Neither of these 2016 Ormonde Jayne releases – Jardin d’Ombre and Ambre Royal – are my kind of thing, even though there are interesting and even beautiful moments in both of them. But I’m beginning to wonder if 2016 marked some kind of strategic shift for Ormonde Jayne as a brand, away from the more characterful – and some might say challenging – compositions and towards a simpler, broader aesthetic that panders to a more mainstream taste?
Because, from this point onwards, that fascinating Ormonde Jayne interplay between piquant, peppery citrus notes and opulent woody, floral, or resinous drydown seems to be, if not missing, then certainly thinner – a mission drift of the kind that you notice only if you look closely enough. I notice, in the post-2016 Ormonde Jayne output, a flattening out on the complexity front, as well as a tendency to hoist them into the air with a sticky-sweet aromachemical volume far outpacing even the boost of the Iso E Super for which the brand is well known.
It’s fine, it’s fine – there are high points and successes even within this ‘slide’, if that is what it is, (the Love Collection was more lovely than not, and the 2016 release of Rose Gold was a triumph, even if it was followed by the insipid, more department-store-ish White Gold in 2017). And I will continue to think of, and rate, Ormonde Jayne as highly as I do Chanel, Hermès, and Mona di Orio when it comes to their consistency in turning out solidly-built, classically luxurious perfume. Ormonde Jayne is and always will be a top tier house for me. But, speaking as a serious Ormonde Jayne fan and owner of about six of their fragrances, if the La Route de la Soie collection marks where the brand is headed, then I will lock myself in with my pre-2016 Ormonde Jayne perfumes and try to pretend that the house ended its run there.
Neither Jardin d’Ombre nor Ambre Royal are all that bad but compared to the perfumes in the core collection and in the Four Corners collection, they’re not that great either. They could be said to mark the beginning of the shift in Ormonde Jayne direction towards the common denominator of popular taste for Ambroxan-driven ambers and florals, and from this perspective, they are interesting to study. Would I wear them myself? No, probably because nowadays, I tend to rank new perfumes – flurries of interest or even what I think might be ‘like’ or ‘love’ – against the gold standard of Nawab of Oudh, and when it comes down to it, I would always prefer to save for that bottle of Nawab of Oudh.
It’s impossible to tell from the notes list, but Jardin d’Ombre
is not a rich, velvety floriental but rather a sheer and uplifting Eau
de Lancôme medley of lime and bergamot strung out over gauzy white flowers
(Hedione-assisted) and a whoosh of what feels like aldehydes. There’s a tannic ‘linen’
note in the midst of the scent’s Big Lift which makes me wonder if there was a
microtrend afoot for this sort of sourish, diaphanous white floral in 2016; the
way Jardin d’Ombre is set up strongly recalls the cold champagne-and-copper-pennies
fizz of Superstitious (Frederic Malle), also 2016.
Truth be told, these soapy aldehyded florals with their sharp elbows and chilly demeanor – Climat, Arpège, etc. – are not really my thing; I need a bit of warmth and sweetness (Gold Woman by Amouage and Ella by Arquiste are as close as I am willing to get). But I do love the cold, aerated feel of Jardin d’ Ombre at first; it smells like a freshly-laundered bedsheet whipped by gusts of mountain air, the scent of the lemon or jasmine-scented water still clinging to the fabric. There’s also a brief but enchanting moment where it smells a bit like a freshly-opened sheaf of printing paper.
Unfortunately, the sourish, papery freshness I enjoy so much fades away within the hour, leaving in its place a sullen clutch of gummy ‘white flowers’ and an amber accord so sticky that I feel like I’ve just peeled open one of my husband’s white shirts taken wet from the machine to discover that it’s gone through the wash wrapped around one of the children’s abandoned, half-sucked lollipops (flavor undetermined). Funnily enough, the gummy white flower/amber-Ambroxan accord that Jardin d’Ombre dries down to happens to be the point from which the next fragrance I’m reviewing – Ambre Royal – starts out.
This is a stretch, so bear with me – but is it possible that
Ambre Royal is Ormonde Jayne’s riposte to Maison Francis Kurkdjian’s Baccarat
Rouge 540? Both follow a basic formula of something candied joined to a spacey,
metallic Ambrox overload that sends the whole thing shooting off into space.
Both are sweet (in an acceptably masculine manner) and enormously radiant. Both
fragrances affect me in an almost physical sense. Some portions leave me nose
blind, while other portions drive an Ambrox-shaped ice pick into the most
tender and vulnerable part of my brain. I can’t wear either of them for an
extended length of time without wanting to boil my skin off to make it stop,
but I did anyway, because reviews based on a quick sniff rather than a full day’s
wear are only 10% of the story.
On my skin, Ambre Royal smells absolutely awful at first. I am assaulted by the
scent of boiled sweets melted down and smeared over salty fishing tackle – a
queasy mélange of Maltol, shiny lab musks, the sweaty, aftershavey radiance of
Ambrox, and the bone-dry, faux-cedar crackle of Iso E Super. Smells like the
essence of Man on steroids. But the Sporty Modern Man edition, because it sure
But listen, this is Ormonde Jayne, and they are never just going to leave this
accord hanging around all on its own like that. So, the ugliness of the initial
chords gets gentled down in a bed of powdery musks, amber, myrrh, and
(real-smelling) cedarwood that smells like an expensive wooden box full of
antique amber resin.
The amber is not rich, but light, expansive, and nicely salty. In fact, it reminds me of the black licorice-inflected almond play-dough (tonka bean and myrrh) of Alien Absolue, minus the overt jasmine notes. I warm up to Ambre Royal at precisely the point at which I stop smelling aftershave and start smelling the anisic custard accord I love so much in the Mugler, though the Ormonde Jayne take on the theme has been lighted and aerated so much that it bears only a distant relationship to Alien Absolue’s gouty bullishness. I don’t know what kind of black magic has been employed to massage something so brutal into the shape of luxuriousness, but that’s Ormonde Jayne for you. I just wish we’d been treated to the smooth stuff from the get-go rather than having to sweat through the unpleasantly metallic ambery goop at the start.
Before I posted this review, I checked the fragrance again, this time spraying on paper – and what a revelation! Ambre Royal behaves very differently on paper than on my skin. Paper slows its roll. I’m treated to a drawn-out procession of some pretty wonderful notes that had whizzed right by me the last few times. I smell anise, red and purple berries, licorice vines, velvety musks, gin and tonic, gripe water, and a sort of creamy, candied white musk-custard accord that reminded me immediately of the amazing Musc Nomade (Annick Goutal), shot through with the cedary aftershave notes of Ambrox and Iso E Super, which are now subdued under the indolent weight of silky amber notes. Quite a different experience. If it weren’t socially unacceptable to wear perfume via paper strips taped to one’s pulse points, that’s totally how I’d handle Ambre Royal.
Source of Samples: Ormonde Jayne as PR samples in 2016-2017 (ish). This review was not required by the brand.
Ormonde Jayne set out its mission and values in its original core collection, and to this day, it remains the standard bearer for the brand. I’ve written about some of the perfumes in the Ormonde Jayne core collection before, but since I’ve been reevaluating much of my collection recently, I thought it might be useful to update or expand upon my thoughts.
In general, my unscientific belief that Ormonde Jayne is the English Chanel bears out. This is solidly-built, almost classical perfumery with a modern elegance derived from strong artistic direction and an admirably no-nonsense approach to the valuable role synthetics play in elevating naturals.
One thing I have noticed this time around is that the literal names – Champaca, Ta’if, Frangipani, and so on – are a Le Labo-ish piece of misdirection, suggestive of a soliflore-ism that simply isn’t there. Words have power, so there will always be those disappointed if the titular ingredient isn’t headlining the whole show. But on the flip side, newcomers to the brand who are able to park their expectations at the door may find their minds blown by the beauty arrived at via more circuitous routes.
Champaca is a scent whose appeal
eludes many. But you know what? Half the time it eludes me too. On its bad
days, many of the slurs thrown its way worm their way into my head and nag
persistently at me with the worry that they might be true – that Champaca is nothing
special, that it’s too champaca or not champaca enough, that it’s
nondescript, that it’s a dowdy green floral that Calvin Klein’s Truth
did better and cheaper. Then there’s its musky loudness, which I always forget
until I get called out on it by a colleague who is never backward about coming
forward on the subject of my perfume.
