Fragrance Reviews by Somerville Metro Man

Penhaligon's Amaranthine

In any artistic field it is just fun to see an artist hit their stride and start producing at the highest levels within that field. 2009 is shaping up to be that kind of year for Bertrand Duchaufour as in the last half of the year he has composed two very different scents that are also two of the most compelling scents out there. The first was L'Artisan's Havane Vanille and on the flip side is his contribution to the Penhaligon's Anthology series, Amaranthine. His stated goal in creating this fragrance was to compose a "corrupted floral oriental". The idea was to take a structure of white floral notes over green and then find a way to dirty it up a bit by traveling the spice road that M. Duchaufour has traveled so successfully in the past. The top of this is like an overture to a Broadway musical as the first group of notes give you a little hint of each of those qualities; the floral is represented by freesia, the green by a banana leaf and the spice components are cardamom and green tea. This is a beautiful beginning as the banana leaf adds a tiny fruity hint to the top but it really is more green in nature. The heart is completely floral as a mix of jasmine and ylang ylang create a heady bouquet. This mix of jasmine and ylang ylang create a very strong floral aspect to Amaranthine and if you are not a fan of other strong florals like Bandit or Carnal Flower then this is probably not your cup of tea. I do like those scents and this is exactly my kind of floral as it is deep and lush. As promised M. Duchaufour dirties the heart up a bit by adding in carnation and its clove like aspect before allowing clove itself to come in and carry the development into the base. The base has what will probably become the make it or break it accord for many, warm milk. As this transitions into the base I get an accord of the smell of heating up milk in a pot on the stove and it has a comforting feel to me. M. Duchaufour then adds in more traditional comfort notes as vanilla and sandalwood join the warm milk accord. This takes Amaranthine into comfort scent territory, for me, and it feels like the reward at the end of a long day. Amaranthine has good longevity and excellent sillage on me. For most I think Havana Vanille is going to be the scent that most remember by M. Duchaufour for 2009; which is too bad because I think Amaranthine is every bit as good while being completely different.

Amouage Ubar

Ubar was a fragrance created in 1995 to celebrate Oman's Jubilee Year. It went out of production and in 2009 was re-introduced. The previous version was an EdT and this new version is an EdP. As with many of the Amouage scents this is no shy flower of a fragrance, although it is full of strong floral notes. The top of Ubar begins with a palate cleanser of bergamot and lemon followed by lily of the valley. This gives the top a green citrusy beginning. The heart comes in with a deep jasmine note followed by an equally intense rose accord. The indolic nature of the jasmine in conjunction with the spicier aspects of the rose make a beautiful duet. Starting at the top there is a hint of civet underneath the proceedings and in the base that civet comes to the foreground along with sandalwood and vanilla which add extra warmth to the drydown. Ubar is of a genre with the other scents in the Amouage line full of intensity and quality. Ubar has excellent longevity and sillage; enough so that like many of the Amouage scents a light hand on the atomizer makes for a better experience. Ubar was made for Oman's Jubilee Year but as a fragrance it is a floral jubilee all its own.

Lorenzo Villoresi Spezie

We have a wonderful spice store near us called Penzey's and I love when I shop in there that first moment when I walk through the door. My nose is met with a melange of spices and it all smells different and unique every time depending on what is out for sampling and in bulk. I've always thought what a wonderful smell this would be if a perfumer could capture this. Well Lorenzo Villoresi must think the same thing because his 1994 fragrance Spezie does exactly this. Twelve of the 18 listed notes in Spezie are spice notes and they create the feeling of walking in that spice store near perfectly. The entry to Sig. Villoresi's spice rack starts with a mix of coriander and cardamom these are the most prominent notes but off on a far rack the aromatic jars containing eucalyptus and mint are noticeable. Another few steps deeper into the store and I encounter the section containing pepper and thyme which when I turn around on the other side of the aisle, the cinnamon and nutmeg also appear. Underneath all of this floats a cumin note that is exquisitely balanced. Cumin is the note that could have pushed all of the spices to the side but Sig. Villoresi keeps it under control and instead it feels like an appropriate partner. The base carries the clasical mix of rosemary and smoky sage along with a more unusual accord of tomato leaves. This isn't an accord I would think I'd want in a perfume but in Spezie it fits seamlessly and appropirately. Spezie has excellent longevity and sillage. If you are a lover of spice notes in perfumery this is a must try, as along with Piper Nigrum, Sig. Villoresi has made two of the stand-out fragrances in this area of fragrance. Back in the 60's Alka-Seltzer used to have a commercial built around the line "Mama Mia That's a Spicy Meatball!" I'd like to update that line a bit "Sig. Villoresi That's a Spicy Perfume!"

Le Labo Vanille 44

Le Labo has an irritating habit of making some of their best scents exclusive to one city. The 2008 release by Alberto Morillas for Le Labo, Vanille 44, is one of those examples as it is only available at Colette in Paris. I really like M. Morillas' Aramni Prive Vetiver Babylone for the bubble of vetiver that fragrance seems to create around me. It has a subtlety and a strength all at the same time. Vanille 44 does the same trick but with vanilla this time. When trying any Le Labo you always have to wonder whether the titular note will be prominent or a supporting player. The top of Vanille 44 starts off with a mix of bergamot, incense and gaiac with no vanilla to be seen. These three notes are lovely together and they are applied in a light way so as to begin to create that bubble I spoke of earlier. The heart is where the vanilla does come in and at first it is in balance with the light notes of the top before gaining in intensity until it is the dominant note. That intensity never becomes the sugary sweet overpowering vanilla of other scents. Instead this gains in intensity and then starts to warm on my skin and radiate in sheer waves of austere vanilla. Just as in Vetiver Babylone I feel encased in a bubble of vanilla and enjoy it tremendously. The base is a sheer musk which helps attenuate the vanilla slightly but this scent stayed all about the vanilla from the heart to the end. Vanille 44 has average longevity and is a close wearing fragrance with minimal sillage. As much as I want to be able to dismiss one of these Le Labos as overpriced hype; Vanille 44 is not Heinz 57.

Heeley Cuir Pleine Fleur

The 2007 release from James Heeley's eponymous fragrance line, Cuir Pleine Fleur, is often seen renamed as Fine Leather on some english speaking sources. When I looked up the real translation of the words it strictly translates to "leather full flower". While fine leather captures one aspect of this fragrance it is the strict translation that really tells the full story as the presence of a floral accord is what makes this leather scent stand out from others. The top of Cuir Pleine Fleur is all fleur as violet and mimosa bring this scent to life. Violet is one of my more favorite floral accords and the violet here is one of the better vioilet accords I've come across. It is tricky working with violet as too much and it becomes sharp and bitter. Here the mimosa rounds off those sharp edges with a dollop of sweet floral and helps accentuate the softer side of violet. The heart is where the leather shows up along with a deep slug of birch. This is a full-throated leather and oddly appropriate in combination with the violet at the top. There is a moment in the development where the violet is waning and the leather is in its ascendancy that I have a short period of unusual beauty as the floral and leather aspects are sublimely balanced. The base is a smoky vetiver which supports the continued presence of the birch and leather and give a little bite to the drydown. Cuir Pleine Fleur has above average longevity and moderate sillage, on me. Each Heeley I try has found a way to make me appreciate a note I think I know well in a new way. This is true in the case of Cuir Pleine Fleur not only for the central leather note but also for the violet and in both cases the results are eye-opening.

Byredo Chembur

Byredo is a new perfume House created by a Swedish Indian designer, Ben Gorham. In 2008 they released their first five fragrances. Jerome Epinette was the nose behind Chembur which is the incense centered scent of the line. Chembur is a city outside Mumbai, India and it is where young Mr. Gorham would spend days with his mother having a picinic. There was a temple nearby and he wanted to capture the mix of green grass and incense from just over the hill. I think M. Epinette succeeds in that but this makes Chembur a very light fragrance. The top carries a lovley lemon zing to it and it carries nicely into mix of nutmeg and ginger before the incense comes wafting in. The inspiration was to have it feel like incense from far away and M. Epinette does pull that off but as someone who loves the note this was a tease for me. I wanted the incense to slowly get more intense and pick up depth. Instead it stays just over the horizon and out of reach. The base is musk and amber and they are good compliments but again I wanted them to be stronger. For all that it is light Chembur has good longevity on me and it is very close wearing. I found my experience with Chembur to be frustrating as I was left wanting more. If you are someone who likes incense in lighter doses then Chembur might be just what you're looking for as it is a well-constructed piece of perfumery.

Tom Ford Private Blend Urban Musk

Those who read my reviews know I frequently kvetch about the name of perfumes that don't match the juice in the bottle. Hold on here we go again. Tom Ford released four new Private Blends in 2009 as the White Musk Collection. White Suede smells like leather and musk, Jamine Musk smells like jasmine and musk, and Pure Musk while not as strong as I might want smells like musk. What would you think Urban Musk should smell like? Does a barnyard conjure up images of a concrete jungle to you? Apparently to Tom Ford it does as the central accord here is akin to that same barnyard accord that is found in L'Artisan Dzing! and if you like that accord you should try Urban Musk because it is enough different than Dzing! to be worth giving a sniff. The top of Urban Musk starts with a jasmine and pepper zing. This gives way to a combination of ambrette, cumin and musk which puts me right in the center of the urban barnyard. I find this accord pleasant in small doses and the first few times I tried Urban Musk I over-sprayed and it lasted too long for my taste. With a little lighter application I found the barnyard to be a shorter lasting trip and thus more pleasant, to me. The base finishes with a mix of honey, benzoin and incense which gives off a light and airy sweetness overall at the end. Urban Musk has slightly below average longevity when sprayed with restraint and slightly above average longevity when sprayed with normal abandon. although as mentioned above I found the experience to be very different for me depending on the number of sprays I used. The sillage on Urban Musk is modest, as well. When properly applied I like Urban Musk but from now on I'm referring to it as Rural Musk.

Tom Ford Private Blend White Suede

Tom Ford released the White Musk Collection subset of his Private Blends in 2009. My favorite of the four scents is White Suede. One thing that can be said about the Private Blends is the name of the fragrance tends to give a good indication of what you're going to get. No Le Labo bait and switch in this line of fragrance. What I like so much about White Suede is it has a lovely refined leather to it that I have only encountered in one previous fragrance, Serge Lutens Daim Blond. The major difference is that Daim Blond is accompanied by a dark apricot and White Suede is accompanied by an herbal aspect. That herbal aspect is evident right from the top as saffron, thyme and mate tea combine. The thyme adds a smoky herbal character while the mate adds to the smokiness but gives an unusual note which I like a lot in this scent. This all gives saffron the opportunity to be the slightly leather and hay note that leads into the leather heart. The heart is plush suede leather. This is leather that has been lovingly treated and refined. There are no rough edges here. I love this form of leather and it is one of the reasons I return to Daim Blond over and over. It will also be the reason I keep coming back to White Suede. The base is a mix of musk over amber and sandalwood. White Suede has outstanding longevity and little sillage. It might be the closest wearing of the Private Blends, so far. For something that is part of the White Musk collection White Suede is all about the leather and it is good.

By Kilian Pure Oud

This renaissance of oud we've experienced in 2009 has found a number of perfumers attempting to tame the wild beast that is oud. It is not an easy task. Give it too much space and that is all you get. Dumb it down too much and you wonder what the point is of having it in your perfume. Too much oud and it is an acquired taste as it overwhelms, too little oud and the interesting qualities leave you wanting more. Calice Becker has, for my money, done the best job of getting this balance right in the 2009 release for By Kilian, Pure Oud. When you see a fragrance named Pure Oud you brace yourself for a blast of oud and what Mme Becker does, that is quite wonderful here, is she gives you that but then she pairs it up with the strongest notes set of notes in the perfumer's toolbox. This creates a beautiful complex trip into the darkest areas a fragrance can land. The top is the promised oud and it is paired with just a hint of tobacco. The slightly sweet aspect of the tobacco contrasts well with the oud. The heart is a dance of leather and oud and it is a raw leather to go with the raw oud. Just when I think this can't get more intense a civet note enters the mix. This phase is an animalic lover's dream as the oud provides an incredible base for the leather and civet. Plus those notes have enough heft to push back against the oud and take their place as olfactory equals in the heart. The base is the maple syrup accord that immortelle brings to things and it is also a great choice as it imparts a woody richness to the oud which allows Pure Oud to finish on high note. Pure Oud has outstanding longevity on me but it is a very close wearing scent. Mme. Becker has created the most well-balanced oud I've experienced, so far, as by choosing notes and accords that have an equal intensity to oud she ends up revealing all of oud's wonderful complexities in comparison. Pure Oud is a pure pleasure to wear.

By Kilian Prelude to Love

I do enjoy when I discover a scent from a House that I don't expect. I've gone through most of the By Kilian line and have found them to be dense collections of notes from the tuberose in Beyond Love to the rose in Liaisons Dangereuse to the tobacco in Back to Black these fragrances can be overwhelming. By Kilian recently opened a section in my local Sak's and I had the opportunity to try all of the fragrances in the line. The one that surprised me was the 2008 release Prelude to Love, which is unusually light and refreshing for a By Kilian fragrance.

Calice Becker, who has been the perfumer on most of the By Kilian line, starts with a lovely citrus mix of lemon and orange with a hint of grapefruit lurking underneath. This is a pretty standard citrus opening but it has an unusual depth to it and unlike many citrus top notes these persist into the heart of Prelude to Love. What they find in the heart is iris and this is the cool version of iris and it is the right choice to match with the citrus. Occasionally this cool iris accord is too cold and leaves me a little frostbitten, as in L'Artisan's Iris Pallida. In Prelude to Love the coolness is a match to the citrus and imparts a refreshing quality to this fragrance.The base adds a little spice in the fresh tones of cardamom and ginger beofre a sheer white musk brings this all home.

Prelude to Love, for a citrus forward scent, has amazing longevity and the lemon in particular lasts a very long time on me. The sillage is modest for Prelude to Love.

When perusing the nine fragrances in the By Kilian line I can easily play the children's game of "Which Doesn't Belong and Why?" and call out Prelude to Love. Even though it doesn't share the same temperament as the rest of the By Kilian line it definitely shares the quality.

Etat Libre D'Orange Jasmin et Cigarette

In the annals of perfect combinations I'm pretty sure that jasmine and cigarettes are not high up on that list. Which makes what Antoine Maisondieu has executed with his 2006 release for Etat Libre D'Orange, Jasmin et Cigarette; all the more impressive. There are a few scents out there that do wonders with the cigarette note; Hilde Soiliani Bell' Antonio is a good example. There are many more jasmine fragrances which use the note to good intent. I personally find jasmine to be one of my favorite florals because while it has some sweet aspects to it it also has a less floral aspect that appeals to me. In Jasmin et Cigarette M. Maisondieu accentuates that less floral aspect of jasmine and in combination with the raw tobacco accord creates a quite lovely fragrance. The top has that smell of a cigarette just after the match has lit it; that contrast of sweet tobacco and smoke. This accord is very evocative. The heart is the jasmine and its first appearance is as the slightly sweet floral but the deeper aspects of the note make their presence known and they are what linger along with the tobacco. This interplay is long-lasting and surprisingly interesting, on me. After a long time the base shows as a mix of cedar, amber and musk. This adds a warmth and an almost post-prandial feeling to contrast the beginning phase of Jasmin et Cigarette. Jasmin et Cigarette has above average longevity and average sillage. Jasmin et Cigarette might not be as perfect a combination as peanut butter and jelly but, as a perfume, its pretty close.

Serge Lutens Fourreau Noir

One of my favorite Serge Lutens fragrances is Encens et Lavande. The balance between the incense and lavender is exquisite and it is the lavender that seems special in that scent. The 2009 release Fourreau Noir re-visits that lavender accord from Encens et Lavande and Christopher Sheldrake and Serge Lutens add some different playmates to the olfactory schoolyard. Right from the top the lovely lavender comes to the fore, it is cut with a scalpel sharp citrus accord. This is the only aspect of Fourreau Noir I didn't care for. Lavender has its own sharp edges and astringency to it and the addition of more sharpness made me worry that the citrus was going to bully the lavender into submission. Thankfully the sharp citrus lasts for a short time and tonka appears along with a lively musk. In combination with the lavender this gives a rich feel to the heart of Fourreau Noir and this is the part of Fourreau Noir that persists the longest on me. As this scent develops immortelle and its maple syrup accord appears and really adds depth to the heart. The base is all warm sweet amber and this comes the closest to Encens et Lavande as both of these fragrances end up in confortable spaces on my skin. I like Fourreau Noir but that initial citrus note, which has been identified by other reviewers as dihydromyrcenol, was borderline unpleasant on me and if it was to last longer it would be difficult to overcome my dislike for it. Fourreau Noir has excellent longevity and average sillage. I'm not sure that Fourreau Noir is all I would have wanted in a lavender centered scent form Serge Lutens but its a good start.

Parfum D'Empire Wazamba

Wazamba! Sounds like an alternative way of saying "Abracadabra!". I could see a magician making an assistant disappear and opening the box and shouting "Wazamba!" while the audience showed their appreciation for the illusion. Instead, according to the press release accompanying Marc-Antoine Corticchiato's 2009 composition for Parfum D'Empire; we are told a wazamba is an African musical instrument. A wazamba is also said to be mainly used during initiation ceremonies, for a scent so incense oriented that somehow seems appropriate. Wazamba comes off as the most church incense like fragrance I've encountered since Comme des Garcons Avignon. The top of Wazamba is a blast of arid frankincense. It is dry and smells like the finest incense from right out of a church censer. It is joined by the sweeter aspects of myyrh and then the resin is made even more intense as labdanum joins in. If you are an incense lover the beginning of Wazamba is beautiful and I think it is better balanced than Avignon at the top.Wazamba very slowly allows a pine note in the guise of fir balsam to makes its way in very gradually and it is joined by a clean cypress note, in the base. I really like the hint of pine that is used here as this is reminiscent of the same light touch used in Annick Goutal Encens Flamboyant. According to the note list there is supposed to be an apple note somewhere in here but I've yet to find it. Wazamba is an incense forward fragrance with pine and cypress undertones, on me. Wazamba has excellent longevity and average sillage. As an avowed incense-aholic I like Wazamba as it combines a couple of features of two of my favorite incense fragrances and makes something I like as much as both of those. In fact it feels like Sig. Corticchiato placed a bottle of Avignon and a bottle of Encense Flamboyant in his magic hat, waved his hand over it and shouted "Wazamba!"; then out came something even better than the sum of what went into his magic hat.

Hermes Hermessence Ambre Narguile

Since taking over as head perfumer at Hermes Jean-Claude Ellena's Hermessence line has been one of the consistently most interesting aspects of his stewardship. Not all of them succeed on me but thay have all been interesting. One of the more interesting members of the Hermessence line, for me, was Ambre Narguile. Amber is easily one of my three favorite notes so to paraphrase Dorothy from "Jerry Maguire" M. Ellena had me at Ambre. Ambre Narguile for all that it eventually gets to the amber comes off at the beginning like a full throated gourmand. The top starts off very vanillic but as caramel and honey join the fray the beginning of Ambre Narguile feels like a wonderful gingerbread accord on me. This is eventually contrasted with the lightest touch of incense underneath as the fragrance becomes less gourmand and more amber-centric. The gingerbread aspect never goes away it just becomes secondary to the amber which finishes Ambre Narguile in a swirl of warmth. Ambre Narguile is a fun fragrance to wear as it develops through the three distinct phases from gourmand to resinous to warm amber; all have their moment during Ambre Narguile's development. Ambre Narguile has outstanding longevity and average sillage. Ambre Narguile is one of my favorite cold-weather ambers from one of my favorite perfumers. I told you he had me at ambre.

