Le Labo Ylang 49 is a scent that gives me some serious cognitive dissonance. I keep wearing it and trying to figure out why, and this is what I’ve been able to come up with:
Building a Capsule Perfume Wardrobe: If you had to build, or rebuild, your perfume wardrobe using only travel sizes and minis, could you do it? What would be on your list?
A couple of questions have been dogging me lately. First, how much perfume do I actually use in a year? And second, if my collection of full bottles was lost or stolen, would it be possible to build a small capsule wardrobe that covers all possible scenarios using only minis and travel sizes, and sticking to a putative budget of +/- $30 per bottle?
Set aside the notes for a minute. This isn’t a fragrance overly centered on either tobacco or tuberose. Slowdive, for me, is Hiram Green’s take on honey.
And what a gorgeous and strange honey this is. Medicinal and syrupy, it begins as a river of intense aromas all knotted together so thickly that it’s difficult to make out what one is smelling. On my first wearing, I thought the opening had something of that anisic, clove-scented cherry dough that forms the medicinal heart of L’Heure Bleue (Guerlain) or even Kimonanthe (Diptyque), but a second wearing told me I was wrong.
Maison Nicolas de Barry has been around since 2003, but has garnered relatively little praise or attention. I wonder why that is? I’ve enjoyed every single perfume I’ve tried from this brand, and find some of their natural perfumes to be stunning. In an era where natural and attar-themed perfumes for a Western audience is gaining traction (Sultan Pasha Attars, Areej Le Dore, Rising Phoenix Perfumery etc.), the perfumes of Maison Nicolas de Barry should be a slam dunk. And yet….crickets.
I don’t think that the price is the barrier. Their historical EDPs, while not cheap, are not terribly unreasonable at €149 for 100mls. The naturals and oud collection perfumes are indeed very expensive (between €600 and €1,140 for 150mls), but there are 7ml mini bottles to be purchased at a reasonable cost of between €29 and €52. I know plenty of perfumistas who wouldn’t mind paying that, especially those who care about high quality naturals, pure ouds, and sandalwood oil. The people who love Siberian Musk by Areej Le Dore, or Nan-Kun by Sultan Pasha, or Bushido attar by Rising Phoenix Perfumery, or the latest sandalwood oil by FeelOud do not hesitate to drop in excess of $500 on even a small quantity of these perfumes.
But scarcely anyone in the perfume blogosphere mentions Maison Nicolas de Barry. The few blog mentions or reviews on Fragrantica and Basenotes seem polite but slightly puzzled or underwhelmed. Having tested a diverse selection of their offerings, there is absolutely no question regarding the high quality of the materials and compositions.
I do believe, however, that the way the brand has positioned itself might have caused some confusion or misunderstanding. In brief, while most brands have one driving force behind their establishment, Maison Nicolas de Barry has two, and pursues both – sometimes on dual tracks, and sometimes simultaneously within the same collection.
Every niche parfum house has an avowed driving force – a raison d’être – behind their existence, be it to explore the beauty of synthetic molecules (Nomenclature), translate Italian and Mediterranean music and art into fragrance (Sospiro), or bring the magic of the Orient to Western noses in a digestible, French format (Amouage). I think it’s possible that Maison de Barry has gone ignored and misunderstood because, although the brand says it is mostly focused on recreating the historical perfumes of the past, many of the perfumes themselves smell much more like attars or natural perfumes.
The stated mission of Maison Nicolas de Barry is to recreate the perfumes that might have been worn by historical figures important to European social and cultural history, such as Empress Sissi, King Louis XV, and Georges Sand. But the perfumer and owner of Maison Nicolas de Barry – Nicolas de Barry himself – is clearly far more passionate about natural perfumery and the attar perfumery of both India and the Middle-East than any other type of perfume. He has personally visited the center of attar making, in Kannauj, India, to watch distillers and attar makers at work. He also travels around the world, visiting ylang plantations, jasmine farms, oud distillers, and sandalwood projects, sourcing his materials there and bringing them back to Paris with him, where he works them into his perfumes. He has even written a beautiful book on Indian attar making, called L’Inde des Parfums.
