Author Archives: ginzaintherain

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-  WILDLY! – different to the European.

 

 

 

 

 

 

 

 

But 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 genuinely love how most American girls smell: so peachy clean, soft, so apple-fresh ( I remember almost swooning with pleasure when my friend Theresa wore the original Tiffany at a bar one night…………somehow we Europeans can never quite catch that strawberried, faultlessly clean yet strangely sexy halo of shower-gelled hygiene and fresh-pressed laundry…)

 

 

 

 

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 started to wonder 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, over enchiladas,my Nº 19 was quickly, quite rudely, immediately dissed as too ‘woodsie and girly’ (she was a firm believer in men smelling like men) and, anyway, perhaps, on that occasion,  she was right. The Chanel doesn’t work every time on me for whatever reason – temperature, that day’s body chemistry, and I am always waiting for the leather and citric vetiver to make itself known, not the powdery iris and neroli which can sometimes predominate 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 : such thoroughly dreadful . Every ‘clean’, ‘fresh’ ‘sexy’ perfume in the book that she thought were god’s gift to perfume and humanity but which I ferociously, but good humouredly (or so I thought) dissed back as they basically proclaimed her to be an olfactory moron. 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 actual assault.  It was so bad, so truly and utterly 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, hard, across my face…..

 

 

 

 

 

 

 

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In all of this controversy the only perfume we had managed to agree on at any point and to any extent 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 wash machine halations that mask the flesh beneath and create idealized, perfected, desexed holograms in their place.

 

 

 

 

For this girl, Happy was all about summer, and girls in short white dresses heading out on the town; clean, confident, sexy, radiating wholesomeness.

 

For me, it is the same, really (though I find it more asexual) ; 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’… ) ha!

 

– and it all just smells lovely, especially in small doses from a distance. Really. 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, it pains me to admit, 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. As in, full, back of the head pulsating agony. Pierced cranium shootings. I got through at least five bottles of the stuff in my time before I finally 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……)

 

 

 

 

Despite its hazardous nature though, Happy 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 (honestly: can you believe I am even writing this?):  girls at school literally following me down the corridor crooning about how beautiful I smelled (“flower! Flower!”). I have to say then, 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…’

80 Comments

Filed under Bitch, Citrus, Perfume Reviews

MOOD KILLER: : : : : HAPPY for men BY CLINIQUE (1999)

 

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I had an interesting sensory experience with this.

 

I was at a New Year’s party, in a fantastic Barbican flat with great view over the London midnight fireworks.

 

The hosts had cooked a wonderful roast venison, and the air was replete with the warm, woozy smells of the Christmas period and the first few guests intermingling over wine.

 

 

 

 

 

 

 

 

And then the host’s daughter walked in and sucked the life from the room.

 

 

 

 

 

 

 

 

At first, I didn’t notice the slow changes taking place as the fragrance spread, but then I realized that I was starting to feel depressed and that, like the aluminium flakes used to soak up raincloads, something was happening to the atmosphere: a dessicating, chemical dry-out that sapped all the colours and moods and replaced them with something…horrible, artificial, almost….deadly.

 

 

I felt like I had been transported to an airtight departure gate with grey plastic chairs.

 

Or was it a car showroom?

 

I could taste it in my mouth: thin, harsh, lemonic metal; my serotonin dipping, my good mood draining from my pores…

 

 

 

And then I realized it was the the scent this girl was wearing; so I asked her, and she told me:

 

 

 ‘Oh, it’s Happy, For Men.’

 

 

 

 

 

 

 

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38 Comments

Filed under Flowers

a flash of fruit and the night was mine………….BLACK ANGEL, DEVIL IN DISGUISE and SLEEPING WITH GHOSTS by MARK BUXTON (2012)

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Perfumer Mark Buxton, famous for his iconic creations for Comme Des Garçons and other houses, released an eponymous collection of scents last year comprising five striking, idiosyncratic creations that, surprisingly, despite their innovations, don’t seem to have been much written about.

