Perfume lovers across the world have been watching the New Forest studio of Papillon Artisan Perfumes with bated breath. Last year, Papillon launched with three fragrances; Angelique, Anubis and Tobacco Rose – three perfumes that boldly said that a scent should be beautiful and unique, rather than awash with gimmickry. Papillon Artisan Perfumes have been a refreshing addition to the world of perfume that, along with Sarah McCartney’s hugely important 4160 Tuesdays, has put independent British perfumery on the map – a fact reflected by the nomination of all three Papillon scents for Best New Independent Fragrance at this year’s Fragrance Foundation Awards. It stands to reason then, that Papillon’s latest scent ‘Salome‘, launches in a veritable cloud of fragrant excitement.
You will hear a lot of talk about Salome and her erotic, and animalistic tendencies over the coming months. “Pure filth” is what they’ll call her and perfume lovers here, there and everywhere will revel in her raunchy and primal ways. But there’s more to Salome than meets the eye, and there’s another facet that deserves praise – her golden sheen and glittering sense of movement, to be specific. Salome is a dancing diva moving methodically and mesmerisingly through the many hypnotic motions of the dance of the seven veils.
Salome takes its name from the biblical character – the daughter of Herod and the dancing woman from the New Testament. In a recent interview on The Candy Perfume Boy, Papillon Perfumer Liz Moores explained how a vintage photograph of a 1920s flapper girl was the inspiration for Salome; “I have an original vintage photograph of a 1920’s flapper girl in a state of undress; she’s positioned side on to the camera with her breasts bared and the lower half of her body only slightly covered with ostrich feathers. The woman in this photograph fascinates me; I have often wondered who she was, where she lived in the world and what her name might have been. In my head I called her Salome, a name befitting such a beautiful and daring woman of her time.” This photo, which potrays the seductive dancer partly nude informs Salome’s vintage tones and erotic escapades. This is a fragrance made in a style seldom seen in this modern, post-IFRA age, and it acts as a startling reminder that perfumes can still be richly textured, gloriously complex and absolutely, downright filthy.
I must admit that I have a little bit of a soft spot for Jo Malone London. In my opinion they do what they do and they do it very well, specifically, they create pleasing, low-key fragrances for scenting both people and their homes, and package them all beautifully. Jo Malone London sell a lifestyle, one that is housed within the simplicity of their structured bottles, placed carefully in gorgeous boxes and tied with beautiful bows. It’s a life that looks and smells good.
Over the last year or so, the brand has started to become a little bit bolder with their offerings. Rain & Angelica, a limited edition from their London Rain collection was weird and glassy, like crystallised drops of summer rain. There was also last year’s Wood Sage & Sea Salt, another unusual blend that was somewhere between salted caramel and sea spray. Oh and we mustn’t forget Incense & Cedrat, the latest addition to the Cologne Intense collection and an absolutely gorgeous benzoin-heavy incense that begs to be snuggled. They’ve been very busy making some intriguing scents, it must be said.
The hard work of Jo Malone London continues this autumn as September sees the launch of a brand new pillar fragrance for the brand. Focusing on the rich notes of Mimosa & Cardamom, this new launch (unsurprisingly called ‘Mimosa & Cardamom‘) created by perfume Marie Salamagne is an ode to word travel, eclectic fabrics and a mixture of cultures seen through the lens of a bohemian blend of flowers and spice. Without offering too many spoilers for the rest of the review, I will say that Mimosa & Cardamom really lives up to its inspiration and I for one think that it’s great to see such an underused yet fascinating note as mimosa being used front and centre in a mainstream fragrance. Good work, JML.
Thierry Mugler’s annual reimagining of their flagship masculine fragrance, A*Men (the counterpart to the iconic Angel) is pretty much a tradition at this point. Each and every year the brand treats us to the signature of Angel Men zhuzzed up into something new and exciting. So far, we’ve seen our mate, A*Men; smoke tobacco (Pure Havane), drink whisky (Pure Malt), chase some chilli (A*Men Le Goût du Parfum) and even dabble in the world of lumberjackery (Pure Wood). The A*Men family is made up of a bunch of fraternal twins that all have a different sense of style – and what a great bunch they are.
For 2015, Mugler is doing something a little bit different with A*Men by putting it into a citrus setting. The bottle has been dyed a fabulous shade of neon orange, as has the fragrance for that matter. This new edition (penned by Jacques Huclier and Quentin Bisch) is entitled A*Men Ultra Zest, and as the name would suggest, it focuses on an array of mouthwatering citrus notes to accentuate A*Men’s cosmic cocktail of gourmand treats. Unlike many other citrus fragrances, Ultra Zest is bold and daring. What else could we expect from Mugler?
“A*Men brings you a new twist on the original: Ultra Zest. Shaken, not stirred, this new male fragrance will tantalise the senses as it burst with fresh, citrus, spicy and woody notes. This refreshing cocktail dares you to stand out from the crowd, be bold and go where most won’t dare to go”
When it comes to perfume, Tom Ford knows what he’s doing. Not that he doesn’t know what he’s doing in the worlds of fashion and film, mind – he definitely seems pretty good in those fields too, but with perfume it is undeniable that he is a man of extraordinary style and taste. Since the launch of his flagship fragrance, Black Orchid, in 2006, Ford has crafted himself a fragrant empire that has seen the creation of over 50 fragrances. His output is prolific, varied, grand, opulent and fascinating, courting with true luxury through his unique aesthetic. Everything he does is unmistakably ‘Tom Ford’ and therefore, also pretty darn good.
