Tag Archives: 1990s scents

DUMBO DUMBO : L’ELEPHANT by KENZO (1996)

 

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We have been  talking recently about signature scents, whether of Hollywood stars or just ourselves, and this excessive treat by Kenzo, which is still going strong, was definitely one of mine.

 

It is a milestone of sorts: the first ‘women’s’ scent I wore with pride, and also a marker of the first years of my time in Japan, when everything was new, exciting and disorientating and I would return to England periodically laden with incense and stories of my experiences, reeking (no, reeking, really) of L’Eléphant. If there is any scent my friends associate with me, it is probably this flamboyant creation, which somehow, for a while,  suited me perfectly.

 

I even wore it to work all the time, unaware at that point of the suffering I was probably causing……

 

 

One of my nicknames growing up, which I never liked, was Nelly The Elephant (along with Neil, Neil orange peel, or lemon peel, or whatever peel you like, any chantable derivative of my name) : yet, ironically, for a time I then eventually end up being synonymous with a perfume actually called elephant, a scent I would wear in unbearably huge amounts, and even deliberately spray on people’s walls when I was staying for the night at their houses, taking the perfume association thing to ludicrous levels of self-importance (you WILL smell me and remember me even when I am not there: I will haunt you with the presence of my long, vanilla-kissed trunk…..)

 

 

 

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It was always hilarious, though, I must say, to be asked

 

‘Wow, what perfume are you wearing?’

 

and be able to answer

 

 

‘Elephant!’

 

 

…a perfume so intense it actually burns human skin (mine in any case……I always had red patches from the absurd concentration of sensitizing spices and ylang.. and Japanese Parisian aroma chemicals…….maybe it would suit the skin of the great pachyderm itself better: : : : : : : : great runs of cardamom-scented elephants charging across the savannahs and plains, scaring off the yelping cheetahs and lions with gigantic clouds of ylang ylang and patchouli

 

 

 

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….a  perfume that, quite understandably, still has a small posse of enthusiasts across the world who keep it in production (Le tigre, which I also loved, is now unfortunately extinct)…..

 

 

No. The Elephanters truly love its plummy, Christmas cake excesses: its spiced, inspiriting intensity, but more importantly the fact that it elicits such positive, even wild reactions from others (especially in its closing stages). I have practically caused stampedes, wearing this perfume;  I distinctly remember the first time I debuted the perfume in a bar in Yokohama, and people were all over me, women especially, sniffing my neck wantonly, excited by its effluvium of everything in the poacher’s kitchen sink.

 

 

 

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With a great, bellowing, fanfare, the sweetest ylang ylang flowers; cumin, cardamom and mandarins trumpet savagely from the skin, a perilous stage you have to endure before you begin to wade through the massive, uninhabitable jungle to reach that delicious main theme, which is a rich, buttery accord of vanilla, patchouli and a huge dollop of liquorice.

 

 

 

Gorgeous and grotesque in equal measure, this really is a fun scent to wear out once in a while, but only in cold weather lest you be cloyed to death.

 

 

On the wrong, sweaty, hot and greasy day, Elephant is nothing short of an atrocity.

 

 

 

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I have had friends who have absolutely loved the scent on me (the closing stages) and then tried it on themselves, only to screech in distress at the initial toxic shock and run like crazy to the nearest source of water and soap. My current big bottle comes from a friend who bought it based on how I smelled, was appalled when he tried it on himself, and immediately handed it over to my willing, grabbing hands.

 

 

 

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53 Comments

Filed under Liquorice, occasionally sickening scents, Orientals, Patchouli, Perfume Reviews, Spice Orientals, Vanilla, Ylang Ylang

GINGER!!!!! Five O’Clock Au Gingembre by Serge Lutens (2008) + Un Crime Exotique by Parfumerie Generale (2007) + Ginger Ale by Demeter (1997) + Ginger Musk by Montale (2006)+ Versace Pour L’Homme (1984) + Ricci Club by Nina Ricci (1989)

 

The first real cold has hit and I am putting ginger in my tea for that extra wall-tightening glow in the stomach.

 

Grated fresh ginger, brewed with some ceylon leaves and milk: a lovely way to warm up a morning, or a wintery mood-dip in the afternoon.

 

Hot, delicious, an ancient root of suffusive goodness and fiery health, ginger (zingiber officinale) has long been very popular here in Asia for various ailments and health conditions – it is practically a medicine. You might even say that there has been an actual ‘shoga boom’ in Japan recently: while pickled red ginger has always been a condiment for sushi, and fresh ginger often served with grilled pork, currently, a lot of shoga sweets, beverages and various other powders and medicines have been hitting the market here: the rhizome is seen as something of a cure-all –  and it is my kind of panacea.

 

 

 

In terms of perfume, the essential oil of ginger is usually deemed a masculine colour in the perfumer’s palette, and thus occasionally crops up in the top notes of spicy men’s fragrances such as Gucci’s brooding, loaded (and now discontinued) Envy for men, which has a gorgeously gingery top accord. It does not feature in its own leading role as often as it might, but there are exceptions, and if you love the smell and sensation of ginger, please read on.