I quite like them. Each perfume in this collection is pared down, simple, but plush and striking, and although the names of the perfumes might put us in mind of horror films, the morbid, and the ridiculous creations of Black Phoenix Lab, with their constant allusions to the satanic, the scents themselves are anything but.  Rather, I find the perfumes to be more like stark, modern, scented novelties: a blast of rhubarb here, of ginger or elderberry there, or of quince, Buxton choosing to overdose on one or two ingredients in each fragrance, an effect that draws and locks you in or leaves you cold depending on your reaction to that particular facet.

Although I tend to prefer more nuanced, extended perfumed stories on the whole, where head notes and heart lead slowly and inexorably to base in a constant play of shifting back scenery and fragments of emotion,  sometimes you want something fresh and arresting, and these unfussed creations fit that bill nicely, scents to spray on nonchantly (as you know they are going to work  out on the town);  quickly check your hair and face, and go out that door to your appointment in the city.

 

 

Sleeping With Ghosts (” a fantasy of extreme tenderness”), my own favourite in the collection, may sound daunting and gothic but like all the Mark Buxtons, the name is misleading (or at least playfully titillating): what you might imagine to be an incensey, ghoulish scent in fact a very fruity and vanillic thing that while linear and monothematic, is touching. It is a composition dominated by a sweet, spectral vanilla suggesting poigant memories; a lover’s body that has graced your sheets but has now gone, leaving nothing but the sensation that they are still there… just traces. These are the ghosts that the perfumer seems to be alluding to; those feelings of infatuation, happiness and spontaneity that love and reminiscence evoke, and a sense of yearning for those feelings again come springtime.

If vanilla is custard yellow, this is pink ivory white: pitched higher on the musical scale, creamily fruit-tinged; an insidious, addictive smell that dominates the scent, fused with barely perceptible touches of vetiver leather. The beginning of the perfume is the stage I like the best though, as it is all about the vivacious smells of tagetes, peony flowers and, notably, a very bright and deliciously juicy quince, an unusual note in a perfume and one that works perfectly over the softer notes in the base (which I find less compelling). I keep wanting to rewind back to that salivated  beginning.

 

 

** *

Rhubarb is another delectable fruit, with its tart, summery tang, and though it is gradually becoming more popular as an ingredient in perfume (especially as used by Jean Claude Ellena in perfumes such as Rose Ikebana, and by Duchaufour in the latest Aedes de Venustas) it has never been used as extravagantly as it has in the curious Devil In Disguise (“the divine wind of danger”).

A gorgeously flamboyant note of rhubarb leaves and neroli is used in this upfront scent, which was apparently inspired by the experience of sitting at a café in Italy and being tantalized, and turned on, by the smell of a woman sitting somewhere out of sight, as Buxton sat with his coffee and dreamed of recreating this feeling in a perfume. The frisson of fruit and carnality works beautifully,  though the contrast (some might say the friction) between that mouthwatering opening and the splayed realities of the musky, sandalwood base are something of an acquired taste.

I can imagine this perfume being extraordinarily erotic on the person that can pull it off, actually (go on….) but for me personally the scent’s bridge between head and base could have been fleshed out more. Having said that, the directness and brisk transparence of this formula are a large part of its appeal.

 

 

 

 

*   *     *

Once in a while you smell a scent that gives you an unexpected boost of serotonin; a bottled mood-enhancer. Many of the best perfumes are melancholic; you sigh wistfully as vistas and memories open up in your soul and you indulge your inner self;  or else they are occasionally pure seduction and you swoon and loll your eyes like a loon. There aren’t that many scents, however, that just make you happy.

Black Angel, which tells the story of the moment when a stunningly beautiful woman suddenly appeared through the dry iced smoke to Mark Buxton in a nightclub, has one of the most immediately uplifting and optimistic top accords I have smelled in years (a racy jasmine and mandarin-infused ginger), capturing, perfectly, the feeling of a night to come; cuba libre in hand – that intoxicating sense of summery anticipation.

