Jo Malone always strikes me as more of a lifestyle brand than a fragrance house. They produce an array of lovely scented goodies for the house and body that are housed within beautiful packaging. They look, feel and smell luxurious in a straight forward kind-of-way and have an unfussy approach in all that they do – an approach that does not seek to challenge. Their fragrances aren’t the most groundbreaking in the world, but they always come across as pleasant in a pure sort-of-way.
The brand’s latest fragrance, ‘Wood Sage & Sea Salt’ almost feels like a departure from the clean and pure simplicity that is inextricably linked with the name Jo Malone. Created by perfumer Christine Nagel, this new instalment from the British brand intends to celebrate the “treasure of the English coast” and be evocative of the “windswept shore” in a fresh, salty and mineral scent that really is unlike anything else one can find in the collection. Sure, it’s still a ‘clean’ cologne in the Jo Malone style, but it’s also a fascinatingly abstract piece of work that comes as a complete surprise.
“Escape the everyday along the windswept shore. Waves breaking white, the air fresh with seal salt and spray. Alive with the mineral scent of the rugged cliffs. Mingling with the woody earthiness of sage. Lively, spirited and totally joyful.”
For my Escentual column this week, I have had the pleasure of reviewing the latest fragrance from Guerlain – the new masculine offering ‘L’Homme Idéal‘. The fragrance is accompanied by the tagline; “The ideal man is a myth. His fragrance, a reality” and is already dividing opinion amongst the perfume loving community – some love it and others see it as a commercial and unimpressive offering from the house. To read my in-depth thoughts you can click here to head on over to Escentual and peruse my review, but I will say now that I’m definitely in the ‘yes’ camp when it comes to L’Homme Idéal.
Created by Thierry Wasser, Guerlain’s in-house perfumer, L’Homme Idéal strikes me as a more commercial offering for the house, yes, but it’s also excellently crafted, as one would expect, and grounded within the rich gourmand heritage that is oh so very ‘Guerlain’. Is it the ideal masculine fragrance? Well as I say in my review, the answer is entirely subjective, and whilst it isn’t as distinct as Habit Rouge or even Homme, Wasser’s first masculine for the brand, it is a robust masculine with a cheeky feminine twist. What’s not to like?
As I’ve reviewed the fragrance over at Escentual (who are going a bit L’Homme Idéal mad for a fragrant takeover), I thought I’d do something a little bit different here and share with you four things I enjoy about the fragrance. So gents (and ladies, because there are no gender barriers here), stick the kettle on, grab a slice of cake (always mandatory), sit back and enjoy my little fragrant guide to the very latest offering from the most important fragrance house in the world.
The debut fragrance from new perfume and skincare brand, Alford & Hoff would have escaped my notice completely if it weren’t for the presence of venerable perfumer, Rodrigo Flores-Roux’s name on the ticket. Flores-Roux is responsible for some exceptional work on behalf of the likes of Tom Ford (Fleur de Chine, for example) and Arquiste (Boutonierre no.7 and Flor y Canto etc.), amongst many others. So it was with a keen sense of interest that I approached this oh-so-masculine-sounding fragrance penned by Flores-Roux, for an entirely new brand.
Alford & Hoff is the brainchild of athletes, Barry Alford and Jefferson Hoff. They aim to create luxurious fragrances and skincare products for “a new generation of men”, positioning their wares at the higher end of the designer market and at the lower end of niche. Their first fragrance, Alford & Hoff Eau de Toilette is described as being “confident, passionate, stylish, successful, [and] masculine in a modern way”, and reportedly contains “95 of the finest ingredients.”
That’s all well and good, but how does this modern ode to masculinity, created by one of the industry’s most exciting perfumers, smell? Well, it’s described as being a “fresh, woody” fragrance, and it most certainly lives up to the standards expected by the genre. Will it be a defining scent for the modern generation of men, or does it ultimately fail to break through the cliches of its style? You’ll have to read on to find out….
Penhaligon’s, the eccentrically British perfume house, is a curious outfit. Their historic back catalogue of perfumes is full of straight-laced florals, robustly masculine eau de toilettes and even some exotic follies. Over the last few years however, the brand has made a definite move away from the stiff upper lift of the past and have released a bunch of quirky fragrances that range from filthy florals that can only be worn after the watershed (Amaranthine) to contemporary takes on traditional themes (Sartorial). They’ve even flirted with the British’ love of gin cocktails (Juniper Sling) and have pushed the olfactory envelope to dizzying heights with the bizarre and whimsical (Tralala).
