Scent Sample Sunday: Anne Klein II, Revisited

Scent Sample Sunday: Anne Klein II, Revisited

One of my regular fragrances in the 1980s was Anne Klein II, launched in 1985. That was the year I moved into New York City, sharing an apartment with my younger sister and two friends from college. It was exciting: New York was on the upswing after its near-bankruptcy and political troubles of the 1970s; Wall Street was on the rise; socialites were unabashedly socializing; and we were in our early 20s, enjoying being young in a great, vibrant city. Need I say more? We all had responsible jobs, but we also had plenty of energy to go out after work to places like The Bear Bar and King Tut’s Wawa Hut. We had fun!

I associate Anne Klein II with all of that; and it is indeed a warm, happy, floriental fragrance (also the only one that has ever prompted a total stranger to ask me, on the subway, what my perfume was). Its top notes were: bergamot, galbanum, peach, rosewood, and lemon; heart notes were jasmine, rose, ylang-ylang, marigold, carnation, and orris root; base notes were vanilla, amber, sandalwood, musk, patchouli, benzoin, and civet. Victoria wrote a long post about it several years ago at her blog “Bois de Jasmin“, identifying the perfumer as Yves Tanguy, who also created another favorite of hers and mine, Jacomo Silences, as well as Lancome’s Magie Noire. Sadly, AKII was discontinued many years ago, although I continued to hoard my last bottle of eau de parfum. I was glad I had, since the price went through the roof on eBay, commanding ridiculous amounts far beyond the $19.99 on my original 50 ml bottle. This seems even more egregious when one recalls that “Anne Klein II” was the name of the design house’s “bridge line”, which offered less expensive options than the main designer collection to younger and less affluent women.

I was very happy to discover Jeffrey Dame’s JD Duality, which is not a dupe of AKII, but enough of an homage to it that it fulfills the wish for a semi-sheer, warm vanilla-based floriental. Its list of notes is somewhat different: artemisia, lemon, bergamot, cinnamon, coriander, cedar leaf, rose, jasmine, ylang ylang, carnation, water lily, lily of the valley, vanilla absolute, vanilla, benzoin, cedar wood, patchouli, sandalwood, labdanum and musk. Duality is also a great value: high quality at Jeffrey Dame’s usual reasonable prices. It seems to be sold out right now on his website; let’s hope he makes more, because it’s great stuff!

Imagine my surprise, though, when on a recent visit to T.J. Maxx, I spotted a tall, 100 ml spray bottle of what looked like the original Anne Klein II! For $12.99! I realized it couldn’t possibly be the original, but the packaging was identical, and for that modest amount, it was worth making a blind buy. Reader, I bought it on the spot.

It turns out to be a relaunch of AKII by a company called Palm Beach Beaute, and it is a very respectable reissue, manufactured in China. Since I still have a half bottle of the original, I have been able to compare them directly, one on each arm. While the original is richer and deeper, the new version smells very similar, and lasts almost as long. It even goes through the same stages of drydown at about the same pace as the original, at least on my skin. I suspect that the differences I can smell are mainly due to changes in ingredients that were necessary to comply with newer regulations. To be fair, also, the richness and depth that I smell in my original bottle may be partly because it has aged well for 30 years. As it dries down on my skin, its basenotes keep getting richer and sweeter, more so than those of the reformulation.

If you miss Anne Klein II and can’t wait for more JD Duality to arrive, look for this reissue! Like the original, it is a semi-sheer, vanilla-based floriental, not too heavy but with a warmth that is very alluring, especially in autumn. Some commenters on Fragrantica have not cared for it, but many have. If you buy online, it will be important to know the difference between the original and the reissue, as the packaging is so similar but the prices so different. The original was made in France by Parlux, and it will say so on the bottom of the box. The reissue lists many more detailed ingredients on the back of its box, as is now required, and it will say “Designed in the United States, Made in China” on the back, with the company name of Palm Beach Beaute LLC and its website, palmbeachbeaute.com.

It seems to be rare that a relaunch or reformulation satisfies fans of the original fragrance, but I am very pleased with this one, especially at the bargain price of $13-15 for 100 ml. Did you ever wear Anne Klein II? Have you tried the reissue? Or have you found any other reformulations or relaunches of favorite fragrances that you found acceptable?

