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The Ormonde Jayne Core Collection

15th June 2020


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.  


Photo by Maurits Bausenhart on Unsplash

Champaca

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 conversations.

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.


Photo by James Lee on Unsplash

Orris Noir

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

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.


Photo by Andriyko Podilnyk on Unsplash

Tolu

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.   


Photo by Tj Holowaychuk on Unsplash

Tiaré    

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 Italy.)


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….


Photo by Tobias Tullius on Unsplash

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 than slivers.

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.


Photo by ORNELLA BINNI on Unsplash

Osmanthus

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.


Photo by Valerie Blanchett on Unsplash

Ta’if

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.   


Cover Image: Photo by Clem Onojeghuo on Unsplash

Chypre Floral Fruity Chypre Green Floral Musk Orange Blossom Vetiver

Puredistance Warszawa: A Review

5th April 2018

 

The word pulchritude jumps to mind while wearing Puredistance Warszawa. That’s the word that Akeelah stumbles over in her first training session with Dr. Larabee in the movie Akeelah and the Bee. Dr. Larabee tells her that it means beauty. But by the end of the movie, when Akeelah is given the word to spell as her final test in the National Spelling Bee, each letter in the word is spoken aloud in the voice of someone she loves – her mother, her best friend, her brother, and Dr. Larabee himself. And it’s then that we understand that “pulchritude” means not only beauty, but also pride, character, and an untouched quality very close to innocence.

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4160 Tuesdays Freeway: A Review

10th March 2018

I was looking at some iPhone photos and videos on the TV last night with the family when a photo of our old terrace on our 13th floor apartment in Montenegro came up on the screen. Obviously taken as the sun was going down, two little sweaty faces beamed up at the camera, the heat so strong that it seemed to radiate off the 3 year-old photo and straight into our living room.

 

For a moment, there was silence as we all gazed rapt at the screen. Then, from deep within me, came a noise halfway between the groan of a dying cow and a barely-suppressed sob. “Mama, don’t,” hissed my 7 year-old son.

 

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Zoologist Camel: A Review

17th October 2017

There’s a famous delicatessen in Milan by the name of Peck. Established in 1883, it’s a Mecca for food enthusiasts, its shelves stocked with the finest cured meats, cheeses, wines, and truffles of Italy. When I lived nearby, I would often take the train down to Milan at the weekend, and walk through the store, drinking in the unami-rich air. I remember in particular huge glass jars of mostarda – neon-colored orbs of fruit preserved in a clear mustard seed pickling juice. When the afternoon light caught them at the right angle, they glowed like the gaudiest of paste jewelry: emerald, yellow, and orange.

 

The guys behind the counter would goad me into taking a little with my prosciutto and salami snack, and they’d laugh as I gingerly nibbled at the edges, the virgin blandness of an Irish diet having ill-equipped me to deal with the gush of hot, sour, sweet, and savory flavors on my tongue. When I first tried Arabie by Serge Lutens, its dried fruits over a sour asafetida base reminded me immediately of my trips to Peck. But although the association charmed me, Arabie proved too syrup-saturated for regular wear, so I passed it by.

 

I’ll admit that when I read the notes for Zoologist Camel, I thought we were looking at a re-tread of Arabie. But while the dried fruits and dates in the topnotes give a rush of sweetness, Camel is far more sour and savory than it is sweet, and thus reminds me more authentically of Peck and its mostarda than does Arabie.

 

I think that Victor Wong, as a creative director, is not afraid of a little earthy sourness in the perfumes he commissions. In a sea of sweet niche releases designed to appeal to a mass sweet tooth, he doesn’t mind going sugar-free every now and then. And I like that about him.

 

Perhaps his bravery with salty-savory flavors comes from an inherent love of unami or the sweet-salty-sour balance in Chinese culinary tradition. I will always remember Victor’s review of M/ Mink for his blog, Sillyage, where he discusses the link between M/Mink’s bleachy opening notes and the smell of Chinese calligraphy ink and dried shellfish. It was the first review of M/Mink that ever made sense to me, because he was able to place it in the context of non-traditionally perfumey things like salt, iodine, and fish. Through his words, I came to understand and finally love that perfume.

 

Camel has a streak of kimchi running through the dried fruit, amber, and orange blossom, which stops the perfume from tipping into a syrupy cliché of Arabian perfumery. Forget the ad copy about deserts and camels. There is a brief hit of booze, dried fruit, and rose up front, but the frankincense here is limey and tart, and there’s a layer of sealing wax over everything to mute the fervent glow of the fruit. It is rich, but astringent, like a vin jaune from the Alps.

 

The sourness is given an extra boost in its rather classically French (or so it seems to me) heart of civety jasmine over a pillow of powdery musks. The jasmine is greenish and as fizzy as a vitamin tablet dropped into a glass of water, later developing the leathery profile of sambac jasmine. There is something here that resembles the moist skin under a wristwatch after a long day in the sun. The griminess of the jasmine stands shoulder to shoulder with its gritty, soapy cleanliness, giving the perfume an almost aldehydic buzz.

 

This tart, soapy, tightly-woven stage of Camel makes me think that Malle’s Superstitious (2016) must indeed have been quite influential on the perfumery scene. There are clear parallels between the Malle and Camel, especially in the acidulated jasmine, the slight raunchiness (without warmth), and its general angularity. Jardin d’Ombre by Ormonde Jayne, which came out in October 2016, the same month as Superstitious, also strikes me as a variation on the theme. In all three perfumes, one might read the notes and think “warmth” or “sweetness”, but the actual scent in each case is of the opposite of lush: astringent, cool-blooded, and definitely more French than oriental in tone.

