The challenge for any reviewer in reviewing the Areej Le Doré releases is that (a) either you’re late and the perfumes you’re writing about are no longer available to buy, or (b) you’re on time for a full bottle release, but you are talking only to the group of three to six hundred people that are buying them, a tiny circle of devotees that seems to get tighter and more closed-off with each successive release from the house.
I can certainly see why many people in perfume-land might be attracted by the fantastic raw materials on offer by Areej Le Doré but turned off by the feverish fandom that has sprung up around the brand. If you’re not willing to set your timer to bumfuck o’ clock Thailand time or duke it out with the scalpers, then the whole thing can feel like the most fearsome clique from high school. And when anyone feels excluded, there is the natural tendency to grumble to yourself, “Well, if I’m not in, then I’m sure as hell out…of this hot, culty mess.”
While this is certainly not a problem for Areej Le Doré itself – selling everything you produce is the dream, after all – I wonder if the lack of new entrants into the inner circle of devotees represents a problem over the longer term. Fresh perspectives on your work are essential whether you are making a car or a perfume because they stop you from drowning in the reflecting pool of constant and uncritical adoration. They also safeguard the perfumer against the danger of becoming essentially a private label or custom outfit dancing to the whim of a small but intimidatingly vocal group of buyers, none of whom I’d particularly like to meet in a dark alley. Just kidding, just kidding (sort of).
Anyway, this review goes out to anyone who has an interest in Areej Le Doré fragrances but has, for one reason or another, avoided actually buying them, either in sample or full bottle form. This might be someone who loves natural raw materials, for example, or someone who loves and misses the rich orientals of yesteryear that boasted real sandalwood or expensive floral absolutes. Or it might be people who are into perfumes in general and have the money to invest in the really good examples, but zero stomach for the clusterfuckery around the brand itself. If that’s you, and you’re reading right now, then let me tell you that this particular Areej Le Doré collection is the one to dip your toes into, if you were reluctant before.
Here’s why I think this collection is a good entry point for newcomers to Areej Le Doré. First, the perfumes in this collection are noticeably lighter and more refined than previous cycles, making them easier and more pleasant to wear, especially for women.
Second, none of the perfumes in this collection are marred by the heavy, almost seedy animalic undertone that has dogged other collections. For example, I loved Plumeria de Orris from one of the previous collections, however, once the buttery orris and frangipani burned off, the fragrance was dragged under the gutters by a honeyed civet or musk that smelled disturbingly like dried saliva. Koh-i-Noor was my absolute favorite of a previous generation, but a greasy costus-laden musk gave it an old-man’s-crotch vibe that I couldn’t quite shake. But in this collection, even the musk- and oud-heavy perfumes are not overly heavy, greasy, or saliva-ish.
Third, and probably the most important one: I think that this collection is Russian Adam’s best yet. If you don’t know already, each Areej Le Doré collection usually contains variations on a basic line-up of a (i) musk (usually natural deer musk-based), (ii) an oud, (iii) a humongous mixed oriental floral, (iv) a ‘soliflore’, (v) an ambergris, and/or (vi) a leather or sandalwood. Although there doesn’t seem to be an ambergris-focused scent this time around, the others are all either superlative or really good examples of their respective ‘theme’. If you love natural raw materials like oud and sandalwood, then pull up a chair: brands like Areej Le Doré are the last holdout for exquisite raw materials in a world that is increasingly sanitized and lab-molecule-dependent.
Rather confusingly, Santal Galore is the kaleidoscopic floral nag champa extravaganza this time around, rather than the sandalwood you might be expecting (which is actually to be found in the equally-confusingly-named Musk Lave). My vial leaked in transit, but after smashing it open and swabbing the gooey remnants onto my skin with a Q-Tip, I can tell you that this is the one I’d crawl over hot coals to smell again. Oh God, grant me the unlimited funds to buy the few perfumes that smell as good as this. It opens with a big, creamy swirl of aromas that you imagine emanating from a Persian carpet or a well-oiled antique from a souk, soaked in multiple generations’ worth of glossy, fruity Cambodi oud oils, rosy-sandal attars, and the sweetness of smoke from decades of burning Indian Chandan sticks and barkhour.
This perfume carries that full romantic sweep of Orientalia in its bosom that Westerners like me find so irresistible but that usually come out mawkish and kind of cheap-smelling. Santal Galore deftly matches the slightly gummy-floral sweetness of nag champa with a savory cream cheese background that seems to encompass the smoked Easter Ham aroma of guaiacol and a salty-minty oakmoss. Eventually winding down to the lovely smell of a freshly-struck match, Santal Galore performs the same trick as Santal de Mysore in that it is suggestive of the spiced warmth of real sandalwood without smelling directly of it.