Scent Sample Sunday: Aquaflor Rosae

Scent Sample Sunday: Aquaflor Rosae

Some readers of the blog “Now Smell This” expressed surprise that my husband is a much-appreciated enabler of my perfume hobby. He really is, in the kindest way, including that he found the entrance to Aquaflor for me on a small Florentine side street when I had given up and thought it was closed!

Aquaflor Firenze is another magnificent apothecary/perfumery in Florence, Italy. It sells house-made fragrances, body and face creams, herbal bath products and other fragranced goodies, shaving products, soaps, and accessories; it is very close to the church of Santa Croce, located in the ground floor of the Palazzo Serristori Corsini Antinori.

Courtyard leading to Aquaflor Firenze

Courtyard of Palazzo Antinori, Florence

My husband is the hero of this tale, because I had found the courtyard of the palazzo, which had a French door into the store, but it was roped off and I couldn’t see any staff, so I disappointedly told him that the store seemed to be closed. He wandered further up the street, in the opposite direction of how we would normally return to our bed and breakfast, and called back to me that he had found the entrance and the store was indeed open! This is heroic, because he has bad knees and flat feet, and he had already reached the limit of his ability to walk on paved and cobbled streets, which one does all day in Florence. He was rewarded when we entered the store and behold! there were comfortable leather armchairs and couches, clearly intended for footsore companions. So wise of the store owners! I would not have stayed as long and maybe would not have made the purchases I did if he had not been able to sit and rest his feet.

Aquaflor fragrance boutique in Florence, Italy.

Aquaflor Firenze boutique

Aquaflor sells most of its products in the actual store only, but it does now have a beautiful website where one can buy its fragrances, including a number of home fragrance diffusers. Perfumer Sileno Cheloni states on the website that they were reluctant to have a website, since they envision Aquaflor as primarily a destination and a sensory experience (which you can read about in more detail here), but they have the website so that aficionados can, for example, re-order a fragrance they already have and love.

All the fragrances are created by perfumers Sileno Cheloni and Nicola Bianchi. Fragrantica lists 40 fragrances, the earliest from 2015. After much testing and pondering, I chose one of their sets of a 100 ml bottle and a 30 ml bottle. You decide which ones you want, and the set costs less than if one bought the two separately. I chose the large size of Rosae and the small size of Tzigana. Today, I’ll write about Rosae.

Rosae is an unconventional rose fragrance. The only notes listed for it are rose and mint. It has a high concentration of fragrance, although it is not described as an “extrait”; based on its longevity on my skin, though, I would estimate its concentration as above 20%. It lasts at least 24 hours on my skin and only departed after I had taken a long shower. Its sillage is deceiving; I didn’t think it was more than moderate, i.e. detectable only within a couple of feet of me, but one day when I wore it to work, a colleague walked into my office and immediately exclaimed how good it smelled although she was several feet away from me. I have adjusted my spray pattern accordingly! And that will make my bottle last longer, which is a good thing because I really love Rosae.

Fragrantica categorizes it as “rose, green, aromatic, and fresh spicy,” and that seems right. At first spray, you get a powerful but fresh rose, very reminiscent of the beautiful attar of Taif roses my husband brought me back some time ago from Dubai, which tells me Rosae contains a high concentration of rose oil, specifically extract of Rosa damascena, or the Damask Rose. (Taif roses are a variety of the species Rosa damascena).

Rosa damascena growing in field

Rosa damascena; image from www.sciencedirect.com.

One small spray at the base of my throat, and Rosae wafts strongly up to my nose. There is a liveliness to its scent, which I attribute to the mint. A combination of rose and mint is much more complex than one might think from that short list of notes. Roses themselves contain well over 100 different organic compounds, whose volatility, emitted from the flowers or from rose extract, creates the fragrance we smell. This is why different roses can smell quite different from each other, while still completely recognizable as “rose”; some are more fruity, with notes like apple or peach, others are very lemony, some are more green, etc. “Mint” can refer to a large family of herbal plants, formally known as “Lamiaceae”, which includes not only spearmint and peppermint, but also many other garden herbs, such as basil, oregano, sage, rosemary, thyme, marjoram, and lavender. Like roses, members of the mint plant family contain many organic compounds, which makes them highly aromatic. The liveliness and complexity of Rosae suggest to me that some of those herbs and their relatives are also present, playing supporting roles. I definitely pick up a whiff of sweet basil and fresh thyme, and possibly also lavender and Clary sage.

