Notes on Notes: Narcissus

Notes on Notes: Narcissus

Welcome to another installment of Notes on Notes, a collaboration with Portia of Australian Perfume Junkies! This month’s note is narcissus.

As many of you know, I am not only a perfumista but an avid gardener. And of the many flowers I love, a favorite genus is Narcissus. Some of the common names for members of this family are daffodils, jonquils, narcissi, paperwhites, etc. Most have a fragrance that I find very alluring; and I love the succession of spring blossoms they provide over a long season.

The flower is often said to have been named after a Greek myth recounted by the Latin poet Ovid, in his “Metamorphoses.” The story tells of a remarkably beautiful youth, Narcissus, who scorns the love of the many people who become infatuated with him, including the nymph Echo. The gods decide to punish him by decreeing that he would never know love, but any love he felt for another would be unrequited and unattainable. One day, while he was out hunting, he went to a spring to drink water and saw his own reflection. He fell instantly in love, but of course he could not embrace or converse with his watery double. Consumed by this unrequited love, he stayed by the pool, gazing only at himself, until he wasted away and died. When the nymphs came to bury his body, in its place they found only a beautiful flower – the narcissus.

However, there is another origin story for the narcissus, told by Homer in a hymn to Demeter, which says that the flower was created to lure Persephone away from her friends and her mother Demeter, so that Hades, god of the underworld, could abduct her: “a marvelous, radiant flower. It was a thing of awe whether for deathless gods or mortal men to see: from its root grew a hundred blooms and it smelled most sweetly, so that all wide heaven above and the whole earth and the sea’s salt swell laughed for joy. And the girl was amazed and reached out with both hands to take the lovely toy.” (translated from the Greek by Hugh G. Evelyn-White, Loeb Classical Library).

Narcissus absolute is extracted from real narcissus flowers, usually Narcissus poeticus, but sometimes Narcissus jonquilla or Narcissus tazetta, through a solvent method. It takes huge amounts of flowers to create a single kilogram of absolute, so it is an expensive ingredient. It is also very complex, with hints of its close cousins the lilies, but also echoes of jasmine, green notes, a touch of hay or tobacco, and even some animalic notes. Some people detect notes of leather in narcissus absolute. It is also possible to extract narcissus oil by using the traditional method of enfleurage.

Luckily, because natural narcissus absolute, concrete, and oil are all very expensive, there are excellent synthetic alternatives. Perfumer Sarah McCartney has a series of related fragrances in which she experimented with varying amounts of naturals and synthetics, the “Clouds” series, named after Joni Mitchell’s song “Both Sides Now.” The first two fragrances, Clouds and Clouds’ Illusion, were the same scent, crowd-funded by the Eau My Soul Facebook group, but Clouds used the more expensive naturals and Clouds’ Illusion used more synthetic versions of the same substances (with some of the less expensive naturals). Both Sides of Clouds is a remix, using both naturals and synthetics. I have and love all three, plus a later and darker sibling, Complicated Shadows.

The narcissus-based fragrances I like best are those that really evoke the flowers themselves, so I gravitate to the ones that combine green notes with the narcotic aspect of the blossoms that rely on indoles (like jasmine). Clouds’ Illusion fulfills that wish, and so does one of my all-time favorites, Penhaligon’s Ostara.

Penhaligon’s Ostara eau de parfum among daffodils

But I’ve written about both of them before, so today I’ll focus on Tom Ford’s Jonquille de Nuit. Launched in 2012, it was part of a group that included Ombre de Hyacinthe, Café Rose, and Lys Fumé. It was reissued in 2019 as part of Tom Ford’s “Private Blend Reserve Collection”. Jonquille de Nuit is a beautiful floral. The name deceives, however – it is not dark or sultry, as one might assume from “nuit” (night). TBH, it smells to me more like mimosa than jonquil, but it’s very pretty and sunny.

The opening notes are mimosa, violet leaf, angelica, cyclamen, bitter orange blossom; heart note is narcissus; and the base notes are orris and amber. The mimosa accord especially gives the impression of yellow pollen, somewhat like Ostara, which does not have mimosa listed as a note. Right from the start, Jonquille smells soapy, in a nice way, without smelling like aldehydes (I like aldehydes, but I don’t smell them here). The soapiness may be coming from the angelica accord.  There is a pleasant, understated greenness to the opening also, doubtless from the violet leaf accord. Overall, Jonquille smells quite synthetic, though not unpleasantly so.