For my personal taste, this is the best floral/woody/musky thing that Areej Le Doré has ever done. There are no analogs in the commercial or niche world, so it’s difficult to draw comparisons that will make sense to those new to the brand. But if pushed, I would mention Le Maroc Pour Elle (Tauer Perfumes) or Daphne (Comme des Garcons) as scents that occupy the same scentoverse ideologically speaking. Less helpfully perhaps for newcomers, but more so for people who have bought into the brand since its inception, Santal Galore is roughly in the same ballpark as Ottoman Empire, with which it shares a similar nag champa floral richness, and Koh-I-Noor, for that same almost claustrophobic rush of dense, heavily-packed-in floral notes and that texture that is both creamy and powdery (although Santal Galore is not as animalic or as costus-laden). It has been a while, but there could also be a line drawn to the sharp, almost oily Flux de Fleurs, though Santal Galore is a far gentler, rounder affair.
Musk Lave has one of the best real sandalwood finishes I have smelled outside of attar and mukhallat perfumery. For fans of real sandalwood, the real treasure lies here, and not in Santal Galore. But be aware that this is the type of musky, spicy, masculine-leaning sandalwood that used to feature in high quality ‘barbershop’ fougères before Indian sandalwood became generally unavailable to commercial perfumery in the late eighties, and before entire carpets of beige, sweetish tonka bean were conscripted to fill the gap.
In other words, though it certainly smells rich and incensey, like all good sandalwood should, this sandalwood is the handsome, rugged version that smells more like good wood and bay rum spices than a creamy dessert that will send you into a stupor. The invigorating sparkle of the sandalwood is beefed up by a nice lump of labdanum, so you get the full balance of aromatic-dry and sweet-incensey that the very best examples of sandalwood possess, e.g., the Mysore 1984 by Ensar Oud, which, because it is aged, has developed that rich, incensey sonic boom ‘loudness of voice’ that would be most unusual for a pure sandalwood more freshly distilled.
Winding back to the start, Musk Lave opens with a fresh, powdery lemon and lavender accord, which would be a naturally lean kind of thing were it not for the immediate upswell of an unctuously buttery musk or tonka that adds richness, like a pat of yellow Irish butter melted over a salad. Think Jicky but with real sandalwood and musk dialled in for that naughty ‘skin musk’ feel, writing over the rather sharp, sometimes foul-smelling synthetic civet of the Guerlain. Given that Jicky is my favorite fragrance in the world, hopefully you’ll take my word for it that Musk Lave is the upgrade nobody knew was in the wings but immediately presses the install button on.
Agar de Noir (can’t you just feel Luca Turin squirming?) is the oud in the collection and is quite the departure for Russian Adam for two reasons. First, although the oud is the real deal, it does not smell like any one particular terroir or style of oud (as opposed to Antiquity, which smelled almost entirely of the beautiful Cambodi oud oil used) but rather presents as a generalized picture of ‘oudiness’ that’s been cleaned up for public consumption. So, you get the characteristic smell of damp, fermenting wood chips and the dusty scent of old wood varnish, but not the shriekingly sour hay and leather highnotes of a Hindi, or the hyper-treacly stickiness of a Trat, or the wolf-fur wooliness and ambergris-saltiness of a Chinese oud. The oud is there merely as a signpost planted in the scent to suck you deep into the shadows, where the equally dusty darkness of ground coffee is waiting, deepening the gloom.
The opening reminds me more of Borneo 1834 (Serge Lutens) than any of the other Areej Le Dore oud-dominated fragrances, due to that ‘brown’ dustiness; Oud Luwak also used coffee as a note, but it felt much more like an oud-focused affair than Agar de Noir, which feels more floral. It does share with Oud Luwak that dark, airy elegance of structure – like an expensive bar of chocolate that makes a satisfyingly clean ‘snap’ noise when you break it. The gloom of these brown notes has been lifted by the chalky brightness of violets, which create a sort of pastel-colored clearing in the Agar de Noir forest. I like the civilizing effect the violets exert on the oud: they add an unexpected foppish lightness that could be read, in some lights, as ‘dandified’. This tangy, balmy oud-and-violet accord makes what is essentially a floral leather sort of thing – like Jolie Madame (Balmain) with an oudy twist.
The second way in which I find Agar de Noir a departure is in its overall lightness of feel. The light-on-dark, violet-on-oud-leather thing is super elegant while it lasts but after two hours, the show is essentially over, save for the cinder toffee-like sweetness of the labdanum that brings up the rear.
