Tag Archives: 1990s scents

ANGELS AND INSECTS: LA CHASSE AUX PAPILLONS by L’ARTISAN PARFUMEUR (1999)

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This flowery delight was recently being pushed as a wedding perfume by Yokohama Barney’s of New York: all swirling linden petals, tuberosa princesses, and lepidoptera brides. I don’t know if it is especially nuptial, but I do know that La Chasse Aux Papillons is lovely;  heady, joyous, and summery.

 

A whirl of leaves as you rush past shrubs; a dizzying flourish of petals – butterflies and flowers – tuberose, linden, orange blossom, the linden blossom crucial here, steering the perfume in a different direction from the majority of feverish hot house flowers, giving it cooler, mysterious edges. The whole is an exuberant delight that I really like – but for some, all the giddying, whirling about with the butterfly nets may be a bit much, leave you a little sick…… a fragrance, then for the extovert I would say; for someone not afraid of display his or her colours, of reeling in admirers.

 

 

 

 

 

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Filed under Flowers, Linden, Tuberose

THE SPRING FLOWERS THAT ENDURE : Nymphéa, Flower, J’Adore, Antonia’s Flowers, Floret, Romance, Pleasures, Bouquet De La Reine

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It is that time.

NYMPHEA / IL PROFUMO (2004)

I am not sure how such a heavenly creature actually works on a real life girl, but this dreamy, artful, fresh-green bouquet (bamboo, fig, white waterlily, lotus flowers, water jasmine, and white rose) is, in my view, almost heartbreakingly lovely. Il Profumo describes it as having a ‘lacustrine tranquillity’, and it does have such a transparent, lake-like, lily-pad beauty that I am compelled to agree.

ANTONIA’S FLOWERS/ ANTONIA’S FLOWERS (1985)

Antonia was a florist in The Hamptons, and knowing her flowers, and adoring freesias, and being dissatisfied with the floral scents available on the market, set out to create her own. In the process she produced three American classics: Antonia’s Flowers, Floret, and Tiempe Passate, all of which have apparently been among the best selling fragrances since their launches at Bergdorf’s and Barney’s New York.

Despite my own personal love of fleurs à la Parisienne, there is no reason why the classic French model (flowers, woods, musks and animalics) should necessarily predominate in a person’s floral wardrobe; not everyone wants that suggestive, ‘come-thither’ quality in a perfume – sometimes you want a scent that goes on fresh and clean and stays that way. And what distinguishes the Antonia’s Flowers perfumes from the mass-market chemical-sheen ‘flowers’ like Romance and Happyis a natural, well crafted, ‘made-with-love’ quality that, in the case of this, her eponymous fragrance, shines all the way through the brilliant fusion of light-shimmering, china-dry rosewood and crisp, springtime flowers (mainly freesia, magnolia and lily). It is a highly unusual fragrance – the intense but beautifully natural bois-de-rose note is too much for some – but one I would recommend to anybody who loves flowers and just flowers.

FLORET/ ANTONIA’S FLOWERS (1995)

Or alternately, try Floret: a tightly controlled, crystal-clear, sweet-pea floral, with  rose, tuberose and marigold, and a delicious, transparent apricot top note. Pure, feminine, it is springtime in a bottle: the olfactory equivalent of pressed, clean clothes in an airy, open room.

FLOWER BY KENZO/ KENZO (2000)

‘A flower with no fragrance.’

Kenzo, who I have always liked (for their Kenzo Homme, L’Eléphant, Le Tigre, Summer, Kashâya and their sensuous, eponymous original scent) suddenly became a major contender in the perfume world when, thirteen years ago, in a marketing act of brilliance, they released a rather stunningly designed bottle, which appeared to contain poppies at various stages of growth, and cleverly filled airports and department stores with them. The effect was startling, the concept (‘creating the scent of the poppy’) an instant hit with consumers, and thus cities were suddenly filled with scent of young office girls going to work in Flower.

It is a very pleasant scent, like anything by the company; airy and green, with soothing, gentle notes of Bulgarian rose, hawthorn, cassie and parma violets over a sheer, powdery almond base: gentle, carefree, light, and safe – like running through a neighbouring field in freshly tumble-dried, clean smelling clothes. Which is another way of saying that it is fragrant, and nice, but rather dull. I quite like it, but don’t get my friend Helen started on how much, and why, she despises this to the extent that she does.

J’ADORE/ CHRISTIAN DIOR (1999)

Knowing what the women wanted – something fresh, light, sophisticated but somehow ‘vulnerable’ – Calice Becker, one of the world’s undisputed masters of florals, created a scent for Dior in 1999 that  went down a storm – J’Adore is now one of the world’s best selling scents, and I can certainly understand why. Despite the usual fresh floral metallica, this perfume does have that ‘classic’ stamp on it; the greenness of the fresh ivy top notes; the gleaming flowers (orchids, champaca, white roses, violets – apparently it was designed as an ‘emotional floral’); the fruitiness (Damascus plum and blackberry musk), the gentle, skin-tone, base notes. This scent is ‘pure woman’, and something you can’t really go wrong with. For evenings out. For romantic dinners. For engagement parties and anniversaries: the magazine adverts featuring Charlize Theron say it all – in gold; glamorous, pretty, charming and ‘dazzling’.

Despite my objective appreciation of its charms, however, I myself don’t  like J’Adore at all, and, as the murdered woman in Goldfinger was to find, all that gold can be suffocating.  The perfection; the flawlessness, is all too much for me I’m afraid, and it catches in my throat; hysterical – a sharp, processed, gilded lacquer.

ROMANCE/ RALPH LAUREN (1998)

True-blue thoroughbred, how could Ralphie go wrong with an advertising campaign that played up to every Tiffany-dreaming, happy-ending, Caucasian fantasy? And the smell! So clear, so sheer, so ‘romantically’ floral and clean: so ‘right-for-every-occasion’.

Inevitable then, that Romance should be such a big hit. I can’t personally say that I like it (shrill; synthetic; far too conservative for this writer), but it might be what you are looking for if you want an inoffensive, indistinct scent for that wedding or baby shower.

PLEASURES/ ESTEE LAUDER (1995)

Pleasures is, I think, aimed at the same target audience as Romance; thirty-something mothers of a stable income and societal position who shun any hint of prurience (or even any acknowledgement they have a body) in their scent (what would the other mothers think?!?). For the successful original advertising campaign, that foxy British minx of the upper-middle classes, Liz Hurley, donned a lilac cashmere sweater, and, airbrushedly, tumbled about with a Lenor-washed puppy in a field, a thousand miles from the cleavage Versace It-dress that made her famous. The message was clear: like Romance, this woman was a Good Girl, and her family values were most Virginally Intact.

The difference between Romance and Pleasures, though, is that Pleasure has character, and lots of it – only characterful creations are this recognizable. So powerfully, translucently floral it almost hurts, this complex bouquet of rain-drenched flowers (lily, lilac,  violet leaves, peonies, baie-rose…) can be hypnotically feminine, mysterious even, on the right person if used in small doses (I have known women who have smelled quite gorgeous in it) but, ultimately, it is so resolutely ‘pure’, so WASP, I have to say that it rather scares me.

