Puredistance - WHITE

Picture: Puredistance WHITE
Photo: PR Puredistance (c)

The idea of the new perfume WHITE  from the house of Puredistance is to create at perfume so Beautiful and positive that it gives the wearer an instant flow of happiness.  IMO Perfumer Antoine Lie and house founder/creative director Jan Ewoud Vos  have indeed succeeded in their mission to fullfill this idea. The process to create WHITE took over one year and probably this is a big part of the sucess, Puredistance never stresses new perfumes into the market, the creators take the time needed. Therefore the Puredistance line is one of the most solid lines in the market, there are no misses (so far) just solid, sophisticated, very high quality perfumes and I'm very fond of them all, can't choose a favorite as each fragrance suits different moods, styling and occassion. See my reviews of Black, Opardu, I, M and Antonia.

WHITE starts bright, transaprent and happy. My instant thought is the image of a daisy, a dried specimen of that little sunny flower was also included with the sample from Puredistance, a very good illustration to this scent. As WHITE dries down, flawless like an exquisite brilliant it becames thicker but never heavy in its texture. An excellent creamy smoothness appears and stays during the rest of the drydown, making WHITE very comforting to wear despite its elegant aura. WHITE is 
seamless blended and it's hard to pick up where on note start dominating and another take a step backwards. The notes are interacting, shaping a flowery veil anchored in a smooth top notch sandalwood, whitout any harsh or sharp edges, it's like the sandalwood is a part of the bouquet. There is a tonality of musk  wafting from the base of WHITE, a white, non-dirty musk which has no traces of  chemical,laundry. Instead it's deepens the accords and gives  bodies to the flowers. The musk also, together with the pleasant sweetness of tonka been and a minimalist patchouli, creates that special tart note which I  appreciate so much in complex floral compositions, in WHITE without the powdery aspect which the tart note also could be combined with. On my skin the tart musky accord especially highlighing the airy rose, pale yellow or pale pink if imagining a color, supported by some dry, slight fizzy, light earthy orris elements but without the orris carrotnote.



Picture: Picture: Puredistance full Collection
spring 2015
Photo: PR Puredistance (c)

WHITE is a sophisticated fragrance, surprisingly easy to wear taken its elegance and the expensive, high quality ingredients in to account. It would the perfect pefume for the bride of the coming swedish royal wedding in June, Sofia read this :-). WHITE is comforting and conveys a  happy mood and sunshine. Even if in style a spring/summer perfume WHITE has enough dept and genuine texture for pleasant  wearing year around. It's as timeless and versatile as for example Chanel No 22. The longevity is very good, 12h+ and a few small spritses from the samples is enough. WHITE is in perfume (extrait) strenght and therefore quite close to the wearer, even if distinct traces are recognizable for people around.

WHITE is so wellcrafted that it makes me considering selling off my less well crafted florals. Even if I like them as such, when compard to a fragrance as WHITE the chemical, harsh and laundry notes of especially some mainstream perfumes becomes quite obvious.

WHITE is for everyone who likes a delicate, flower boquet and will please those who like the  style of fragrances as for example Grossmith Amelia and  Floral Veil or the new Teo Cabanel Lace Garden.

Maybe a bit boring but the fact is that I already know WHITE will be one of my most liked pefumes of 2015. And it definitly has the potential to be THE number one of 2015. Beware Chanel Misia.

Rating: 5

Notes: May rose, tonka absolute, orris root, sandalwood, bergamot, musk, vetiver, patchouli.

Teo Cabanel - Lace Garden

Picture: Lady in Flower Garden, 1891
Painting by Childe Hassam (1859-1935)
Wikiart 

The venerable french perfumehouse Téo Cabanel founded 1893 in Algeria, moved to Paris 1908, has some glorius decades then declined and almost closed down around Y2K. The house was restored by Caroline Ilacqua, a relative to the founder in 2005. Téo Cabanel produces high quality fragrances, most of them in a timeless style with some resembles to the fragrances of Annick Goutal and Parfums de Nicolai. Personally, I (and my nose) think this hidden gem of perfume house is worth much more attention among perfumecritics/ perfumewrites.

Lace Garden is a delicate, white floral bouquet which starts with accords highlighten a transparent tubereuse with its classical white flower supporters; jasmine and orangeblossom. The tubereuse is less prominent and more integrated with the rest of the bouquet than in L'Artisan La Chasse aux Papillion  or Annick Goutal Gardenia Passion which ar two classics that comes to my mind, when it comes to the tubereuse part, wearing Lace Garden. A smooth magnolia is contrasting with its pale yellow, slight lime flowery scent. The base is soft and discrete vanillic, balsamic, woody seamless blended and the overall expression, style and scent reminds me of the signaturefragrance of Gianfranco Ferré which bears the same name, of the delicate bouguet Floral Veil from Grossmith and the first fragrance from Parfums de Nicolaï Number One.