Caron Narcisse Noir

I'm not sure what it is that attracts me so much to the old style perfumers from the early 20th century but everytime I wear one of their creations I am struck by the possibilities and realizations of the artistry of perfumery. Ernest Daltroff's 1911 creation of Narcisse Noir for Caron is another of these moments. Narcisse Noir has a complexity and richness to it that it seems modern compositions lack. This isn't to say that modern compositions are inferior, in my opinion, just different; and M. Daltroff and his contemporaries very likely mirrored the style sensibilities of their era. I just know that wearing Narcisse Noir makes me want to see a revival of that style, again. The top of Narcisse Noir is orange blossom, bergamot, and lemon. The sweetness of the orange blossom is contrasted by the tartness of the lemon. The orange blossom stays in place as the narcissus makes its entrance and this narcissus comes in like a diva sweeping all away in front of it. Like a diva after making a smashing entrance she allows a few companions in rose and jasmine to come close but only so you admire the reflected glory. The base of Narcisse Noir is where the Noir part of this scent resides as a sheer white musk sits over a sandalwood and civet foundation. This turns Narcisse Noir very sensuous and feels like the clock has struck midnight somewhere in the world. Narcisse Noir has excellent longevity and above average sillage, on me. Ernest Daltroff, as the founder of Caron, has made many of the great fragrances all perfumistas adore but the one I return to most is Narcisse Noir.

Givenchy Gentleman

Gentleman seems such an out-dated word in the 21st century. I don't think it carries the same significance it used to. When the word gentleman was used back in 1974 when Paul Leger designed Givenchy Gentleman it connoted a sense of style and carriage. Which is just what the fragrance Givenchy Gentleman does, too. Gentleman starts with an herbal top of tarragon cut very slightly with cinnamon. The tarragon is the star of the show in the first act and the sharp herbal quality is quite nice. The cinnamon really is difficult to pick up and it is really only there in a very minor role. The heart is an earthy patchouli along with a slightly smoky vetiver. M. Leger gets the balance right as the patchouli never becomes too pronounced and the vetiver adds a contrasting bite. The base of this is an animalic scent lover's dream as civet and leather take this into the dark. The raw mix of these two notes are again delicately balanced and they both blend beautifully. The five notes in Gentleman are nothing new but in the hands of M. Leger they prove to be a well-composed piece of fragrance construction. Givenchy Gentleman has slightly below average longevity and above average sillage. I might wonder if we know how to use the word gentleman properly anymore but I definitely know what one smells like, now.

L'Artisan Tea for Two

While I know many people love their coffee, my preferred way to caffeinate myself is through tea. There has been a similar expansion of choices in both coffee and tea over the last few years and I have really enjoyed trying many teas I had only heard of before. One of those teas is lapsang souchong which is a black tea which is dried over a wood fire which imparts a smoky flavor and aroma to it. I had only recently fell in love with lapsang souching the tea when I came across the 2000 release for L'artisan, Tea for Two. Tea for Two was created by Olivia Giacobetti and it is lapsang souchong in a bottle and it is wonderful, to me. I can definitely understand not wanting to smell like a cup of tea but the choice to emulate a smoky black tea gives Tea for Two more character than one might expect from a fragrance named Tea for Two. Right from the top the smoky aspect is apparent and that's the first note I get upon application, this is followed by the note of really rich black tea and here is where Tea for Two smells just like my tin of lapsang souchong right after I open it. Moving forward, Mme. Giacobetti adds in some of the accoutrements of a tea service as the next two notes are the twin spices of cinnamon and ginger. both of these add a spiciness to things but are done with Mme. Giacobetti's trademark etherealness so that while they add heft and contrast they never seem to take over this scent, instead they hover at arm's length. The base is a mix of honey and vanilla with the honey being the more prominent of the two notes. The choice of the sweetness of honey to add balance to the smoky tea is my favorite part of Tea for Two and it is here where Tea for Two spends most of its time on my skin. Tea for Two has above average longevity and sillage, on me. I'm not sure everyone will want to smell like a cup of lapsang souchong lightly sweetened with honey but if this sounds like your...um... cup of tea; drink up and breathe in you're in for a treat.

Neil Morris City Rain

No secret to anyone paying attention that I am a Neil Morris fan. I find all of his scents to be interesting and the 2009 release City Rain is no different in that regard. Mr. Morris likes to recreate an olfactory place with each of his scents and in City Rain his inspiration is the smell of the urban milieu after a hard rain. While City Rain gets that mostly right the only way this happens in my city is if I'm standing near a garden when this rain storm happens because there is a strong floral aspect in the heart of City Rain. The top of City Rain is a mix of green tea and ozonic notes, this gives the feeling of the smell you get just prior to the thunderstorm. The almost but not quite metallic tinge to the air. In the heart of City Rain the storm has passed on by and here is where the floral character of heliotrope and honeysuckle stand out. There is a wet quality to these floral notes which is appropriate. It is in the base where you get the real feel of the aftermath of an urban rain. Here is where I get that wet pavement smell which is both mineral-like and clean at the same time. The mix of the floral heart and the concrete accord persist for a long time before having a little musk warm things up as the sun comes out in this metaphorical rain storm. City Rain like all of Mr. Morris' scents has outstanding longevity and sillage. In most of Mr. Morris' fragrances I recognize the place he's taking me to and in City Rain I recognize many of the scents of the city after a late afternoon rain.

Kenzo Unidendified Fragrance Object (UFO)

I am a fan of Kenzo as a House, overall. I am especially a fan when they give perfumers some leeway to be creative as they did Dominique Ropion in Jungle L'Elephant. I was very excited to hear that they had asked Aurelien Guichard to create a 2009 limited edition Unidentified Fragrance Object ( Parfum Objet Non Identifie ). M. Guichard stated he was designing this scent around a heart which contained a "marble accord". Marble as in the material used by sculptors and this had me really looking forward to a mineral-laden scent and M. Guichard does not disappoint. The top of UFO is reminiscent of M. Guichard's Bond No. 9 Andy Warhol Silver Factory as UFO also starts with a metallic note. In this case it feels like the metal of the chisel before it starts to bite into the marble. There is a note of orange blossom to keep the metallic accord from getting too strong. The heart is the promised "marble accord" and it has a cool stone quality to it but it also has a curious kind of wamth as well as it turns deeper and more minerally in character. It is like the sun is warming the stone as it is being worked upon. all throughout the development of this stony aspect a sheer frankincense is in place as it seems this artist works with a cone of incense burning in their studio. UFO really stays in place as a mix of incense and marble for a very long time finally allowing a base of vanilla to join them in the end. UFO has above average longevity and is very close wearing with little sillage. Aurelien Guichard is becoming one of those perfumers who is working in extremely interesting directions, for me, and if he keeps working with the same kind of artistry he shows in UFO he won't be "unidentified" for too much longer.

Miller Harris Fleurs de Bois

One of our family friends growing up in S. Florida grew what she called a traditional English garden and it took her an amazing amount of work to keep this bit of England thriving in the tropical climate. One of my favorite natural scents was walking through this garden just after the late afternoon thundershowers that roll through Miami like clockwork. The combination of flowers and damp and wet were what I came to associate in an olfactory way with a garden. When I read that the inspiration for Lyn Harris' 2009 release for Miller Harris, Fleurs de Bois was her walks through Regent's Park in London after a rain I dared to hope that maybe this smell of my childhood could be captured in a bottle. Happily Ms. Harris has succeeded beyond my most optimistic hopes. While I'm not sure how many proper English gardens have citrus trees around them; the one I grew up with did and the top of Fleurs de Bois is a mix of citrus, mostly lemon, and fresh grass. The grass smell is that wonderful lush grassy smell after a hard rain which has earthy undertones but is unmistakably green. This is a beautiful start but we finally get down to the flowers in the garden in the heart; as iris, rose, and jasmine combine in equal measure. I can pick out each note individually but it is when I stop analyzing and let the bouquet just wash over me that Fleurs de Bois is at its best for me. These floral notes smell like flowers still clinging to the stems and dripping with water as the heart contains a humidity and density that is appropriate. The base contains the wood promised in the name as sandalwood supported by patchouli and vetiver finish this off. Fleurs de Bois has average longevity and slightly below average sillage on me. It is always such a pleasure when a perfumer can re-awaken a scent memory and Ms. Harris has certainly done that with Fleurs de Bois, for me. For those of you who haven't had the opportunity to breathe in a proper English garden after a rain give this a try it might inspire your spring planting.

Comme des Garcons x Daphne Guinness Daphne

When I heard Daphne Guinness was working on a scent with Comme des Garcons I have to admit my first impulse was to think of her last name and the beer that it symbolizes and wonder what a beer perfume would smell like. Thankfully, Daphne Guinness is not about the beer and more about style and this 2009 co-production with Comme des Garcons and composed by Antoine Lie. Daphne is definitely all about incense and flowers and that's a good thing. The top of Daphne starts with a nice bitter orange which takes the orange and makes it slightly edgy. This works extremely well as the next note is a deep incense that combines the resinous quality of incense with the tartness of the bitter orange, and the slightly sweet nature of incense mixes with the slightly sweet nature of orange. The heart of Daphne is all floral as tuberose along with jasmine and rose come to the fore. This is mostly tuberose and early in the heart the tuberose and incense are really well balanced. For me the jasmine and the rose push too hard on the floral button and overwhelm the incense which is too bad because I really like the short period where Daphne is mostly incense and tuberose. The base is patchouli and amber and here the tuberose and incense regain some prominence and in combination with the basenotes leave Daphne feeling like a warm incense scent at the end. Daphne has excellent longevity and above average sillage. Overall I like Daphne but I think I would've loved Daphne if there were one or two less flowers in the bouquet.

Mark Buxton Black Angel

Mark Buxton has been hailed by Luca Turin & Tania Sanchez in Perfumes: The Guide as one of the currently working perfumers they believe to be amongst the most creative noses out there. With that kind of praise it certainly makes every colognoisseur take notice when he produces a new fragrance. It really makes me take notice when he decides to create his own line. In 2009 Mark Buxton created a series of seven fragrances, of which Black Angel is a member, under his own name. I am not a full-fledged member of the Mark Buxton fan club because while I find all of the scents he's made interesting many of them just don't seem to soar in the way that I expect them to. Some of this is due to expectations and some of this is likely due to the simpler reason that our aesthetics are slightly off. In looking through the pyramids for the new series the one that stood out for me was Black Angel and I thought this was a good place to get started in trying these scents out. In this case the pyramid did not lie and Black Angel is quite good. The top is a mix of citrus and bergamot, now stop me if you've heard that as a description of a top notes before. Here Mr. Buxton keeps the citrus soft and instead of the sharper aspects that citrus brings this accord brings to mind more of the pulp. This is also achieved without getting too sweet. This aspect of softness is the perfect lead-in, as this theme continues, as a grouping of soft spices appear starting with cardamom and ginger followed by rosemary and coriander. This early phase of Black Angel is my favorite part of this fragrance as it feels like pulling on a cashmere sweater that just hugs me and comforts me. The heart finishes with a nice orris which is joined by jasmine to add a little sweetness to things. The base is guaiac and patchouli and they stay true to the tone set earlier as both are kept reined in and very lightly used. Black Angel is a beautifully composed scent, which is what Mr. Buxton is known for. In the past, I've found previous Mark Buxton creations to be lacking in some area, for me. Black Angel feels like a complete fragranced idea made reality. Black Angel has great longevity and moderate sillage. I'm going to have to try the other six scents in the Mark Buxton fragrance line but they are going to have to be pretty darn good to be better than Black Angel.

Etat Libre D'Orange Tom of Finland

I have come to appreciate and look forward to wearing all of the scents I have tried from Etat Libre D'Orange. One of the things I like most is their ability to push at traditional perfume composition in interesting ways. Not all of them are resounding successes but I find all of them awaken possibilities to me. Tom of Finland was released in 2008 and was composed by Antoine Lie. In the little booklet that accompanies the bottle it says that M. Lie was attempting to make a scent that "does not disturb the odor of men". Which is an interesting concept but I think I wear cologne so that it does disturb my odor. The top of Tom of Finland is a fresh combination of a slight buzz of aldehydes along with lemon and cypress. I really like the light use of the aldehydes here as it gives the top a little bit of pizazz. The heart of this is all suede leather and it is a nice light wearing leather and Tom of Finland stays fixed as a suede-like leather on me for a long while. That fixation is nice but after too long it gets a tad repetitious and I want the scent to move along a bit, which it eventually does. The base is the weakest part of Tom of Finland as it is a weak mix of vanilla and iris. Tom of Finland has average longevity and below average sillage. It's odd that for the first time I am wearing an Etat Libre D'Orange fragrance and the overwhelming urge I have is to ask for more to be added to it. Unfortunately I think they got it right in their description Tom of Finland does not sufficiently "disturb" for my tastes.

Les Nez Turtle Vetiver Exercise No. 1

The Turtle Project is a 21st century updating of the old-fashioned salon process, i.e. get a bunch of different creative people linked together and see what they come up with. The founder, filmmaker Michael H. Shamberg, has invited perfumer Isabelle Doyen to be part of this and her first contribution is Les Nez Turtle Vetiver Exercise No. 1. The idea of a talented perfumer creating small-batch "exercises" and releasing them so that we get to see an on-going creative process is fascinating to me. Add in the fact that Exercise No. 1 is pretty good and I'm really excited. Turtle Vetiver Exercise No. 1 is indeed an exercise in vetiver and a strong opening statement on that note. The top starts with the grassy version of vetiver I like quite a bit and it is paired with a citrus accord of mostly grapefruit. This gives Exercise No. 1 a very light beginning. The heart of this begins to tread vetiver territory that feels more familiar as the wetiver becomes a little smokier and a little less green and more rich. The base is a mix of vetiver and wood, mostly cedar to my nose, which sharpens the lines around the vetiver and makes it stand out on its own a little more. Turtle Vetiver Exercise No. 1 has a feel of falling somewhere between Encre Noire and Vetiver Extraordinaire on my vetiver scale. While never achieving the darkness of Encre Noire or the intense smokiness of Vetiver Extraordinaire there are lighter aspects of both of those qualities evident in Turtle Vetiver Exercise No. 1. Turtle Vetiver Exercise No. 1 has above average longevity and moderate sillage. Exercise No. 1 has been so interesting I am eagerly anticipating Mme. Doyen's Exercise No. 2.

Tom Ford Tuscan Leather

For those of us who were around in the late 70's and early 80's Ricardo Montalban used to be the spokeperson for a car called a Chrysler Cordoba. In the commercials for the Cordoba one of the selling points, delivered in Mr. Montalban's beautiful latin voice, was "soft Corinthian leather". It was always a running joke in my head every time I came across anything in leather to ask, "Is it soft Corinthian leather?". When it comes to fragrances there are a number of excellent leathers out there which cover a number of differing strengths of leather but only the 2007 Tom Ford Private Blend Tuscan Leather captures what I think of when I'm thinking "soft Corinthian leather". One of the hallmarks of the Tom Ford Private Blends is their ability to focus on a singular note and Tuscan Leather does that magnificently. The top is a fleeting mix of saffron and thyme, there is supposed to be a raspberry note here but I have never experienced it. What I do experience is the lightly spicy safrron and the smoky sage and that is a very nice combination. The heart is where the leather comes alive and this is the smell of leather seats in a new car or a new leather sofa and it is quite wonderful, to me. Over time the leather becomes deeper; almost more broken-in and it picks up some warmth and some woodiness as Tuscan Leather's base comes into play. In many ways Tuscan Leather is a linear leather scent but the ability of the leather to change and soften in character from heart to base makes this a line worth traveling. Tuscan Leather has extreme longevity and above average sillage, on me. As he has done in so many of the Private Blends Tom Ford has crafted another winner, this time focused around leather, perhaps he should have called it Corinthian Leather.

Frederic Malle Carnal Flower

Most of the fragrances I wear I get them on the first wear and subsequent wears rarely expose something I miseed on the first sniff. There are far fewer fragrances that are much different depending on the temperature and yet are rewarding in both warm and cold. Then there are the rare gems which are ever changing kaleidoscopes of notes which seem to reveal different beautifully complex combinations as if by whim. I think no matter how many times I wear them I'll never figure them out completely. One of these gems is the 2005 release for Frederic Malle Editions de Parfum, Carnal Flower. Dominique Ropion has created an incredible tuberose centered scent that is easily worn by a man and will reward those wearings with one of the most beautifully textured scents you could wear. If you take a look at the note list for Carnal Flower it can be a little off-putting. If you think that a scent with things like melon, coconut and eucalyptus has to be an unblanced bit of craziness, no one could blame you. If it keeps you from trying this, that is too bad. From the top a little bergamot starts things off traditionally and it is quickly joined by the tuberose core of Carnal Flower. The description on the box boasts that Carnal Flower has the highest concentration of tuberose absolute of any fragrance and the intensity of the tuberose throughout the develpopment definitely shows this to be true. As the tuberose begins to come to the fore the first surprise is that note of eucalyptus as the camphor-like nature of that plays elegantly against the sweet floral nature of the tuberose. This beginning has felt different on me every time I wear this. Sometimes the eucalyptus seems like an equal partner and other times it seems like it is a grace note. As this moves into the heart the other problematic notes come into play as the melon and coconut show up but they are kept in check thorughout and are used as complemetary notes. Here the sweetness of both the coconut and the melon enhance instead of detract; as they do for me in so many other scents they are used in. The base is a mix of white musk and tuberose and the musk proves to be a perfect light partner. For something with this much tuberose in it it never rises to the level of seeming to be too-much on me. It stays at an appropriate level for a shared fragrance. Carnal Flower has excellent longevity and excellent sillage. Carnal Flower is just one of the best scents I own.

L'Artisan Patchouli Patch

Ever since I first smelled patchouli oil on a person in my early teens I have liked the scent of it. There is something about patchouli that comes off as a comfort scent on me and also, in some way, reminds me of my youth at the same time. I own and like many of the patchouli-based scents that are available and it doesn't take much more than a well-blended mix of patchouli to get my seal of approval. The 2002 L'Artisan release Patchouli Patch does have something else going for it besides the titular note it also has my favorite current perfumer Bertrand Duchaufour as its co-designer, along with Evelyne Boulanger. That takes Patchouli Patch up a notch, for me. The top of Patchouli Patch is an interesting mix of patchouli and the sweet floral note of osmanthus. The combination accentuates the sweeter aspects of patchouli but it also allows the herbal contrast inherent in patchouli to stand out more clearly, as well. The move into the heart is accompanied by sheer white musk which adds a quality of making the patchouli feel broken-in as if you've been wearing it for hours instead of an hour. The white musk gives the feel of a sun-warmed skin accord and that seems perfect. The base is an interesting choice to pair the patchouli with a stark anise. The cool anise is at right angles to the now warm patchouli and gives the base of Patchouli Patch an icy warm feel that is great to experience. The choice of a few notes to go with patchouli which progress the scent from sweet to warm to cool is really quite inspired. Patchouli Patch has avarage longevity and sillage on me. Yes its easy to get me to like a patchouli perfume but in the case of Patchouli Patch its a pleasure to wear and no hardship to enjoy.