BOUQUET DE LA REINE / FLORIS (2002)

Middle England: a secret, illicit tryst between two married people, in love,  speaking in quiet voices under their drinks in the hotel bar.

He is wearing Eucris (Geo F Trumper): she is wearing this: a pretty, insistent bouquet, green and fresh (bergamot, blackcurrant buds, violet leaf,  rose, ylang and jasmine) that is respectable, pliant, and womanly. He leans in closer, and, furtively watching and smelling from a distance, we don’t doubt for a moment the passion that will later ensue.

 

 

 

 

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Filed under Floral Bouquet, Flowers

Mon serpent, mon cygne…………… D’HUMEUR JALOUSE by L’ARTISAN PARFUMEUR (1994) + L’OMBRE DANS L’EAU by DIPTYQUE (1983) + EAU DE CAMPAGNE by SISLEY (1974)

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I find myself in green temperament;  in a mood, aggressive almost, for fresh, sharp, verdant scents that match the shooting growth outside; that push away the coddling winter, the comforting sloth of my recent smothering orientals and let me feel like a snake shedding its skins on brand new blades of long, budding grass.

And D’Humeur Jalouse is the snake: possibly the greenest scent ever made, almost painfully so at first – the serpent in the grass, the vivid eyes of jealousy; strident tones of stinging nettles and grasses, softened, only barely, with a sinuous touch of almond milk to temper an olfactory sketch that is bitter, unusual, and solitary: green to the point of catharsis.

 

 

 

 

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L’Ombre Dans L’Eau

A movement from the river bank under the shades of weeping willows; a swan glides slowly by…..

Evoking a green riverside garden, the shadows of plants rippling the waters, L’Ombre Dans L’Eau is at first intensely green  – a sharp, rush of galbanum entwined with the lush tartness of blackcurrant leaves.  From this compacted flourish then emerges, unhurriedly, the quiet dignity of the Bulgarian rose: calm, romantic, yet austere,  rather supercilious and snobbish even, and the main theme of L’Ombre Dans L’Eau (‘the shadow in the water’) is thus set. As light fades and the murmurs of evening approach, a soft base note of pot pourri-like rose, with the slightest hint of something like peachstone, finishes off a singular, enduring composition that breathes a certain air of timelessness.

 

 

 

 

Eau De Campagne

 

 

The perfect green? This scent is summer; the exhilaration of meadows; of stalks crushed underfoot, swords of sunlight infiltrating blades of grass. Chlorophyll at dusk; ladybirds….

 

 

 

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Wild grass oils, vetiver, bergamot, hyacinth, and a beautifully verdant, piercingly green basil/tomato leaf introductory accord begin a fragrance (Jean Claude Ellena’s first, from the time when he still went for the orchestral) that is exhilarating and refreshing, uncompromisingly strident, yet balanced and wearable at the same time, with a gentle, elegant, almost savon-like finish.

 

 

 

 

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Filed under Basil, Blackcurrant leaf, Green, Perfume Reviews, Stinging Nettles, Tomato Leaf

THE WITCHY CHYPRES (more roses for winter…..) Mon Parfum by Paloma Picasso (1984) + Magie Noire by Lancôme (1978) + Eau du Soir by Sisley (1990) + Sinan by Jean-Marc Sinan (1984)

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I was quite a weird child. The boys would be playing football, play-punching, or moronically shooting each other with invisible karashnikovs. The girls would be playing with dolls and each others’ hair, skipping daintily, bitching, and doing whatever else little girls do.

I was always off somewhere with my odd posse, imagining I was a warlock doing magic with my petalled potions;  reading my secret collection of Flower Fairy books, or else pretending to be a black panther (which was my ultimate dream at the time…)

I used to lie in bed seeing myself morphing slowly into that beast, feeling the power of the claws start to surge as I leapt off into the undergrowth…

Might these childhood urges be one of the reasons why I am so drawn to the perfumes that follow; the rose/patchouli/ leather chypres, those taloned, ruminating creatures that come nearer to approximating that black cat in perfume than any other type?

Those perfumes that have been replaced in the contemporary canon by industrial effluent and candyfloss but which when worn correctly, and knowingly, can be quite groanworthingly pointed and erotic?

In Annick Le Guerer’s book ‘Scent’, the panther, long venerated by various cultures for the beautiful perfume of its breath, is described as being historically viewed as ‘prudent, intelligent, and cunning…’, emitting an odour that is ‘agreeable to all other animals’, enabling it to hunt by ‘remaining in hiding and attracting animals to it by its smell…’ And like a beautifully-attired woman sat in a bar wearing Paloma Picasso, in her corner with her trailing cigarette, ‘when the leopard needs food it conceals itself in a dense thicket or in deep foliage and is invisible; it only breathes. And so fawns and gazelles and wild goats and suchlike animals are drawn by the spell, as it were, of its fragrance and come close up…….

 

Whereat, the leopard springs out and seizes its prey…..’

MON PARFUM  by PALOMA PICASSO (1984)

Probably the most successful of perfumes in the chypric rose genre, by contemporary standards Paloma smells hopelessly out of fashion and animalic: just smell the beaver. Less pronounced in the eau de toilette form, which is essentially a different fragrance and far less impressive, in the eau de parfum, the oily, leathery note of castoreum, extracted from the sweat glands of the Canadian beaver  – troubling, aphrodisiac -  is very apparent in this perfume and verges on shocking. It is, nevertheless, with a flourish of perfumed Spaniard magic, extravagantly cloaked in woods; lashes of patchouli; a spiced lush Spanish floral heart of the deepest rose, jasmine and mimosa; and a sharp, sassy green top note like the click of glinting heels on a Barcelona sidewalk.

The perfume has been around for quite a while now, and despite the fact that the world’s tastes in scent have since changed irrevocably since its release, in a survey done by various global beauty editors and perfume people (and not so long ago, either), Mon Parfum by Paloma Picasso was voted the sexiest perfume on earth.

I don’t know if the perfume can definitively claim this title, but it certainly is damn good on the right person who can carry it off, and it is very hard to resist.

Mon Parfum is just so…….cocksure of itself: an adult woman with experience,  sexual confidence and power coursing through her blood. It needs a glammed up, lipsticked predator with attitude to do it full justice and unleash its torrid potential -  a woman, or man, who doesn’t mind, in fact loves, its eighties femme fatale clichés.

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MAGIE NOIRE  by LANCOME  (1978)

Paloma’s darker, occultist, more serious elder cousin, Magie Noire has a similarly ensorcelling theme of sharp green notes contrasting with a rich Bulgarian rose heart, patchouli and provocative, animalic/woody finish. But in Lancôme’s finest scent there is very little sweetness (there is a touch in the heart of Paloma) and the sharp green/earth divide (a mesmerizing accord of galbanum, bergamot, raspberry and hyacinth, contrasting with a mossy patchouli note tempered with honey) only grows more potent and disturbing with time, stronger and more scary as the day or night progresses.