Picture: The beautiful bottle of Lace Garden
Photo: PR Téo Cabanel (c)

Lace Garden is fleeting and transaperant, the name is a perfect description of the impression which this lovely, very feminine fragrance conveys. The fragrance feels natural, there are no traces of the artifical notes smell which often are present in contemporary "high-octave" florals. Lace Garden is the perfect spring and summer fragrance but it is also suitable for winter when longing for the warmer months. It's elegant in style and suits well for festive occasions, it's a perfect bridal fragrance IMO. A must try for lovers of delicate white flowers.

Rating: 5

Notes: Ylang-ylang, lemon, tubereuse, jasmin, orangeblossom, magnolia, vanilla, wood, benzoin, powdery notes

Aedes de Venustas - Oeillet Bengale

Picture: Oeillet Bengale
Photo: PR Aedes de Venustas (c)

The latest release from New York based perfumeshop Aedes de Venustas, Oeillet de Bengale is created by perfumer Rodrigues Flores-Roux, a pefumer who created hidden mainstream gems as Donna Karan Gold  (swe) and also hyped niche fragrances as for example for Arquiste.

Oeillet Bengale starts with a true and soft carnation note followed by a light spicy incense focused note. Soon a beautiful rose appears, the rose is tender and natural smelling. As Oeillet Bengale dries further down, the rose and spices blends in a mix that creates an impression of a soft spicy carnation. Further in the development, the rose steps forward and appears in a different form, now in the form of a retro diva, the rose smells balsamic and a bit oldfashioned, deep and dark but without powdery and soapy nuances and reminds me of the rose-saffron accord in Odori Zafferano but in a smoother version. In the basenotes the balsamic, ambery impression deepens and playing beautifully with the spicy, rose-carnation. Taken as a whole, Oeillet Bengale is linear in style but playing in a higher, flowery register in its first part and on the deeper, darker part of the scale in the second part.

Oeillet Bengale is subtle with an obvious, chic-simple elegance, I can imagine the wearer of Oeillet Bengale in a basic uniform consisting of a black chasmere jumper/cardigan, a black light woolen penskirt, contrasted with different decorative silkscarves or pashminas. In its olfactory character, Oeillet Bengale reminds me of a non powdery Chanel 1932 or a Grossmith like Amelia. When it comes to carnations, the current (or just disontinued) Caron Bellodgia Edt is too watered down and not as balsamic in style, Bellodgia Edt in
the older version is in the traditional eugenol carnation style. Compared to another great carnation release from this year, Oriza L. Legrand Royal Oeillet reviwed earlier this week, Oeillet Bengale is a more of a non descript carnation, the fragrance is in fact a spicy rose underscored by balsamic notes which creates the impression of carnation, whereas Royal Carnation is a very true, classical carnation but in a contemporary interpretation. I have also heard from a reaible source that Oeillet Bengale have many similarities with vintage Yves Saint Laurent Opium Extrait, havn't smell the vintage extrait myself.

Oeillet Bengale is soft, elegant and in the same time comforting. It's sillage is close
but fully detectable for those nearby. Appropriate both for casual and the office especially for the colder months. The stayingpower is good, for over a day. And the bottle, like the other Aedas falcons, just marvellous.

Rating: 5

Notes: Turmeric, cinnamon, black pepper, cardamon, clove, saffron, rose, white pepper, strawberry, floral notes, vanilla, tolu balsam, benzoin, labdanum

Thanks to Fragrance & Art for the sample to test

Boucheron - Place Vendôme

Picture: Place Vendôme
Photo: PR Boucheron (c)

Place Vendôme is created to capture the spirit of the venerable jewellery house Boucheron, situated at the epicentrum of luxury. Place Vendôme is created as a collaboration between perfumers Olivier Cresp and Nathalie Lorson.

Place Vendôme starts sparkling, citric with traces of fruit and light, white flowers. The initial accord reminds me of a rounded and fruity version of Dior Escale à Pondichéry, without the teanote. As PV dries down the blended flowery impression intensifies and is somehow wrapped in gentle, not too sweet, notes. The flowery notes are light as a veil in texture and impression. The sweetness discrete, the honeynote involved is not of the animalic kind as in Serge Lutens Miel de Bois, this is a stripped down version, with just some elements of the honey extracted. The base is light and woody, with a sweet resin quality and the honeyed florals are still pleasant, deeper in expression as in the middlenotes. On my skin, the base is blooming 12h+ after application, I woke up in the middle of the night wondering "What is smelling so good"? The basenotes is the best part of PV for me.

The impression and expression of Place Vendôme is sort of a mainstream Grossmith Floral Veil. Nondescript light, ariy flowers are fleeting in and out in the accords, just as a fleeting light silk veil. Place Vendôme is also a bit "mainstream" rugged in texture compared to Floral Veil but on the other hand, the fragrances are in different priceranges. Another fragrance that comes to my mind when wearing Place Vendôme is Versace Vanitas, even if Vanitas is cold, a bit watery and crispy in texture, where PV is on the verge to creamy.