 

I admire Superstitious greatly but prefer to gaze upon it from a distance, like watching Joan Crawford rehearse from the safety of a locked wardrobe. Camel, with its pert charm, has fewer pretensions to greatness and is therefore much more approachable. Despite the orientalism of its composition and ad copy, Camel avoids every cliché inherent to the genre, particularly the cheap rosy feel of most modern oriental releases. Its soapy (but dirty) jasmine, musk, and civet combo imbues what might otherwise have been a heavy “souk” amber with weightlessness, as well as a certain French je ne sais quoi.

 

As long as you’re ok with a little salty-sour funk, Camel might be the modern twist on an oriental you’re missing in your collection. Camel is predominantly French in character, but there is perhaps also something a little Chinese or even Peck-ian in its balance between sweet, sour, salty, bitter, and unami.

 

Notes: dried fruits, frankincense, palm date, rose, amber, cedar, cinnamon, incense, jasmine, myrrh, orange blossom, civet, musk, sandalwood, oud, tonka, vanilla, vetiver

Citrus Floral Fruity Scents Neroli Orange Blossom Summer

Hiram Green Dilettante

8th July 2016

I’ve been very run down recently, both in body and spirit. I have a nasty eye infection that has caused my left eye to swell up like a baboon’s arse, and although I have always been rather plain, this sudden lurch towards outright ugliness has thrown me into a deep funk. (I would like to be all “Little Women” about this, but it turns out I have no depth of character, only a succession of shallow pools).

But there are two bright spots in my gloom. Well, three if you count my children, but since they are so unreliable in their light-bestowing capacity, I won’t. The first was the totally unexpected gift by a friend of a small Le Rouge Lipstick by Givenchy included in a transatlantic perfume swap. I loved the perfumes, of course, but I was delighted by the rouge. With my face looking like a freshly-peeled potato, the swipe of labia-pink lipstick was exactly what the doctor ordered for my looks and overall mood. I might look like the back of a van, but my lips are on point.

The second bright spot was a small vial of Hiram Green’s new fragrance, Dilettante, which he had thoughtfully sent me with a note explaining that this was a fruity-floral  scent, “fresh, sweet and ideal for the summer months.” This description, plus the fact that the scent was orange blossom-focused, made me feel even grumpier. Surely when you’re down, you need something that matches the blackness of your soul, not the keys to Disneyland.

But I was wrong – Dilettante is not only very lovely, but is a perfume that deals in pure joy. I am doling out my sample in small drops because I take my orange blossom in therapeutic doses, like pure vitamin C on the tongue. Dilettante is a tonic; a shot in the arm. I kind of feel like Madonna.

The first few moments of the fragrance are like getting a full hit on a whole orange tree – the green, waxy leaves, the bitter rind, the pulp, and the bark. I can’t adequately describe all the different shades of green I smell in the opening of Dilettante, but it’s kind of like driving in Ireland on a summer’s day and catching a glimpse of the colors of the fields and trees, with their gold-green, pollen-green, grey-green, jungle-green, rapeseed-green and so on whirling gently into one verdant ribbon streaming at the sideline of your vision.

It’s quite oily and heavy at the start, as if all the natural oils and absolutes are fighting each other for dominance, but it also manages to feel green and fresh. It is strongly aromatic, and I sense the presence of lavender as well as the petigrain.

After a few minutes, the intensely green, orangey topnotes settle down and the more floral orange blossom begins to bloom. But I have to thank Hiram Green with all my heart here, because the naturally syrupy sweetness of the orange blossom is cut with those sharp green notes, making it the one orange blossom-focused fragrance that I think I could wear on a regular basis rather than just doling it out like Echinacea.

Dilettante grows ever more floral as time goes by, eventually settling into a pale green wax heart that smells like pure neroli oils being mixed by hand into molten beeswax, or the cushioned air of an upscale massage parlor. There may be some jasmine, but I mainly smell beeswax, neroli, orange oil, and the slight caramelized edge of lavender. I don’t find it particularly indolic, but rather waxy, gentle, and floral-aromatic in a muted way.

For a natural perfume, the longevity and sillage as impressive. I found this to be the case also with Voyage and Shangri-La. But better yet, the base is not just some lazy fading out into green soapy vagueness as with most other orange blossom scents, but contains a little surprise animal kick to reward those willing to hang around for it – a salty, skanky “licked-skin” note that is very sensual.

Although I have no idea what Hiram Green used for the base, I suspect it is either a vegetal musk derived from ambrette seed or a tincture of real ambergris. There was a beached whale recently in the Netherlands, and although it was the Indian company Ajmal that bought the huge chunk of ambergris hacked out of its gut for an undisclosed figure, I’d like to think that someone slipped Mr. Green, who himself lives in the Netherlands, a small chunk of ambergris to tinker with.

Dilettante is not at all, as the name implies, trite. It is a sunny, orangey fragrance first and foremost but there is shading here that adds complexity. And the way that animalic, musky base slides in at the end – well, that shows that the perfumer is no amateur.

On the other hand, I’d imagine that this is the first Hiram Green fragrance that would appeal to a broader, more commercial market, because it is an easy-to-enjoy citrusy fragrance that lasts a long time and just smells so darned, uncomplicatedly good. You don’t need to know much about fragrance to enjoy Dilettante, unlike perhaps with his previous perfumes where it might help to have some experience with chypres, tuberose soliflores, or complex orientals. Dilettante requires no learning curve. It is a true elixir of vitamin C for people with troubled souls and sore, weeping eyes.

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