Duncan took to it immediately, with its limey disco pulse and internal good-time engines, and has worn it several times out to great effect. The base of the scent is perhaps more generic (a styrax/patchouli/amber accord), merely pleasant where the top is so captivating, but on the whole this perfume works beautifully (I am not sure whether my reaction to that gingery goodness in the head notes is some subjective memory that it re-evokes – possibly a deodorant I loved when I was seventeen?), but it is certainly somehow familiar.

Duncan’s reaction to it, however, shows that ultimately it is the perfume itself (which feels intrinsically heartfelt with its fun, upfront integrity) that is objectively good, much like the other scents in this collection (Wood & Absinthe, a good quality, quite haunting vetiver, and Sexual Healing, an osmanthus/elderberry leather (yes you read that correctly) that I am less keen on but which is certainly interesting).

For a change of scene, and an immediate, and easy blast of the positive, these nice little perfumes work a treat.

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Filed under Ginger, Mojito, Perfume Reviews, Quince, Rhubarb, Vanilla

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 (can’t wait) 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.

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…..

 

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 ( a perfume I found at the 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.

 

 

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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 genre. 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. Possibly my favourite.

 

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

BLOWING RASPBERRIES: HOT COUTURE (eau de parfum) by GIVENCHY (2000)

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‘Who’s smoking a pipe? I could swear someone’s smoking a pipe’ said my Japanese colleagues as I sat, silent and embarrassed (but amused) at their reaction to my wearing Hot Couture to the teacher’s room one cold winter morning.

 

Trying to decide what I thought about this perfume (given to me by a friend who had found it just that bit too much), aromatic, flavoured (raspberry) tobacco was actually the first thing that had come to mind, so it was hilarious to have my initial instincts confirmed. Hot Couture, which came in a fantastically passé and non-ergonomic sculptured bottle – so eighties, so c h i c  – is a peppery, aromatic and vanillic framboise: an unusual main note for a big house perfume, and perhaps the reason why, like all the best perfumes, it has disappeared (the eau de toilette is a fresher, floriental raspberry scent). From a distance, though, the eau de parfum really did smell exactly like pipe smoke; curls of thick, woody, vaporous raspberry.

 

Hot Couture is a pretty good scent I would say, worth picking up if you find it cheaply somewhere: nice on either sex, cosy and distinct, but with its atmosphere of smoke-infused nightclub cloakrooms – and swathes of thick, rising, dry ice on the dancefloor – I have to say it doesn’t leave much room to breathe.

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Filed under Floriental, Perfume Reviews, Raspberry, Tobacco

vanille vaniglia vainilla

Continuing my vanilla torrent, look out for my reviews of Eau Duelle, Vanille Tonka and Sleeping With Ghosts today on Olfactoria’s Travels….

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Filed under Bric-a-brac, Vanilla

Chestnuts roasting on an open fire: CASTANA by ATELIER CLOON KEEN (2012)

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Chestnuts, or ‘kuri’ in Japanese, are a winter staple in Japan. In Tokyo, and in most cities and towns in fact, there are chestnut vendors who trawl the streets at night with their tinny transistors wailing the traditional Edo period ‘chestnut song’ among the cold, steaming red neon: the nuts, in their shells, fragrant, unpeeled, and roasting hot as you grab a quick late night snack before the last train home.

 

 

Marrons glacés, Mont-Blancs (with which I now have something of an obsession, when combined with a piping hot cup of caffe latte on a cold rainy day in winter) and anything chestnutty in fact, are very popular here( they are also traditionally eaten pickled): the tiny, shrivelled, squirrel brains both nutritious and unique in texture, and aroma, and flavour.

 

But although I was always familiar with the famous Christmas time song by Nat King Cole, as a person who grew up in England,  I am almost embarrassed to say that I had never tasted one before I came to this country. In my family at least, they were never part of our lives. I think the only chestnuts I ever knew were those we used for playing ‘conkers’ at school; the gorgeous, friendly plonk as those spiky green bonnets fell to the grass with their moist, white, inner encasings…. I used to love collecting them, and shining them, and in fact probably just kept them more as treasures on my bedside table than I did smashing other kids’, but I am sure I never ate one (though I did have a strange thing for acorns, but I’ll save that for another time..)

