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Areej Le Doré Agar de Noir, Musk Lave, Cuir de Russie, Grandenia, & Santal Galore

28th September 2020

The challenge for any reviewer in reviewing the Areej Le Doré releases is that (a) either you’re late and the perfumes you’re writing about are no longer available to buy, or (b) you’re on time for a full bottle release, but you are talking only to the group of three to six hundred people that are buying them, a tiny circle of devotees that seems to get tighter and more closed-off with each successive release from the house.

I can certainly see why many people in perfume-land might be attracted by the fantastic raw materials on offer by Areej Le Doré but turned off by the feverish fandom that has sprung up around the brand. If you’re not willing to set your timer to bumfuck o’ clock Thailand time or duke it out with the scalpers, then the whole thing can feel like the most fearsome clique from high school. And when anyone feels excluded, there is the natural tendency to grumble to yourself, “Well, if I’m not in, then I’m sure as hell out…of this hot, culty mess.”   

While this is certainly not a problem for Areej Le Doré itself – selling everything you produce is the dream, after all – I wonder if the lack of new entrants into the inner circle of devotees represents a problem over the longer term. Fresh perspectives on your work are essential whether you are making a car or a perfume because they stop you from drowning in the reflecting pool of constant and uncritical adoration. They also safeguard the perfumer against the danger of becoming essentially a private label or custom outfit dancing to the whim of a small but intimidatingly vocal group of buyers, none of whom I’d particularly like to meet in a dark alley. Just kidding, just kidding (sort of).

Anyway, this review goes out to anyone who has an interest in Areej Le Doré fragrances but has, for one reason or another, avoided actually buying them, either in sample or full bottle form. This might be someone who loves natural raw materials, for example, or someone who loves and misses the rich orientals of yesteryear that boasted real sandalwood or expensive floral absolutes. Or it might be people who are into perfumes in general and have the money to invest in the really good examples, but zero stomach for the clusterfuckery around the brand itself. If that’s you, and you’re reading right now, then let me tell you that this particular Areej Le Doré collection is the one to dip your toes into, if you were reluctant before.

Here’s why I think this collection is a good entry point for newcomers to Areej Le Doré. First, the perfumes in this collection are noticeably lighter and more refined than previous cycles, making them easier and more pleasant to wear, especially for women.

Second, none of the perfumes in this collection are marred by the heavy, almost seedy animalic undertone that has dogged other collections. For example, I loved Plumeria de Orris from one of the previous collections, however, once the buttery orris and frangipani burned off, the fragrance was dragged under the gutters by a honeyed civet or musk that smelled disturbingly like dried saliva. Koh-i-Noor was my absolute favorite of a previous generation, but a greasy costus-laden musk gave it an old-man’s-crotch vibe that I couldn’t quite shake. But in this collection, even the musk- and oud-heavy perfumes are not overly heavy, greasy, or saliva-ish.

Third, and probably the most important one: I think that this collection is Russian Adam’s best yet. If you don’t know already, each Areej Le Doré collection usually contains variations on a basic line-up of a (i) musk (usually natural deer musk-based), (ii) an oud, (iii) a humongous mixed oriental floral, (iv) a ‘soliflore’, (v) an ambergris, and/or (vi) a leather or sandalwood. Although there doesn’t seem to be an ambergris-focused scent this time around, the others are all either superlative or really good examples of their respective ‘theme’. If you love natural raw materials like oud and sandalwood, then pull up a chair: brands like Areej Le Doré are the last holdout for exquisite raw materials in a world that is increasingly sanitized and lab-molecule-dependent.   

Image by DEZALB from Pixabay

Rather confusingly, Santal Galore is the kaleidoscopic floral nag champa extravaganza this time around, rather than the sandalwood you might be expecting (which is actually to be found in the equally-confusingly-named Musk Lave). My vial leaked in transit, but after smashing it open and swabbing the gooey remnants onto my skin with a Q-Tip, I can tell you that this is the one I’d crawl over hot coals to smell again. Oh God, grant me the unlimited funds to buy the few perfumes that smell as good as this. It opens with a big, creamy swirl of aromas that you imagine emanating from a Persian carpet or a well-oiled antique from a souk, soaked in multiple generations’ worth of glossy, fruity Cambodi oud oils, rosy-sandal attars, and the sweetness of smoke from decades of burning Indian Chandan sticks and barkhour.