Rosae feels linear to me, and in the case of such a beautiful, natural fragrance, I appreciate that. Complexity abounds in this scent without the intrusion of many other substances. Given my colleague’s delighted reaction to it from several feet away, hours after I had applied Rosae in the morning, I have no complaints about its development! But if you are seeking a rose-based fragrance that will become something quite different over time, this is not it.

Aquaflor Firenze is well worth a visit if you ever get to Florence. On my visit, the staff were helpful and knowledgeable, and very willing to suggest fragrances to try. The store itself is very beautiful, and you won’t want to miss the frescoes in the Basilica di Santa Croce nearby. Just keep looking for the store’s entrance if at first you don’t find it! It is on the Borgo Santa Croce, and the actual door is down the street from the main entrance into the Palazzo Antinori. It has many wonderful items for sale besides its beautiful fragrances, too.

How do you feel about linear fragrances? Do you have a favorite rose-centric fragrance?

Table of fragrance products at Aquaflor, Florence, Italy

Aquaflor Firenze

Scent Sample Sunday: Farmacia SS Annunziata dal 1561

Scent Sample Sunday: Farmacia SS Annunziata dal 1561

Florence is full of wonderful stores and boutiques in historic locations and buildings, but some of the businesses themselves are also historic. One of them is Farmacia Santissima (“SS”) Annunziata dal 1561, an Italian apothecary and perfumery that dates back to the 16th century. The perfumery creates its own fragrances as well as cosmetics and lotions. It has its own page on Fragrantica, with 33 perfumes listed there. I was able to visit the actual store a few weeks ago, on a long-awaited first trip to Florence, and it was well worth it! I discovered its existence thanks to a wonderful article by The Perfume Society about perfume-shopping in Florence.

The Farmacia is right around the corner from Florence’s Galleria dell’Accademia, home of Michelangelo’s David, which we were able to see early in the morning, at the first opening of the museum. We were the first visitors into the gallery that day, which was an unforgettable experience — looking down the whole length of the beautiful gallery at that magnificent statue, without anyone else in sight, then slowly approaching it and realizing just how tall David is. It reminded me, in reverse, of how much smaller the painted Mona Lisa looks in real life than how one imagined.

The store itself is charming and beautiful. It is paneled on every wall with floor-to-ceiling cabinets full of bottles and jars, and it has a gorgeous long counter across almost the full length of the back. The staff are friendly, knowledgeable, and fluent in English. Honestly, just visiting the store was a treat in itself. But of course, I couldn’t resist trying several of the fragrances!

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Bottles of products at Farmacia SS Annunziata dal 1561

One I particularly liked is Regina, an eau de toilette with notes of rose, unnamed “floral notes”, ylang-ylang, honey, rice, amber, iris, and chamomile. The most prominent notes are iris, rice, and honey, but ylang-ylang and chamomile are noticeable also. The strongest impression I get from it on my skin is that of a lovely, flowery powder. It is soft and honeyed without being sugary. The iris note is based, of course, on Florentine iris, a traditional and costly source of the prized orris butter that goes into many fragrances; its preeminence in Regina is a beautiful remembrance of lovely Florence.

I don’t really smell rose in isolation from the other notes; in fact, when I first spray Regina, I smell iris right away. But it is an iris supported by other flowers, so I’m sure the rose is there! The ylang-ylang adds a polleny yellow flower aspect to the scent, which enhances the notes of rice and honey, lending Regina a golden tone that is both light and warm.

This is an unusual combination of notes, especially with the chamomile that is so rarely used today in fragrances. One exception is the much commented-on recent release from Gucci, Memoire d’Une Odeur, which I tried the other day and liked very much; there has been a lot of online chatter about Alberto Morillas’ use of chamomile in that fragrance. I love green and herbal notes in fragrance, so chamomile appeals to me (and I like chamomile tea, so I’m predisposed to like it as a scent). Regina feels quite linear to my nose, which I don’t mind at all because it is such a pretty, appealing scent.

When we visited Florence and the Farmacia, Italy was suffering from the same heat wave that affected all of Europe in late July. Upon our return, the weather here at home has been almost as hot, and twice as humid. Regina is an ideal summer fragrance, with its light touch and notes of summery blossoms. It has a base note of amber, but this amber is delicate and does not overwhelm or overpower the rice, powder, and summer flowers. I often turn to one of Hermes’ Jardin fragrances in this kind of heat, or Penhaligon’s Blasted Bloom, as they both have a cooling, refreshing effect, but Regina will join my regular summer rotation.