So yes, Penhaligon’s have modernised and funked-up their image of late, but they’re not afraid to return to their traditional roots – and that’s exactly what they’ve done with their latest masculine fragrance ‘Bayolea‘. Created as a reformulation of a bay rhum fragrance from the Penhaligon’s archives, Bayolea has been chosen to scent the brand’s new, and rather extensive grooming range, as well as front the collection in its Eau de Toilette form. Without giving too much away at this stage, it would be safe for me to say that Bayolea is an impeccably well-groomed fragrance that feels perfectly suited to any gent – modern, traditional or otherwise.
“For women who dream with their eyes wide open and see stars in daylight.”
Yesterday I shared the news that Hermès are launching a limited collector’s edition bottle for Eau des Merveilles to celebrate its 10th anniversary. This got me thinking about the scent itself and the fact that I had never taken the time to sit down and review it in full – a truth that is absolutely criminal seeing as it is one of my all-time favourites. So today, rather than focusing on something ‘brand new’, I’d like to give a brief nod to a beautiful fragrance on its 10th birthday.
Eau des Merveilles was created for Hermès by perfumers Nathalie Feisthauer (Gardénia Pétale and Putain des Palaces) and Ralf Schweiger (Fils de Dieu, The Afternoon of a Faun and Cédrat Enivrant) in 2004 as a topsy-turvy perfume that displays no top, middle and base notes, instead opting for an “unusual revolving structure” consisting of three accords; “The Spirit of Wood”, “The Memory of the Ocean” and “The Sparkle of a Constellation”. The result is something entirely unconventional, yet incredibly familiar, evoking the feel of a well-know melody caught on the breeze – recognisable, yes, but difficult to identify.
Since its launch, Eau des Merveilles has been through the Hermès flanker-mill a number of times. To date, the family consists of; an Extrait version (Parfum des Merveilles), a richer and more gourmand interpretation (Elixir des Merveilles), a version that displays more transparency (Eau Claire des Merveilles) and even one flanker that is full of edible amber (L’Ambre des Merveilles). As with all things Hermès, these familial fragrances are all brilliantly executed, but it is the original that remains the most striking and even ten years down the line, Eau des Merveilles is still the star of the collection.
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.
At the recent launch event for Maison Francis Kurkdjian’s latest duo of fragrances there was a lot of discussion around art and its relation to the world of perfume. Kurkdjian, who is ever a frank and fascinating speaker, asserted that perfume is not art because it is created to please consumers and where art is given a value by the market, perfume prices are set by their creators. This isn’t to say that Kurkdjian is belittling perfume by any means, in fact it seems that he takes a purely practical view of the subject, comparing his collection to an olfactory wardrobe, containing a plethora of pieces ranging from the everyday staple of the white T-Shirt (Aqua Universalis) to the more occasionally worn leather trousers (Absolue Pour le Soir).
Also at the event, Art Curator, Karine Giannamore spoke at length about what constitutes a masterpiece, piecing together simplicity, hard work, innovation and emotion, as the key ingredients that create a timeless work of art. Giannamore states that a masterpiece “has to be new [and] has to be original” but also must be “cemented in tradition”. This collision of the innovative and the traditional is exactly what Francis Kurkdjian has played with for his two new fragrances – féminin Pluriel and masculin Pluriel.
“What makes a work of art? A masterpiece? A Timeless work of art? Something so good or beautiful that it cannot be affected by changes in society or fashion.”
– Karine Giannamore
The Pluriel (Plural) duo has been created as a mirror image – two fragrances that perfectly capture the essence of femininity and masculinity, or as the brand puts it; “the eternal feminine and masculine.” With each fragrance, Kurkdjian takes a traditional theme and adds a contemporary twist to create a pair of perfumes that feel thoroughly modern and very much in keeping with his clear and radiant style. For féminin Pluriel and masculin Pluriel, Kurkdjian has crafted two new pieces for his olfactory wardrobe – two fragrant garments that are as modern, chic, timeless and elegant as anything a couturier could construct.
Sex sells, as they say, and the world of perfume is certainly no exception. We are constantly bombarded with hyper-sexualised images of men and women, gently caressing perfume bottles and writhing around in faux wind-machine-assisted ecstasy, all just to spur us to part with cash at our local branch of Debenhams. Some brands go even further and play with the naked form in a deliberately shocking way, like Tom Ford with his verging-on-the-obscene Terry Richardson ad campaign for Tom Ford for Men, for example, or even Yves Saint Laurent and their slightly more tasteful, but still completely full frontal print ad for M7 (both NSFW links courtesy of Mr. Ford’s artistic direction, FYI).