This perfume carries that full romantic sweep of Orientalia in its bosom that Westerners like me find so irresistible but that usually come out mawkish and kind of cheap-smelling. Santal Galore deftly matches the slightly gummy-floral sweetness of nag champa with a savory cream cheese background that seems to encompass the smoked Easter Ham aroma of guaiacol and a salty-minty oakmoss. Eventually winding down to the lovely smell of a freshly-struck match, Santal Galore performs the same trick as Santal de Mysore in that it is suggestive of the spiced warmth of real sandalwood without smelling directly of it.   

For my personal taste, this is the best floral/woody/musky thing that Areej Le Doré has ever done. There are no analogs in the commercial or niche world, so it’s difficult to draw comparisons that will make sense to those new to the brand. But if pushed, I would mention Le Maroc Pour Elle (Tauer Perfumes) or Daphne (Comme des Garcons) as scents that occupy the same scentoverse ideologically speaking.  Less helpfully perhaps for newcomers, but more so for people who have bought into the brand since its inception, Santal Galore is roughly in the same ballpark as Ottoman Empire, with which it shares a similar nag champa floral richness, and Koh-I-Noor, for that same almost claustrophobic rush of dense, heavily-packed-in floral notes and that texture that is both creamy and powdery (although Santal Galore is not as animalic or as costus-laden).  It has been a while, but there could also be a line drawn to the sharp, almost oily Flux de Fleurs, though Santal Galore is a far gentler, rounder affair.

Image by Couleur from Pixabay

Musk Lave has one of the best real sandalwood finishes I have smelled outside of attar and mukhallat perfumery. For fans of real sandalwood, the real treasure lies here, and not in Santal Galore. But be aware that this is the type of musky, spicy, masculine-leaning sandalwood that used to feature in high quality ‘barbershop’ fougères before Indian sandalwood became generally unavailable to commercial perfumery in the late eighties, and before entire carpets of beige, sweetish tonka bean were conscripted to fill the gap.

In other words, though it certainly smells rich and incensey, like all good sandalwood should, this sandalwood is the handsome, rugged version that smells more like good wood and bay rum spices than a creamy dessert that will send you into a stupor. The invigorating sparkle of the sandalwood is beefed up by a nice lump of labdanum, so you get the full balance of aromatic-dry and sweet-incensey that the very best examples of sandalwood possess, e.g., the Mysore 1984 by Ensar Oud, which, because it is aged, has developed that rich, incensey sonic boom ‘loudness of voice’ that would be most unusual for a pure sandalwood more freshly distilled.

Winding back to the start, Musk Lave opens with a fresh, powdery lemon and lavender accord, which would be a naturally lean kind of thing were it not for the immediate upswell of an unctuously buttery musk or tonka that adds richness, like a pat of yellow Irish butter melted over a salad. Think Jicky but with real sandalwood and musk dialled in for that naughty ‘skin musk’ feel, writing over the rather sharp, sometimes foul-smelling synthetic civet of the Guerlain. Given that Jicky is my favorite fragrance in the world, hopefully you’ll take my word for it that Musk Lave is the upgrade nobody knew was in the wings but immediately presses the install button on.

Photo by Johannes Plenio on Unsplash

Agar de Noir (can’t you just feel Luca Turin squirming?) is the oud in the collection and is quite the departure for Russian Adam for two reasons. First, although the oud is the real deal, it does not smell like any one particular terroir or style of oud (as opposed to Antiquity, which smelled almost entirely of the beautiful Cambodi oud oil used) but rather presents as a generalized picture of ‘oudiness’ that’s been cleaned up for public consumption. So, you get the characteristic smell of damp, fermenting wood chips and the dusty scent of old wood varnish, but not the shriekingly sour hay and leather highnotes of a Hindi, or the hyper-treacly stickiness of a Trat, or the wolf-fur wooliness and ambergris-saltiness of a Chinese oud. The oud is there merely as a signpost planted in the scent to suck you deep into the shadows, where the equally dusty darkness of ground coffee is waiting, deepening the gloom.

