A common assumption in evaluating all-natural fragrances – thanks in large part to the Cult of Raw Materials that has sprung up around top-tier artisanal, distill-it-yourself houses such as Bortnikoff and Areej Le Doré – is that the presence of a rare natural like oud or sandalwood automatically translates to a superior composition. Another is that because the starring raw material is rare and natural, it must be – by corollary – the best example of its kind among all available rare and natural materials.
Both are fallacies. The first correlates the quality of a natural raw material with compositional skill, which, while tempting, just doesn’t bear out. The second assumption flirts with the idea that most fragrance fans won’t be able to differentiate between a top notch raw material and a shitty one as long as there is demonstrably some of it in the scent. In other words, as long as it smells oudy or sandalwoody or deer-musky, then that’s the main bar cleared.
Treewitch by Teone Reinthal demonstrates the
problems inherent to the latter. While I enjoy many of Reinthal’s other compositions
and think she does a fantastic job of creating all-natural fragrances that
smell like fully-fledged, 1980s powerhouse orientals rather than the slightly
dull, worthy muddiness of most all-natural scents, Treewitch just doesn’t
really smell that great, despite the rare and natural oud that has been used.
Or maybe it is because of the rare and natural oud that’s been used? While the oud is obviously real, it doesn’t smell like a very good one. Rather, it smells like an oud oil that has either been hastily distilled (many modern Cambodi-style oils display an unpleasantly stale nuance that smells like radiators being cranked up after many years) or force-aged, a post-distillation process that involves leaving the oil uncovered for weeks until it picks up the biliously-sour hay and leather high notes of the traditional Hindi profile.
good news is that a) it gets better, and b) if you haven’t had much
oud-smelling experience, then you’ll likely not know or care about the
difference between high quality and low quality oud – oud is, for most people,
just a generally broad oud ‘flavor’ profile, in that it either smells
authentically oudy or it doesn’t. Depressingly, in this age of the Cult of Raw
Materials, many perfume aficionados believe that this binary indicator (smells
like real oud – yay or nay) trumps the famous Guy Robert assertion that ‘Un
parfum doit avant tout sentir bon.’
And indeed, perfume should, above all, smell good. Treewitch does not. It opens with a grandstanding blast of honest-to-goodness Hindi oud – phenomenally dusty, animalic, with a hulking sour note that, on the inhale, smells like unwashed towels left to molder in a holiday let, and on the exhale, like a glass of Irish whiskey left on the counter for several days. It categorically does not smell like earth or the forest or the wilderness (the perfumer’s description had me visualizing something like Chypre Mousse, Muschio di Quercia or even Supercell), but of the unpleasant staleness of neglected fabrics and the dust trapped behind appliances that haven’t been touched in decades.
I love the undervalued scent of mustiness, but more the air of cultured neglect clinging to old books (Dzing!) or closed-up aristocratic lairs (Iranzol) than something genuinely unhealthy. I love the moldy dankness of stuff like Marescialla and the peeling wall plaster lurking behind the innocent violet topnote of Iris by Santa Maria Novella. Onda extrait and Djedi make me think of ancient sarcophagi being opened. But I cannot love the staleness of the oud used in Treewitch, because it smells like the poor hygiene of real neglect rather than a romanticized version of it.
True to form for Teone Reinthal’s style, however, a rich, spicy oriental base swells up to muffle the offending oud in an intricately-woven carpet of 1980s Opium or Coco – bittersweet red-brown balsams, tree sap, amber crystals, clove or carnation, all adding up to a spicy-mature orientalia clustering around a hot pink floral note that could be anything from carnation to rose. An amazing finish, therefore, but not quite amazing enough (for me personally) to make up for the objectionably foul-smelling oud in the front half.
Antiquity by Areej Le Doré is a good example of the first assumption, i.e., that a superb raw material is synonymous with compositional artistry. Now, Antiquity is a perfume that uses a natural raw material of superb quality – an aged Cambodi oud oil – and also smells really good (meeting that Guy Robert benchmark). However, and this might sound a bit controversial, the reason Antiquity smells so good is 80% due to the quality of that aged oud oil rather than to compositional skill.
I mean absolutely no offense to Russian Adam. He is a very promising, self-taught perfumer who has managed, in the space of just three years, to carve out and then completely dominate his own niche in the narrow crawlspace between the super-competitive, internecine oud community and the niche all-naturals crowd, building a committed fan base while remaining polite, loyal to his customers, and ethically-responsible. His perfumes are rich, big, and dripping in complex raw materials. There’s also a purity to him as a person that I appreciate.
However, I’d argue that Russian Adam’s real talent lies not in composing perfumes per se, but in finding (or distilling) two or three of the best raw materials for each composition, introducing them to each other, and then staying the hell out of their way, allowing them to work their synergistic magic on one another. This is the way, by and large, an Eastern way of making perfume – it is how attar wallahs work. Russian Adam clearly understands how each raw material will behave and evolve in a composition when placed alongside other raw materials. It is easy to mistake the richness of an attar-like perfume made in this manner for the gloss of classically French or Western perfumery – I’ve done it myself – but I think that the Guerlainesque richness and complexity we are smelling has more to do with the qualities of the raw materials that go into these perfumes than a ‘French’ way of making perfume. They feel composed more by instinct than formula.
As a result, if you love the raw material Russian Adam has used, then you’ll love the perfume itself, with the inverse also being true. Sometimes, if I don’t love the raw material he’s chosen, I find myself picking up on a certain blockiness to the composition, which tells me that really great raw materials can blow you away, masking the underlying compositional features one might otherwise notice or criticize. For example, the unctuously buttery labdanum used in two of Russian Adam’s oud-dominated fragrances, Oud Piccante, and to a lesser extent in Russian Oud, is not my favorite: it reminds me uncomfortably of the savory-greasiness of that sub-cutaneous layer of fat you have to excise from your lamb shank before braising it. Therefore, Oud Zen, which uses a nutty vetiver instead of this greasy labdanum in the base, strikes as the more elegant composition.
I love the Cambodi oud used in Antiquity, because it smells like a vintage Cambodi oud oil (Kambodi 1976) that Ensar sent me a sample of once. What many people don’t realize is that the trees that made the original (and deservedly popular) Cambodi oud oil of the 1970s no longer exist, thanks to over-exploitation. New Aquilaria trees were planted, of course, but it turns out that subsequent harvests could never replicate the unique conditions of the original trees, which some suspect had something to do with the cleaner water and air quality ‘achieved’ during the forced agrarian rule of Pol Pot. Ensar asserts that of the existing Cambodi oil on the market today, less than 5% is vintage stock from the original trees, while the remainder is oud oil distilled to mimic the Cambodi ‘style’ – and it seems to me that Adam got his hands on a little store of the real stuff.
It’s worth taking a minute to discuss what vintage Cambodi oud oil smells like on its own, because (a) Antiquity smells mostly like vintage Cambodi oud oil, and (b) not many people will have had the opportunity to smell the OG raw material itself. Unlike the hyper sweet berries-and-caramel punch of modern Cambodi-style oud oils, marred in some cases by the funky, dusty staleness associated with rushed distillation, vintage Cambodi oil from the original trees has had a leisurely 40+ years to deepen in the bottle, the sharp edges of the woods and berries sanded down over time to produce a perfectly round, glossy smell of old leather and decades-old wood.
The OG Cambodi oil doesn’t smell at all animalic, and if it is slightly dusty or stale, then it more pleasant than not – an old cedar chest that once held damsons and figs, but where the fruit has long since disappeared into the grain of the wood, leaving a ghostly presence of its dark, raisin-like fruit. It has a patina that glimmers darkly, calling to mind a good aged port.
In Antiquity, the fruit is ostensibly peach but it is the darker, vaguer scent of plum skin that predominates. Sometimes the underlying basenote is an intensely honeyed, saliva-ish musk-leather, but sometimes it smells more like the polish of old wood that has been cared for over decades with a weekly application of linseed-and-lemon furniture oil. The saliva-honey leather note intensifies with the passage of time, creating a sharp, almost sheepy muskiness that calls to mind the aroma of real animal fur or an ancient leather chesterfield armchair decades-deep in manly smells – fermented sweat, old booze, decades of grime, tobacco stains – a sort of sweet n’ sour smell that smells distinctly (to me) masculine.
The Cambodi oil is the big, deep smell that drives the body of the scent, but cleverly, Adam has dressed it up with light chypric elements to extend and accentuate key features of the oil. I admit that little of this chypre nuance was evident to me when I tried this in Rome, where I lived until recently, a place far warmer and more humid than where I live right now. The first few tries, I thought Antiquity was leaning far too hard on the natural complexity of the oud oil to do all the heavy lifting. But in a cooler climate, and by applying the dregs of my sample in big brown smears all over my arms, I am finally able to smell the chypre in this – the tart, spicy bergamot in the topnotes (still no aldehydes, though), and far down in the basenotes, past the massive Cambodi oud midsection, that buttery-animalic-leathery labdanum that Adam uses (the kind that smells like it was freshly combed from a particularly goaty goat) and in the very last gasps of its life, a whisper of something minty and vase water-ish that is probably the oakmoss.
So, yes, technically a chypre if you are ticking off the boxes of the tripartite formula – bergamot, labdanum, and moss. And yet, Antiquity still smells more like an amplified vintage Cambodi oud oil set in musk than a chypre. Real chypres are like a good Chinese meal in that the elements of sweetness, sourness, and saltiness come together at the same time in order to produce that essential chypre ‘flavor’: Antiquity feeds all the right elements into the composition but, dwarfed by the intensity of the Cambodi oud oil, they are squeezed to the sides, from where they make an appearance whenever an air pocket opens up in the structure. But the three strands never come together at the same time. Still, Antiquity is a pretty darned great oud fragrance and one that definitely improves upon aging.
Source of samples: The sample of Teone Reinthal’s Treewitch was kindly sent to me by a fragrance friend, along with generous samples of many of her newer stuff (which I hope to get around to reviewing soon). Areej Le Doré kindly sent me a sample set of the next-to-last collection* in early autumn 2019, without any obligation to review.