 

 

 

Castaña (Spanish for chestnut), is one of the few perfumes that have a distinctly nutty aroma, and the first I know of to feature the chestnut. Cloon Keen is a perfumer and candlemaker based in Galway, and though it is rather clichéd of me to say so, to me there is, undeniably, a distinctly ‘Irish eyes are smiling’ aspect to the scent. It is warm, benevolent; optimistic in-woolly jumper (and generous figure): a person you trust and like, flitting and fussing about the kitchen, taking care of you with a loving smile and a twinkle.

 

Beginning with a creamy, rich and edible chestnut over sweetened, cherished vetiver, the perfume progresses to milkier, more sandalwoody tones. While the top accord features a lemon-floral note (cassia and jasmine), the scent remains buttery (yet clean and appealing) throughout its duration on the skin. I find it quite a simple scent, probably too much so in some ways ( and I have never been a fan of the ambroxan-like note embedded in the white musk base), but despite these slight misgivings that is only a question of personal taste: I know many people enjoy those warm, musky strokes and I would very happily smell it on another person, as Castaña is just one of those scents that is uncomplicated and lovely, very easy to wear on a daily basis without even noticing it until it becomes your smell. It is also quite inexpensive, which is a boon in the niche market of today where buying a scent really can really put you out of pocket.

 

 

Castaña is slightly reminiscent of another scent, actually, another vetiver/nut combination,  almost as though Hermès Vetiver Tonka (with its gorgeous heart note of hazelnut – see my review), had, in his second year at Cambridge, come back for the Christmas and New Year holiday; all geared up, flighty and full of literary pretensions, to  then be brought gently back down to earth by his loving; less educated; but more more emotionally open, mother.

 

 

 

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Filed under Chestnut, Perfume Reviews, Woods

POISON by CHRISTIAN DIOR (1985)

 

 

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There was a time when a new perfume launch by one of the big houses was of great import, the quest for timelessness and fragrant immortality often leading to a greater artistry and perfectionism.  Perfumers pored over, and tweaked their formulae for years until they found that magic formula that sent the nostril hairs and brain filaments zinging with pleasure….

Between 1947 and 1963, Dior released just five perfumes – Miss Dior, Diorama, Eau Fraîche, Diorissimo, and Diorling –  all of which are considered classics. Since then, in a vastly oversaturated market, more than that are often released by one house in one year, mostly forgettable flanker scents that come and go like passing ships in the night, never really getting under your radar. The same cannot be said of the perfume we are looking at today, because despise, love, or merely tolerate it, Poison is most certainly memorable; intensely so – seared as it was onto the collective memory when released to the world at large in 1985; a perfume that even the perfume haters were unwillingly forced to inhale on a daily basis as lustrous sorceresses clicked their heels on the pavements of world cities enveloped provocatively in mushroom clouds of venomous berries and plummy-cinnamon, purpled tuberosa musks…..

At this time, a project such as Poison was as secretive, as closely guarded, as a new film by Kubrick –  and unveiled with as much publicity and fanfare, with launch galas and champagne parties of the crème de la crème partying under the giant factice flacons and juicily indulging in the sheer excess of it all, the centre of the eighties, the shameless vortex of capitalist fun made even bigger, more implacable, in a smell.

The name that was saucily given to that aroma was the first thing that guaranteed this clever product would capture our attention (apparently it was seen as literally scandalous that the maker of such refined scents as Diorissimo and Diorella could come with such a monstrosity), but the juice itself was an entirely new departure in scent as well, so different to anything preceding it. How often can we say that now? In recent times, few perfumes can claim similar levels of pioneering, especially not in the commercial arena, where new fragrances are consumer tested, sanded down and sanitized to the sellable point where they smell pleasant (though that is debatable) and lack any obvious personality. With Poison, this real shock of the new, both in terms of marketing/advertising and the gloriously vibrant liquid within, really worked; the perfume was an enormous international hit, but was vilified in equal measure, being one of the three ugly sisters who were famously barred from restaurants and boutiques (the others being Obsession and Giorgio) due to their extraordinary potency: many simply cannot bear Poison.