The opening reminds me more of Borneo 1834 (Serge Lutens) than any of the other Areej Le Dore oud-dominated fragrances, due to that ‘brown’ dustiness; Oud Luwak also used coffee as a note, but it felt much more like an oud-focused affair than Agar de Noir, which feels more floral. It does share with Oud Luwak that dark, airy elegance of structure – like an expensive bar of chocolate that makes a satisfyingly clean ‘snap’ noise when you break it. The gloom of these brown notes has been lifted by the chalky brightness of violets, which create a sort of pastel-colored clearing in the Agar de Noir forest. I like the civilizing effect the violets exert on the oud: they add an unexpected foppish lightness that could be read, in some lights, as ‘dandified’. This tangy, balmy oud-and-violet accord makes what is essentially a floral leather sort of thing – like Jolie Madame (Balmain) with an oudy twist.

The second way in which I find Agar de Noir a departure is in its overall lightness of feel. The light-on-dark, violet-on-oud-leather thing is super elegant while it lasts but after two hours, the show is essentially over, save for the cinder toffee-like sweetness of the labdanum that brings up the rear.

The labdanum persists for hours beyond this, of course – it is a traditional basenote for a reason and has been the finish of choice for Russian Adam in all his oud blends after Oud Zen. But compared to Russian Oud and Oud Piccante, the labdanum absolute used here is of a much lighter weight – a judicious smear of incensey, golden toffee, but unencumbered by the sheep fat unctuousness of the labdanum in Oud Piccante or the chocolatey amberiness in Russian Oud. Personally, this ‘middle’ weight of labdanum suits me just fine; Oud Piccante is too savory-fatty for my tastes, and Russian Oud too gourmand. Agar de Noir is lighter, shorter, more attenuated, and is all the better for it. However, oud heads who want their oud to be perceptible past the third hour mark, Agar de Noir might be one sacrifice too far in the name of elegance.

For anyone not already inducted into the Areej Le Doré oud hall of fame mentioned here, just picture an oudified Jolie Madame and you’re on the right track. I think this would also be a particularly friendly oud for beginners, and because of its soft, ‘thin’ floral mien that restrains the brutishness of the oud, it may also be a better pick for women. Dark, dapper, and mysterious in a Victorian gentle-person kind of way, Agar de Noir is my pick of the Areej ouds, barring Oud Zen, which was similarly minimalist and ‘legible’.         

Image by Pitsch from Pixabay

Grandenia suggests that it might be going big on the famously creamy, mushroomy lushness of gardenia, but this is not the case. Rather, this is a tightly-wound, stiffly-starched green floral that starts out at the data point of a citrusy-piney frankincense – a resin that here smells like a freshly-stripped piece of Silver Birch – and winds up in Chandrika soap territory.

I find this pinched, freshly-scrubbed sort of floral a chore to wear, but it may appeal to people who like Antonia by Puredistance. I also want to acknowledge that this would be a good white floral for men, as it is completely devoid of the soft, candied creaminess and tinned-fruit syrupiness of most white florals. It is clipped and pure; the sort of thing to stiffen the spine. A very good wood accord develops in the base that smells more like sandalwood soap than oud or sandalwood per se. And then, finally, in the last gasps – a ghostly imprint of gardenia, with that slightly glassy, freshly-cut-mushroom quality it shares with myrrh.

Image by HG-Fotografie from Pixabay

Cuir de Russie is a scent to spray on fabric rather than on your skin, but I have done both to no ill effect (if you have sensitive skin, just obey the damn instructions). This is not the Chanel kind of Cuir de Russie (Russian Leather), but rather, a leather-ish note in a minor key nestled inside a massively cheesy and then baby-powdery deer musk. On the skin, the chalky, innocent pallor of violets peeks out shyly, but not to the extent where you would define the scent as floral (or feminine, or soft, or indeed any of the usual descriptors used for flowers). On fabric, it is the rude, smeary honk of deer musk that dominates, stepping firmly down on the neck of any floral note that threatens to make a break for it.

Given that Cuir de Russie has real deer musk in it, it stands to reason that it is very, very powdery and clings to the inside of the nostrils for days. If you want to know what real deer musk smells like, by the way, please read my article ‘The Murky Matter of Muskhere. Many people think that real musk smells foul or fecal. It does not. It does smell intimate, like the morning breath of someone you love, or a clean perineum, but it is more often than not quiet, powdery, and quite sweet, its odor clinging to skin, hair, and fabrics for many days (deer musk was one of the four great animalic fixatives of perfumery).