Picture: The stylish bottle of Place Vendôme
Photo: PR Boucheron (c)

Place Vendôme is a modern interpreation of the classical Boucheron floral-oriental theme. It's fleeting (as many contemporary fragrances after all the IFRA regulations have been effective) and lighter compared to classic Boucherons but elements of the elegant, a bit sweet, classic Boucheron base could be found also in PV. PV is feminine, elegant and suitable both for office and dressed up occasions. It is utterly well behaved, almost annoying in its perfection and it is hard to catch and analyze. Even if PV has no distinct characteristics it's pleasant and easy to wear. The longevity is very good, traces are left after almost 24h. Altogether a fragrance which fits most women, smells nice, is comforting and doesn't offend anybody.

Rating: 4

Notes: Pink pepper, rose, orangeblossom, mandarine, jasmine, honey, peony, praline, benzoin, cedarwood

Oriza L.Legrand - Jardins D'Armide

Picture: A rose from Armidas garden
Painting by Marie Spartali Stillman (1894)
Wikimedia commons

The original  Jardins D'Armide was released in 1905 and the current version is an interpretation of the original that preserves the old school feeling in a contemporary wearable way. The re-working is performed by Oriza L.Legrand houseperfumer Hugo Lambert. Jardins D'Armide is inspired of the garden in the story of Armida, a sacaran sorceress who during the First Crusade captured the Roman soldier Rinaldo and created an enchanted garden where she held him a lovesick prisoner. 

Jardins D'Armide starts dry powdery with a furry note, but in the same time a bit cold, like the texture and feeling of an orchid. A sweet note, reminding me of candy also appears in a very pleasanst way. The roses are dry, like dried rose petals, and a bit tart. When Jardins D'Armide developes a wellblanced, still cool, slight spicy, flowery heart appears soon followed by supporting sweeter and warmer notes. For a short while a very realsitic almond note glimpses by followed by powdry tonka and a pleasant musky base in which an almost geraniumgreen, tart note are apperant on my skin. The powder of Jardins D'Armide is not dominating, it's not the heavy powdery/soapy aldehydes of for example Lorenzo Villoresi Teint de Neige or Cartier Baiser Volé, the powder is just an accent, not the theme of the whole parfume. Jardins D'Armide is a retro perfume that in apperance somehow reminds me of one of the Grossmiths I think it is Hasu-no-Hana that comes to my mind. Another perfume which is more close in what it smells like is Profumi del Forte Roma Imperiale but without the slight dirty notes which is lurking in the latter.

Picture: Jardins D'Armide -another tempting bottle
from Oriza L.Legrand
Photo: PR Oriza L.Legrand (c)

As all Orizas, a wellblended and balanced perfume, Jardins D'Armide has a distinct sillage and longevity up to 24h even if discrete trails at that stage. A powerfragrance with a demanding appeal, appropriate for most elegant occasions but also in small doses, for officewear.

Rating: 4

Notes: Dry potpourri rose, orange blossom, iris powder, iris, violet, wisteria, carnation, honey, almond, tonka been, musk

Sample avaible at Fragrance & Art

Fragrance(s) of the week (30) 2013 - About Mitsi

Picture: Autumn Red peach
Photo: Jack Dykinga, USDA, Wikimedia Commons

Earlier this week I performed a side by side comparasion between the current version of Mitsouko Edp and an earlier version about 10 years old (golden box with yellow fields). The overall impression is similar but I perceive the current version as brighter and thinner in texture, the peachnote is also a tad less ripe. There is also a note close to light vetiver in the base, probably some mossubstitute as I recognize this note from some contemporary chypres and such as Grossmith Golden Chypre. The older version is deeper, darker, moistier and mossier and the impression is more "old-styled". The peachnote is more ripe and light spicy, the base is darker and mossier.  The longevity is about the same for both versions.

I like both versions and just as with the Edt I think that the modern version is more wearable as it is better suited to the tastes of the 2010s, despite retro in style compared to most of the current fragranceofferings. The older version is more oldstyled and reserved for the days when the retromood appears. Overall the new version is a wellcrafted fragrance more intriguing and special even than most of todays niche-offerings.

Historiae - Bouquet du Trianon

Picture: Queen Marie Antoinette of France walking in the park of Trianon
with two of her children.Painting 1785 by Adolf Fredrik Werthmüller  (!751-1811)

Bouquet du Trianon is a floral woody fragrance created for Parfums Historiae by the famous nose Bertrand Duchaufour. Historiae are using a high precentage of natural fair traded esential oils in their fine fragrances.

When it comes to the inspiration to Bouquet du Trianon the story tells: "On August 15, 1774, King Louis XVI makes a wonderful gift to his wife Marie-Antoinette: "You love flowers, I have a bunch to offer you: the Petit Trianon." At Trianon Marie-Antoinette created a haven of intimacy that allowed her to escape the etiquette. She indulged her taste for countrystyle patterns and pastel colors."