 

 

I myself love it. Partly because it so beautifully captures my world of mid-eighties teenage self-discovery (all the bangle-wearing Madonna wannabes and naughty girls at every party I went to smelled of it, as did their mothers), but mainly because I just enjoy its daring, delicious, purple toxicity – that rich, sweet potion of pimiento spiced berries, coriander,  honey, opoponax, and carnal tuberose that glows from a woman’s skin with such brilliant alacrity. It is not a ‘pretty’ perfume, is not subtle, but to me Poison is a great classic; fruity, fun and ludicrously seductive.

 

 

 

 

 

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Note: The current version of Poison has been diluted and reformulated, as is often the case with formulae that are expensive or ‘difficult’, and the current perfume hangs her head, thinned and embarrassed, as though she has been through bouts of electric shock treatment therapy. She has been punished….

Yet I do still smell it on the streets sometimes: this must have been a big hit in Japan too, back in the day, as you sometimes catch drifts of the vintage jus surrounding Japanese older women glammed up for the theatre or some ladies’ function, especially in winter, when it warms the cockles and the lungs (just as Madonna herself still rocks that gutsy tuberose Fracas by Piguet, she herself no longer a young thing). Here, middle aged and older women are often very desexualized and put down by their male counterparts the older they get, an aspect of living in Japan that infuriates me to the core, and to me, their wearing Poison along with their furs and finery somehow seems like a quiet middle finger; a proclamation of self-worth and untapped, wasted sexuality. It smells wonderful.

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Filed under Floriental, Flowers, Perfume Reviews, Tuberose

HEAT ME UP WITH 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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It is  absolutely freezing here in Kamakura today. Grey, icy, miserable, with the possibility of sleet or cold rains tumbling down this afternoon as I have to head out into the sticks to do my evening classes.

 

Ugh. While the temperatures this week, hovering just above or below zero, might seem positively balmy to some of you reading this, especially those suffering under the current deep freeze in North America, the particular problem here is the heating systems, or lack thereof. With a country as hot and humid as Japan is for much of the year, the traditional houses here are not insulated at all, and there is no central heating as Europeans know it, with the hellish result that any heat generated by the detested ‘air conditioners’, those nasty machines that make you sweat yet always seem to have a top layer of cold wind circulating to make you shiver unpleasantly at the same time, or the throat-drying, and dangerous, kerosene heaters we are compelled to use in our house to keep warm, seems to immediately dissipate the minute you switch them off, disappearing like a bastard through the draughty cracks in the doors and windows. I HATE it, and am really yearning for the stolid, stable heat of English hot water radiators, for the suburban living rooms where it is so warm you can just lounge about in a t-shirt and not even think about being cold, or else for spring to just hurry up and arrive.

 

January, a time of overwork, tons of pre-exam classes, and basic lack of physical well-being, is thus usually somewhat miserable for me, an overextended period of gloom and grey, with no possibility of any warm sunshine for at least another three or four months, and of nothing but neurotically obsessing about how many layers to wear the whole time (the misery of a sweat soaked t-shirt beneath those hot layers, as you deliberate between the dilemma of keeping on the wet t-shirt and hoping it will dry, or having to head into a public convenience and contort yourself into ludicrous positions as you renegotiate your clothing).

 

HELL!!