To my nose, Jonquille de Nuit is a fragrance that evokes jonquils rather than representing them. Ostara, on the other hand, smells like an actual bouquet of daffodils. A favorite blogger and author, Neil Chapman of The Black Narcissus, calls it “frighteningly hyper-realistic” in his book “Perfume: In Search of Your Signature Scent.” (I can’t write a post about narcissus without mentioning his eponymous blog which I highly recommend). I like Jonquille de Nuit and I’m glad I have a couple of decants from a scent subscription, but I wouldn’t pay the exorbitant prices I see for it.  Personally, for that amount of money, I would go buy another back-up bottle of Ostara! Or another bottle of the parfum version of Both Sides of Clouds, which I’ve been enjoying this spring and which I believe contains real narcissus absolute.

Speaking of insane prices, one of the fragrances I considered for this post was Narcisse, by Chloe, as I have a 30 ml bottle. It still has its price tag from a brick and mortar discount store: $14.99. Discontinued, it now lists online for three figures! While I like Narcisse, and it captures the narcotic, indolic aura of the flowers, it rests pretty far down my list of fragrances, so I’m glad I snagged my one small bottle when I did. I don’t feel the need for another.

Do you have any favorite fragrances named for, or containing, narcissus? Also, happy May Day – I won’t be doing a May Marathon on the blog this year as I’ll be traveling again this month, but do enjoy my “May Muguet Marathon” and “Roses de Mai Marathon” from prior years! Check out what Portia has to say about narcissus; and look for our next collaborative post, “Counterpoint“, where we choose a fragrance and each of us answers the same list of questions about it.

Notes on Notes logo
Notes on Notes; image by Portia Turbo.
Counterpoint: Jean Patou’s Joy

Counterpoint: Jean Patou’s Joy

Welcome to a monthly collaboration new for 2023! Portia Turbo of Australian Perfume Junkies and I had so much fun doing “Scent Semantics” with some other fragrance bloggers in 2022 that we decided to launch TWO regular features as a new collaboration this year. The first, which we plan to post on the first Monday of each month, is “Notes on Notes“, in which we choose one note and write about it however the spirit moves us; last month’s Note was on galbanum. This second feature is “Counterpoint“, in which we ask ourselves the same handful of questions about a single fragrance and post our separate thoughts on it, on the third Monday of each month. We’re still experimenting with format, so comments on that are welcome too!

This month’s Counterpoint fragrance is Jean Patou’s Joy (we shall ignore the imposter Dior launched in 2018 after acquiring the name and the brand). Jean Patou was one of the great designers and couturiers of pre World War 2 Europe, with his own couture house. Joy was launched in 1930 at the outset of the Great Depression, apparently so that M. Patou’s haute couture clients could still enjoy something created by him even if they couldn’t buy his dresses any more. The true creator, of course, was the perfumer; in this case, Henri Alméras.

Joy was famously promoted as the “costliest perfume in the world”, which was probably a marketing ploy but also reflected the high quality and cost of its ingredients, including absolutes made from jasmine and roses from Grasse. It was also meant to compete with Chanel No.5 as a luxury perfume. They share some qualities and notes, but each is distinct from the other, and instantly recognizable to many.

The fragrance "Joy" by Jean Patou
Jean Patou’s Joy; image from Portia at Australian Perfume Junkies

1. How did you first encounter Joy, and what was your first impression?

Old Herbaceous: I first tried Joy after I had gone down the rabbit-hole of this fragrance hobby. I knew it was one of the 20th century’s most legendary fragrances and that my perfume education would be incomplete if I didn’t try it. I found a tester of the eau de toilette at a very reasonable price, so I took the plunge and bought it blind.

My first impression was kind of “meh.” It was okay but I didn’t like it as much as the Chanels I already had, for example, or some of the more exciting new fragrances I was trying. It felt a bit old-fashioned, more than the Chanels did, and I couldn’t recognize its separate notes. As my nose became more educated, though, and I was trying more different kinds of fragrances, I came to like Joy better.

Portia: Honestly I have no memory of first smelling Joy by Patou. It seemed to be around in my childhood. It was definitely work by my Mum at some point and by various Aunts and friends Mums. There is no one specific image or memory I can conjure of my early encounters though. 

When I started buying vintages I was so unaware of exactly how it should smell I sent a couple of samples around the world for confirmation and bought samples from Posh Peasant for comparison. So I’m taking my first vintage splash bottle as if it was the first time I smelled it. The only memory I have of that was being overwhelmed by this extraordinary scent. Eye-rollingly gorgeous stuff, I think I bought about a dozen bottles so I’d never be without it again, mainly vintage parfums and a couple of those 45ml EdT or EdP.