The musk in Cuir de Russie is somewhat similar to the musk in War and Peace, which I loved for the way its musk was so dry that it smelled like smoke from a just-fired gun (some people interpreted the dryness as baby powder). But Cuir de Russie also doesn’t have the almost pretty smuttiness of the musk in War and Peace, nor its sultry sweetness; it is more butch and a bit rough around the edges, despite the inch-thick layer of powder.   

I like Cuir de Russie but wouldn’t particularly recommend it to a newcomer seeking an entry point to the brand. There’s always the danger that leather fans might roll up and expect leather (crazy, right?) and right now, before the full whack of aging and maceration, Cuir de Russie is mostly musk. Birch tar fans, of which I am one, might be disappointed at its subtlety in CdR – there is zero BBQ meat or ‘just threw a leather jacket on a campfire’ smokiness here. Cuir de Russie is primarily a very rich, powdery musk that ultimately leans a bit too hard on the intrinsic complexity of its naturals to fill in the olfactory blanks.

This is probably going to mature into something stunning, along the lines of Koh-i-Noor. But it is a high risk investment for a bottle of something whose materials might veer off into directions that not even its perfumer can predict with 100% certainty. For those signed up to the rare natural materials pledge, this is is part of the thrill; for the rest of us, contained within the unfixed, mutable nature of these raw materials is the warning that the perfume might also change for the worse.  

Source of Samples: Kindly sent to me free of charge by the brand. My opinion are my own.

Cover Image: Thanapat Pirmphol from Pixabay

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Ormonde Jayne Jardin d’Ombre and Ambre Royal

14th August 2020

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.

Photo by Missy Stinson on Unsplash

Jardin d’Ombre

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.

Photo by Mona Eendra on Unsplash

Ambre Royal

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 is sweet.

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.

Cover Image: Photo by Jr Korpa on Unsplash

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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

Aromatic Citrus Floral Fruity Scents Gourmand Green Green Floral Osmanthus Review Suede Tea Thoughts White Floral Woods

Ormonde Jayne Love Trio: Sensual Love, Passionate Love, and True Love

30th April 2020

I write a lot about indie perfumes. Partly because that’s where most of the derring-do of OG niche went once niche plumped for sales over ‘art’ (God, that sounds pretentious even to me, sorry), and partly because if you’re a writer, then writing about small artisans is a way to show support.

But I’ll be honest; I don’t own a whole lot of indie perfumes. Because most of my collection was built in 2014-2016, by the time I’d discovered the excitement and pleasure of the indie perfume sector, I’d run out of both money and appetite. These days, therefore, while I’m happy to sample indies and shine a light on them through reviews – for what that’s worth – I am rarely moved beyond admiration to shell out for them.

What I’ve found is that the older I get the more importance I place on polish. I am also increasingly aware of time and place. The fire in my belly for the grungiest of leathers, the nastiest of smoke bombs, and the swampiest of aquatics has abated in step with my dawning realization that it’s not nice to alienate your colleagues or family with all that raw-edged, ‘experimental’ stuff just because it’s your right to wear it. There are more important hills to die on than scent suffrage.

Therefore, when I know that I’m going to be out in ‘polite’ society and not just ruminating in my own 4-day old funk (working from home mid-COVID-19 in a Northern country has its benefits, one of which is that no one can smell me through Zoom), I turn to the predictable elegance of group of houses that never lets me down, namely Chanel, Guerlain, Hermes, and, in niche, brands like Ormonde Jayne, Heeley, and Papillon (though the latter is actually artisanal, it possesses the elegant, no-brainer smoothness I’m after here).

I’ve written about Ormonde Jayne before here. As the years passed, the brand branched out from their original core market (reassuringly expensive, classical but with a twist, always elegant) to exclusivity marketing (country or city exclusives) and an ever more aspirational audience (roughly the same target market as for Roja Dove and Clive Christian).

Correspondingly, though my appreciation for their perfumes continues unabated, I find myself a little out-priced by the brand. My pain level hovers around the pricing of the original collection: with a bit of saving and strategic Black Friday shopping,  I have allowed myself to buy and own Champaca, Orris Noir, Ormonde Woman, and Tolu. But I can’t afford to buy two big loves of mine, which are Black Gold and Nawab al Oudh – both more aspirationally-priced than the core collection. And I’m totally fine with that. I don’t have to own everything I love.