But on good days, Champaca is the
gently starched air from a bowl of Chinese greens and the damp, permeating
nuttiness of brown basmati rice. It makes me think of stepping in from a cold,
rainy afternoon in Cork or Limerick into the wood-lined hush of a traditional
Japanese restaurant, slightly steamy from condensation and humming with low
I don’t understand the accusations of tropical yellow flowers or heady ambers in relation to Champaca. It is not even a particularly floral experience. To me, Champaca smells more like the fresh green peel of a Granny Smith apple rinsed with rainwater than a flower. Yes, technically, this all might be unexciting. The scent of an upscale Japanese onsen or spa is never really going to raise the barometer on anyone’s passion. But when I am feeling delicate, or in need of a friendly hand at the small of my back, then Champaca, with its gossamer-light bloom of starchy musks, rice steam, apple peel, watery bamboo, maybe mint, and the environmental exhalations of clean, blond wood, is what I find myself reaching for.
I originally invested in Orris
Noir as a poor man’s substitute for the far more expensive Tsarina, having
identified a creamy-milky, anisic iris as the underpinning to both. Now, after
taking the time to study both at leisure, I can say that while Tsarina is by
far the creamiest, more luxurious ‘white’ leather scent I have ever smelled, in
retrospect it doesn’t turn me on as much as Orris Noir, which, although less ‘beautiful’
than Tsarina, has more conversation.
Orris Noir has three or four
distinct layers. The first is a doughy iris as dense as under-proved bread
dough studded with dried fruit. A couple of years on, I now smell this as a
rosy iris bread that’s been soaked in sweet milk, like the egg-rich Easter crown
baked once a year in the Balkans. The second layer is an anisic myrrh with the
same crystallized texture as found in other myrrh scents such as Myrrhe Ardente,
albeit more golden and less overtly itchy-scratchy. The third layer is a minimally
smoky cloud of wood or incense that lifts the perfume and makes it radiant
(probably a combination of the Iso E Super and the Chinese cedar). Last but not
least, there’s a bright, fruity jasmine that fizzes as sweetly as a glass of
freshly-poured Coca Cola. Somehow, all of these elements hang together as
naturally and as lightly as a silk shawl.
Orris Noir is a fantastic advertisement for the Ormonde Jayne style of building a fragrance, in that it is composed of many different layers, all of them as light as air, but which when laid one on top of another become a dense, velvety mass. I love Orris Noir for what it is – a beguilingly soft spice oriental – rather than hate it for what it is not, i.e., noir or even orris. Indeed, if Ormonde Jayne had named it something else, Orris Noir might have gained the respect granted to other similarly soft, hazy resinous-floral orientals such as Bois d’Argent (Dior) or Jasmin de Nuit (The Different Company). This is one perfume in my collection that has improved greatly upon (re)acquaintance.
Frangipani Absolute is at least accurately
named, given that it smells more like the absolute than the living flower. The
absolute smells green and waxy, like a nubbin of beeswax rolled in matcha
powder; the living flower, which I had the opportunity of smelling for the
first time in Colombia last summer, smells a bit like jasmine but without the
indole and grape, and there is a buttery undertone that I associate with gardenia,
minus the heavy bleu cheese aspects.
Frangipani Absolute freshens the waxy-green heft of the absolute by filtering it through lime and linden blossom, creating the impression of hothoused tropical flowers drenched in ice water and the glass partitions thrown open to salty sea air. The brightness of this topnote is undercut later on by the lush creaminess of the living flower, embodied by an accord that smells like a dairy-heavy rice and coconut pudding made out of tuberose petals, with pools of yellow Irish butter rising to the surface. A subtly salty musk and clean cedar hum in the far background, mainly there for support in case the almost unrelenting brightness of the lime-drenched white flowers falters.
Cleverly, the perfumer has made the floral component very peachy, to mimic the peachy jasmine-like aura of the living flower. Frangipani is therefore blessed with a suede-skin note that smells charmingly like the back of a rubber watch on a sweaty child. The scent shifts between these three main accords – green-aqueous-fresh, peachy-rubber, and creamy-buttery-tuberose – without ever getting pulled too far down in one single direction. That’s some balancing act.
Frangipani Absolute is an undeniably
beautiful scent, and an interesting take on a flower that often plays second
fiddle to more powerful headliners such as gardenia or tuberose. My hesitation on
whether it stays in my collection or not stems from several different quarters.
First, the salty, quasi-aquatic
musk in the drydown reminds me very much of Lys Méditerranée (Malle), already a wardrobe staple
for me, which makes me wonder if it’s not duplicative to have two scents that represent
largely the same ‘feel’, i.e., heady white flowers drenched in dew and the
salty air rolling in off the ocean. The occasions when I feel the need for this
precise combination are few and far between, therefore surely it is redundant for
me to have two separate fragrances at the ready when this tight little niche
corner of my ‘need’ rears its head.
Second, Frangipani is so pretty
and well-presented that it makes me feel slightly uncouth in comparison.
Worse, the prettiness reminds me of the golden, solar fruity-floral ‘glazed
eyes’ affair that is J ’Adore (Dior), which is fine if you’re wearing
something you can pick up from any Sephora or Douglas, but not great if you’re
special ordering from a classy niche brand like Ormonde Jayne.
Third, the brightness of the lime-and-peach-hued white flowers feels a little too sharp and insistent at times, like when you neck that syrupy but metallic juice from a tin of canned tropical fruit. In other words, absolutely gorgeous at first but perhaps wearing a little on your nerves towards the last? Along the same lines of complaint (minor, but still), the vanilla tuberose pudding base flirts with heaviness; it clashes a little queasily with the citric acid of the lime, to the extent that it teeters on the precipice of a curdle.
Out of all the Ormonde Jayne scents I own, Frangipani Absolute is the one I agonize over the most. Do I need it? No. Does its classical (but slightly mainstream) beauty justify me keeping it? Maybe. But the fact that I swing between a yes and a no on this scent, personally, doesn’t mean that it doesn’t rank among the top tier of tropical floral perfumes I’ve had the pleasure of smelling.
Despite not being wowed at first
sniff, I have come around to the pleasures of Tolu. It has a bitter, spicy
broom note that slices through the golden, balsamic sweetness of amber to
create something that is both fresh and heavy, like a flourless chocolate torte
that dissolves into fennel dust on the tongue. The kind of thing that invites
you to take a second slice, even in summer. I can see this working as a sort of
upmarket Dune. In that sense, this is definitely a floral oriental rather than
a straight up ‘golden’ amber. It certainly doesn’t maintain a strict tolu
balsam fidelity. Rather, Tolu has that sophisticated French floral-sandy feel
to it that I associate not only with Dune (Dior) but also with 24,
Rue Faubourg (Hermes), albeit with the innovation of a sweetly resinous base
to tilt it ever so slightly in the direction of Morocco rather than Paris.
The more I wear Tolu, the more I appreciate its subtlety. I used to prefer the caramelized full frontal of one-the-nose resin bombs and ambers to the almost too quiet, too ‘mixed’ cloud of balsams, orange blossom, and musks represented by Tolu. But Tolu is, I realize, a mood. It is very perfumey meaning it’s been worked and reworked to the same point of abstraction as Coco (Chanel), Dune (Dior) or even Alahine (Teo Cabanel).
Tolu is the quintessential going out perfume for nights along the Riviera, where women and men are beautifully dressed and the warm air smells like a mixture of flowers, salty skin, and the balsamic twang of Mediterranean herbs and umbrella pines lining the promenade. It’s easy to argue that there’s nothing very unusual about Tolu, but what it does, it does extremely well. I will always have space in my wardrobe for this perfumey, French-smelling take on the warm, golden balsams I love rinsed out with flowers, salt, and herbs.
For a while, my interest in
Ormonde Jayne stopped with OJ Woman, a perfume I’d struggled with for years
before finally falling in love with it. That was, until one day a couple of
years ago, I fished around in my sample box looking for something crisp and
green to go well with a planned walk in a nearby castle grounds with my children
and stumbled upon Tiaré.