So, although Nicolas started off with a range of conventional niche perfumes – the historical ones – he has since focused more and more on his ranges of all-natural perfumes, raw materials, and (real) oud compositions. In other words, the soul of the brand “Maison Nicolas de Barry” is actually more about natural perfumery and attar/oil perfumery translated to a Western format than, strictly speaking, historical reconstructions (although there are some of those in the line too).
The only problem that this presents is that the split purpose might confuse customers (and even fragrance bloggers). The first impression any customer will get of the brand is the historical reconstruction angle, with the attar and naturals focus emerging only when you delve deeper into the descriptions and background on the site. Hence, a disconnect between that the brand itself suggests you’re going to smell, and what you actually smell.
The recreation, or reimagining, of les parfums historiques is not a new or unusual theme in perfumery, of course, as brands such as Parfum d’Empire, Histoires de Parfum, Rance, Creed, and even Maitre Parfumeur et Gantier demonstrate. But because these niche brands either got there first or are more popular, they managed to set the expectation for a parfum historique as thus: abstract, modern, niche constructions that behave like any other Western niche fragrance. Since the compositions of Maison Nicolas de Barry are at once far more streamlined and more naturals-focused, it’s possible that they appear simplistic or muddy to someone expecting the 3D mixed media richness of an Ambre Russe by Parfum d’Empire or even the Samsara stylings of Guerlain.
So, let’s re-set expectations here. The perfumes of Maison Nicolas de Barry are great when viewed through the lens of a parfum historique, but superlative when viewed as their rightful form, i.e., naturals, pure ouds, and attar scaled up into a sprayable EDP format.
Understanding that the perfumes of Maison Nicolas de Barry are basically scaled-up attars and naturals in the guise of les parfum historiques is crucial to understanding the perfumes themselves. I remember receiving a tiny vial of Mumtaz-I Mahal from a perfume friend in 2014: it had leaked and filled the wrapping of the parcel with one of the most intensely beautiful smells I had ever experienced – sandalwood and rose. Strangely enough, when I applied what was left of the perfume to my skin, I found it to be less complex than the scent it left in the air: a sweet rose over an austere sandalwood. I much preferred the smell of the spilled perfume to the perfume itself as a wearing experience.
Looking back at this now, I think I understand that Mumtaz-I Mahal was teaching me my first lessons about attar perfumery in general, which are that:
- attar perfumery is quite simple compared to complex, French or Western perfumery, focusing as it does on exalting the spiritual beauty of just one or two naturals rather than on an abstract, perfumey vision,
- when a blend is this simple and composed almost entirely of naturals, the properties of the 1-2 naturals chosen for the blend are very important – there is nothing to disguise the inherently green sharpness of Ta’if rose oil or the soured milk tones of Australian sandalwood, and so on. And finally, that;
- since attar perfumery was created more as a way of scenting the air for others, in a display of Muslim and Hindi generosity of spirit to fellow worshippers, than for one’s own personal pleasure, the trail of scent left behind by an attar is often more pleasing than the scent smelled up close on one’s own skin.
Since I’ve already waffled on quite a bit, I’m going to split this article into two parts, the first dealing with the conventional parfums historiques produced by Maison Nicolas de Barry (samples of which can be found here), the second part dealing with the all-natural perfumes and oud collection of the house (samples of which can be found here).
The first part, below, contains reviews of a cross-selection of samples from the historical perfumes range. Some of these perfumes behave like most conventional Western niche perfumes (abstract, complex, perfumey), albeit with a strong naturals focus, while others behave as pure attars diluted with alcohol to scale them up into EDP format.