Bouquet du Trianon starts with an airy and fizzy burst of greenry, some crisp flowers and most of all blackcurrant buds. The black currant is the mainplayer in the topnotes and is still clearly recognizable during the whole dry down. There is also a light, transparant, almost incenselike note that accompanying the blackcurrentnote, maybe the mint and beewax combined with the refined and smooth sandal- and cedarwood notes creates this effect. The flowers of the blend takes the centerstage somewhere in the middlenotes and are still present in the woody base. The dominating flower is a light, transparent and fizzy tubereuse, note meety and indolic, but wellbehaved and minimalistic. There is also something reminding of a pleasant, hard caramellnote. In the top- and in the beginning of the middlenotes Bouquet du Trianon seems to be a transparent version of another recent Bertrand Duchaufour creation dominated by blackcurrant: Enchanted Forest from The Vagabond Prince. It is easy to suspect that the two fragrances where created simultaneously a transparent one and a heavier one. Of the two I personally prefer Bouquet du Trianon as it blends much better with my skinchemistry. The critical Mr Parfumista complimented Bouquet du Trianon, thought there is some1980s vibe of the perfume and even found some similarities in its apperance and style, even if Bouquet du Trianon is lighter, with the great Montana Parfum d'Peau.Personally I also find some similarities with Grossmith Floral Veil and with the spirit of Golden Chypre from the same house.

Picture: Bouquet de Trianon Edt
Photo: PR Historiae (c)

Bouquet du Trianon is a perfect fragrance for officewearing, elegant and not disturbing. Despite it's transaprant character, the sillage is medium and the longevity is for almost 24h. To me Bouquet de Trianon is a very comfortable springscent, a real wristsniffer and I'm very enthusiastic about it.

Rating: 5

Notes: Lemon, bergamot, mandarin, galbanum, mint, freesia, blackcurrant bush leaf,  tuberose absolute, ylang ylang, beeswax absolute, rose, honeysuckle, vetiver, patchouli, amber, musk, sandalwood, cedarwood

Thanks to Fragrance & Art for the sample to test

Fragrance(s) of the week (21) 2013 - That note

Photo: Parfumista (c)

 ....or maybe it's an accord. In perfumes featuring different flowers created during the latest one - two years there is a special scent that is tart, putty (moisty but in the same time powdery) slight musky basenote that I like much. As this note/accord has been increasingly frequent during this time period, I suppose that it's compliant to the coming regulations and just like oud has been a sort of substitute to filling  the void left after the banned oakmoss. I find this note/accord more or less pronounced in for example Chanel 1932 (with jasmine), Oriza L.Legrand Oeillet Louis XV (with carnation) Grossmith Amelia (with peony), Puredistance Opardu (with lilac) and Parfums MDCI Chypre Palatin (retro oriental slight spicy contemporary chypre). So there is just to choose what supplementing note one prefers.

Grossmith - Floral Veil

Picture: Queen Victoria in her weddingdress 1847
Painting by Franz Xavier Winterhalter (1805-1873)

Floral Veil is one of the four classy fragrances released in the Grossmith Black Label Collection so far. Floral Veil is created by another perfumer than the other three: Jean-Marie Santantonio.

Floral Veil starts with an accord somehow familiar to me, I recognize the scent from some fragrance in the past but haven't sorted out yet which on it could be. There are light and transparent green and citrus-fruity notes, not sweet but refreshing. The delicate flowers joins soon, they are smooth, transparent and seemless blended, the only flower that is detectable as an own note to me is the airy tubereuse, a tubereuse without is regular companion the orangeblossom. The beautiful sheer florals are supported by light, green and fresh notes, the geranium for instance doesn't reach its typical tarty green stage, it's subdued and just there to create an natural, green freshness.The musk is the note in the foreground in the basenotes but it's so well blended with warm amber and silky cashemrean woody notes that I don't think of it as a separate note. One fragrance that comes to my mind when testing Floral Veil is the first Gianfranco Ferré, named Gianfranco Ferré, from the 80s. As a fragrance from that bombastic decade it is of course much stronger and the tubereuse has much more body, even if light for that era. In comparisation Floral Veil is like a translucent fairy.

Floral Veil is really a perfect name for this creation. When wearing the fragrance, I almost feel the smoothness of a chiffong veil in weightless slik and I can image a young, romantic bride wearing this. Floral Veil is also the perfect first fragrane for a young girl, even if the creation is timeless and also could be worn with grace by a 90+ old lady also. Floral Veil is all about understated class and elegance, just perfect which on the other hand in the long run could be a bit dull, but that is certainly no problem for me as I almost never wears the same frag two days in a row. Floral Veil is the fragrance to reach for situations when the wearer needs confidence but when it's not when it is not appropriate to stand out from the context for example when  giving a presentation at the boardmeeting.

Rating: 4

Notes: Citruses, green notes, lemon, black currant, geranium, rose, ylang-ylang, tubereuse, vanilla orchid, musk, cashmeran (wood), amber

Thanks to Fragrances & Art for the sample to test.

Grossmith - Amelia

Picture: European peony, Paeonia lactiflora
Photo by Frances2000, Wikipedia Commons

Amelia, a part of the Grossmith Black Label Collection released in late 2012, is created in honour of the daughter of the founder of the house (originally established in 1835), Amelia. The fragrance is created by Trevor Nicholl.