Estee Lauder Private Collection Jasmine White Moss

The banning of oakmoss as an ingredient is creating some interesting by-products as perfumers try to compose chypres without using the out of favor ingredient. This is leading to a renaissance of chypres being composed as the creativity of these artists is being challenged. One of the latest and best examples of this trend is the third release in the Estee Lauder Private Collection, Jasmine White Moss. This 2009 release is, according to the press materials, a co-creation of Estee Lauder who had been working on this in the 80's and it was re-discovered and finished by her granddaughter Aerin Lauder. I think this explains the feel of Jasmine White Moss as a cross between a strong floral 80's scent and a cleaner more modern 21st century creation. The top of this does go on with a huge floral bang reminiscent of that 80's style. What is nice is where one of those 80's powerhouses would have kept you encircled in that floral cloud; Jasmine White Moss allows the sun to shine in a bit and break up the floral fog. What shines in is what is called in the notes, White Moss Mist. I'm not sure if I know what that is but to my nose it smells like clean fresh oakmoss right out of the package. What that means is this accord has the ability to add some of the depth of oakmoss without some of the funkier aspects that go along with it. It feels like those elements have been left behind in the chemistry behind composing a replacement for it. That doesn't make it smell bad it makes it smell different like a fresh version of oakmoss and in Jasmine White moss it creates a brightness in the heart which I find captivating. Jasmine White Moss stays firmly floral and white moss for most of its development. I get some patchouli and vetiver very late in the drydown but this scent is very much what it says on the bottle. Jasmine White Moss has above average longevity and above average projection. They say necessity is the mother of invention, in this case it looks like Estee Lauder might have been the grandmother of invention for Aerin Lauder and the invention they created is quite beautiful.

Lalique Encre Noire

When many of us start looking around Basenotes one of the first things we discover is the high level of esteem Guerlain Vetiver is held in. For many of us, I am sure, that Guerlain Vetiver is the first vetiver most of us try. From there it becomes a gateway to the number of great vetivers out there. In my estimation Givenchy Vetyver and Guerlain Vetiver were the alpha vetivers, at the beginning, as both came out in the late 50's early 60's. It took until the 21st century for the next evolution to really take place as there are two vetivers that really take those beginnings and move vetiver forward. Frederic Malle Vetiver Extraordinaire is one and the other is the 2006 creation by Nathalie Lorson, Lalique Encre Noire. Encre Noire takes vetiver and roughs it up by adding in some woody notes and more particularly a spicy underpinning that makes it a real "Noire" kind of scent. The top of Encre Noire comes in with the sharper edges of vetiver on display and it is balanced with a light wood of cypress and a hint of smokiness. As this develops the vetiver becomes more herbal in nature which adds some greenness to this and here the woods turn softer, in conjunction with the softening of the vetiver. There are also some spicy notes that become more prominent in the heart adding some complementary edginess to the woods and vetiver. The base eschews the woods and brings in a dark sensual musk to pair with the vetiver. This is where I really get the feeling of something happening in the middle of the night and in a good way. Encre Noire has average longevity on me and slightly below average sillage. It wears fairly close to my skin which makes it an ideal going out at night scent for me. If you're a fan of vetiver you have to try Encre Noire. If you're a fan of great perfumery you have to try Encre Noire. This is one of the best perfumes out there.

Carthusia Caprissimo

Carthusia makes two of my favorite scents in Carthusia Uomo and Numero Uno. Numero Uno is one of the better chypres out there, on me. I was very excited when I read Carthusia was re-issuing Caprissimo which was reportedly a former gem of a green chypre. I haven't been able to confirm whether this re-issue has any resemblance to the original but I do know that I like this version quite a bit. The top starts with a Mediterranean lemon accord mixed with green aspects. This is an opening that is bright and very common. For all of that familiarity I find it is one I like quite a bit. The heart of Carpissimo is a deep floral mix of jasmine, frangipani, and osmanthus. The green notes from the top stay in place to keep the floral heart from becoming too much the focus of Caprissimo. These three floral notes feel like they are made for each other as they create a heady floral bouquet. The base is a beautiful mix of cedar, sandalwood and myrrh. This mix of woods and myrrh make for a strong base that contrasts the green floral of the heart. Caprissimo feels like another take on a chypre without the oakmoss and the use of the myrrh works for me in that regard. If the original Caprissimo was indeed a green chypre it is my guess that this new incarnation is an attempt to stay true to that original while working within the new formulation guidelines. Caprissimo has average longevity on me and average sillage. Caprissimo is another winner for me from Carthusia.

Beth Terry Creative Universe Mare

What is the scent equivalent to that broken in pair of jeans you wear forever? Or the t-shirt that just seems to fit so well? Or the pair of sandals that fit your feet like a glove? None of those choices are the "best" but they impart a sense of comfort and familairity and as I have with clothes; so do I have with perfume. When I want to wear the equivalent of something that just seems to "fit" I choose the 1997 release by Beth Terry Creative Universe, Mare. Mare is a deceptively simple scent, three notes listed; sea salt, avocado, ginger lily. That is all that is there, each note rings out clearly and forcefully. Mare is mostly an aquatic scent and, for someone who is decidedly light on aquatics in his wardrobe, it is surprising how comfortable this is on me. Mare begins with the the brininess of sea salt; it reminds me of the smell of the spray off the front of my boat when I opened the engine full-throttle. It has a cleanliness but also a heft due to the saltiness that feels perfect to my sensibilities. Next up is avocado and this is a brilliant choice to pair with the salty beginning. Most times citrus is introduced in many aquatics. Ms. Terry's choice of a richer accord makes for added depth and the avocado compliments the top note instead of trying to add contrast. The base is ginger lily, a slightly spicy accord, with the clean lines that lily can afford makes this the ideal partner in a scent of this type. Mare develops into a phase where all three notes are present and accounted for and intermix quite pleasantly. Mare has above average longevity on me and decent sillage. Mare is easily my favorite aquatic scent some of which is due to the level of comfort I derive from it. On the other hand, isn't that what every scent should do?

Tom Ford Oud Wood

My first exposure to oud as a note came through a sampling of a number of Montale scents. Those scents are beautiful but they have to be worn with care as they are all powerhouses. The thing that stands out in those scents is what a versatile note oud can be. The mix of slightly sweet, the woody character, and the hint of an almost medicinal edge make it something that perfumers can use to enhance one of or all of those characteristics to design their perfume. Most people's introduction to oud came in Yves St. Laurent's M7 which was designed by Tom Ford. Tom Ford has gone on to his own signature line and part of that is his Private Blend Collection. In 2007 he released his first 12 Private Blends and among them was one called Oud Wood. As the man responsible for most colognoisseur's exposure to oud I was expecting a scent that would rival the Montales in intensity. Instead I got, perhaps, the most easily wearable oud-based scent out there. Oud Wood begins with a light woodiness of rosewood and paired with it is the softness of cardamom. This is a beautifully light beginning as the choice to go with a lighter wood like rosewood which also contains some sweet facets to it makes an excellent lead-in to the heart which is where the oud comes out. The oud appears and it has more intensity than M7 but somehow it is less "loud" than M7 or the Montale ouds. This is probably due to a healthy dose of sandalwood, which is also present. The sandalwood becomes an almost equal partner to the oud and particularly the interplay of the sweeter aspects of both woods intersect amazingly on my skin. The base is a mix of vetiver and vanilla. The vanilla again enhances the sweeter qualities of the woods but the vetiver brings out the medicinal edge of the oud and makes the base have a little more of an edge than the scent has had previously in its development. Oud Wood is a long-lasting scent with modest sillage. It is that modest sillage that I think makes Oud Wood a much more versatile oud-based scent than many of the others out there. I own Oud Wood for precisely that reason because there are some days I want a full-on oud experience without feeling like my cologne is preceding me into the room by five minutes. Oud Wood feels like M7 after its left the club and is getting ready for work in the morning.

Guerlain Philtre D'Amour

I've always liked Eau de Guerlain but I'm not the biggest fan of it. It's certainly not a five-star scent in my rankngs. I always wanted a little more bite to it and a little more depth. Little did I know that all I had to do was work my way down the Guerlain catalog to "P". There I would find the 1999 release by Jean-Paul Guerlain, Philtre D'Amour. Philtre D'Amour works better for my sensibilities as I like sharper edges around my citrus and the feel of Philtre D'Amour is like something worn in the nighttime versus Eau de Guerlain's happy daytime brightness. Just like Eau de Guerlain, Philtre D'Amour begins with lemon but it is paired with a lovely green verbena which hones the edges of the lemon. Both scents use jasmine in the heart but again I prefer the use of petitgrain and myrtle in Philtre D'Amour as it takes this scent in a much more green direction and, for me, keeps the jasmine in better balance. The green accords remain as Philtre D'Amour progresses into the base and they are joined by musk and patchouli. Overall Philtre D'Amour is a much greener scent than Eau de Guerlain and I prefer it for that reason. Philtre D'Amour is a typical Guerlain with good longevity and good sillage. It is funny that Philtre D'Amour is considered a feminine scent because in many ways I think it is more masculine than Eau de Guerlain. Both scents have their time and place but if I'm picking one give me Philtre D'Amour.

S-Perfume 100% Love

One thing I enjoy in my perfume, from time to time, is the weird and wonderful. The rubber note in Bvlgari Black, the tar in Le Labo Patchouli 24, the dried vomit note in Etat Libre D'Orange Secretions Magnifique; okay strike the last one. Sometimes weird just takes you places you don't want to go . Also one persons weird and beautiful is another's "are you kidding?!". All reviews are a reflection of the nose of the reviewer but it is scents like, Sophia Grojsman's 2003 creation for S-Perfume, 100% Love, that are olfactory Rohrshach tests and each person who experiences this scent will get something different from it. What I get at the top is an intense fruity accord which according to the note list should be a mix of cranberry and blueberry. On me it smells closer to cherry, the cherry smell of sno-cone syrup. Very sweet and treading right up to the edge of my sweet tolerability but not stepping over. The fruit stays firmly in place and it is joined by rose and chocolate. Both notes come in, in equal intensity with the fruity beginning, and you get what for some people will come off as a fruity,floral, gourmand chemical spill but on me instead combines into something that seems almost too sweet but its not, something too floral but its not, and something too rich but its not. Somehow Ms. Grojsman pushes right to the edge with all three notes and together they create an accord that works brilliantly on me. The base is almost diasppointingly pedestrian compared to what came before as a mix of musk and vanilla end 100% Love back in common perfume territory. 100% Love is not a shy scent and carries a lot of longevity and sillage so you better like it if you're going to wear it. 100% Love is definitely not a scent that everyone will fall 100% in love with but it is a scent that is 100% creative.

Serge Lutens Fille en Aguilles

I truly enjoy the moment I get surprised by something when I smell it for the first time. Based on all of the advance word on the 2009 Serge Lutens release Fille en Aguilles I was expecting a typical Serge Lutens take on pine needles. The name translates to "girl on needles" which seems appropriate for something that has the following list of notes; pine needles, vetiver, frankincense, fruit, and spice notes. The last two almost need to go without saying, in a Serge Lutens scent, and in many ways those last two come to dominate many scents from this House. That is why this is such a surprising scent to me because Christopher Sheldrake chooses to keep the trademark accords but he dials them way back and creates as linear a Serge Lutens scent as exists. The top is the promised pine needles. So many time when you read pine needles it really means pine sap, the thick resinous accord. Here this is the needles, lighter and airier containing a hint of resin. For those who miss the resin you don't have to wait long as the heart has a full house of resinous notes which starts with a sharp vetiver followed by incense and then slowly joined by a camphor note. This camphor note has the same exhilirating quality that it has when it appeared in a previous Serge Lutens scent, Borneo 1834. The interplay of the astringency of the vetiver, the dry aspect of the incense, and the vaporous quality of the camphor makes the heart of this simultaneously warm and icy. The scent lingers at this stage for the great majority of its development on my skin finally giving way to the dried fruit and spice notes that I've come to expect from the scents of this House. Fille en Aiguilles feels like another great scent for cooler weather but it is light enough that I won't hesitate to wear it in the heat, either. Like almost all Serge Lutens, Fille en Aiguilles has incredible longevity and above average sillage, on me. For a scent with "fille" in it's name this one feels more "homme" to me.

Serge Lutens La Myrrhe

As an inveterate lover of all things resinous, myrrh is the hardest of the resins to get comfortable with. It can come off as medicinal and sometimes just presents too many rough edges that it makes it difficult, for a perfumer, to work with. I think myrrh has been one of the more mis-used notes out there but when a perfumer has a plan it can sing out beautifully. Serge Lutens and Christopher Sheldrake clearly had a plan when they composed their 1995 release La Myrrhe. They take the very prickliness of myrrh and use it to offset some other prickly notes and make an edgy modern classic. The myrrh in all of its raw glory is apparent, right from the first moments, and it is set against and enhanced by a burst of sparkling aldehydes. There is also an intense anise accord that feels just right, here. This is a typical Lutensian intense opening and it is not going to be for everyone. For me, it is full of razor sharp edges that I keep chasing down. I find the complexity on display mesmerizing. Eventually the aldehydes recede and then a sweet, contrasting honey note appears and this serves to highlight the sweeter character of myrrh and to mute the more medicinal aspects. As this continues to develop I get a lot of sandalwood which matches the sweetness level introduced by the honey but doesn't take it any deeper. Finally a musk and amber base helps warm this up at the very end. La Myrrhe is a beautiful piece of perfume composition that is not easy to wear. While I think everyone should sniff this I'm sure that not everyone can, or should, wear it. La Myrrhe has over 24 hours of longevity on me and is a close wearing scent with little sillage. For me, La Myrrhe is a classic baseline scent and an example of the pinnacle of what myrrh can be in a perfume.

Korres Saffron Amber Agarwood Cardamom

Korres is a Greek based Homeopathic Pharmacy that has recently branched out into fragrances. In 2009, they released three scents. The names are the ingredients and the one labelled Saffron, Amber, Agarwood, Cardamom immediately caught my attention as I enjoy all four of those notes immensely. One thing I can say about Korres is they definitely practice truth in advertising as it is those four notes and only those four notes I get when wearing this one. Right from the top the saffron, cardamom, and agarwood are present. The saffron and cardamom are a little more prominent at the very beginning. What makes this scent remarkable is the restrained use of agarwood (oud). In a perfume world full of big powerhouses which use agarwood as the big bold note this scent uses it in such a lightly applied manner I was first worried the note wasn't there when I first sprayed it on. It took a couple of minutes for it to make itself known and unlike other agarwood scents it never dominates it instead keeps a nice balance with the saffron and cardamom which is not easy becasue of the delicacy of those notes. Slowly over a good deal of time the scent becomes warmer as amber adds itself to the mix. This is where the scent stays for a good long time in its development, intricately balanced between all four notes and it is beautiful. Korres Saffron Amber Agarwood Cardamom has excellent longevity and modest sillage. For those who like agarwood but want something that won't overwhelm this is worth a try. For those who have shied away from agarwood because of that tendency to dominate this might be the one version of agarwood that might work on you. For me, this is a wonderful fall scent which takes four of my favorite notes and creates a beautiful whole out of them.

Etat Libre D'Orange Fat Electrician

The more things I wear from Etat Libre D'Orange the more I realize how much I like the risks the House takes. One of the noses for the House who has regularly seemed to connect with my sensibilities is Antoine Maisondieu. Three of my favorites, Noel au Balcon, Vierges et Toreros and Rossy de Palma, are his compositions. When I heard M. Maisondieu had done a "semi-modern vetiver" for the line I knew the 2009 release Fat Electrician would be interesting, and it is. Fat Electrician has the most in common with Vierges et Toreros of the three scents I mentioned previously. It has a strength around its central note that pushes the envelope. Much like the raw leather accord in Vierges et Toreros the vetiver in Fat Electrician comes off rawer and more unrefined than it does in other scents. I like it because it makes it stand out from those other vetivers that I own. The description that comes in the box claims M. Maisondieu is trying to create a "white, metallic, silver' vibe at the top. I'm not sure I get that, what I get is a raw green, grassy accord with a healthy amount of cigarette. This is carried forward into the heart where the vetiver comes in quite intensely and quite green. The smokiness of the cigarettes combine marvelously with the edgy pungent vetiver. The transition into the base, again, according to the note list is supposed to be a gourmand-like "chestnut creme". I don't get that at all as instead I get a great resinous mix of opoponax and myrrh which really finishes it nicely on me. I think I'm pretty thankful that the gourmand notes don't appear on me as I think I might not like this as well as I do if they were present. Fat Electrician has great longevity and decent sillage. Fat Electrician is different than any of the vetivers I currently own and while I think it is definitely worth a try by any vetiver lover it is not going to be one loved by every one of those vetiver lovers. If you do like your vetiver on the strong side invite a Fat Electrician over you might find him to be more interesting than you might think.

Parfums de Nicolai Vanille Tonka

Vanilla is one of those love/hate notes. There are many, me amongst them, that love the comforting feel of vanilla. There are others who feel it is a sickly sweet intruder on their scents and would wish for all perfumers to lock up their vanilla. Vanilla is certainly a popular note in perfumery. Most times I know what to expect when I wear a scent which has vanilla or vanille in the name. Therefore it is a pleasure when a perfumer can surprise me with a new take on vanilla. Patricia de Nicolai does just that with here 1997 release, Vanille Tonka. When you look at the name you think, Vanille and Tonka, this is like double vanilla. The reality is far different, as by bracketing the titular notes with citrus up front and incense in the rear Mme. de Nicolai creates something entirely unexpected. The top is a mix of tangerine and lime according to the note list but it really is mostly lime there is some aspect of something less tart than the lime but the edge of the lime is what carries you into the heart. The heart is vanilla but this is the vanilla of the bean less sugary sweet and more subtly rich. The pairing with tonka bean is great because the sharp lime works to bring out the spiciness inherent in tonka. Particularly the cinnamon character. So often when tonka bean is used I get teasing hints of the cinnamon and clove character that is inherent to tonka. By using the acidity of the lime at the top it seems to make my nose more receptive to the cinnamon and clove, and in turn it keeps what could be a sticky sweet mess of a vanillla heart under control and really miles away from being sweet at all. The base is a magnificent contrast as Mme. de Nicolai gives this a blast of frankincense. This accord feels like as dry of an incense accord as I've encountered and that arid quality realy turns this scent on its ear and turns it into a sweeter than normal incense scent, on me. Vanille Tonka has average longevity on me and modest sillage. Vanilla scents usually tend towards the gourmand side of the street but Patricia de Nicolai has somehow made a genre-bending version of vanilla that is far from gourmand but very close to being unforgettable.

Neil Morris Burnt Amber

When it comes to Neil Morris' fragrances I am a big fan. I find that most of his creations work on me and Burnt Amber, created in 2008, is no exception. Burnt Amber has many of the hallmarks of what I enjoy when wearing one of Mr Morris' scents, it has a complexity and density that is far above most of what is available out there. Which is why wearing one of his scents is the equivalent of watching "Lost" on TV. I get everything necessary to enjoy the show on the first viewing, but I always watch each episode twice. Because I get new insights and pleasures when I can take my eyes off of the central action to notice the things happening in the background. Burnt Amber is the same for me. The first time I wore it, being the fan of the central note and the composer that I am, I liked it a lot. Upon further wearing the nuances became more apparent to me and make this one of my favorites from Mr. Morris. The top starts with an interesting mix of plum and pepper. This gives a pleasant sweet and spicy contrast to the start of this. These notes are joined by the promised smoky amber in the title. A very warm amber appears sheathed in a woodsmoke halo. The first time around that was what I noticed most, as it is the heart of this scent. On subsequent wearings I realized that the plum note in particular persists and that adds a dark sweetness to the amber and enhances the sweet aspects of the woodsmoke. The base is a mix of oud and oak over an animalic castoreuem. This is a strong finish, appropriate to the building intensity leading here. Oak adds a hefty, woody strength that is contrasted with the complexity that oud brings. Along with the castoreum this gives the base a depth; and again the addition of the plum, which is still present and accounted for, accentuates the sweeter aspects of all three notes in the base. According to Mr. Morris' website it was this addition of the plum note that was one of the last things added to Burnt Amber and the importance it plays throughout the development of Burnt Amber makes me wonder if this would have been half as good without it. Burnt Amber has incredible longevity and above average sillage. Once again I turn to one of Mr. Morris' fragrances and am amply rewarded for the experience.