L’Eau de Louis XV (Le Bien-Aimé)
L’Eau de Louis XV (Le Bien-Aimé) – le bien-aimé meaning beloved or well-loved – is a scented tribute to King Louis XV. It is one of the most sublime and natural-smelling neroli fragrances I’ve had the pleasure of smelling. Unlike most neroli fragrances, there is no slow descent into soapiness; L’Eau de Louis XV retains a juicy, fresh bitterness that’s akin to biting into a winter orange and getting a mouthful of peel, waxy green leaf, and a bit of the woody bark too. It is both bright and salubrious. There is a floral poudrée heart of rose, violet, tuberose, and other flowers for support, as well as a dark, unsweet amber accord, but these are merely there to hold the orange and neroli aloft.
Am I imagining the slightly animalic muskiness that closes in around the neroli topnotes after the first few minutes? Probably. But something about this fragrance makes me think of the steamy, soapy floral odors escaping from the King’s boudoir during his morning bath, with the underlying funk of a sleepy and as of yet unwashed body warm from his bed. Without doubt, this should be the bellwether for neroli scents. It smells natural, uplifting, fresh, and bitter in all the right places. Bien aimé indeed…
La Reine Margot (La Scandaleuse)
It’s odd that jasmine is technically a white floral when its smell is so purple. In La Reine Margot, the natural jasmine really shines through – round and creamily sweet but not as bright, high-pitched, or as sunlit as the synthetic variants. In fact, it has a curiously dusky, subdued hue, as if the flower has been covered in heavy velvet. There is also a slightly muddy, plasticky tone that I associate with natural jasmine. It smells almost exactly like a natural jasmine ruh I’ve smelled before, while doing research for the Indian attar portion of my book.
The star is the natural jasmine, but it is backed by a powdery, spicy amber and what reads to my nose as creamy pheromone. What I mean by this is that it features the same “cream of wheat” smell that I’ve picked up in two pheromone-based fragrances, the all-natural Feromone Donna by La Via del Profumo and Pheromone 4, an attar produced by Agarscents Bazaar. Feromone Donna features a similar although not identical notes list to Pheromone 4: jasmine, civet, ambergris, tuberose, and vanilla. Like Pheromone 4, these materials come together to form a floral creaminess that is part cream of wheat, part white chocolate.
In La Reine Margot, there is something of a similar effect, with the jasmine interacting with either an animalic musk or ambergris in the base to produce a creamy floral porridge effect. It is perhaps more accurate to view this as a natural jasmine soliflore filtered through the sheen of a milky sandalwood oriental like Dries Van Noten for Les Editions de Parfums Frederic Malle. I find this to be a very sensual, natural-feeling jasmine perfume that – unlike many other jasmine-musk combinations – never tapers off into that leathery sourness one smells beneath the wrist band of a rubber watch at the end of the day. It remains soft, pure, and creamy all the way through.
L’Impératrice Sissi (L’Indomptable)
L’Indomptable means indomitable, a person who cannot be subdued or defeated, and this describes perfectly both the character of Empress Sissi and the fragrance itself. Sissi is a cheeky little scent. It comes so over-stuffed with violet pastilles, gummy bears, face powder, cherry syrup, and doll head plastic that you’d think that it would be insufferable to anyone over the age of 12, and for a while, it is. But then a thick, raw lump of benzoin and the uncooked pallor of a very potato-y iris emerge, interjecting the saving grace of ugliness into the pretty.
Sissi is extreme in all respects – a sort of cosmetics violet-iris accord set on fire and sent rolling down the hill to flatten everybody in its wake. People who like the part-syrupy, part-powdery excesses of Guerlain’s Insolence, Incarnata by Anatole Lebreton, or Ombre Mercure by Terry de Gunsberg will probably love this lipstick-on-steroids perfume too. I don’t love it, myself, but I certainly enjoy wearing it more than I should. In fact, it’s become something of a guilty pleasure. There’s a fluffy marshmallow crème accord in the drydown that gives as much pleasure and comfort as a giant, fluffy onesie. I’d imagine. Not that I own one or anything.