Amelia starts with an accord reminding of an upscale version of Sarah Jessica Parker Lovely and Narciso Rodriguez For Her Edt. Amelia than proceed less musky and sweet than the two other mentioned, there are offsetting neroli, white flowery and green notes detectable which balances the fragrance in a delicate way. I also smell a small fraction of that special tart note which is present in many 2012 cretations, probably compliant with the coming regulations. I like this kind of dry tartness combined in one note, the tart note is more clearly presant in for example Chanel 1932. 
The star of the flowery accord is a fresh and dewy peony, a peony that manage to maintain this impression during the whole dry down and doesn't get sour and dull. The base is musky with a counterbalancing typical contemporary chypre accord containing patchouli and vetiver. In the latest stages of the development of the base, the notes seems similar to the baseaccod in Golden Chypre which was reviewed last week. As in all Black Label creation tested so far the notes are well balanced and seamlessy mixed.

Amelia is a perfect fragrance for spring. It is clean without any laudery- or ozonic notes. It fits into most environments and couldn't offend anyone, hence it's the perfect, feminine scent for work. To be a tribute to a woman of the 19th centurary, Amelia feels a bit too contemporary in style. Maybe it is also a bit too perfect, there are absolutely no dangers lurking in the background as in for example the NR For Her Edt mentioned above. Amelia wears close to the skin and the longevity is for a day. The quality is top-notch as with Grossmiths in general.

Those who like fragrances in the classical style of Annick Goutal Quel Amour and Parfums de Nicolaï Rose Pivoine will probably appreciate this modern, musky interpretation of the peony-theme.

Rating: 4

Notes: Neroli, osmanthus, rose, jasmine, peony, amber, patchouli, vetiver, sandalwood, cashmere musks

Thanks to Fragrances & Art for the sample to test.

Fragrance(s) of the week (16) 2013 - Perfumed thoughts...

Photo: Mr Parfumista (c)

Spring ha finally arrived but the mood for springfragrances has not yet appeared even if I tried with the soooo spring-/summerlike Eau de Ciel by Annick Goutal earlier this week. Overall I still want heavier and darker stuff such as my new lemming Le Parfum Couture Denis Durand for M.Micallef. I'm glad to have, even if late, tested something from the house of M.Micallef. It has not gotten around to testing them earlier, maybe because there is such a large range of perfumes that I havn't know where to start. My first experience is so promising that I'll definitly test more from M.Micallef.

Another just great one which is very suitable for the season even if floriental in style is Saffron Rose from Grossmith. Definitly the best one I have tried from the house so far, but I'll have of course not tried them all.

Fearing the coming regulations and realizing I have not much of  Guerlain Shalimar I just had to order some more this week. Despite reformulated several times during the decades, I like the formulas now avaible and I dare not take the risk not having enough of this classic if it will be deeply affected from the coming regulations.

Grossmith - Saffron Rose

Picture: Roses in a vase,
 painting by Auguste Renoir

I knew instantly when I splashed on Saffron Rose from the small vial that I would just love this stunning oriental styled rosecomposition. And Saffron Rose are just not about flattering topnotes, it is quality all the way out. Saffron Rose, created by Trevor Nicholl is a part of  the Grossmith Black Label Collection.

Saffron Roses starts with a beautiful, very clean, natural smelling pink, a bit oldfashioned, tearose. It is accuented with smooth, spicy notes of saffron and cinnamon, handled in a manner that creates a smooth, slight creamy impression of soft leather. The creamyness is in the same time dry in its texture and this accord creates a sort of chalky impression. As Saffron Rose progress in its dry down the scent is deepen in a melange of very well balanced darker resin and woody notes such as oud and myrrh. The notes are accompanying and the oud doesn't take over the composition as in most oud-rose fragrances. When Saffron Rose reaches the basenotes an almost animalc quality appears but in a subtle way. During the rest of the dry down Saffron Rose highlights the classical rose which interacting perfectly with the darker, soft spicy and woody-resin notes.

Saffron Rose wears close to the skin, the longevity is about 24h. It's a creation of understaded elegance, not as dominating and rough as many Montale rose-oud creations, Saffron Rose is more finetuned and it is a real pleasure to wear, as also the Montales depending on the mood.

Those who (like me) likes Montale Taif Rose, Highness Rose, Aoud Queen Roses, Aoud Roses Petals, Histoires de Parfum Rosam and Annick Goutal Rose Absolue I suspect also will like Saffron Rose.

Rating: 5

Notes: Rose, saffron, cinnamon, myrrh, oud, tobacco, wood, labdanum, castoreum, sandalwood, amber, guaiac wood

Thanks to Fragrances & Art for the sample to test.

Grossmith - Golden Chypre

Picture: Golden Chypre,
a part of the Black  Label  Collection
Photo: PR Grossmith

Golden Chypre is one of the four initial releases in the new Black Label line from the venerable British house of Grossmith. Earlier Grossmith (among others) has released contemporary interpretations of the old classics of the house, such beautiful frags as Shem-el-Nessim,  Phul-Nana, Hasu-no-Hana and Betrothal. Golden Chypre is created by Trevor Nicholl.