 

 

Moaning aside, though, to generate some warmth right now, both physical and psychological, one of my pleasing and simple comforts is herb tea, especially just before bed. I have experimented with many kinds of tisanes over the years (lemongrass, chamomile, lavender, lemon balm) and know now which ones have the strongest physiological effects on me personally. Whereas in the morning I need hot, steaming coffee and lots of it, at night my tea of choice is rooibos, a South African plant that is incredibly soothing and sends me to sleep even when I am overtired and agitated. This winter I have been experimenting quite a lot with my night brew,  adding different combinations of spices for an added boost, in particular ginger, my vanilla pods from the Javan plantation, nutmeg, and cinnamon, and it has really struck me recently quite how carnal, almost animalic in fact, cinnamon can be, particularly when combined with natural vanilla pods. Where spices like cardamom and nutmeg have a fresh, bracing quality; ginger Chinese verve and fire, and cloves an almost uptight, dark elegance in comparison to cinnamon, my night teas, especially if left brewing for a long time, sometimes take on the slightly naughty aspect of the filthiest orientals: a trace of civet; a very human, bodily aspect that can be almost disconcerting but also deeply mollifying, in a childlike way, when the cold air is surrounding you, and your senses concentrate instead solely on this mothering,  sensual taste. The thick, body-hugging glug of mulled wine that has been steeped in cinnamon sticks;  cinnamon hots; 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 as if the world couldn’t really be as bad as you thought ( your senses perking up without your even noticing and you find you have plumped for that Starbucks hot cinnamon roll and latte instinctively,  realizing to your horror that you have just consumed 800 calories in one indolent go). Oh well: cinnamon is a palliative: a remedy. Though it is not my favourite spice (that would be clove, or cardamon, or even perhaps saffron), I do think that there is nothing more balancing and heart-repairing in the world of spice. It is the great balancer.

The effect of cinnamon in perfumery is similar to its culinary use –  surely the most trustworthy and unthreatening of the spices; easy, familiar, emotionally warm, and although it does not usually feature as the main theme of many fragrances – probably because it is seen as precisely too foody –  blended, usually, 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 we are looking at today are more overtly cinnamonic: tailor-made, surely, for these darker months of winter…….

 

 

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Sunday: 6pm. It has been raining; dark, freezing cold.

 

You have just done something really bad – been shouted at and belted: and after bawling out your eyes in your bedroom upstairs, and are lying prostrate, aimless, and self-pitying, on top of the bed covers; the taste of hot, angry tears still swirling in your head.

Then – suddenly, after who knows how long, the warm, delicious smell of your mother’s baking apple pie finds its way up the reproachful bannisters, and, gradually, life is again alright.

Warm apples, slow-burning cinnamon; mouth-watering aromas of rich buttered pastry; the lilting promises of melting vanilla ice cream.

 

This is Ambre Narguilé: an exalting perfume that seems to provoke obsessive reactions in some 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.

 

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. To get to this point, though, you do have to go through stages of ambery, sugary bulimia; and to be honest, I’m not always sure I am going to make it each time as for me it is just that little bit too sweet. Still, I seem to have got through most of my bottle in one way or another, and I do feel that this scent has really stood the test of time. It is is worth seeking out if you are having a crap week; it is freezing with rain; and you need a sweet, sensory escape.

 

The perfection of the perfume’s  ending, as it hugs to your skin in the softest, dessert-like caress, is the sheerest wintry succour.

 

 

 

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Discontinued, so probably hard to find now, but I once had the pleasure of using the E Coudray Vanille Cannelle bath oil on a cold winter’s night when staying at a friend’s house, and with the ambery vanilla-orange thickness tumbling from the lip of the bottle I just melted into the steaming hot water in total bliss. That bottle, of the very old Parisian type, standing beside to me on the side of the bath like an old friend, 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, most delicious, French cakes.

 

 

 

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Rousse (‘the red head’), one of Serge Luten’s less talked about orientals, is a very different, but equally appealing, scent 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 Lutensian 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, as I most certainly do, this rough, flushed, russet perfume is perfect: a chic cinnamon bomb to take on the night.