Guerlain Bois D'Armenie

Guerlain has been very hit or miss on their most contemporary creations which has made me cautious when it comes to trying the new ones especially when it seems to be in territory Guerlain is not known for. Bois D'Armenie was released in 2006 and it was inspired by Papier D'Armenie. Papier D'Armenie are little incnse infused strips, used as air-freshener, they are loaded with benzoin and give off a resinous vanilla scent when burned. Annick Menardo is the nose behind Bois D'Armenie and when thinking of her creations of Bvlgari Black and Le Labo Patchouli 24 I wonder how working for Guerlain will affect her style. There I sit looking at the bottle thinking a strong modern incense scent from Guerlain? Not likely. Happily I sprayed the perfume on me and was instantly enchanted. Anyone who has paid attention to my reviews knows how much I like incense scents. My favorites are all very strong, Bois D'Armenie has opened my eyes to what a subtle incense can do. The very top of Bois D'Armenie captures the sweet smell of burning paper which is appropriate considering the inspiration. From there a beautiful vanillic resin accord comes in. This couldn't be more like the experience of burning a strip of Papier D'Armenie and if this scent ended here it would be good. But there is another word in our name, Bois, and the woods need to show up, and they do in the heart. The incense pulls back and is replaced by a balsam accord and a dry patchouli and this is a beautiful complement to the beginning. There are still hints of the top notes and they accentuate the notes present in the heart. The base slowly becomes more woody over time and there is some musk added to give some more depth to the base. Bois D'Armenie is very long lasting on me but it wears fairly close and as a result does not produce much sillage. Bois D'Armenie might be one of the most quiet incense scents I own, it is also one of the best I own.

Rochas Moustache

Edmond Roudnitska was one of the great perfumers of the 20th Century, the short list of perfumes he created are classics but more importantly they all feel entirely original. What is most interesting to me is when I wear one of his creations for the first time, now, it feels thouroughly modern and unlike other scents out there. In 1949 after having created Rochas Femme during World War 2 he ,in collaboration with his wife Therese, created a masculine for Rochas called Moustache. When you look at the note list for any of M. Roudnitska's creations you realize what can be accomplished with a few notes skillfully blended. The note list for Moustache is simple; bergamot, lime, pine, vetiver, moss, rare fruit. The scent that those notes create is complex and wonderful and almost smells nothing like what that note list would lead you to believe. Based on the note list I'd expect a bright citrus scent with a grassy heart leading to a darkly sweet ending. Instead Moustache wears like a citrus, dark floral, leather scent. It makes Moustache feel like alchemy instead of chemistry. The top is a bright citrus mix of lime and bergamot, as advertised. Then, on me, in the heart I get a dark floral accord which feels like a combination of narcissus and jasmine. I'd also swear there is some patchouli floating around but maybe not. The heart does have the mossy character but it mostly feels like a rich suede leather. Once again, not what I would expect based on the note list. Moustache is another example of how a skilled perfumer can take notes that one thinks they know well and combine them in a way to show new facets of them. Moustache has average longevity on me and slightly above average sillage. It seems every time I wear another of M. Roudnitska's creations I keep fumbling for ways to describe the artistry of his perfume, Moustache is no exception to that.

John Varvatos

It must be difficult as a perfumer to be given the assignment to create a designer scent. Probably similar to being an artist working in advertising. You want to be able to show off your artistry but the client has a vision they want to see realized. I think this is why so many times when I approach a designer scent I'm already pre-disposed to yawn because I'm not really expecting anything very different. It is nice when those expectations get dashed, every once in a while. Rodrigo Flores-Roux manages to tread a nice line between commercial and creative in his 2004 creation John Varvatos. In some of the press materials about John Varvatos they trumpet that some of the notes used in this scent were used for the first time. Sometimes there is a reason for that. Happily, in this case M. Flores-Roux uses that novelty to create originality over a base of familiarity and creates one of the better designer scents to be found. According to the note list the top notes are; medjool dates, Mediterranean herbs and tamarind leaves. This combination has a quality of feeling like a dark fruit married to a mix of dry herbs of which rosemary is the most prominent, and it is all tied together with an interesting green note I haven't smelled before; tamarind I presume. The top overall is sweet but the rosemary and tamarind offset it enough to keep it from being too sweet. Sage and coriander are used to transition the scent into a heart of Indian Ajowan, which is a variety of caraway. I have really come to enjoy the use of caraway in colognes, Parfumerie Generale Querelle uses it to stunning effect. The ajowan here carries the same dark spiciness that I get from Querelle but in conjunction with the sage and coriander, in John Varvatos, it feels more herbal overall. The heart transitions to the base on a note of vanilla which carries the scent into safe masculine woody teritory. In the base the unique note is called Eaglewood but it smells like a less-complex version of oud and a more complex version of gaiac. There is also a synthetic added called Auramber and based on the name I'm guessing this is the source of the warm amber feel underneath the intense woods. There is also a hint of resin which also might be coming from the auramber, as well. I find John Varvatos to be very long-lasting with above average sillage, on me. It can be depressing sometime to look out at the sea of designer scents out there and sigh. That's why its nice to wear John Varvatos and be able to turn that frown upside down.

Acqua di Parma Magnolia Nobile

I went to graduate school at the University of Georgia and one of the lingering scent memories of Athens, GA was the smell of the magnolias. Magnolia has a beautiful scent to me and a perfume that is centered around it is one that will appeal to me. Enter Antoine Maisondieu who has designed the 2009 release for Acqua di Parma, Magnolia Nobile. This is the second in the Nobili series to 2004's Iris Nobile. I am a big fan of Iris Nobile because the iris really stands out in that scent and I was hoping for the same thing in Magnolia Nobile. The top is what seems to be the Acqua di Parma trademark opening, bergamot and lemon. I wonder if you are forced to begin with this if you are asked to design a scent for Acqua di Parma. As a beginning it is fine but the sameness of it has the effect of making one stifle a yawn because you've encountered this beginning so many times before. Thankfully, just as in Iris Nobile, the titular star of the show makes its appearance quickly and powerfully as magnolia comes into play. This is a magnolia in full-bloom on a humid early summer day in the South. There is a hint of green but the floral sweet character of magnolia is cleanyl delineated in the heart of this one. The magnolia is joined by a touch of jasmine and a hint of rose but, as in Iris Nobile, those are mere grace notes; the heart of this is magnolia pure and simple. The magnolia stays in place for a good long time before slowly giving way to a woody vanilla base cut with a little vetiver and patchouli. It keeps the sweet level on a par with that of the heart and thus allows the magnolia to continue to linger without being overwhelmed. Magnolia Nobile is a close wearing long lasting eau de parfum. As they did with Iris Nobile, Acqua di Parma has created another singular floral sensation in Magnolia Nobile, let's hope we don't have to wait five more years for the next Nobili.

Guerlain Nahema

A rose is a rose is a rose so sayeth Gertrude Stein. When it comes to perfume that is not true there are many roses out there and not all of them are created equal. Then there are the roses that seem like mythical flowers that seem to have no imitators and no equal. Jean-Paul Guerlain's 1979 creation for Guerlain, Nahema, is arguably the greatest rose scent ever made. According to Luca Turin in Perfumes The Guide this was done without using any actual rose oil. Instead this is perfumers sleight of hand, in other words magic. There are only a few scents that have made me have to wear them multiple time before I feel properly equipped to talk about them. I think the scientist in me believed that I would be able to tease the individual components out the more I wore Nahema to see how rose could be created without rose, I can't. Therefore like the greatest magic acts I finaly admit defeat and just sit back and let the illusion happen because its spectacular. Nahema starts with a heady blast of rose and what I find so interesting is the rose seems to change character a number of times throughout the development on my skin first it seems to be a tea rose, then a bulgarie-like rose, then something else as my head spins trying to follow the bouncing rose until I just let it wash over me. The rose is eventually joined by a lush peach note. This is a peach that is so full and round it would burst if it fell off the tree. This lush peach is perfect and properly defines this as a fruity floral but if you're comparing it to the hundreds of fruity florals that are out there, please stop. That is like comparing a Bentley to a SmartCar. Nahema uses the interplay of both notes to create a symphony and while this is a fruity floral it is in no way over-the-top sweet like so many in the class. As Nahema finally settles into its base a mix of vanilla and sandalwood show up and bring this to a soothing slightly sweet woody close. Nahema has great longevity and sillage. Nahema is one of those benchmark scents; it is an astonishing example of a rose scent, it is an astonishing example of a fruity floral and finally it is just plain astonishing.

Annick Goutal Eau D'Hadrien

I love to go out and eat at a nice restaurant, order the chef's tasting menu, be presented with multiple courses of amazing culinary concoctions and roll home sated and satisfied. The next day I am usually up for something much less complex. A nice piece of fish simply spiced on the grill and some fresh summer vegetables always seems right. As I eat the simpler meal I am always reminded that there are joys in simpicity. As it is with food so it is with perfume. I will wax poetically about a scent with overlapping accords that combine to create new artistic leaps of scent. Then there is the 1981 creation, by Annick Goutal and Francis Camail, Eau D'Hadrien. This is the olfactory version of simple, well-blended perfection. Eau D'Hadrien has six listed notes but there are only four that I smell when I wear it; lemon, grapefruit, citron, and cypress. The development is as straight-forward as can be. The top is tart lemon and grapefruit but the lemon is dominant. As the scent progresses the citron takes the lead toning down the tarter aspects of the beginning notes. The base is a clean, light cypress note. That's it, there is nothing else to report but that doesn't mean this isn't one of the best citrus scents out there. Eau D'Hadrien has above average longevity especially for this class of cologne. It also just feels comfortable. Like most colognoisseurs I am looking for the next great thing but along the way I'm going to stop and sniff the simple well-constructed things and remember there is pleasure to be found there.

Guerlain Parure

Parure refers to a matching set of earrings and necklace and I find that only appropriate as this 1975 creation by Jean-Paul Guerlain feels like a beautiful piece of fragrant jewelry every time I wear it. Parure is a chypre in every sense of the word but M. Guerlain also managed to add in a leather accord that takes this to a lovely animalic place at the end. The top of this starts with the classic chypre bergamot beginning but it is paired with a deep plum note which contrasts the sparkle that bergamot brings to the beginning quite nicely. The heart is a rose-dominated bouquet of florals. Rose comes forward first but it is joined by jasmine and lilac which add a touch of sweet and astringency, respectively. This kind of balance is what realy allows scents, that are a cut above, to stand out. To use other florals to subtly change and enhance the central accord that is when I know I am in the hands of a perfumer who knows their business. It is here where the leather accord comes forward and this is a strong full leather, on me. I find it similar to the leather accord in Cabochard de Gres but a little more intense. Parure finally settles down into the truly classic oakmoss dominated base that defines the chypre class. Parure has great longevity and typical sillage for a Guerlain. Parure is a complex scent that has displayed different facets to me upon every wearing and that makes it a joy to behold. If you are a lover of chypres Parure deserves to be on your list.

Michael Storer Monk

Over the last few years there have been a number of artisanal perfumers who have sprung up. One common thread to all of them is they present a distinct view of what they think perfume should be and then go about making perfumes that live up to those ideals. Michael Storer is one of this breed of artisanal perfumers and his creations are challenging olfactory fever dreams. His 2005 creation Monk is the scent that would seem to work best on me, as a lover of incense and birch tar, and with those notes at the top of his ingredients; Monk should be just what I'm looking for. With a name like Monk it is sure to conjure up images of European monasteries over a 1,000 years old and the top of Monk surely does that. At the top Monk smells like a musty hallway in an ancient stone edifice redolent of smoke and aged parchment, with only faint hits of incense. This beginning comes off a lot like CB I Hate Perfume In The Library but with the addition of smoke. I have to say this beginning is challenging for me as I appreciate the stage it sets for what is to come but it lasts almost too long on me before developing further. The heart of this is where Mr. Storer really does make things come alive because apparently his band of merry monks like cocoa. This is the dry cocoa powder accord I like so much from Chanel Coromandel and Serge Lutens Borneo 1834 and here it signals a shift in tone as the smoke and mustiness is left behind and the rich tones of cocoa take over. The base is a well-balanced animalic mix of civet and musk. Mr. Storer does a great job here of balancing two very strong notes and using them to bring out the best in each other. Monk is a very long-lasting scent with very good sillage. I find the first 30-45 minutes of Monk to be almost too much of an effort, for me, but the remaining 12 hours are well worth the investment of my time.

Maitre Parfumeur et Gantier Route du Vetiver

Its always interesting to me when I go to a party that as you approach the crowd of people there is always one voice that drifts above the crowd. As one who has a loud voice and speaks loudly, sometime this is myself I am describing. This would be in Seinfeld terms "The Loud Talker". People tend to shy away from The Loud Talker. When it comes to vetiver and the veritable party of scents out there one scent comes off as the unquestioned Loud Talker of vetiver and that is Jean Laporte's 1988 release for his Maitre Parfumeur et Gantier line, Route du Vetiver. One of the problems with the Loud Talker is the sheer volume has a habit of keeping people at arm's length and that is true of this scented Loud Talker. Route du Vetiver is the strongest vetiver I have come across. Many think of Frederic Malle Vetiver Extraordinaire to be the strongest but Route du Vetiver is a quantum leap stronger. This strength tends to make the opening overly medicinal and harsh. It has taken multiple wearings of Route du Vetiver for me to see beyond the harsh opening and appreciate the rest of what is on display.
Right out of the atomizer you are hit with an intense vetiver smell. It is so strong that it comes off harsh to my nose making the first moments of Route du Vetiver a trial to be endured, for me. The first time I wore this I couldn't get past the raw intensely root-laden beginning and just didn't give it a chance. It took the second and third time for me to realize that after the harsh notes dissipate there is a drydown worth listening to. This starts with one of the best black currant accords I've come across. I don't know whether I think that because I'm so relieved to get away from the harsh beginning but it is paired with a lighter green accord and the dark fruit plus green is just beautiful. The vetiver seems to come back but at a third of the volume along with a mix of woods in the base with sandalwood the most prominent of the woods, although there are at least three other woods in here. Route du Vetiver has above average longevity and above average sillage. Because the vetiver is so strong at the beginning I think this is a scent one would have to be careful wearing out in public for the first 30 minutes or so as the beginning is so strong. After that, once it mellows, Route du Vetiver really does become a joy to behold. Like The Loud Talker I can understand not wanting to subject oneself to the volume, but if you do choose to get close enough you might find there is something under all the volume to be discovered.

L'Artisan Mechant Loup

Mechant Loup translates to the Big, Bad Wolf from fairytales. I felt like the version of the Big, Bad Wolf from The Three Little Pigs. The first time I wore this 1997 Bertrand Duchaufour scent for L'Artisan it was like the house of straw from the story. It barely lasted on my skin and what was there seemed insubstantuial. The second time I wore it, it was more like the house of sticks as I got more feeling but not enough to make me think much of it. It took the third wear and the metaphorical house of bricks before I finally appreciated this scent. Mechant Loup is not as bold a scent as you'd expect for one named after a large lupine scoundrel. No, Mechant Loup instead is the Wolf of Little Red Riding Hood dressed in grandmother's clothes and waiting to jump up and surprise you. The top of this starts off with a mix of hazelnut and honey, this mix of a light roasted nuttiness and the sweetness of honey comes through right from the get go and remains throughout as it is these two notes that form the spine of Mechant Loup. They are joined by sandalwood to start and this is the part that was most difficult for me to experience as the first couple of times the honey and hazelnut seemed to not let the other notes come alive on my skin. Now, the sandalwood seems to really compliment the core notes. Then it leads into a heart where myrrh comes into the mix and the unguent, resinous nature of myrrh really adds contrast to the scent. I also think I've become more familiar with myrrh over the time I've been trying Mechant Loup and the first times I wore this I found the contrast jarring now I find it more pleasing. It's a good example that as one's nose becomes more flexible, scents that once seemed less pleasant can have a second life. The base is tonka which is the perfect compliment to the honey and hazelnut accord as the sweet, slightly spicy tonka both presents added sweetness and a hint of spicy contrast. Mechant Loup has average longevity and average sillage on me. For me this was a scent well worth taking the time to finally get to know a little better, even if it was the Big, Bad Wolf.

Parfumerie Generale Intrigant Patchouli

For those of us who grew up in the 70's our first exposure to exotic oils probably took place in a "head shop". That store of illicit smoking paraphenalia and along with that went incense and essential oils. The most pungent of those oils was patchouli but there were hints of others underneath the smell of patchouli which created a signature "head shop" fragrance. Pierre Guillaume in 2005's Intrigant Patchouli has faithfully recreated the smell of a "head shop" circa 1975. The only question is do you want to smell like that? Intrigant Patchouli gets right down to business form the first spritz as patchouli comes right to the front and for most of the development of this scent stays right there, center stage. There are supporting notes of sandalwood, cinnamon, and vanilla; which is appropriate becasue these were also common essential oils available in any "head shop". Intrigant Patchouli never really evolves from that strong accord from beginning to end, on me. Which makes it the only linear scent I've experienced from Parfumerie Generale. Like most of the Parfumerie Generale line this has above average longevity and average sillage. The funny thing I've learned is that while I like the smell of the "head shop" I realize I don't want to smell like a "head shop"

Idole de Lubin

Every great artist has their moment where they don't connect with me. Spielberg directed a misfired attempt at romantic comedy in Always. Jean-Claude Ellena decided to try an aquatic with Cartier Declaration Bois Bleu. These are examples where trademark assets of the artist are used in the wrong milieu and create a mistake, for me. Olivia Giacobetti has created some of my favorite scents, she has a style that allows you to feel as if you're experiencing a scent through a light layer of linen in translucent waves. When she chooses her milieu correctly she creates scents like L'Artisan Tea for Two. Frederic Malle En Passant or Costes. When she chooses poorly, as she did in 2005, she creates Idole de Lubin. Mme Giacobetti clearly was looking to adapt her light quality to a boozy, spicy, leather-based scent. The only problem for me is that when I want a scent like that I don't want it to be held at arm's length. I want it to be like a shot of rum which explodes on my senses and I feel it all over. Idole de Lubin holds true to Mme. Giacobetti's aesthetic and that keeps it from working for me. The top of Idole is an ethereal mix of rum, saffron and cumin. They are expertly balanced but they are so lightly apparent on my skin that it seems like they are only present for a heartbeat. They are quickly overwhelmed by a woody accord of sandalwood and another note that is more astringent which, according to the note list, must be doum palm. Here I'm almost glad this is being held at arm's length as the woodiness seems out of balance with the sheer spices of the top. The base turns into a lovely leather and here the opaque quality, that Mme. Giacobetti has used to detriment in Idole, actually works well and the leather applied with a light hand is the best part of Idole de Lubin, for me. Idole de Lubin has good longevity but like most of Mme. Giacobetti's scents does not project very much. Idole de Lubin will go down as one of those noble failures by one of my favorite perfumers.