*Yes, I know, I know. That collection is now long sold out, which again shows why so few perfume houses send me samples to review and why they honestly should not – I am deeply unreliable and don’t work to any schedule or logic that would make sense to anyone but me. I feel guilty about this occasionally but know that feeling guilty would tip me over into a sense of obligation towards brands, especially the smaller indie ones, which in turn would probably skew my content more positive, and that right there is a slippery slide. As always, I write content for people who want to read about perfume for the pleasure of it, not to influence what you think you’re smelling or fuel a purchase decision
Ormonde Jayne set out its mission and values in its original core collection, and to this day, it remains the standard bearer for the brand. I’ve written about some of the perfumes in the Ormonde Jayne core collection before, but since I’ve been reevaluating much of my collection recently, I thought it might be useful to update or expand upon my thoughts.
In general, my unscientific belief that Ormonde Jayne is the English Chanel bears out. This is solidly-built, almost classical perfumery with a modern elegance derived from strong artistic direction and an admirably no-nonsense approach to the valuable role synthetics play in elevating naturals.
One thing I have noticed this time around is that the literal names – Champaca, Ta’if, Frangipani, and so on – are a Le Labo-ish piece of misdirection, suggestive of a soliflore-ism that simply isn’t there. Words have power, so there will always be those disappointed if the titular ingredient isn’t headlining the whole show. But on the flip side, newcomers to the brand who are able to park their expectations at the door may find their minds blown by the beauty arrived at via more circuitous routes.
Champaca is a scent whose appeal
eludes many. But you know what? Half the time it eludes me too. On its bad
days, many of the slurs thrown its way worm their way into my head and nag
persistently at me with the worry that they might be true – that Champaca is nothing
special, that it’s too champaca or not champaca enough, that it’s
nondescript, that it’s a dowdy green floral that Calvin Klein’s Truth
did better and cheaper. Then there’s its musky loudness, which I always forget
until I get called out on it by a colleague who is never backward about coming
forward on the subject of my perfume.
But on good days, Champaca is the
gently starched air from a bowl of Chinese greens and the damp, permeating
nuttiness of brown basmati rice. It makes me think of stepping in from a cold,
rainy afternoon in Cork or Limerick into the wood-lined hush of a traditional
Japanese restaurant, slightly steamy from condensation and humming with low
I don’t understand the accusations of tropical yellow flowers or heady ambers in relation to Champaca. It is not even a particularly floral experience. To me, Champaca smells more like the fresh green peel of a Granny Smith apple rinsed with rainwater than a flower. Yes, technically, this all might be unexciting. The scent of an upscale Japanese onsen or spa is never really going to raise the barometer on anyone’s passion. But when I am feeling delicate, or in need of a friendly hand at the small of my back, then Champaca, with its gossamer-light bloom of starchy musks, rice steam, apple peel, watery bamboo, maybe mint, and the environmental exhalations of clean, blond wood, is what I find myself reaching for.
I originally invested in Orris
Noir as a poor man’s substitute for the far more expensive Tsarina, having
identified a creamy-milky, anisic iris as the underpinning to both. Now, after
taking the time to study both at leisure, I can say that while Tsarina is by
far the creamiest, more luxurious ‘white’ leather scent I have ever smelled, in
retrospect it doesn’t turn me on as much as Orris Noir, which, although less ‘beautiful’
than Tsarina, has more conversation.
Orris Noir has three or four
distinct layers. The first is a doughy iris as dense as under-proved bread
dough studded with dried fruit. A couple of years on, I now smell this as a
rosy iris bread that’s been soaked in sweet milk, like the egg-rich Easter crown
baked once a year in the Balkans. The second layer is an anisic myrrh with the
same crystallized texture as found in other myrrh scents such as Myrrhe Ardente,
albeit more golden and less overtly itchy-scratchy. The third layer is a minimally
smoky cloud of wood or incense that lifts the perfume and makes it radiant
(probably a combination of the Iso E Super and the Chinese cedar). Last but not
least, there’s a bright, fruity jasmine that fizzes as sweetly as a glass of
freshly-poured Coca Cola. Somehow, all of these elements hang together as
naturally and as lightly as a silk shawl.
Orris Noir is a fantastic advertisement for the Ormonde Jayne style of building a fragrance, in that it is composed of many different layers, all of them as light as air, but which when laid one on top of another become a dense, velvety mass. I love Orris Noir for what it is – a beguilingly soft spice oriental – rather than hate it for what it is not, i.e., noir or even orris. Indeed, if Ormonde Jayne had named it something else, Orris Noir might have gained the respect granted to other similarly soft, hazy resinous-floral orientals such as Bois d’Argent (Dior) or Jasmin de Nuit (The Different Company). This is one perfume in my collection that has improved greatly upon (re)acquaintance.
Frangipani Absolute is at least accurately
named, given that it smells more like the absolute than the living flower. The
absolute smells green and waxy, like a nubbin of beeswax rolled in matcha
powder; the living flower, which I had the opportunity of smelling for the
first time in Colombia last summer, smells a bit like jasmine but without the
indole and grape, and there is a buttery undertone that I associate with gardenia,
minus the heavy bleu cheese aspects.
Frangipani Absolute freshens the waxy-green heft of the absolute by filtering it through lime and linden blossom, creating the impression of hothoused tropical flowers drenched in ice water and the glass partitions thrown open to salty sea air. The brightness of this topnote is undercut later on by the lush creaminess of the living flower, embodied by an accord that smells like a dairy-heavy rice and coconut pudding made out of tuberose petals, with pools of yellow Irish butter rising to the surface. A subtly salty musk and clean cedar hum in the far background, mainly there for support in case the almost unrelenting brightness of the lime-drenched white flowers falters.
Cleverly, the perfumer has made the floral component very peachy, to mimic the peachy jasmine-like aura of the living flower. Frangipani is therefore blessed with a suede-skin note that smells charmingly like the back of a rubber watch on a sweaty child. The scent shifts between these three main accords – green-aqueous-fresh, peachy-rubber, and creamy-buttery-tuberose – without ever getting pulled too far down in one single direction. That’s some balancing act.
Frangipani Absolute is an undeniably
beautiful scent, and an interesting take on a flower that often plays second
fiddle to more powerful headliners such as gardenia or tuberose. My hesitation on
whether it stays in my collection or not stems from several different quarters.
First, the salty, quasi-aquatic
musk in the drydown reminds me very much of Lys Méditerranée (Malle), already a wardrobe staple
for me, which makes me wonder if it’s not duplicative to have two scents that represent
largely the same ‘feel’, i.e., heady white flowers drenched in dew and the
salty air rolling in off the ocean. The occasions when I feel the need for this
precise combination are few and far between, therefore surely it is redundant for
me to have two separate fragrances at the ready when this tight little niche
corner of my ‘need’ rears its head.
Second, Frangipani is so pretty
and well-presented that it makes me feel slightly uncouth in comparison.
Worse, the prettiness reminds me of the golden, solar fruity-floral ‘glazed
eyes’ affair that is J ’Adore (Dior), which is fine if you’re wearing
something you can pick up from any Sephora or Douglas, but not great if you’re
special ordering from a classy niche brand like Ormonde Jayne.
Third, the brightness of the lime-and-peach-hued white flowers feels a little too sharp and insistent at times, like when you neck that syrupy but metallic juice from a tin of canned tropical fruit. In other words, absolutely gorgeous at first but perhaps wearing a little on your nerves towards the last? Along the same lines of complaint (minor, but still), the vanilla tuberose pudding base flirts with heaviness; it clashes a little queasily with the citric acid of the lime, to the extent that it teeters on the precipice of a curdle.
Out of all the Ormonde Jayne scents I own, Frangipani Absolute is the one I agonize over the most. Do I need it? No. Does its classical (but slightly mainstream) beauty justify me keeping it? Maybe. But the fact that I swing between a yes and a no on this scent, personally, doesn’t mean that it doesn’t rank among the top tier of tropical floral perfumes I’ve had the pleasure of smelling.
Despite not being wowed at first
sniff, I have come around to the pleasures of Tolu. It has a bitter, spicy
broom note that slices through the golden, balsamic sweetness of amber to
create something that is both fresh and heavy, like a flourless chocolate torte
that dissolves into fennel dust on the tongue. The kind of thing that invites
you to take a second slice, even in summer. I can see this working as a sort of
upmarket Dune. In that sense, this is definitely a floral oriental rather than
a straight up ‘golden’ amber. It certainly doesn’t maintain a strict tolu
balsam fidelity. Rather, Tolu has that sophisticated French floral-sandy feel
to it that I associate not only with Dune (Dior) but also with 24,
Rue Faubourg (Hermes), albeit with the innovation of a sweetly resinous base
to tilt it ever so slightly in the direction of Morocco rather than Paris.
The more I wear Tolu, the more I appreciate its subtlety. I used to prefer the caramelized full frontal of one-the-nose resin bombs and ambers to the almost too quiet, too ‘mixed’ cloud of balsams, orange blossom, and musks represented by Tolu. But Tolu is, I realize, a mood. It is very perfumey meaning it’s been worked and reworked to the same point of abstraction as Coco (Chanel), Dune (Dior) or even Alahine (Teo Cabanel).
Tolu is the quintessential going out perfume for nights along the Riviera, where women and men are beautifully dressed and the warm air smells like a mixture of flowers, salty skin, and the balsamic twang of Mediterranean herbs and umbrella pines lining the promenade. It’s easy to argue that there’s nothing very unusual about Tolu, but what it does, it does extremely well. I will always have space in my wardrobe for this perfumey, French-smelling take on the warm, golden balsams I love rinsed out with flowers, salt, and herbs.
For a while, my interest in
Ormonde Jayne stopped with OJ Woman, a perfume I’d struggled with for years
before finally falling in love with it. That was, until one day a couple of
years ago, I fished around in my sample box looking for something crisp and
green to go well with a planned walk in a nearby castle grounds with my children
and stumbled upon Tiaré.
Its lack of anything truly tiaré-like or tropical puzzled me at first. But I remember marveling at the champagne-like quality of the lime and green notes fizzing gently around the oily but fresh white flower petals. The damp, mossy drydown proved to be a perfect reflection of the elegance of the castle lake and grounds. There is something pinned-up and Victorian in its mien – not entirely me, but rather someone I aspire to be. It was the first sample from the Ormonde Jayne sample set that I drained completely. Whereupon I forgot about it entirely.