Its lack of anything truly tiaré-like or tropical puzzled me at first. But I remember marveling at the champagne-like quality of the lime and green notes fizzing gently around the oily but fresh white flower petals. The damp, mossy drydown proved to be a perfect reflection of the elegance of the castle lake and grounds. There is something pinned-up and Victorian in its mien – not entirely me, but rather someone I aspire to be. It was the first sample from the Ormonde Jayne sample set that I drained completely. Whereupon I forgot about it entirely.
Fast forward to Summer 2017, which is when, while sweating our way through the forests and fields of the Sologne and Loiret, I decided that, really, nothing was more French or more crisply elegant than Tiaré, and that I desperately needed a bottle of it. Tiaré would be, I’d decided, my entry point to a new life in France that, although it never actually materialized, was the Big Plan in our family at the time, to the point of flying the kids out to various French cities in an attempt to decide where we would settle.
The firm belief that a life in
France calls for a thoroughly ‘French’ perfume (as if my collection wasn’t
already 75% made up of so-called French perfume) is why I am now the proud
possessor of a totally unnecessary 120mls of Tiaré. (I am perennially guilty of
daydreaming my life forward and allowing my purchases to lead the way. In 2018,
I was so convinced that I was going to be hired by a British not-for-profit to
manage their programs in Myanmar that I got emotionally invested in Indochine
by Parfumerie Generale, a perfume based on Burmese thanaka wood. I didn’t get
the job, but you bet I bought a bottle of Indochine. I don’t even want to say
how many ‘Roman’ perfumes were necessary for me to settle into a new life in
Anyway, back to Ireland in these early, post-Coronavirus times and Tiaré, like Cristalle (Chanel), doesn’t really suit the damp, cool conditions. Yet I am loathe to get rid of Tiaré, because, God knows, I will probably need it for when we finally move to France. In which case, I will also need the quintessential cognac-colored leather shopper, very pointy ballet flats, a chic haircut, and a perfectly-cut navy blazer. So, I guess I’d better start shopping now….
Ormonde Jayne Woman
Woman occupies a place in my personal pantheon of greats, but the route to loving her has not been easy. In fact, I have struggled with this perfume on and off for years. I imagine that, for people like me, with biological sensitivities to certain materials, getting past Woman’s many thorns is like loving someone who is beautiful but difficult.
Initially, my nose was so sensitive to the combination of woody ambers, sticky pine, and Iso E Super that the only notes I could smell were acrid, burnt, metallic – like burnt fuses and the La Roche Posay medicated acne cream. These unfortunate associations, plus the physical sensation I had of an ice-cold shiv driving into the tender recesses of my brain, are what made me keep my sample of Woman at a safe distance from my nose, wrapped twice in cling film and double-bagged.
Every so often, over the years, I
would take out that sample of Woman and tentatively sniff. Now, here’s the
strangest thing. As my exposure to the violent woody ambers and brutal Iso E
Super used increasingly in niche increased, so too did my tolerance. I don’t
mean that I started to like them, but rather that their presence no longer
obscured large parts of a composition for me. This meant that perfumes such as Indochine
(Parfumerie Generale), Musc Nomade (Annick Goutal), and Ormonde Jayne Woman
were now ‘unlocked’ for me. I could smell all parts of these perfumes rather
Having said that, progress was gradual. For example, for about six months, although I could smell all parts of Woman, all depth perception dropped off after about an hour or two, leading me to believe (mistakenly) that the perfume had simply stopped in its tracks. I now believe that this was due to the type of woody ambers used, some of which have a curious side effect of making a scent seem to disappear and then come back, over and over again, throughout a day’s wear. Ambroxan can have this odd ‘receding and resurging’ effect too; I sense it most keenly in Amouage Jubilation XXV, which my husband says he wears for other people because he himself cannot smell it after an hour (to his family, it seems quite big and room-filling).
Anyway, the reason I’m waffling on about this odd facet of Woman is that reviews are the little markers we drop along our journey, in the hope that they serve as clues to fellow travelers years down the road, right? I remember smelling Indochine and doing a Google search for something along the lines of ‘Why does Indochine smell like an ice pick to my brain?’ and stumbling across Kafkaesque’s review, which was the first source of answers for me as to why some materials were physically obtrusive to my nose yet imperceptible to others. I felt seen. I hope that someone struggling with Ormonde Jayne Woman finds their way to this review and gets comfort from knowing that they’re not alone, and that there might be a rational explanation for not immediately jiving with one of the most renowned perfumes in modern niche.
There’s light at the end of the tunnel, folks, there really is. Now when I smell Ormonde Woman, I smell the whole forest, the sugared smoke of gingerbread crumbs thrown onto the fire, and the inky mass of woodland violets and hemlock rolled out underfoot, and Scarlett O’ Hara’s dark green velvet gown made out of curtains and fury.
At heart, Ormonde Woman is a nugget of amber surrounded by tall conifers and hemlock, but its mysterious appeal can’t be explained by its notes or even how we think they all hang together. Woman is one of those perfumes you submit to, body and soul, without much hope of ever picking it apart. It took me years to be able to smell all parts of it but now when I wear Ormonde Jayne Woman now, I smell it all, and what I smell makes me breathe deep and easy.
Osmanthus is not my favorite osmanthus-themed scent in the Ormonde Jayne stable (that would be Qi), but it is surely the prettiest. Osmanthus explores the softly soapy, ‘clean linen’ side of the bloom that marks it out more as vaguely cherry blossom than the pungent fruity apricot suede trope often plumbed in niche.
In fact, aside from a vaguely peachy or apricotty tinge in the topnotes, Osmanthus sidesteps its namesake ingredient and goes for pomelo peel and white petals plunged into ice water and polished to a high shine by radiant aquatic musks. It smells pleasantly cooling, like a tall glass of lemonade or the feel of fresh cotton on hot skin.
Think of it this way; if Qi is an apricot-colored suede pouch filled with green tea, then Osmanthus is a white broderie anglaise sundress and a pair of straw espadrilles strung over one perfectly tan shoulder.
All very nice but running a little too close to one of those Atelier Cologne citrus-and-cotton-musk scents for comfort. I always thought that Osmanthus would smell more ‘at home’ in the form of a body care product than a perfume, and it turns out I was right; the Osmanthus Hair Mist is lovely. Warmer and peachier than the perfume – to my nose at least – the pert, perfumey prettiness of Osmanthus makes more sense to me when spritzed through second day hair. It is still much girlier than I am, but at least in this form, it just creates the manifest lie impression that I am freshly bathed and impeccably groomed.
Ta’if is one of those fragrances
where I seem to be experiencing something completely different to everyone
else. People use the words ‘rich’, ‘dark’, and ‘exotic’ to describe it, which
suggests a texture as heavy as velvet – close to Lyric Woman (Amouage) or
Portrait of a Lady (Malle). But reality is miles removed. On my skin, Ta’if
reads as a sheer peppery mixed floral layered over a musky, dried-fruit base. Neither
the advertized dates nor Taifi rose show up for me, or at least not in any form
I recognize (when I see ‘Ta’if’ rose, I expect a pop of fiercely spicy, green lemon-and-lime
sharpness announcing a tannic rose).
In fact, I’d rank Ta’if alongside Rose Noir (Miller Harris) and Tobacco Rose (Papillon) as rose fragrances that bill themselves as one thing and then deliver another. Clearly, the sheer amount of admiration and positive reviews out there for Ta’if and Tobacco Rose demonstrates that it is possible not only to get over any cognitive dissonance related to their names, but to love them wholeheartedly for themselves.
On me, Ta’if is mostly a blowsy peach and orange blossom chiffonade, interspersed with brief flashes here and there of something that might be interpreted as a tart, green rose. The peachy-powdery feel of the fragrance makes me think of something functional I used to use when I was a teenager, like the Impulse O2 body spray. The dry down is a slightly powdery musk with a streak of dates running through it, which doesn’t tilt too literally in the direction of any one particular note. Rather, one is bathed in a fluffy miasma of musk, fruit, orange blossoms, and caramel that reminds me of some of the prettier ‘pink-smelling’ dry downs in designer perfumery, such as Coco Mademoiselle, or Elie Saab.
