Tag Archives: Green

Niki de Saint Phalle by Niki de Saint Phalle 

Unique green…

Top notes : artemisia, mint, green notes, peach and bergamot; Middle notes: carnation, patchouli, orris root, jasmine, ylang-ylang, cedar and rose; Base notes: leather, sandalwood, amber, musk and oakmoss.

The inimitable Portia of Australian Perfume Junkies brought this 1982 release to my attention and kindly sent me a sample when I expressed interest. I’m always on the lookout for interesting green fragrances which are more than simply light and fresh: Niki de Saint Phalle fits the bill.

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It’s funny, I can have trouble with powdery perfumes but the thin veil of green powder here feels just right. Truthfully, it doesn’t smell high-end but it does have an old-school vibe about it which I find appealing.

There is a tension between the tart greenness and the spring florals which works. It may have come out in the early 80s but it really belongs to the 70s – the era of the green chypre. This genre seems to be a thing of the past, though if the aquatic trend can make a comeback, anything is possible.

Niki de Saint Phalle does smell of another age and not as classy as No 19 say, but it does have an individual charm. There’s an uncompromising sour note in there that is refreshing and wakes up the senses. For someone so tired of the relentless sweetness in perfumery these days, I find it a welcome palate cleanser.

It will please those who are fond of galbanum; that chlorophyll-packed note found in Jacomo’s Silences, with which NdSP shares a kinship. The base is oakmoss-style chypre heaven and feels like a carpet of smooth moss under your bare feet. There’s also a very nice touch of ambery warmth. During this final stage, I inhale almost to the point of dizziness.

I found it really interesting and inspiring to read about the woman herself, while trying her fragrance. Niki de Saint Phalle was an artist who worked in a number of media. After suffering a nervous breakdown, she was encouraged to pursue her love of painting as a form of therapy. Her “Shooting Paintings”  of the early 1960s were bags of paint in human form covered in white plaster which she shot to create the image. She went on to make work which explored the female archetypes and women’s place in society.

In part inspired by Gaudi, she purchased some land in Tuscany to create a monumental sculpture park. This was 20 years in the making and The Tarot Park eventually opened in 1998. It looks like a surreal wonderland with her huge colourful works interspersed amongst the greenery of the trees and shrubs.

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It seems fitting that her fragrances is intense, uncompromising and striking, like de Saint Phalle and her art.

 

Do you have any interesting green fragrances to recommend? Have you tried Niki de Saint Phalle?

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Opus X by Amouage

Passion and pain

 

Notes: Rose Centifolia, Bloody Rose Accord, Rosebud, Rose Oxide, Geranium, Varnish Accord, Leather, Ambrarome, Ylang-Ylang, Laotian Oud, Metallic Accord

 

I recently went with my pal Kirk to the elegant Amouage stand-alone store in Knightsbridge, London. He purchased the excellent amber, Opus VI which I  think is particularly great on the fellas. It’s fun to see “a civilian” sucked into our fragrant little world.

While there I tried the brand new Opus X from The Library Collection. The mainstream line is full of well constructed, full-bodied perfumes with a capital P. The Library Collection is more exclusive with scents which are often more challenging.

Opus X is a rose-centred fragrance so I was initially disappointed when I inhaled it on a paper strip and it came across as rather jarring. The Sales Assistant suggested trying it on skin because the high percentage of natural oils means there can be quite a difference.

Sure enough, a spray on the back of my hand and it was a different story.  The sour aspect was dialled right down and even the friendly SA was surprised at the dramatic change it took on me.

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I’m always complaining about perfumes being too sweet but the beginning of Opus X has sharp, slightly metallic greens surrounding the central, multi-layered rose. I picture a dark fairy-tale scene of long, malevolent creepers twisting around and almost strangling a partly-opened rose of the deepest crimson.

 

Creative Director, Christopher Chong found his inspiration for Opus X in the 1998 film, The Red Violin. In it, a violin is crafted in 1681 by a grief-stricken Master Violin Maker who infuses the varnish with a little of the blood from his recently deceased wife.  The movie then follows it over the next four centuries to Austria, the UK, China and Canada; telling the stories of the people who own it.

I really want to see this film

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Fittingly the mood of the fragrance is a mix of harsh bitterness, mysterious darkness and deep passion. The varnish on the violin is present, providing a sheer overlay to the many-petalled rose. The lacquer creates a disturbance, but knowing why helps me appreciate Opus X, even if I can’t love it. The widow’s loss means everything can’t be rosy.

This artistic response to another’s creative work has been composed by perfumers Pierre Negrin and Annick Menardo.

The base is distinctly Amouage, as all traces of greenery, metal and varnish disappear. The texture becomes reassuringly velvety thanks to a low whisper of the smoothest oud snaking through a gorgeous amber accord.  Here at last, the sensual side of love and life is exposed and quietly celebrated.

As we’ve come to expect from this luxury house, the longevity is outstanding. Opus X isn’t as voluminous on me as their other perfumes, but that seems to fit: it’s not a showy, outward-looking scent, but a very personal tale.

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Still from The Red Violin

What do you think of The Library Collection? Have you seen The Red Violin?