 

 

 

 

 

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People after a very literal-minded ginger fix should perhaps turn, as their first port of call, to Demeter, masters of gratifying one-note cravings. They will sort you out temporarily with their Gingerbread, Fresh Ginger, and even Ginger Sushi ‘feel-good fragrances’, but like Ginger Ale (see below), the impression usually only lasts a short while before you have nothing on your wrist (this is, after all, the idea with Demeter – they are only meant as ‘pick me up’ scents). There is an aspect of Scratch N’ Sniff.

 

 

For a more interpreted, fresher form of the root, Ginger Essence by Origins is a pleasantly convincing fragrance (citric, floral, very clean and American) that features ginger in a more gentle and feminine role, while other more lasting, gourmand spice scents have very pleasing prominent gingerbread notes, such as the 1926 winter classic Bois des Isles (Chanel) and its male offshoot Egoïste, although the main player in these two is undoubtedly more the balmy, floral sandalwood that lies beneath.

 

 

 

 

 

 

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But on with the ginger…

 

 

 

 

 

FIVE O CLOCK AU GINGEMBRE / SERGE LUTENS (2008)

 

Serge Lutens finally left the caravanserai of the orient for English tea at the Ritz with this fragrance; an imaginary afternoon of cakes, tea,  and crystallized ginger among the cafe clatter and bonhomie of those reposing and catching up away from the cold. The result is very pleasing – some orange peel here, some Earl Grey there – and a very cosy perfume that is nice to dab on in winter. As six o clock approaches though, it gets a touch less interesting, with a generic spicy warmth in the nineties manner, and focuses more on the drabness of the washers-up out in the darkening kitchens.

 

 

 

 

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GINGER ALE / DEMETER (1997)

 

The smell of ginger ale always reminds me of my grandparents coming round on a Sunday evening and the standard request for a ‘whisky and dry’ – the dry rasping bubbles of ginger ale carbons popping from the glass. This smells identical to that first pouring in of Schweppes; then fades away to a nondescript  note as though you had spilled some ginger ale on your skin while fixing that second or third whisky.

 

 

 

 

 

POUR HOMME/ VERSACE (1984)

 

 

A brief tale of ginger and ‘missed opportunity’ from my youth……….

 

In the summer of 1989, I was playing keyboards for The Fanatics, a local Solihull band who later changed their name to Ocean Colour Scene and achieved great success in the early nineties in the UK and elsewhere ( I even find their songs, tauntingly, at karaoke in Japan……)

 

 

They all became millionaires. I wasn’t allowed to stay with them (university- I had wanted a year out to just see how it went), but for a while it was fun anyway, and I got to go to all the parties and meet some famous pop stars. At one, a post-gig thing, I was in quiet conversation with Ruben, boyfriend of the bassist’s-girlfriend’s-sister, a long-haired youth who was gentle, and handsome as a drawing by his namesake, and who was emanating, discreetly, the classic Versace L’Homme from his skin.

 

 

In fact we were in the middle of talking about this scent, him passionately trying to convince me it was the greatest men’s scent ever made, when my head was suddenly punched against the wall from behind, cutting me just above the eye. I had no idea what had hit me, but in fact it was Duncan in an uncharacteristically jealous rage (perhaps I had been more entranced than I realized). Seconds later he had been thrown onto the pounding dancefloor and was being kicked by me as the blood flowed. The group’s bouncers immediately came to break up the lovers’ scrap and we were thrown out in disgrace, me crying in the taxi all the way back home.

 

 

Ruben wasn’t my type anyway, beautiful though he was, and I wouldn’t have worn his scent myself, but I have to admit that he did smell wonderful, because the original Versace, in my view, is something of a masterpiece (this may seem like a contradiction in terms given how crass the house’s perfumes are now, but in the eighties Versace did actually use do some nice fragrances: does anyone remember the sultry Milanese jasmine that was V’è? )

 

 

There really is nothing Pour L’Homme, in its original incarnation, it was smooth, complex, spicy, citric, creamy, fresh and sexy, with a beautiful and vivid top note of ginger that shone right through the formula to become its focus. Seductive, yes, but classy – just about – and irresistible.

 

 

I wish there were more masculines in this vein; forthright, yet elegant, complex enhancements of male beauty.

 

 

 

RICCI CLUB/ NINA RICCI (1989)

 

Long disappeared from Ricci counters, this very special scent can still easily be found online.

 

 

My friend Owen and I used to call this perfume Love instead because in fact to us that’s what it smelled like. We both had bottles, possibly as Christmas presents from our parents I think, but he wore it better than me, living in it for a year or two and smelling excellent: a warm, citrusy, very huggable cologne with a gorgeously fresh ray of ginger shining through the whole like a sunny day in October. It is a masculine of its era, very ‘trustworthy male in adorable woollen sweater’, but definitely worth seeking if you are searching for a well judged, temperate, but big-hearted, ginger.