Source of samples: Based on a sample set generously gifted to me in 2015 of the niche perfumer store in Dublin, ParfuMarija, I subsequently bought bottles or partials of most of the above. The Osmanthus Hair Mist was kindly gifted to me by Ormonde Jayne PR a couple of weeks ago, along with a Petits Fours box of samples of four of the La Route de la Soie collection sent to me for review (review is upcoming). My opinions are firmly my own.
Rose Gold opens with a fiercely fresh green rose that briefly hints at the rose in Ta’if before folding its lemon-rind-and-black-pepper topnotes into the folds of a richer, pulpier rose that smells as lush and ‘full-bodied’ as the traditional rose and sandalwood attars once produced by Amouage – I am thinking mostly of Ayoon al Maha and Majan attars here, but also the spicy sandalwood-rose core of the stupendous Lyric Woman. Let’s say that Rose Gold falls halfway between one of those Amouage greats and the homelier but nonetheless moving beauty of the heavily peppered rose and carved sandalwood elephants of Caron’s Parfum Sacre. I mention these perfumes not just for your reference, but for mine – perfumes like Parfum Sacre and Lyric Woman were among the first perfumes that brought me to tears. They are my North Star of what I consider to be important ‘smells’ in my life. That I am comparing Rose Gold to them should tell you that I think Rose Gold is special.
The traditional rosy ‘attar’
scent is what dominates here, and it is unmistakably regal. There is a flare
here and there of the initial lemony freshness of a Ta’if rose, but this only
serves to highlight the deep red velvet backdrop of the more sensual Turkish
rose. There’s a hot-to-the-touch quality to the perfume, and a note that makes
me think of spicy crab apple jelly – both reminders that the presence of
carnation is what links Black Gold to its baby sisters, Rose Gold and White
Gold. Although this remains quite dry and spicy throughout, the rose centerpiece
softens the rather masculine pepper-carnation-sandalwood-oud heart of Black
Gold, making it an option for those who thought the original too hairy-chested.
Rose Gold would come close to de-seating
Amouage Lyric Woman and Caron Parfum Sacre as my favorite rose-based perfumes
were it not for the rapid unravelling of richness and complexity after the
roses, spice, and carnation have roared their loudest. Quite simply, Rose Gold becomes
too quiet, too soon. A rather plain but pleasant smelling mélange of creamy,
rose-tinted blond woods, made radiant with the usual Ormonde Jayne dollop of
Iso E Super, is left to carry the load on the remaining 40% of the scent’s
If I were rich, though, I’d have
no qualms about buying the biggest bottle of Rose Gold I could find (a veritable
jeroboam of the stuff!) and spray, spray, spray to get that glorious start and
midsection going again on my skin at the first sign of flagging. Millionaires
can buy all the Viagra they want; I’d buy mine in the form of Rose Gold.
I am trying to say this with the
greatest respect, but in many ways, White Gold is the most department-store-smelling
iteration of the Gold series. By this, I mean that it smells like an abstraction
of white flowers, white orris, white powder, white musks, and white woods (even
white spices) all blurred into one haze of cloudy white scent molecules. White
Gold is made of the kind of white noise that I find very difficult to pick
apart and analyze when I am sniffing perfumes at the department store. There’s
very little for me to hang onto. My nose feels around for the boundary lines
between the notes but fails to locate any.
I think that the perfumes that have most in common with White Gold are not Rose Gold or Black Gold, but the white cube perfumes and Pure Musc by Narciso Rodriguez, which, to my nose at least, all smell like minute variations on the same theme, i.e., the freshly-poured cement muskiness of cashmeran and fluffy white musks, the basic model altered with one drop more or less gardenia or rose or ylang. I get that most people find this sort of thing comforting. It’s like the warm, plush terrycloth robe you pull straight from the dryer and put on when you emerge shivering from a cold shower. It’s just that it’s too simple, too easy. Mindless comfort is good for those moments when you need a liquid hug. But it doesn’t engage the brain cells. I can’t help but hold that against it.
White Gold traps the naturally effervescent, floaty white dust that emanates from orris and folds it into a cloud of silky ambrette and lab musks, which hover weightlessly over the freshly-scrubbed wood and concrete floor built by cashmeran.
The flowers – jasmine mostly, but also some rubbery freesia and orchid – smell clean and expensive, like an upmarket shampoo that sets you back around 50 quid from your hairdresser’s. Abstract and more than a little perfumey, the floral components smells more like artistic, man-made representations of a flower than the rude, fleshy vulgarity of live blooms.
There is a 1990s perfume that White Gold reminds me of strongly, but I can’t recall the name. Something made by Armani, the Lei/Lui series perhaps? Naturally, White Gold smells a lot more expensive and plushly-upholstered than any department store perfume. But there’s a fruity-nutty-sticky sweetness here that hints at the Galaxolide-and-Maltol candy-ness of designer musks and florals, and it’s an impression that proves hard to shake. Overall, I’d peg the color of White Gold as a cloudy, almost milky white, tinged in places with a rosy pink stain. Although easily my least favorite in the series, I think White Gold would make for a perfect bridal perfume or special occasion perfume for someone who might view it as a cashmere wrapped upgrade to the very floral, very clean, musky designer perfumes they already know and love.
I remember loving Black Gold when I tested it in 2017, and even wrote about it here as part of a shambolic, rambling essay on my journey through the Ormonde Jayne stable. But now, when I look back at that review, what I really remember is how hard I had to beg Essenza Nobile to release a sample to me (Fragrance Daily, where the review appeared, was the blog loosely tied to Essenza Nobile, the fragrance retailer which would regularly send the blog writers samples they’d requested).
If I recall correctly, Linda Pilkington was being very strict about where the pre-release samples of Black Gold ended up and even how copy for the fragrance was being worded, so Essenza Nobile was concerned that a negative or even slightly critical review of the perfume might harm their business relationship with the brand.
Essenza Nobile needn’t have
worried, for two reasons. First, I absolutely loved Black Gold. I wouldn’t sell
a kidney to buy a bottle, but I’d happily accept a bottle from a loaded
relative, should I ever succeed in identifying one. Second, while Ormonde Jayne
is clearly invested in controlling the narrative and distribution of its
perfumes (as it should be), I don’t think they put much stock in reviews as part
of their business model.
None of this bothers me unduly. I’m conscious of the business reality for brands outside of the artificial blogger/vlogger bubble. Brands like Ormonde Jayne have to be protective of their products where they can. They are the Chanel of English perfumery. If Ormonde Jayne ever sells to an investor, then their good name, their grip on distribution channels, and the customer perception of the brand’s core values (taste, luxury, exclusivity) is all calculated on the balance sheet as a ‘goodwill asset’. Goodwill assets monetize all those values we associate with the name of Ormonde Jayne even if we can’t see or touch them.
Ormonde Jayne operates mostly outside
of the reviewer bubble. The brand doesn’t enter the fray of perfume blogs or
reviews in the ways that other brands do. They don’t promote or circulate
positive reviews of their perfumes; nor do they openly contradict or wade into reviews
that are less than complementary. Their relationship with the outside world
seems to be smoothly commercial, almost transactional in nature, i.e., they are
a company whose primary objective is to sell luxury perfume and perfumed goods to
those who can afford it, not to get chummy with writers and blogs and YouTubers.
The brand isn’t rude or dismissive of the review crowd; we just don’t figure
much in their strategy. And that is perfectly valid.
Reviewers like me can request to be put on the Ormonde Jayne PR list to receive samples. But again, there’s that thorny issue of how to reconcile being sent press samples and offering an independent, fair-minded review to readers that has nothing to do with the ‘free-ness’ of the sample. I haven’t figured out an answer to that dilemma yet. I want access to the perfume, my reviews depend on access, and yet the sincerity of the review will always be in question (even in my own mind) if the sample was sent to me for free by the brand.
That’s part of the reason it’s taken me so long to write about these Ormonde Jayne exclusives; some of the samples were (very kindly) sent to me in PR. I am not on anyone’s PR list normally, so I’m grateful, but conflicted. Can you trust me on these, at a distance of three years? I hope you can. Maybe the passing of three years has created a sort of decontamination chamber for the perfumes, cleansing them of all trace of expectation, guilt, and reciprocity.