2. How would you describe the development of Joy?

Portia: Today I’m wearing both the vintage EdP and vintage parfum. I’m not sure exactly the years but the picture might give you an idea.

Opening is sharp white flowers, aldehydes and a swirl of ylang. It’s rich, plush and sumptuous. I know Joy is supposed to be rose and white floweer but the roses take a far back seat on the bus for ages before they start to become a serious contender. Even when they do make their play it’s only as a backup not the main event.

What I do smell as we hit the heart is fruit. Not that modern super sweet candy-ised fruit but that vintage tinned fruit salad. Yeah, it’s sweet but more robust, less headache inducing.

There is also a lovely, stemmy green note that could be hyacinth and it borders on torn twig. It’s verdant but also bitter and gives a lovely counterpoint to the bouquet and fruit.

Hiding deep below is also a little growly tiger and breathy, sweet jasmine.

As the fragrance heads towards dry down, the woods and animalics become more pronounced. Not dirty or ass-ish but smoothly skin-like, me but so much better.

Old Herbaceous: The notes listed for the original Joy are: tuberose, rose, ylang-ylang, aldehydes, pear, and green notes. The heart notes include jasmine and iris root. The base has notes of musk, sandalwood, and, in the vintage, civet. The version I have is the eau de toilette and it dates to 2016. Fragrantica lists this version’s notes as: Top notes — Bulgarian Rose, Ylang-Ylang and Tuberose; middle notes — Jasmine and May Rose; base notes — Musk and Sandalwood.

I think there are still some aldehydes in the opening, even if no longer listed, to give it some lift. There’s a pleasant soapiness to Joy that I associate with aldehydes; and I think they are the cause of so many people feeling that Joy is old-fashioned. I smell the ylang-ylang more than I do the other floral top notes, and then the jasmine arrives. It isn’t overpowering but it is very evident, much more so than the rose notes. I don’t smell any iris, root or bloom, at all, so that may not have become part of the modern EDT. It’s not quite as abstract a flower as Chanel No.5, but it is in that same vein. Even in EDT format, Joy has good longevity and sillage. A little goes a long way, given how dominant jasmine is. The final stage of this modern Joy on my skin is all soft sandalwood and white musk, like expensive soap.

Jean Patou’s Joy eau de toilette

3. Do you or will you wear Joy regularly? For what occasions or seasons?

Old Herbaceous: I don’t think I’ll wear Joy regularly, but that’s mostly because I now have such a large collection of fragrances that there are only a few I would say I “wear regularly.” Joy definitely gets more love from me than it used to, and it’s in a convenient location, so I do reach for it occasionally. It’s great for church or the office, because if you don’t overspray, it’s quite subtle and ladylike. It’s one of those fragrances that doesn’t jump out at anyone, it just smells very nice. By the same token, if you want your fragrance to make more of an impression, Joy may not be the one to choose that day (or night), unless the parfum has more impact (I haven’t tried that version).

Portia: Joy is so fabulous but rarely gets the spritz, splash ot swipe here. Every so often I get out the Patou box and grab Joy. I’ll wear it and put it back. Then I won’t think of it for months. That doesn’t lessen my love for it but it seems to fit only rarely. 

I’m hoping that enjoying wearing it so much today and yesterday that it might inspire me to wear it more often.

4. Who should/could wear Joy?

Portia: Joy needs a certain amount of preparation if you’re not a regular wearer. It’s big, bold and makes a statement. It’s tenacity is also legendary, so you have to be ready to smell of this iconic beauty for at least half a day. Anyone who chooses Joy is choosing to smell of a fragrance that will not be easily available for us to buy when the bottle runs out. So they are wearing something precious and on it’s way to extinction. That alone tells you something of the wearer. Either they are so wealthy that they can stockpile or such a hedonist that wearing it to the dregs and enjoying every second is better than having it forever. No, I check myself. There are other reasons. Wearing it as a memory scent, to mark special occasions, as a lure or any number of wonderful reasons. 

Really though, anyone who wants to smell spectacular and relive the joy of wearing Joy by Patou before it’s gone forever.