 

 

GINGER MUSK / MONTALE (2006)

 

I love many a Montale perfume and could wear practically everything in their lineup, but a lot of the scents, while beautifully crafted, perhaps lack innovation.

 

Ginger Musk is different. It has that shock of the new, a smell that you didn’t know you wanted to exist until you actually smelled it: an adorably feminine and sexy combination of aerial musks, dreamy fruit and a fresh-floral ginger that scintillates beckoningly with an abundance of freshly washed, long-flowing hair.

 

Hard to find but worth seeking out.

 

 

UN CRIME EXOTIQUE / PARFUMERIE GENERALE (2007)

 

La piece de resistance. It is obvious that the creator of this perfume (Pierre Guillaume) was having a lot of fun with dabbling in his wintery concoctions when the results are as startling as this.

 

The ‘exotic crime’ in question is perhaps the ultimate spiced ginger: a pungent globe of medicinal spices, cinnamon sticks and baked apple sweetbreads like some heart-lulling medieval Christmas wine. It is quite wonderful – there is nothing richer, and you may laugh each time with the audacity of it all each time you apply.

 

 

A wonderful choice for the coming holiday season.

 

 

 

 

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If you know of any other great ginger scents I am missing here, please let me know!

19 Comments

Filed under Ginger, Perfume Reviews

MITT, now you GIT on down to New Orleans right NOW and take out that MAN!!!!! I MEAN it!!!!!! (Senso, by Ungaro, 1991)

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Today I expect there will be a good few Republican vixens despairing across America with something like the facial expressions above. Tearing their teased, well-groomed hair in their master suites at the mere mention of their taxes being increased, their wealth being siphoned off by those hordes, now with health care and no longer dying in the streets, edging ever closer, and blacker, to their white-gated paradises….

 

 

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The first time I ever smelled Senso, I thought ‘Marietta’. Marietta: screeching, taloned harridan in her Texas satin dress, Lula’s hit-man devouring mother in Wild at Heart – David Lynch’s kaleidoscopic mash up of The Wizard of Oz and the classic road movie that mythologized the beauties and horrors of America,  all captured brilliantly in Diane Ladd’s interpretation of the gorgon, man-chewing  blonde: a matriarch who’d slit your throat at the flick of a switch, yet would be horrified at the mess. Come to think of it, this she wouldn’t do herself but instead would hire one of her ‘gentleman friends’ to do the job. The men love her; this dolly, come-thither old belle with her flaxen, Rapunzelesque hair; an uncurbed, materialistic witch who purses her rouge-caked mouth, smacks her lipsticked lips and immediately gets what she wants.

 

 

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You might be wondering what the connection could possibly be between evil ‘Tea Party’ crones, a wicked old witch of the west, and a long discontinued perfume by Ungaro. Well, leaving aside the fact that senso means ‘war’ in Japanese – Marietta Fortune’s war against Sailor (Nicolas Cage), the man who rejects her at some fundraiser in a public toilet – a humiliation that can only end in his death – there is the bottle, which is the most  exquisitely kitsch bottle I own, draped like a real Ungaro dress in the brightest shocking pink and hard enamelled baby blue. So belle of the ball, so…..Reagan.

 

To me it is a great flacon, and wouldn’t look out of place in Southfork, the poison dwarf weeping uncontrollably at her dresser, impetuously shattering her bottle of Senso against the mirror in some love and dollar-drenched tantrum.

 

 

And then you smell it – hit, blown away by the sheer voluptuous sweetness of the thing, a precarious tightrope balancing act of the glorious and the sickening; a perfume that aggregates rich domestic propriety with sex, just like Marietta, in her dream home: crawling, like a writhing, curvaceous beast under that glass coffee table; pursing and cooing and seducing the dumb, witless Johnnie Farragut.

 

We smell the newly washed carpets; the curtained, pink silken bedroom, the polish on the floor. And, especially, the laundry room, where the maid, off for the day, has left everything as a warm, puffed up refuge.

 

 

In Senso there’s a very comforting aura: the powerful sanctity of the washer and dryer –  the blithe reassurance of Downy – but, like Marietta, who ends up drooling, her face caked in blood-red lipstick, also an almost insanely sugared, libidinally ruinous bouquet of hysterical flowers, as though she has just fallen down and, watching her cocktail glass fall slowly to the shimmering tiles, wet herself desperately down among her tumble-dried whites: powderly, dirtily pink.

 

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50 Comments

Filed under Floriental, Perfume Reviews, Republican

THE GRASS IS NOT ALWAYS GREENER : Trophée by Lancome (1982), Central Park by Bond Nº 9 (2004), & Herba Fresca by Guerlain (1999)

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Central Park occupies a very important place in the mental scape of New Yorkers (and cinemagoers); it is the heart and lungs of the city. Bond No 9, a brand I have not had much success with, apparently wished to pay homage to this island of chlorophyll with a fragrance inviting us to ‘commemorate New York’s grand oasis of greenery; a lush sensory landscape that simulates a walk in the park’; a park, as we have seen in countless movies and soaps celebrating the metropolis, with joggers in visors and white shorts running every which way but loose; tennis courts, basketball, dogs a-larking, you name it – this is a place for the lovers of the outdoors.