I will do one more post in the Ormonde Jayne series covering the perfumes from the original (core) collection; this will be less angsty because any full bottle of Ormonde Jayne perfume I own, I paid for. But there will be a little angst – there has to be – because I’ll be reviewing my bottles of Ormonde Jayne perfumes with a view to deciding which ones I sell and which ones I keep.
Source of samples: My sample of Black Gold was sent to me for free to write about by Essenza Nobile, the large European fragrance retailer and distributor, for the blog Fragrance Daily linked to the site (the blog is now defunct). My sample of White Gold was sent to me by Luckyscent for the purpose of writing the copy for White Gold on their site. My sample of Rose Gold was sent to me by PR at Ormonde Jayne, for free and with no expectation or demand to write about it.
Quasi Un’Absurdia by Chris Rusak is a rare joy. In the modern hodge podge of brutal woody ambers and syrupy eau-de-department-store florals, instances of classical beauty are few and far between. So a minute of silence, please, for the feat that’s been pulled off here by a small artisan.
I’ve no idea whether if it’s innate talent – genius untrammeled by the stifling stays of the classical perfumery education corset – or the simple good luck of a five year-old who accidentally hammers out a Monet with a potato stamp, but I’ll be damned if Chris Rusak, probably armed with nothing more than a small perfumer’s organ of essences, hasn’t created a glorious floral to rival that of giants such as Guerlain’s L’Heure Bleue or Grossmiths’ Shem el Nessim.
Quasi Un’Absurdia is a cinematic sweep of flowers that elates my spirits in the same way as the first swell of sound from the orchestra pit. I experience the opening as a rush of colors and texture – the purple velvet of jasmine, the buttery yellow of ylang against the polleny green-yellow of narcissus, and the greenery of lily stalks. In the roar of color and sound, I swear I smell the aromatic crushed bud of French lavender, but this may just be the civet punching its way through the floral mass and drawing a phantom Jicky-lite shape in the air.
The polleny narcissus aroma splits the difference between the eyelid-droopingly indolic, over-stuffed scent of a room filled with the flowers and the tartness of freshly-cut daffodil stems plunged into water. I find the rich, true smell of the jasmine and rose absolutes used here to be intoxicating in the way only the real flowers can be. This perfume makes me feel like I’m Dorothy, walking through that field of poppies, drugged up to my eyeballs on their narcotizing scent.
The gasoline beauty of pure jasmine absolute alone would have made this an easy sell for me, even if Chris Rusak hadn’t been clever enough to underline its Sambac-like quality with the pleasantly watery bitterness of mint or artemisia and its Grandiflorum-like qualities with a bubblegummy ylang. But he has, so there you go. The arrangement here – the complex juggling and trade-offs involved in keeping this great slew of natural floral absolutes afloat – is flawlessly executed. Especially impressive is the fact that the benzyl acetate facet of natural ylang and jasmine has not been allowed to dominate, thereby saving the composition from the grapey dopiness of the standard big white floral.
A bouquet this rich in white flowers risks heaviness. But thanks to the sharply woody civet and a lily tincture that leans more towards the crunchy green-and-white freshness of muguet than the funeral meatiness of lily, the overall impression remains remarkably crisp. Quasi Un’Absurdia is definitely not as lily-dominant to me as perfumes like Malle’s Lys Méditerranée, but actually, there’s a time and a place for the insistent salty, almost aquatic-tinged heavy cream of lilies, and this is not it. The ‘lily-ness’ of Quasi Un’Absurdia is perfectly dosed.
There’s some civet here, but it’s been used less as a keystone note and more as a means by which to texturize and sharpen the fuzzy beige carpet of tonka padding out the florals all the way down to the base. Quasi Un’Absurdia isn’t terribly animalic, therefore. However, there is a subtle ‘freshly-washed crotch’ nuance here that works very well against the sweet floral mass. This too is Guerlainesque, a cheeky reference perhaps to Jacques Guerlain’s assertion that all Guerlain fragrances contain something of the undercarriage of one’s mistress.
The drydown of Quasi Un’Absurdia will be an unmitigated pleasure-fest for anyone who loves the intricate yet cozy abstraction of the great Guerlain perfumes such as L’Heure Bleue or Chamade but doesn’t adore the sometimes fussy powderiness of their finish. This perfume’s Guerlainesque almond-custard denouement is streamlined by comparison, a product of cantilevering a huge bouquet of flowers over a sharp, airy base of woods, civet, and soapy musks. In fact, Quasi Un’Absurdia is the equivalent of a John Irving novel: it spins a cracking good yarn in the classical tradition of Alexandre Dumas but borrows the dreamily absurdist, abstract style of Gabriel García Márquez to tell it.
Source of Sample: I purchased this sample as part of a sample set directly from the Chris Rusak site, here. Quasi Un’Absurdia is currently all sold out, but apparently will be made available again in 2020/2021 when the new batch is ready (the perfume contains a rare lily tincture that Chris makes himself). It costs $140 for 30ml, and $190 for 50ml. The perfume features real civet, as per the website, which means that it is not cruelty-free.
In autumn 2018, Areej Le Dore released its 4th generation of fragrances. Russian Adam very kindly sent me a sample set, which I’ve been playing around with for a while now. Without further ado, here are my reviews of Areej Le Dore Koh-i-Noor, Malik al Taif, Oud Luwak & Baikal Gris.
When I wrote a review of Peety by O’Driu a few years ago, I struggled to put into words a certain accord that I noticed in the sort of neo-retro (is that even a word?) Italian perfumery espoused by ateliers like O’Driu itself, and Bogue. The word I used was Ricola drops, which are those funny herbal cough sweets you buy at the counter of any bar or corner shop in Italy, the ones that taste of honey mixed with anise, licorice, and a whole kitchen garden’s worth of herbs.
Funny gif aside, he is making the point that only people of Eastern culture (Indian, Far East, of the Islamic or Hindi faiths, etc.) truly understand how to make an attar, and that Westerners doing it is either a cynical cash grab or a case of cultural misappropriation.
This comment, whether founded or not, raises the crucial question of how attar perfumery is perceived in the West. I have noticed a certain awestruck tendency towards attars by Westerners, a kind of mass reverence for the genre, as if all attars and oils hitting our shores were uniformly possessed the magic of the Orient simply because they originated there. This is rubbish, of course.
First of all, speaking as someone who has tested hundreds of attars and mukhallats from almost every major brand from Amouage to Surrati, I can tell you that there is as much dreck coming out of the East as there is from the West. I’d estimate the percentage of truly sublime attars or mukhallats at about 5-10% of the mass, which is roughly equal to the hit rate in Western perfumery. Unfortunately, because these oils carry mysterious names, come in a little gold bottle, and are from an exotic-sounding house like Rasasi or Al Haramain, the consumer is psychologically primed to find them amazing even if they’re aren’t. Even Amouage has attars that are dull, nasty, or just plain unimpressive.
Second, it’s not the where (the East) that counts, it’s the who. The best quality attars out there are not being made by the big Gulf or Indian brands in the East but by small-batch artisans with a mostly Western background and upbringing. Sultan Pasha, Ensar of Ensar Oud, JK DeLapp, Al Shareef Oudh, Russian Adam, Dominique Dubrana, and now Andy Tauer – these are all people who, no matter whether they are Muslim or not, are Western by birth, location, or background.
I mention this because although some people seem to think it is the exclusive preserve of Easterners to make attars, these days it is actually mostly Westerners that take the care to distill oils in the old manner, hand-blend and macerate formulas, and source the purest raw materials. I like to think that they are taking a certain Western propensity towards precision, authenticity, and attention to detail to bear on an old tradition of perfumery.
And now Andy Tauer, himself an artisan in the genre of Western perfumery, has joined this elite group. In a way, it’s a natural fit: Tauer already mixes everything for his perfumes by hand (in a similar fashion to blending an attar) and as a longstanding user of resins, sandalwood, and jasmine, he would have all the necessary contacts in the Middle East to source the materials needed for this.