Blogger Kafkaesque has written about Farmacia SS. Annunziata, noting the quality and reasonable prices of its fragrances. Have you tried any of them? If you were to choose a fragrance for a hot summer day in Florence, what would you choose?

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Scent Sample Sunday: Profumo di Pioggia

Scent Sample Sunday: Profumo di Pioggia

Our recent trip to Italy included a few days in Florence, our first visit ever to that beautiful city filled with art. In addition to its essential role in all facets of the Renaissance, Florence also became a center for perfume-making, together with Venice — a craft that notably was imported to France by the Florentine princess who became Queen of France, Catherine de Medici. The world-renowned perfumeries of Grasse, France, have their origin in the fashion she inspired for leather gloves scented with perfumes to mask the odor of the animalic substances used to tan the leather. She brought that fashion with her from Florence.

A small perfumery in Florence, Spezierie Palazzo Vecchio, continues the tradition with what it describes as original formulas from the perfumers who served Catherine de Medici, rediscovered after the catastrophic 1966 flood of the River Arno that wreaked havoc in Florence, in a line called “I Profumi di Firenze.” I can’t speak to the foundations of that claim, but some of the magnificent places we visited, like the church of Santa Maria Novella, suffered extensive damage to the priceless works of art they housed as well as their structures, and their restorations include markers showing how destructively high the floodwaters rose. (A famous series of photographs of the flood can be viewed here).

Although the store in Piazza Signoria (location of the famous scene in the film “A Room With A View” where Lucy Honeychurch faints into the arms of George Emerson, setting in motion the rest of the film’s events) was closed when we first stopped by, I was lucky enough to find it open on our last afternoon in Florence.

Even better — they were having a sale! So of course I came home with several bottles; one scent in particular is quite special, as it won first place in a fragrance competition called “I Profumi di Boboli.” The fragrance is called Profumo di Pioggia, created by Luciana Liberati. The assigned theme for the 2018 contest was “the scent of rain”; the winning fragrance was produced in a limited edition of only 60 bottles, one of which, happily, now belongs to me.

Before anyone gasps at any assumed extravagance, however, I note that the prices of I Profumi di Firenze are much more reasonable in their home boutique than they are in the US, especially during their sale. The most I spent for any single bottle, including a 50 ml bottle of eau de parfum and a 12 ml bottle of extrait, was 25 euros. The others were 20 euros or less. On the other hand, you have to get yourself to Florence to take advantage of that — not exactly the worst option, but not inexpensive either!

Profumo di Pioggia is meant to evoke the smell of a gentle summer rain in the wooded hills above Florence. It includes notes of fig leaf, pomegranate, dew, jasmine, lavender, oud, violet leaf, cedar, and white musk. The perfumer describes it (English translation): “A delicate summer rain enlivens pomegranate flowers. I take refuge under the branches of a fig tree to smell the arrival of summer. The scent of violets and woods from the undergrowth returns to my mind.”

It opens with a gentle green note, which I think is a combination of the fig leaf and violet leaf. Given how much I love green fragrances, this immediately won me over! The floral notes emerge; I definitely smell the jasmine and lavender; I don’t know that I would recognize the smell of pomegranate flowers, so I can’t identify that. The dominant note in the heart phase, though, is rain, or “petrichor.” I love it! So what is petrichor?

The word petrichor was invented by two Australian scientists who introduced it in a 1964 paper on the Nature of Argillaceous Odor (pdf), an investigation into the scent of moistened clay, rock, and sediment. They combined the Greek word for stone, “petra,” and “ichor,” which means “the blood of gods”, to coin a name for the scent of rain.

The mineralogists posited that the scent released by rain isn’t that of water, which itself has no odor, but is actually the aroma of organic compounds accumulated in the atmosphere and on surfaces; these are released when rain falls. The compounds include bacteria called geosmin. These bacteria gives beets their earthy flavor and help make digging up soil in a garden so satisfying and soothing.

Rain also releases aromatic terpenes secreted by plants. Terpenes are hydrocarbons found in the essential oils of plants. They’re what makes a walk in greenery both fragrant and healing.

And when rain falls, geosmin and terpenes fly—or more precisely, they fizz.