Old Herbaceous: As always, I say anyone who wants to can wear Joy or any other fragrance! Joy does give off a certain demure, ladylike air, at least in EDT form, but that could be deployed to great effect if the wearer isn’t, in fact, demure, ladylike, or even a lady. For myself, I prefer some of the reissued “Collection Heritage” fragrances created by Thomas Fontaine when he was Jean Patou’s head perfumer, especially Chaldée and L’Heure Attendue.

If you want to experience this legendary fragrance, I recommend getting some soon. Dior’s Joy is a pallid successor at best, but all the Jean Patou fragrances are now out of production, since LVMH bought the brand (to the howls of the faithful) and changed its name to just “Patou”. The fragrances are still widely available online and I’m told that Joy was so popular among ladies of my mother’s generation and even beyond that it is often found at estate sales. In fact, when a FiFi award was given in 2000 to the “perfume of the century”, it was given to Joy and NOT to its competitor No.5. So now really is the time to get yourself this small exemplar of 20th century fashion and creativity. I’ll be keeping my eye out for vintage parfum, since that’s the version that has gotten the most rave reviews (including from Luca Turin, who gave it his rare five-star rating) and that Portia finds so alluring.

Have you experienced Joy? What did you think? Has your opinion changed over time, as mine did?

Counter/Point, a monthly blog collaboration
Perfume Chat Room, March 31

Perfume Chat Room, March 31

Welcome to the Friday Perfume Chat Room, perfumistas! I envision this chat room as a weekly drop-in spot online, where readers may ask questions, suggest fragrances, tell others their SOTD, comment on new releases or old favorites, and respond to each other. The perennial theme is fragrance, but we can interpret that broadly. This is meant to be a kind space, so please try not to give or take offense, and let’s all agree to disagree when opinions differ. In fragrance as in life, your mileage may vary! YMMV.

Today is Friday, March 31 — is your March “going out like a lion”? I think our weather lion has already left the building, though I risk jinxing us by saying so. We had low temps of 40 degrees F earlier this week, and tomorrow it’s supposed to approach 80 degrees. My plants are so confused. I still have daffodils coming up, but my lilies of the valley and roses are also now starting to bloom. One David Austin rose in particular is so fragrant as well as beautiful! It’s called “Fighting Temeraire”, after a famous painting, and it has a strong fruity rose fragrance that carries. This is one of the reasons I love David Austin’s English Rose hybrids — not only are they beautiful, in many colors, but they were bred and selected to be highly fragrant.

David Austin English Rose "Fighting Temeraire"; image from www.gardentags.com
David Austin English Rose “Fighting Temeraire”; image from http://www.gardentags.com

Yes, this rose’s blossoms really are that big! Speaking of fragrance and spring, Portia and I will resume our collaboration on Monday, now that we’ve both returned home from travels, with “Notes On Notes” (first Monday of each month) and “Counterpoint” (third Monday of each month). I’ll give you a hint: the note we’ve chosen for April appears in many green fragrances. Please join us!

I just got in the mail a sample of Parfums Dusita’s new fragrance; she’s running another contest to name it, on the Eau My Soul Facebook page. Are any of you taking part? I haven’t even sniffed it yet, but I’m looking forward to it.

Perfume Chat Room, March 24

Perfume Chat Room, March 24

Welcome to the Friday Perfume Chat Room, perfumistas! I envision this chat room as a weekly drop-in spot online, where readers may ask questions, suggest fragrances, tell others their SOTD, comment on new releases or old favorites, and respond to each other. The perennial theme is fragrance, but we can interpret that broadly. This is meant to be a kind space, so please try not to give or take offense, and let’s all agree to disagree when opinions differ. In fragrance as in life, your mileage may vary! YMMV.

Today is Friday, March 24, and Spring has sprung! We’ve gone in just a couple of days from temps below freezing at night, back to sunny and in the 70s. The pollen is flying everywhere leaving yellow dust in its wake and all over cars. All over everything, actually. Thank goodness for non-drowsy antihistamines!

I still have daffodils, azaleas, and dogwoods in bloom, and one rose bush that has started blooming its head off. In honor of William Morris’ birthday today, NST’s community project is to wear a scent that can be matched with anything to do with him — his art, his designs, his books and poems — whatever. I love William Morris designs, so I matched one of my favorites (actually designed for him by J.H. Dearle) called “Daffodil” with my beloved Ostara, by Penhaligon.

Drawn design for fabric with daffodils
Design for “Daffodil” by JH Dearle for William Morris & Co.; image from the William Morris Gallery.