It is witchy, truly, but also tender, mysterious, elegant, erotic, and a touch sinister, as you are gradually drawn into the depths of a midnight forest. Or at the very least to a very edgy seventies dinner party hostess in a busy black dress.

EAU DU SOIR   by SISLEY (1990)

The unfairly reviled Eau Du Soir (Luca Turin again) is more dormant, and quietly explosive, than either of the above scents, a tasteful and intoxicating brew that, as its name suggests, is the evening perfume par excellence, absolutely made for black and grand occasions.

What I love about the Sisley perfumes is their lack of the saccharine ; where their first perfume, the classic Eau de Campagne (created by Jean Claude Ellena in 1974) is astonishingly green, almost unbearably so, as if you were trapped inside a giant basil or tomato leaf, Eau Du Soir is Campagne’s night counterpart, similarly dry and unsentimental: a ravishing patchouli, rose d’orient, seringa, juniper, and Moroccan rose absolute accord with a centerpiece of the perfume’s star ingredient, Egyptian jasmine absolute (less civilized, rougher, more animalic than its French counterpart), which purrs and insinuates itself beautifully within the radiant, effortless chic of the spicy chypre base. Eau Du Soir is a difficult scent, almost formidable. You would never mess with someone wearing this.

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SINAN by JEAN-MARC SINAN (1984)

Sinan, an obscure fragrance not so easy to find these days, is another taut, chypre animalic with a full-bodied, sweetly lingering rose twined with woods and patchouli: another fur-clad siren leading her black-widow victims to their willing fate…

The perfume bears some similarities with Paloma, and also Lauder’s fabulous Knowing (which took this essentially European idea and Americanized it) but where that perfume has a certain seamless infallibility (present in all Lauder’s creations) and is somewhat over the top with its honeyed electric rose, Sinan presents a similarly perfumed face but less emphatically; not a white-gated mansion in the centre of Florida, but a house near the woods, somewhere in the depths of France…

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Note:

If you are not familiar with these perfumes, please try as hard as you possibly can to find samples or bottles in vintage. Trust me, it is worth the effort. Current versions may be enjoyable, but the richer, plummier, more evil true incarnations of all of these scents is essential.

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Filed under Chypre, Perfume Reviews, Witchy

Some roses for winter.

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Nitobe Inazo, author of the classic (if highly supercilious) tome on Japan, Bushido, may consider the Japanese superior with their love for the evanescent samurai fleetingness of the cherry blossom flower, symbolizing the stoic warriors’ (masochistic) desire to sacrifice their lives at the drop of a hat, while the gaijin, or westerner, ‘selfishly’ favours the rose, clinging with every last drop of its life to the stem even when dead……

Well, it is my favourite flower, and I imagine that I also will be clinging at my last, thorny and desperate, rather than plunging a sword into my gut and ripping out my innards, all for the sake of appearances and some dull and pointless idea of honour. The code of the samurai is much more nuanced and spiritual than this, I realize, but you get my drift. I have never quite forgiven Nitobe for the disdain he shows the non-Japanese in that book, and the rose is an emblem I therefore adhere to more passionately as a result.

The rose is a tricky one. Rose oil, or its synthetic reconstitution, is a component of the vast majority of perfumes, and there are  wildly different interpretations of this flower, meaning that though you may think you hate the rose if you have been brought up on granny talcs, or else Stella and Paul Smith and the like, there still might be a perfume out there that might sway you if you deign to explore the rosaceous galaxy further.  Though none in my opinion has ever truly captured the exquisite beauty of a living, breathing flower (surely one of the most enthralling scents in the universe), a few come close, or take the theme to newer, unexpected places.

It is also, my view, a floral that is perfect for winter, not clashing with that touch of patchouli oil that is still hanging on to your jacket, remaining poised and stoic……an aroma of both piercing sorrow and hope, with a dignity, poeticism, and romantic attachment that make it far superior in my (not) humble view, to the puny, and nothingy, frou frou cherry blossom.

ROSE ABSOLUE/ ANNICK GOUTAL (1984)

Supremely expensive for an eau de toilette, Rose Absolue is a diaphanous, sense-delighting spray of real rose oils, with several of the most prized species in perfumery. The crisp, exuberant top notes are truly delightful, and come very close to smelling like a garden of roses on a summer morning. The middle and base notes lose something as the essential oils evaporate (making it a costly habit to maintain), but for a delicious rose spritz, this cannot be beaten.

NAHEMA / GUERLAIN  (1979)

The top note of the Nahéma extrait is breathtaking: perhaps the most ravishingly gorgeous and complete rose absolute in perfume; a scent to make your heart swell, your diaphragm tremble. Whether you will fall for Nahéma or not though, (and it has its very faithful adherents), will depend on your liking roses romantic, full on, and sweet. Nahéma folds this stunning rose note in peach, hyacinth, aldehydes; ylang, vanilla and musk, and is deliriously rich, romantic – very Guerlain. If it is right for you, you will smell resplendent. If not, overdone.

ROSE/ CARON (1949)

If the roses in Goutal’s Rose Absolue are freshly picked and the scent their breath, Caron’s is their blood; the enshrinement of a beauteous Bulgarian absolute (more regal, melancholy than Moroccan rose – the more ‘classic’ rose note) over a gentle bed of vanilla and musk. The extrait is beautiful; potent, emotive; a scent to be cherished. Almost painfully pure and beautiful.

For a similar, but somewhat chicer rose, try the other Caron rose perfume, Or et Noir: for sexual mystery, the house’s woody, musky incense rose, Parfum Sacré.

FLEURS DE BULGARIE / CREED (1880/1980)

Centenary reformation of an aristocratic, very strange scent from Creed. This peculiar, haunting rose perfume evokes another time and place, leagues away from brash current trends. It is at once tender, reserved, unabashedly tasteful, yet with an undeniable whiff of madness: generations of interbreeding among the loopy upper classes. A dry, high pitched, almost saline bunch of Bulgarian roses over an insinuating ambergris: the smell of stately homes, the fragile, yellowing pages of old books. A difficult, but rather brilliant perfume, to be placed on a dresser by a window over the lawns, on which to do ‘one’s toilette.’

Beyond, the reedy river, in which perhaps to drown…

SA MAJESTE LA ROSE / SERGE LUTENS (2000)

A scornful rose. Dark swishes of crimson rose fragrance: grand, extravagant, a perfume of strength and beauty, but with ironic, opaque bitterness. Serge Luten’s rose is not romantic: his perfumer, Christopher Sheldrake, was presumably ordered to do away with such nonsense. Instead there is a stark regality here, just as the name suggests (a tart note of geranium, lychee and guaic wood sees to that), but also an elaborate heart of white roses, vanilla and honeyed Moroccan rose.  It is an effective, gorgeous perfume that will leave you feeling splendidly detached.

CE SOIR OU JAMAIS / ANNICK GOUTAL (1999)

The most vulnerable of rose perfumes, Ce Soir Ou Jamais (‘tonight or never’) is a rich, breathy Turkish rose, unfolding in a tearful desperate embrace. It is natural, supremely feminine, and one of the most romantic perfumes you could possibly wear.