One village in India famously has a long tradition of capturing the fragrance of monsoon rains in “mitti attar”, or “the perfume of the earth.” As noted by the author of the New York Times article about it, the scent of rain differs widely from place to place and from climate to climate; the remembered smell of rainfall in the woods of Maine will be very different from that of the rain in India, or the American South, or the hills of Tuscany, but they are equally pleasing. Profumo di Pioggia is a gentle green cross between an aromatic and a floral fragrance, with a softly woody drydown. The wood notes in the base are very subtle; I probably wouldn’t be able to detect oud if it hadn’t been listed among the notes. The cedar and white musk notes are very well blended, so that neither one dominates or “hits” my nose. I do smell something reminiscent of beets, which are rich in the geosmin that is known to be a major component of petrichor scents — a delicate, sweetly earthy smell that fits well with the fig leaf.

I feel very lucky to have visited Spezierie Palazzo Vecchio, where the staff were also delightful, helpful, knowledgeable, and kind. If you get a chance to go to Florence, I recommend a visit! The perfumery is on a side street right off the Piazza Signoria, facing the Palazzo Vecchio, and you won’t want to miss those landmarks or the nearby Uffizi Gallery and its priceless masterpieces.

The non-profit organization that sponsors the contest “I Profumi di Boboli” also offers a multi-month perfume-making course that sounds fascinating if you can return to Florence seven times for its regularly scheduled classes. What a great reason to do that!

Have you tried any Florentine perfumes? Many enthusiasts know and love the fragrances of Santa Maria Novella, which I also visited — to be shared in a future blog post! If you know them, which are your favorites?

Scent Sample Sunday: The Merchant of Venice

Scent Sample Sunday: The Merchant of Venice

I’m ba-a-a-a-ck! I’ve been in and out a lot this summer so haven’t posted as regularly here as I normally do, but summer is officially over in this part of the world. Just the leisure, not the weather! It still hits 90 degrees F daily; the humidity is, if not oppressive, onerous; and the sun is still so strong that lavish applications of sunscreen are still required for palefaces like me. But yes, summer is over. My oldest child has finished her theater apprenticeship and will move into her first independent apartment by the end of this week. My second child moves back into her campus apartment to start her senior year of college. And my “baby”, the young man who is taller than any of us, starts his senior year of high school this week. Orientation for new students at the university where I work begins tomorrow, and we have a new Dean I’ve only met in passing. So it’s the start of a big year for us, and yes — summer is over.

My university job is in administration, so I do work in my office all summer, unlike my faculty colleagues, but I’ve been able to go with my husband on two lovely trips he took for work, one to London in May, and the other, more recently, to Italy. After his work there, we took an extra week of actual holiday for him and visited Florence and Venice, neither of which we had seen before. It will take several posts to describe all the perfume-related activities I did in Florence, so I’ll start off with Venice, where I was a bit more restrained! Venice, however, was also where I was able to visit the perfume exhibit at the Palazzo Mocenigo.

Entrance hall of Palazzo Mocenigo, perfume museum in Venice, Italy

Palazzo Mocenigo entrance hall; image from http://www.veneziaautentica.com

 

This is a relatively new “itinerary” at the museum, and it is well worth visiting. The Palazzo Mocenigo itself is very interesting as an example of a Venice palazzo (short video tour here), and right now it also contains three temporary exhibits, one of which is part of the Venice Biennale: “Brigitte Niedermair: Me and Fashion.”  (For more information about Ms. Niedermair, there is a great article in Wallpaper).

The other two, smaller exhibits are related to perfume: one, “Leonardo: Genius and Beauty,” is described thus:

A little-known aspect of Leonardo da Vinci will come to light in this exhibition organised to mark the fifth centenary of his death: his work as a cosmetologist and perfumer, dedicated to the creation of fragrances and cosmetics. A reconstruction of the lively network of exchanges between the major Renaissance courts enables us to learn of the experiments and recipes for cosmetics that Leonardo shared with the most important female figures of the day. Also on show will be pioneering recipes for depilatory ointments, creams made from snail slime and hair dyes. Leonardo even influenced hairstyles: “Da Vinci knots” are found in many paintings in which hairstyles are embellished with jewels, nets and perfumed fabrics. At the court of Ludovico il Moro in Milan, Leonardo organised parties, designed clothes and costumes, as well as inventing fabrics, jewels and perfumes. The exhibition will highlight the link between Milan and Venice: two cities where the use of perfume was widespread and hairdressers commonly sold cosmetics and perfumes. A specific role in the service of the court was dedicated to a “magister of perfumes”, who procured for the ladies little phials of mixtures for bleaching the hair, a very popular fashion in Venice.