All the spring scents are jumbled together outside in a charming melange that includes grass, flowers, trees, dirt, and rain. My poor vegetable garden froze solid back in December. I didn’t bother replanting winter vegetables, I just spread more compost so it could “season” until the weather is warm enough to plant again, and the compost is adding to the mix of smells.

Portia and I have decided we will just wait until April to resume our “Notes on Notes” and “Counterpoint” collaborations, since we were both traveling a lot in March. We’ve got some great material to discuss! If you want to suggest 1) fragrance notes; or 2) specific fragrances that you’d like us to tackle, please let us know in the comments!

And for those in the Northern Hemisphere, happy Spring!

Scented Advent, December 22

Scented Advent, December 22

Today’s Advent scent, by independent perfumer Dawn Spencer Hurwitz, is Sugar Plums. Every year, her house DSH Perfumes releases a new, limited issue holiday fragrance. (Fear not, you can still buy the prior years’ fragrances in her holiday sample sets). Sugar Plums is number 22, this year’s holiday fragrance, also particularly apropos on December 22.

Ms. Hurwitz says that Sugar Plums was inspired by her love for the ballet “The Nutcracker”, and especially the Dance of the Sugar Plum Fairy. Her description:

A dancing, celebratory plum chypre fragrance with a frangipani heart bouquet, soft cardamom & ginger spices, touches of incense, and delicious gourmand elements in the drydown. How beautiful and festive! This year’s inspiration comes from a perennial holiday favorite “The Nutcracker”. I have long loved this dreamy ballet; especially the dance of the sugar plum fairies. I have to admit that I have long considered this theme (it’s been in my notebook of ideas for years) for the dancing, dreamlike quality that the concept invokes. Sugar Plums is not really all that sweet… instead it is a celebratory swirl of rich plum, delicate spices, warming incense, and a surprising combination of gourmand elements in a classical chypre structure in the drydown. This may sound like a cacophony of elements, but it comes together beautifully to make a true holiday classic.

DSH Perfumes and Now Smell This
The Nutcracker ballet, Atlanta Ballet
Atlanta Ballet Nutcracker, 2014, Waltz of the Flowers with the Sugar Plum Fairy; image from Atlanta Ballet

Finally, a fragrance in which I can really smell the cardamom! Sometimes I see it listed as a note or accord and I just can’t detect it; that makes me sad because I love the smell of cardamom. Sugar Plums is a very beautiful fragrance, with just the right level of spice and incense. I think the gourmand aspects of the drydown, mentioned about, come from tonka bean; it seems to be combined with some patchouli, giving this modern chypre its base note that in a prior era might have been oakmoss.

Sugar Plums has a spiced fruit opening, which I believe is a combination of a plum accord with the cardamom. The incense slowly appears and rises; it is a soft, gentle incense. I’ll have to take Ms. Hurwitz’ word for it that the floral heart is frangipani; it’s beautiful but I don’t think I could have picked out frangipani as the floral accord. The cardamom and incense persist after the floral notes have receded, and they carry on right into the base notes, two of which I think are tonka and patchouli. This isn’t a sweet fragrance, though it has some sweet accords. My sample is the Voile de Parfum formulation, which is oil-based, and it lasts well on my skin, still very detectable several hours after application. I like it very much! Now I’m eager to try the rest of DSH Perfumes’ holiday fragrances.

My favorite version of The Nutcracker is the former production by the Atlanta Ballet, choreographed by John McFall, in which our daughters appeared as children for several years. I always loved the sets and costumes, which looked more Russian than Victorian, and the choreography was spectacular (ignore the advert for ticket sales, this production ended 4 years ago!):

Is going to The Nutcracker, or watching it on film, a tradition in your family? Do you have a favorite version?

Scented Advent, December 19

Scented Advent, December 19

My Guerlain Advent scent today is Néroli Outrenoir, another “citrus aromatic”, created by Thierry Wasser and Delphine Jelk and launched in 2016. It’s very, very appealing. Per Fragrantica, top notes are Petitgrain, Bergamot, Tangerine, Lemon and Grapefruit; middle notes are Tea, Neroli, Orange Blossom, Smoke and Earthy Notes; base notes are Myrrh, Vanilla, Benzoin, Ambrette (Musk Mallow) and Oakmoss.

That citrusy opening is very uplifting, a mix of greenness and, well, citrus. It reminds me a bit of Miller Harris’ Tangerine Vert. To my nose, the most prominent notes are the petitgrain, tangerine, and lemon, but I definitely smell the bergamot, and a whiff of the grapefruit. Very soon, tea is served, and it is a black tea with lemon in it. It does have a floralcy that comes from the néroli and orange blossom, but to me the strongest impression is of black tea and lemon, with a tinge of smokiness. Almost like a lapsang souchong tea, but not as smoky or tarry.