Molinard Habanita

I have pretty much set foot in every country in the Western Hemisphere, but one, Cuba. What is funny is that for a country that I have never set foot in and only seen from the deck of a sailboat in passing I have a vivid picture of what it must be like. That mental picture comes from the Cuban ex-patriates that moved to Miami in the 60's. As a kid I would listen to the stories of Havana and the countryside of Cuba and soak it all in. While many people would focus on tobacco and rum as the scents they most associate with Cuba there is one other scent I also associate with Cuba, flowers. One of our neighbors, Sra. Menendez, grew a garden in her yard, full of tropical flowers. She would tell me the story of how, in her home in Havana, she had the most beautiful garden. She took the time to teach a young man about the different flowers in her garden and to identify them and they all had a distinct smell. I am reminded of Sra. Menendez's garden everytime I wear the scent created in 1921 for Molinard, Habanita. While there is tobacco present in this scent, this is more like a stroll in a tropical garden and what makes this a stand-out scent for me is that it is like a walk in a garden as each floral note seems to appear very distinctly only to be replaced by the next one. The top of Habanita starts off with a light breeze of bergamot and cedar and then I enter the olfactory garden and the first floral note I get is lavender. Thisi is a very powdery lavender and it might be too powdery for some but it doesn't last long before I get a hint of orange blossom then comes jasmine, rose, heliotrope, and ylang ylang all in succession. underneath all of this is an earthy accord which really brings to mind the garden milieu of cedar mulch and dirt underneath lush florals. As Habanita progresses into the base the florals fade to the background and amber, leather, vanilla, and tobacco come to the fore. These four notes combine to create a divine drydown in Habanita that smells great. Habanita is a long lasting scent with a lot of projection. If you are not a fan of florals this is not the scent for you. If you are a fan of florals this is a scent which allows everyone of them present to have their moment in the spotlight and shine. For me Habanita is like a walk in Sra. Menendez's garden all over again.

Annick Goutal Mandragore

When I think of Mandrake the first thing that comes to mind are the shreiking plants from Harry Potter which are used to reverse the petrifying spell. Then I think of witch's brew as mandrake root usually follows eye of newt into the witch's cauldron. For those of a later generation there was even a comic strip called Mandrake The Magician. All of these associations tend to conjure up the magical and the mysterious. I was expecting the 2005 creation by Camille Goutal and Isabelle Doyen for Annick Goutal, based on the mandrake root, Mandragore to do the same. Mandragore is surprisingly a much lighter scent than I expected although there is a deep green aspect to it that does evoke some of the mysteriousness that the mandrake root represents. The top starts off very light and spicy with a bright mix of bergamot, anise, ginger, and a pinch of pepper. This is a well-balanced beginning if not as dark as I might have expected. The heart is where the mandrake comes in . Mandrake has an earthy deeply herbal quality. It is closest in character to the more earthy herbal patchouli that I most recently encountered in Reminiscence's Eau de Patchouli. That being said mandrake is no patchouli. The mandrake coveys the dark green herbalness but somehow it seems flat. Instead of being the star it becomes the support for the continued presence of the anise and ginger by adding a contrast to those notes. In the base there is a woody note along with some amber and musk, with the anise and ginger which really seem to last throughout the development of Mandragore. Mandragore has average longevity and average sillage, on me. Mandragore really is a scent that is not at all about the mandrake and more about the anise and ginger and while it might be misnamed it is a very pleasant summer scent, if not the witch's brew I was hoping for based on the name.

L’Occitane Honey & Lemon (Miel et Citron)

L’Occitane is one of those Houses that I hae really come to appreciate. They do nice quality scents at reasonable prices. A colognoisseur could do much worse than to have a wardrobe stocked with the offerings from L’Occitane. One of my favorites from L’Occitane is the 2007 release Honey & Lemon (Miel et Citron). L’Occitane once again manages to pull off an excellent approximation of a much more expensive scent at a much lower price. Honey & Lemon is a full-on gourmand and while the titular notes are present there is also some other notes which really give a rich feel to this scent. The top is the promised lemon but also there is some other citrus, mostly orange, there so while there is the tartness of lemon it is lightened up by the presence of the orange. Next up is the honey and this is a beautiful sweet honey accord that seems to have a thickness to it that other honey accords have not had, on me, in the past. It is joined by a caramel note which might lead one to think that the addition of another sweet note is gilding the sweetness lily a bit. In this case the caramel does firmly land the heart in cavity-inducing territory but it makes it a rich guilty pleasure instead of the kind of sweetness that gives you stomach cramps or, perhaps in this case, nose cramps? After such a sweet middle phase Honey & Lemon pulls back a bit as vanilla and patchouli finish this scent off, in the base. This allows the vanilla to be sweet but not as sweet as the two notes in the heart and the patchouli brings some needed contrast to nicely round this out. The only drawback to the L’Occitane family of scents is their longevity and Honey & Lemon has the same issue as it makes it through a normal work day for me but not much longer than that. The projection is modest and as stated before the price is low. I wonder if this was presented in a blind sniff with other much higher priced gourmands, how it would fare? My guess is it would hold its own and might even win.

Christian Dior Eau Sauvage Fraicheur Cuir

I wonder what Alexandra Ripley felt like as she sat in front of the keyboard composing her sequel, "Scarlett" to Margaret Mitchell's "Gone With The Wind"? You have to be creative while taking into account the many who will bemoan the desecration of a legend, the others who want to laugh that you are even attempting a new take on a masterpiece, and the few who will actually give your creativity a chance to impress them. The perfume version of Alexandra Ripley is Francois Demachy who has taken on the task of making the sequel to three well-liked scents, all for Christian Dior, Dior Homme Cologne, Fahrenheit 32 and now, in 2007 Edmond Roudnitska's 1966 ground-breaking masterpiece with, Eau Sauvage Fraicheur Cuir. While the first two sequels M. Demachy undertook were well-done; to try and alter a scent from one of the, arguably, greatest perfumers of the 20th century that is something entirely different. The original Eau Sauvage could be considered the forerunner to all of the fresh and clean scents currently (over)crowding the perfume shelves. M. Demachy in his design of Eau Sauvage Fraicheur Cuir pays homage to the original but actually makes a couple of different choices than M. Roudnitska and ends up creating something all his own. The top of Eau Sauvage Fraicheur Cuir is where the two scents are most similar. The beginning of Fraicheur Cuir is all light, tart lemon which lasts only a short while. It is in the heart that the first divergence from the original scent takes place as the similarity to the original is maintained with an herbal accord paired with cedar. The biggest difference comes in M. Demachy's use of hedione. M. Roudnitska was said to have pioneered the use of hedione in Eau Sauvage but while I'm sure it is there it never seems to be that prominent when I wear Eau Sauvage. That is not so with Eau Sauvage Fraicheur Cuir as the hedione does its job here in all of its glory as the jasmine comes to life against the woody, herbal backdrop making this similar but entirely different. The base is where things take a dramatic turn as the promised leather appears paired with amber and the hint of oakmoss. The base is really mostly leather with the amber there to provide some depth to it all. Eau Sauvage is one of those very short lasting scents on me. Eau Sauvage Fraicheur Cuir happily has much more longevity and lasts a good 6-8 hours on me. There is also much less projection than in the original. I know I wouldn't have the courage to try and pick up a previous work and make it my own. Bravo to Francois Demachy for not only trying but succeeding, spectacularly so.

Givenchy III

I do enjoy when a perfume takes me for a ride. Givenchy III is one of those scents which has three distinct phases much like a roller coaster, but in a good way. Givenchy III was created in 1970 and re-released and reformulated in 2007. This is the fate of all chypres as oakmoss has become a restricted ingredient for use in perfumery. I've had the good fortune to wear both the vintage and re-formulated versions and this is a case where both have their charms but the vintage version is superior to my nose. The top of Givenchy III starts with an aldehydic effervescence paired with galbanum. This is very much a hallmark of scents created in the 70's as many of the best ones lead with a shot of aldehydes. This is a nice build-up to an amazingly balanced floral, green heart. Here is where Givenchy III picks up speed and takes you over the top racing through a garden full of floral notes. It starts with jasmine, then a left turn to a spicy clove-like carnation then a right turn to lily of the valley, picking up speed you race through hints of rose, and gardenia. Then after all of that the ride takes you to the its calming base which starts with a warm amber before the classic patchouli, oakmoss, vetiver chypre combo kicks in. Finally you get out of your olfactory roller coaster exhilirated at the beautiful ride you just took. The re-formulated version holds true to most of the vintage version except in the base which feels thinner to me. There is something in there that approximates the oakmoss but somehow doesn't get the full effect as in the vintage formulation. I still think the re-formulated version is a great perfume but the vintage is slightly better. One drawback to Givenchy III is like my analagous roller coaster ride this scent has a fairly short longevity on me ,which is normal for most chypres on me, but Givenchy III disappears faster than other chypres and that is too bad because I would like to linger over the phases a little longer than they last on my skin. Givenchy III is a great example of a chypre and if you are a fan of this style of scent it is well worth buying a ticket to ride.

Armani Acqua di Gio pour Homme

Acqua di Gio, the 1996 scent created for Giorgio Armani, is the most popular scent in terms of sales in the world as of 2008. Popularity and sales do not automatically confirm greatness on any artistic endeavor. Conversely those attributes shouldn't be made to seen as detriments, either. Acqua di Gio is popular for a reason and that reason, I think, is Wonder Bread. I love bread of all kinds, a fresh-baked croissant, a crunchy baguette, savory whole grain loaf, you get the idea. If you put down a jar of crunchy peanut butter and grape jelly and ask me what bread I want it on, I'm going to choose Wonder Bread. Wonder Bread just tastes great in that situation. I really like the other breads I mentioned, more, but for a good old PB&J I'm going to choose Wonder Bread. Acqua di Gio falls in the same category. It isn't my favorite fresh scent out there in fact it probably doesn't crack my top 20, although that's probably close. Yet, on a sunny summer day there are just days I want to wear Acqua di Gio for all of the things it does right. The one thing Acqua di Gio gets very right is it is composed in a light style which keeps it from ever becoming cloying or heavy on me. Right from the beginning the lightness of touch is evident as a breeze of jasmine on top of other florals lead this into a fruity heart paired with a very typical aquatic heart. This would be the ideal description of many feminine fruity florals but because Acqua di Gio keeps its composition so muted this works well as a masculine and if someone is getting nervous about wearing a fruity floral the base is full of strong he-man accords. Starting with cedar followed by patchouli and a sheer white musk. Acqua di Gio is that very easy-to-wear scent that owes its popularity to that quality, I think. There is nothing challenging here but there is also nothing to make one want to turn away either. As many scents in this class Acqua di Gio has average longevity and a decent amount of projection. Acqua di Gio is perfect for that sunny day I'm in the mood for a little PB&J on Wonder Bread.

Cartier L'Essence de Declaration

Jean-Claude Ellena created Cartier Declaration in 1998. He has said in interviews since that it was his homage to Edmond Roudnitska's 1951 Eau D'Hermes. There are many similarities between the two the most obvious is the use of cumin. The other one is they are both fairly light-wearing creations and the notes in Declaration always had me looking for ways to get a little more intensity out of them. Thankfully, for me, M. Ellena must have wanted something similar and in 2001 created a flanker to Declaration, L'Essence de Declaration. The un-talented would have just probably upped the concentration of a few notes and re-released this. M. Ellena, of course, is not that kind of perfumer. He realized that if you were going to turn up the olfactory volume much like when you turn up the volume on your speakers you can't make it too loud or the bass line distorts the sound. The same holds true here. In Declaration there is a beautiful sheer core of medicinal woods comprised of birchwood, wormwood, and juniper wood. Intensify these ingredients and this would smell like a pharmacist's experiment gone bad. Instead by skillfully choosing some different woods he is able to take Declaration and quite beautifully create a more intense version of it without making it feel distorted. The top of L'Essence is nearly identical to that of the original as the bergamot and slightly bitter orange start it off with an astringent, tart accord. It is as we move into the woody heart that M. Ellena makes his first choice of cedar added. There is cedar in the base of Declaration in L'essence he pulls it forward into the heart. This has the aspect of drawing clean bold lines around the mix of woods here and then he adds some sweet rosewood to balance this out. The birch is still present but the juniper has been replaced with cardamom and this adds some softness to the heart while allowing the birchwood more presence. The cumin is also present but with the woods leading the way it comes off more muted and in some ways less forward than in Declaration. For those who are really cumin averse this might still be too much. For those who are intrigued by the note but don't like the sweaty accord cumin usually adds this might be just right for you. The base is the same base as in Declaration as a mix of vetiver, oakmoss and the continued presence of cedar end this almost identically. L'Essence de Declaration has great longevity on me, more than Declaration and more sillage than the original, too. If it wasn't for the aquatic misfire of Declaration Bois Bleu I would call M. Ellena's Declaration family the best group of original scent and flankers out there, as it is three out of four isn't a bad batting average.

Hilde Soliani Bell'Antonio

Back in the 70's when I would go out dancing the clubs would close at 4AM in S. Florida. Of course we wouldn't be ready to go home and there was an all-night diner named Lester's not too far from the clubs in Ft. Lauderdale. We would come strolling in and I would always love the smell of Lester's at that time of the morning. I would walk in and smell the multitude of coffee pots on their hot plates and, in those days before non-smoking sections existed, the smell of cigarettes being lit. This was what pre-dawn smelled like in the 70's. In 2008 the artisan perfumer Hilde Solianai created Bell'Antonio for her "Teatro Olfattivo di Parma" line. Bell'Antonio was meant to evoke the smell of her father Antonio and his mix of coffee and cigarettes. One of the great things about the plethora of artisanal perfumers out there like Sig.ra. Soliani is that she can make simple scents focusing on a couple of notes like coffee and cigarettes and do it magnificently because her only focus group is her own nose. The top of Bell'Antonio is the promised tobacco but it is the unsmoked tobacco. The leafy slightly sweet version of tobacco, then the tobacco turns into the smell of a cigarette after being lit as there is a smoke accord that carries into the base of brewed coffee. The coffee accord in the base is that of a pot that has been left on the hot plate just a little too long as it smells a tiny bit charred but still rich. The coffee accord also carries a little more acidity to it than other richer ones in scents like A*Men Pure Coffee or Jo Malone Black Vetyver Cafe. This coffee accord is the smell of a cup of coffee at 4:30 in the morning. Sig.ra. Soliani has created a close wearing realistic piece of perfumery which can transport one to an Italian Coffee Shop or as it does in my mind to 4:30 AM at Lester's somewhere in the 70's.

Santa Maria Novella Ginestra

There is a point every summer where spring and its lush green starts to get seared by the sun and the greenery begins to dry up. As you walk past a newly mown field you get this sweet, grassy smell. This is one of the scents of the end of summer for me. Santa Maria Novella has captured this green and floral smell in their scent, Ginestra. Ginestra is a flower also known as Scotch Broom. Santa Maria Novella is one of the oldest farmacias in the world and dates back to the 17th century. That it would be one of these farmacias to get the smell of summer grass so right is no surprise to me. The top of Ginestra starts with a very light citrus accord of bergamot, lime and orange blossom. The heart of this comes in with a beautiful sweet, grassy, hay accord accompanied by a light floral which must be the scotch broom flower. It is most like a very dialed-down osmanthus to my nose and the lightness of it accentuates the sweet of the hay but also adds contrast to the grassiness, too. A touch of oakmoss creeps in towards the end of the evolution but Ginestra stays firmly in the floral green stage for the majority of its duration on my skin. Santa Maria Novella Ginestra comes as an EDT and on my skin has decent but not great longevity. It has surprising sillage for an EDT though. Ginestra is definitely a warm-weather scent as it needs some heat to really allow it to flower. For me I'm going to lie down in my newly mown field and watch the clouds go by overhead with a big smile on my face.

Czech & Speake Cuba

Growing up in S. Florida in the 60's I watched the Cubans who fled Castro turn Little Havana into a thriving neighborhood. I used to ride my bike down there and feel like I had entered a new country. One of my favorite ways to spend time was playing dominos with some of the older men of the community. They taught me the game, helped me sharpen my Spanish speaking skills, and told me stories of the Cuba that was. Because I have such a strong mental picture of what Cuba is like and the smells I associate with Little Havana I was very interested in a scent called Cuba. This 2002 creation by John Stephen for Czech & Speake lives up to its name and does a great job evoking the smells of the islands. The top is the mojito accord that Guerlain Homme promised, but Mr. Stepehn achieves, in Cuba. A mix of lime, rum and mint starts Cuba off and while this does come off as a mojito my long standing bugaboo with mint still stands as it comes off toothpaste like but thankfully not dominant as it is the rum and lime that carry the top. Next is the spicy latin heart of Cuba as clove and bay come in with some heat and bring this to life along with the lightest of rose. No trip to Cuba would be complete without cigars and the base of Cuba is tobacco laden goodness. Along with the tobacco are solid components of vetiver to contrast the sweetness of the tobacco and cedar to draw some clean borders around all of it. According to the note list there is some incense here but I have never gotten that in my experience with this scent. Cuba is a long-lasting scent on me with moderate sillage. Cuba does a great job reminding me of the stories the abuelos told me while playing dominos. It smells what I imagine a night at the Hotel National in Havana smelled like back in the 50's.

Maitre Parfumeur et Gantier Eau des Iles

I used to spend my summers on a sailboat in the Caribbean instead of going to summer camp. When we would tie up in a local marina my friend Buddy and I would untie out bicycles from down below and be ready to go exploring. I can always remember my legs astride my bike looking at a new island and taking a deep breath. I would smell the flowers indigenous to the islands, usually there would be bags of spices to be shipped somewhere, the smell of smoke drifting, and somewhere the smell of roasting coffee. That was the smell of exploration for much of my young life. Thanks to a very generous Basenoter I have rediscovered this smell in Jean Laporte's 1988 creation for Maitre Parfumeur et Gantier, Eau des Iles. The top of this is the smell of myrtle and tarragon the mix of light floral and light spice is exactly what the breeze would bring. As we move into the heart, a beautiful coffee accord becomes evident along with a smoky incense, that is more smoke than incense, and the floral character deepens as ylang ylang adds to the myrtle from the top. The coffee accord deserves mentioning because this is an accord of the oily roasted bean, slightly woody and very aromatic. The base is a classic Laporte mix of patchouli and vetiver and this is the herbal kind of patchouli which mixes well with the green sharpness of vetiver. Eau des Iles is one of those scents that seems to last forever on my skin as I always detect it the next morning. Eau des Iles also was a scent that took me multiple wears for me to finally be able to wrap my head around it. Which, on reflection, is only appropriate for a scent which reminds me of my days of exploring new things.

Rochas Macassar

Every once in a while I want to wear something that leaves a fragrant trail behind me. Much like in the old Looney Tunes cartoons featuring Pepe Le Pew when his scent is depicted in a colorful cloud emanating from his tail. Not that I want to smell like Pepe Le Pew, mind you. When I get in that mood I almost always look to the powerhouse section of my wardrobe and the scents that were created in the late 70's and early 80's. These are masculine scents that wear gold chains, shirts unbuttoned down to their navel, and Italian leather shoes. They're not subtle, they are a sign of their times, and the shoes still look good. Rochas Macassar which was created in 1980 by Nicolas Mamounas is a perfect example of this style of perfumery and at least for me still works when I'm in the right mood for it. The top is a mix of absinthe and pine. This gives it a slightly astringent, medicinal quality which somehow keeps its balance on my skin. The heart is a mix of the clove-like quality of carnation and the rose-like quality of geranium mixed with a healthy dose of patchouli. Here is where the power of Macassar really comes to the fore. The carnation really picks up the astringency of the top notes and carries it to a deeper more comfortably aromatic space as the geranium and the patchouli complete the transition. The base is where Macassar really shows off its hairy chested masculinity with a mix of vetiver, oakmoss, and musk all in support of a fine, deep leather accord. The supporting players to the leather really add to the overall feel of the base and make this an extremely satisfying close. Needless to say Macassar has a lot of sillage to it and lasts a long time as do most of the powerhouses of this era. Macassar is a scent that was unapologetic in its forwardness and I share that quality in my enjoyment of it.

