this. Very elegant, if a bit conservative or reminiscent of coiffed haired Chanel suited women organising high-end charity events.

Oscar by Oscar de la Renta 
Softened with sandalwood, less 'fleshy' in tone with the addition of clove, this is velvety in texture and quite complex, slightly dated these days perhaps, due its complex bouquet, but very sophisticated in effect

Soft and pretty tuberose
These perfumes enhance the creamy aspects while toning down the headache, partly because tuberose doesn't entirely dominate in these, but also because the accompanying notes have a softening or lighter effect.

L'Artisan La Chasse Aux Papillon
Though the opening is a bit bright, with white florals and lime blossom, in dry down this reminds me of suede, the soft effect is largely thanks to a buttery tuberose, minus the petrol and menthol.

Noix de Tubereuse by Miller Harris
Softened considerably with the round, powdery notes of tonka bean, also iris (orris root) and mimosa, this retains tuberose's sultry aspects while being easy on the nose. Very pretty.

Do Son by Diptyque
One of my favourite perfume houses, inevitably their take on tuberose would be to my liking (though probably not to lovers of full-on tuberose). Do Son has subtle tuberose buttery roundness added to very pretty white florals - orange blossom, honeysuckle - alongside an easy-on-the nose white musk and woody warm benzoin resin. Perfect for summer and a very popular scent.

Unusual tuberose 
Niche versions, a little bit different

Serge Lutens Fleurs d'oranger
This, as the name suggests, has more to do with orange blossom than tuberose, nonetheless its fleshier floral effect is partly thanks to tuberose's abundance, the unusual aspect is thanks to cumin, which lends a spicy, slightly sweaty tingle. Very pleasing, as long as you're ok with cumin!

Serge Lutens's Tubereuse Criminelle - a love it or loathe it perfume, so given my ambivalence to tuberose I was surprised to find I enjoyed it. I realise now it's partly that it lacks the bubblegum/fruity aspect and instead focuses on tuberose buttery/waxy roundness. Even the menthol hit in the beginning doesn't trouble me, it's moth-ball-like but I don't mind that as a smell, in fact I like it, far more than eucaylptus, which in perfume is an absolute 'no' for me, since I find it medicinal and eye watering, and which features in...

Carnal Flower by Frederic Malle
For some people this should be up there in the elegant or pretty tuberose categories but that's probably for those who don't find the eucalyptus and melon notes so unappealing. Even with sweet creamy coconut as a subtle note here, and the large amount of high quality green-toned natural tuberose absolute (I normally love green florals) it doesn't work for me.  I find that the notes compete and clash, but for many thousands of others this is tuberose Nirvana.

Tropical tuberose

Isabey Panouage, Lys Noir
A 'darker' take on tuberose/lily, you'd imagine from the name, though I don;t get much lily from it. Folks who want a strong hit of tuberose may be disappointed, but it's definitely there. Fatty and fruity with soapy coconut,  the fruity hint for me echoes Dior's Poison. Coconut isn't listed in ingredients as far as I can see, but it's definitely there. There's some patchouli here too, but very light. It feels like a glam' summer party girl perfume - a simple, yet distinct effect. Not my scene but if you fancy the idea of a lighter summer-style tropical Poison, you'll like it!

Other popular tropical tuberoses include Killian's Beyond Love (sweet coconut, heady tuberose and pretty white florals) and Hiram Green's Moon Bloom, a fresh green, sweet take on tuberose, which uses high amounts of natural absolute.

For the authentic beachy feel of natural tuberose infused coconut cream try Aloha Tiare Eau de Parfum by Comptoir Sud Pacifique, or seek the cream itself -  Monoi of Maui (Maui Tuberose) which can be found online and is considerably cheaper! I have a bottle of this and like to use it in summer, or for a relaxing face massage in the evening.