The labdanum persists for hours beyond this, of course – it is a traditional basenote for a reason and has been the finish of choice for Russian Adam in all his oud blends after Oud Zen. But compared to Russian Oud and Oud Piccante, the labdanum absolute used here is of a much lighter weight – a judicious smear of incensey, golden toffee, but unencumbered by the sheep fat unctuousness of the labdanum in Oud Piccante or the chocolatey amberiness in Russian Oud. Personally, this ‘middle’ weight of labdanum suits me just fine; Oud Piccante is too savory-fatty for my tastes, and Russian Oud too gourmand. Agar de Noir is lighter, shorter, more attenuated, and is all the better for it. However, oud heads who want their oud to be perceptible past the third hour mark, Agar de Noir might be one sacrifice too far in the name of elegance.
For anyone not already inducted into the Areej Le Doré oud hall of fame mentioned here, just picture an oudified Jolie Madame and you’re on the right track. I think this would also be a particularly friendly oud for beginners, and because of its soft, ‘thin’ floral mien that restrains the brutishness of the oud, it may also be a better pick for women. Dark, dapper, and mysterious in a Victorian gentle-person kind of way, Agar de Noir is my pick of the Areej ouds, barring Oud Zen, which was similarly minimalist and ‘legible’.
Grandenia suggests that it might be going big on the famously creamy, mushroomy lushness of gardenia, but this is not the case. Rather, this is a tightly-wound, stiffly-starched green floral that starts out at the data point of a citrusy-piney frankincense – a resin that here smells like a freshly-stripped piece of Silver Birch – and winds up in Chandrika soap territory.
I find this pinched, freshly-scrubbed sort of floral a chore to wear, but it may appeal to people who like Antonia by Puredistance. I also want to acknowledge that this would be a good white floral for men, as it is completely devoid of the soft, candied creaminess and tinned-fruit syrupiness of most white florals. It is clipped and pure; the sort of thing to stiffen the spine. A very good wood accord develops in the base that smells more like sandalwood soap than oud or sandalwood per se. And then, finally, in the last gasps – a ghostly imprint of gardenia, with that slightly glassy, freshly-cut-mushroom quality it shares with myrrh.
Cuir de Russie is a scent to spray on fabric rather than on your skin, but I have done both to no ill effect (if you have sensitive skin, just obey the damn instructions). This is not the Chanel kind of Cuir de Russie (Russian Leather), but rather, a leather-ish note in a minor key nestled inside a massively cheesy and then baby-powdery deer musk. On the skin, the chalky, innocent pallor of violets peeks out shyly, but not to the extent where you would define the scent as floral (or feminine, or soft, or indeed any of the usual descriptors used for flowers). On fabric, it is the rude, smeary honk of deer musk that dominates, stepping firmly down on the neck of any floral note that threatens to make a break for it.
Given that Cuir de Russie has real deer musk in it, it stands to reason that it is very, very powdery and clings to the inside of the nostrils for days. If you want to know what real deer musk smells like, by the way, please read my article ‘The Murky Matter of Musk‘ here. Many people think that real musk smells foul or fecal. It does not. It does smell intimate, like the morning breath of someone you love, or a clean perineum, but it is more often than not quiet, powdery, and quite sweet, its odor clinging to skin, hair, and fabrics for many days (deer musk was one of the four great animalic fixatives of perfumery).
The musk in Cuir de Russie is somewhat similar to the musk in War and Peace, which I loved for the way its musk was so dry that it smelled like smoke from a just-fired gun (some people interpreted the dryness as baby powder). But Cuir de Russie also doesn’t have the almost pretty smuttiness of the musk in War and Peace, nor its sultry sweetness; it is more butch and a bit rough around the edges, despite the inch-thick layer of powder.
I like Cuir de Russie but wouldn’t particularly recommend it to a newcomer seeking an entry point to the brand. There’s always the danger that leather fans might roll up and expect leather (crazy, right?) and right now, before the full whack of aging and maceration, Cuir de Russie is mostly musk. Birch tar fans, of which I am one, might be disappointed at its subtlety in CdR – there is zero BBQ meat or ‘just threw a leather jacket on a campfire’ smokiness here. Cuir de Russie is primarily a very rich, powdery musk that ultimately leans a bit too hard on the intrinsic complexity of its naturals to fill in the olfactory blanks.
This is probably going to mature into something stunning, along the lines of Koh-i-Noor. But it is a high risk investment for a bottle of something whose materials might veer off into directions that not even its perfumer can predict with 100% certainty. For those signed up to the rare natural materials pledge, this is is part of the thrill; for the rest of us, contained within the unfixed, mutable nature of these raw materials is the warning that the perfume might also change for the worse.
Source of Samples: Kindly sent to me free of charge by the brand. My opinion are my own.
Cover Image: Thanapat Pirmphol from Pixabay