Leonardo: Genius and Beauty.

The other temporary exhibit related to perfume is “Carnet de Voyage: Illustrated Perfume.” It is sponsored by the fragrance line “The Merchant of Venice”, and it is a series of illustrated poems relating back to several of the line’s perfumes, imagining the voyages of an actual Venetian merchant seeking out rare substances to bring back to Venice for the creation of perfumes. Yes, it’s a bit of an infomercial, but a charming one, and I appreciate the support the company is giving to this small museum.

The main, and permanent, perfume exhibition at the palazzo is contained in several rooms upstairs. There is also a perfume laboratory on the ground floor, where one can take a perfume workshop.  The museum’s website includes a detailed description of the perfume exhibit.

I enjoyed all of it, but especially the room devoted to raw ingredients, many of which were beautifully displayed in glass containers on a huge table where one could actually smell them.

Another highlight was a 19th century Venetian perfumer’s organ, a beautiful piece of antique furniture in its own right, apart from its functional interest.

So of course — what does one need as a souvenir of this visit? Why, a fragrance from The Merchant of Venice, of course! On our day trip to the island of Murano, home of the famous glassblowers, we had lunch on a canal directly opposite The Merchant of Venice store. Sadly, it was closed and not due to open until after we planned to return to the city, but it’s a beautiful store with many of its striking Murano glass bottles displayed in its window.

Luckily for me, one of my favorite online fragrance discounters just happened to have some of the same bottles, in tester format, on sale, so when we returned home, I ordered Flower Fusion. It is part of the “Murano Collection” and comes in a really pretty glass bottle swirled with streamers of blue within the clear glass. Top notes are listed on the brand’s website as jasmine, freesia, and ylang-ylang; heart notes are vanilla, patchouli, and labdanum; base notes are damask rose, violet petals, and ginger. Fragrantica lists most of the same notes, but in a different order: top notes are said to be lemon, violet, and ginger; middle notes rose, jasmine, ylang-ylang, freesia; base notes labdanum, patchouli, vanilla.

I definitely smell freesia as a strong top note, and since that is a lemony floral smell, I think that’s the source of the lemon note listed on Fragrantica. I do perceive that the jasmine and ylang-ylang follow close on its heels, and then the vanilla makes itself known in the middle stage. I would say that the rose and ginger are part of the middle stage, to my nose, with a hint of violet. The labdanum is also perceptible during the middle stage. This middle phase is very appealing if you like floral scents but don’t want something heavy. I can’t say that it smells quite like anything else I’ve tried recently. As it continues to dry down, the rose, vanilla, labdanum and ginger notes persist, and they combine beautifully. The patchouli emerges, but it does not dominate; it adds a green herbal note to the composition.

I like Flower Fusion very much, and it is perfect to wear on a balmy summer evening. The warmth and humidity suit it, although it might be a bit much at the height of the day, when something like Un Jardin Sur le Nil would probably be my preferred choice. The vanilla lends it a pleasant sweetness without turning it into a gourmand. It lasts well on my skin, perceptible even after several hours, and it would probably last longer if I sprayed more (I tend to spray pretty lightly).

Bottle of Merchant of Venice fragrance Flower Fusion with Murano glass earrings and Massimo Ravinale scarf based on Leonardo da Vinci

Flower Fusion with Murano glass earrings and “Leonardo” scarf by Massimo Ravinale.

Have you visited Venice? The Palazzo Mocenigo? Have you tried any of The Merchant of Venice fragrances? If so, what did you think? Or, have you been able to do any “perfume tourism” of your own this summer?

Scent Sample Sunday: Nuda Veritas

Scent Sample Sunday: Nuda Veritas

One year ago today, Cafleurebon published this announcement of Atelier des Ors’ new releases: the White Collection, and Bois Sikar, which I have previously reviewed. The White Collection consists of three linked fragrances based on Gustav Klimt’s “Beethoven Frieze”, which itself was inspired by Beethoven’s Ninth Symphony. Like all the Atelier des Ors fragrances, the perfumer who created them is Marie Salamagne.

I was lucky enough to visit the office of Atelier des Ors in Cannes this past January, thanks to an invitation from Megan of the blog Megan in Sainte Maxime. I met her for the first time in person, and I also met Jean-Philippe Clermont, creative director and founder of the brand, and was introduced to some of Atelier des Ors’ beautiful scents.