Attar AT is excellent work. It succeeds both as an attar and as an atmospheric set piece in the Tauer manner; it contains exotic raw materials but somehow conjures up more of that tough old Americana (cowboy boots, pilgrims, vast open spaces of the American plains) than it does the East. It opens up as an extract of pure boot leather, with a dense wall of fuel-like jasmine, birch tar, and castoreum-driven leather hitting the nose all at once.
But despite the tarry creosote-like tone and the fact that Tauer has used materials like this before, mainly in Lonestar Memories and L’Air du Desert Marocain, Attar AT does not make me think of his other perfumes. The leather, although smoky, is smooth and dark, and, crucially, completely free of competing notes like amber or citrus. There is no Tauerade. It is powerful and concentrated at first, but soon becomes very quiet and almost linear. A rubbery jasmine appears just past the opening notes, relieving, albeit briefly, the almost matte darkness of the leather accord.
As an aside, it’s funny how noses differ: my husband smelled this and immediately said that there was jasmine in this, as well as a little bit of oud. I, on the other hand, can only smell the jasmine briefly (it is similar to the phenolic jasmine used in the topnotes of Anubis by Papillon, for reference), and the impression of oudiness is only a background one, playing second fiddle to the leather. However, at a distance and at certain points of the attar’s development, it has something of the leathery, fermented smokiness that I associate with oud oil. In general, I think it’s fair to say that Attar AT genuinely has an oud-like tone to it at times, but that it in no way dominates.
Perception of sweetness seems to be subjective, but I’d peg Attar AT as being un-sweet, which is not to say that it is piercingly dry or sour. It is more a question of lacking sweetness in the form of amber or a syrupy floral note; if you know the sappy, sooty darkness of perfumes such as Heeley’s Phoenicia or Le Labo Patchouli 24, then you will know what I mean – an unsentimental, un-sweet darkness that nonetheless possesses so much texture and energy that it never tires the nose. Dusty, dark woods in the base only confirm this impression. There is no creamy sandalwood or welcoming amber in the drydown to placate the sweet tooth, only a continuation of the main accord of dark, smoky birch tar leather.
As an attar, Attar AT starts off very strong and dense, but soon loosens up into something much softer and quieter. It wears close to the body and doesn’t project much. However, longevity is excellent. So far, so standard for an attar. But people will want to know if there is anything of Tauer’s synthetic signature in Attar AT: my take is that it doesn’t feel synthetic to my nose at all, but be aware that birch tar in high concentration can have a bitter, metallic sharpness to it that some noses may interpret as synthetic. The only hint of something unnatural comes when you try to wash it off, and then (only then) something synthetic does linger on the piece of skin you’ve just washed.
Masculine? Yes. I’d even go so far as to say that this is super-macho, especially during the first couple of hours when the leather is blazing streaks across the sky. Attar AT is more evocative (for me) of the landscapes of the American West than of the deserts of the East; something about it celebrates the good-natured but tough manliness of the men who had to conquer large stretches of the American West on horseback, hungry and alone. This is a theme that seems to course through much of Andy’s work.
Having said that, there are plenty of women who like this sort of dry, unemotional scent, and I count myself as one of them. Overall, this is a great *masculine* attar for a very reasonable price, and also yet another addition to the attar genre that proves that you don’t have to be Muslim or be located in the East to make an attar that smells authentically, genuinely good.
Notes: animalic leather, birch tar, Java vetiver, dark dry woods, sandalwood, hints of Jasmine, cistus, and castoreum
Part II of my little series on Maison Nicolas de Barry focuses on the brand’s all natural and oud lines, called respectively Les Parfums Naturels and the Oud Collection. (Part I, on Les Parfums Historiques, is here). Introduced in the past few years to reflect Nicolas’ increasing interest in all natural perfumery and the perfumery of the East, these perfumes contain raw materials that Nicolas de Barry has sourced or tinctured himself, including a 25-year old lump of ambergris, rose oil from Grasse, ylang oil from Jean-Paul Guerlain’s private plantation on Mayotte, and a pure oud oil (Aquilaria subintegra) from Thailand.
The perfumes are formulated at 15% pure perfume oil and scaled up to make 150ml bottles of eau de parfum. None of the perfumes in the naturals and oud collection are inexpensive, ranging from €480 to €920 for the natural line, and from €920 to €1,140 for the oud collection, but two things soften the blow a bit: first, the fact that each bottle contains approximately 22mls of pure, natural (and expensive) essences like pure oud oil or sandalwood, and second, samples or should I say mini bottles are available at €52 for 7ml. Not cheap, but definitely a more feasible way for those curious about natural and oud perfumery to dip their toes into the water and see if this style of perfumery suits them.
Having tested quite a few of these natural and oud-based perfumes, I’d rank the Maison Nicolas de Barry perfumes alongside those of Mandy Aftel of Aftelier, in California, and Dominique Dubrana (Abdes Salaam al Attar) of La Via del Profumo. There is a similar passion for natural raw materials going on here, and the perfumes are similar in terms of texture, both being soft, gauzy, but also sometimes pungent depending on the intrinsic properties of the raw material being used. The perfumes are also similarly soft in terms of projection and lasting power, naturals often fading quickly on the skin due to the absence of synthetic musks or woody ambers to keep them locked in place.
The main distinction between these all-natural brands comes in the form of artistic intent and compositional styles: Mandy Aftel’s work places naturals in the context of a more abstract, perfumey vision (atmospheric and emotional rather than soliflores, etc.), whereas the work of both Nicolas de Barry, in his naturals and oud collections, and Abdes Salaam al Attar is more attar-orientated. Both specialize in simple natural arrangements of materials and more complex ones, but the underlying aim is always to exalt the beauty of the raw materials used.
Here below are reviews of the naturals and oud collection that I tested.
Ylang de Mayotte
Ylang de Mayotte is my favorite out of the natural samples provided to me by Nicolas de Barry. Sourced from the 100% natural, small-batch production of ylang on the private plantation of Jean-Paul Guerlain on the island of Mayotte, this particular oil showcases all of the good aspects of ylang and none of the more disturbing properties. I have a personal weakness for ylang, but it’s a difficult material to work with because it is enormously potent and can overpower a composition. Depending on the grade used, ylang can be a brash, grapey, fuel-like bully of a smell that mows down any other note that’s unlucky enough to get in its way.
My favorite treatments of ylang, including this one focus on the delicate “egg custard” properties of ylang that align it quite naturally with vanilla and sandalwood. Ylang de Mayotte smells like a powdered length of buttery yellow silk, a subtle pattern of fresh mint leaf picked out here and there. It is delicately fruity, but not in the harsh, benzene-laden way of some ylang oils, rather like a sliver of apricot skin dropped into a milky banana custard halfway through the cooking. It’s rich but subtle, with small gourmand flourishes that make it quite delicious – a quivering, fine-boned tropical panna cotta dotted with slivers of apricot, almonds, peaches, and mint.
Ylang de Mayotte is somewhat comparable to Tasnim by La Via del Profumo in that they are both 100% natural, artisanal productions and both present the soft, custardy side of ylang. But Tasnim is more oriental in evolution (smokier, woodier, and more ambery) while Ylang de Mayotte doesn’t deviate from the central ylang note and has a clear, pure shampoo-like smell. Both allow the soft, sweet almond-like tones of the ylang to emerge in the late drydown, a pleasure for anyone who loves this complex oil.
In terms of price, Ylang de Mayotte is twice the price of Tasnim per ml, so perhaps only the true ylang enthusiast would be able to justify a purchase. But both are beautiful, both present the very best sides of the difficult ylang, and both are all-natural; a preference for faithfulness to the central material versus a preference for a more evolved composition are the only parameters (beyond budget) that matter here.
Santal d’Australie focuses on the native Australian species of sandalwood oil (santalum spiccatum), both an ordinary grade and an organic, high quality s. spiccatum extract with higher santalol content from Mount Romance in Australia. I have to admit that when I saw the name, I had been hoping that there was also going to be some of that very expensive santalum album oil from the newish plantations in Northern Australia, because I recently smelled some in a sandalwood attar made by Al Shareef Oudh that was excellent. But Santal d’Australie focuses entirely on the s. spiccatum, an oil I’m not overly keen on because of its fresh, piney, and sometimes harsh facets.