Fast forward to Summer 2017, which is when, while sweating our way through the forests and fields of the Sologne and Loiret, I decided that, really, nothing was more French or more crisply elegant than Tiaré, and that I desperately needed a bottle of it. Tiaré would be, I’d decided, my entry point to a new life in France that, although it never actually materialized, was the Big Plan in our family at the time, to the point of flying the kids out to various French cities in an attempt to decide where we would settle.
The firm belief that a life in
France calls for a thoroughly ‘French’ perfume (as if my collection wasn’t
already 75% made up of so-called French perfume) is why I am now the proud
possessor of a totally unnecessary 120mls of Tiaré. (I am perennially guilty of
daydreaming my life forward and allowing my purchases to lead the way. In 2018,
I was so convinced that I was going to be hired by a British not-for-profit to
manage their programs in Myanmar that I got emotionally invested in Indochine
by Parfumerie Generale, a perfume based on Burmese thanaka wood. I didn’t get
the job, but you bet I bought a bottle of Indochine. I don’t even want to say
how many ‘Roman’ perfumes were necessary for me to settle into a new life in
Anyway, back to Ireland in these early, post-Coronavirus times and Tiaré, like Cristalle (Chanel), doesn’t really suit the damp, cool conditions. Yet I am loathe to get rid of Tiaré, because, God knows, I will probably need it for when we finally move to France. In which case, I will also need the quintessential cognac-colored leather shopper, very pointy ballet flats, a chic haircut, and a perfectly-cut navy blazer. So, I guess I’d better start shopping now….
Ormonde Jayne Woman
Woman occupies a place in my personal pantheon of greats, but the route to loving her has not been easy. In fact, I have struggled with this perfume on and off for years. I imagine that, for people like me, with biological sensitivities to certain materials, getting past Woman’s many thorns is like loving someone who is beautiful but difficult.
Initially, my nose was so sensitive to the combination of woody ambers, sticky pine, and Iso E Super that the only notes I could smell were acrid, burnt, metallic – like burnt fuses and the La Roche Posay medicated acne cream. These unfortunate associations, plus the physical sensation I had of an ice-cold shiv driving into the tender recesses of my brain, are what made me keep my sample of Woman at a safe distance from my nose, wrapped twice in cling film and double-bagged.
Every so often, over the years, I
would take out that sample of Woman and tentatively sniff. Now, here’s the
strangest thing. As my exposure to the violent woody ambers and brutal Iso E
Super used increasingly in niche increased, so too did my tolerance. I don’t
mean that I started to like them, but rather that their presence no longer
obscured large parts of a composition for me. This meant that perfumes such as Indochine
(Parfumerie Generale), Musc Nomade (Annick Goutal), and Ormonde Jayne Woman
were now ‘unlocked’ for me. I could smell all parts of these perfumes rather
Having said that, progress was gradual. For example, for about six months, although I could smell all parts of Woman, all depth perception dropped off after about an hour or two, leading me to believe (mistakenly) that the perfume had simply stopped in its tracks. I now believe that this was due to the type of woody ambers used, some of which have a curious side effect of making a scent seem to disappear and then come back, over and over again, throughout a day’s wear. Ambroxan can have this odd ‘receding and resurging’ effect too; I sense it most keenly in Amouage Jubilation XXV, which my husband says he wears for other people because he himself cannot smell it after an hour (to his family, it seems quite big and room-filling).
Anyway, the reason I’m waffling on about this odd facet of Woman is that reviews are the little markers we drop along our journey, in the hope that they serve as clues to fellow travelers years down the road, right? I remember smelling Indochine and doing a Google search for something along the lines of ‘Why does Indochine smell like an ice pick to my brain?’ and stumbling across Kafkaesque’s review, which was the first source of answers for me as to why some materials were physically obtrusive to my nose yet imperceptible to others. I felt seen. I hope that someone struggling with Ormonde Jayne Woman finds their way to this review and gets comfort from knowing that they’re not alone, and that there might be a rational explanation for not immediately jiving with one of the most renowned perfumes in modern niche.
There’s light at the end of the tunnel, folks, there really is. Now when I smell Ormonde Woman, I smell the whole forest, the sugared smoke of gingerbread crumbs thrown onto the fire, and the inky mass of woodland violets and hemlock rolled out underfoot, and Scarlett O’ Hara’s dark green velvet gown made out of curtains and fury.
At heart, Ormonde Woman is a nugget of amber surrounded by tall conifers and hemlock, but its mysterious appeal can’t be explained by its notes or even how we think they all hang together. Woman is one of those perfumes you submit to, body and soul, without much hope of ever picking it apart. It took me years to be able to smell all parts of it but now when I wear Ormonde Jayne Woman now, I smell it all, and what I smell makes me breathe deep and easy.
Osmanthus is not my favorite osmanthus-themed scent in the Ormonde Jayne stable (that would be Qi), but it is surely the prettiest. Osmanthus explores the softly soapy, ‘clean linen’ side of the bloom that marks it out more as vaguely cherry blossom than the pungent fruity apricot suede trope often plumbed in niche.
In fact, aside from a vaguely peachy or apricotty tinge in the topnotes, Osmanthus sidesteps its namesake ingredient and goes for pomelo peel and white petals plunged into ice water and polished to a high shine by radiant aquatic musks. It smells pleasantly cooling, like a tall glass of lemonade or the feel of fresh cotton on hot skin.
Think of it this way; if Qi is an apricot-colored suede pouch filled with green tea, then Osmanthus is a white broderie anglaise sundress and a pair of straw espadrilles strung over one perfectly tan shoulder.
All very nice but running a little too close to one of those Atelier Cologne citrus-and-cotton-musk scents for comfort. I always thought that Osmanthus would smell more ‘at home’ in the form of a body care product than a perfume, and it turns out I was right; the Osmanthus Hair Mist is lovely. Warmer and peachier than the perfume – to my nose at least – the pert, perfumey prettiness of Osmanthus makes more sense to me when spritzed through second day hair. It is still much girlier than I am, but at least in this form, it just creates the manifest lie impression that I am freshly bathed and impeccably groomed.
Ta’if is one of those fragrances
where I seem to be experiencing something completely different to everyone
else. People use the words ‘rich’, ‘dark’, and ‘exotic’ to describe it, which
suggests a texture as heavy as velvet – close to Lyric Woman (Amouage) or
Portrait of a Lady (Malle). But reality is miles removed. On my skin, Ta’if
reads as a sheer peppery mixed floral layered over a musky, dried-fruit base. Neither
the advertized dates nor Taifi rose show up for me, or at least not in any form
I recognize (when I see ‘Ta’if’ rose, I expect a pop of fiercely spicy, green lemon-and-lime
sharpness announcing a tannic rose).
In fact, I’d rank Ta’if alongside Rose Noir (Miller Harris) and Tobacco Rose (Papillon) as rose fragrances that bill themselves as one thing and then deliver another. Clearly, the sheer amount of admiration and positive reviews out there for Ta’if and Tobacco Rose demonstrates that it is possible not only to get over any cognitive dissonance related to their names, but to love them wholeheartedly for themselves.
On me, Ta’if is mostly a blowsy peach and orange blossom chiffonade, interspersed with brief flashes here and there of something that might be interpreted as a tart, green rose. The peachy-powdery feel of the fragrance makes me think of something functional I used to use when I was a teenager, like the Impulse O2 body spray. The dry down is a slightly powdery musk with a streak of dates running through it, which doesn’t tilt too literally in the direction of any one particular note. Rather, one is bathed in a fluffy miasma of musk, fruit, orange blossoms, and caramel that reminds me of some of the prettier ‘pink-smelling’ dry downs in designer perfumery, such as Coco Mademoiselle, or Elie Saab.
Source of samples: Based on a sample set generously gifted to me in 2015 of the niche perfumer store in Dublin, ParfuMarija, I subsequently bought bottles or partials of most of the above. The Osmanthus Hair Mist was kindly gifted to me by Ormonde Jayne PR a couple of weeks ago, along with a Petits Fours box of samples of four of the La Route de la Soie collection sent to me for review (review is upcoming). My opinions are firmly my own.
Rose Gold opens with a fiercely fresh green rose that briefly hints at the rose in Ta’if before folding its lemon-rind-and-black-pepper topnotes into the folds of a richer, pulpier rose that smells as lush and ‘full-bodied’ as the traditional rose and sandalwood attars once produced by Amouage – I am thinking mostly of Ayoon al Maha and Majan attars here, but also the spicy sandalwood-rose core of the stupendous Lyric Woman. Let’s say that Rose Gold falls halfway between one of those Amouage greats and the homelier but nonetheless moving beauty of the heavily peppered rose and carved sandalwood elephants of Caron’s Parfum Sacre. I mention these perfumes not just for your reference, but for mine – perfumes like Parfum Sacre and Lyric Woman were among the first perfumes that brought me to tears. They are my North Star of what I consider to be important ‘smells’ in my life. That I am comparing Rose Gold to them should tell you that I think Rose Gold is special.
The traditional rosy ‘attar’
scent is what dominates here, and it is unmistakably regal. There is a flare
here and there of the initial lemony freshness of a Ta’if rose, but this only
serves to highlight the deep red velvet backdrop of the more sensual Turkish
rose. There’s a hot-to-the-touch quality to the perfume, and a note that makes
me think of spicy crab apple jelly – both reminders that the presence of
carnation is what links Black Gold to its baby sisters, Rose Gold and White
Gold. Although this remains quite dry and spicy throughout, the rose centerpiece
softens the rather masculine pepper-carnation-sandalwood-oud heart of Black
Gold, making it an option for those who thought the original too hairy-chested.
Rose Gold would come close to de-seating
Amouage Lyric Woman and Caron Parfum Sacre as my favorite rose-based perfumes
were it not for the rapid unravelling of richness and complexity after the
roses, spice, and carnation have roared their loudest. Quite simply, Rose Gold becomes
too quiet, too soon. A rather plain but pleasant smelling mélange of creamy,
rose-tinted blond woods, made radiant with the usual Ormonde Jayne dollop of
Iso E Super, is left to carry the load on the remaining 40% of the scent’s
If I were rich, though, I’d have
no qualms about buying the biggest bottle of Rose Gold I could find (a veritable
jeroboam of the stuff!) and spray, spray, spray to get that glorious start and
midsection going again on my skin at the first sign of flagging. Millionaires
can buy all the Viagra they want; I’d buy mine in the form of Rose Gold.
