Nahema is a perfume that I am struggling to wrap my head around. Part of the problem is that it smells nothing like the image I had built up in my head based on descriptors used over and over in the many reviews on this famous perfume, words like “lush”, “honeyed”, “sexy”, and “bombastic”. On my skin, it reads as a pale, vegetal rose choked back by a bush of oily green thorns and the pale green talc of hyacinth. In fact, it bears more than a passing resemblance to the spicy, resinous green floral of Chamade than to other perfumes in the fruity, oriental rose category such as Amouage’s Lyric Woman.
My first impression was not favorable. But I persisted, knowing that some of the classic Guerlains can take years of testing before truly understanding and loving the perfume. After weeks of sustained testing from my decant, I began to notice an interesting thing – Nahema comes alive as a rose only in its far sillage. I sprayed some on as a mid-course refresher during a family lunch, and my niece nearly swooned. “What do you smell?” I asked her. “Roses, big red roses, and maybe some fruit?”, she replied, “Definitely spices too. Oh, it is so beautiful!”
Ever since then, I’ve wondered if I am hunting the mystical rose in Nahema the same way I hunted for Mitsouko’s peach for a whole year – that is, in completely the wrong way, with my nose pressed anxiously against my wrist, like a detective looking so hard for a clue that he fails to notice the obvious. Perhaps Nahema’s rose just needs some room to breathe and unfold into being, on her own time. It’s funny, but I expected Nahema to be simpler than Mitsouko, which it is, but I hadn't expected the main advertised note to be so damn elusive.
As always with Guerlain classics, the concentration and the vintage of the version one is testing tend to differ wildly. This certainly holds true for Nahema. I have a small decant of the 1980’s Parfum de Toilette and a 2ml bottle of the pure parfum (modern, I believe). The Parfum de Toilette is green, tart, and strident all the way through, and recalls Chamade more than anything else. Here and there in the PDT, I do catch whiffs of a pale, chalky rose and some fruit, but on the whole, it is not particularly inviting.
The pure parfum is much better, and presents itself as an exuberantly fruity, winey, almost decaying rose and peach or passion fruit combination. However, it lacks the bombastic punch I had been expecting of a perfume so stuffed with different varieties of rose oils that Thierry Wasser of Guerlain thinks that if IFRA caught wind of it, it would be immediately deemed a “Weapon of Mass Destruction”. Neither the pure parfum nor the PDT give me any hint of the famous red rose dripping in honey and fruit that I’d read so much about, and longed for.
Layered, the pure parfum and the Parfum de Toilette do eventually come together to provide an image of a rose – the green talc of the poisonous hyacinth suggesting the thorns, the rotting fruit and wine of the pure parfum suggesting the petals. Luca Turin said of Nahema in the Guide that it is too complex to analyze, and that the first few minutes are like “an explosion played in reverse: a hundred disparate, torn shreds of fragrance propelled by a fierce, accelerating vortex to coalesce into a perfect form that you fancy would then walk towards you, smiling as if nothing had happened.” Reading his words, I long for his experience of Nahema, because I wanted it to be mine too – but I simply can’t match it to the polite, muted, oddly sour mixed green floral I am smelling.
I'm kind of amazed at how boring an expensive parfum extrait can be on my skin. Aside from a brief moment when there was a hint of Mitsouko, it settled into smelling like peach Jell-O and never varied. Sadness.
This one just didn't work with my chemistry. Or whatever. For at least an hour at first blast I got a screechy note of pencil lead, strong! After that the rose finally emerged, but I didn't like the interpretation at all, and I love roses. It was a skinscent for me so I could barely detect it a couple hours later. I eagerly awaited the vanilla but even that was disappointing; its richness spoiled. In the end, I really don't have anything good to say about it.
10th February, 2015 (last edited: 23rd February, 2015)
Genre: Floral Oriental
Nahéma is often spoken of as a rose soliflore, but I think of it more as a spicy, fruity floral-oriental that’s just stronger on the rose than most. While Nahéma’s heart contains plenty of rose, there’s just as much peach and cinnamon in the blend, plus plenty of Guerlain’s trademark vanilla securing the foundation.
The powdery peach note aligns Nahéma with both Mitsouko and Chant d’Aromes within the Guerlain constellation. In depth and weight it lies somewhere between the two – lighter than Mitsouko, but more dense than Chant d’Aromes. With its vanillic base notes, it also happens to be sweeter than either. The smoky vanilla and cinnamon meanwhile bear relation to Shalimar, though abundant aldehydes carry Nahéma far from its elder sister’s dark viscosity. Among contemporary scents, Nahéma also stands comparison with Amouage’s recent Lyric and Lyric for Men, which are likewise centered on spiced fruit and rose. Lacking the dark woods and incense of either Amouage, however, Nahéma is a far softer, fresher, and more buoyant fragrance.
With its aldehydes, powder, and sweet fruit, Nahéma strikes me as less comfortably unisex than Shalimar or L’Heure Bleue, and far less so than the very gender neutral Vol de Nuit and Mitsouko. Lacking the crisp, refreshing green notes of Chamade and Chant d’Aromes, Nahéma also reads to me as the most unabashedly romantic of the modern Guerlain florals. Nahéma is potent stuff, radiating its larger-than-life rose and fruit for miles from the skin in its parfum concentration, and leaving great clouds of sillage behind it. If you’re going to wear Nahéma, you’d better really like it, because everyone in the vicinity is going to know it’s there.
Viewed in historical perspective, Nahéma’s central rose and fruit accord could be taken as a precursor of the fruity floral tidal wave that’s swamped women’s perfumes for the last couple of decades. To blame Guerlain would be unfair, however. Nahéma has never been popular or well recognized enough to spur a mass market trend, and where Nahéma is characteristically elegant, poised and beautifully balanced, the degenerate mob that has followed is invariably crude, awkward, and marred by grossly inferior ingredients. It’s a credit to Nahéma’s composition that the ongoing run of gawky fruity florals has not debased it in the slightest.
This was mainly a nutty, creamy sandalwood with traces of waxy honey and some low-level animalic facets. There’s a green, stemmy note that slides in later—a subtly bitter kind of thing—but aside from that and a splash of peach aldehyde and ionones, there’s not much going on with this. Quite balsamic and polite, but lacks any real adventure. It’s a solid enough fragrance, but feels anachronistic as, for me, it conjures up the impression of a bustling 1970s fragrance counter with lots of bad fashion and bad decor floating around. It certainly feels old, but not in a vintage sense.