Issey Miyake L'Eau D'Issey pour Homme


Guilty pleasures I have many. I love fine food and will pay lots of money for a tasting menu at one of my favorite chef's restaurants. On the other hand some nights there is nothing like a Burger King Whopper with cheese. There are times I sit there chewing thinking this is better than anything I have ever eaten before. As in life so it is with perfume. I have found a number of niche aquatic scents that I love but there are some days when I wear Jacques Cavallier's 1994 creation for Issey Miyake, L'Eau D'Issey pour Homme, that I think this is still the best. L'Eau D'Issey pour Homme is Perfume 101 for many colognoisseurs and rightfully so. It has been a staple scent of the fresh, aquatic category and is many perfume wearers aquatic of choice. One reason is it is probably one of the longest lasting in this category of scent. It is the only one I own that I have to be careful not to spray too much on and I don't have to worry about freshening it up later in the day. That is a big advantage. The other reason is it just is a good, solid scent. Yes there are better out there, a few. There are many much worse, a lot. From the top L'Eau D'Issey pour Homme blows in on a fresh breeze of citrus with yuzu taking the lead but there is a slight hit of coriander and sage to give a little unexpected depth to the top. The heart takes those and adds some spices with a little more heft to them as nutmeg, cinnamon and saffron deepen the development. They are joined by a green geranium note. The base goes all woody fresh with a light mix of sandalwood, vetiver and a touch of amber. L'Eau D'Issey pour Homme is the epitome of a linear scent starting off light and increasing in weight and depth thorughout. It has a nice sillage to it to add to its already mentioned longevity. Just as when I sit at Burger King eating my Whopper; L'Eau D'Issey pour Homme manages to bring the same guilty smile to my face, as big as it gets.

Creed Aubepine Acacia

It is so much fun when you get surprised by a House. I've tried all of the classic Creeds and I like them, for the most part. As part of making sure I understand all of the scents from a House I try to make sure I expereience all of them at some point. Due to a very generous gift early on in my Basenotes expereince I was given a bottle of Creed Aubepine Acacia which was created in 1965. I received this bottle in the late winter and in my enthusiasm wore it and was disappointed. Then I gave it another try in the heat of summer and what a turnaround. What was a tight uninteresting scent at first sniff became a wonderful surprise on second sniff. The top notes of bergamot laced with galbanum need the heat to let them expand. Although while these two notes are finding their footing there is a rocky 5-10 minutes where this scent seems like it isn't going to come together, but then it does. The heart is where the titular notes come into play as the herbal and green nature of hawthorn (aubepine) and the sweet floral of mimosa (acacia) combine much more harmoniously, than the duo at the top, as right from the moment they appear they take this scent to a new level. The base is a sheer amber which keeps the light tone in place and keeps the refreshing nature in place. Aubepine Acacia feels a bit like a refreshing eau de colognes but with much more longevity. This is marketed as part of the Creed Feminine Line but I don't see it as not being firmly unisex in nature. The floral nature never takes so much of a central role and the green nature of this is really the dominant accord. On a hot summer day Aubepine Acacia is like a refreshing cool drink of water for my nose.

Aramis 900

Aramis is one of those Houses that it took me a while to explore. One of the main reasons was that the original Aramis was associated with guys who wore too much cologne as I spent many nights choking on some would-be player’s cologne trail and it would invariably be Aramis. Flash-forward to a couple of years ago and I cautiously try Aramis Tuscany and say not bad. I follow this up with a sniff of JHL. Then the SA goes you should try this one it’s by the same person who designed Aramis. Immediately I’m like no chance, but it was too late, because like a trained sniper she’d sprayed the back of my hand. When I pulled it cautiously to my nose I was met with this overwhelmingly strong opening that made me think “Bleahh” but I gave it a moment and this became the scent that really turned my opinion of Aramis the House around. The scent on the back of my hand was the 1973 creation of Bernard Chant, Aramis 900. The opening of 900 is very strong and pushes right to the edge of what indoles can create. When indoles are used in too high a concentration they can come off smelling fecal but as they mellow they open up a wonderful deep green quality to a scent. From the first spray of 900 it comes off just to the wrong side of fecal but it thankfully lasts mere minutes and the deep green character comes through along with a bergamot that gives it a little sparkle. The depth of this green never really lets go and it is joined by a rosewood note which adds a little of both parts of that compound word as I get a little rose and a little wood to balance the green. The base is all chypre as oakmoss, vetiver and patchouli close 900 in standard style. Aramis 900 says on the bottle that it is an “herbal eau de cologne” and for a pyramid which contains no herbs it does come off as exactly what it’s labeled as. Unlike Aramis, 900 does not leave a trail of choking “admirers” in its wake. It is fairly close-wearing for a cologne with the heft it displays. Thankfully, 900 was the scent which has allowed me to put aside the bad memories of my youth and make new friends with an old House.

Les Parfums de Rosine Rose Kashmirie

Marie-Helene Rogeon is the founder of Les Parfums de Rosine and their raison de etre seems to be to see how many different types of rose centered scents a House can make. With that kind of a mission that probably means there is a rose in there for every nose. I am a big fan of Les Parfums de Rosine Rose D'Homme. I also love the mix of rose and saffron I get from both Diptyque's Opone and Czech & Speake's Dark Rose. The 2007 creation, by longtime nose for Les Parfums de Rosine Francois Robert, Rose Kashmirie promised me rose and saffron in an oriental and I was looking forward to it. One of the things I like about Rose D'Homme is the arid dusty rose in that scent, Rose Kashmirie couldn't be more different as this starts with a full-throated roar of rose as lush and full-figured as rose gets on me. The rose is quickly joined by a touch of bergamot and then the saffron shows up and this is what Rose Kashmirie is all about as the smooth saffron takes the top to an enchanting olfactory space. As this develops the rose becomes deeper and slightly sweeter and then a hint of resin adds a slight bit of incense-like sweeteness to the scent. The base takes a turn towards vanilla and a light woody musk. The vanilla is the dominant note and that seems appropriate because the theme of Rose Kashmirie seems to be sweet rose and the vanilla allows that sweetness to develop all the way to the end. For all that this is an intense rose it does not carry a lot of sillage and is mostly close-wearing on me and I like an intense scent that only feels the need to fill up my nose and not the room. The longevity is excellent as have been all of Les Parfums de Rosine that I have tried to date. Once again I have taken a walk in Mme. Rogeon's garden of perfume roses and found a new one to add to my lapel.

CB I Hate Perfume At The Beach 1966

I own four scents which are meant to resemble suntan oil/lotions. Some of them get the suntan lotion note completely right, Bond No. 9 Fire Island and Jean Patou Chaldee. Some of them remember to include the smell of sun-warmed skin, Estee Lauder Bronze Goddess. Only one of them remembers to add the ocean to the mix, Christopher Brosius’ 2005 release for his CB I Hate Perfume line, At The Beach 1966. As in all of the scents I mentioned previously Mr. Brosius’ inspiration was the scent of a suntan lotion of the time, Coppertone. 1966 was a simpler time when we, probably foolishly, didn’t pay attention to SPF’s or dermatological risks of being in the sun. We just wanted to be as brown as we could get. The choice of suntan lotion for many in those days was Coppertone. Right from the top of this Mr. Brosius hits the Coppertone accord accurately. It reminds me as I would arrive at the beach walking by the early risers who already had absorbed the sun’s first rays. The smell of Coppertone on warm skin would surround me. Then as I’d unroll my towel the breeze would blow in from the surf and I’d get the smell of the salt spray from the waves crashing, followed by the smells of the sand. Mr Brosius brilliantly brings that milieu to life in At The Beach 1966 as after the Coppertone accord fades a bit there is a strong salty, ozonic accord which mimics the surf followed by an iodine laden accord which evokes the wet sand under that surf. Mr. Brosius sells his creations as water perfumes and if that term makes you nervous about strength or longevity I haven’t found the use of a water base to have any difference over the alcohol used in most other perfumes. At The Beach 1966 is a long-lasting, close wearing scent on me. At The Beach 1966 is like captured time in a bottle of perfume and it has all the ingredients from a day at the beach.

Bond No. 9 Fire Island

Growing up in South Florida in the late 60's and early 70's there was one "it" hotel on Miami Beach, The Fontainebleau. It was where the richest people who would flee the cold, of a mostly Northeastern winter, would stay. It was also where I had my Senior Prom. As a child I was able to spend many afternoons at the bow-tie shaped pool at The Fontainebleau. As I would be playing in the pool and observing the adults around me one thing I would notice was the brownest, most-tanned, sun worshippers were all using the same tanning lotion. It came in a large metal squeeze tube with orange and brown stripes on it. It was called Bain de Soleil Orange Gelee. I think it had an SPF of like negative 4, not that they kept track of that in those days. Most of these very stylish tanners would be covered in a sheen of this stuff and it had the most interesting scent to it. I could stand next to the pool at The Fontainebleau and breathe deeply and get a contact high from the amount of this baking in the sun around me. This was the smell of sun and wealth for me. I hadn't come across this smell in well over 30 years until I picked up Michel Almairic's 2006 creation for Bond No. 9, Fire Island. From the first moment I sprayed Fire Island on I was in my bathing suit poolside at The Fontainebleau as this scent absolutely is the scent of Bain de Soleil Orange Gelee. Of course now I can actually pick apart some of the threads that make up the tapestry of this scent. The top starts with a fresh beat of cardamom and neroli but it is quickly overtaken by a mix of tuberose and musk in the heart of this. This is the signature smell of Bain de Soleil and M. Almairic mixes a heady floral like tuberose with an animalic light musk which conjures up the sun kissed skin. As this develops into the base the musk becomes deeper and patchouli joins in but in a light, unobtrusive way. Fire Island's core is the mix of tuberose and musks and it is really nice. Because of the presence of those musks I think this is a very wearable floral for a man. Fire Island has a great longevity on me and it doesn't have a lot of sillage. It stays pretty close to my skin for its duration. M. Alamiric has reached into my memory and re-created a childhood spent poolside and allows me to remain a tanned young boy frolicking in a hotel pool even as I approach 50.

Estee Lauder Bronze Goddess Eau Fraiche Skinscent

As someone who grew up in South Florida I feel a strong personal connection to the beach and the smells of the beach. It is one of the reasons I like aquatics for the ability to re-create the smell of the ocean and the surf. There is another way to conjure the beach milieu and that is to go for that melange of scent that encompasses sun-baked skin and the suntan oil slathered on that skin. Estee Lauder Bronze Goddess, the 2008 release, does that. There is a little contretemps about this scent because it is often compared to the 2007 release designed by Tom Ford, in 2007, called Azuree Soleil Eau Fraiche Skinscent. I have a sample of this and to my nose the two scents are identical and so I am going to credit Tom Ford with the design of Bronze Goddess, too. One of the harder things to do when trying to emulate a day on the beach in a perfume bottle is to keep it light but intense. This is because when you're at the beach the breeze comes along and whisks away any scents before they get too strong but then it lulls and you get a strong sense of the scents around you. Bronze Goddess does a great job of this. Right at the top you get a mix of light florals and coconut. Like the gardenia and jasmine bushes back at the edge of the beach and the slowly browning body on the towel next to you slathered with coconut sunscreen. On the other side of you a child is snacking on a candy apple as a sweet caramel accord joins the mix. Just beyond the next towel there are some dudes playing hacky sack and you get a hint of the incense they were burning in their van up in the parking lot. As the sun sets you smell the wood being collected for the evening fire pit as you pack up your towel and head home from your day at the beach. I could wish that Mr. Ford had chosen to include an ozonic accord of some kind to evoke the surf because this trip to the beach is oddly devoid of any hint of water. What is here is really quite nice and goes well with a sunny summer day whether I'm on the beach or not.

Diptyque Opone

Rose can sometimes be the prettiest note in the room to the exclusion of almost everything else. Most of my favorite rose scents are powerful and scream "Rose!" when I wear them. What to do when you want your scent to whisper "rose". For me I turn to the 2001 release from Diptyque Opone. Like many Diptyque scents it is almost a soliflore but for the addition in this scent of a lovely hit of saffron to go with the muted rose. The top of this is a sheer rose that doesn't barge into life and take over the room. Soon enough the saffron asserts itself and this mix of saffron and rose stays in place throughout the development. It is joined by some very light spice and wood throughout the development of this but Opone remains resolutely linear and composed around the two main notes of rose and saffron. This is such a good mix on me that this is a case where the linearity is not so boring on me, as I find with other scents. The ability to keep a lighter touch to the rose makes Opone an easier scent for me to wear when I don't want to be a sillage monster but still want to wear rose. Opone is like most of the Diptyque scents in that it has decent longevity on me but they don't project very much. Opone is the scent I use when I feel like whispering instead of screaming.

Chanel Allure Homme Edition Blanche

Lemons, when life gives you lemons you make lemonade. When a perfumer is faced with lemons they have to be careful not to make furniture polish. One of the most familair scents to many Americans is that of Lemon Pledge which was a furniture spray polish. Every perfumer that tries to use lemon has to worry about being compared, ususally unfavorably, to Lemon Pledge. Even so it doesn't keep the truly talented from taking a shot at it and in the 2008 release Chanel Allure Homme Edition Blanche, created by Jacques Polge, there is no furniture polish to be found among the polished lemons present. The top of this is a lemon that edges more to the tart and mixed with a little bergamot to keep the tart from becoming sour this is as unlike furniture polish as you can imagine. In the heart M. Polge makes a bold choice by using sandalwood. Considering that most associate lemon with the scent of polished wood it could've been a bad move. The choice of sandalwood turns out to be a brilliant move because this is a creamy sandalwood and along with that creaminess it also brings out the sweet character of the lemon making the heart feel warmer and deeper. The base uses a mix of vetiver followed by vanilla to bring this home. The vetiver sharpens the lemon before the vanilla really enhances the sweetness of the whole thing. Chanel Allure Homme Edition Blanche is an outstanding warm-weather scent, I love wearing it on the hottest of days as it comes off refreshing on those hot and humid days. It also has a surprising amount of longevity on me for a citrus forward scent. M. Polge has done an excellent job of making Chanel Allure Homme Edition Blanche smell less like a used dust rag and more like a lovely lemon creme pie which makes it quite the polished piece of work.

Comme des Garcons Avignon

Incense-based scents are one of my favorite style of scents. I have loved the smell of incense from my teens lighting up a cone in the burner and listening to Led Zep or Pink Floyd on the turntable; to my adulthood and discovering the perfumes that hold the same olfactory pleasures. The perfumer who has consistently hit the high notes for me in this style of scent is Bertrand Duchaufour. He has made five of my very favorite incense scents and I consider him my High Priest of Incense. All stories have a beginning and M. Duchaufour's relationship with incense-forward scents began in 2002 when he designed two of the five scents in Comme des Garcons Series 3 Incense series, Kyoto is the other. Avignon is named after the city in France which was the Papal seat in the 14th century. Appropriately the central accord in Avignon is frankincense which any one who has ever attended a high mass will recognize. In point of fact Avignon is so true to recreating the frankincense accord that I imagine if you have bad memeories of the Catholic church you might find it hard to wear. Thankfully, I don't have any olfactory issues with the Catholic church. Avignon wastes no time getting to business as from the moment this hits my skin the incnse accord comes to life. Just like the priest swinging a censer I am immediately enveloped in a heady, intense cloud of incense. This is a bold beginning and in many cases it would be a hard act to follow as it has to be hard to compose when your crescendo comes at the start. One of the things M. Duchaufour does is to leave the incense accord in play but like that imaginary cloud of incense allow it to recede and be paired with patchouli in the heart. As any child of the 60's and 70's will tell you patchouli and frankincense go together like peanut butter and jelly, they're just natural partners and it is the same in the heart of Avignon. the herbal quality of patchouli added to the sweet resinous incense makes for a perfect balance. The whole scent is tied together with a beautiful vanilla in the base. The vanilla is used to accentuate the sweet quality of the incense and to contrast with the herbaceous quality of the patchouli and the choice of vanilla to close this off is nigh perfect. Avignon is an extremely strong scent on me but it has been mentioned in other articles that it is an excellent layering component when used in moderation. I know it is the incense scent I turn to when I am interested in adding a touch of incense to another scent. M. Duchaufour has gone on to make even better incense scents, Timbuktu & Jubilation XXV, but in Avignon his first steps on the incense road already showed the potential that those future scents would realize.

D'Orsay Le Dandy

The metrosexual of the turn of the 17th century was called a Dandy and we have come a long way in the two hundred or so years since that term was popular. Although I imagine two hundred years from now we'll be snickering at metrosexual, too. What both terms are trying to describe are a man of the times current in all things from fashion to politics. Smack dab in the middle, somewhere in the early 1920's, Le Dandy was released by Parfums D'Orsay. In 1998 Dominic Preysass updated Le Dandy and it was re-released. With that update Le Dandy had the opportunity to find its 21st century constituency. Back in the times when the term Dandy was used it was meant to convey a man aspiring to aristocratic values, the same can be said of Le Dandy as the dominant notes give off the sense of a smoking parlor and the men conversing after dinner in those long ago times. The top is dominated with a boozy accord that the note list calls whisky but it comes off more cognac-like to my nose. This is paired with a great anise note that really complements the liquor accord. Tobacco makes its appearance next as this scent lights up its metaphorical after-dinner cigars. The heart is a beautiful mix of spices with ginger being the most predominant of the mix. Ginger is an excellent choice as it carries some sweet and strengthens the sweet present in the tobacco. The base is a mix of woods for which I get some sandalwood and cedar, mostly. Again it is the use of the slightly sweet woods which delicately finish this off in grand style. I haven't had the opportunity to try the original vintage version but M. Preysass has created a scent that would make an 18th century Dandy or this 21st century Metrosexual happy to wear.

Bvlgari Aqua pour Homme

There are times that the perfume business frustrates me. One of the things the designer houses do, in particular, that frustrates me is they don't tell you who composes their scents. Most of the time I don't care who composed the latest celebuscent. Like a ghost writer who pens the latest celebrity "memoir" I'm sure the nose behind a designer scent is doing their honest day's worth of work for their honest day's worth of pay. Then there are unexpected triumphs like Bvlgari Aqua pour Homme and I want to know who it was who made one of the finest aquatics out there. Alas, all that I can tell you about this 2005 release is that whoever made it should be proud of their work because this is what a designer aquatic should aspire to be. In the overcrowded "fresh and clean" field of scents Bvlgari Aqua pour Homme stands out. The top is the typical citrus mix of many aquatic scents, here it is mandarin and petitgrain which lead the way. The uniqueness of this scent takes place in the heart with a mix of two synthetics which come off as something much more and never smell synthetic on my skin. First is santolina which is meant to evoke lavender water. This is paired with posidonia which is meant to smell like "an oxygen-exuding sea plant found in the Mediteranean depths". That description sounds like sea grass to me and anyone who has been on a beach at low tide knows that smell. Thankfully the actuality is that posidonia comes off like a fresh sea breeze full of salt and ozonic notes. This in conjunction with the lavender makes the heart of this especially nice. The base is also a surprising mix of two of my favorite notes of amber and sage. Usually sage is present higher up the pyramid but in an aquatic the weight it can add to the base is a welcome change and it's clean, herbal lines stand out here. The amber in the base is described as a mineral amber and while I'm not getting the mineral aspects I am getting the warmth that amber can bring to a scent and that is also a refeshing change to most of the aquatics out there. I really feel that Bvlgari Aqua pour Homme is the next evolution of Pierre Bourdon's ground-breaking Cool Water and takes aquatics to the next level. I just wish I knew who to thank for making this beauty.

EDIT: Thanks to fredericktoo he has pointed me to Now Smell This who credit Jacques Cavallier, who also did M7, L'Eau D'Issey, and Tom Ford Tuscan Leather; as the perfumer behind Bvlgari Aqua pour Homme. Thanks for the assist fredericktoo.