I am trying to say this with the
greatest respect, but in many ways, White Gold is the most department-store-smelling
iteration of the Gold series. By this, I mean that it smells like an abstraction
of white flowers, white orris, white powder, white musks, and white woods (even
white spices) all blurred into one haze of cloudy white scent molecules. White
Gold is made of the kind of white noise that I find very difficult to pick
apart and analyze when I am sniffing perfumes at the department store. There’s
very little for me to hang onto. My nose feels around for the boundary lines
between the notes but fails to locate any.
I think that the perfumes that have most in common with White Gold are not Rose Gold or Black Gold, but the white cube perfumes and Pure Musc by Narciso Rodriguez, which, to my nose at least, all smell like minute variations on the same theme, i.e., the freshly-poured cement muskiness of cashmeran and fluffy white musks, the basic model altered with one drop more or less gardenia or rose or ylang. I get that most people find this sort of thing comforting. It’s like the warm, plush terrycloth robe you pull straight from the dryer and put on when you emerge shivering from a cold shower. It’s just that it’s too simple, too easy. Mindless comfort is good for those moments when you need a liquid hug. But it doesn’t engage the brain cells. I can’t help but hold that against it.
White Gold traps the naturally effervescent, floaty white dust that emanates from orris and folds it into a cloud of silky ambrette and lab musks, which hover weightlessly over the freshly-scrubbed wood and concrete floor built by cashmeran.
The flowers – jasmine mostly, but also some rubbery freesia and orchid – smell clean and expensive, like an upmarket shampoo that sets you back around 50 quid from your hairdresser’s. Abstract and more than a little perfumey, the floral components smells more like artistic, man-made representations of a flower than the rude, fleshy vulgarity of live blooms.
There is a 1990s perfume that White Gold reminds me of strongly, but I can’t recall the name. Something made by Armani, the Lei/Lui series perhaps? Naturally, White Gold smells a lot more expensive and plushly-upholstered than any department store perfume. But there’s a fruity-nutty-sticky sweetness here that hints at the Galaxolide-and-Maltol candy-ness of designer musks and florals, and it’s an impression that proves hard to shake. Overall, I’d peg the color of White Gold as a cloudy, almost milky white, tinged in places with a rosy pink stain. Although easily my least favorite in the series, I think White Gold would make for a perfect bridal perfume or special occasion perfume for someone who might view it as a cashmere wrapped upgrade to the very floral, very clean, musky designer perfumes they already know and love.
I remember loving Black Gold when I tested it in 2017, and even wrote about it here as part of a shambolic, rambling essay on my journey through the Ormonde Jayne stable. But now, when I look back at that review, what I really remember is how hard I had to beg Essenza Nobile to release a sample to me (Fragrance Daily, where the review appeared, was the blog loosely tied to Essenza Nobile, the fragrance retailer which would regularly send the blog writers samples they’d requested).
If I recall correctly, Linda Pilkington was being very strict about where the pre-release samples of Black Gold ended up and even how copy for the fragrance was being worded, so Essenza Nobile was concerned that a negative or even slightly critical review of the perfume might harm their business relationship with the brand.
Essenza Nobile needn’t have
worried, for two reasons. First, I absolutely loved Black Gold. I wouldn’t sell
a kidney to buy a bottle, but I’d happily accept a bottle from a loaded
relative, should I ever succeed in identifying one. Second, while Ormonde Jayne
is clearly invested in controlling the narrative and distribution of its
perfumes (as it should be), I don’t think they put much stock in reviews as part
of their business model.
None of this bothers me unduly. I’m conscious of the business reality for brands outside of the artificial blogger/vlogger bubble. Brands like Ormonde Jayne have to be protective of their products where they can. They are the Chanel of English perfumery. If Ormonde Jayne ever sells to an investor, then their good name, their grip on distribution channels, and the customer perception of the brand’s core values (taste, luxury, exclusivity) is all calculated on the balance sheet as a ‘goodwill asset’. Goodwill assets monetize all those values we associate with the name of Ormonde Jayne even if we can’t see or touch them.
Ormonde Jayne operates mostly outside
of the reviewer bubble. The brand doesn’t enter the fray of perfume blogs or
reviews in the ways that other brands do. They don’t promote or circulate
positive reviews of their perfumes; nor do they openly contradict or wade into reviews
that are less than complementary. Their relationship with the outside world
seems to be smoothly commercial, almost transactional in nature, i.e., they are
a company whose primary objective is to sell luxury perfume and perfumed goods to
those who can afford it, not to get chummy with writers and blogs and YouTubers.
The brand isn’t rude or dismissive of the review crowd; we just don’t figure
much in their strategy. And that is perfectly valid.
Reviewers like me can request to be put on the Ormonde Jayne PR list to receive samples. But again, there’s that thorny issue of how to reconcile being sent press samples and offering an independent, fair-minded review to readers that has nothing to do with the ‘free-ness’ of the sample. I haven’t figured out an answer to that dilemma yet. I want access to the perfume, my reviews depend on access, and yet the sincerity of the review will always be in question (even in my own mind) if the sample was sent to me for free by the brand.
That’s part of the reason it’s taken me so long to write about these Ormonde Jayne exclusives; some of the samples were (very kindly) sent to me in PR. I am not on anyone’s PR list normally, so I’m grateful, but conflicted. Can you trust me on these, at a distance of three years? I hope you can. Maybe the passing of three years has created a sort of decontamination chamber for the perfumes, cleansing them of all trace of expectation, guilt, and reciprocity.
I will do one more post in the Ormonde Jayne series covering the perfumes from the original (core) collection; this will be less angsty because any full bottle of Ormonde Jayne perfume I own, I paid for. But there will be a little angst – there has to be – because I’ll be reviewing my bottles of Ormonde Jayne perfumes with a view to deciding which ones I sell and which ones I keep.
Source of samples: My sample of Black Gold was sent to me for free to write about by Essenza Nobile, the large European fragrance retailer and distributor, for the blog Fragrance Daily linked to the site (the blog is now defunct). My sample of White Gold was sent to me by Luckyscent for the purpose of writing the copy for White Gold on their site. My sample of Rose Gold was sent to me by PR at Ormonde Jayne, for free and with no expectation or demand to write about it.
Stupidly, I ignored this one for the longest time, believing it to be yet another Westernized take on oud. Guess what? It isn’t. The penny dropped just as I ran out of money, or at least the willingness to spend more than that €1.2 per ml limit Luca Turin originally advised us to stop at. This means that I don’t, and never will, own a bottle of Nawab of Oudh, which is terrible because this thing brings me to my knees.
But let’s make some lemonade out of dem lemons. I like to pretend that my bottle of Nawab of Oudh is hanging out at Roma Store, a small profumeria in Trastevere I frequent. Every month, I take a leisurely stroll down the Tiber to visit with the bottle of Nawab of Oudh the shop is kindly (but obliviously) hosting for me and douse myself liberally in its glorious juice. Then I walk back home, sniffing myself with a huge, dopey grin on my face, oblivious to how I look to passers-by.
Describing what Nawab of Oudh smells like is like trying to catch butterflies with a teaspoon. It has that gauzy, dizzying abstraction characteristic of so many Ormonde Jayne standouts like Black Gold and Rose Gold, and features – as far as I can tell – peppery spice, juicy mandarin, champagne-like aldehydes, roses, sandalwood, and a mass of creamy floral notes.
But I’m not sure any notes list adequately conveys the fierce joy of this scent. Better to say instead that this perfume gives you that Saturday morning feeling of good things to come – a crisply folded newspaper, a fresh pot of coffee, warm bread rolls, cold Irish butter, and a day of leisure stretching out in front of you like a cat. It smells like sunshine in a loved one’s hair and a just-cancelled meeting.
There is a point at the center of this fragrance that makes me think perfumer Geza Schoen might be playing around with an old Roucel-ian template of a green-ish magnolia bathed in a silky bath of citrus, honey, roses, and heavy cream (last seen in Roucel’s Guerlain’s L’Instant for Women and Rochas’ Tocade). The magnolia is viewed obliquely here, through a haze of spicy pepper, pimiento, cardamom, and cinnamon-dusted rose, but it’s definitely got some presence.
I love that when I spray it heavily, Nawab of Oudh coats the back of my hand with an aggressively oily sheen but then immediately radiates off into the air with an aldehydic swagger. Despite the name, there is little oud to speak of here, aside from a slightly sour, leathery tint to the soapy sandalwood in the base. I love this fragrance and believe it to be one of the most elegant and accomplished spicy oriental-florals that a woman or a man could wear.
Tsarina is a creamy, anisic floral suede that was the object of my affection obsession for much of 2016. It is a decidedly cool-toned fragrance; if it were an eyeshadow palette, Tsarina would be all dove greys and silvery taupes in the sort of satin finish that makes your eyelids appear expensively buffed. If it were a textile, it would be a length of raw silk, dotted with nubbins of texture that ride up pleasurably against the palm of your hand. Did I crack under the pressure of desire? Of course I did. It was 2016 and I was still spending money on perfume like they were bottles of H2O.
But even though I split a bottle with a friend during the famous Ormonde Jayne Black Friday event, Tsarina turned out to be an eye-wateringly expensive purchase. Not so much because of the price I paid, but because I never wore it as much as I thought I would. And a perfume sitting unloved in a collection is the costliest cost of all.
Three years on, I’m trying to understand my sudden and brutal withdrawal of affection for Tsarina. I suspect it covers too much of the same ground as Orris Noir (also by Ormonde Jayne), with its anise-tinted iris and myrrh, and maybe also L’Heure Bleue, with its medicinal heliotrope-iris tandem, for me to get any relief from this nagging cognitive dissonance. There’s also some overlap with the plasticky, clove-spiced benzoin creaminess of Guerlain Lui, which I also (somehow) own. But there’s also the fact that, for the 2020 me, Tsarina is now too rich, too claustrophobic.
But it is beautiful. Tsarina opens with the characteristic Ormonde Jayne blur of uplifting citrus and pepper notes, fueled by aldehydes, before quickly settling into that anisic, peppered ‘cream of wheat’ milkiness I associate with floral sandalwoods like Dries Van Noten (Frederic Malle) and the Pheromone attars produced by both Sharif LaRoche and Abdes Salaam Attar. Ormonde Jayne’s Vanille d’Iris, I find, recycles the same core of buttery iris suede, stripping it way back, and adding a dollop of plasticky vanilla to dull its ethereal gleam. As for Tsarina, once the first burst of spicy freshness dies away, both I and the fragrance miss it dearly.
