There has been a revival at the house of Gucci. For the first time in a long time (since Tom Ford was at the helm, in fact) the olfactory style of the house is in tune its visual aesthetic. Of course, the fashion has evolved tremendously since then and the bohemian, vintage chic that Creative Director Alesandro Michele has brought to the house has made Gucci THE fashion brand everybody wants. Michele clearly gets perfume, having worked with Master Perfumer Alberto Morillas to create intriguing, on-brand creations such as Gucci Bloom, Gucci Guilty Absolute and now, Memoire d’une Odeur, completely overhauling the way Gucci presents perfume. I for one, am here for it.
Memoire d’une Odeur explores the intrinsic link between memory and scent. For Michele, the scent memory he wished to recreate was that of Roman Chamomile, which takes centre stage in what Gucci are positioning as a “mineral aromatic”. This fragrance, they say, is universal – it’s for everyone regardless of gender or age – and that, my friends, is exactly how every fragrance should be. Memoire d’une Odeur is an unusual, unfamiliar fragrance that conjurs a specific memory for Michele and creates a new one for those who experience it.
To me, MUGLER COLOGNE, has always felt like a perfect mid-point in the MUGLER brand. Where ANGEL and ALIEN etc. have always been divisive, challenging compositions, COLOGNE embodies a more palatable signature, whilst maintaining the innovative, unusual quality of the brand. With its weird, steamy muskiness, COLOGNE is as much a ‘MUGLER’ as ANGEL, but somehow it feels more casual, more effortless and with a wider appeal.
“I’m always crushing on something scented or other. My nose knows no limits. Candy Crush is where I showcase the beautifully scented things I’m crushing on right now so you can hopefully develop a crush too.”
I’m always here for BVLGARI and their fragrant offerings. I feel as if everything they do is very well-crafted with an attention to detail and quality that is often disregarded in the mainstream. For the most part their perfumes are accessible and easygoing, with high quality materials favoured over a unique or challenging signature. Think your typical mainstream fragrance but elevated – that’s BVLGARI. So I crush on BVLGARI quite regularly, but I’m crushing hard right now on their new limited edition: BVLGARI Man in Black Essence.
I’m often asking people to sniff things and when I do, a common response is “it’s a bit musky”. This always strikes me as an unusual answer, mainly because many of these fragrances would not be classified as musks in the typical sense. Perhaps people see ‘musky’ as anything that is slightly funky, or perhaps it’s just anything that is difficult to describe and where musk seems like the safe descriptor. Whatever it is, this got me to thinking seriously about what musk really smells like and what it brings to a fragrance.
What I do know however, is that musk is a spectrum, one that ranges from laundry-like purity to animalic pornography. It’s a wide scope for sure and one that traverses a huge range of fragrances. In this post, which is the start of a new series entitled ‘Six Scents’, I take a look at six fragrances on the musk spectrum, moving from the cleanliness of a spin cycle to the shocking sin of a scent between the thighs. Buckle up, fragrance nerds, because this is going to be quite a ride!
When Versace launched their most recent masculine fragrance, Eros, in 2013 I really wanted to like it. Every fibre of my fragrant being hoped for it to be good and before casting my inquisitive nose over the scent, I was encouraged by the terrifically gaudy bottle and over the top, muscle-filled advert, both of which were done in that ridiculous way that only Versace knows how to do. Alas, it was not meant to be and Eros turned out to be a synthetic clash of chemically grown lemon and day old vanilla pudding. It’s pretty terrible to be honest with you and feels genetically modified in a way that is more evocative of Godzilla’s ball sack than the glistening pectorals of an Ancient God. To cut a long story short, I wasn’t a fan.
So when Versace announced the launch of Eros Pour Femme, one would have thought that I’d have learned my lesson and steered well clear. `One would think that I wouldn’t be enticed by the simply fabulous bottle with its gold medusa head, and one would hope that I wasn’t silly enough to think that perhaps, it could be a big old stinky white floral in the manner of Versace’s incredible Blonde. You can see where I’m going with this, can’t you? That’s right, I fell hook, line and sinker for the aesthetics of Eros Pour Femme and raised my hopes to an incredibly high level, only rivalled by the time that the time that Madonna performed her new single at the Brits, and we all know how that turned out (disclaimer: I love you, Madonna and bravo for carrying on). I had high hopes for Eros Pour Femme, people, apple pie in the sky hopes and as you’ve probably guessed by now, I was sorely disappointed.
Eros Pour Femme was created by perfumers Alberto Morillas (CK One, Dalí, Iris PrimaMugler Cologne & Opus VII), Olivier Cresp (D&G Light Blue, Juniper Sling and Angel) and Nathalie Lorson (Dita Von Teese & Black Opium) – three incredible perfumers, no less. The striking ad campaign (which does have a degree of the glistening pecs of the original in it, I checked) was shot by fashion photographers Mert & Marcus. Donatalla Versace helmed the project. It would be fair to say that there are some talented people on board the Eros Pour Femme ship, but there’s also a striking lack of ingenuity or anything that remotely resembles innovation, in fact. Eros Pour Femme turns out to be nothing more than an allegory for what the brand now is – not as good as it used to be.
“Editor’s Note: Iris Prima, the latest perfume from Penhaligon’s launches today therefore I thought it prudent to share again with you my review from June. Tell me, what do you think the ballet smells like?”
Perfumers and brands can take their inspiration from a wide variety of mediums when creating a perfume: music, nature, people, memories, places and food; just to name a small few. As perfume lovers we welcome a wealth of muses – after all it’s always interesting to see perfumes based on new and exciting things rather than the usual set of notes and themes.
Penhaligon’s is a brand that seems to have a far reaching nose, in the sense that they like to seek out unusual inspirations and over the years have created a number of perfumes inspired by weird and wonderful things. Take their wonderful Sartorial for example, a fragrance that accurately captures the scent of a Saville Row tailor’s workroom or the equally-wonderful Juniper Sling, a perfect olfactory tribute to the quintessentially English drink of Gin.
For their latest offering, the brand has teamed up with English National Ballet to create a fragrance that captures the spirit of the ballet – a perfume that they describe as being “a work of olfactory choreography”. Having had exclusive access to dancers Nathan Young and Lauretta Summerscales, in addition to behind the scenes visits, perfumer Alberto Morillas has created a beautiful ode to the most graceful of dances.
Eau d’Italie really have it made as a brand. I mean, creating fragrances inspired by their native Italy, specifically the phenomenally gorgeous coastal town of Positano (where they own and run the famous Le Sirenuse hotel), really gives them a lot of beauty to work with. Besides, the Italian way of life is incredibly attractive, one can’t help but want to own a part of that, even if it just an olfactory representation.
For their tenth perfume – ‘Acqua Decima’ (Tenth Water), Eau d’Italie have roped in the talents of perfumer Alberto Morillas (Mugler Cologne, Penhaligon’s Iris Prima and Salvador Dalí Parfum de Toilette) to create a perfume that celebrates “the spirit of Italy itself”. The result is a perfume that, as Eau d’Italie puts it; “reflects the sunniest feelings we have inside” but also perfectly captures a way of life in a bottle.