 

 

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A serious cinnamon. As you’d expect from Mr Lorenzo, Incensi is a languorously layered, complicated scent with a certain integrity, the incense of the name not prominent until the drydown where the main feature in this curious blend is more a ginger-bolstered cinnamon emerging from a blast of strange greenness (elemi, leaf notes, galbanum) than the more liturgical scent you might be expecting: the preferred, cooler incensed notes of antiquity lying calm and serious beneath like a cellar  (frankincense, benzoin, myrrh, styrax), while the note of cinnamon –  unsweetened, potent,  and vaguely ecclesiastical, remains curiously prominent throughout.

 

A cinnamon scent, perhaps, for Pope Francis.

 

 

 

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If you are male and have always secretly wished you had worn Yves Saint Laurent’s Opium – that brilliant and unforgettable classic for women from the 70’s –balsamic, spicy and orange-laden – but were just too embarrassed to buy a ‘women’s’ perfume, for whatever reason, then here’s your chance. Ambre Cannelle is apparently a part of Creed’s men’s range; and admittedly there are fewer flowers;  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, actually, with a sexed, ambergris/ musk base that clings to the cinnamon-amber-flecked accord with air of tightened, bodily mystique.

 

It IS somewhat old fashioned, though; check it out for yourself first before committing (in a floor length fur coat).

 

 

 

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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, and I can certainly see the Noir Epices’ fan club members’ point, but on this occasion, I am afraid, I must beg to differ.

 

While I can certainly see the appeal of this perfume’s  fat-free structure (no musk: no fluffiness: no soft, vanillic contours), its stark angularity,  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 and sexy – was in fact Noir Epices.

 

Yet another argument for the fact that some perfumes really do smell utterly distinctive on different people.

 

 

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Of the three jaunty little perfumes in the Comme Des Garcons sherbet series, to me, Cinnamon is possibly the least successful. The Rhubarb is surely 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 rather an original take on the note of cinnamon. Like all the sherbets, it is quite fun.

 

 

 

 

 

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 cinnaphiles with bulimic appetites.

 

 

Do let me know if there are any other good cinnamon perfumes you can recommend that I am not aware of: I imagine there must be quite a few good ones out there that I haven’t mentioned and I am really in the mood for this smell and taste.

 

 

 

Let’s cinnamon!

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Filed under Cinnamon, Perfume Reviews, Spice

RIVE GAUCHE by YVES SAINT LAURENT (1970)

 

 

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“There she goes, the independent woman. The girl who’s so contemporary –  she’s having too much fun to marry”

 

 

………..”Nothing like the past

 

 

proclaims a soap opera husk, concluding this clunky and hilariously gauche  late 70’s TV ad for this perfume, as a blowsy discolette sprays her legs up and down with Yves Saint Laurent’s Rive Gauche:

 

 

 

“…the right perfume from the left bank of Paris…..”

 

 

 

 

 

Which is funny, because I always in fact associated this legendary smell, this legendary perfume, with tights – that musky smell of stockings coming off at the end of the working day; the holy grail, perhaps, of a (not so) secret foot fetishist like Quentin Tarantino.

 

 

 

Not that there’s anything remotely unsavoury about Rive Gauche: quite the opposite – it is beautiful and delectably charismatic. But its flirtatious, polished exterior conceals a very animal sexuality deep down in the mix; a mossy, ambery musk that proclaims – unambiguously – real, flesh and blood woman.

 

 

 

Often compared to the strikingly similar Calandre – which preceded it by two years – and sometimes described as ‘a sculptured perfume’ – aluminium-cool; white contoured – the silvery finesse of Rive Gauche comes from a metallic, green/floral aldehyde opening, iris/jasmine; bergamot, peach, and a rosy, sandalwood, musked human heart.

 

 

Though I possibly prefer Calandre myself, with its melancholic, arched gaze, it can sometimes seem as if its tender green heart has gone cold. Rive Gauche is alive, knowing, and devastatingly attractive. The current version, as you will expect, has been tampered with (‘reorchestrated’), has less of the frank animal sexuality of the original, but is still a monument.

 

 

 

 

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Filed under Fetish, Floral Aldehydes, Perfume Reviews