Tsarina is soft and stodgy, like a bowl of porridge. Its lack of definition is probably why I sought it out so insistently the first time around, because I’m drawn to the boneless torpor of cream-sodden florals with little in the way of ballast propping them up. I find them comforting. However, for my money, stuff like Alamut by Lorenzo Villoresi – an exotic rice pudding-custard made out of tuberose, nag champa, and lots of civety sandalwood – satisfies the same itch and at less expense.
Of course, I didn’t know Alamut back then. Sure, if I could go back and tell my 2016 self that some of the perfumes I am passionate about would be rendered obsolete down the line by perfumes I was yet to smell, then I might have chosen differently. But I’m letting myself off the hook here. Tsarina is still a beautiful perfume judged against any parameter. It’s just that my 2020 self wants Nawab of Oudh more.
Qi is constructed to make no great statement thus offending no one. Lest you think I’m being bitchy, that sentence comes from the Ormonde Jayne official copy!
Normally, my shackles rise when I hear anyone describing a perfume as ‘inoffensive’ or, worse (shudder), ‘mass-pleasing’, because if that’s the end goal, then there’s no need to spend $425+ on a bottle of perfume when you can spend $5 on a bottle of that chocolatey, oudy Axe spray my husband is invariably wearing whenever I complement him on his lovely smell.
But honestly, Ormonde Jayne is onto something here. Osmanthus – for those not overly familiar with it – is a material that shares a rudely pungent quality with Hindi oud oil, black tea, and leather, all materials that have undergone some kind of process like soaking in water, tanning or smoking that lend them a distinctly fermented facet. I’m a fan of the fermented, but the uninitiated might find this particular floral note a challenge. The trick is to trim back the ruder, earthier facets of osmanthus absolute, and to capture only the fresh, pretty notes of the flower smelled straight from the plant.
And that’s exactly what Qi does. It is a super clean, bright take on osmanthus – a glowy little pop of apricot over soapy musks and fresh green tea (maté) that create enough of an illusion of leather to catch at the back of your throat. The osmanthus note is sustained for a remarkably long time, the fresh tea and soft leather notes soaked in an indelible peach or apricot ink. There’s also a whiff of clean rubber tubing – a pleasant inevitability whenever tea and osmanthus share the same space.
Despite the complex array of notes, though, Qi smells charmingly simple and ‘honest’. I can see this elegant glass of green tea, aromatized gently with a slice of apricot, appealing to many people. Ormonde Jayne is a rare house that knows what to do with osmanthus, and for me, Qi is its shining example. I prefer it to the also excellent Passionate Love, which is constructed along similar lines as Qi, but duskier, with a mineralic vetiver-and-Iso-E-Super drydown I’m less fond of.
An interesting fragrance. Revolving around a dank, green sage-tobacco accord that’s been lightened and spaced out by tons of Iso E Super, Montabaco is both dark-smelling and airy. Despite the distinctly aftershavey, fougère-like aspect to Montabaco that tags it as masculine, I have enjoyed smelling this on my skin and trying to break it down.
It’s worth mentioning that the two or three times I’ve worn this, my nine-year old son has sought me out to tell me that I smell really good. That makes me wonder if it’s just that Montabaco has huge sillage (thanks to the Iso E Super) or if there’s something in this fragrance that calls out to males.
I know that I’m not best placed to evaluate. When I smell a ‘classic male aftershave’ accord, something in the analysis part of my brain shuts down, blanking out the individual notes or components of the scent beyond the first and all-encompassing impression of ‘maleness’. But even to me, it’s clear that Montabaco is several pay grades above something like Brut or Azzaro Pour Homme.
And am I picking up on a sleight of hand here? With its flourishes of dry green herbs, ‘clovey’ spicing, and cleansing bay leaf, the central accord smells far more like cedarwood to me than tobacco leaf. This impression is underlined by a dollop of powdery amber that adds no sweetness but instead a pleasantly dustiness that softens the mealy bitterness of the cedarwood (or tobacco).
We are spared the intensely syrupy dried fruit and cacao notes that usually accompany tobacco. In fact, the vermouth-like dryness of the tobacco leaf in Montabaco reminds me very much of Miller Harris’ Feuilles de Tabac, pumped up with the creamy cedarwood baritone of Creed’s Royal Oud and fleshed out with a traditional barbershop fougère’s worth of spices and herbs. I liked Royal Oud and Feuilles de Tabac well enough, but Montabaco is more nuanced, more complex. If any of my male relatives were in the market for an interesting interpretation of a traditional tobacco or cedarwood-heavy fougère, and had the funds to go niche, I’d definitely point them in the direction of Montabaco.
Source of Samples: The staff at the Dublin niche perfume store ‘ParfuMarija’ generously included a sample set of the Ormonde Jayne house as a gift with purchase in 2016. The set included samples of the Four Corners of the World collection.
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.
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.
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) orNiral(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.
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
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!
I’m fascinated by the individuality of the models at play in the indie perfume sector. Some houses, like Diane St. Clair and Papillon work slowly, releasing an average of one perfume a year (if that), willing to wait until every single detail is ‘right’ before releasing what is a highly-finished work to the public. Others, like Prin Lomros, work gonzo style – restlessly creating, releasing, and then wiping out whole perfumes, like an artist furiously rubbing out a sketch he is suddenly unhappy with.
What this boils down to is the notion of risk. Just how much risk is Prin Lomros willing to take? In my opinion, a lot. This is a guy who has had quite a few brands and sub-brands in a very short period of time (I count three, including one disappeared, one prestige, and one diffusion, although in the last few days, I think a fourth might have been sprung upon us), populated with perfumes that appear and then disappear, never to be seen again. Other perfumes get the chop, only to return a year later under a different name.
Sure, this all sounds like Prin Lomros is having a lot of fun – but what about us? Though there’s nothing permanent in perfumery these days – Penhaligon’s glorious Ostara came and went in the space of two years, despite its critical success, and half of the 13 Gucci Flora flankers will probably have been removed from the shelves by the time I finish this sentence – expecting even the most committed of indie perfumery supporters to lay down $160 on a 30ml bottle of liquid that might be axed on a whim four months later is an exceptionally big ask.
Generally, a perfumer can only bet on their customers accepting this level of risk if one of two conditions have been met. Either a) the raw materials are of such rarity or unusual quality, like vintage Cambodi oud oil from the 1970s or a hunk of white ambergris from the Western shores of Ireland that customers buy out of the fear of missing out on a once-in-a-lifetime experience, or b) the compositions themselves are so artistic or clever that customers are inspired to invest wholesale in the creative real estate locked inside the perfumer’s head.
For the former, you only have to look at the success of Areej Le Doré, Sultan Pasha, and Ensar Oud to know that the feverish fanboyism around the cult of raw materials is more than adequate to keep the ship afloat. Brands, if they are clever, might seek to co-opt a bit of this market for themselves by introducing special one-off editions focused on rare, limited run materials; Eris Parfums did this recently with Mxxx. (review here) to great effect, using a fantastic piece of white ambergris to turn their regular Mx. from a silky white cotton t-shirt into a $1,500 cashmere wrap.
Prin Lomros’ perfumes lean a bit on the precious raw materials thing, but really rely more on the perfumer’s artistic vision as the hook with which to reel customers in. He takes quite a few creative risks – which makes sampling his work huge fun (but blind buys ill-advised). What this means for me is that although roughly 60% of what he turns out doesn’t work for me, the ones I do like I really, really admire and find myself thinking about long after I’ve put the sample away. Heck, even the ones I wouldn’t wear to save my life linger in my head.
worked my way through 18 – count them, 18 – samples from both Parfums
Prissana and Strangers Parfumerie during a time of great stress this January,
when multiple deadlines and the arrival of a new management team at work meant
that I survived on crisps and wine for nutrition and rarely got more than five
hours of sleep a night. Normally, conditions like these would taint my
perception of whatever I’m testing or wearing; but, a grosso modo, the
Prin Lomros stuff still emerged with a big fat thumbs up from me.
Of course, that’s not to say that there aren’t a few problem areas. For one, the perfumes are all a little front-loaded, with drydowns that, while long-lasting (lots of ‘beastmode’ performers here), are a little wan compared to the richness upfront. Two or three of the perfumes I tried were marred with an overdose of noxious ‘power tool’ aromachemicals – Ambroxan, maybe, Norlimbanol, and a few of those ‘new wood’ captives; these ones were an immediate line in the sand for me. But even in those, I was able to find little pockets of something interesting or playful that kept me plugged into the experience. To say that his perfumes surprised me and challenged my preconceptions is really quite something, only because I am jaded as fuck.
I think Mandarava (Prissana) is utterly horrific but many people whose opinion I respect think it’s a masterpiece. While clearly well made, its dense cloud of indeterminable flowers, incense, and musk is unbearable to me, because note for note, it smells like someone emptied an entire aerosol of nag champa-scented room deodorizer into a small room and closed all the windows. It has the same overwhelming stuffiness and cheap, greasy-powdery musk overload as Koh-I-Noor by Areej Le Doré but lacks that scent’s more fine-tuned sense of balance that somehow keeps everything in check; Mandarava is unhinged in a way that sets my teeth on edge. But, you know, people other than me love it.
I don’t normally review so negatively, so you have to know there’s a redeeming angle here. And here it is – the drydown is weirdly good. I’ve worn this three times in the name of science, and each time the drydown takes me by surprise in a good way. Unfortunately, I never quite managed to make it to my notepad in time to write down what it is that I think almost redeems Mandarava, so you’ll have to believe me that the texture of the scent changes about six hours in, emerging from the cardboardy fug of nag champa to become sharper, woodier – more interesting somehow. If I ever subject myself to Mandarava again – which, to be honest, is unlikely – I’ll come back and update this review.
If you’re skimming this post for an entry point, then Ma Nishtana is probably the easiest and most immediately likeable perfume in either the Prissana or Strangers Parfumerie line. A judiciously-spiced church incense scent, Ma Nishtana splits the difference between the soapy, aldehyded, Coca-Cola-ish airiness of Cardinal/Avignon and the warmer, breadier, more caramelic-ambery thickness of Contre Bombarde 32 by SAUF or Samharam by Arte Profumi. The drydown drones on a bit, thanks to an application of the dreaded Norlimbanol, but even as a No-Limbs-Left-At-All-hater I have to admit that it’s applied with an unusually subtle touch here.