True to form, Santal d’Australie opens with the citric, camphoraceous slap of Australian sandalwood, which, if you haven’t smelled it before, smells like a freshly split pine log covered in lime peel and lemon juice, with a faint backdrop of soured milk or cheese curds. It’s not unpleasant; in fact, I like its good-natured, silvery freshness, but anyone expecting the creamy, arid sweetness specific to Indian sandalwood might be disappointed. The citric/fresh impression is helped along by a very limey bergamot in the topnotes.
The drydown is very nice, developing into a richer, curdier version of the opening notes but with a tinge of browned butter and incense. The freshness prevails in the form of a sour lime leaf facet, but it is softer than in the opening, and fleshed out by the apricot skin richness of osmanthus. The presence of the osmanthus gives the sandalwood a background of fruity suede that works very well in adding curves to the angular sandalwood. Osmanthus also has tannic properties, and this comes out more in the far drydown, with a pronounced black tea leaf bitterness that works nicely against the cottage cheese curdiness of the sandalwood. Fresh and green, Santal d’Australie reminds me quite a bit of FeelOud’s Sandal 100k, but scaled up to eau de parfum format to allow for generous application.
Oud du Siam
Oud du Siam straddles the categories of naturals and the oud collection: it features in both, priced at the higher end of the naturals collection, and at the lower end of the oud collection (which features Oud du Siam as the main starting point for each oud perfume). Oud du Siam is made with 100% natural, pure oud oil from Thailand, specifically oil from a well-regarded species in the oud world, Aquilaria subintegra.
I guess the most important thing to know about Oud du Siam is that, although it seems to have a fairly simple composition of oud oil and sandalwood, it smells more like a more complex, oriental perfume than a pure oud or an attar (bucking the trend somewhat for this brand). There is something about the way the fresh, citrusy sandalwood reacts with the oud oil that creates an interesting brocade of citrus on golden amber resin, leather, and smoke that ends up resembling an all-natural Shalimar or Habit Rouge.
Oud du Siam is immediately likeable and not at all pungent or animalic. The oud oil comes across as a handsome, brown leather accord, like a lawyer’s briefcase rubbed in medicinal salve. Slowly, the oud wood materializes in a haze of smoke, nuggets of golden honey popping like fireworks in the dark, as if amber resins were knotted into the grain of the agarwood from which the oil was distilled. It is subtly smoky, in the same leathery, resinous way as Shalimar or Habit Rouge, and just as easy to wear.
Make no mistake about it – there is clearly natural oud oil used here, and its character comes through quite clearly. But it’s not nearly as pungent, fecal, or as difficult as some oud oils, and therefore would be a fantastic entry point for a beginner or for people who prefer to take their oud oil tamed and corralled in mixed compositions, such as the Fragrance du Bois perfumes. Towards the end, the perfume does a very interesting thing: it becomes brighter and more citrusy (lime leaf) with time, instead of the reverse. This is the point where the oud hands the reins over to the handsome, silvery Australian sandalwood, which pumps a stream of aromatic citrus and coniferous notes through the tail end of the fragrance.
Oud du Siam et sa Tubéreuse des Indes
With Oud du Siam et sa Tubéreuse des Indes, we are now firmly in the Oud Collection, although it is also all-natural and therefore could technically belong to both categories. This is a perfume that trusts the complexity of its starring raw material, here natural tuberose, to put on a show for the crowd, and it does, pirouetting gracefully from a minty, camphoraceous topnote to a salty, buttery cheese note reminiscent of gardenia, and finally ending in a creamy but rooty pool on the ground, like parsnips pulled from the wet earth, creamed, salted and peppered. The tuberose in Oud du Siam et sa Tubéreuse des Indes is fleshy and sensual, but never syrupy a la Fracas; rather, it is earthy and savory, with a distinctly rubbery texture.
The medicinal facets of tuberose – hospital tubing, camphor, and acetone – are accentuated by the oud, which bathes the florals in a smoky, sour haze of smoke. There is a very appealing “rotted” facet to the tuberose petals and the oud, as if both had been soaked in water for a few days, their edges beginning to blacken and disintegrate. This slight edge of fermentation adds tremendous depth to the fragrance, as well as a sort of wildness.
There are some parallels to Jardin de Borneo Tuberose by Sultan Pasha, which combines a very bitter, camphoraceous tuberose absolute with the dark green jungle notes of the rare Bois de Borneo oud from Ensar Oud, as well as a needle prick’s worth of skunk. Jardin de Borneo Tuberose is more herbaceous, bitter, and complex than Oud du Siam et sa Tubéreuse des Indes, but I love both for daring to combine two of perfumery’s most characterful materials and not allow one get swallowed up by the other.
Oud du Siam et son Jasmin des Indes
Oud du Siam et son Jasmin des Indes features the jasmine most commonly grown in India, which is the Grandiflora variant – sweet, pure, buttery floral bliss in a classical manner (also the variety grown in Grasse) as opposed to the mintier, but coarser and sexier sambac jasmine. The jasmine here is quite high-pitched at first, with the natural fuel-like or spilled gasoline topnote caused by the benzyl acetate molecule in jasmine. It is slightly grapey, but also tarry and spicy, with the same sort of fizzy coca-cola backdrop as seen in Jasmin de Nuit (The Different Company).
The cinnamon and coca-cola effervescence is one facet; the strangely sweet, plasticky texture is another. The jasmine smells both floral (sweet, full, buttery) and non-floral (plastic, rubber, fuel), which lines up perfectly with my experience of naturals. Less flower, more the scent on your lips after you’ve blown up 50 purple balloons for a child’s party. The smoky woodiness of the oud here plays perfectly with the smoky phenols of the jasmine; even more so than the tuberose, these are natural bed partners.
One of four in their most recent round of perfume releases, Areej Le Doré Flux de Fleurs is an interesting experiment in what happens when you blend Indian attars with Arabian raw materials in a classically French manner, thus confusing the heck of someone used only to the Western style of fragrance. For the sake of brevity, I would define the differences between these three styles as follows:
Western floral perfumery is predominantly abstract and mostly composed of synthetics, or synthetics mixed with some naturals
Indian attar perfumery focuses is ayurvedic, focused on the exalting the naturalness of plants, flowers, and herbs of India and Mother Earth
Middle-Eastern attar perfumery is less focused on nature and more on a “perfumey-ness”, mixing natural oud, musk, and ambergris with already distilled attars and ruhs for a result that is richer and more complex than Indian attars, but not abstract in the Western manner
Flux de Fleurs pushes boundaries because it borrows a little from each category. It uses traditional Indian attar ingredients, including an Indian co-distilled jasmine and frangipani ruh, a very expensive blue lotus absolute, and a complex, distilled shamama (hina) attar, but then takes those materials in an Arabian direction by mixing them with materials more associated with the Gulf region, such as deer musk and aged Cambodi and Sumatran oud. To add to the confusion, there is obviously a very French, almost classical feel to the finished perfume – it boasts not only a French name but also a Gallic smoothness in the way the materials are blended.
So, the question then becomes: which style does Flux de Fleurs end up typifying? Because, to be fair, despite the complexity of any particular perfume, the finished result is always likely to end up more in one camp than the other. My answer would be that Flux de Fleurs smells predominantly like a blend of traditional Indian ruhs and attars, but with an abstract floral polish that glosses the whole thing in a classically French aura. Despite the presence of oud and musk, in other words, Flux de Fleurs does not smell Arabian or Middle-Eastern.
Flux de Fleurs is not a challenging scent per se, but I can see why people might struggle with it: it is familiar enough to make you feel comfortable but contains odd elements that are difficult for a Westerner to place. The general style – floral oriental – is old hat to us by now. But the strangeness of the raw materials casts us adrift. It’s like hearing a tune you think you know re-mixed on the radio to the point where you wonder if you remember the original at all.
There’s a logic to why some parts of Flux de Fleurs appear strange to us. Natural raw materials and attars smell quite different to their (often) synthetic reproductions in Western perfumery. For example, in French perfumery, the use of natural jasmine oil has been almost completely replaced by jasmine synthetics because of the prohibitive cost, and now appears to us in one of several forms – sweet, syrupy, and “purple”-smelling (the Grandiflora variant) or leathery, indolic, or minty (the sambac variant).