L’Eau de George Sand
I find it fascinating that both Maison Nicolas de Barry and Maitre Parfumeur et Gantier have historical fragrances in honor of George Sand and Queen Margot. Both houses chose jasmine as the principal material for their Queen Margot fragrances, although the MPG version is more of an animalic orange blossom than a true jasmine, and the Maison Nicolas de Barry version stars a very dark, natural jasmine accord.
For George Sand, both houses focus on the dried-up remnants of a perfume vial carried by Sand herself, which seemed to be made up of patchouli, roses, and amber. But while MPG takes the basic historical formula in a spicy, ambery oriental direction, the Maison Nicolas de Barry focuses on the dark, chypric elements. Think Amouage Beloved, Clinique Aromatics Elixir, and Noir Patchouli by Histoires de Parfum, rather than Cinnabar or Or Noir.
L’Eau de George Sand establishes its chypre credentials immediately upon application, putting forth a mossy, abstract bitterness that recalls dried plums, polished wood, and violin resin. It is also immediately powdery in a sumptuously floral way, and I’m sure that I can smell the bones of Acqua di Parma Profumo here, itself a cleaner, more powdery version of Mitsouko. However, there is also a plush animalic feel lurking under the topnotes, which could be either a grubby musk or labdanum. The contrast between the bright, elegant sharpness of the flowers and the murky skin-like feel of an animal is quietly disarming.
It is only towards the heart that I sense the darkness of patchouli moving in. But from there on out, this is a herbal, earthy patchouli chypre with a healthy dose of powdery rose. It is dark and somber in feel, while also elegant in that inimitable French manner. Lovers of Aromatics Elixir, Beloved, Noir Patchouli, or even Profumo should give this a try. It does everything they do albeit in a quieter and more natural way.
This was the perfume that sparked my initial interest in Maison Nicolas de Barry back in 2014, but I could reconcile neither my actual wearing experience nor the middling reviews with the incredible, unforgettable scent that had spilled on the package and permeated my sample box. In much the same way that I love the collected smells of all my perfumes on my winter coat collar or when I open up my perfume drawer more than the scent of any one single perfume on the skin, Mumtaz-I Mahal smells better in the ambience than on the skin.
On the skin, it is a very simple fragrance, just a Turkish rose backed by a smidge of sandalwood. The rose is very high quality – truffled, velvety, rich, and slightly jammy around the edges – but for all intents and purposes, it’s a rose soliflore, and that has to be what you’re looking for when you buy or sample Mumtaz-I Mahal. I think of it as the rose note from Aramis Calligraphy Rose cut free of all the spices, smoke, and resins of the Aramis.
It grows a little more citrusy and fresh towards the base when it meets the sandalwood, but in general, the rose tends more towards the softly jammy and truffled rather than sharp or green. Beautiful rose, beautiful materials…but perhaps better smelled in the secondary wake of someone else than as a personal perfume.
Shah Jahan is, of course, the natural companion to Mumtaz-I Mahal and supposedly the masculine counterpart. It is unisex, in truth, like all of the perfumes produced under Maison Nicolas de Barry. Inspired by the traditional attars produced in Kannauj and offered as gifts to the ruling emperors and princes of the Persiatic Mughal dynasty in India, Sha Jahan is far more complex than Mumtaz-I Mahal, with a tart, rhubarb-like rose on top of sandalwood, a vegetal amber attar base, and a touch of pure oud for exotic Arabian flair.
Shah Jahan has a fresh, silvery mien to it that speaks to homely Indian green herbs; compared to its female counterpart, it is angular and sugar-free. A woody, oudy sourness lurks at the corners, drawing the bright rose and herbs into the shadows somewhat, but mainly providing depth. It is spicy, sharp, and quite traditionally Indian in feel. Indian ambers are not creamy or vanillic, tending instead towards tart and spicy.
Oddly enough, the raw materials behave in this EDP format in much the same way as they would in an oil-based attar, meaning that the rose, which normally fades out over time in conventional fragrances due to the volatility of its geraniol and citronal molecules, re-emerges towards the end of the perfume, bathing the taut oud and woods in a rosy glow, that, while never sweet, softens the austerity of the blend. Think of this one as a rose-oud accord wrapped up in the clothing of a traditional Indian attar, which in turn is disguised in the form of a conventional eau de parfum. Superb.
