The Pearl in in full bloom
In the perfume world some people are proponents of layering perfumes, and some people aren’t. It can depend somewhat on the perfume itself. If you are spritzing on some masterpiece of perfumery with all sorts of crescendos and diminuendos, then dabbing something else on top can simply add up to a multi note cacophany. Trust me, I’ve tried combining old Jean Patous and the results were seldom good, except with their citrus Cocktail (which picked up stodgy florals and orientals with a zing).
Most perfumes these days are not so complicated as old Jean Patous. My personal favorites for this sort of treatment are white florals. Continue reading
I came to this conclusion recently when taking inventory of my several bottles, all of which have got to be moved. Many were leather scents. I mean a surprising proportion of them were leather, almost thirty percent of what I actually wear these days qualifies as some sort of leather scent. I had not the faintest notion. If you had asked me, my nice well mannered left brain self would have told you that I wear florals. Yes I do wear some florals, mostly aldehydic florals, and some modern chypres, but a lot of the time…well you know. Continue reading
Changing perfumes a lot is the bane of the fume obsessed. We all do it. If you are in the business of reviewing on a regular basis you’re more or less required to change perfumes in order to write about the next one, and after a while all this can get dizzying.
What’s my smell you ask yourself, and you may even miss the old days when your signature smell was No19 or Chant d’Aromes or Stella, or whatever it may happen to have been. Sometimes you want to bridge that gap between the old perfume and a new one and make that transition without all the usual rejection problems you get with unfamiliar scent. Continue reading
Witches in costume
Halloween is almost here, and in the grand tradition of Jersey which takes Halloween quite seriously, I am thinking about the very darkest fragrances and how well they play with the public these days? Or whether, and I’d lay odds on this, they simply spook them?
Darkness was in once. People wore extremely strong and heavy fragrances and no one thought twice about it, Cabochard for instance, or Guerlain’s old heavy hitter Djedi, or the original Ungaro which I recall had a very dark sillage, sort of like a black hole altering the time space continuum as it came down the street, sucking in every other fragrance for yards around into its impossibly dense core. Come to think of it, the original Must de Cartier did that too. But then, once upon a time, it was the eighties and nineties.
You get a lot of perfumes called black or noir now, but the reality is often a tame backing off from animalic musks or woods, or Heaven preserve us! Oakmoss!! Continue reading
The other day I received a sample of Etat Libre d’Orange’s Rien. A good deal has been written about this perfume which has been considered toxic and difficult and so forth and so on.
Nothing could be further from the truth. Rien is just a good old leather chypre, genus Banditus, species Cabochardus.
My sample of Rien came from the lovely Sigrun at Rigtigparfym, and although I had read about it from time to time, I had never come across the scent before. The brouhaha online about it does strike me as overblown. Rien is no more difficult to carry off than Absolue Pour le Soir, the other Cabochard wannabe I’ve encountered in the last six months or so. However, one thing about these polarizing scents that I do note, besides their obvious descent from Cabochard, is how blatant references to sexuality were in the perfumed past, and how muted they are now. Continue reading
Sometimes I think that the first perfumer anyone who is interested in perfume learns about is Germaine Cellier (1909-1976?). This figures, because she was such a glamorous entity. There she is, in black and white photos, wearing her well-fitted tailleurs like armor, usually with a cigarette clamped between her first two fingers. The story goes, that she was lesbian, witty, the friend of Jean Cocteau, and very talented. Then there’s the fact that she’s credited with the most memorable Robert Piguet perfumes – Bandit (1944) and Fracas (1945) and some Balmains: Vent Vert (1947) , Jolie Madame (1953), Monsieur Balmain (1964) as well as Coeur Joie for Nina Ricci in (1946). That’s a lot of hits for a single career.
The one that people struggle with these days is Bandit. I’ve read the reviews. Everyone thinks that Bandit’s dark, difficult, a bad girl scent, even a scrubber. Old lady comments seem to drop off, since I guess that even contemporary sniffers suspect this perfume saw more action than World War Two, and indeed, Bandit was worn by Marlene Dietrich, so probably did. Continue reading