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.
Good news, folks! Stella McCartney is re-launching her eponymous fragrance, ‘Stella‘. The composition of the perfume, originally launched in 2003 and created by perfumer Jacques Cavallier (Alexander McQueen’s Kingdom, Issey Miyake’s Le Feu d’Issey and Yves Saint Laurent’s Nu), thankfully remains unchanged, whilst the bottle has undergone a very slight revamp with a number of new sizes available. Stella launches exclusively to Harrods in the UK today.
To celebrate this welcome relaunch (I’m a personal fan as it’s my beloved sister’s signature scent), Stella McCartney has teamed up with fashion photographers Mert & Marcus, and model Lara Stone to create a provocative print and television ad campaign that shows the woody rose fragrance in an entirely more edgy light. One image (NSFW, FYI) displays Stone completely nude and covered with strategically placed flacons, positioning Stella’s relaunch as entirely unmissable.
New brand, Alford & Hoff have launched their first perfume, ‘Alford & Hoff Eau de Toilette‘ exclusively to Harrods. Created by “gifted athletes”, Barry Alford and Jefferson Hoffman, the Alford & Hoff brand is directed at a “new generation of men” and includes both fragrance and a line of skin care products (currently available in the US) consisting of the “highest quality ingredients”.
The fragrance was created by venerable Givaudan perfumer, Rodrigo Flores-Roux (Neroli Portofino, Boutonierre no.7 and Black Cashmere), andis a fresh-woody fragrance described as being “confident, passionate, stylish, successful, masculine in a modern way”. It is the brand’s signature fragrance and reportedly contains “95 of the finest ingredients.”
“A juxtaposition of light and dark, clarity and richness, texture and polish, Alford & Hoff EDT is a modern scent, luxurious and fresh on top, smooth with an ultra-sexy core and deep, rich woody background.”
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.”
London is an awesome city. I say this not just because I am British and therefore undeniably biased in the matter, but also because it is a simple truth. London has a charisma that many cities do not, stemming from the many contrasts that besiege its winding streets. These disorganised clashes of new and old, rough and smooth, and clean and dirty, make for a cultural mish-mash that is at times, utterly bonkers and entirely unique but ultimately very charming.
One man that loves London as much as I do is Tom Ford and to celebrate the opening of his Sloane Square boutique in 2013, the incredibly prolific fashion and perfume purveyor that is Mr. Ford created his very own olfactory tribute to this finest and fairest of cities. Taking its name from the city of the same name and launching last year, ‘London‘ is the newest addition to the Private Blend collection, available only in a select number of stores within the nation’s capital.
The brand describes London as being “rich, elegant and urbane” – three words that could certainly be attributed to the city after which it is named, if only just the glamorous bits in which one would find a Tom Ford boutique. But this perfume is more than just a tribute to a city, it is in fact a celebration of Mr. Ford’s favourite ingredient – oud. Now before you all start rolling your eyes at the sheer mention of the ‘o’ word (I see you), heed this notice: this perfume is a damn good example of how to do an inconspicuous oud – an oud that doesn’t take centre stage and plays a supporting role, or as they used to call them back in the day – an oriental.
My love of Thierry Mugler’s Alien, and all things Mugler in fact, is widely known. I just cannot help myself when it comes to the weird, wacky and über glamorous creations that come straight from Muglerville – they resonate deep within my soul, awaking the hidden Glamazon inside of me. So I do feel very excited when I hear that the brand is launching a brand new fragrance, especially if aforementioned scent it is to be a close cousin of my most beloved Alien.
Mugler’s latest launch is exactly that – Alien Eau Extraordinaire – a lighter take on the the brashness of Alien, that reportedly “accentuates incandescent freshness” and amps up the scent’s brighter citrus notes. Alien, whilst being a foghorn of a scent (a beautiful foghorn, of course), did display an impressively fresh citrus facet worthy of further exploration, so it is with great interest that I approached this entirely more luminous creation.
Created by perfumer Dominique Ropion who, along with Laurent Bruyere, was responsible for the original, Alien Eau Extraordinaire is a stand alone fragrance described by Mugler as being “charged with a positive energy” and “combining a blend of notes known for their uplifting, energising powers with the unique signature of Alien to convey a feeling of happiness and serenity for all women”. That all sounds rather promising, if you ask me!
2014 is quickly become the year of the rose for me. It all started with the fabulous (and addictive) Tobacco Rose by soon-to-be-launched perfume house Papillon Perfumery and quickly spiralled into many days absorbed in clouds of Montale’s Black Aoud and a thirsty hunt for more roses. Nothing can satiate my appetite when I’m on a mission, so it was with much interest that I approached Isparta PG26 (hereafter referred to simply as ‘Isparta’) – the new rose fragrance from Parfumerie Générale.
Now Parfumerie Générale and I have a complex relationship. Don’t get me wrong, I have great respect for the brand and Pierre Guillaume as a perfumer, but nothing from the line has bowled me over yet (Djhénne has come VERY close – I really should invest in a bottle but something holds me back) and I want so desperately to love something with PG’s intriguing gourmand signature.
Isparta is very much in the Pierre Guillaume style (read: woody/gourmand-ish) but displays more clarity than a lot of his perfumes. His other rose, Brulure de Rose for example, is a much thicker and ‘delicious’ take on the note, but Isparta thankfully errs more on the transparent side of things. This is perhaps due to the perfume’s inspiration, which is a woody rose based entirely in nature:
“The province of Isparta in Turkey is famed for its rose oil, obtained from a variety called ‘Isparta Summer Roses’, which grows profusely in gardens and terraced fields on the soft mountain slopes. The roses are picked early in the morning when they are half-open and their fragrance is the strongest… intense, rich and slightly spicy.”