M. Clermont has himself written about finding his inspiration for his White Collection in Klimt’s masterpiece. Like the frieze, the three scents are meant to evoke the human spiritual quest for joy and its stages, as Sergey Borisov described so well in the piece he wrote about the collection for Fragrantica. Miguel Matos also wrote an excellent review of the White Collection for Fragrantica, here.

Nuda Veritas represents the first stage of that journey. Its top notes are bergamot, an aquatic scent molecule called Transluzone, and neroli. Heart notes are osmanthus, Jasmine Sambac, Chinese jasmine, and tiare flower. Base notes are patchouli, marigold, the scent molecules Ambroxan and Helvetolide, and moss.

The impression Nuda Veritas gives is that of shimmering, early dawn light, at the break of day when the dew still refreshes the landscape. It evokes the hopes of humankind, as does the first panel of the Beethoven Frieze, whose figures symbolize humanity pleading for rescue by a knight who represents strength. Behind him are female figures symbolizing Compassion and Ambition, the two motives that might inspire such a knight to take up arms in defense of others. Above them all float female “Genii”, celestial spirits who are searching, seeking, as hope looks ahead, seeking for a happier destiny, portrayed in shades of white and gold.

Panel, Gustav Klimt's Vienna Secession Beethoven Frieze

First panel, Gustav Klimt’s “Beethoven Frieze”.

Detail of panel of Gustav Klimt's Beethoven frieze, female Genii

Detail of panel, Beethoven Frieze by Gustav Klimt

Of all the figures on this panel, Nuda Veritas most clearly evokes these female Genii, with its floating, shimmering, golden tones. It opens with a clear citrus note from bergamot, coupled with the aquatic notes and the brightness of neroli. The opening is very lovely, reminiscent of dawn light over a tranquil sea, horizon glimmering in the distance. It moves gently into the jasmine heart notes, partnered with osmanthus and tiare. Although these are all white flowers, they are used here with a subtle touch; there is no “BWF” explosion or dominance. Just as dawn’s golden light slowly shifts to a whiter daylight, so Nuda Veritas’ tone shifts from the clarity of its citrusy aquatic opening to a whiter, slightly creamier, more floral heart phase.

As it dries down, Nuda Veritas fades away, leaving earthy, herbal notes of patchouli, marigold, and moss, warmed by the smooth and slightly fruity musk of Helvetolide, and the depth of Ambroxan. I love the marigold, or tagetes, note in the base, as I enjoy both the flowers and their scent in real life; they smell like a mix of floral, aromatic, and slightly musky green, which works well in Nuda Veritas. I can’t describe the Ambroxan note any better than The Candy Perfume Boy, did here:

I perceive it as a very silky, silvery material. It’s immediately evocative of the ocean but in a purely mineral way – it doesn’t posses an aquatic character, but one does get the impression of salt and wet stones. There’s also a sweetness to Ambroxan – a transparent, glittering and crystalline feel, as well as a soft, skin-like woodiness. It’s a fascinating, multi-faceted material that can be pulled in many directions, but it’s also tremendously diffusive, adding an expanse to fragrances, creating space, in which beautiful nuances can dance.

One thing I find interesting about his description is how well it also describes part of the overall artistic purpose of the White Collection, which is to “pay homage to the white space; the page, canvas, or an idea before its conception, at the point of materialising.” The use of Ambroxan in Nuda Veritas does add “white space” to the fragrance, in which its many nuances dance. This also recalls a key aspect of Japanese aesthetics, in which the space between objects or lines, or “ma“, is as important as the lines or objects themselves. Klimt is known to have been much influenced by Japanese art and methods, so here again are a lovely connection and consistency between the art that inspired these scents and their composition. (In fact, one of Klimt’s most famous and controversial paintings is called “Nuda Veritas”, or “Naked Truth”, and its composition is also consistent with its namesake perfume).

The entire triptych of scents in the White Collection offers layer after layer of hidden meanings, using perfume as the evocative art to express them. Like Bois SikarNuda Veritas is a highly intelligent work of perfume art. Marie Salamagne’s brilliant creation evokes dawn, morning, and springtime, all symbolic of hope and new awakenings. For me, it is a scent that perfectly suits Palm Sunday, which Christians around the world celebrate today. Palm Sunday traditionally celebrates the triumphal entry of Jesus into Jerusalem and marks the start of Holy Week. As we know, the joy of that day will soon give way to Judas’ betrayal and the cross at Golgotha. But on that first Palm Sunday, the people who were present believed that their Savior had come, in response to the pleas of suffering humanity, and hope was in the air.