ROSE OPULENTE/ MAITRE PARFUMEUR ET GANTIER

As it says, opulent, gorgeous, red-silk Bulgarian roses, for high camp and rose adorers. Quite beautiful, with leafy green top notes gracing a subtly spiced, ambergris rose.

ROSE EN NOIR/ MILLER HARRIS (2006)

Exclusive to Barney’s New York stores, this is a mildly repugnant, dark  animalic rose with woody musk facets and top notes of jammy rhubarb. Interesting, like someone unravelling at the seams.

ROSE DE NUIT / SERGE LUTENS (1994)

Paris. Had I had any money left by the time I got to the Lutens boutique at the Palais Royal (having already ‘done’ Caron, Guerlain, and Maitre Parfumeur et Gantier), this is what I would have bought from the astonishing selection of perfumes curated by the mysterious ladies hovering behind them. On myself I like darker, more menacing rose perfumes, preferably underscored by patchouli, and this really did the trick for me. Rich, effusive, and very outgoing, with a touch of jasmine, apricot, beeswax, and chypre. A rose for nighttime and adventure, to be worn with leather.

SOIR DE LUNE  / SISLEY (2006)

A gorgeous, dark, honey-drenched rose enveloped by rich notes of chypre, mimosa, and powerful patchouli, Soire De Lune is almost tailor-made to my personal olfactory tastes. It is diffusive, warm, sexy and of high quality; not dissimilar to the company’s fantastic Eau Du Soir, but in my opinion even better. A rounded, accomplished scent with presence, and a new alternative to such night time illuminaries as Paloma Picasso Mon Parfum and Voleur De Roses. I doubt I will ever be without a bottle of this.

VOLEUR DE ROSES   L’ARTISAN PARFUMEUR (1993)

The rose thief is a dark figure dressed in black, moving with stealth through the undergrowth, night soil underfoot; rose bushes standing erect and waiting in the moonlight, sensing they are about to be picked. A sensous, woody patchouli is entwined with a deep, rich rose and an unusual note of black plum, resulting in a very gourmand, intriguing scent worthy of its wonderful name.

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Filed under Flowers, Rose

RUSH: GUCCI (1999)

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Yesterday we looked at gardenias; those gorgeous, perturbing flowers I am somewhat obsessed with (though I don’t know quite why I am writing about them at the moment when their blooming is so far off…outside the snow is still melting from the huge snowfall of Monday….)

While the Chanel Gardenia template is one direction that perfumers can go in; nipping it in the bud and giving it propriety, taming a flower which is something of an animal when all is said and done as it stands there, immobile, feverish and lurid under cold moonlight, other perfumers embrace this disconcerting angle of gardenias and fill their scents with it ( the carnal flower by Santa Maria Novella comes to mind in particular). A certain Madonna/whore dichotomy exists then with this flower: few perfumers take the gardenia out of these traditional moulds and inject it with modern verve.

Whether or not I can convincingly talk of Rush by Gucci as a gardenia I am not sure, but the flower is certainly there in the fore and back ground of this scent, sucked out violently from its clandestine lunar hedgerows and thrust, almost uncomfortably, into the twenty first century sass of the urban mall where teenagers strut, chew gum, and toss back their hair, to the easy, friendly bitchiness of this fragrance’s jeans-and-t-shirt vibe. I am not sure if Rush is still popular, as 1999 is quite a long time ago in modern perfumery terms, though my guess is that it still would be. Although the majority of recent mainstream releases lack a hook, a chorus you can sing along to and remember, certain perfumes do succeed in locking into their DNA a refrain, a simple accord that rings true. Perfumes like Beautiful, which I am fond of, still sell by the bucketload for this very reason……you can remember them.

So once in a while a product arrives in the vastly overcrowded fragrance market that is new yet somehow familiar, striking a nerve like a characterful person you’ve not met before, yet immediately take to: Gucci’s Rush, in its iconoclastic plastic red oblong bottle, was one such perfume. It was the Obsession of the early 2000′s – a legible perfume with a message – a sexy,  unpretentious, direct hit. As soon as Tom Ford was given the scent strip by his perfumer he apparently said yes, immediately, without second thought, not even bothering to sample the other applications for the brief. He knew a money-winner when he smelled one.

The perfume is simple and streamlined with four main features: a fresh, leaf-green note with hints of coriander; a lactonic apricot with the touch of white chocolate; a lingering skin-musk patchouli that lasts all day: and draped over this, with its holographic petals, a sexy modern gardenia (a concept of the flower rather than a botanical reconstruction), with Bulgarian rose and a hint of vanilla.

This accord in Rush is both immediate and effective; odd, with its mix of cream and green, and it certainly doesn’t smell expensive. Yet it is very memorable, and smelling it again recently brought back vivid memories of a trip to Taiwan, where my friend, a Ms Katherine Ng, used to drench herself in the stuff. Fourteen years later it is still very appealing.

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Filed under Flowers, Gardenia, Patchouli

AMERICAN GIRLS, or, THE DAY I WAS ASSAULTED AT A YOKOHAMA WEDDING BECAUSE OF MY TASTE IN PERFUME: (HAPPY……by CLINIQUE) (1997)

 

 

 

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I was once slapped, really hard, across the face, because a girl’s taste in perfume differed from my own.

As my cheek smarted, and her boyfriend and mine, and other onlookers (at a mutual friend’s wedding) sat gobsmacked in anxious silence wondering about what would happen next, it struck me quite forcefully how the conservative U.S sense of perfume can be so wildly different to the European.

 

To rewind…

 

 

The girl (whose name I am not allowed to use; I can still hear her drunk, screaming at the top of her lungs, “I will sue you! I will fuck you! I will fucking take you down if you print my name!”) was sitting across from me, and being the quintessential sassy American blonde, I knew I would have to interview her on her perfume tastes, as, all irony aside, I do love how American girls smell: so peachy clean, so apple-fresh ( I remember almost swooning when my friend Theresa wore  Tiffany at a bar one night…somehow we Europeans can never quite catch that strawberried, faultlessly clean halo of shower-gelled hygiene..)

Yes, as this girl and I downed beers at the marriage after-party in a Yokohama Mexican restaurant, we quickly grew a fun and flirtatious rapport, and I remember us standing in the steaming cold outside, laughing and joking, as she smoked a cigarette, talked perfume and Texas, and her boyfriend wondered what she was getting up to. Excited about a project on perfume I was hoping to start, she was going to be the U.S correspondent: we would expand, we were going worldwide, baby.

Back inside, my Nº 19 was quickly, rudely, dissed as too ‘woodsie and girly’ (she was a firm believer in men smelling like men, and I won’t even go into what her favourites were….) and, anyway, perhaps she was right. The Chanel doesn’t work every time on me as I am always waiting for the leather and vetiver to make itself known, not the powdery iris and neroli which sometimes predominates instead, and even I knew that on that particular evening I had made the wrong choice (a familiar agony for true perfumists, when you know you have selected the wrong scent on a particular occasion and you can’t relax for the rest of the evening….)