This scent is like chiaroscuro, the painting technique that famously contrasts light and dark, the leading examples being the paintings of the great Caravaggio. It starts out very bright and sunny, with all the citrus notes in the opening. Then the brightness dims a bit, and softens and blurs, with the arrival of accords of tea and flowers. As it dries down, it gets gradually darker but also warmer, with the base notes especially of benzoin, ambrette and oakmoss. Myrrh and vanilla accords are present, but to a lesser degree.

Neroli Outrenoir has decent longevity on my skin, though nothing like Épices Volèes. It’s also a different kind of citrus/tea fragrance, one with more depth. I think it’s totally unisex and it would smell wonderful in warm weather, especially warm summer evenings. It’s fresh enough for hot weather but sophisticated enough for evening wear.

Very nice! Do you have any fragrances that contrast light and dark this way?

Oil painting of the Nativity, by Caravaggio
Nativity with St. Francis and St. Lawrence, by Caravaggio; image from Photo Scala
Scented Advent, December 16

Scented Advent, December 16

Today I cheated on the Advent calendar process. I needed a sample from an independent perfumer, to alternate with my Guerlain samples, but I also wanted to take part in Now Smell This’ Friday community project, which was to name your favorite work by, or inspired by, Jane Austen. So I grabbed the discovery set of Francesca Bianchi fragrances, which I hadn’t yet opened, and chose one that I thought might do. My favorite Jane Austen-inspired work is the movie “Sense and Sensibility”, which is why my blog is named, in part, Scents and Sensibilities (full name is Serenity Now: Scents and Sensibilities).

Emma Thompson and Kate Winslet in "Sense and Sensibility"
The heroines of “Sense and Sensibility”; image from Encyclopedia Brittanica.

The sample I chose was one I’ve never tried, called The Lover’s Tale. After all, Jane Austen’s books are all tales about lovers. But when I read more about it on Fragrantica — bingo! Here’s what Francesca Bianchi said about it herself:

This is a story of by-gone times about a secret encounter of lovers. It represents the contradictions between sense and sensibility, pruderie and passion. The lovers are full of desire but their education holds them back.

Francesca Bianchi

Launched in 2018, The Lover’s Tale has top notes of Honey, Mimosa, Aldehydes and Bergamot; middle notes of Orris, Peach, Heliotrope, Egyptian Jasmine and Bulgarian Rose; and base notes of Leather, Castoreum, Musk, Labdanum, Oakmoss, Vetiver and Sandalwood. It is considered a leather fragrance, as that note is a main player. Given its partnering with castoreum, musk, oakmoss, and vetiver, I venture to say that this is a more stereotypically masculine leather. However, the earlier notes are all very stereotypically feminine, with their profusion of florals. In a way, The Lover’s Tale is a combination of two characters from “Sense and Sensibility”: Colonel Brandon and Marianne Dashwood, who fall in love after various trials and tribulations.

I read somewhere that while it is understood that the title “Sense and Sensibility” refers to the two sisters, Elinor Dashwood who has common sense and intelligence, and the younger Marianne, who has a Romantic sensibility and passion, it can also be read as referring to Brandon and Marianne. He is the older, experienced man who commits himself to solving problems and addressing crises, including Marianne’s. He is practical — but he also has a wide streak of Romanticism himself, with his love of music and his infatuation with the emotional, musical Marianne.

Colonel Brandon and Marianne Dashwood, from "Sense and Sensibility"
Colonel Brandon and Marianne Dashwood; image from Columbia Pictures.

Colonel Brandon also spends much of the movie throwing himself into the saddle and riding off to save the day, so a leather fragrance is well suited to him. The honey in the opening notes can be a nice reference to what Emma Thompson, who wrote and starred in the movie, called the “extraordinary sweetness [of Brandon’s] nature.” The aldehydes and floral notes evoke Marianne’s love of beauty that can sometimes be a bit flighty; by the time The Lover’s Tale is in the final stage of drydown, the floral notes, the leather, and the warm animalic notes of the base have reconciled, and combine with labdanum and sandalwood in a beautiful marriage of scent.