Sample kindly offered by Atelier des Ors, independent opinion my own.

Scent Sample Sunday: Galanos

Scent Sample Sunday: Galanos

Occasionally I find a fragrance gem online, for sale by a resale shop that has discovered the internet. This spring, my find was the first fragrance from designer James Galanos, an eau de toilette named, simply, Galanos. James Galanos was highly selective in all his choices, from the very wealthy women who were his preferred and devoted clientele (most famously, Nancy Reagan), to his refusal to license his name for almost anything: the two exceptions were furs, and fragrance.

There are only two Galanos fragrances: the first, eponymous one, and a flanker called Galanos De Serene. Both can be found in eau de toilette and parfum though both have been discontinued. I found an unboxed bottle of the first eau de toilette, for sale online, and I knew I would probably like it as I already had a small bottle of the parfum. The fragrance was created in 1979 and won a FiFi award in 1980, the one for “Women’s Fragrance of the Year — Prestige”. I have been unable to find out who the perfumer was; please comment below if you know! Angela at “Now Smell This” wrote a terrific review of Galanos, aptly comparing its appeal to that of classic vintage clothing.

There was only one catch to my purchase: when it arrived, the top of the sprayer turned out to be a replacement that didn’t work. I contacted the seller (from whom I had successfully bought a vintage fragrance once before), who immediately offered to send a replacement top or a partial refund. Since I was pretty sure I would be able to use a Travalo to get the fragrance out, the price had been very reasonable, and it really wasn’t worth the seller’s time to send a new top that might not work either, I took the partial refund and bought my first Travalo. Happily, it worked!

Basenotes analyzes Galanos as follows: top notes: lemon, orange, mandarin, chamomile, coriander, clove, and bay leaf; heart notes: lily of the valley, orange blossom, jasmine, gardenia, ylang ylang, rose, geranium, carnation; base notes: cypress, musk, amber, vanilla, tonka bean, vetiver, cedarwood, oakmoss, sandalwood, and patchouli. It smells to me like a cross between a floral chypre and a green chypre, with the herbal top notes in smooth balance with the floral heart notes, and its woody, mossy, aromatic base. It reminds me a bit of Estee Lauder’s Azuree, but with a more floral, 1980s vibe. The notes that “speak” to me most strongly are the carnation and geranium notes, followed closely by ylang ylang and gardenia, but the herbal notes are evident from start to finish.

James Galanos was famous for the craft of his designer clothing, often compared favorably to Parisian “haute couture” although his creations were ready-to-wear (but still VERY expensive). Galanos’ designs reached their height of fame in the decade of excess, the 1980s, and he used only the most expensive materials and finest workmanship, but you rarely see huge puffy sleeves or gigantic flounces on his dresses.

Gowns by designer James Galanos at Phoenix Art Museum retrospective exhibit

James Galanos gowns; image from Phoenix Art Museum.

You see elegant, feminine lines, often enhanced by exquisite embroidery. Nancy Reagan once commented about his dresses that “you can wear one inside out, they are so beautifully made.” His fragrance is consistent with that elegant, luxurious simplicity: understated, classic, of its era but also timeless. It feels like an elegant accessory, meant to complement the wearer and the outfit instead of outshining or competing with them.

Designer James Galanos in clothing atelier

James Galanos; photo by Getty Images

Although James Galanos retired in 1998 and died in 2016, you will still see his creations on the red carpet, since many stylish women wear vintage Galanos gowns to occasions like the Academy Awards and the Met Costume Institute Gala, where they are as elegant and timeless as ever. I wonder if any of the wearers know that they could also wear the perfect fragrance accessory with those beautiful gowns?

Do you have any fragrances that you think of as couture accessories? Favorites?

Just had to add this photo, taken in the early 2000s in San Francisco, when Mr. Galanos was delighted to discover a perfume boutique that still carried his fragrance:

Fashion designer James Galanos in Jacqueline perfume boutique, San Francisco

James Galanos with his fragrance; image from San Francisco Chronicle

Featured image: James Galanos vintage gown (1950s), www.etsy.com.