However, her own choices also made me laugh out loud : every ‘clean’, ‘fresh’ ‘sexy’ perfume in the book that I ferociously, but good humouredly (or so I thought) dissed back. Ralph Lauren Romance? Give me a break. Vera Wang? Oh, don’t make me laugh…

It was a body lotion she was carrying in her bag, though, something she thought was exotic and alluring and pretty, that caused the assault.  It was so bad, so truly vile ( Bath And Body Works ‘Japanese Cherry Blossom’ I think, so pink, so chemical and not even remotely related to the smell of the sakura) that I just had to tell her my truth, not expecting for one moment that her exquisitely manicured hand would then coming smashing down across my face…..

 

 

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In all of this the only perfume we had managed on was Happy, still one of the most popular perfumes in America and something of an institution in the ‘clean and perfect’ type of fragrance that renders a person so radiantly scrubbed their sexual organs are smoothed out into flesh-pink Action Man Barbie mounds; skin marbellized, made acrylic; immaculate laundry halations that mask the flesh beneath and create idealized, perfected, holograms in their place.

 

For this girl, Happy was summer, and girls in short white dresses heading out on the town; clean, confident, sexy, radiating wholesomeness. For me, it is the same, basically; a very cleverly blended citrus floral of grapefruit and orange and a whole bouquet of imaginary flowers (mainly ‘living headspace’ flowers, that apparently include morning dew orchid, West Indian mandarin tree blossom; melati blossom; high altitude laurel; Chinese golden magnolia and  Hawaiian wedding blossom… ) and it all just smells lovely, especially from a distance. Under the complex beginning of the scent there are no woods, or musks, or any other bother, and once the initial, rather heady (and very Lauder)  top accord dissipates, you are left with nothing more than a beautiful, very chemical trail of flowers and skin scent that screams

 

 

 

 

I AM HAPPY!!

 

I HAVE NO PSYCHOLOGICAL GLITCHES!

 

I AM BALANCED, FOCUSED AND HAVE NO INTESTINES!!!

 

 

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I can imagine that there are people reading this who have direct experience of this fragrance, either from wearing it themselves or smelling it on colleagues at work, and I would love to know your thoughts on the subject. Admittedly, the scent is extraordinarily conservative, safe, almost monstrously synthetic, and easy to hate if you prefer the more inner-thigh fragrances, but for me, after a long hot shower, and worn with a clean white shirt, there is nothing better for work. It suits my Japanese olfactory double life perfectly and would probably be in my own top ten of day scents, if it didn’t, unfortunately, cause me such excruciating migraines. I got through at least five bottles of the stuff in my time before I realized that it was poisoning me, perhaps literally (I saw an internet article about Happy which was very alarming, but it is not my aim to be libellous, so I might save that for another time……)

It is, in my view, when all is said and done, a small work of quite original genius from certain standpoints – few perfumes have gained as many compliments from Japanese people on me, girls at school literally following me down the corridor crooning about how beautiful I smelled – and I have to say that, ultimately, this toxic, insidious beauty is something of a classic, if a dangerous one.

 

 

I wonder if Lisa or whatever her name was, somewhere across the Pacific ocean, still wears it when she goes out at night, strutting the Dallas boulevards in her shorts, blouses and clean-pressed whites, trailing Happy, punching strangers in the face.

 

 

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For more on Happy, see my post on my strange, schizoid perfumed life here: ‘Jekyll and Hyde and the colognes of Gandini…’

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Filed under Bitch, Citrus, Perfume Reviews

SIX TUBEROSES

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It is cold, it is icy, and like many perfume lovers, I cannot only limit myself to the cosy and the spicy in winter: I find myself dreaming of summer, fast forwarding in my mind to that moment in May here when everything goes ballistically pink and green; an explosion of lush life after the cherry blossom petals get blown and washed away from the trees by the last ferocious squalls of Spring and everything heats up; jungle like; humid, moist and fragrant. Sometimes I just want to branch out, rip myself out of the January mindset and let hot flowers bloom; I find myself dousing my skin in the ylangs and noix de coco that make up a sizeable part of my daily collection; the tuberoses, gardenias, the vanilla and the frangipani. I can’t just remain dormant and docile and huddled and feasting on gingerbread.

A few weeks ago at the flea market in Tokyo I came across a gorgeous tuberose I had never smelled before: of the classic type, it makes my heart race and the senses soar: it makes me want to BLOOM. So today, though the subject has been done to death by every perfumista under the sun, let’s revel in the alabastrine lust of these floral beauties, let their noxious transulence asphyxiate us with their lone, sensuous purpose…..ladies and gentlemen, I GIVE YOU THE TUBEROSE.

 

 

 

EAU DE TUBEREUSE by LE JARDIN RETROUVE

The tuberose is no rose. It is a voluptuary: a night-blooming flower from India and Mexico with white, fleshy petals and a sweet, unavoidably carnal aroma of hot skin and stamens. Victorian girls were forbidden to adorn themselves with tuberose toilet waters for fear they would swoon with certain discomforting thoughts (so difficult to avoid with a scent of such delirious candour!), and the classic tuberoses,  such as this gorgeous creation by French house Le Jardin Retrouvé (the perfume I found at my beloved flea market) up the ante of this luscious facet to glorious effect. I am very partial to the billowy soft insinuations of perfumes like the dreamy original Chloë by Karl Lagerfeld, and Tubéreuse is of the same template, only stronger, more lush, more medicinal, more…..tuberose, and I can tell you I am rocking it like a mutha this January Sunday.

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CARNAL FLOWER / EDITIONS DE PARFUMS FREDERIC MALLE (2005)

A friend of mine, Yuta, lives down the hill from me in Kamakura with his wife Mikako. She has the most beautiful skin I’ve ever seen: as translucently smooth as white porcelain. One Sunday in spring they came round to the house, and naturally, like all dinner party guests, they had to be found a perfume from the collection. This is usually fairly easy, as I have an idea what people will like and what will suit them. But Mikako wasn’t having any of it. My instincts towards grey-blue iris scents were rebuffed, as were all perfumes over five years old.

Determined, I kept thinking. And then, as I was looking into the living room, my eyes rested on the amaryllis flower that had just bloomed: giant, translucent pale-pink on a milky green-white stem.

‘I think I have found it’, I said.

‘What does it smell like?’ she replied.

‘Like that’, I said, pointing to the plant.

Carnal Flower is very original. Its creators wanted to make a classic perfume that actually resembled the living tuberose but which would be the antithesis to the standard, butter-saturated model set up by Fracas. The project was two years in the making while perfumer Dominique Ropion perfected the formula: a green, petal-centred perfume with florist-fresh top notes – the least sweet of the tuberoses. It is a very unusual fragrance, like watching a plant growing in a sealed-off white laboratory. Crushed stems and eucalyptus leaves begin the scent, over light floral essences (jasmine, ylang), cradling the highest percentage of natural tuberose absolute used in any perfume (hence its rather extravagant price.) On me it smells wrong, but on Mikako, with her cool white skin, incredible. The coconut-milk/white musk finish, the tuberose stems, the green leaves, turned her quite simply into a cold, living flower.