Colonel Brandon and Marianne's wedding, "Sense and Sensibility"
Wedding of Colonel Brandon and Marianne Dashwood; image from Columbia Pictures

Do you have a favorite work by, or inspired by, Jane Austen? Any fragrance you might associate with it?

Scented Advent, December 12

The independent perfumer Advent sample of the day is Hiram Green’s Arcadia. Wowza! It is classified as an “aromatic fougère”, and it has a great opening, top-heavy with lavender and bergamot. As they settle down, the bergamot recedes but the lavender stays strong, joined and made more floral by the arrival of jasmine and rose accords. The notes list from the brand’s website is: Bergamot, lavender, jasmine, rose, spices, resins, tonka bean, aged patchouli, New Caledonian sandalwood. Hiram Green, who is a natural perfumer, also lists the actual ingredients, which include evernia prunastri extract, which is oakmoss. Be still, my heart! I love oakmoss in fragrances. Mr. Green says this about the fragrance, which he launched this year (2022):

For this perfume I was inspired by the natural splendour of Arcadia. In this idyllic, unspoiled wilderness babbling brooks meander through mountains covered in dense forests and the air is filled with the sound of humming insects and twittering birds.

Imagine the lush undergrowth that covers the forest floor. In areas where the sun manages to break through the canopy, fragrant flowers bask in the sunlight and their sweet scent intertwines with the fresh green smell of the foliage.

The base notes blend beautifully together. The spices are pretty subtle — definitely noticeable, but they don’t hit you over the head (or nose). Resins, tonka bean, and sandalwood provide warmth, and patchouli and oakmoss hum underneath. The drydown stage is where I think Arcadia smells most like a traditionally masculine fragrance, with the lavender still evident over those warm base notes. There’s a light dustiness to this stage, possibly from the oakmoss, that makes me think of motes of sunlight floating through the sunbeams that shine through Mr. Green’s Arcadian forest.

In fact, the whole fragrance makes me think of a particular forest: Ashdown Forest in England, famous not only for its woodland beauty but also as the landscape of Christopher Robin’s childhood idyll, the Hundred Acre Wood he shared with Winnie-the-Pooh and friends. Arcadia, indeed!

Sunlit woodland path in Ashdown Forest
Sunlight in Ashdown Forest, England; image from ashdownforest.com.

I’ve never been there, but I loved A.A. Milne’s books as a child; in fact, “Winnie-the-Pooh” was the first book I read by myself, shocking my parents at the age of four when I pointed to it and said, “I can wead that book.” And so I could, having taught myself to read, although I couldn’t pronounce Rs very well. One of my late mother’s cousins actually illustrated Christopher Milne’s memoir “The Path Through the Trees”.

I’m delighted with Mr. Green’s version of Arcadia and will put it on my “possible full bottle some day” list. Have you tried any of Hiram Green’s fragrances? Any favorites?

Scented Advent, December 4

Scented Advent, December 4

Even days of December are when I alternate my Guerlain samples with other samples, and I’m trying to make sure I reach into the box that has mostly independent perfumers’ fragrance. In this challenging economy, it continues to be important to support the independent and small businesses that already had a tough time during the pandemic. Besides, the independent perfumers often create the most interesting and innovative fragrances that we love to try.

Today’s sample is Andy Tauer‘s L’Air des Alpes Suisses, inspired by the Swiss Alps and launched in 2019, and I’m just delighted. First, it’s a beautiful fragrance. Second, I was able to visit Zurich and some of its perfumeries in the “before times” and one of them was Suskind, a small perfumery that only sells niche fragrances. Apparently its owner was an early supporter of Andy Tauer (who is based in Zurich), who is very well-liked in the perfume community for his approachability as well as his undoubted talents. When I visited Suskind and asked to sample some Tauer perfumes, the sales assistant confirmed that he stops by sometimes, and how nice he is.

So back to my sample: L’Air des Alpes Suisses is 100% unisex. It may lean a little masculine for some, because it is aromatic and woody, which many associate with masculine fragrances. Here is M. Tauer’s description on his website:

HEAD NOTESThe HEAD notes are fresh like a breeze from treeless mountain summits: rough granite ground, the cool air from the glacier, and bitter alpine herbs.
HEART NOTESThe HEART notes are fresh, green with hints of spices. Floral delicacies such as the red Alpine lily bloom on lush meadows, powdery, spicy, green.
BODY NOTESThe BODY notes are inspired by alpine forests on cliffy slopes: the woody warmth of timber, larch and beech, with the sweet amber perfume of dry earth in the sun. notes are inspired by alpine forests on cliffy slopes: the woody warmth of timber, larch and beech, with the sweet amber perfume of dry earth in the sun.
L’Air des Alpes Suisses notes list, from the Tauer Perfumes website

Fragrantica lists these specific notes, in no particular order: ambergris, lavender, fir, pine needles, tonka bean, lily, lemon balm, orchid, birch, palisander rosewood, basil, thyme, nutmeg. As others have noted since its launch, L’Air des Alpes Suisses is basically a fougère, a classic fragrance structure that uses citrus, lavender, coumarin (tonka), and a mossy or woody base, often oakmoss. An aromatic fougère, like this one, will also include notes of spices and herbs.