 

 

Lancôme’s Trophée, another celebrator of green (discontinued but easily found online) has a similar, pastime on the lawns  theme; with a golfer on the bottle, and a golf ball as a stopper, its sporty, green-grass message couldn’t be more explicit.

 

 

 

 

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Trophée, while not desperately original (a slightly more masculine version of the seminal lemon-leaf eau fraîche, Ô de Lancôme) is a great fragrance you just can’t go wrong with; citrussy, natural, minty notes of lawns, verbena, and a gentle, chypre finish; bright, clean, refreshing. It is liberating: you can imagine a man in newly laundered polo shirt, up bright and early, splashing it on before a day out with his friends on the greens. The citrus notes don’t last so long, but the base is lovely too; a soothing note reminiscent of cold cream that makes me think of the aforementioned tired golfer in bed, later, with his wife; clean white sheets, late afternoon, the hot sun outside kept at bay with breezing white curtains.

 

 

Bond No 9’s scent begins with a vivid technicolour panorama of Central Park; vibrant green, grassy notes of verbena and basil, and a neroli note similar to Thierry Mugler’s cologne. Impressive. A  momentary, dazzling vista. And worn with Trophée on the other hand you might say it beats it, initially, in the lushness stakes. But Lancôme’s little known trophy has great subtlety. Bond No 9’s creation gets gradually worse, and worse, then even worse, as time passes.

 

 

Bond No9’s website informs us that

 

the park has its very own lawn bowling area. Here the terribly civilised pastimes of lawn bowling and croquet can be indulged without fear of colonial intervention.

 

 

Translated into perfume terms, that would mean, then, eschewing the classic (European) template for perfumery which dictates that a perfume, like a person, should fade and die gracefully, yet be anchored with earthy base notes to let it stay as long as possible; not botoxed and plumped to eternity.  The final accord in Central Park of ‘water jasmine’, ‘muguet’ and ‘cashmere musk’ sticks to the skin, irremovably, like a tattoo and is vile. If it is Central Park, then it is some obscure, forgotten corner; an oil-covered pigeon, stiff and festering, near some frayed, yellowing astroturf.

 

 

 

 

 

 

 

 

 

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GUERLAIN’S HERBA FRESCA : a ball of just discarded spearmint chewing gum; still fresh and ever so minty, left lying, alone, among the long, tall grass.

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Filed under Chypre, Grass, Green, Mint, Perfume Reviews, Verbena

BEAUTIFUL POISONS: FOUR PERFUMES FROM THE EARLY 90’s : Allure, Cabotine, Dolce & Gabbana Pour Femme + Tendre Poison

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The perfumes of the nineties do not have the ‘loud’ reputation of many eighties blockbusters, though this was still a period when the big houses – Dior, Lancôme and so on, still invested a great deal of time and money on development before launching an ‘event’ perfume, and the results were usually equally characterful (which is why all four of the perfumes below are still worn today: will today’s mainstream releases (La Vie Est Belle, anyone?) have similar longevity?

 

 

CABOTINE/ GRES (1990)

I have never liked this perfume personally, while admitting that it is a perfect execution of its obvious ideal – to turn a pale-skinned girl into a flesh and blood (ginger) lily.

It is beautifully done; a host of fresh white florals with green overtures; in essence a ‘soliflore’ ginger lily achieved with other notes, but there is, to me, a false modesty here: this innocence just doesn’t compute (that might be just my distaste for the sandalwood/neroli/green accord, though, which I personally find gratingly ‘coquette’.)

This sly perfume achieved a lot of success, especially in Japan where almost every woman wants to be as girlish as she humanly can, and on whom this perfume did smell rather erotic when I arrived here in 1996.

 

A touch dated now, but if it works, it works.

 

 

 

TENDRE POISON (1994)

 

 

I have always felt that Tendre Poison, though attractively poised, is a somewhat presumptuous perfume, making steamy claims on your attention that you may not be willing to give.

Unruffled, this sharp-eyed vamp just comes on loud and sticks her claws in anyway – venomous, stalk-green galbanum over orange blossom and sandalwood; the embittered older sister perhaps of Cabotine ( more demure), Red Door (lower IQ), and Fleur de Rocaille (pseudo-chic).

 

It is very slinky, and sexy, to be sure, and recommended, but absolutely not tender, as its name erroneously suggests.

 

 

 

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ALLURE/ CHANEL (1993)

 

 

A big hit for Chanel worldwide and still going strong –  a ‘multifaceted’, warm, floral-sheened scent with vanillic undertones that doesn’t obey the usual structure of perfume in that what you see is what you get: no top notes, dry down, no secrets (surely the key to true allure?), no real development. Department store perfume workers apparently often recommend this as a solution to those who have no clue about perfume, or those who are just dilly-dallying, as many consumers seem to acquiesce quickly to its simple lack of pretence and apparent modernity:

 

WOULD YOU LIKE SOME ALLURE FOR YOUR WIFE, SIR?