Hermes Terre D'Hermes

Popular. When did a term that should be considered a positive gain a negative connotation? It goes something like this; I love Stephen King books but, you know, his books are just popular. Doesn't it take a great deal of skill to be popular? It isn't like it is something everybody can do. The truly popular seem to be rare things. When we downgrade popular to make it a criticism are we speaking of ourselves? Yes there is a fragrance review in here. Terre D'Hermes is probably the most popular fragrance produced in the last few years. It was created in 2006 by Jean-Claude Ellena and was initially received to a chorus of great reviews. More recently I've seen more criticism of it which seems to boil down to "I like Terre D'Hermes but, you know, its popular." I am going to speak in defense of popularity today using Terre D'Hermes as my example. Jean-Claude Ellena is one of the current star perfumers out there and he is one of the few who regularly works the non-niche side of things. Ever since he became the head nose at Hermes he has skillfully divided his creations between the niche-like Hermessence line and the the designer side of things. Terre D'Hermes shows all of Ellena's skills as a composer of scents and does it in a non-niche way. Thus making it, you know, popular. The top of Terre D'Hermes comes in on a citrus breeze of grapefruit and orange. M. Ellena has become more skilled with the use of citrus and this is an extension of the themes begun in the Un Jardin series composed earlier for Hermes. The citrus is so realistic it smells like the grove is just out of sight around the next corner. The absolute stunning aspect of Terre D'Hermes takes place in the presence of this flint note in the heart. This is an unusual choice and a telling one. The mineral character that this gives to this scent indeed calls up the titular "Terre" or Earth and makes one feel the ground that those citrus trees are growing in and creates a unique scent experience. The base of this is almost the trademark of M. Ellena as he takes the usually strong notes of vetiver, cedar, and patchouli and instead creates an airy mix of these three which does not overwhelm and instead complements and accentuates the composition as a whole. M. Ellena has become a master of allowing every phase of his scents to be allowed to expand and breathe and in Terre D'Hermes I think he has created a singular masculine masterpiece. If, you know, its too popular for you to wear well then, you know, you're missing out on a great scent. Which, you know, is too bad.

Thierry Mugler B*Men

How does an artist know that they've finished? It must be a painstaking process to finally let your creation go out the door without adding one more thing to it or making that subtle change that will elevate it from good to transcendent. In the perfume world I think Jacques Huclier has been doing this ever since he let A*Men out the door in 1996 as he has now taken four more attempts at slightly tweaking the formula of A*Men. In 2004 he was joined by Christine Nagel and made the first attempt in creating B*Men. I think this initital attempt was to make something more subtle or more of an everyday version of A*Men. Certainly while B*Men is no shrinking violet it isn't the powerhouse that A*Men is. The top of B*Men starts off with the same sweetness present in A*Men but there is a more muted quality to it as the fruit notes come off with a lighter sweetness. The big difference happens in the heart as a strong redwood note is paired with a mix of light spices. The basic progression is the same as in M. Huclier's original creation but it instead moves in a different direction. The same can be said of the base as in B*Men it has the same kind of warmth but it is provided by amber instead of the strong gourmand notes that are present in A*Men. I have been spending a lot of time comparing and contrasting A*Men to B*Men and I think that's appropriate because it is readily apparent that these two scents share the same parentage. I also think it will be the rare colognoisseur that will need to have both of these in their wardrobe. It will really be a matter of personal preference which one of these will make it into your personal collection of scent art.

Neil Morris Midnight Forest

To those who read my reviews they know that I am a big fan of Neil Morris and his creations. Up until now the ones I have enjoyed have all been focused around floral accords and notes. I was very intrigued when I saw the note list for 2009's Midnight Forest; there was only one sort of floral note listed, that of nagarmotha which is a tuberous weed and a source of cypriol. Mr. Morris has been especially skilled in the use of overlapping floral notes to create lush, dense scents. Could he achieve the same without his "go to" notes or would this be a different kind of Neil Morris creation? The answer is perhaps both and neither. Midnight Forest is a beautiful overlap of woody notes which do create the density of his floral creations while not necessarily having the same intensity and thus creating the feeling of being the lightest of the Neil Morris scents I've tried, to date. The use of the same dark musk accord as used in both Midnight Flower and Midnight Sea does hearken back to previous compositions and it serves the same purpose in Midnight Forest that it does in those previous creations. The top of Midnight Forest starts with a strong galbanum which approaches the level of being almost too bitter and off-putting. Thankfully it never trips over the line and soon enough the promised forest begins to arrive as first a strong redwood note comes forth and in quick succession the nagarmotha, oak and myrtlewood create the olfactory forest. It is here that the slightly animalic and deep, dark musk plays around the edges much like the animals hovering just out of sight of the campfire. You get hints of them on the breeze but they never quite come close enough to the light to be seen. The base of this is a beautifully chosen resinous myrrh to evoke the incense-like smell of a pine forest at night. As with all of Mr. Morris' scents there is a great deal of longevity on me although this one does not seem to have the sillage of his floral creations. I have spent many nights camping in a forest of sentinel pines and Neil Morris has once again captured a scent memory whole and bottled it for me.

Christian Dior Cologne Blanche

I have really enjoyed the first two scents of the trio commissioned by Dior Homme creative director Hedi Slimane in 2004. The other two Annick Menardo's Bois D'Argent and Francis Kurkdjian's Eau Noire were both wonderful and I was curious to see if Cologne Blanche would continue the winning streak. Cologne Blanche was created by M. Kurkdjian, as well, but this is entireley different in style than Eau Noire. Where Eau Noire plumbed the depth of immortelle befitting a scent called "black water". Cologne Blanche works the other side and is very much the yin to Eau Noire's yang. Cologne Blanche plays with the lighter accords and feels like a summer breeze coming through sheer curtains into a room with a rotating fan in the ceiling. It starts with a refreshing citrus pairing of bergamot and orange to give depth to the bergamot. The heart is an herbal breath of freshness blown in through a sprig of rosemary but also made spicy with a hint of pepper. The base is one of the more subtly sweet uses of vanilla I've worn to date. This vanilla sneaks in to the room on tip toe and never overwhelms but slowly and serenely announces its presence and over a long period and eventually becomes the dominant accord. There is a moment of divine balance between the herbal green of the heart and the sweet of the vanilla that is Cologne Blanche at its best. Cologne Blanche is a close wearing scent that has a good deal of longevity and I find it to be a great warm weather scent because it comes off fresh on me without resorting to the ususal notes and accords that make up that genre of cologne. Cologne Blanche makes it a perfect three-for-three for the Dior Homme trio on my scent scorecard.

Armand Basi Homme

I hold a soft spot in my heart for masculine orientals. Calvin Klein Obsession for Men and YSl Opium pour Homme were two of my early favorites in this category but those are powerhouse scents and there are times I want that oriental feeling but without the volume turned up to full. For those times I turn to Armand Basi Homme which was created by Olivier Cresp in 2000 for the Spanish designer. Armand Basi Homme is like switching from the hard-rock radio station to the adult contemporary station on your radio. There is still some music that rocks but there are some more soothing quieter moments to guide you through your day. M. Cresp has created an oriental which manages to capture all the construction hallmarks of the class without taking over the room. This scent is closer in style to Obsession for Men than Opium pour Homme. If you like the feel of Obsession I think it likely you’ll like this one, too. The top of Armand Basi Homme blows in on the lightest of spices particularly an application of cardamom and cinnamon mixed with a lavender. The floral component shifts in the heart to lily of the valley along with the sweeter of the spices nutmeg and tonka. When I first wore this it felt like this scent was headed firmly towards gourmand territory but the base stays pure oriental. The base takes a woody turn with a mix of cedar, guaiac and sandalwood. The sweet theme of the heart is echoed in some presence of vanilla but the base is a woody wonderland most of all. Because the volume is turned down Armand Basi Homme tends to be a closer wearing scent than other orientals but its longevity is quite good despite being so close wearing. So for those days when your scent radio is more attuned to Matchbox 20 than Blink-182 give Armand Basi Homme a spin on your scent radio dial.

Pino Silvestre


You know when you get in a taxi cab and there is a little cut out of a pine tree labeled “air freshener” and it smells like pine. I call that truth in advertising. When you pick up a green glass bottle shaped like a pine cone which is the 1955 creation by Lino Vidal, Pino Silvestre, what do you think its going to smell like? Pino Silvestre is one of the most straight forward scents I own. It is unabashedly an example of "what you see is what you get", just like those pine tree shaped air fresheners. This isn't to say that there isn't some subtlety to this but if you do not like the smell of pine, stay away. The top of this is as quick a transition as I've encountered as there is a drive-by appearance of bergamot and citrus before the pine slams into things. The pine is paired with a great sage The sage adds a beautiful herbal undertone to the pine and makes this quite the enduring pair. If the top was a drive-by, the heart of this is a long slow Sunday drive as the pine and sage lasts for well over an hour. Very slowly and very lightly you get some of the clean lines of cedar and an amber that really adds some depth to this. Pino Silvestre is a long lasting scent that easily lasts all day. If you are a fan of pine then pick up the little glass pine cone and spray away I don't think you'll be disappointed.

Davidoff Cool Water

If Helen of Troy was said to have the face that launched a 1,000 ships then certainly Davidoff Cool Water can be called the fragrance that has been responsible for the launch of a 1,000 fresh and clean scents. Although I imagine that when Pierre Bourdon was creating this in 1988 he had no idea how slavishly this formula would be copied for the next 20-plus years. That shouldn’t keep one from admiring it now just because the number of imitators has mushroomed beyond belief. Cool Water was the beginning of the signal change from the powerhouse style of scent of the 80’s and it was the very fresh and clean nature of it that made it stand out when it was first released. Back then as the first aquatic scent, it stood out. Now it can be seen as being so straight-forward aquatic as to be considered pedestrian. I still find it to be one of the best in this class. One of the reasons that I think this is that Cool Water still has one of the best openings in the aquatic class for me. The mix of lavender, coriander, mint and orange always make me wonder why I don’t wear this more, for the first fifteen minutes. The mix of light floral and aromatic herbal with citrus always makes for an eye-opening start. In the heart is where M. Bourdon tries the same trick of light floral plus a green note plus a woody note that Cool Water starts to take on a different character. The floral is jasmine but it never gets too sweet as oakmoss and sandalwood are there to keep it a restrained floral sweetness. It is in the heart where Cool Water turns from refreshing to clean as the lines become more sharply drawn. The base of this takes those lines and makes them bolder and thicker as cedar makes its first appearance adding in the cleanliness that will be repeated many times after this in many scents in this class. Along with the cedar a very light mix of amber and musk are present. Neither of those notes rise to a level to muss up Cool Water’s hair and mostly are present to add a little needed depth to the base. As with many of the scents in this class the sillage is modest along with the longevity. Even now when there are probably hundreds of fresh and clean scents to choose from M. Bourdon’s creation still holds its own and shows that while originals can oft be imitated, rarely are they bettered.

Geoffrey Beene Grey Flannel


Sometimes male wearers of perfume remind me of the Little Rascals and their “He-Man Woman Haters Club”. Except it should be more accurately phrased, for what I’m thinking, as the “He-Man Floral Haters Club”. Usually if you’re talking about floral scents most gentlemen tend to shy away from them unless we’re talking about rose or lavender. There have been a number of recent scents like Dior Homme and its iris core that have started to expand some men’s floral vocabulary. I think that the beginning of this might be traced all the way back to 1976 and Andre Fromentin’s creation of Geoffrey Beene Grey Flannel. The floral used here is violet and it is used in this scent in such a way as to give you a floral component that also has a green side to it that keeps it from being too floral. The note list for Grey Flannel is five notes simple; violet, lemon, orange, oakmaoss, sandalwood. This is one of those colognes in which every note listed is present and accounted for and to my nose I smell a few party crashers, as well. From the top, the violet is the first thing to hit my nose and the tight floral character of this which also holds a green leafy component is what makes this an ideal note to center a masculine cologne around. There is no mistaking this is a floral note but it is not flowery in character. The choice of pairing this up with tart lemon and sweeter orange makes the top of this very refreshing. As this transitions to the oakmoss heart I’d swear I get a hint of sage. That might come from the violet and the oakmoss together as perhaps the oakmoss brings out more of the green characteristics of the violet. The violet persists into the base and now the floral character is enhanced as the sweet woody sandalwood accentuates that aspect. I can see Grey Flannel being too strong for some as this is no shy flower on the skin it has a noticeable sillage and a persistent longevity. On the other hand if you like Grey Flannel it is a great office scent and it might lead you to give some other florals a try. Grey Flannel is one of those classics that has stood the test of time and at least for me caused me to change the sign on my perfume clubhouse to “He-Man Violet Lovers Club”

Azzaro pour Homme

Success has many fathers and failure is an orphan. One of the ways you can tell that 1978's Azzaro pour Homme is a success is that there are many who claim to be this scent's father. Richard Wirtz, Loris Azzaro, Martin Heiddenreich and the credited nose Gerard Anthony all have claimed paternity and I would be hard pressed to say based on the scent itself who is responsible. According to "The Scented Salamander" there are over 320 ingredients in Azzaro pour Homme. What makes this so surprising is that something which had so much creative discord and then seemingly constructed by throwing in everything on the shelf has come out to be so classic. Azzaro pour Homme is perhaps the best example of an aromatic fougere out there and it has easily withstood the test of time. At the top I get a mix of lavender and anise which is fairly quickly joined by a tart citrus accord. The heart of this is a green herbal mix of what seems like the majority of the 320 ingredients. At times I get hints of sage, basil, rosemary or cardamom. There are also floral components, as well; mostly a soft rose peeks in and out. There is a stronger component of vetiver and sandalwood underneath the herbal goings on but even those notes never overwhelm and as this progresses there is an amazing complexity on display. The base is much simpler as all of the business from before settles down into a musk and amber base which comes as a soothing contrast to the complicated heart of this. It wasn't until the late 90's that I picked up Azzaro pour Homme for the first time and like so many other times in my life I wondered what took me so long.

Beth Terry Creative Universe Luce

When you're a colognoisseur do you have an everyday scent? Is there a scent you pull on like an old flannel shirt when you want to feel comfortable? The answer is probably yes and the answer is probably different for all of us who love perfume. I have found that Beth Terry Creaitve Universe as a line has become the group of scents for me that have filled that purpose for me. Mare, Te', and Vita are the ones I have tried and like very much. Beth Terry's third creation for her line was 2000's Luce. Ms. Terry has used tea as her inspiration for all of hjer scents and in particular bergamot is present in all of them. Luce is the first scent that the tea theme doesn't go beyond the bergamot in the top. Along with the bergamot she uses one of the classical pairings of lavender but there is also a tart apple note that is also present this really makes for a unique opening. The heart is a mix of the "almost rose" of geranium and actual rose. This floral aspect is kept very light. The base turns woody with a hint of amber. What makes Luce and all of the Creative Universe scents so easy to wear is the lightness of composition. Luce like its labelmates never will knock people over with its sillage. On the other hand for such light compositions they have an unusual longevity which makes them unique Ms. Terry is a perfumer who does not push out scents one after the other and I believe the care shown in making and perfecting them one at a time shows through clearly. It is definitely nice to have more than one comfortable t-shirt to choose from.

Juicy Couture Dirty English

I am sure that many of us have become tired of visiting the department store fragrance counters and being appraoched by the line reps pushing their latest and greatest. They all use the words "fresh", "clean", "woody", "aquatic", "sensual"...yadda, yadda, yadda. Except for a visit to my local department store in 2008. The line rep was headed towards me and the words "no thank you" were already forming on my lips when she said a word I don't usually hear from them "spicy". At which point my response died on my lips and I said "oh really?" She held up a bottle of Juicy Couture Dirty English and sprayed a strip and handed it to me and to my pleasure she was correct. In a department store world of nose-numbing sameness Claude Dir designed something that stood out, for me. From the top is a mix of spices layered over cypress. What M. Dir uses as his spice is a pepper, cardamom, and caraway mix. This scent along with Parfumerie Generale's Querelle again confirm to me the beauty of using caraway especially in the top. It is such a different alternative to bergamot while allowing for other notes to find their space. Caraway imparts a lushness to the top and it is used perfectly here with the pepper and cardamom. The cypress is the right light wood to carry this scent into the heart which is a deep leather accord which owes its depth to a woody ingredient called Santal Fatal. Santal Fatal is described as a mix of sandalwood, cedar, and vetiver. I definitely can't pick out those individual notes but there is an herbal woody partner to the leather that gives power to the heart of this. The base is a close-wearing musk which is really nice. Dirty English has a nice development in terms of sillage, at the top and heart, and it actually projects pretty nicely but by the time the dry-down has fully happened it has become a musky close wearing scent. I can see this being an ideal clubbing or date scent as early in the evening it will be out there for all to enjoy but by the end of the evening it will require someone to get close to get the rest of the story. My hat's off to M. Dir for pushing the envelope; in this style of scent there are many places where this could have gone off the rails and into excess but he skillfully kept it on track and has made a stand out designer scent.

Balmain Ambre Gris

When I was a child I received a rock tumbler as a gift. For those of you who don't know what that is, it is a large rotating cylinder which looks like a cement mixer. You added rocks and sand and had it roll over and over. I was fascinated that you could put rough rocks into the tumbler and out would come these polished shiny pieces of beauty. In the 2008 scent for Balmain, Ambre Gris, perfumer Guillaume Flavigny has performed a similar trick with amber and taken what can be a rough sometime harsh note and put it in his rock tumbler and created a shiny amber beauty that seems new to the nose. The scent opens with a floral flourish of tuberose balanced by pepper, cinnamon, and immortelle. The choice of immortelle is a particularly inspired one. Tuberose can be one of those extremely off putting notes as it can be too overwhelmingly sweet using spices like pepper to offset it is a well-known approach. The use of the maple syrup accord of immortelle really keeps the tuberose on a much tighter trajectory and allows what is to come in the heart the room it needs to breathe. The heart begins with a soft resinous accord of myrrh. This is joined by an amber of incredible complexity. When the amber first makes its apeearance it is a sheer accord which seems to rise naturally from the myrrh but then it gains some strength and becomes an amber which hews closer to its resinous qualities. This almost comes off like a full incense scent at this stage. This changes again and the amber becomes the sweet amber which takes over and now the cleanliness of gaiac compliments the sweet and brings this scent to a beautiful close. The dry down in the heart, as you feel the amber acting almost like a butterfly emerging from a cocoon to all of a sudden fully appear in all of its glory, is very special. I found myself sniffing constantly to catch the next bit of nuance that was happening all throughout the dry down. Amber can sometimes be a rough beast but in the hands of M. Flavigny it has been transformed into a beautiful shiny gem of a scent.

Neil Morris Midnight Sea

I had a great childhood growing up in S. Florida. One of the best things about it was I didn't go to summer camp. We had close firends of the family who had a son my age, Buddy. When school would get out in the beginning of June we would set sail on Buddy's parents 52 ft. sailboat down into the Caribbean for 8 weeks or so. What I remember most on those trips was being awake late at night as we were anchored in port and the smell of the ocean at night. Neil Morris has a knack of painting olfactory landscapes with his lush, densely constructed scents. His 2007 creation Midnight Sea is no different as he takes the typical ozonic sea accords and dresses them up for night adding in depth and power. To start the scent he uses a very freshwater note of water lily. This gives the aquatic feel with out the salt present and the feel of a night blooming flower of some kind coming awake. It is in the heart that the smell of the ocean comes alive as the salty accord full of iodine appears in contrast to the lush floral of the top. There is also a musk here which Mr. Morris uses in two other of his Midnight series, Midnight Flower and Midnight Forest. I'm not sure how this note achieves this, but it somehow adds the feel and smell of a humid night into these scents which enhances the feel of things happening at the midnight hour. This musk feels like a warm sultry breeze which carries on it the scents of things moving around just out of sight in the dark. This, in conjunction with the sea accords make the heart of this reminiscent of many nights falling asleep in my hammock with my head near the porthole breathing in the smells of whatever island we were anchored near. The base of vanilla and patchouli eventually take over things and leave Midnight Sea on firmer more recognizable ground. Neil Morris' scents are powerful creations which I have found to be rewarding compositions in their complexity and their beauty. It is nice that whenever I want to set sail, in my mind, Midnight Sea is always at hand.