Golden Chypre starts spicy airy with a clearly detectable but still transparant cardamom sourronded by smooth spicies and a sparkling citrusnote. The citrusnote could still be recognized when Golden Chypre reaches its middlenotes where light flowery notes appears perfectyl blended with discrete notes of patchouli and vetiver. The patchouli, which is a bearing note in most contemporary so called chypres is not as emphasized as in most of those creations, it's so wellbalanced that it is difficult to discern as a separate note. All this is is resting on an elegant, smooth musky base blended with wood and resins.

Golden Chypre is a wellbehaved fragrance which is a pleasure to wear with its high quality ingredients and its wellbalanced structure. It's not a exciting and challenging fragrance but it creates confidece to the wearer in its less-is-more styled elegance. Perfect for the office and for lunching at an elegant restaurant especially in spring and summer. Sillage is close and longevity is for about 24h.

Golden Chypre is an example that well made fragrances are still possible to create even with the though restrictions coming. A common feature for many of the fragrances created the latest year, just as Golden Chypre, is their fleeting characters which I assume is the result of cutting down the quantity used of many ingredients or having to avoid others.

Those who like fragrances in the elegant style of Chanel No 22, Chanel 1932, Puredistance Opardu and Parfums MDCI Chypre Palatin will probably also appreciate Grossmith Golden Chypre.

Rating: 4

Notes: Cardamom, nutmeg, orange, bergamot, rose, geranium, heliotrophe, vetiver, patchouli, amber, musk, labdanum, wood

Thanks to Fragrances & Art  for the sample to test.

Grossmith - Betrothal

Bild: Mary (as Princess of Wales) 1902

Wikimedia commons

Grossmiths Betrothal, ursprungligen skapad av det engelska parfymhuset Grossmith för den blivande drottning Mary  (Mary av Teck) till hennes bröllop 1893 med den bilvande kung George V. Lagom till William och Kates bröllop i våras tog man med hjälp av parfymkännaren Roja Dove fram en nutida version av den gamla örtigt, lätt animaliskt, blommiga formulan. I alla fall är det så den doftar nu enligt mitt tycke. Klassiska, lite mörka blommor med en frisk, kyligt mörk örtighet/ormbunksnot not som jag känner igen från Grossmiths tidigare utgivna nyversion av Phul-Nana . Kanske är det denna fourgéton i basen som är Grossmiths signum? Det finns också en lätt animalisk not i Betrothal men den blir aldrig lortig, vulgär eller dominant. Den finns bara där för att balansera ut de ädla blommorna och den friska, kyliga örtigheten. En ren, osöt vanilj skymtar också i basen och den tydligare precis i sluttampen av Betrothal.

Betrothal är en elegant och välbalanserad doft som enligt Herr Parfumista inte alls doftar tant, vilket brukar vara en replik som kommer titt som tätt när jag provar någon äldre klassiker. Betrothal är inte särskilt somrig även om den passar sommarkvällar och svala dagar. Den passar lika bra på vintern till exempel en grön jul som denna. Betrothal är diskret och har en på något sätt avslappnande effekt och det är spännande att sniffa in dess olika facetter. Den håller bra en tuff dag som julafton och detta trots att jag bara duttat ut lite från ett 1 ml splashrör. Vid elva tolv på kvällen fanns fortfarande ett interssant ackord kvar där särskilt vaniljen tonat fram.

Betrothal är den av Grossmiths dofter som jag har provat som jag tycker bäst om, förutom Phul-Nana se reviewer av Shem-el-Nessim och Hasu-no-Hana. Eller också har min nästa mognat när det gäller Grossmiths gammaeldags men ändå tidlösa stil. Ska leta fram mina prover av Phul-Nana, Shem-el-Nessim och Hasu-no-Hana och re-testa, kanske jag får en annan upplevelse av dem idag än för snart ett år sedan.
Provet av Betrothal kommer från Fragrance & Art .

Betyg: 4+

Noter: Citrus, jasmin, apelsinblomma, ylang-ylang, heliotrophe, ros, vetiver, civet, vanilj.

Grossmith - Sammanfattning

Bild: Buckingham Palace 1837

by J Woods after a picture by Hablot Browne and R Garland

Att prova Grossmiths parfymer Hasu-no-Hana, Phul-Nana och Shem-el-Nessim är att ge sig ut på en historisk utflykt och det är viktigt att vara på "vintagehumör" när man gör det. Tänk det sena artonhundratalets mode med turnyrer och korsetter. Grossmiths dofter fångar en helt annan tidsanda (huset startade så tidigt som 1835) och har inte mycket gemensamt med de dofter som skapas idag, inte ens av niche-husen. Detta kombinerat med dofternas höga kvalitet gör det mycket spännande att prova dem. Men på något sätt kräver de att man känner sig drömmande, mellankolisk eller nostalgisk,  Grossmiths parfymer är inte några vardags parfymer, så vida man inte ständigt befinner sig i den drömmande mooden. Att testa parfymerna kan också liknas med att befinna sig på ett museum och ta till sig av det som varit. För den som är ordentligt parfymintresserad är det definitivt värt att prova dofterna, bland annat för att få den här historiska vinklingen.