I don’t know that Ma Nishtana distinguishes itself so much from the stalwarts of this rather cramped incense genre to be worth the price, but of course, this is a deeply personal thing. The most innovative or unusual thing about Ma Nishtana is really that faint whiff of armpitty cumin or turmeric that’s half under-proved doughnut and half curry-sweat, but if you own either Grimoire by Anatole LeBreton or Al Oudh by L’Artisan Parfumeur, I think you’re covered. Ma Nishtana is very nice, very good – but not entirely necessary, at least in my opinion.
Tom Yum is a thing of beauty! A fantastically fresh and sour take on the classic French eau de cologne, it is something like Eau Sauvage or Ô de Lancôme flushed with the mouth-stripping aroma of lemongrass – half lemon, half rooty grass – and freshly-squeezed limes. These tart, aromatic topnotes are all under-pinned with a gorgeously sweet and dusty galangal note that stands in for musk and serves an a pillowy extension cord for the citruses well into the drydown. Although Tom Yum doesn’t smell as authentically hot, sour, or herbaceous as a bowl of Tom Yum itself, and is therefore not nearly as exotic as the notes list wants you to believe, it is still the rare ‘update’ to the eau de cologne model that actually works (and lasts).
Yum is just sour enough in the topnotes to refresh, herbaceous and soapy enough
in the midsection to offer that essential coolness, and sweetly spicy enough in
the tailbone to avoid that throat-catching sourness of laundry musk that tires
my palate in most modern takes. For me, Tom Yum competes head-to-head with the
basil leaf-inflected blast of air conditioning that is the bottle of Paris-Deauville
(Chanel) I keep in the door of my fridge as a substitute for, you know, actual
air conditioning. If you have the money to spend on an eau de cologne-style
perfume and want it to last a fair amount of time without having to choke on
nasty woody ambers or oceans of white musk, then I highly recommend Tom
Somewhat along the same lines, if you love neroli and want a complex, natural-smelling version, then Natsumeku is very good. In keeping with its Japanese inspiration, it smells quite like a Di Ser perfume in that its tingly, orangey citrus notes (neroli in this case) tinged with the wintergreen finger snap of camphor and silvery, refined hinoki wood. In other words, neroli filtered through a Japanese sensibility rather than through the regular ole channel of an Amalfi citrus grove. It is fresh and sharp, and quite medicinal, like the cool, steamy air in a Japanese onsen on Hokkaido island, where you are getting rubbed down by a masseur with unpronounceable Japanese herbs, damp sea mosses, and yuzu-style citruses that probably only exist within 2 miles of the onsen and nowhere else. It smells like, for want of a better word, the “Other”.
I am less enthused about the solid-but-plain-Jane drydown of Natsumeku, because I am not a huge fan of neroli, and this does get very ‘neroli’-ish in the end. It might be just me who has this issue, but I always tire of the incessantly cheerful soapiness of neroli. In this instance, if I am choosing to smell soapy and clean, then I’d much rather be wearing Tom Yum, above.
Thichila is an interesting one indeed. Sorry to be bossy, but I’m really going to have to insist you disregard any reviews you see for Thichila that make it out to be tremendously complex, floral, incensey, old school, or even chypre-ish – it’s really none of those things. Because Thichila is one of those perfumes that happens to be composed in an Eastern style and uses complex-smelling, exotic naturals, many people – mostly Westerners – may mistake its complexity for a matter of construction. As a matter of fact, Thichila is simply one big bridge built between two massively complex materials – a natural Thai oud oil and a big, rustic myrrh. These two monoliths happen, in this case, to share a peculiarly rubbery-rooty-oily-anisic character that makes it difficult to tell where one ends and the other takes over. I find Thichila fascinating precisely because of this.
The Thai oud smells charmingly like the inside of a party balloon or a bouncy castle – plasticky, rubbery, with the far-off twang of trampled fairground straw and sticky, jammy-fruity children’s handprints. It reminds me very much of one of FeelOud’s more unusual-smelling oud oils, whose name I can’t recall right now, but which smelled like the air that escapes from plastic lunchboxes that you’re opening for the first time in three months when the new term is starting.
At some point, the sweet, plasticky rubber tube of oud rolls into the scent of myrrh – gloomy and rubbery, but also sweet and crunchy, like giant golden sugar crystals dipped in anise and spread in a hard, glittery paste across your skin. I think Thichila is, on balance, a great perfume, but fair warning – you have to love this particular style of oud oil and this particular sort of myrrh for it to be a success for you. A very specific perfume, therefore, for a very specific taste.
Maruyama smells to me like a richly vegetal cis-jasmone or immortelle scent, i.e., floral notes with clear overtones of burnt hay, maple sugar, or strange exotic herbs like lovage that smell half like a white flower, half like celery. It reminded me at first of Comme des Garcons’ Sequoia and then of Cardamom Rose Sugar by Solstice Scents. There’s always a point at which this sort of thing smells pleasantly like a glazed maple-cider doughnut to me, and then slightly but ever so insistently of curry and caramelized brown sugar mashed together, at which point I don’t really want to smell it at all. If you don’t hit that plateau quite so quickly as I do, then I highly recommend Maruyama as an exotic Eastern take on the classically French ‘Sables’ (Annick Goutal) territory.
Mohragot is the nouveau fougère of the line, kind of analogous to the place that Mousse Illuminée holds for Rogue Perfumery, or Eiderantler for January Scent Project, but with a thrillingly damp earth accord that whips us away from that lavender shaving foam ‘daddy’ picture and plunges us instead deep into the bowels of a violent thunderstorm in a forest, the rain and wind ripping up the soil and hurling broken branches, leaves, and air molecules into each other.
It took me forever to work out why I love the wet, dark, green ‘mustiness’ and soil-y ‘moldiness’ of this opening, until I realize that it replicates the same ozone-in-turmoil atmosphere ofSupercell by Sixteen92, and to a lesser extent, the ‘old’ and ‘clay-like’ green earthiness of Oakmoss (Muschio di Quercia) by Abdes Salaam Al Attar.
Someday, I’ll figure out what it is about this sort of scent that moves my black soul, but right now, all I can think of is that this kind of mossy vetiver smell is alive and dead in equal measure. The mold and the dustiness, the ‘aged’ browny tint of the earth smell, its overall murk and gloom – this reminds me of the ‘newly-opened tomb’ dead air that billows out of Onda parfum (Vero Profumo) and Djedi (Guerlain).
But here and there, there is the juicy rudeness of new plant life poking its way through, the air crackling with ozone. So yes, though the hummus-rich, brown-green earthiness is all-encompassing at first, soon you notice that it is pierced here and there with the minty vase water of oakmoss.
On balance, however, this is not a particularly fresh or herbal example of a fougère. Pandan leaf, or screwpine, is mentioned in the notes list, so perhaps the gentle sweetness of those screwpine ittar they use to flavor syrups, tobacco, and cosmetics in India is what is relieving Mohragot of that tiresomely ‘Brut’-like, aftershavey bitterness that usually makes fougères such a bore to wear (as a woman). The pandan leaf note gives Mohragot an interestingly milky, nutty tonality, yet it is not as piercingly sweet or as fruity as an actual screwpine ittar. I find Mohragot one of the more interesting perfumes in the Prissana line, because it takes a while to pick apart, and even after three or four wears, parts of it remain impenetrable to me. I do appreciate that the ubiquitous 21st century finish of dopey tonka bean has been swapped out for a softly musky tobacco accord that smells like an idealized vision of an autumn walk. Unfortunately, Mohragot disappears from my skin within three hours. Now, I’m no longevity bore, but for $160 for 30mls, that’s just taking the piss.
If I’d been dipping my toes into Strangers Parfumerie to test the waters and encountered Aroon Sawat first, I’d have turned 180º on my heels toute suite. Its clumsy mish-mash of woody ambers and big, syrupy fruit is bathed in a chemical radiance so powerful and all-reaching that my eyeballs hurt even to remember it now. It is a perfume whose finer points are wasted on me completely, obscured as they are by this big, thick gloppy blanket of amber-wood-syrup-resin-fruit aromachemicals. It’s just atrocious. A crime against perfume.
Thank God I operate a ‘three strikes and you’re out’ policy, because all the other Strangers Parfumerie perfume turned out to be either memorably quirky, or charming, or at least interesting enough to redeem the utter horror that was Aroon Sawat. In fact, in general, I liked the Strangers Parfumerie as much as, if not more than, the perfumes in the more upmarket (and more highly priced) Prissana line. The fact that they represent much better value for money is almost beside the point.
SM Café is possibly one of the most successful coffee-based perfumes out there, and I say that as someone who rarely thinks that coffee-scented anything works (apart from the real thing itself of course). The SM in SM Café stands for sado-masochism, but there’s nothing really risqué about this nicely-balanced dance between the intense, burnt flavor of freshly-roasted coffee beans and the clean sweetness of wood, musks, and amber resin. The coffee does smell undeniably dirty and grungy, but it’s more the funk of damp coffee grounds you’re cleaning out of the pot than anything S&M or leather related, and anyway it all gets balanced out by the milky ambers and beeswax in the base.
Although not terribly fruity, the sour morello cherry accent and the coumarin add a certain pipe tobacco angle to the concoction that I find broadly handsome – it also makes SM Café the indie synonym for Close Up by Olfactive Studio. But truth be told, SM Café is far more austere and masculine-leaning; in overall orientation, far closer to the dusty, burnt, 1970s character of Coze by Parfumerie Generale than to the sweetened coffee-tobacco of Close Up.
I’m confused by just how much I enjoy the gourmand perfumes in the Strangers Parfumerie line-up. Gourmand perfumes are not generally my thing. The designer ones are gloppy glucose bombs with zero distinguishing features, the niche ones use higher quality or more interesting sugar-choco-frooty aromachemicals but unfortunately tend to arrive at much the same place as the designer ones (and cost about $200 more), and the indies, well, in their effort to be all weird and ironic and indie about it, push the gourmand notes into ever-increasingly grotesque forms just for the sake of it (with few of them very wearable in the long run).