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Paradox by 4160 Tuesdays

The scent of hope for someone who could no longer enjoy perfume…

 Notes: Citrus fruits, Iris, Violet, Petitgrain, Woods and Musks

Today, British beauty and perfume blogger, Louise Woollam, is attending the Fragrance Foundation’s Jasmine Awards. She has been short-listed for three articles including one about the creation of Paradox Eau de Parfum on her blog Get Lippie. Two years ago, things were very different.

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Louise Woollam

It’s not hard to empathise with just how traumatic it would be to have your sense of smell distorted so much that scents that used to make you swoon now make you want to be sick.

After what seemed like a pretty run-of-the-mill cold, Louise lost her sense of smell (anosmia). Then when she started to regain it, she experienced parosmia which made most food – let alone perfume – smell horrendously unpleasant. In her article for The Guardian, Louise wrote “I have had days when everything smells like faeces, making me retch. I thought I was losing my mind.”

During this disturbing time Louise went on a trip to the Osmotheque (which I also attended) during which she discovered she could smell violets and citrus the same way she always had. Sarah McCartney, perfumer of 4160 Tuesdays, then set out to work with Louise to create a fragrance based on these notes which she could actually enjoy.

Through a process of elimination and trying a few different combinations they hit upon a composition of bright yuzu and cubeb (a fruit of the pepper family), three different types of ionones (which smell like violets) and orris/iris to smooth out the citrus and amp up the violets.

The perfectly named Paradox was born.

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The opening of the fragrance is a thicket of dense grass; the blades parting to reveal tart, yellow, citrus fruit.  The feel is cool and breezy as the violets come through. They aren’t the sweet Parma variety but the chilly, green kind.

The orris is very much in the supporting role of providing backbone to the violets, giving them even more of a bluish purple hue. When I press my nose in close I get deep green foliage. The base comprises clean woods and musk but as often happens, I don’t register this.

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Last year, Sarah decided to make the fragrance available for sale with at least £5 from every bottle sold being donated to the charity Fifth Sense which provides support to those affected by smell and taste-related disorders.

Thankfully, matters are now much improved but Louise’s sense of smell is still far from what it was. She says that working with Sarah on Paradox gave her more than a perfume she could wear, it gave her hope that recovery was possible.

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Tango, Terralba, Luci Ed Ombre and Montecristo by Masque Milano 

Welcome to the Masquerade Ball

It might not have met my high expectations but I did enjoy trying Russian Tea by Italian niche brand, Masque Milano. It had an atmospheric mood and an appealing (if fanciful) backstory. I liked it enough to become intrigued by the other releases from the brand.

Below are my impressions of the four other fragrances currently in the line-up.

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Tango 

Notes of amber, jasmine sambac, Turkish rose, cumin, cardamom, cinnamon, tonka bean, benzoin, sandalwood, guaiac wood, cedar and melilotus.

Opening with a liqueur-like red rose, Tango settles into an incredibly smooth and silky amber. It’s not ground-breaking but it’s seamlessly well done and high quality. There’s a nice sprinkling of spice and just the right amount of vanilla.

Tango could be worth investigating if you’re still seeking a wearable, classy amber fragrance.

Terralba 

Notes of clary sage, lemon, green tangerine, myrtle, thyme, curry leaves, everlasting flower, lentisque, juniper, cypress and cedarwood

Terralba was created to invoke the aroma of a Mediterranean shoreline where the scent of coastal shrubbery mixes with sea salt. Unfortunately it reminds me more of the old school fougères which were popular with my father’s generation.

I’m sure I’m doing it a great disservice but I find the association hard to shake. You may have better luck if you are a fan of green, herbal fragrances.

Luci Ed Ombre 

Notes of incense, ginger, tuberose, jasmine, moss, cedarwood and patchouli

I really enjoyed testing Luci Ed Ombre because it’s rather novel and the idea behind it is so effectively realised. The wearer is transported to the border of a bright field and a gloomy forest where a sense of foreboding creeps over them.

It’s brought to life using patches of moss, earth, gently indolic flowers and a touch of musty incense (which intensifies in the base).

Luci ed Ombre is the kind of white floral I can get on board with – one shrouded in darkness. My only reservation is that it’s a touch reticent.

Montecristo 

Notes of cabreuva, ambrette seeds, rum, tobacco leaves, celery seeds, cistus, benzoin, golden stone, styrax gum, gaiac wood, cedar wood and patchouli

Whoa. An opening of booze and barbecue smoke, that’s got my attention.

Montecristo calms into a distinctive smoky leather with old dry wood and a burnt facet. It’s not as harsh and manly as it sounds. There is some sweet resin in the mix, probably from the styrax, which counterbalances it.  Over time, it becomes increasingly sensual.

Interestingly, it features hyraceum (“Golden Stone”) which helps make Papillon Perfumes’ Salome so gloriously carnal. Here it feels more like animal hide than human skin.  Montecristo is chic, striking and not a little addictive.

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Overall I’ve been impressed by the offerings from Masque Milano. The fragrances tend to have an intimate feel and plenty of character.

I particularly like that the line comes across as very Italian: stylish, sophisticated and sultry, with just a dash of machismo.

 

Do you own or admire any of the Masque Milano fragrances?

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