But a jasmine ruh, which is what’s been used in Flux de Fleurs, is a different kettle of fish. A ruh is an essential oil of jasmine flowers obtained through gentle hydro-distillation in India, using the ancient deg and bhapka system. And being entirely natural, a jasmine ruh smells more like earth and fruit than floral. We can recognize it as jasmine, sure, but there are some weird bits to the smell that we don’t immediately recognize, like the smell of spilled fuel, roots, metal, porridge, or gassy bananas.
I know that sounds weird, but some naturals bear little resemblance to the idea of it that we hold in our heads. Osmanthus absolute smells incredibly pungent and cheesy, for example – more like a barnyardy oud than a flower. I remember being shocked at how little these pungent Indian naturals smelled like, compared to their standardized Western form. Indian ambers smell rather harsh and spicy, reading as vegetal and austere to the nose rather than the sweet, vanillic “souk” style ambers to which we’ve all grown accustomed. Natural jasmine is quite a bit danker, spicier, and “muddier” than the bright, fruity, creamy, or even indolic tones of the jasmine aroma most commonly presented in niche or even classic perfumes. Likewise with the nose-clearing camphoraceous slap of Indian patchouli or the pungency of Indian saffron. Not bad different, you understand, just… different different. Smelling Indian attars and ruhs – the pure, natural ones, that is – is like being on a clean food diet and cleansing your blood stream of all the unnatural sugars in processed food.
So, while the florals in Flux de Fleurs are easily identifiable as semi-tropical white ones – jasmine and frangipani – their shape does not emerge in the usual form. In other words, not in the form of sweet creaminess, indoles, syrupy texture, tropical headiness, and so on. Instead, I sense odd bits and pieces of their character coming through, like the faintly peachy rubber undertone of frangipani and the smoky phenols of jasmine, its benzyl acetate character giving the florals a grapey, fuel-like savor. Later on, when the white florals filter through the dry, woody oud and the frankincense, there is even an austere sootiness to the way the flowers present.
In general, I do not find Flux de Fleurs to be as fruity or as spicy or as sweet or as heavy as most others seem to. To my nose, it is full of these little Indian touches that aligns it with my experience of these natural ruhs and attars out of the traditional Indian canon of perfume making. There is a spicy, vegetal saffron-amber topnote that, when melded with the citrus (my nose says orange, not grapefruit), smells quite close to the traditional shamama or hina attar scent profile, but creamier and with a licorice-like nuance that makes me think of myrrh. There’s also a fuzzy nag champa or stick incense note that appears midway through, likely due to the combination of sooty frankincense, dusty benzoin, and the sweet florals, and although this never comes off as headshoppy, it does have a distinctly Indian tone.
But still, these exotic Indian touches are not enough to make me think that it’s entirely unique. There are parallels with Western niche fragrances such as Le Maroc Pour Elle by Tauer Parfums and Manoumalia by Les Nez, which gives rise to that sense of familiarity I mentioned earlier. This is mostly through the common use of tropical, rubbery white florals combined with stick incense or earthy, vegetal notes. So I wore all three perfumes together, to see if I could pin down that nagging sense of familiarity.
Side by side, Flux de Fleurs lacks the fecund earthiness and wet, savory, coconutty feel of the ylang in Manoumalia; but interestingly, returning the nose to Flux de Fleurs after Manoumalia reveals a fizzy, powdered incense note that is strikingly similar to Tauer’s effervescent Incense Rose (specifically, that Pez note that people either love or loathe in his work). Conclusion: although the rubbery, earthy nuances of the ylang are quite similar, Flux de Fleurs is far brighter, drier, and smokier/fizzier than Manoumalia. When compared directly with Le Maroc Pour Elle, Flux de Fleurs reveals a much lighter nag champa note than the Tauer, which is all round far richer and heavier than the Areej Le Doré. Conclusion: despite similar themes and approaches, Flux de Fleurs is far less headshoppy than Le Maroc Pour Elle.
I don’t find Flux de Fleurs to be very tropical, or creamy, or (overly) sweet in feel – nor do I find it spicy or dense. It is simply an unfamiliar but very Indian treatment of white flowers: earthy vegetal jasmine and peachy, rubbery frangipani filtered through a semi-pungent haze of dry, fizzy incense, powder, rubber, fuel, milk, scented erasers, Chandrika soap, and an array of other interesting, non-perfumey accords, glossed to a 3D shine in the French floral oriental style of blending. I say “simply”but of course, that’s no small feat to pull off, especially for an indie perfumer who seems to be bootstrapping everything himself from the sourcing to the distilling and bottling out in the steamy jungles of Thailand.
Superstitious is like a woman that walks into a party wearing a gold lame dress that plunges to her navel. Like everyone else in the room, you think she’s gorgeous, but you’re not sure if she’s really your kind of people. I’m not sure I understand her yet, so I’m going to circle this interesting creature a little bit longer while I try to figure her out.
People are citing all manner of classic perfumes as reference: Arpege, Gold, even Portrait of a Lady. But none of those references help me place her in my mental pantheon of smells. Superstitious strikes me as more a modern cyborg than something classical or referential. And it certainly has nothing to do with Portrait of a Lady. Actually, I find it comes at me from slightly beyond my frame of reference, and thus my footing is unsure.
Something that takes me aback is the astringency of the opening: it’s as metallic and bitter as a mouthful of pennies, sluiced with the acid of unripe fruit. Sensation-wise, it reminds me of biting into a persimmon that’s two weeks away from becoming perfect, ripping all moisture from my mouth.
I’m starting to understand that not aldehydes smell or feel the same. Some feel loose and creamy, like those at the top of Chanel No. 22 – the fizz of a can of Fanta mixed into a pot of Pond’s Cold Cream. Some feel tight and lemony, like Tauer’s Noontide Petals. The aldehydes of Superstitious, on the other hand, are extremely fine-grained and waxy, like a bar of green soap put through a microplane grater and blown up your nose. It reminds me somewhat of the opening to Seyrig by Bruno Fazzolari. The onslaught is aggressive, and slightly mean.
What’s amazing about this fragrance – and I say this even before figuring out whether I like it or not – is how the clean, chemical bite of the aldehydes have been balanced out by the dirty, botanical impression of flowers. Even in the first onslaught of the perfume’s harsh, soapy green fuzz, you can smell the slightly unclean jasmine – wilting and browning, as if about to drop off a vine and into your lap. This produces an effect that is half synthetic, half naturalistic. You can almost imagine the perfumer muttering to himself as he works out the formula, “a little bit from the lab, and now a little bit from the garden”.
The quality of the florals is amazing – there is a Turkish rose, jasmine from Grasse, and a hint of dry peach skin a la Mitsouko in the later stages. But put aside expectations of sweetness, or even density. Even with the late addition of the peach, things stay dry, leathery, and slightly sour, like the inside of the strap of your watch after a long hot day, or the taste of a very dry, metallic white wine on the back of the tongue.
Which is a way of saying that although all signs point to lushness, this is not a particularly lush perfume. Being a longtime fan of Alber Elbaz and his work for Lanvin, I had expectations of something with as many dangerous curves as his midnight blue and flesh-colored dresses for this house in the 2008-2009 period. Alber himself is round; is it weird that I was expecting a perfume with his name on it to be round too? But Superstitious turns out to be as chicly angular as one of his models.
The drydown is a slightly smoky, raspy base of vetiver and woods that somehow reads to my nose as incense. It is slightly sweeter, or at least, less tart in the far reaches of the scent, and I find it comforting.
Superstitious is a very interesting, beautiful, and somewhat challenging perfume. It is perhaps easier to admire than to love, because a certain bitchiness inherent in its character suggests that this is a perfume that might not love you back. But despite a certain lack of easy access here, I really do like Superstitious, not least because it turns my expectations on their head. Expecting lush and sweet, I get angular and tart. Expecting classic, I get modern. Most of all, I admire the perfume’s sublime balance between its metallic, chemical shimmer and its unclean, slightly earthy flowers and fruit – and it’s this last aspect that might move me towards an eventual purchase. Some day.