So Fetch, for example, has a protein bar accord and is based on a phrase from Mean Girls, so you’ll forgive me if I say I was ready to automatically class this with the third category. But I WAS WRONG. This stuff is just delightful. It has sass. It opens up on a huge whoosh of cherry-flavored fizz, as if someone dropped a whole packet of Love Hearts into a 2 liter plastic bottle of 7-Up and shook it all up until it exploded like a trailer park Prosecco.
So Fetch makes me feel young. It makes me imagine what Bendelirious by État Libre d’Orange might smell like if cross-pollinated with the rubbery tennis balls of The Soft Lawn (Imaginary Authors). There are, at points, beguiling little whiffs of rubber tires, fuel exhaust, and lemon-scented sherbet powder. In the drydown, notes of pink lemonade, strawberry erasers, and marshmallow fluff float into the picture – basically the same soft, billowy lokhoum fun of Douleur! by Bogue, minus the enamel-stripping rose oxide. Really, really good stuff.
Sangre Dulce is darker in tone than So Fetch, but no less weird or interesting, or ultimately, wearable. Immediately on application, there is something here that reminds me of something Lush or BPAL would make: burned sugar crossed with the headshop murkiness of amber cubes and dragon’s blood incense, or some mysterious dried herb concoction in a burlap sack. It smells very indie – not in the super-fancy artisanal sense of the word, but more in the sense of the Etsy crowd dropping a Solstice or Hexennacht release of perfumes honoring the Moon or witches or something. Not saying that to knock it, by the way – many of my favorite perfumes are indie oils from the latter category (I am just not into the witchy side of things).
I smell in Sangre Dulce a whole host of confusing but really pleasing notes that seem to hang together very well – burned sugar, rubber galoshes, sugar mashed into dirt, bathtub booze, and in the far drydown, something that smells like over-baked wheatgrass and granola bars (maybe this is where that protein bar ended up). If Luca Turin were to smell this, I’d imagine he’d find a way to praise Prin Lomros for his off-the-wall thinking, in the same way he (almost wistfully) loves the Constantine father and son duo at Lush for having the guts to just throw everything into a pot as a mad experiment and see what works (“Someone seems to be having a lot of fun over there” as he might say, in that impish way of his).
A basic way to describe Sangre Dulce is to say that it smells like sugar cubes and burned wheat that took a wrong turn somewhere and fell down a dark cellar into a pot of hooch, dragging with it some Converse sneakers and a vial of herbal folk medicine. In fact, I’m pretty sure that was the creative brief for Lush’s All Good Things.
Cigar Rum seems to be one of the most popular scents in the Strangers Parfumerie stable, probably because the handsome, complex aroma of tobacco absolute never fails to please. This is a good but hardly unique take on tobacco leaf – most of the heavy lifting is done by the tobacco absolute, but there’s a flash of warm, boozy rum up top to dress it up, and it skips over the heavy vanilla or dried fruit stickiness of Tobacco Vanille.
That said, it does nothing special or new above and beyond the real baseline for indie tobacco perfumes, which remains Tabac Aurea by Sonoma Scent Studio. Cigar Rum is also one of the Prin Lomros scents that falls flat in the base – there’s very little there to hold it together once you get past the richness of the tobacco opening. If you’re thinking of investing in an indie tobacco, I’d still go for the best-in-class of Tabac Aurea.
Rum Intense is the same,
but is obviously a concession to the bros, who always want something more
chemically radiant and beastmode. Anything nice-smelling or natural about Cigar
Rum has been wiped out by the heavy woody ambers in the Intense version. Honestly,
I’d steer clear and leave this one to the bros, because God knows those poor
guys are under-catered to/s.
Burning Ben is so, so good. You definitely need to love phenolic scents to like it, but as long as your fetish is smelling like beef jerky on a campfire, then Burning Ben will really do it for you. It runs along the same lines as Le Labo Patchouli 24 or Slumberhouse Jeke – basically big, billowing bombs of birch tar, cade, and lapsang souchong smeared over a sweet or boozy baseline. But it features an innovation so good-smelling and so damn right that I can’t believe nobody’s thought of before now: coffee! The burnt, aromatic ‘fresh roast’ coffee bean note lifted out of SM Café and grafted right on top of the burning cade-birch heart of Burning Ben makes for a smoky, tarry coffee darkness that smells fantastic.
At first, as you might imagine, it’s a bit too intense, like a billycan of coffee that’s boiled over on a campfire and is now sizzling meanly on the embers beneath. The addition of the coffee gives the birch tar leather a more masculine bent, and for part of this ride, I feel like I’m wearing my boyfriend’s leather jacket, infused with his scent of aftershave, manly musk, and general ‘maleness’ – this I find sexy in a cross-dressing way, and for people who find Patchouli 24 not masculine or butch enough, well, voila Burning Ben.
But before all of these intensely burnt, roasted flavors can run over into harsh or bitter, an oriental-ish and sweetly nutty base arrives to soften the edges. The basenotes are vague and amorphous in a way that makes you think, ‘Mmm, that smells good’, but also leaves you at a loss to define any one particular note or accord that’s making it so.
The best I can do is to say that it’s more like a texture than a taste, like those firm salted toffees whose pleasure lies mainly in the chew. Salty-sweet amber, toffee, beeswax, crushed hazelnuts – a sensuous mélange of silky, warm ‘brown’ flavors that are the perfect accompaniment to the sharper, smokier ‘brown’ notes of birch tar and coffee up top. Burning Ben is one of the Strangers Parfumerie scents that smells ever better the more it goes on – perhaps the forceful nature of phenolic scents in general is what ensures the richness doesn’t attenuate as quickly. Anyway, I love this category of scents, so it follows that I love Burning Ben. Beyond my general bias, I think that Burning Ben manages to pull off a bit of innovation in a genre that I suspect is rather a self-limiting space.
As good as Burning Ben is, I’ve left the best for last. Salted Green Mango is, for me, the standout of the Strangers Parfumerie line. The mango note is not really the point – it’s just a momentary swelling of something syrupy and green-tropical behind the avalanche of musk and vetiver, subsiding into the ether far too quickly to be a feature.
The thing to pay attention to here is the salt. Salted Green Mango is basically a huge, spacey cloud of sparkly vetiver-musk molecules that mimics the invigorating scent of salt air. It smells clean, but despite the probably industrial amounts of white musks or Iso E Super used here, also quite organic, like what I imagine the air around the Bonneville Salt Flats in Utah smells like on a breezy day. And yet, there is something clearly lab-made about the scent; it feels engineered, ergonomic, and therefore a bit more chic or more modern than just a simple clustering of naturals.
I’m in love with how this (really quite simple) scent of white, clean, salty woods and musk gives me that ‘my-skin-but-better’ aura; it’s effortless and sensual. I’m willing to bet serious money that people who love those modern, shape-shifting floral-woody musks made to smell like 50% cyborg, 50% warm human skin – stuff like Glossier You, Diptyque’s Fleur de Peau, and Le Labo Ambrette 9 – will love Salted Green Mango. For me, it knocks all those modern skin musks, as well as Jo Malone’s (really excellent) Wood Sage & Sea Salt, right off their perches. This one goes straight on the full bottle list.
Mxxx. by Eris Parfums is an almost embarrassingly
sexual scent – the result, I imagine, of an experiment to cross breed the silvery,
driftwood aroma of a far-off beach bonfire with the boudoir-ish scent of smoked
butter, incense ash, and the baritone subwoofer of 88% cocoa powder.
I really liked the original Mx., which, with its creamy-spicy-woody character (à la Cadjméré by Parfumerie Generale), was a bright and casual affair. The innovation here, with Mxxx., is that Barbara Hermann and her perfumer for Eris Parfums, Antoine Lie, decided to up the stakes by adding a large dose of 7% natural ambergris tincture, cacao from Trinidad, and hyraceum tincture to the formula. The difference this has made to the bones of the perfume is striking. It’s not just that the natural ambergris has made the perfume warmer, siltier, more animalic – which it has – but that the furniture has been rearranged in a way that makes me think it’s another room entirely.
Each time I wear Mxxx., it overwrites my memory of the original a little bit more. I remember the original smelling like sandalwood, if sandalwood was made of pine, milk, hazelnuts, and chocolate oranges – sexy in a tousled, white cotton t-shirt kind of way. Mx. was firmly unisex, or just ever so slightly feminine-leaning, and clearly a perfume for daylight hours.
Mxxx., by contrast, is a smeary creature of the night and more emphatically masculine. The bright chocolate-orange sandalwood of the original has been replaced with a smoky butter note, which is held in place by an quasi-fecal cedarwood with bitter, chocolatey undertones.
In its total effect, Mxxx. still smells like sandalwood to me, but a much earthier, more aromatic version than the milky ‘saffron orange’ sweetness of the original. The butter-cacao undertone here is unctuous but roughened with a kitten’s lick of grey sea salt that catches at your throat and stops the scent from smelling overtly gourmand. The incense, subtle spices, and the musky cedarwood give the scent a dry, gauzy texture, like ash from a wood fire blown into the air.
Animalic? Technically, yes, I suppose it is. But Mxxx. isn’t one of those fragrances that sacrifices smoothness or wearability at the altar of animalic authenticity. I think we’ve all smelled scents where castoreum smells like the pissiest, driest, most urine-soaked piece of leather imaginable, or where their natural ambergris smells alarmingly like halitosis, horse dander, and low-tide harbor. While I admire those kind of scents for pushing boundaries, and for testing our tolerance for the unabridged ‘realness’ of animal secretions at their rawest, they sure as hell can be a trial to wear.
Give me something like Mxxx. any day. It smells great, and sexy in a skin-like kind of way, but never like something that’s playing a game of chicken with me. It really isn’t any more challenging or animalic than, say, the full-bodied, all-original-woods-and-civet-intact lasciviousness of 1980s-1990s perfume, like Samsara (Guerlain) or Ubar (Amouage) or Creed’s fantastic Jasmin Impératrice Eugenie (not that Mxxx. smells like these, particularly; I’m just referring to a similar ‘generosity’ in their proportions of thick, pongy-sandalwoody-French-perfumeyness).
The smoked butter note is, for me, the primary animalic element. It smells a bit fatty and skin-like, at first, before the smoke and ashy woods arrive to dry it all out. The smoke here is subtle, rising in curlicues up from the bottom of the scent, and sifting its way lazily through the salty, melty cocoa-butter of the topnotes. This is not the strong smoke of cade or birch tar, but rather the rubbery, sweet smoke of the tire leather in (vintage) Bvlgari Black.