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FRACAS / ROBERT PIGUET (1948)

Mention tuberose and most perfume lovers immediately think of Fracas, the benchmark to which all others of the type must match. A dense and potent woody floral with blasts of the most flamboyant white flowers, this is a perfume for women who like to make an entrance.

The bottle in my own collection was given to me by a friend, who in turn was given it by the late Isabella Blow, doyenne of fashion and extravagant headwear, muse of Philip Treacy, and stolid socialite of the art and fashion world. She wore so much Fracas, and carried so many little bottles about with her, that she could just hand out the perfume like sweets. Wherever Isabella Blow went, so did Fracas; to the extent that for her friends, the smell was her (isn’t that what we all secretly want from a scent?). At her funeral in September 2007, the air was ‘redolent with the scent of Fracas’, according to the Guardian, Alexander Mcqueen having decided to scent the air with her presence.

Though Ms Blow’s signature, Fracas is the preferred scent of many a diva and always has been. It is gorgeous, headstrong and sexy, which is perhaps why it is also loved by Madonna. In the Reinvention Tour documentary ‘I’m going to tell you a secret’, the singer is seen backstage, flustered and sweaty, liberally spraying her Rococo pink corset with what she refers to as her ‘Italian whore’s bath’. A huge bottle of Fracas stands in pride of place in front of her dressing room mirror.

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TUBEREUSE / CARON (2003)

While some tuberose perfumes verge on sickly sweet (Versace Blonde I am talking to you….) Caron judiciously allows the full sensual bloom of this flower to open without letting it cloy, tempering the florality with a delicious, creamy base; just a hint of truffle-like darkness. The result is a supremely wearable tuberose; delicate, beguiling, with an underlying texture of cool, white leather, and one I would wholeheartedly recommend for the true tuberose lover who wants to keep it close.

TUBEREUSE CRIMINELLE / SERGE LUTENS (1998)

Until Carnal Flower came along, it was this cult creation by Serge Lutens and his wildly talented perfumer Christopher Sheldrake that had taken the crown of ‘most original tuberose’, principally due to a medicinal note of wintergreen that braced the florid top note with a shocking sensation of gasoline, rubber and Vicks Vapour rub. This highly unconventional (‘criminal’) beginning you either endure patiently because you love the beautifully petalled, fresh tuberose flowers that await beneath, or it is the principle reason you are obsessed with the perfume. I personally love it in all its perverse, ugly-beautiful glory, but understandably there are many who don’t.

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MICHAEL KORS / MICHAEL KORS (2000)

Sharpness of metal: a glinting blade slices clean through ripe, lustrous tuberose flowers to a backdrop of blue lagoon. The sky is brilliant. A fresh, watery accord of flowers cuts the air, leaving a sensuous trail in its wake. A vivid, widescreen floral: notes of fresh tuberose, ‘dewy freesia’, and ‘white wings peony’, with an interesting twist of tamarind for piquancy. It is this more androgynous note, contrasting with the sweet wetness of the tuberose, that gives the perfume its character.

A future flower is on the screen, sharp focus: near enough, almost, to make you wince. A new tuberose: shot; cut; frozen in time. And there the image stays, on pause; for this perfume is unchanging. What you see is what you get with Michael Kors. It is modern, sexy, but not up too close: I prefer the outer limits of its aura, meant to draw you up in as it tingles the air. Though not devoid of tenderness, there is perhaps too much harshness, as though the tuberose were revealing truer, chillier colours.

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Filed under Flowers, Perfume Reviews, Tuberose

CINNAMON, CINNAMON : Ambre Narguilé by Hermès (2004) + Vanille Cannelle by E. Coudray (1935) + Rousse by Serge Lutens (2007) + Incensi by Lorenzo Villoresi (1997) + Ambre Cannelle by Creed (1945) + Noir Epices by Editions de Parfum (2000) + Cinnamon sherbet by Comme des Garcons (2003) +..

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January is basically a miserable time of year in Japan for me (though I suppose at least it isn’t quite as bad as February or March, when all is truly dead and cold except for some narcissi, plum blossoms, and the new buds slowly, tightly, appearing on the cherry trees….)

The pale, Christmassy sunlight of December, when everything was twinkly and filled with the promise of the homely cocoon, is taken over by often frigid temperatures; grey skies with nothing left to look at but ugly architecture, bargain shoppers, bare trees, and and an exhausting year of up and coming work.

At this time of year we need cheering up, and the smell of cinnamon-sprinkled buns and cakes drifting out from a city bakery as you walk along that dark path with hands tucked in coat pockets is surely one of life’s most comforting smells; as if the world couldn’t really be as bad as you thought (as your senses perk up without your even noticing and you plump for a Starbucks hot cinnamon roll and latte and you realize to your horror that you have just consumed 700 calories in one indolent, heartlifting go).

The effect of cinnamon in perfume is similar – it is surely the most trustworthy and unthreatening of the spices; easy, familiar, emotionally warm. Usually blended with orange, mandarin, balsams, exotic florals and other spices for the oriental cargo effect (Cinnabar, Opium); or with animalic ambers and vanilla (Obsession, Obsession Men, Cuir Mauresque) – all of which feature a prominent note of the spice that lends their blends a touch of  patisserie snugness and repose – the perfumes I describe below are more clearly cinnamon-centric, tailor-made for these darker months of winter…….

HERMESSENCE AMBRE NARGUILE / (2004) HERMES

Sunday: 6pm. It was raining; dark, freezing cold. You had just done something really bad – been shouted at and belted: and after bawling out your eyes in your bedroom upstairs, were lying prostrate, aimless and self-pitying on the bed covers; the taste of hot, angry tears still in your head.

But then – suddenly, after who knows how long, the warm, delicious smell of your mother’s baking apple pie found its way up the reproachful bannisters, and life began again to be alright. Warm apples, slow-burning cinnamon; comfort of rich buttered pastry; the promise of melting vanilla ice cream.

This is Ambre Narguilé: an exalting perfume that provokes obsessive reactions in people (an olfactory method of regression therapy? ‘Remember the pain. But also remember the good times….’), a scent that is truly designed for cuddling up to.

An hour after spraying it on, after the sweet shock of the apple strudel opening, Ambre Narguilé is an edible and addictive patisserie classic; gorgeously moreish and emotive with a vivid cinnamon underlay: I could eat myself. But to get here, you have to go through stages of ambered bulimia; and to be honest, I’m not always sure I am going to make it as for me it is just that little bit too sweet.

This scent is worth seeking out though if you are having a crap week, it is freezing with rain, and you need a sweet, sensory escape. The perfection of the ending, as it hugs to your skin in the softest, dessert-like caress, is sheer wintry succour.

VANILLE CANNELLE / E COUDRAY (1935)

Discontinued, so probably hard to find now, but I once had the pleasure of using the bath oil on a cold winter’s night when staying with Helen, and with the ambery vanilla-orange tumbling from the lip of the bottle I just melted into the hot water in total bliss. That bottle, of the very old Parisian type, next to me on the side of the bath, just added to the sensation of romance and escape: a perfectly judged dose of cinnamon and sweetly clinging vanilla in the manner of the best French cakes.

