The brand new fragrance from Hermès, ‘Galop d’Hermès’, is an interesting one on a number of levels. Firstly, and most importantly, it is the first fragrance for the brand by Christine Nagel since she became in-house perfumer (she previously created their Eau de Rhubarbe Ecarlate whilst Jean-Claude Ellena was still the nose-in-residence), but it also shows the house of Hermès firmly looking back towards their equestrian roots. Galop d’Hermès is a fragrance that many will look at to ascertain whether this new collaboration with Nagel will see their distinct house style put to bed in favour of a new one, or whether it will be maintained as part of the Hermès heritage. Galop d’Hermès is the first indicator of what is to come in the future and therefore, a very important fragrance.
Galop d’Hermès is an essay in two ingredients: leather and rose. Housed within a stirrup-shaped bottle, which is adorned with a smart leather tie, in vivid Hermès orange no less, the fragrance, presents itself as a scent that captures the very essence of the house, right from the overarching concept to the individual notes of the perfume. Leather is an integral element within the Hermès DNA, finding its way into many of their luxurious accessories, whereas rose has been a key ingredient in many of the brand’s illustrious fragrances over the years. Together these two notes are presented in a pure parfum that is undeniably Hermès but also entirely exciting and new.
“At Hermès, I discovered all the femininity of leather. I composed Galop d’Hermès like a painting with two main colours…two raw materials that are emblematic to Hermès and to perfumery: leather and rose.”
There’s always a sense of unease amongst the perfume-appreciating public when a brand announces that they are tinkering with a classic and presenting it in a new guise. Teeth are clenched, short breaths are inhaled and noses are on guard, all held in hope that whatever this new fragrance child turns out to be, it lives up to the high standards set by its forbearer. Personally, I’m not so precious about the classics and I view these remixes as being similar to the remake of an iconic film. Just because something is being remade, doesn’t mean that every single copy of the original will be deleted. The classic will still be there so if the new version doesn’t resonate, that’s fine, one still has their classic to enjoy. So yes, brands can remix and remake as much as they like because you know what? The results can often be quite interesting indeed (case in point: Shalimar Parfum Initial).
I say all of this because CHANEL are just about to launch Nº5 L’EAU, an entirely new interpretation of none other than Nº5, arguably the most famous perfume in the world. L’EAU comes as the first rehash of Nº5 under the penmanship of Olivier Polge, CHANEL’s latest in-house perfumer, who took the reigns in 2015. This however, is not the first rebirth of Nº5, which has seen a number of incarnations in its time, starting as an Extrait composed in 1921 by Ernest Beaux before the perfumer revisited the composition to create an Eau de Toilette just two years late in 1924. Under perfumer Jacques Polge’s tenure, we saw an Eau de Parfum concentration composed in 1986 in addition to an ‘Eau Première’ version which followed in 2007 as an introductory scent for a younger audience. Now we have L’EAU, a fragrance that is being billed by CHANEL as the Nº5 of today.
“A fragrance for here, now and always” – that’s how CHANEL describe Nº5 L’EAU. The fragrance is a “complete reinvention” of the original but at the same time, the brand is quick to point out that Olivier Polge has been respectful of Nº5’s history whilst he has dissected the formula to see just how it ticks, and rightly so. Nº5 L’EAU looks to the future to create a new Nº5 – a Nº5 for the modern generation. The trick here is to create something new from something so instantly recognisable, to make the known surprising and to not lose the spirit of the composition along the way. So how successful has the exercise in modernising and lightening an olfactory icon been? Well, you’ll just have to read on to find out!
TOM FORD is a bit of a legend in the fragrance world. Well, that’s more than just a touch of an understatement, if I’m honest, and it would be fair to say that he is one of the few modern fashion designers that has successful built a fragrance empire that works in complete symbiosis with their clothing lines. TOM FORD perfumes ooze with style and finesse, but they often also boast bold signatures that set them apart from the crowd. Sniffing them, one gets the impression that Mr. Ford is genuinely a fragrance aficionado and his collection offers up its fair share of cool classics and olfactory oddities. In short, the TOM FORD fragrance line is one of the best out there.
The first fragrance to be launched under the TOM FORD name was Black Orchid (side note: we mustn’t forget that Mr. Ford launched a number of amazing scents at Gucci and YSL, namely Envy & Rush for Gucci and Rive Gauche Pour Homme, M7 and Nu for YSL) – a scent that quickly established the brand as a serious contender within the industry. Since then, Black Orchid has been remixed and revisited a number of times, the latest version of which is Orchid Soleil, a fantastically radiant blend of florals and warm, skin-like notes. Without giving too much away, I’d say it’s one of TOM FORD’s best offerings to date. Yup, that sounds about right!
INTRODUCING THE SOLAR SIDE OF THE ELUSIVE TOM FORD ORCHID. A RADIANT AND SENSUAL FORCE OF NATURE, THE NEW SCENT CAPTURES THE SEDUCTIVE WARMTH AND REFLECTIVE BARE SKIN OF THE TOM FORD WOMAN.