Anyway, despite me ‘ageing out’ of the original target market for Ormonde Jayne, I am still almost irrationally fond of the brand. Actually, I love Ormonde Jayne, I’m not going to lie. I’m going to spend the next couple of blog posts talking about fragrances they released after their core collection, so if there’s anyone out there like me who loved the original line-up but find their noses pressed against the store window of the brand’s now higher-than-one-would-like-to-pay prices, then read on.  

Let’s start with the Love trio of fragrances released in 2016: Passionate Love, True Love, and Sensual Love. I know nothing about these new releases, but given that Ormonde Jayne gets a lot of walk-in traffic from people who are not necessarily into perfume but are ready to invest in that one special fragrance to mark a special occasion or to gift to a special person, it’s safe to assume that this trio was designed to capture a portion of the bridal or just-engaged market.

This makes perfect sense. Special, privé, bespoke -all words you see over and over again in Ormonde Jayne’s marketing and perfume; all reinforcing the image of gently English exclusivity, the sort of velvety inner sanctum hush of a Saville Row tailor that seems to embody the Ormonde Jayne experience. And this is exactly what you want when you’re getting married. The Love perfumes are expensive enough to elicit a sharp intake of breath but not so expensive that you feel like the money would be better spent on a holiday.

Photo by Paweł Czerwiński on Unsplash

Sensual Love

Sensual Love is an 100% embodiment of the Ormonde Jayne house style. It hits that sweet spot between novelty and beauty – i.e., exciting enough to make you think about the ideas that went into it, yet smooth enough to enjoy in an almost mindless manner. Something about the combination of tart citrus, micro-explosions of pink pepper, green leaves, and the misted spray of (largely indeterminate) fruits and flowers bypasses the ‘perfume’ signal in my brain and short-circuits to the fizz of freshly-poured rosé champagne.

Spraying again and again, I try to focus. What’s here, really? It’s so abstract it’s hard to tell. There is the sharp purple pop of cassis and a suggestion of something fruity that might be osmanthus, but really, to me the overall impression is of a fizzy cloud of crushed green leaves, pepper, and grapefruit. Grapefruit is, of course, not listed. But maybe I’m smelling grapefruit because it shares with cassis a fruity urinous quality.

The peppery, peachy rose note that appears briefly reminds me very much of Ta’if, and you know, perhaps it is Ta’if – but dipped in a sherbety lime powder and acid pink grapefruit. Something about the cool, tannic element here also makes me think of green tea, which of course makes me think of Champaca. But these perfumes are old friends, and I’m certainly not complaining about seeing their familiar faces round this joint.

I don’t know if it’s just me, but every time I smell the opening of an Ormonde Jayne fragrance, I feel first an intense upwards lift of my spirits (hesitate to call it joy, but it’s in that general direction). Then, once the effervescence of the more volatile notes have settled, I almost always get to thinking that Ormonde Jayne is the one of a tiny group of ‘commercial niche’ or ‘luxe niche’ houses whose perfumes consistently highlight the value of the perfumer’s talent in translating a brief over the value of the raw materials that go into them.

Sensual Love is good because Linda Pilkington asked for it to be made in a certain way and Geza Schoen has the talent to execute her vision, rather than because of any qualities intrinsic to the raw materials used.  

Sensual Love doesn’t do anything else much other than sparkle hard in that upliftingly tart grapefruity-berry-leafy way, but that’s ok, because she’s gorgeous and she knows it. It’s a June morning of a scent. A radiant bride’s face when the veil is lifted. The ‘white’ fruity effervescence of Sensual Love is no doubt shored up by the Iso E Super that Geza Schoen is so fond of, but honestly, in his hands, for Ormonde Jayne, it rarely gives the finished perfume a chemical feel. There are some exceptions to this rule of thumb, even within the Ormonde Jayne line-up, but in general, Schoen has been carefully directed by Linda Pilkington to keep the Iso E Super at a classy and unobtrusive level. The effect is radiance, but never at the cost of naturalness.

Sensual Love would be great for a summer bride, or indeed for a summer bridegroom. If you like Escentric 04 (also by Schoen), but would like a softer, slightly more floral take, then Sensual Love is worth looking into. I also can’t help feeling if that if you like Chanel Paris-Deauville, especially as a fresh, leafy ‘drencher’ in summer (I do), then Sensual Love would perform much the same function.