Tom Ford’s fragrance line consists of two collections; the Private Blends and the Signature Collection, the latter of which showcases a more accessible range of masculine and feminine fragrances in that inimitable Tom Ford style. What strikes me as particularly intriguing about the Signature Collection is the excellent quality of the masculine offerings. When fragrances for men are so often dull, tired and unpleasant, Tom Ford’s act as a refreshing surprise that can restore one’s faith in fragrant humanity. They are handsome, stylish, classic and modern, as all masculine fragrances should be.
My favourite of Ford’s masculine fragrances is Noir – a plush, resinous and powdery scent that bears a striking resemblance to the style of the Guerlain classics, but with a modern twist. In a world of ‘fresh this’ and ‘sport that’, Noir is a bastion of hope for those that demand more from their masculine fragrance. Because it is such a breath of fresh air (not literally), Noir has deservedly been very popular, and for 2015 Tom Ford is launching a brand new interpretation of the fragrance (joining the original Eau de Parfum and Eau de Toilette), entitled ‘Noir Extreme’ – a new chapter in the Noir story that “reveals a new dimension of the “Noir Man”.
Do you ever get the impression that you’re going to love a perfume before you’ve even tried it? It’s an odd feeling. You read all of the reviews online, study the marketing bumf and ogle pictures of the bottle, whilst all the time feeding your inner perfume demon who is quietly whispering how “they wants it, they needs it”. Only when one actually gets their hands on the precious is the demon satisfied. Lalique’s latest feminine fragrance, ‘Living Lalique‘ was one such case of demonic perfume lust. All it took was one scan of the press release and I was hooked – I knew I needed it in my life.
Living Lalique, like all-things Lalique, looks to the past for its inspirations (see the Noir Premier Collection for further evidence). The fragrance takes cues from the flight of the swallow, Lalique’s house emblem, whilst the bottle is inspired by the ‘Carnette Fleur’, a bottle designed by founder, René Lalique in 1911, not to mention the fact that the ad campaign focuses on an art deco window inspired by the brands aesthetics. It’s definitely a Lalique affair and one has to feel positive about the brand’s love and respect for their heritage.
The fragrance itself is penned by Richard Ibanez of Robertet (Andrea Maack Coal & Divine L’Inspiratrice) and is described as being a “soaring fragrance” that “follows the Lalique woman from metropolis to metropolis and from emotion to emotion”. To evoke the spirit of the Lalique lifestyle, the brand and Ibanez have chosen to focus on perfumery’s richest and most divine ingredient – orris butter (iris). The result is a sumptuous, pillowy fragrance that, through subtlety and a paired-back warmth, evokes beauty with every fibre of its orris-soaked being.
“A moment of emotion. A flight of swallows. A window opening into a world of timeless luxury. The quintessence of the Lalique lifestyle is expressed in a new perfume, Living Lalique. A bold fragrance, reflecting the urban, contemporary, active life of the Lalique woman. A dream-like fragrance, sculpted from materials as luminous as crystal. A soaring fragrance, inspired by the elegant swallow, Lalique has chosen as its emblem.”
Selling Sex – Etat Libre d’Orange’s Putain des Palaces
When I started The Candy Perfume Boy, I didn’t really have much of a plan, I simply wanted to talk about perfume. Since my first post way back in July 2011, the way I write and the subjects I write about have evolved. Nowadays I tend to focus more on reviewing new launches, with ancillary series such as Desert Island Sniffs, The Candy Perfume Boy’s Guide to… and the Scent a Celebrity Series as supporting materials. Series have come and gone (due mainly to my short attention span) but this year I’d like to spend a bit more time looking back, as well as forward, by reviewing some scents that aren’t brand spanking new.
So to start, I want to look at a fragrance that has always been on my mind, but never in my collection, well up until recently, that is. Those of you who have read this blog for a while will know that I’m quite partial to the intriguing olfactory output from rebellious perfume punks, Etat Libre d’Orange. I own about seven or eight of their 32 fragrances, with the latest addition to my collection being the tricksy Putain des Palaces – a perfume I’ve always liked but have been reluctant to buy, for no reason other than the fact that I’m indecisive.
Putain des Palaces was released in 2006 as part of Etat Libre d’Orange’s initial crop of fragrances. Composed by perfumer Nathalie Feisthauer (Hermès’ Eau des Merveilles, Van Clef & Arpels’ Gardénia Pétale & Amouage’s Honour Man) the fragrance, which is roughly translated as “Hotel Whore” (racy, huh?), is described by Etat Libre d’Orange as “the temptress who awaits her prey in the hotel bar, and leads her lucky victim to unimaginable delights…” So yes, Putain des Palaces is a perfume about sex, specifically the transactional variety, and you know what? It does exactly what it sets out to do.
I may be a bit behind on the Amouage-front, but I still cannot believe that the time has come (and now passed) for the house to launch their annual pair of fragrances. Last year’s duo, Fate Woman and Fate Man, were definitely a divisive pair, with some perfume lovers falling madly in love with the scents and others finding themselves not too impressed. My feelings were somewhere in the middle of this spectrum, seeing them as high quality outings, but perhaps not the most stimulating offerings from such a dynamic brand.
This year Amouage is launching Journey Woman and Journey Man, two perfumes inspired by “Shanghai deco, Chinese cinema and film noir” and for the first time, housed in striking two-tone bottles of rich red and gold. These new fragrances mark the end of the first cycle of the Amouage narrative and as much as they smell like Amouage fragrances, they don’t appear to be as noticeably bold as the perfumes that have proceeded them.
Journey Woman and Journey Man mark a change in the Amouage aesthetic, not only with the two-toned bottles, but also with their fragrant signatures, both of which are unusual takes on the house’s staple oriental opulence. With this new duo, Amouage moves forward into unchartered territory, speaking in the language of subtlety and scenting the air with an understated sense of panache.