ROUSSE/ SERGE LUTENS (2007)

Rousse (‘the red head’), is possessed of red-raw spices that jump out and devour you; the fiery taste (and 3D texture) of real cinnamon sticks and cloves in an ambered, woody, and resinous setting. It is direct, pungent, and somewhat simple-minded (in the manner of Louve, Lutens’ cherry-almond), but if you like to wear your spice on your sleeve, this rough, flushed, russet perfume is perfect: a chic cinnamon bomb to take on the night.

INCENSI/ LORENZO VILLORESI (1997)

A serious cinnamon. As you’d expect from Mr Lorenzo, Incensi is a languorously layered, complicated scent, the incense of the name not prominent until the drydown as the main feature in this curious blend is more a ginger-bolstered cinnamon emerging from a blast of strange greenness (elemi, leaf notes, galbanum), the incense notes of antiquity lying calm and serious beneath (frankincense, benzoin, myrrh, styrax), while the note of cinnamon,  unsweetened and vaguely ecclesiastical, remains prominent throughout.

AMBRE CANNELLE/ CREED (1949)

If you are male and have always secretly wished you had worn Yves Saint Laurent’s Opium, the classic for women from the 70’s –balsamic, spicy and orange-laden – but were too embarrassed to buy a ‘women’s’ perfume, then here’s your chance. Ambre Cannelle is apparently a part of Creed’s men’s range; admittedly there are fewer flowers, and its physiognomy has more sinew, it’s formula perhaps more refinement, but this scent was obviously the inspiration (along with Estée Lauder’s Youth Dew) for the whole swooning-Jerry Hall-Roxy-Music-addict phenomenon that was Opium – just thirty years before. It is quite a nice  scent, with a sexed, ambergris/ musk base that clings to the cinnamon-amber-flecked accord with mystique. Somewhat old fashioned, though; check it out for yourself first before committing (in a floor length fur coat).

NOIR EPICES/ Editions de Parfums (2000)

A very well respected and original cinnamon spice that many cite as their favourite from the Frederic Malle line, for the tightly woven structure; the dense, spiced treatment of orange and geranium over arid, woody finish.  I see their point, but on this occasion I beg to differ. I can certainly see the appeal of this perfume’s fat-free structure (no musk, no fluffiness, no soft, vanillic contours), its stark angularity. But like Campari and orange, which I like in theory for its bitter sunset red but in reality can’t drink, the vile bitterness of this perfume’s orange makes me shudder. I find it quite unendurable on my own skin, though I have to say that I was astonished to find that the perfume I was complimenting on my friend Justin one night at karaoke – warm, sensual, compelling – was in fact Noir Epices. Yet another argument for the fact that some perfumes really do smell utterly distinctive on different people.

CINNAMON/ COMME DES GARCONS SHERBET SERIES (2003)

Of the three jaunty little perfumes in the Comme Des Garcons sherbet series, to me this is possibly the least successful. The rhubarb is a delight: the mint the greenest, mintiest thing you’ve ever smelled, but the cinnamon, with its contrasting (jarring?) notes of hot and cold, is less loveable. On the other hand, the freshness of the scent and its resemblance to more spicy, ozonic scents like Issey Miyake Pour Homme make it the most commercial of the three, and an original take on the note of cinnamon. Like all the sherbets, it is quite fun in a way.

The sherbets are also available in lovely little solid perfume form that let you indulge in sweet, clandestine dabs throughout the day so the room is suddenly tinged with a blast of sweet cinnamon (but nobody knows the source……)

Other cinnamons:

VANILLE CANELLE/ COMPTOIR SUD PACIFIQUE Just what you’d expect from Comptoir– a warm, sexpot aroma of cinnamon in a sweet, ready to wear (for evening) setting.

CINNAMON SPICE/ BODY SHOP Serviceable perfume oil that does the trick in a mumsy, down-at-the-shops kind of way.

CINNAMON BUN / DEMETER &

CINNAMON TOAST/ DEMETER Olfactory holograms for those cinnophiles with a healthy appetite.

Ps. We might be going to Madagascar this summer to research vanilla (!!!!!!!!!!!!!!!!!!) and we will most certainly be stopping at Nosy Bé, or The Perfume Island in the north of Madagascar, which is apparently redolent year round of ylang ylang, vanilla, cloves, patchouli and cinnamon….

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Filed under Cinnamon, Perfume Reviews, Spice

HOT BANANAS!!!! LADYBOY by GORILLA PERFUMES

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Greetings everyone and a very happy 2013 to you. Thanks for being part of The Black Narcissus: I am meeting some lovely, really interesting people on here and am very much looking forward to some more exchanges over the next twelve months and beyond. Don’t be shy! Let’s rant, wane and wax together…

I hope you had a lovely Christmas/holiday period and are rested and ready for the new year. Myself, I emerged, reluctantly, from my cocoon yesterday and went off into Tokyo to research vanilla perfumes for my latest Sweet Little Thing guest post over at Olfactoria’s Travels (it will come out on Friday, so please have a look if you are interested in the various discoveries of my bean odyssey). Stopping at Lush in Shinjuku, which was SO packed with people bargain hunting at the sales it almost precipitated a claustrophobic panic attack, I tested their sandalwood-heavy Vanillary, which is an effective little perfume in its heavy-hitting, jasmine absolute, coconut-incense-stick kind of way, very erotic and in-your-face, but then came across a small perfumed sensation and forgot all else: LADYBOY.

That name!!  The pungent, rotting bananas of the top notes!
The bubblegum, nail polish and eyelash-heavy violets! I simply had to get a bottle – and it just so happened, on that day, to be 50% off as well (only the Shinjuku branch stock this perfume, which shows its oddness): I suppose it was never likely that a large chunk of the populace would go for a perfume that smells of melting hot bananas and amyl nitrate.

Now, the banana is not a note we often find in perfumery, and my Ladyboy has the most overt banana as its main note I have ever smelled…..

But what other bananas are there?

Probably my first exposure to the note of the genus musa was in J Del Pozo’s Quasar, a blue-sporty fragrance from 1994 that nevertheless had a very innovative top note of fresh green banana leaf that I always thought should have been the mainstay of the fragrance (it wasn’t – what came later was always a disappointment). It imprinted itself on my brain nevertheless. A brilliant banana did come, later, in the form of Vanille Banane by Comptoir Sud Pacifique, a scent I discovered while staying in Paris: fresh, delightful banana, halfway between the clean, unripened fruit, and those chewy, artificial, 2p banana sweets you grew up with from the local shops – dry, fresh, a touch acidic- but it then folded, unfortunately, into the ‘classic’ Comptoir vanilla, which always errs on the side of the sickly and plastickly sweet. You would have to be a really cute party bopper to pull that one off effectively, and I unfortunately couldn’t, on my skin.