Photo by Sarah Gualtieri on Unsplash

True Love

True Love is a quirky gourmand floral that is nonetheless so flawlessly put together that it never feels less than grown-up. At the beginning,  there’s an interesting tarragon note to hold our attention – sort of woody, not hyper clean-smelling, more of a sludge grey-green than bright herby green – welded to a pink pepper and citrus framework that freshens its breath.

But underneath this, up swells a wonderfully stretchy bubble of something between honey-flavored Hubba Bubba and strawberry marshmallow whip. This very thick, chewy note elasticizes the fragrance, stretching it out in all directions like Elastigirl from The Incredibles. This is far more sophisticated than it sounds. It smells pink and tangy with strawberry gum, but also peppery and herbal. This is a very interesting way to bring what would normally be very girlish notes into the realm of adulthood.

And then! Oh boy, oh boy. The banana-flavored milk of my dreams. This is the oft-promised but rarely delivered banana pudding facet of ylang, present and correct. I am very excited to finally experience this in scent form. I have only glimpsed it once or twice in Tasnim (Abdes Salaam al Attar), though even that is more a delicate egg yolk custard faintly aromatized with nutmeg and ground almond flour than the full-on artificial banana custard or milk thing that I’m looking for. I quite like Felanilla (Parfumerie Generale) too, but with its gippy-textured saffron and starchy iris, that is far more the woody, inedible banana stem you accidentally get in your moth and spit right back out again than the lush fake banana of my dreams.

I am making this sound juvenile and trashy, but it’s really quite elegant. Let me be explicit: there is indeed a yellow banana-flavored milk accord in the midsection of True Love, but it’s been mellowed out with silky, spacey musks and florals to such a degree that anyone from a bride to a businesswoman could pull it off.

The wearer might think ‘banana milk’ and luxuriate secretly in this knowledge, but to everyone else, this will smell vaguely like a warm milky cloud of rosy, fluffy lokhoum (Turkish delight). Although the sweetness and white-muskiness of drydown is ultimately a little generic for me, I enjoy True Love as much as I enjoy Traversée du Bosphore (L’Artisan Parfumeur) or Niral (Neela Vermeire), which is a lot. If you love the idea of a fluffy pink cloud of marshmallowy loukhoum buffering against the harshness of the world like a force-field, then add True Love to your list. It’s exactly the kind of thing  I want to wear when I’m feeling delicate or in danger of eating my feelings.

Photo by Maša Žekš on Unsplash

Passionate Love

If you’re curious about osmanthus in general, or you Googled Passionate Love and came across this review, then let me tell you that (a) Passionate Love is all about the osmanthus, and (b) if you’re not sure what osmanthus is supposed to smell like, then smell this because it’s quite true to the scent of osmanthus absolute.

After an odd start composed of gin and tonic, and rickety old garden furniture, Passionate Love explodes into a gorgeously rubbery, pungent apricot-skin suede with the whiff of fermentation that both oud and osmanthus carry in their bones. It is not sweet, really, but somehow in the opening it manages to smell quite densely syrupy and full-on, kind of like the cheesy fruit leather of Miyako (Auphorie). In fact, Passionate Love is very like the other osmanthus perfume in the line, Qi (I don’t really count Osmanthus itself, as that is more of a citrusy white tea kind of thing), but its atmosphere is far thicker and throatier. It’s Qi with the lights turned down.

Soon, however, the fleshy assault of the osmanthus lightens up and dries out until you could (almost) call this fragrance airy or ethereal. Most osmanthus accords are accompanied by an undertone of black tea, a facet that is naturally present in osmanthus absolute (think dark, strongly brewed Chinese tea left to grow cold), and Passionate Love is no exception. The tangy, tannic tea in Passionate Love is not the milky-green tea or brown rice of Champaca, yet there is something similarly nutritious, like the wholesome cloudiness from washing pearl barley. Threaded throughout this singular accord is a nubbin of spice, perhaps something fiery and nutmeggy, like white pepper.   