 

 

 

I loathe this fragrance, while fully seeing its easy appeal. It is a true ‘all-rounder’: ‘sultry’ yet mild mannered: womanly, smooth-edged; clean, suitable for ‘office wear’ and ‘special occasions’ one and the same. It is well blended, and can smell acceptable on the odd lucky person, but for me is simply extraordinarily vulgar and crass. Whoever thought such a thing could be written about Chanel?

 

I woke up one summer morning at my parents’ house, and on opening the bedroom door was shocked to see that the feeling in the house had mercurially transformed; thick with banality: some throat-coating, oyster-pink air sludge.

 

And it wasn’t until my mum cheerily called out ‘I’m just trying Allure today’ that I realized what had happened.

 

A woman who smells so beautiful in her chosen favourites (First, Joy, Jardins de Bagatelle) had been rendered into a marketing-led dotard.

 

 

 

DOLCE & GABBANA/ DOLCE & GABBANA (1992)

 

 

When they came out, I overdosed on both the Dolces, and ‘Pour Homme’ is the only scent that I’ve ever had strongly derogatory comments on ( I was so into the novel tarragon top note I didn’t realize how harsh I was smelling to the world).  I could never wear it again.

 

The signature scent for women, in that red velvet box ( in its original incarnation – I haven’t smelled the tamed down reformulation which was launched recently), is similarly problematic. That top note, that rich, gorgeous mandarin and basil petitgrain melting powderfully into those piquant divine florals – it’s all extremely addictive, and I was quite frankly obsessed with it for while. But with the potent, skin-clinging vanilla-musk-santal finale, as things start to get very messy with Basil, it is as though an Italian opera singer were having a nervous breakdown live on stage; foundation and mascara merging in a sweaty, oily mass of face powder under the breakers.  It can all get a bit much; a big smudge of olfactory OTT.

 

 

So, one for special occasions only, and in moderation. Dolce & Gabbana is certainly a gorgeous perfume, but it is overwhelming. I personally prefer it on older women.

 

 

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24 Comments

Filed under Basil, Flowers, Lily, Orange Blossom, Perfume Reviews, Powder

BELA LUGOSI’S DEAD: D’HUMEUR A RIEN by L’ARTISAN PARFUMEUR (1994) and BLACK AMBER by AGONIST (2011)

 

 

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It has been raining in the city, and you are standing on the grey wet steps of a cathedral, where the chilling, ghostly incense from the years hangs in the rafters. A cold whiff of death, both religious and nihilistic; fungal in the dark reaches of its damp earthiness, Catholic in its liturgical implications.

You shiver…

 

 

 

L’Humeur A Rien, an obscure, long-gone, once formed part of L’Artisan Parfumeur’s ‘Sautes d’Humeur’, a limited edition set of five fragrances in a red satin-lined box; and it was my first ever introduction to an incense perfume. I remember standing in the King’s Road boutique in West London when it came out; transfixed and bewildered. So along with the satanically green-eyed snake of D’humour Jalouse (one of the most interesting green creations ever made), I decided on the spot that I had to own this original selection of scents that, though highly stimulating to my imagination as curios, were clearly, to me at least, unwearable.

 

 

But as it turned out, the ‘Mood Swings’ collection, according to the lady who sold me the perfumes, was in fact intended, just as I had intuited, as a collection of scents to ‘share with yourself’. To place a drop or two on the top of your hand, and then drift, the ‘nothing’ or ‘spiritual’ void of D’Humeur A Rien a watery evocation of the sinister and sacramental: a portal – brief – to another realm that would either comfort you in the material world or compound your yearnings for the hereafter. Never did it occur to me to put this on to go out anywhere as it is far too disheartening, even for a party at Halloween. Also, the visions of rainwater on stone floors of the beginning notes – the most fascinating part of the perfume – soon shifted to a smudgy, unpleasant, bad feeling that you felt you had to wash off. But that was the idea: a momentary glimpse of another life, or death…

 

 

 

 

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At the time, I thought that this oddity was a true original as I had never come across anything else quite like it. Several years later, however, the idea of wearing incense started to catch on, and perfumes such as the seminal Incense Series by Comme Des Garcons (2002) brought about a distinctive change of sensibilities in which these arid, evocative, often sanctified substances smelled fashionable (especially when combined with more conventional woody notes, spices, new synthetics, and ambers); an impactful, wry new kind of antidote to the sweet and the floral. At first, to some extent, there was almost a novelty value – a ‘look at me I smell like a church’ aspect that had an aspect of the humorously blasphemous (smelling exactly like the high mass at Avignon might strike the religious as somewhat disrespectful); but in time, the scents have simply come to smell of the times – a bit edgy and knowing; often contemplative, and peculiarly erotic.

 

 

 

Black Amber is an elaborate frankincense composition by Swedish house Agonist, and comes with the requisite features we expect from an exclusive niche brand. Concept – the brooding melancholia of Bergman, Garbo and other despairing Scandinavian artistes;  the sculpture as perfume bottle, and the scent, crafted to place the wearer far beyond the plebeian reaches of the hoipolloi.

