Parle Moi de Parfum translates as ‘speak to me about perfume’ and it’s a name that I, as a writer of perfumer, can certainly get on board with. The brand is a family affair – created by Benjamin Almairac who, with his mother and brother, created a retail space in Paris that is also a functioning perfume lab, making perfumes created by his famous perfumer father, Michel Almairac (Gucci Rush, L’Artisan Parfumeur Voleur de Roses and Dior Fahrenheit, to name but a few). Perfumery is in the DNA of the brand it seems!
There are currently ten fragrances in the line, each of which is presented without gimmick. The idea of talking about perfume extends past the lab into the fragrance names, each of which contains a number that represents the number of modifications each formula went through before the final composition was agreed upon. One of the brand’s newest fragrances is Orris Tattoo / 29 – a perfume that centres on an icon of perfumery: the iris root. Parle Moi de Parfum describe the scent as being a “permanent scented reminder, a universal symbol, a unique self-expression like an invisible tattoo that withstands the test of time”, utilising a legendary material as olfactory ink. Colour me intrigued.
Iris, or orris, is many things. It is famously known as the most expensive natural ingredient in the perfumer’s pallet, making it one of the most elusive and luxurious materials out there. It’s also one of the most beautiful and complex ingredients in the perfumer’s magic bag of tricks, allowing itself to be utilised in a vast variety of ways, which gives it this strange shape-shifting ability, whilst also allowing it to remain instantly and undeniably recognisable as ‘iris’ at all times. Iris is also a divisive material – some will dive readily into its often cold and aloof arms, whilst others will simply say it smells like carrots and they wish for it to be moved very far away from them. Both view points are valid of course, but the striking character of iris cannot be denied.
In perfumery it is not the iris flowers that are used, instead it is the root. The roots are dried over a number of years (hence the hefty cost – orris is an exercise in patience) and then ground before being distilled to create orris butter (beurre d’iris). Reportedly, one ton of iris root produces two kilos of iris butter, making for a painstaking process that drives the cost of the material skyrocketing up to the roof and beyond. But is the beauty of the material matched by the price? Well, the answer to that question will certainly depend on your opinion however, the complexity of the odour profile of orris certainly lives up to its value, more so in fact.
The scent of orris is a tricky one to pin down. It is most known for its earthy character, which in extreme can smell vegetal, like carrots and turnips. The scent is mineral but it can also have sweetness, sharing a similar character to violets. If we’re talking texture, orris can be suede-like or powdery, but in some instances it can also appear as doughy and thick. There’s also a woody character to the material and in terms of colour, orris can present hues that range from blue to purple to grey to beige. If you hadn’t guessed already, orris is one of the most fascinating and flexible fragrant materials out there and it has been put to use in thousands of intriguing ways throughout the history of perfumery.
If you hadn’t have guessed from Friday’s post, I’m a bit of a Frederic Malle fan-boy. There simply isn’t a single dud within his finely curated Editions de Parfums Frederic Malle collection. I own many, I wear them often and as I’ve previously stated on this blog, Malle’s collection is one of the very few where I’d happily own a bottle of each scent (wouldn’t that be lovely?). So there you go, I’m a fan and I know that many of you are too!
One thing I also love about Editions de Parfums Frederic Malle is the fact that the brand also has a range of incredible products for the body and home. There are candles, room sprays and rubber incense, not to mention body butters, soaps and shower gels a plenty! But there are also a number of scent-specific products that belong solely to one fragrance in the collection, for example; hair mist and after sun scented with Carnal Flower; and hair & body oil scented with Portrait of a Lady. There’s a careful randomness to this, with the products picked because they compliment the odour profile and spirit of the product. It’s easy to bring a product out in every fragrance in the collection but it requires a measured restraint to pick out the best scents for the best products. So kudos, as always, has to go to Frederic Malle for curating everything so carefully.
The latest product from Frederic Malle that I’m obsessing over is the Iris Hand Cream (Creme Pour Les Mains au Beurre d’Iris) which boasts a beautiful iris scent created by Perfumer Olivia Giacobetti. The cream contains a number of patented molecules that feature a film that clings to water molecules, thus preventing dehydration of the top layers of skin, in addition to a further film that protects against ageing and pollution. Its scent is a nod to the house of Medici, who brought the origins of perfume making to France and had a penchant for scenting their hands and gloves with iris hand cream. This is a very special product indeed, one filled with technology, history and beauty.