But what makes a perfume sexy? Well, one would think that the answer to this question is entirely subjective, and in reality I think that is most likely to be the case. I imagine our idea of ‘sexiness’ in scent to be similar to the appearance of love potions in the world of Harry Potter (bear with me here), where the smell that each potion exudes is unique to the individual that sniffs it, depending on what they find attractive in a person. To put it another way – one man’s sexy fragrance is another’s olfactory cold shower, and it would be true to say that many supposedly ‘sexy’ scents fail to deliver, whereas the most seductive scents seem to be those that aren’t necessarily billed as such – sexy surprises, if you will.
One fragrance that makes rather bold claims about being ‘hot’ is 4160 Tuesdays’ ‘The Sexiest Scent on the Planet. Ever. (IMHO)‘. Well, that’s what one would think from the name, but in reality this perfume, which was originally created by perfumer Sarah McCartney as a base for her Gin Garden scent and inadvertently named by a Tatler journalist, has a moniker that is served with tongue pressed firmly in cheek. The truth however, is that this fragrance is wonderfully executed, delicious and one of the easiest scents to wear on the planet. Ever.
I don’t wear masculine fragrances that often but when I do, I like to think that I choose pretty well. One of my all-time favourites is Terre d’Hermès, a glorious olfactory representation of orange-coloured earth created by master perfumer (and Hermès’ nose-in-residence) Jean-Claude Ellena. I’m not the only one to love it either and since its launch way back in 2006 this most modern masculine fragrance has become a cult perfume amongst fragrance lovers and general consumers of the male species alike.
Hermès is a house that is always respectful of its heritage and unlike many brands they have resisted the urge to dilute the Terre d’Hermès signature by releasing flanker-upon-flanker and including the subject of this review they have only revisited the fragrance twice to launch new interpretations, one of which was simply a Parfum concentration. So it’s safe to say that when Hermès do ‘mess’ with their line of fragrances, they do so in a respectful and tasteful manner.
Which leads me nicely on to my subject of today, ‘Terre d’Hermès Eau TrèsFraîche’ -the latest fragrance in the Terre d’Hermès lineup and a perfume that is billed as a “new crossing of the elements” where the water, sky and earth all meet. It pays homage to Terre d’Hermès but instead of capturing the idea of dry earth, it intends to create the vision of water springing from the soil in a lighter, more lively and refreshing rendition of Jean-Claude Ellena’s phenomenal and undeniably classic masculine.
“Terre d’Hermès Eau Très Fraîche is a dot above an i. The line is the man on earth, the dot is his spirit. Inseperable.”
I love the rain. There’s something about gloomy black skies and relentless downpours that appeal to my melancholic side. It’s fun too and as kids, my sister and I would often play outside in the rain until we were soaked through to the bone. We revelled in the burning cold of the open heavens and gorged on the smell of petrichor like greedy gremlins, fuelled by the most ancient and fundamental of elements. We also had fun splashing and throwing mud at each other, of course.
British perfume house Jo Malone appears to love the rain too, so much so in fact that they have launched a selection of four colognes (three new and one old) as part of their limited edition London Rain collection. Their take on rain is altogether more sanitised than my sister and I making mud pies though, focusing instead on the purifying and almost cinematic elements of rain within an urban landscape, celebrating it as a key part of London life. As the brand says; “what could be more British than London rain?”
“This collection is intensely urban whilst harnessing the power of nature in the city; drenched blooms, savage rainstorms battering the parks, the torrential drumbeat pelting the pavements. And the scents that rise from nature’s outburst, refreshing city life, making everything seem brand new.”
Created by perfumer Christine Nagel (Etat Libre d’Orange’s Archives 69, Versace Woman and Giorgio Armani’s Si) the London Rain collection consists of; Rain & Angelica, Wisteria & Violet, Black Cedarwood & Juniper and White Jasmine & Mint (originally launched in 2007). Each cologne captures “the different moods of a downpour”, ranging from the aquatic to the spicy and casting the idea of urban rain in a variety of watery shades.
In this review I’ll be taking a look at two perfumes in the collection – Rain & Angelica and Black Cedarwood & Juniper. The former represents morning rain over London’s green spaces, whilst the latter is a moodier affair that captures evening rain dashing against the city’s jungle of buildings and pavements. Together they demonstrate how a single idea can be presented in a number of guises, displaying familiar aquatic notes in new and intriguing ways.