It’s a genuinely sexy perfume, this minxy Mxxx., but not in an immediately obvious way – far more Hot Priest from Fleabag, let’s say, than the knowingly calculated (and boringly obvious) head-tilt of George Clooney.
Source of sample: Barbara Hermann very kindly sent me a sample to test (with no obligation to write about it), for which I am very grateful. I believe that wearing it has increased my sexual attractiveness by about 156%, but I work with scientists, so I should say that there’s no real evidence to support that figure outside of my own imagining.
Although I’ve always worn make-up, my reasons for doing so have varied dramatically over the years. As a teenager, my first and only concern was to make my face into a blank mask to submerge any of the features that made me me and replace them with a ‘fake news’ version of myself. I used make-up to disappear myself. In my twenties and thirties, I used make-up in a purely utilitarian way, zipping through the Holy Trinity of skin-eyes-mouth simply to avoid subjecting strangers to the raw, peeled potato-ishness of my naked face. I cultivated a short-list of favorites and did not deviate, except for dropping concealer altogether when I realized that I’d stopped caring whether people saw my flaws or dark circles.
But now, in my forties – a renaissance of sorts! I have fallen completely in love with the artistry and self-expression side of make-up. And I use it now not to hide, not to cover, but to play. I can be a different woman every day, if I want. But only because I want to shape-shift or it amuses me, not because I feel I have to conform to someone else’s expectations. The pleasure I get in playing around with soft, lavender duochromes from Nabla that shift from blue to pink when you turn your head or going bare-faced with only a bright red mouth to focus the eye – well, it’s extraordinary to me. It’s equal to the pleasure I get from perfume.
The only reason I’m banging on talking about this is that Dusita’s Le Pavillon d’Or reminds me very much of the watercolor blush technique demonstrated by make-up artist extraordinaire Lisa Eldridge in this video, and also of the Japanese-inspired blush placement technique called igari, as demonstrated here. Though different in intent, the two techniques share a focus on the overlapping of delicate, watery layers of color to create a diffused effect that balances richness with translucence. Le Pavillon d’Or seems to be built along the same lines, with several layers laid down until something like the iridescence of a butterfly’s wing is achieved.
Gosh, it’s so pretty. Mint, iris, and honeysuckle combine to form a fresh, green opening that sometimes reminds me of Chanel. No. 19 and sometimes of Diorella (and sometimes of neither). There is an illusion of galbanum minus the bitterness, or of vetiver without its dankness. The main note here is fig leaf, which would explain the faintly milky quality to the greenness, but there’s none of the urinous quality that often sullies the vibrant smell of fig leaf. There is also a whisper of fruit, but one so phantasmagoric that it might all be in my head.
These opening notes are quickly coated with an overlay of what smells to me like the sweet, musty alfalfa grass notes (half hay, half Quaker’s oats) borrowed from one of my favorite Dusita perfumes, Erawan, but minus that scent’s dusky cocoa. There is also, here and there, a touch of Chanel’s Poudre Universelle Libre – a discreetly-perfumey, buff-colored skein of powder dusted over the scent’s cheekbones.
Although perfumer Pissara Umavijani’s inspiration for Le Pavillon d’Or was drawn from three different lakes, this perfume smells more pastoral than aquatic to me. It carries the green-gold-lilac duskiness of post-harvest meadows and field margins and hedgerows.
The final layer in this igari blush-style fragrance is a crepuscular haze of almond-scented lotion, due to the heliotrope, a plant beloved of midwives for its babyish innocence. But while in less elegant hands the heliotrope might turn fudgy and turgid in that yellow cake way of Etro’s Heliotrope, Pissara has threaded the note through gossamer layers of green florals and iris so delicately that the finish retains the freshness borrowed from the first layer laid down. Simply lovely.
The amount of depravity Francesca Bianchi subjects orris root to, I don’t know to be scared of meeting her in a dark alley – or take her out for an Aperol Spritz. People are just now starting to talk about a Bianchi DNA, but I think that her signature was fairly evident from her first releases. If I were to sum it up, I’d say that Bianchi takes materials that seem innocuous and innocent in and of themselves – light suede, powdery orris, fresh vetiver – and works them over with a knuckleduster until they smell rough around the edges and distinctly unclean.
I wonder if, when Luca Turin said in The Guide 2018 that most of the creativity in perfume these days was coming out of Italy, he meant Italians are not afraid of making a statement? Because that’s true in Francesca Bianchi’s case. She doesn’t shy away from pungency or notes that traverse the scale from matted bear to Siamese kitty. But while I wouldn’t rate Bianchi’s perfumes as particularly beginner-friendly, there’s an (Italianate?) smoothness of finish that renders them beautifully wearable. In fact, I can’t think of any other indie whose work falls into that tight space between animalism and polish as neatly as Francesca Bianchi (although Marlou comes very close).
Although very different to each other, it’s hard not to see Lost in Heaven and The Black Knight as anything other than two sides of the same coin, joined as they are not only by their twinned launch but by the patented Bianchi move of perverting the aloofness of orris with rude skin musks and the salty, urinous twang of ambergris. Leather is the outcome in one; a diffuse taffeta ruff in the other. But something about both perfumes make me think, ‘Francesca Bianchi, you are a bad, bad girl’.
The Black Knight in particular drives me wild. It took me a bit of time to understand it, but after ten days straight of wearing the damn thing, I’m all in. Opening with a hoary ‘Old Man and the Sea’ vetiver that smells like a bunch of whiskey-sozzled men in damp tweed around an open fire in a cramped little Irish cottage beside the sea, it immediately establishes a tone of neglect and closed-up spaces. Slightly analogous to vintage Vetiver by Annick Goutal and Muschio di Quercia by Abdes Salaam al Attar, the vetiver here is denuded of all freshness and twisted into a grungy leather that smells more like something dug up from the bowels of the earth than grass. But for all its salt-encrusted, boozy ‘staleness’, I think The Black Knight succeeds for much the same reason that Patchouli 24 does, in that it balances out a smoky, barely civilized leather accord with a softening layer of something sweet and balmy, delivering both the sting of the whip and a soothing caress in one go.
The Black Knight swaps out the birch tar of the Le Labo for an interesting cuir accord built mostly (as far as I can tell) from that hulking vetiver and some of the bitter, meaty Cellier-esque, Isobutyl quinoline-infused leather that’s been popping up quite a bit recently (see Rose et Cuir). It takes some time to dry down into that softening layer of balmy beeswax – infinitely more balanced than the sweetness in Patchouli 24, which is more sugary and vanilla extract-like in character – so before we settle in for the final, long drawn-out waltz of leather and cream, there’s a surprising development or two.
Most notably, past the opening of dusty ‘grumpy old man’ vetiver, an animalistic accord emerges, pungent and sticky with honey, and almost honking with the freshly-urinated-upon-hay stink of narcissus. Bianchi’s treatment of orris is fascinating to me – she can make it high-toned and mineralic, or funky with the low-tide halitosis of ambergris or blow it out into a big, civety floral cloud. Here, the orris is briefly pungent, with disturbing hints of rubber, boot polish, tar, and urine. This pissy-rubbery stage almost never fails to surprise me – and I’ve been wearing these two samples for the past ten days straight. Don’t smell your skin too closely and you might miss it entirely.
The Black Knight seems to go on forever, dawdling in that balmy double act of creamed beeswax and ‘hard’ leather before eventually dropping all the sweetness, leaving only mineralic dust and the faint whiff of marshy runner’s sweat (a drydown it shares with Le Labo Patchouli 24). The Black Knight is a bolshy, mouthing-off-in-all-directions strop of scent that’s probably not the easiest thing for a total beginner to carry off. But it’s striking as hell, and never less than sexy.
I can never tell if Lost in Heaven is a civety floral or a floral civet. There’s a brocaded sourness of honey, pale ale, and resin in the far drydown that gives it something to rest against. But mostly this is a bunch of dollhead-sweet flowers blown out into a diffuse cloud of satiny musks and underlined with something very, very unclean – like leaning in to kiss and girl and catching a suggestion of unwashed pillowcases, scalp, and skin that’s already been licked.
At first, Lost in Heaven reminds me very much of other vaguely retro indie floral civets (or civety florals), especially Maria Candida Gentile’s irisy Burlesque – a mini of which I bought for myself as a birthday present and am rapidly burning through – and Mardi Gras by Olympic Orchids. Then it strikes me that it’s not only the civet (or technically, the ambergris in the case of Lost in Heaven) that’s linking all these scents in my mind, but a certain indie treatment of the iris, or orris, that they all share. I’ve smelled it in Andy Tauer’s iris-centric work too, most notably in Lonesome Rider and his more recent Les Années 25, and it runs like a hot streak through Francesca Bianchi’s work.
The only way I can describe this specifically indie orris treatment is this: take a huge mineral-crusted rock from the beach, wipe it down quickly with a lemony disinfectant, stick it in a clear glass kiln and turn up the heat to 1370 degrees C until it vaporizes, filling the closed-in space with a glittering miasma of acid, mica, and lime-like tartness. I have a suspicion that a matchstick’s worth of Ambrox or Cetalox is the fuse that ignites the orris here, with castoreum creating that dusty, soot-like dryness that approaching freshly tanned leather or suede. The end result is a rather sour and acid-tinged iris that smells like you’re smelling the material diffused in the air after a lab explosion rather than from anything growing in nature. Actually, to be fair – I’ve smelled this ‘hot lava stone’ treatment of orris in landmark Guerlains too, most notably in Attrape-Coeur (one of my all-time favorite scents), which layers a dollop of peach and raspberry jam over a bed of these hissing-hot iris rocks and watches for the chemical reaction. Fridge-cold jam against hot minerals, with a side of sweet, rubbery dollhead, all blown out into sour, almost boozy mist – well, what’s not to like, really?
God, I only hope I’m making sense to someone out there.
Hyde by Hiram Green is an exercise in birch tar. Actually, it’s an exercise in how to do birch tar without swamping the structure in an overwhelming wall of BBQ smoke. The scent opens with the peculiarities of rectified birch tar on full display: the tarriness of melted gumboots brushed with the cooling tingle of wintergreen and the medicinal sting of TCP (Germolene). A pleasantly boozy warmth, a licorice-like chewiness, stirs underneath the surface.