Marc-Antoine Corticchiato is one of my all-time favorite perfumers, along with Gérald Ghislain of Histoires de Parfums. If push came to shove (and if you were to allow me a few Chanels, Guerlains, and attars), then I feel that I could survive quite happily on their perfumes alone. Parfum d’Empire and Histoires de Parfums were my gateway to niche perfumery, and still have the highest head count in my personal collection today.
Tabac Tabou is a masterpiece that always makes me think of Lady Chatterley’s Lover, its dirty yellow floral smearing smut all over the handsome, corduroy-fronted trousers of tobacco. Real gentleman farmer chic.
Ambre Russe has survived a ruthless cull of ambers from my collection, a pogrom that included even Amber Absolute, a fragrance I still call the ne-plus-ultra of ambers. I don’t wear Ambre Russe more than once a year, but it was my first niche purchase and still one of the most satisfying.
Musc Tonkin extrait, oh boy. Less of a musk and more of a salty, oysterish indolic floral, but sensual nonetheless, in an auto-erotic kind of way. It suffocates me most pleasantly, like that game where you see how long you can hold your breath under water.
When I saw the notes for Le Cri de la Lumière, I thought how brave it was of Marc-Antoine Corticchiato to release a perfume that sounded so much like Chanel No. 18. There was also the fact that there was another ambrette-iris perfume in the Parfum d’Empire stable, namely Equistrius, which Luca Turin had already compared to No. 18 in Perfumes: The Guide. (Personally, I found Equistrius to smell very little like No. 18, the former being musky in a cocoa-ish, velvety, and opaque way, the latter musky in an angular, crystalline way.)
As it turns out, though, Le Cri de la Lumière has much more in common with clean, ozonic musks like Chypre 21 by Heeley and L’Antimatiere by Les Nez than with the more buttery Equistrius and the fruiter, greener Chanel No. 18.
Le Cri opens with the crisp but slightly alcoholic green apple nuances of ambrette seed, which are immediately folded into the silvery whipped air of orris and the smell of a hot iron hitting a starched white shirt. The fuzzy “cold air” and starched linen brightness of the opening made me think immediately of the Chinese steam laundry room feel of Encens Mythique d’Orient, especially at the start, where the green rose is powdered upwards by a whoosh of aldehydes.
All of the words used by the brand to describe the perfume ring true – “crystalline”, “vegetal”, “opalescent” and “lustrous” are words that instantly jump to my mind when I smell this. The brand mentions luxury, and I feel this too, especially in the first five minutes when the full force of that silver orris butter is felt.
Unfortunately, where Chanel No. 18 takes a bare-bones structure and makes each of the elements sing for their supper, Le Cri de la Lumière quickly reveals that its skeletal framework isn’t hiding anything deeper or more nuanced. Although a dry, greenish rose appears in the drydown, it does nothing to mask or enliven the yawning gulf of white musk that opens up behind the arresting opening.
That is not to say that perfumes like this don’t have their place. Many people love these crunchy woody floral musks for exactly the reason that I dislike them: they are anti-perfume. They are the smell of clean air, freshly-laundered shirts, and the clipped minimalism of nothing at all. It reminds me of something Holden’s dead-eyed girlfriend in Mindhunter might wear – wry and deliberately affectless, as if emotion was being taxed.
I don’t dislike Le Cri de la Lumière, but I find it puzzling that something so curiously bloodless came out of the Parfum d’Empire stable. Chanel proved with No. 18 that it’s possible for a minimalist composition to be lively and full of charm; I’m not sure why, with their history of putting out such obscenely rich, talkative fragrances Parfum d’Empire pressed the mute button on this one.