 

 

 

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And Black Amber, in the scheme of the mainstream, is certainly no usual scent.  In niche terms, though, it strikes me as just another grey dirge of miseria. While it intrigues, somewhat, at first, with its strange, seaweed like-saltiness (from an unusual addition of red algae); its essence of nargarmotha, an Indian herb used in Ayurvedic medicine, and notes of tobacco blossom, artemisia and labdanum  to bolster the note of churchy olibanum, the plum-murk dinge of its centre has a bilgey corporality to it that feels like the mortar holding up the temple – an argillaceous wetness that takes some time, in the crypt, to solidify. This verging-on-unpleasant clay-feel comes from an uneasy underlayering sediment of ambergris, vanilla and sandalwood that takes away from the purity and sanctity of the frankincense (an essential oil I adore), while never sweetening or become soft enough, indeed ambered, to ever satisfy. It smells, to be honest, of ghoulish plasticine. Strangely, the perfume is billed as a walk in the forest, but to me, the frankincense, combined with other incense notes in the heart, can only be signifiers of church rites.

 

 

I know that Black Amber does have its disciples, so if you are aching for a sophisticated ‘anti-perfume’ , or an incense scent that contains no oudh (agarwood), you might want to seek this out. It is enigmatic, and of obviously high quality source materials. To me, though, these trendy black cloaks of ‘gloom’ can feel a little forced.

 

 

 

 

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A GOTHIC LOVE SONG

 

 

by CURRENT 93

 

 

 

 

 

 

I’m clicking your fingers

for a gothic twilight

That actually existed

just in your head

 

 

 

 

Your fingernails painted black

or blood red I forget

 

 

 

 

And your fake leather volumes jabbering on hell

Manifest decadence was what you hoped to exhale

 

 

 

 

 

Your eyes tried so hard to glitter

A star-snuffing black

 

 

 

 

And you opened your legs

And so opened your heart

 

 

 

 

And let in the badness you claimed as your friend

 

 

 

 

 

And nonetheless I still write this Gothic love song

 

 

 

 

 

A sign to myself and the memory of my past

 

 

 

 

 

 

 

 

 

 

 

And a way to shut out your face

 

 

 

 

 

 

 

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October 24, 2012 · 1:15 am

THE DEEP, HAIRY ARMPIT OF LOVE : UNGARO POUR HOMME by UNGARO (1991)

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The first time I encountered it I was twenty and not quite ready. And neither was the public apparently, as Ungaro came and went very quickly, becoming just another discontinued, but highly sought after, cult scent. Yet even back then I knew. Something murky, and sweatily, dangerously seductive smouldered on that department store counter. It was almost too obviously manly, an attempt to combine a seventies barechested medallion aesthetic with the new decade. So macho.  So not of the times, yet also not quite like anything I had ever smelled before, with its dark-pitched, absinthe, underarm intensity. I remember shrinking back – but then returning – to this rich stew of scent that touched some primal sex nerve yet also seemed so hopelessly outdated when the world of CK-depilated sport-skinniness was just around the corner.

There was never anything androgynous – or slender for that matter – about Ungaro.

This is a middle-aged, well-built businessman, after a long day at work; his smell beneath his suit; coiled, taut – waiting to emerge. He has neglected to apply his deodorant, many hours earlier, (out of forgetfulness or fetish we don’t know), but the blend is emphatically not fresh:  it is a scent that harnesses a certain brute and rough, even dirty, masculinity.Yet it also fuses this frank eroticism with style and an attractive elegance in a manner only the French could master: we are not talking here about a clichéd, covertly aggressive chat-up line by Hugo Boss.

Essentially based on brooding patchouli; dark, bitter wormwood, and lavender, this trio of ingredients is freshened with greener notes of geranium, pine and bergamot, drying down to honey-tinged, musky animalics.  Rough, and very Italo-French in its womanizing, boozy, and measured self-confidence, it may seem to skirt with parody to the contemporary nose, but to me the perfume feels lovingly drawn by its creator, not just a throwaway commission, as it exhibits a sense of laid-back intelligence and humour beyond its core message of overt sexual prowess.

For me, Ungaro I is perhaps the ultimate masculine fougère.

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A Japanese dressmaker friend, Rumi, came to my house one evening. We drank red wine, watched Almodovar, had dinner, and then got to the perfume collection.

Once I had realized her tastes, I went in a patchouli direction (Givenchy Gentleman, Paloma Picasso, Magie Noire), all of which had her coiled like a cat with pleasure.

The pièce de resistance, however, was Ungaro Pour Homme, which I saved til last, but which she said was like sexual torture.

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Filed under Fougère, Masculines

SHOCK WAVES: : KENZO POUR HOMME (I99I) + + TIRRENICO by PROFUMI DEL FORTE (2008)

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Some perfumes arrive and totally change the air.