Passionate Love manages to hold up in this osmanthus soliflore track for most of its midsection, and if we were to dwell here, I’d rank this and Qi up alongside the osmanthus greats, which for me include the minimalist tea-apricot of Osmanthe Yunann (Hermès), the civet-soaked, creamy-desiccated leather of Oud Osmanthus (Mona di Orio) and the gigglier, freshly-washed hair of Osmanthe Interdite (Parfums d’Empire).

However, Passionate Love unravels a bit in the drydown, flattening out into that mineralic vetiver-and-Iso E Super-woods base familiar to me from many classic freshies, most notably Terre d’Hermès (Hermès) and Grey Vetiver (Tom Ford). Don’t get me wrong – there’s definitely a time and a place for this grassy, earthy-salty accord, but when it’s tacked onto the tail end of a glorious osmanthus soliflore, it feels a bit incongruous. But all in all, Passionate Love manages to really do it for this osmanthus lover, as least for two thirds of its useful life. Apply half an hour before walking up the aisle, and the bouquet will bloom right as the veil is lifted.

Source of samples: Very kindly gifted to me by the Ormonde Jayne PR way back in 2017, with no obligation or pressure to review them. However, the fact that I’m reviewing these samples in 2020 is probably why brands don’t usually send me samples. I am absolutely terrible. I’m sorry!

Main Photo by olivia hutcherson on Unsplash

Animalic Aromatic Floral Independent Perfumery Jasmine Review Rose Tonka White Floral

Quasi Un’Absurdia by Chris Rusak

13th April 2020

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.

Photo by Nathan Jefferis on Unsplash

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Areej Le Dore Koh-i-Noor, Malik al Taif, Oud Luwak & Baikal Gris

15th November 2018

 

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.

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Zoologist Tyrannosaurus Rex

11th September 2018

 

Antonio Gardoni’s style is so distinctive that his work can almost be graded in Gardoni-ness, with Noun being a 9/10 (i.e., immediately identifiable as an Antonio Gardoni creation) and Aeon 001 being a 3 or a 4 (identifiable as a Gardoni only if you think hard about it). I’ve never had the chance to smell Gardelia, but from all accounts, its honeyed white floral softness places it slightly outside Gardoni canon, so perhaps a 1 on the Gardoni scale.

 

For those unfamiliar with the Gardoni style, the recurring motifs might be loosely defined as (a) a lean and elegantly bitter mélange of apothecary herbs and spices, tending towards medicinal, (b) a butch, non-traditional treatment of white florals, especially tuberose, and (c) a complex, brocaded drydown that mixes resins with musks, castoreum, ambergris and/or other animalics. More prosaically, I always think of Gardoni’s creations as possessing an authentic ‘golden’ vigor that’s masculine in an old school manner.

 

Zoologist, as a brand, could also be said to have a distinctive house style. Of course, since each perfume has a different creator, it’s more difficult to pin down the specifics beyond the fact that all seem to be built on an exaggerated scale, with one chosen element (woods, smoke, leaves, fruit) blown up until it towers comically over the composition like King Kong. They are all exciting, vivid fragrances, but often quite rough, probably because they aren’t put through the glossing filter that most other niche scents go through to reach market these days. As an example, Hyrax would be a 10 on the Zoologist scale, because its filth-and-dried-urine-inside-burning-tires aroma makes it one of those hardcore ‘I dare you’ scents that only the nichiest of niche-heads would wear, whereas something like Hummingbird is a solid 2: a frothy whirl of fruit and flowers that won’t scare the horses.

 

Apologies for the lengthy preamble, but anyone dithering over a blind purchase of either a sample or a full bottle of Zoologist Tyrannosaurus Rex will want to know how Gardoni it is, and also possibly, how Zoologist it is, on a scale of 1 to 10. My short answer is that Tyrannosaurus Rex is a 4 on the Gardoni scale, and a 8 on the Zoologist scale. In other words, I don’t know that I’d guess it’s a Gardoni creation from smelling it blind (although digging in, there are a few clues), but I’d confidently peg it as a Zoologist release.

 

Tyrannosaurus Rex opens with a furnace blast of burning tree sap and smoke, featuring both the rubbery green soot of cade and the piney sharpness of frankincense. This sounds rather par for the course for anyone who’s ever collected or smelled the most popular scents in the phenolic category, like Encens Flamboyant (Annick Goutal), A City on Fire (Imaginary Authors), or Revolution (Cire Trudon), but Tyrannosaurus Rex immediately distinguishes itself from this company by layering a core of buttery floral notes through the rough-grained miasma of smoke.