A few days ago, I received a mysterious package in the post which continued four largish samples of what even I recognized as rare Creeds – Cuir de Russie, Angelique Encens, Bayrhum Vetiver, and Verveine Narcisse. Spotting the name of the sender, I realized what must have happened – a friend who was kind enough to send me some samples of rare Ensar Oud oils had obviously sent my ouds off to someone else, and I had received instead these Creeds. Somewhere, right now, in Northern Europe, some poor guy is peering at three tiny vials of a brown sticky substance and wondering if the Creeds are so old that they’ve dried up (possible).
Don’t worry, I told my panicked friend, I will send these samples off to yer man. It will be like one of those hostage situations: I release the Creeds if he releases the ouds, etc. I won’t even spray them, I said, obviously lying through my teeth.
I don’t know if Creed Angelique Encens is really that special, but it is so exactly to my tastes that I can’t help but think of it as a masterpiece. Creamy woods, smoky vanilla, resins, smoke, brushed with tender florals and kissed into being by baby angels. Ok, I exaggerate. It’s perhaps not the Second Coming. But it’s pretty damn close to perfection to my mind.
I’m not terribly into straight-up, liturgical incenses like Cardinal, LAVS, or Avignon. I find them initially compelling, but quickly too literal for my liking. My time at Mass was spent daydreaming of it ending, so I am not in any particular hurry to hurry back there in my olfactory memory. Of course, paradoxically, like most everyone else, I find the smell of frankincense and myrrh burning on a censer to be a wonderful smell – raw and primal; spiritually-uplifting even. I just don’t want to wear High Mass on my skin.
The three types of incense that I do like better in perfumery are (a) the thick, dark resin bombs like Sahara Noir and Balsamo della Mecca that evoke something ancient and primal, but not exactly churchy, (b) florals with incense that read as sultry but not High Mass-like, such as Exultat, Sacrebleue Intense, and Chanel No. 22, and, lastly, (c) ambery woody scents with a light touch of incense that are the equivalent of a comfort blanket.
Angelique Encens falls squarely into this third category. When I first put it on – not that I tested this more than five times, by the way, seven at the very most – I get a very clear image in my head of sparkling amber crystals forming on my skin, like salt on bare shoulders after a long day at the beach. The angelica lends the amber crystals a unique herbal, green-stalk-like tone. I am reminded slightly of Iris Oriental, if only for this brief impression of amber crystals forming on the skin, which is something I clearly visualize when wearing the Parfumerie Generale scent too.
The salty brightness and herbalcy of the opening dissipates rather quickly, clearing the way for a woody, creamy amber with hints of powdery incense. This begins to swell and bloom on the skin, growing fuller with every minute instead of thinning out, as one might reasonably expect. In a way, Angelique Encens is constructed in a manner that is completely opposite to most modern scents, which create shock and awe with their massive saturation of aromas in the first few minutes, only to collapse into a lethargic, pale base one hour in. Angelique Encens, on the other hand, grows into its beauty. It fluffs out, like an angora sweater laid to dry in front of an open fire.
No, unlike most modern fragrances, the start really is just the amouse bouche for the most amazing dinner that features no actual dinner per se but the most sensational dessert stretched out over ten courses. What Creed pulled off here was to turn crème brulee into a fragrance, infuse it with smoke, and sprinkle it with the same blue-purple flowers that make the dry downs of L’Heure Bleue, Shem El Nessim, and Farnesiana linger so long in the mind’s eye – heliotrope, violets, a touch of iris perhaps. It is not technically a floriental, though – it has the same elegant woody, ambery feel of Bois d’Armenie and Ambre 114. An incense floriental woody, maybe?
It’s the drydown of my dreams, and one they so rarely make these days. Achieved through what means, I cannot say exactly, but there is surely a very good vanilla absolute here, one that leans more towards smoke than to dessert, ambergris, flowers, and the type of creamy sandalwood you thought was already all bought up by Chanel for Bois des Iles. I also detect – surely – a fat cushion of benzoin further fluffing out the amber, vanilla, and creamy sandalwood.
Nothing too unusual, you’d think, nothing to see here, let’s move along, alright? Except it turns out to have the same full-bodied, voluptuous, soul-stirring beauty as vintage Shalimar or a less rosy Bois des Iles. So here I am, powerless to heed its siren call.