Kenzo Pour Homme was such a scent: iconoclastic, groundbreaking, with its olfactory shock of the new. Distorting the air in Rome, where I was living at the time, like a giant, salty, turtle-shaped watermelon: head-turning, inescapable (so many of the young Romani seeming having cottoned onto it all at once at their local profumeria ); so at odds with the classical surroundings that I walked among at night and where I kept on smelling this…..smell.

Drifting, unexpectedly, about the city.

Surfing the midnight air.

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People HATED it – my flat-mate referred to it as ‘that….. sea-piss’; my mother loathed it  (“What IS that FOUL smell?!!”……..)

It amused me. It intrigued me: I bought a bottle.

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Though Aramis New West had been the first scent to introduce the aquatic note of calone three years prior to this perfume’s release, Kenzo was the first to do it to such a fearless extreme as to make it essential: almost offensive in its oceanic, salted weirdness, yet so utterly of the moment and futuristic that it felt addictive. Unfortunately, in recent times, as is so often the case, the formula seems to have been tempered with over the years to make it more conformist (in that ubiquitous sea of dull aquatics) – watered down, its stingray zest somehow blunted –  yet to me it still remains one of the best of this type and remains quite popular, especially in France. It is a shame, however, that it no longer has quite the eye-opening surprise it once had. Which was this:

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a revivifying sea spray of salty green marine notes; an oceanic top note like the crash of waves (when you get dragged under helplessly joyfully swirling dragged up, sand and seaweed and splinters of sea shells as the sun tilts erratically through the refracted gluts in the surface and the solar blue peers through…) ….that delicious, electrolyte blue of the sea. An iodine rush that had never been done before in perfumery and that was startling.

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What it didn’t do next was also praiseworthy.

What it didn’t do was dry down to a gay-club sport cliché, like the dreadfully efficient Acqua di Giò (Armani), or the now standard jeune homme progression of calone, citrus, ‘spice’, and ‘woods’ a la Miyake that could bore a man to tears as it fills the international airports like a slow, deathly tsunami, instead being strange, interesting, confounding, and exciting.

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Kenzo’s heart is pleasing.

The top, filtered through with bergamot, some green notes, geranium, and a strange dose of anisic fennel, has an aqueous freshness, but it is undercut beautifully with quite prominent spice – particularly nutmeg and clove – on a musty, cool seabed of vetiver, sandalwood, light musks, and patchouli. And while I was always slaking more for the top notes, I also remember a beautiful walk in the Tuscan countryside Helen and I took that summer in Italy, Kenzo under our constant analyses under the burning sun (we really had smelled nothing like it, and we had smelled a lot of perfumes together over the years….) Helen particularly transfixed, I remember, by the closing patchouli/aromatic accord that I think set the stage for my later attraction to dry patchouli chypres along the lines of Parure, Aromatics Elixir, and Eau du Soir. Such an imprint lies at the sea-bed of Kenzo – you might even call it a chypre oceanic – because while refreshing and beach-bound, it also verges on mystery.

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The only other scent I have come across of similar bearing to Kenzo Pour Homme is perhaps Profumi Del Forte’s Tirrenico (2008), which I discovered a couple of summers ago while staying in Berlin. This beautifully constructed composition has the sea-green sodium feel of Kenzo but has a more torrid, even livid aspect (fennel again, plus dried fruits, elemi, and a very intense basil over ozone), that I found mesmerizing, but also almost depressing in its algae-filled darkness. Where with Kenzo the play-drowning and underwater torpedo-ing feel like fun, with Tirrenico I felt as if I might never actually re-surface. I have toyed with the idea of buying a bottle of this (supremely expensive) scent: but the company’s  tiaré-banana-noix de coco fantasy Apuana Vittoria (delectable!) has first priority, if I ever raise the cash..

For the time being Kenzo remains my only sea perfume. It is unique, and brings back wonderful sun and water-filled memories of sun-christened skin. Only to be worn in summer, the the breezy, saline atmosphere it creates is indispensable.

As the Japanese summer heats up and the coast begins to beckon, I will be taking my bottles out of seasonal rest-mode very soon.

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Cherryade and the fluff: G de ROMEO GIGLI (1994) + DIAMONDS AND RUBIES by ELIZABETH TAYLOR (1993)

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Sometimes I wake up and my brain has already, instinctively, reached out for a particular kind of smell: I know upon opening my eyes that only that smell will do. And yesterday it was cherry. Something sweet, light, and fruity. Reminiscent of freshly plucked cherries, the stalks intact, but also that deliciously cheap and artificial, cerise-coloured drink from my childhood: chip-shop cherryade.

I have two scents in my collection that happened to fit the bill perfectly (…the joy of a large collection and being able to pinpoint the specific in mood by reaching into ones cabinets!):  G by Romeo Gigli, an early nineties concoction that fell by the wayside rather quickly (possibly because of its luridly overdesigned harlequin flacon) and Elizabeth Taylor’s cheerful, fulsome Diamonds and Rubies, which I have in perfume extract and which complements the greener, more bracing Gigli perfectly (wearing the rubies on my wrists and spraying the Gigli liberally elsewhere as I headed out to Tokyo on Saturday, I enjoyed their company throughout the day immensely). Both perfumes were released within a year of each other and comprise a very similar basic accord that is pleasing and somehow serotonin-boosting when you are in the mood for easy comfort.