A very unusual banana tree note was later to be found in Jean Patou’s Sira Des Indes, a very languid, almost sardonic, tropical perfume that features a top note of banana leaves before turning to a more voluptuous, if beautifully blasé, animalic floral: I wish this perfume had had more success because the combination was very interesting, though clearly ultimately too decadent to ever find mainstream success.

One perfume I own that combines flowers and banana delightfully is a rare scent I found at the flea market one Sunday – Jazmin by Le Jardin De Jimmy Boyd, a Barcelona-based perfumer whose jasmine flowers morph effortlessly into banana leaves and then morph back again….an effect that is either simply the quality of the jasmine flowers used (which might have a fruity-tropical facet) or is a trick by the perfumer….either way this is by far my favourite jasmine and the watery, luscious banana green of the top notes only makes it better.

Aside these, I know of few banana perfumes, so please let me know if you are aware of others.

So….Ladyboy. But before we get to Ladyboy, let’s talk some more about bananas.

For me, I am not sure if the banana would necessarily feature in my Fruit Top Ten (would it yours?), but I do love the taste and smell of the fruit and am also somewhat obsessed with the banana tree growing in our back garden (which has grown to unexpectedly monstrous proportions), as well as the smaller ones growing in pots on my balcony and in the hallway upstairs. Kamakura is strange in that it has winters not much warmer than England but fully tropical summers, as hot as Borneo and equatorial Africa, which means you see snow on palm trees in February, and frost on the poor banana trees which tower back up again in August, never to fully bear fruit as they die on the vine at the beginning of November; a sterile frustration I always feel as the baby bananas start to cluster in June…..

But to that fruit top ten:

(I would love to hear yours as well by the way, as I am a fruit freak. I basically love all of it, though I am somewhat less partial to kiwi and melon than other fruit (which is why I never go for those appallingly melona melona scents like Eau Emotionelle and Après La Mousson….and why I wasn’t overstruck on the kiwi perversions of Amouage Interlude…)

Off the top of my head:

1. pineapple

2. papaya

3. grapefruit

4.  lemon

5. strawberry

6. apple (not Japanese: English, or the like)

7. plum

8. cherry

9. orange/satsuma/Japanese iyokan

10. rhubarb?

Basically I go for the tart, and the fluffy dessert flesh of the banana doesn’t even seem like fruit to me, somehow, more a species all of its own: a beautiful alien: creamy, pulpy, feathery (goodness writing this is really making me crave a banana….!), and yet Duncan and I, despite this, did have a whole party one summer based around the fruit.

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Before your minds turn toward filth and assumptions, let me say that we also had a beautiful wintery party in Tokyo called Kirsch, but I can see that I am digging myself into ever deeper holes by talking about cherries and bananas, oh dear.

Kirsch was held at a 1950′s café-diner in Ebisu called Kissa Ginza, and all was red, and all was cherry, and it was sublime, if chaotic… Delicious Banana, meanwhile, came from a postcard we found one day. As is well known, Japanese English is often hilariously, atrociously bad on a daily basis, or else almost surrealistically strange and simple, like the innocent declaration ‘delicious banana’ which is so saturated with itself and its nothingness we quickly picked it up and turned it into a party, which I must tell you about here if you have nothing better to do.

Delicious Banana was one of our strangest festas (and we have had many), for a number of reasons. Firstly, the venue: a curious, three-storied art café called Mogura (mole), which was as tight a fit as a fairy-tale, and had very poor air conditioning, which brings us to the second point: it was, or seemed like, the hottest day of the year, seriously, seriously boiling: sweltering like you couldn’t imagine (around 36 degrees, though hotter in my memory, with about 80% humidity). I remember us carting records, cds, decorations and white Casablanca lilies all the way from Kamakura (at least 90 minutes away), and arriving covered in lily powder, our clothes ruined; we bought heaps and heaps and heaps of bananas and hung them everywhere……the guests came all in yellow, and we had little kids running around in banana hats, plus the menu, all devised beforehand of course, was exclusively banana (it’s a wonder I ate a banana ever again…)

There was banana salad; banana tacos, banana desserts… bananas were coming out of our ears and we were wilting from the heat along with the bananas that were stringing the stairwells…

The music, which I spent a lot of time on, was all tropicalia-tastic, and I remember almost swooning with pleasure dancing to ‘One Day In Your Life’ by MJ with my beautiful friend Takako in temperatures that were not fit for human beings upstairs….the heat, the sun pouring through the skylights…we almost became our very own banana flambée of human melée; the climax being when I ended up trussed and decorated by five or six women ( the other strange thing about that party: for some reason it was exclusively female apart from Duncan and myself, hilarious given the name of the event) and, in some kind of fertility ritual, all of which happened spontaneously, I was dressed up and made up by the women in some Wicker-Man-like sacrifice (though in honesty the end result was more like Carmen Miranda….)

The party is imprinted in my memory as fun and banana bliss, and as the place it was held no longer exists, just writing about it here feels like some sad, beautiful tropical resurrection…

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So there I was in thick makeup, anyway, covered in fruit, and here I am now wearing Ladyboy. And like the Delicious Banana party with the women congregating around,  and showered with the fruit, is there an internal joke to the perfume?: the lack, or the covered-up fruit of the Thai transsexual or ‘transvestite’ an implicit feature of the creation?

Who is to say? Simon Constantine, the perfumer at Gorilla Perfumes, strikes me as a very nice kind of person and I can’t imagine any gender or homophobic malice; strangely, the rich banana of the top note segues beautiful with a powdery, thickly scented violet that might recall makeup, but also those delectable, hot, coconut, banana and tapioca desserts that Thai cooks make so exquisitely, and the ‘invisible banana’ is an interesting sexual motif dangling enigmatically in the mental void of this ladyboy in any case; it is possible that I put too much stock in the name of perfumes sometimes but then I think that the names of scents, like the names of paintings and mixtapes, are crucial, making linkages in the mind that  involve the participant and open vistas and connections in the soul that when truly inspired…

I have also been to Bangkok and it was dizzying; being driven at night in a tuk-tuk bicycle taxi to a restaurant where the delicious smelling lime-chilli fish had me drooling and weeping hot involuntary tears it was so spiced as the lights on the water bobbed and the mysteries I could never understand lay mercilessly on the other side of the bay….

While we were there I don’t know if we actually ever met any real ‘ladyboys’, but I have met my fair share of Asian crossdressers or whatever term you find most suitable, and I am happy to wear a scent in their honour; the humour, the true beauty, the confusing gorgeousness; all of this is served well in this perfume…

The smell of nail varnish, of hair spray, of the little cabaret’s dressing room and its fairy lights on mirrors conjured up by the acetatey sheen of the initial, artificial banana smell; the bizarre addition of seaweed added to the mix, which I can’t thankfully detect ( I HATE seaweed, the smell and the taste of it, which is a problem living in Japan! ) but which I imagine adds some leathery temperance and wearability under the banana banners; the perfume becoming, eventually, an eminently wearable perfume of oakmoss, patchouli, and labdanum, the scent definitively no longer a joke if, in fact, it ever was one.

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Filed under Banana, Fruit, Jasmine, Perfume Reviews