To my nose, the lemon balm accord is taking the place of a more traditional “citrus” opening, accompanied by lavender, green herbs like basil and thyme; personally, I would list chamomile instead of basil. So the opening is very green but not like galbanum, more herbal and less bitter. There is no sweetness at all, but it’s very pleasant and refreshing. The middle phase is very intriguing, with the herbal accords mingling with the floral notes of lily and orchid, and a hint of evergreen forests. M. Tauer’s handling of the accords that evoke fir and pine needles is masterful. Needless to say, there is nothing that smells at all like the ubiquitous pine-scented cleaning liquids. Nutmeg brings a woody spiciness to the party.

As L’Air dries down, it does get woodier, which adds warmth, but I think the star of the show is ambergris. There’s an earthy warmth that blends harmoniously with the warm woods but is distinct from them. Having had the privilege of smelling actual ambergris (kept in a vault!), I think that is what my nose detects. The tonka (or coumarin) evokes dry hay, as one would find in a summer meadow.

As you may know, the Swiss Alps are home to amazing alpine meadows, with unique, unusual plants and flowers. A beloved summer tradition of hiking and walking along trails to see the meadows in bloom has persisted in Switzerland, despite its sophisticated, urbane modernity. Andy Tauer has perfectly captured the atmosphere of an alpine ramble surrounded by meadows and flowers and fringed by evergreen forests, starting at the summit and slowly descending. I think I would love this on my husband, because I quite like it on myself!

Photo by Pixabay on Pexels.com
Scented Advent, December 3

Scented Advent, December 3

Well, what a pleasant surprise! The Guerlain sample I pulled out of my bag today was Cruel Gardénia, which hadn’t previously interested me much, although of course I knew it would be of the highest quality. I live in the Southeastern US, so I can and do grow gardenias in my garden. Billie Holiday famously wore gardenias in her hair when she performed. I love them as garden plants, and I love the fragrance of their flowers outside, but most “gardenia” fragrances don’t do much for me. Too artificial, too sweet, too narcotic. Cruel Gardénia is none of those, and I’m so glad the nice Guerlain sales assistant included it in my package of samples.

Top notes are peach, rose, and neroli. Heart notes are violet, ylang-ylang, and musk, combining to create an imagined gardenia. Base notes are tonka, musk, vanilla, and sandalwood. The opening has an alluring peachiness, supported by rose and brightened by neroli. The neroli also adds just a touch of bitter greenness, which cuts any tendency toward sweetness. As the top notes recede, the violet, ylang-ylang, and musk accords bring a pillowy, floral softness to the fore. The note I smell the most at this stage is the ylang-ylang, which I did not expect from a fragrance named for the gardenia. Here’s what the Guerlain website has to say:

Gardenia is a powerful, sensual white flower with fruity accents. Yet, paradoxically, it stays mute in the world of Perfumery, unable to offer up its fragrance through the traditional techniques of distillation or extraction. It must be written as an accord, as if composing a poem. For Cruel Gardénia, notes of rose, neroli, ylang ylang and peach recreate its trail.

How ironic, to claim that gardenias are mute, when they are so closely associated with one of the 20th century’s greatest voices!

Singer Billie Holiday with white gardenias in hair
Billie Holiday

Billie Holiday, of course, had a tragic life in spite of her legendary artistry. But what a great beauty she was, with the white gardenias in her hair. She has been a perpetual figure of fascination, inspiring movies and plays based on her life.

Singer Billie Holiday with gardenias in her hair
Andra Day as Billie Holiday; image from vogue.com

I am so happy to have finally tried Cruel Gardénia. It is a warm, sensuous, musky floral that dries down to a warm, musky sandalwood tinged with tonka. My husband liked it too! It just goes to show you that we should keep trying even the fragrances that don’t initially draw us. Have you had that experience?