Det är också intressant att prova Grossmiths dofter eftersom de väcker så olika reaktioner hos olika "doftare", vissa håller dem mycket högt andra anser att de borde ha fått fortsätta att vila i frid. Många har recenserat de här dofterna varav flera finns i min "bloggroll" så leta gärna där efter andras intryck.
Dofter som väcker motstridiga känslor brukar ha unika kvaliteter och Grossmiths dofter tillhör onekligen den kategorin. Så till ett sammanvägt betyg: När det gäller kvaliteten får de absolut en 5:a från mig men när det gäller bärbarheten vinklat efter hur de passar mig och min sammanlagada upplevelse en 3 - 4:a. På mig börjar alla dofterna mer lovande än hur de avslutas, de håller inte riktigt hela resan igenom. De blir liksom lite "platta" vilket kan ha att göra med att man använt mycket naturliga ingredienser, naturingredienser har ofta den egenheten, de behöver ett lyft av "kemikalier".  Det slutliga intrycket av respektive doft blir ganska neutralt relativt de förhoppningar som både topnnoterna och för den del även hela doftkonceptet ger. Och jag vill att en doft ska engagera mig ända ner till sista basnotsnivå, iallafall  om den befinner sig i den här prisklassen. Det kan förstås bero på att jag har en bit kvar i min olifactoriska utveckling men jag har märkt att jag generellt dras mer till dofter som är mer moderna i sin struktur.

Kvaliteten och det spännande greppet att försöka återskapa historiska dofter*), även om de så klart inte luktar lika men ger en idé om hur de doftade, överväger ändå så det helt subjektiva, sammanvägda betyget blir: 4 +

*) Idéen att återskapa historiska dofter har många anammat, Tèo Cabanel återupplivade 2005 det sedan länge nedlagda husets dofter även om det skedde genom en nutida näsas tolkning, Jean-Francois Latty.

Grossmith - Hasu-no-Hana

Bild: A Jersey Lily, portrait of Lillie Langtry

John Everett Millais (1878)

Slutligen den äldsta av Grossmiths återupplivade dofter, den orientaliskt blommiga Hasu-no-Hana från 1888. Doften beskriver den japanska loutsliljan. Fortsätter bildmässigt på temat den victorianska eran, med porträtt av Edward VII älskarinna, liljan från Jersy, skådespelerskan Lily Langtry.

Hasu-no-Hana inleds bland annat med den i klassiska parfymer så typiska bergamotten. I mellanregistret finns olika blommor som tllsammans ska ge doften av den japanska liljan. Mellanregistret är lätt kryddigt och mörkt liljligt på mig, även liljenoten är lätt. I basnoten finns något som påminner om den doft som uppstår i luften runt omkring när man luktar på flera klassiska guerlainer i bi-flaskorna på något flott parfymeri på kontinenten. Kryddigheten finns dröjer sig länge bland basnoterna och pudras till av tonkabönan. Hasu-no-Hana är en diskret, högkvalitativ och elegant doft som på mig tyvärr blir ganska intetsägande på mig. Kanske har jag underapplicerat och borde ha tagit en större dos men jag vill att provet ska räcka till en provning till för ytterligare utvärdering. Hasnu-no-Hana framkallar inga andra bilder än en ganska mörkt färgad, spräcklig lilja med mörkrött pollen i mitten. De färger som doften ger associationer till är pudrig mörkt brunrött och mörkt orange. Herr Parfumista tycker att doften är lite herrig, och det finns faktiskt en nyans som påminner om em klassisk herrdoft, kommer bara inte på vilken.

Betyg: 4

Grossmith - Phul-Nana

Bild: Drottning Victoria av Storbritanien (även kejsarinna av Indien)

Franz Xavier Winterhalter (1842)

Osborne House, Isle of Wight

Phul-Nana från 1891 är klassificerad som något så pass originellt som en oriental-fourgé. Fourgé-familjen som står för grön örtiga ormbunksliknande komponenter, innefattar till övervägande del maskulina dofter. Phul-Nana som betyder "underbar blomma" ska efterlikna en bukett av indiska blommor.

"Luktar i alla fall inte tant, mycket bättre än igår" (Shem-el-Nessim) var Herr Parfumistas spontana reaktion efter att jag spritsat på mig doften. Mitt första intryck är en nedtonad Spellbound (Estee Lauder) med mycket mer tämjda noter och lättare i strukturen. I mellanregistret blir Phul-Nana allt örtigare och har en grön kylighet ungefär som en skuggad, fuktig skogsglänta med mossa och ormbunkar en solig sommardag. Doften ger mig samma känsla som Carons Nocturnes även om de annars inte liknar varandra särskilt mycket. Det gröna ormbunksliknande känns i Phul-Nana väldigt rent och naturtroget även om ormbunke inte destilleras. Det är aldehyden coumarin som ger ormbunksnoten i dofter om jag inte minns fel.