You’d think I’d have learned by now, but no. As it happens, I would be perfectly content to exclusively wear – for the rest of my life – fragrances that are just an inch to the left of Shalimar, one shade darker or lighter than L’Heure Bleue, a fragment of Bois des Iles. My tastes are Catholic, but not Catholic enough.
Angelique Encens is soul food to me. But lusting after it is like going back to the buffet knowing that I’m too stuffed to eat another bite. Technically, I don’t need it. I know it’s going to make me fat. But I sure do want it.
Histoires de Parfums Olympia Music Hall is such a weird little perfume. I don’t hear much about it, so I’m guessing it’s rather a round-peg-in-a-square-hole kind of fragrance for the line – too abstract to describe in three words or less to rushed customers, but not weird enough for perfumistas to latch onto and champion as an example of the fifth art, or whatever nth art perfumery is supposed to be. I mean, it’s weird, but it’s not M/Mink weird or Humiecki & Graf weird.
They’ve changed it now, but the picture for suede on Fragrantica used to be a pile of three or four suede carpets, folded back so that you could see their rubber backing. I always found that image hilarious in its honesty. My guess is that this image was far too Proletarian for perfumers, who would far rather we imagine the suede notes in their perfumes to look like the softest grey suede cushions in an upmarket hotel on Cap d’Antibes rather than a carpet salesroom in Leeds (I imagine Roja Dove writing in anguish, “Please, mon cher monsieur Knezevic, it hurts my eyes so…..”).
Anyway, Histoires de Parfums Olympia Music Hall makes me laugh because it smells very much like the rubber backing to the suede carpets in the original Fragrantica image – and I like these little moments of intellectual honesty I glimpse in perfumes here and there. Olympia Music Hall is not afraid to call a suede carpet a suede carpet. And I’m sure that it would cause Roja Dove’s nostrils to flare.
Suede perfumes are mostly abstract affairs, for me – kind of like leather, but without the ISQ bitterness, and kind of like cashmere, but without the bonelessness. I suppose if I were to try to define the difference between leather and suede, I’d say there are rubbed out lines to suede that aren’t present in the tougher, clearer leather note. Olympia Music Hall takes the softness of suede and gives it the rubber backing of a suede carpet.
I’m sorry – I’m not adequately describing how sexy this is. I wouldn’t blame you, with all the talk of suede carpets and rubber (unless of course that does sound sexy to you). But Olympia Hall is deeply odd, and therefore strangely sexy. It’s an offbeat little mixture.
That saffron-led rubber and suede accord forms the beating heart of the fragrance, but I’ve left out the sparkling citrus notes at the top and the weird mélange of soapy, almost twee florals (peony, freesia, and lilac) which manage to massage this thing into something both abstract and likeable. Kind of like the soapy, hand wash-like peony note in Dzghonka adds to its sense of mystery rather than making it seem schoolmarmish and old-fashioned.
And there’s a hefty dose of something animalic here too – not just the skin-like suede notes, but a rather sweaty, carnal musk and a dank patchouli, all very suggestive and torrid. The base relies on an opulent frankincense that manages not to smell Church-y or smoky, but rather like the waxy, cold, and rather soapy smell of the unlit, raw resin.
If smelling like rubber, suede, snuffed-out candles, cold wax, handsoap, unlit resins, and the posy of flowers held for too long in the sweaty hands of an Austrian milkmaid sounds good to you, then give the totally odd but not objectionably weird Olympia Music Hall a fighting chance.
The perfume’s name refers to the sexual revolution occurring in San Francisco in the late 1960’s, of course, but by 1969 the once idyllic hippy kingdom that was Haight-Ashbury had already started to be corrupted by hard drugs, homelessness, and unsavory criminal elements. And in a way, Histoires de Parfum 1969 Parfum de Revolte pays homage to this shift, by grafting an exuberantly sexy, brash fruit top onto a darkly spiced patchouli and musk base.