GUERLAIN’S La Petite Robe Noire has quickly become a part of the fabric of the brand, taking its place next to the likes of icons such as Shalimar,Mitsouko and Samsara, and deservedly so. With LPRN, GUERLAIN took the fruity floral genre and showed everybody else just how it should be done, specifically with fizz, flair and a shedload of fun. The fragrance has been a huge hit, and whilst marketing may have played a big part in this, one cannot deny that La Petite Robe Noire is; a) an excellent fragrance (that fizzy cherry juxtaposed against that smoky black tea is just gorgeous); and b) a GUERLAIN fragrance through and through.
So with success come flankers and GUERLAIN have served us a number of delectable noire treats since LPRN’s launch in 2012 (well it’s mainstream launch, that is, the scent was a boutique exclusive launched in 2009 that was subsequently remixed for the wider market). The latest of which is La Petite Robe Noire Intense, a fragrance that evokes the idea of a breeze billowing though the pleats of a dress as it is transported around the world. That’s right, Miss La Petite Robe Noire is globetrotting and she has packed a brand new dress for her journey. But what does this particular garment smell like? Well, the answer is simple: it smells like fun!
Riding high on the success of Black Opium, their modern interpretation of the iconic Opium, YSL have extended the same treatment to another of their legends – the pastel, yet atomic floral ‘Paris‘. This new flanker is called Mon Paris and to call it a flanker is perhaps misleading. Much like Black Opium this is an entirely new fragrance that takes the spirit of the original and approaches it from a modern point of view. The Paris of 1983 and the Mon Paris 2016 are entirely different animals, with the latter being an on trend fruity floral with sparkling transparency. Click here to check out my full review over at Escentual.
Few things get my pulse racing like a brand spanking new MUGLER launch, even more so if that launch is a spin-off of my all-time favourite fragrance, Angel. So one can imagine my excitement when Angel Muse landed on my doorstep. We’re going to #HateToLove this modern spin on the gourmand queen that is Angel, MUGLER say, and they’re not wrong, because as much as I don’t like to see my beloved celestial being messed about with, I begrudgingly admit (not really, you know I’m here for all things MUGLER) that I do enjoy Angel Muse very much indeed.
Angel Muse was created by Givaudan perfumer Quentin Bisch, who I must say is a real up and coming talent within the industry, having done great work with Etat Libre d’Orange (see Hermann à Mes Côtés Me Paraissait Une Ombre & La Fin du Monde) and with MUGLER on last year’s sticky sweet A*Men Ultra Zest. Bisch is a good fit for Mugler because he is a truly innovative perfumer who seems to work best when tasked with crafting novel accords, such as the popcorn note found within La Fin du Monde. For Angel Muse, Bisch switches out dark chocolate for hazelnut and adds an element of masculinity with vetiver, taking Angel to new and very modern heights.
I wrote a full break down of Angel Muse for my Escentual column a few weeks back (clicky here to give that a read), so I’m going for a review en bref today. I also wanted an excuse to buy a jar of Nutella to use purely for photographic reasons of course. Although, it would have been a waste not to have a spoon or twelve now, wouldn’t it? So let’s get to it and give Angel Muse a good sniff to see whether it is as delicious and divine as Nutella, or whether it falls short of its lineage…
There is an ever-growing trend within perfumery for intense sweetness. I’m not talking about your everyday gourmands, because those have been around forever, I’m referring to scents that offer up pure, unrefined sugar by the ton, not say, the likes of MUGLER’s Angelwhich inspired the gourmand trend, but ultimately was an essay in tension between sugar and patchouli. In the mainstream, it all started in 2004 with Viktor & Rolf’s Flowerbomb, a nuclear candy floss scent that contains as much ethyl maltol as is possible to shoehorn into a bottle, presenting sugar toasted at the edges without any dark contrasts to temper it. Ever since, fragrance houses have been stumbling over themselves to see who can make the sweetest, most obnoxious fragrance, well that was until Lancôme came along with La Vie est Belle – officially the world’s most tooth-achingly sweet, toasted candy floss scent. It’s also an international best seller – go figure.
Now, I mention all of this not to moan, but instead to say that despite this ever popular trend, a house is yet to make a deliciously sweet overdose of a scent that doesn’t cause olfactory diabetes with one sniff. Well, that is until GUERLAIN threw their hat into the ring with Mon Exclusif, which turns out to be a decadent little treat that knows exactly when to say ‘no more for me, thank you’. Of course, we shouldn’t be surprised that GUERLAIN have been the brand to hit the nail on the head here, they are, after all half-perfumer and half-perume-patissiere, churning out some of the world’s most delicious morsels in fragrant form. So it’s no surprise then, that Mon Exclusif is a delightful bon bon that has depth and contrast to its sugar overload.
GUERLAIN launched Mon Exclusif in 2015. Created by Thierry Wasser, GUERLAIN’s in-house perfumer, the novel aspect of the fragrance is that it technically comes with no name, allowing the wearer to select their own title by placing the sticky silver letters on the bottle, which itself is a reinterpretation of the house’s famous Coque d’Or bow flacon. “Because your relationship with your fragrance is very intimate” GUERLAIN says, “it’s up to you to name this partner by your side”. So Mon Exclusif can be whatever one wants it to be: Jack, Tyler or Pierre. The choices are infinite and for many reasons, which I’m sure you’ll be able to guess, I decided to call mine ‘CANDY’.