Phul-Nana är inte vad jag väntar sig av en bukett indiska blommor. Den är lugn och ganska nedtonad på mig men den ligger där som en diskret örtig, grön, moss- och ormbunksmatta hela tiden. Jag ska förstås inte glömma blommorna, men på mig är det främst det örtigt, ormbunkiga som framträder. Blommorna flyter på ett diskret sätt in i det gröna och kyliga och värmer på så sätt upp doften. På samma sätt som varm luft krockar med det kyliga i den ovan beskrivna skogsgläntan den varma sommardagen. Om jag visualiserar en färg så är Phul-Nana mellan grön med stråk av transparent lila.

Phul-Nana känns till skillnaden från Shem-el-Nessim mer originell och inte så daterad. Jag gillar Phul-Nana och den passar min hudkemi så mycket bättre. Tyvärr bleknar doften och just inget mer händer när den når basnoterna, förutom att jag känner några stråk från Cartiers Panthere. Det är något som påminner om den plåsterliknande noten sammanvävd med en kall blommighet som finns i Panthere. Pudrig tonkaböna anas också.Phul-Nana slutar liksom i ett "jaha", med sin början hade jag väntat mig en mer distinkt final. Ett sammanvägt betyg på alla faktorer: Kvalitet, bärbarhet, originalitet, hur den passar mig och slutligen hur mycket jag helt subjektivt gillar doften:

Betyg: 4+

Grossmith - Shem-el-Nessim

Kronprinsessan Margareta av Sverige  (Princess Margaret of Connaught)

Foto från Bernadottebiblioteket

Grossmith är ett av de äldsta brittiska parfymhus som startade 1835 men som lades ned någon gång under mitten av nittonhundratalet. Nu är huset åter i grundarfamiljens ägo och 2009 återutgav man tre av sina dofter: Hasu-no-Hana, Phul-Nana och Shem-el-Nessim. Det som gjort mig så nyfiken att testa Grossmiths dofter är att jag genom dem kan få en känsla för hur parfymerna doftade före första världskriget. Det får jag i och för sig när jag sniffar tidiga Guerlain, för trots att de reformulerats många gånger så finns ändå tidsandan kvar i till exempel L'Heure Bleue.

Just L'Heure Bleue är den perfekta entrèn till reviewen av Shem-el-Nessim som betyder ungefär "doft i brisen". Shem-el-Nessim är den yngsta av de tre återutgivna dofterna, den kom 1906 och är inspirerad av Egypten, av en vattenfestival på Nilen. Jag tycker att fotot av kungens farmor kronprinsessan Margareta (född brittisk prinsessa) passar utmärkt eftersom hon träffade den dåvarande arvprinsen och långt senare kungen Gustaf VI Adolf under en arkeologisk expedition i Egypten några år tidigare.

Shem-el-Nessim är en varm, pudrig och fint balanserad floriental. De på mig dominerande noterna är den klassiska bergamotten i starten, bergamott är en av de noter som ger den där riktigt klassiska lite "tantiga" tonen i en parfym. Några andra kommer sedan: Iris kombinerad med heliotrophe som dominerar med en väl avvägd vanilj i basen. Ingredienserna är av hög kvalitet, inget skarpt och kantigt utan pudriga och avrundade som flyter i varandra. Irisen är själva blomman, inte roten, och en av de bästa iris-blomme noter jag doftat, skymtar fram då och då ett tag i mellanregistret. Jag riktigt känner blomman och lite av de gröna bladen. Heliotrophen är mjuk och pudrig i sin karaktär och de båda noterna interagerar på ett sätt som de kanske ursprungligen gjorde i L'Heure Bleue men som förstörts av alla förbilligande reformuleringar. Kort sagt Shem-el-Nessim doftar ungefär som jag inbillar mig att L'HB gjorde.

Eftersom Shem-el-Nessim kom ut hela sex år innan L'HB antar jag att den här typen av floriental var ganska vanlig på den tiden och att L'HB när den kom alltså inte var särskilt originell. Det är bara det att L'HB är den enda (?) av dofterna som överlevt och funnits på marknaden alla år sedan den kom ut, troligen för att den tillhör det stora och så berömda huset Guerlain.

Tyvärr så fungerar Shem-el-Nessim precis som i fallet L'Heure Bleue inte med min hudkemi så det är inte rättvist att betygsätta den efter hur den luktar på mig, dvs så kallad "tant-doft" men det färgar förstås betyget en hel del. När det gäller kvalitet och stämning är betyget fem, när det gäller hur den passar mig och originalitet så är det tre.

Sammanfattningsvis en högkvalitativ, elegant men inte så originell doft i det som herr Parfumista kallar "tant-genren". EDP:n. Sitter bra under dagen ända in på natten.

Betyg:: 3+