Despite the complexity of the notes contained in G, the perfume comes off as simple and buono, a warm yet fresh fragrance with a gorgeously Italian optimism: two different themes fusing deliciously with each other after initial apparent frictions. The vanillic cedar of the base, with its clean, gentle orchids, wisps of sandalwood and oakmoss, is far from apparent in the Milanese zest of the opening: an inventive, herbaceous scherzo on pineapple, citrus, green notes and a curious dose of fresh tarragon leaves that is quite frankly delightful.  Cloves, not listed in the official notes but apparent to my nose, cleave to the floral heart (cyclamen, jasmine, rose and orris), but the tarragon remains throughout like star anise in a fragrant compote de fruits. When spritzed, G de Gigli is immediately happy and uplifting, but subtle: it lasts for hours yet remains close to the skin like a flower-patterned silk.

A more American riff on morello is Elizabeth Taylor’s Diamonds and Rubies, which is also constructed on a ambery cedar base with lashes of orchid, but which is richer, more powdery and, well, Elizabeth Taylor than the Romeo Gigli: a thick-waisted embrace of sweet cherry liquor: heliotrope, ylang, orris, cyclamen and bitter almond; red rose, benzoin and peach. The base of the scent is significantly erotic, in a mature, experienced kind of way, while the opening – tender, as fluffily romantic as a puffed up angora sweater, has the blow-dry glamour of a pressed, immaculate Floridian dame:  soignée, not a hair out of place on that dandelion head: yet benign, loveable; sweet.

I have tried Diamonds & Rubies only in parfum form, but can say it is surprisingly enjoyable and well-made: recommended for those who like an ‘occasion’ floriental. Although I wear these two only rarely, I like knowing they are there: scents with a ripe, cherry-lipped goodness. They are both available for a song at online discounters.

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My musky stench…………….. Serge Lutens Muscs Khoublai Khan (1998)

 

Musk.

 

Musky.

 

 

When you consider these words and how they are used; as euphemistic substitutes – ‘the musky smell of his/her …..(supply word)’ in erotic fiction, the etymological origins of the word (muska – testicle in Sanskrit), it is clear what the intentions of most musks will be. Whether of the dirty, natural type, extracted from the gland of a Siberian deer; or the modern, more wholesome ‘white’, synthetic, variety, it is certain that for various reasons, musks flick some primal switch….

 

 

 

 

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They never come up in conversation.

 

And even when you are alone, it is difficult to admit to the pleasure that some smells give: those tinged with disgust, revulsion, even shame.

 

 

 

 

An example: I was recently sitting on the train, nursing a beer one evening after work: my shoes (cheap leather, and rather old) having, earlier on in the day, got soaked in a summer rainstorm. Any carefully constructed soapy-clean odours I had achieved for the uptight Japanese work place that morning were, suddenly, quite overpowered, now, by a sweet, rancid scent: a sour, sweaty, animal that rose up; was starting to embarrass me; yet was strangely, and undeniably, turning me on. A weird, autoerotic reaction to something dirty, prohibited…..from another zone, beyond and disconnected to the polite.

 

 

 

 

 

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Unlike most perfume houses, Serge Lutens –  that elusive, most enigmatic purveyor of the orient –  usually only gives out solid wax samples of its perfumes, rather than the more usual liquid vials. And when you dab the little round disc of scented wax that is Muscs Khoublai Khan solid on your skin, you are immediately assailed with a plush orchestration of animalics (musk, ambergris, civet and castoreum); hints of Moroccan rose, ambrette and cumin (the smell of unwashed armpits) in a strangely gentle, but regally filthy,  blend of perfect proportion. If you are anything like me, let yourself go with it, you will feel the sap  rising. It is an uneasy scent, to be sure, but the perfumer, Christopher Sheldrake, has erred just enough on the side of propriety, I would say, to make it fit for society.

 

 

But wax samples focus on a generic sweep of a scent, a mellowed olfactory vista that doesn’t prepare you for the shock of the actual liquid. At the beautiful shop at the Palais Royal one pale, wintery Paris morning, I had been sampling the sumptuous range of bell jar bottles with great pleasure, trying desperately hard to decide which ones I wanted to take home with me.  Unstoppering the Khoublai Khan I almost retched. Then recoiled a few steps – to the amusement of the assistant, who had probably witnessed this reaction countless times before.

 

 

But we all have our taboos: for me, the sweaty crotch of this perfume is fine: a sour, musky heart like lovingly, carelessly unwashed jeans. But damp animal fur, a vivid stink of sheep, plus a hint of disgracefully fresh seminal fluid was too much. For me. At least.

 

 

 

The addicted do say you get used to, then come to love,  this musk in all its instinct; its animalic splendour.

 

I doubt I would, but at least the scent lives up to its name: hairy, Mongolian warriors after days on the steppes, curled up on sheep skins in their warm, thermally reeking, yurts.

 

 

 

 

 

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