 

In particular, a thickly oily champaca stands out, smelling not of the its usual fruity-musky cleanliness but of the almost rancid, stale ‘Irish butter’ gardenia undertones of Indian champaca, the red ‘joy oil’ stuff that gives Strangelove NYC’s lostinflowers its pungency. Picture the greasy saltiness of gardenia, rose, and ylang butters thrown onto a burning fire with some laurel leaves and fir, and you’ll get a sense of the opening here. It smells like something charred to purge the air of impurities and sickness; the smoke element more medicinal than holy. This facet, plus the fact that it smells the way frankincense gum tastes, identifies it as being Gardoni-esque.

 

The sheer brute force of the opening, however, is more Zoologist in style. The marriage of smoke and oily floral takes some getting used to. It smells rich and addictive, but also a little too much of a good thing, like staying too long at the fuel pump to breathe in the gasoline fumes, or walking through a rubber plantation on fire fully aware that you should run before the toxic fumes get you but also weirdly narcotized into a trance-like state.

 

The smoke, in particular, is what pushes this one up on the Zoologist scale. It’s an element I associate with, in particular, Hyrax, a 2018 Zoologist release, which smells like a well-used rubber incontinence sheet set on fire. While Tyrannosaurus Rex is far more accomplished and not provocative for the sake of being provocative, there’s no denying that the shock factor of the opening is high. Unless, unlike me, you’re one of those people who absolutely live for the most challenging parts of a perfume, like the Listerine mouthwash of Serge Lutens’ Tubéreuse Criminelle’s topnotes or the putrid cherry cough syrup first half of Diptyque’s Kimonanthe, in which case, the ‘burning rubber plantation’ portion of  Tyrannosaurus Rex will be the highlight.

 

For me, though, the latter parts of the scent are the most enjoyable because that’s when everything relaxes and the warning system in my solar plexus stops ringing. This is where things get seriously sensual. Only two components of the drydown are identifiable to me, or at least familiar. First, a minty-camphoraceous balsam note, like a solid cube of Carmex set to melt gently on a hot plate, mixed with the gritty brown sugar crystals of benzoin or some other ambery material. At times, it smells like fir balsam and old leather mixed with vanilla ice-cream (soft and almost creamy), and at others, it is bitter and metallic, thanks to rose oxide, a material that smells like nail polish mixed with mint leaves and rose.

 

The second component in the drydown, for me, is the sandalwood. Although I don’t know whether sandalwood synthetics or natural sandalwood oil was used, the note reminds me very much of Dabur Chandan Ka Tail (Oil of Sandalwood), a santalum album from India that’s sold as an ayurvedic medicine rather than as something to be used as perfume. Dabur comes in a small glass container with a rubber cap to allow penetration by a syringe, which you’re supposed to remove, but that I (not being a meticulous person in general) do not. Accordingly, the topnotes carry a bitter, smoky rubber and fuel exhaust overtone that’s curiously addictive. Tyrannosaurus Rex’s sandalwood component is roughly similar: it is creamy and aromatic, but tainted by all these weird little wafts of rubber and car exhaust that add character to the usual pale milk of sandalwood. It’s sexy as hell. Damn, give me a big, rich sandalwood base any day and you’ve got me. It’s like nuzzling into the chest of a biker who’s ridden through 50 miles of Mysore forest.

 

A friend (and fellow blogger) often teases me for not being clear in my review about whether I like the scent or not, and that’s fair: I tend to get bogged down in analysis and forget to tell you whether or not a scent connected with me at a personal level. So, let me be clear – I absolutely loved Tyrannosaurus Rex. The opening is too powerful for my taste, but for the most part, I loved the warmth and ‘bigness’ of this perfume. It’s smoky, it’s complex, and it keeps you guessing without taxing your brain cells to oblivion. In other words, although there’s a certain amount of head-scratching and puzzling over notes to be done here (which will please bored fragheads), it’s also very easy to step away from the analysis and simply enjoy wearing the thing itself. And you know, apart from the over-fueled opening, I do.

 

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Maison Nicolas de Barry: Part II (Les Parfums Naturels, Oud Collection)

15th November 2017

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

 

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.

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