At first glance, 1969 is all about playtime. It opens with the biggest, trashiest peach note ever – as crude and as effective as a child’s painting of a peach, smeared with DayGlo pink and orange paint. Joined by a dizzying swirl of rose, chocolate, and vanilla, the peach vibrates and expands on the skin at an almost alarming rate until you feel like you are literally walking around in your own personal fantasy ice-cream sundae (one that features liberal helpings of vinyl and boiled sweets, that is). Like its close cousin, Tocade, I find it both vulgar and charming in equal measure.
Soon though, once the shock and awe of the fruit-vanilla assault dies down, darker, spicier elements enter the picture and quietly anchor the whole thing. The mid-section is a fruity rose and vanilla spiced with the green heat of cardamom pods and the woody warmth of coffee beans. The fruity, creamy roundness is still there, but it is given depth and presence by the resinous spice and woods. The base is a subtle musk and patchouli mixture, which, when mated with the vanilla, creates a creamy chocolate accord that brings it close in feel to Tom Ford’s wonderful Noir de Noir, a slightly darker chocolate-rose semi-gourmand.
I love 1969 Parfum de Revolte because it gives me both the low-rent pleasure of a Tocade-style plastic rose-vanilla and a darker, more adult finish that rescues the whole thing from tipping too far into the gourmand category. What’s more, when all analysis of this is folded up and put away, here’s what’s left – a loud, sexy catcall of a perfume that has just the right balance of fleshy vulgarity and wry sense of humor.
Amouage Beloved Woman is beautifully done. But what strikes me most about it is that it is clearly Amouage’s homage to that great classic, Clinique’s Aromatics Elixir, just as surely as Jubilation 25 is a homage to classic French fruity chypres such as Rochas Femme or Diorella.
Beloved Woman opens up with a bitter, powdered clove, lavender, and sage combination that smells as aromatic and as talc-like as one of those quaint gentlemen’s colognes you might find at Penhaglion’s, or indeed a modern interpretation of a Dandy perfume, such as Histoires de Parfums’ 1876. There is a certain spicy, resinous, talc-like feel that links all these fragrances in my mind.
But more than anything, the rose, the hay-like chamomile, the sage all sing a tune that is familiar to me from my lovely, pagan, mother earth Aromatics Elixir. AE is earthier, dirty with patchouli, and far more ‘deep down in the forest’ than Beloved. Beloved is a fine lady, and AE is a hippy mom. But the essential bone structure is there. One was like the other in a different life, and all that.
The rose note in Beloved is pretty remarkable. Hidden behind the aromatic powder of the opening, you might miss it at first, but then it swells in intensity, rising up from a crumble of dusty potpourri rose petals to become a big, juicy rose fluffed out by moisture. The rose lingers for a while in a pool of boozy, hay-like immortelle, for a combination that is simultaneously syrupy and dry, sweet and savory. The immortelle adds a lovely ‘baked grass’ note to the florals and makes it feel less rarified than the start.
The dry down of Beloved is more pedestrian and standard-Amouage-oriental fare than its ‘Classic French’ opening and heart. After the herbal chypre dressing gown is dropped to her ankles, Beloved lurches off into a dry, resinous base made up of cedar, a heavily spiced musk, and a fairly bitter olibanum (Frankincense). This part’s a bit of a snooze after the impressive first half, but it’s still an Amouage base, so you know things weren’t done on the cheap or stuffed full of nasty, cheap woody ambers.
Beloved is unquestionably a beautiful, almost intoxicating perfume, but I won’t be spending any money on it. For one, it is over-priced, even within the usual standards for an Amouage fragrance, and for my money, Aromatics Elixir performs a similar trick of making the wearer feel womanly, powerful, and in control of her own fate, but at almost ten times less the cost of one bottle of Beloved. That said, there is an uneasy beauty about it that moves me, and I put it down to the bitter-liquorish, golden afternoon note of immortelle, casting its warmth over the cool, forest-like tones of the rest of the fragrance.