I’m just going to come right out and say it: I’m rather fond of Jo Malone London. There is nothing more fun to me than untying the handsome black ribbon off the top of those beautiful yellow-cream boxes and pulling apart waves of tissue paper to reveal a gorgeously-scented treat for me or my home. There’s joy in those boxes, whether it be a bottle of Cologne or Cologne Intense, a scented candle or a bath oil, or all of the above (if the box is big enough, of course). They do what they do very well and their fragrances, which are odes to perfumery’s most famous and beautiful ingredients, present traditional themes with an eccentrically British twist. They’re often fun, sometimes striking and always eminently wearable. That’s Jo Malone London.
In their Cologne Intense Collection, the brand steps away from their lighter and more ephemeral sensibilities to explore richer notes in higher concentrations. These are often more opulent and exotic fragrances that have a bit more heft to them (but not too much, mind you). This is the collection where you will find ingredients such as oud, tuberose, incense and rose, all in their full, fragrant glory, and presented in Jo Malone London’s unfussy and relatable style. In January, the brand added the next chapter to the Cologne Intense Collection and two more ingredients to their ever-expanding list of notes explored: Orris & Sandalwood.
“This scent was about framing the orris to bring out its unique duality; it is both woody and powdery, floral and deep. We did this by using other woods as well as waiting a picture of the iris flower itself.”
– Pierre Negrin
Orris & Sandalwood, the latest instalment in Jo Malone London’s exploration of intensity was created by Pierre Negrin, the perfumer behind such masterpieces as Amouage’s Interlude Man and Tom Ford’s Black Orchid Voile de Fleur. Working with one of his favourite materials within the perfumer’s palette, Negrin states that he loves the complexity of orris, describing the note as a “perfume in itself” due to its varied odour profile which is “warm, sensual, feminine, masculine, violety, woody, powdery”. It’s no surprise then, that Negrin was excited to “create something new with such a classic ingredient”, and that is exactly what he managed to do. Orris & Sandalwood is billed as the next journey within the Cologne Intense Collection, one set in Tuscany during the iris harvest. It’s an exploration of perfumery’s most beautiful and expensive ingredient, all served in the contemporary manner that Jo Malone London is famous for, all with a touch of Pierre Negrin’s signature flair. It’s sounding good already, isn’t it?
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.”
There is so much ‘noise’ in the perfume industry in this day and age that it gets increasingly more difficult to pay attention to the cacophonous din of new launches and brand new niche brands. In order to rise above the noise many niche brands are resorting to ‘clever’ (read: annoying) gimmicks to make their wares stand out from the crowd, ranging from perfumes inspired by blood types (see Blood Concept) to scents that aren’t supposed to be perfumes (see Juliette Has a Gun). Rarely is the product allowed to speak for itself.
Still, for each naff niche brand there is a decent one with high quality products (brands like Arquiste, 4160 Tuesday’s and Maison Francis Kurkdjian to name just a very small few) that allows for the beauty of their scents to be the element that sets them apart from the many other bottles they share their shelf space with. These refreshing outfits remind one that within the crowds and crowds of scent on the market, there are individuals with a passion for perfume and a unique voice waiting to be heard.
One such brand is Papillon Perfumery. Created by New Forest perfumer Liz Moores and launching this year, Papillon has three perfumes devoid of any bells, whistles and gimmicks – they are simply expertly crafted and beautiful perfumes that truly speak for themselves. The perfumes (Angélique, Anubis and Tobacco Rose) prove that familiar themes can still be presented in unique ways if one just approaches them in an entirely different manner.
I have a turbulent relationship with the house of CREED. They are definitely on the pricey side for what they are and their quality can be a bit hit or miss, but it would be unfair to say that none of their scents are worth seeking out. In fact, I can name at least four that are sniff worthy (Virgin Island Water, Silver Mountain Water, Millesime Imperial and Green Irish Tweed) so, as much as they may not be my favourite of brands, I’m still very much willing to give them the time of day, but have always approached them with a wary step.
One particular CREED perfume that sticks out for me is Love in Black – a scent that I like to call ‘Dark Lady’ as it presents an intriguing, feminine and unexpected representation of the colour black. It’s also a perfume that really does take awhile to ‘get’ due to its striking take on violet and iris – two ingredients often used to represent beauty, but in this perfume are added to give the impression of something beautifully unconventional.
Love in Black was launched in 2008 and was inspired by former US first lady Jacqueline Kennedy Onassis (or Jackie O as she was more commonly known) and is a far cry from the clean blooms of its sister scent Love in White. CREED describe the fragrance as a “lush floral oriental”, but in my mind it is more of a black swan of a scent (funnily enough the brand uses this imagery) that plays on the contrasting facets of a modern and powerful woman.