Diptyque L'Eau de Tarocco

Diptyque released a trio of L'Eaus in 2008 and while I thought they were all OK none of them made me feel like they were great. It looks like practice makes perfect as the 2009 release by Olivier Pescheux goes well beyond OK, for me. M. Pescheux has made two of my favorites in his two efforts for Yves Rocher, Irir Noir and Voile D'Ambre. In those cases he takes the titular note and uses it as a central theme to build around. L'Eau d'Tarocco takes a different approach. Tarocco refers probably to the Tarocco Orange but Tarocco also refers to a card game played with tarot cards. I see this scent as a pattern of tarot cards being laid out. The first card laid down is "The Sun" as the top of this is full of orange both tart and sweet reminiscent of a sunny orange grove. The second card laid over "The Sun" is "Strength" as cinnamon and ginger add some power to the citrus in the top. As we move to the heart "The High Priestess" shrouded in roses appears. The heart of this comes in as a full rose accord and can run the risk of being slightly powdery. I think I would've liked a little less powder here. The base is represented by "The Emperor" as the scents of the cedar throne and the incense of the throne room are laid over a very sheer musk. The base is very well-balanced on my skin and in the cedar moves away from the powdery turn that was taken in the heart and that's a good thing. If you're looking for a new summer scent then let Monsieur Metro Man tell your fortune and recommend a trip to the closest Diptyque vendor, there you will find happiness.

Yves St. Laurent Rive Gauche pour Homme

What is the colognoisseur's equivalent to Old Spice? What do you do when your olfactory palate has evolved? What happens when the drugstore scent doesn't give you that thrill anymore? In my case I look to the 2003 creation of Jacques Cavallier under the artistic direction of Tom Ford for Yves St. Laurent, Rive Gauche pour Homme. Rive Gauche pour Homme pulls off a quite neat trick of having an old-fashioned barbershop vibe but with sleek modernistic fixtures in this establishment. At every phase there is a note or accord that hearkens back to the old paired with one that is more decidedly modern. The top is a good example as there is no more classic top note than bergamot but the pairing of it with the licorice of anise and the herbal note of rosemary give it a more contemoprary zing. The heart is a deep lavender whose depth is created by the addition of rose and clove. In previous barbershop scents Carnation and the clove character is very prominent but fleeting. M. Cavallier's choice to dispense with the feel and just put the clove in makes for added longevity and unexpected intensity in the heart. The drydown to the base uses the most identifiable of the barbershop ingredients vetiver and once again pairs it with the more modern gaiac to end Rive Gauche pour Homme on a woody green finish. Rive Gauche pour Homme is also one of the most versatile scents one could own. It is appropriate from casual to formal and because of that versatility could easily be one of the better recommendations for someone looking to own just one bottle of cologne. I know if I was stuck with just one bottle Rive Gauche pour Homme would be a great choice.

Hermes Eau D'Orange Verte

There is nothing that goes with a hot summer day better than the right eau de cologne. A light composition full of bright citrus notes that feels like a lemonade for the skin. I usually want to douse myself in my favorites. I have come to find a few that are my stand bys and I try all the new attempts but the one I keep returning to is the creation of Francoise Caron in 1979 for Hermes, Eau D'Orange Verte. In 1979 it didn't begin its life as Eau D'Orange Verte it was originally named Eau de Cologne D'Hermes. I'm glad it went down to the Perfume Courthouse and changed its name because Eau de Orange Verte is exactly what is delivered when you spray this on. The top is the bright mix of orange bergamot and lemon and it is tart and sharp. The heart of this is the green/orange in the name as the orange accord deepens and is joined by a green accord that balances it beautifully. As the greenness recedes there is a very light floral accord that comes through before cedar brings things to a close. Eau D'Orange Verte is a traditional eau de cologne and is not meant to have much staying power or sillage, and it doesn't. On the other hand it is hard to overspray this so you can feel free to spray much more than you would with a regular eau de toilette. Eau D'Orange Verte is one of those scents that makes me look forward to a heat wave.

Cartier Le Baiser du Dragon

You know how you buy a book for the cover? The paperback with spaceships in battle, swarthy lotharios, sandaled warriors with big...ahem..swords? Every once in awhile I try a scent because of the name. The nice thing about most scents is you get to try without buying, unlike the paperback that ends up half-finished collecting duston a bedside table. Le Baiser du Dragon was created in 2003 by Alberto Morillas, by some accounts it was supposed to be a feminine vetiver. If that was the goal he failed. Instead Sr. Morillas has created a powerful woody oriental which seems much more apt to be named after a dragon that any feminine vetiver could have been. The top is a beautiful syrupy almond accord paired with neroli. The lighter aspect of neroli balances out what could be a very heavy almond accord. There is a little bite of green in here as well which the note list would make me think is gardenia but this is a gardenia that never comes into full bloom on my skin. The heart is all clean cedar in its straight-edged glory. There is a little musk present to muss up the staid cedar but not enough to make it uncomfortable. The base of this is a really lovely patchouli and amber mix; as in the heart the amber is there just to keep the patchouli from being all that you smell. It is in the base that there is supposed to be some vetiver but I've worn this scent many times in many different temperatures and have yet to encounter this vetiver, perhaps the dragon ate it for lunch. I might have bought Le Baiser du Dragon for the title but unlike those dust gathering paperbacks I look forward to picking this one back up.

Patou pour Homme

Masterpiece, the word is thrown about quite a bit here on Basenotes. It is probably as subjective a term as it gets especially in realms of the senses. My check on what a masterpiece is came near the end of a two-week trip to Italy. We had been to Ravenna, Venice, and Florence; and on our last day had finally booked a ticket to the big art musesum in Florence, The Uffizi. We had been in a number of museums at this point and to say I was burnt-out on looking at paintings would be putting it mildly. I was walking into a gallery and going "pope, baby jesus, mary, medici, next!" Until I walked into one and went "pope, baby jesus, mar....oooh wait that's different". I'd walk up for a closer look and the artist would be Titian, Raphael, Botticelli, or Carvaggio. These pieces stood out. They had something extra or different. Sometimes a depth and sometimes a use of color that was clearly unique from the other well-executed paintings surrounding it. The point here is that when you encounter something different than the rest you immediately know it. So it is with Jean Kerleo's 1980 masterpiece Patou pour Homme. Patou pour Homme is easily one of the best scents I have ever worn on my skin. From the first time I wore it until this time there has never been a time where I haven't been blown away by its beauty. What makes it so special on me? This is that rarest of scents where I can pick out individual notes but it is the harmony with which they combine which makes this special. This is perfectly embodied in the opening of this scent. The beginning is an herbal medley of bergamot, sage, pepper, and tarragon which is quickly joined by lavender. When I first spray on Patou pour Homme the herbal character roars out of the gate but the lavender is right there to bring it under control and make this an accord that is spicy and floral without being identifiably one or the other. This is the rarest of scents in that it can take well-trodden notes and combine them in a new way to make me experience them differently. This happens in the heart. How many scents have vetiver, cedar and patchouli? How many scents would amp up the clean lines of cedar, combine it with vetiver to give it an edge, and add a little earthiness in patchouli? Probably the same number. In Patou pour Homme. Kerleo chooses to let the patchouli take the fore and uses the clean lines of cedar and vativer to constrain its usual expansive nature. This turns into a patchouli that is dry but not earthy. It becomes almost resinous, like incense and incredible, on me. The heart comes off like an incense accord but an incense I've never smelled in real life. This is the rarest of scents in that all that has come before sets you up for a knockout punch at the end. Kerleo was clearly going for a fougere feel and his base goes for that using oakmoss, sandalwood and labdanum. The labdanum comes first as it continues the resinous feel of the heart and allows the transition into the base. This base has one of the most arid sandalwoods I've tried and in conjunction with the labdanum and then the oakmoss this forms a woody mossy resinous accord that is gorgeous. It lasts and lasts and lasts on me. Patou pour Homme deserves to be in the Uffizi of perfume so a bored colognoisseur can walk in and go " aquatic, oriental, chypre....ooh that's different".

Washington Tremlett Black Tie

There are arguably more quality rose scents out there than any other note. Rose has certainly been one of the notes perfumers have used from almost the beginning. The British perfumer Washington Tremlett released Black Tie in 2007 and in many ways it feels like many other rose scents out there but yet somehow manages to feel unique. As I wear Black Tie I am reminded of many other scents I've tried. At the top Black Tie starts with a lovely saffron and sage accord. The saffron is reminiscent of both Czech & Speake Dark Rose and L'Artisan Safran Troublant. As this moves into the heart a rose geranium mix takes over. Again this reminds me of the other Czech & Speake, No. 88 as well as Domenico Caraceni 1913. The base is a mix of sandalwood, vanilla, musk, and patchouli but it comes off with a strong agarwood character to my nose and that makes Black Tie very reminiscent of many of the Montale Aoud scents. When a reviewer is mentioning other scents from other Houses one could take that as a sign that the scent being reviewed is maybe not so good or original. Actually the opposite is true. The fact that Black Tie calls to mind a number of scents that I like is a good thing. Black Tie has taken many of the things that work best in those scents and fused them all here into a beautiful whole. In many ways Black Tie sort of feels like a "greatest hits" musical compilation for my nose. One that I'll enjoy "listening" to over and over.

Thierry Mugler A*Men Pure Coffee

Flankers have become the perfume equivalents of movie sequels. Just like movie sequels the more numbers that go behind the title the less original and interesting it usually is. There are exceptions to both rules Cartier Declaration and its flankers and The Godfather. What makes both of those cases stand out is the artists behind them chose to use the original as a stepping-off place to create again as opposed to an original to be copied. In 2008 Thierry Mugler decided to turn to Jacques Huclier who created the original A*Men, 12 years earlier, and Christine Nagel to create A*Men Pure Coffee. One of the consistent criticisms of A*Men as a scent is it is too overwhelming and the notes and accords are layered on with a too-heavy hand. While it is true that A*Men could never be considered a subtle scent I am not one who agrees with that criticism. I think A*Men was an attempt to take a number of very strong notes and try and make them into a balanced whole, which succeeds in my opinion. A*Men Pure Coffee seems to indicate that M. Huclier has heard that criticism and in Pure Coffee attempts to turn down the volume. The way he does this is to use coffee as an accentuating note which allows particularly the chocoalte present in A*Men to come forward. The top of this starts with a roasted bean flavor of coffee. This is different than the coffee present in the base of A*Men which is more of a brewed coffee accord. This accord is the smell you get after you've ground the bean. The astringent oil is present as well as the coffee aroma. I've always noticed the chocolate in A*Men but in Pure Coffee it seems like the chocolate has gone from milk chocolate to dark chocolate as the accord now comes in as almost bittersweet in character. Thie interplay of coffee and chocolate is what makes A*Men Pure Coffee different than A*Men. What makes it the same is the base as patchouli comes in followed by that brewed lighter coffee note present in the original. I will say that while the base is unmistakably A*Men it does seem more muted than in the original. A*Men Pure coffee has proven to be that rare brew that actually improves on the original.

Christian Dior Eau Noire

In 2004 Christian Dior creative design head Hedi Slimane commissioned a trio of colognes for the Dior Homme line. They were Cologne Blanche, Bois D'Argent and Eau Noire. Eau Noire was designed by Francis Kurkdjian and was to be a scent, like Annick Goutal Sables, which used immortelle as the central core to build this cologne around. Immortelle has, to my nose, a powerful and distinct maple syrup accord and it can be that loud talker in the room that doesn't let another note get a word in to the conversation. That makes it a tricky note to work with as a perfumer and a tricky note to appreciate as a colognoisseur because if you don't like it its hard to get away from it. The top of this is immortelle barging into the room in all of its powerful glory but wisely M. Kurkdjian has chosen to allow clary sage to arrive at the olfactory party at the same time. I found this to be an interesting choice as it makes the immortelle feel more incense-like than sweet and it is a good partner to immortelle because it does accentuate a different facet of the dominant note. The shift into the heart comes as the sage moves over to a corner and lavender joins the conversation. In much the same way that sage accentuated the incense quality of immortelle, the floral lavender brings out the more floral quality of immortelle and makes this feel, almost, like a debate of equals. Finally the lavender is exhausted by the everlasting immortelle and in the base vanilla enters the fray and here allows immortelle to be what it is most commonly, the maple syrup sweet over some vanilla flavored pancakes. Here is where immortelle finally arrives at what we expect and immortelle finds a conversational partner that can hold its own against it. Many perfumers realize when you have a central note to be the center of conversation it is important to find partners that allow the listeners to appreciate different aspects of the thesis. M. Kurkdjian has done this in such a way that as you close the door on this olfactory party you don't even mind that the loud talker was in the room.

Frederic Malle Bigarade Concentree

I grew up next to an orange grove in S. Florida. Much to the chagrin of the grove owner I would spend many an afternoon up in the branches of his trees eating the, literal, fruit of his labors. Sitting up in the high branches of an orange tree with the tropical sun beating down on me, sweaty from climbing and covered in orange pulp and juice. That carried a unique scent for me that I thought I would never experience again as my orange tree climbing days are behind me. Until I had the good fortune to spray Jean-Claude Ellena's 2002 creation for Frederic Malle, Bigarade Concentree. This was a follow-up to his 2001 scent Cologne Bigarade also for Frederic Malle. Bigarade Concentree uses the same four central notes of bitter orange, rose, hay and cedar as Cologne Bigarade but the balance and intensity in Bigarade Concentree makes it a much superior scent. The top starts with the bitter orange but that bitter accord also carries a green, tree sap kind of quality with it too and it smells like the rinds of oranges ripening in the sun. There is a cumin like sweaty accord present here that is not accounted for in the note list. This has a very similar feel to Hermes Eau D'Hermes and as Ellena is a big fan of that scent I have a feeling it was intentional on his part, his homage to that scent. As that begins to fade the very lightest of roses appear and then this is followed by the dried grass note of hay and the clean lines of cedar which in conjunction smell just like the sun-baked branches of an orange tree. Despite having Concentree in the name this is a very light composition and I can see it being very fleeting on some skin types. Thankfully on my skin it lasts and allows an old man to revisit his orange tree climbing days of his youth without fear of injury.

Acqua di Parma Colonia Assoluta

I am an avid reader of horror fiction and two of my favorites are Stephen King and Peter Straub. In 1984 I was giddy with excitement when I heard they were going to write a book together, "The Talisman". I didn't stop to consider that their styles were pretty different and the things I liked about one when added to the other might not work as well as it could. Flash-forward nineteen years to 2003 and I hear Bertrand Duchaufour and Jean-Claude Ellena are collaborating on creating Acqua di Parma Colonia Assoluta. Giddy with joy, again, but then I stopped to think how was Ellena's minimalistic approach going to mesh with Duchaufour's ability to plumb the depth of certain notes and accords? I spent a lot of time while I was reading "The Talisman" thinking this passage was written by one of the authors and that passage was written by the other. I was guessing I was going to feel the same way about Colonia Assoluta, and I do. The top seems all Ellena and the heart and base seem Duchaufour. The top that I ascribe to Ellena starts with an orange citrus blast which is then supported by a creamy, lemony cardamom and the light zip of pepper. This has the fingerprints of Ellena all over it. Each note holds its place and combines for a simple elegance. If this was Ellena's scent to finish, on his own, I would expect some simpler accord leading to a sheer base. Instead this is where I think M. Duchaufour's style comes to the forefront as the transition away from the top starts with a bold floral accord of jasmine and ylang ylang. It is beautiful but it doesn't flow as easily as it should from the top. It almost seems like I've layered a new scent on. The floral gives way to a Duchaufour signature woody base of clean cedar bolstered with a hint of incense and amber. As much as the top is classic Ellena the base is classic Duchaufour. Colonia Assoluta is a good scent and it leaves me in very much the same place I was when I closed the book after finishing "The Talisman". I enjoyed everything I just experienced but I wonder if just one of the creators was involved was there magic to be found here?

Serge Lutens Vetiver Oriental

I am an avid comic-book reader, excuse me graphic novel reader. One of the more fun books to read was a series called Marvel Team-Up, each issue Spider-Man would team-up with another superhero. Sometimes they were cool and sometimes they felt forced. The one constant to everything was Spider-Man. Vetiver sometimes seems like Spider-Man in that many perfumers look to team-up vetiver with new notes to see what will be found. So it is with the 2002 Serge Lutens Vetiver Oriental created by Christopher Sheldrake. If I'm looking for a perfumer who knows the art of the team-up M. Sheldrake would be the nose I'd most likely think of first. His ability to find two different versions of chocolate and patchouli in Serge Lutens Borneo 1834 and Chanel's Coromandel is testament to this ability. In Vetiver Oriental the team-up is to put vetiver on top of a traditional oriental base focused on amber and see what this produces. From the top the vetiver comes out, this is the vetiver that feels sweeter and less woody. I characterize this as more grassy and green than rooty and deeper. This is the opposite tack taken from Borneo 1834 where it was the rooty quality of patchouli that was emphasized. The heart of this is centered around iris and this is a perfect choice to hold the middle ground in this team-up. The iris here is both sweet and slightly astringent and actually serves more as a palate cleanser than a real heart of this scent. The heart is the base which is a mix of chocolate and amber. It is the combination of these two notes that create the Oriental half of things. This is a sweet amber combined with a less-dominant cocoa powder accord to keep the sweet of the amber in focus. The best part of the development of Vetiver Oriental is when you get the contrast of the bittersweet green of vetiver, the floral sweet of iris and the deep rich sweetness of amber all together it is truly a beautiful team-up. It reminds me of when Spider-Man and The Hulk teamed up and what sounded forced turned out to be surprising and fun. Christopher Sheldrake has made a scent that is at turns surprising and fun, another successful team-up.

Carlo Corinto Vetyver

It is said, on Wikipedia, that vetiver is present in 90% of western perfumes. For a note that is so widely present it is always surprising to me how versatile it is as an ingredient. As I write this I think of all of the different vetivers I've tried and how they are distinctly vetiver-focused. The best of them manage to find a style and sensibility to call their own and to stand apart from the crowd. So it is with Carlo Corinto Vetyver which first appeared in the 1980's. This is not the same scent which is currently being sold as Carlo Corinto Vetiver the spelling lets you know it is the original version. The newer version is nice, the original version is spectacular. The top is classic lavender and citrus but it only lasts for a little while as the vetiver comes to the fore quickly and takes over the proceedings. The vetiver accord here is a cross between the sweet version present in Guerlain Vetiver and the smoky version present in Frederic Malle Vetiver Extraordinaire. When I say cross that's what I mean in that it never reaches the sweetgrass feel of Guerlain or the campfire smokiness of Extraordinaire. Instead in Vetyver it is more like walking through a field of newly growing vetiver in the spring that still has some remnant of the fall burn lurking about. This mix of smoky and sweet is what makes Vetyver a real stand-out for me. The base is a strong hairy-chested sandalwood which is to be expected from a scent that was born in the powerhouse 80's. For those who want a strong masculine vetiver-based scent, with longevity and sillage, Vetyver is very likely the scent you are looking for. This is a sophisticated, thinking man's kind of scent. Too bad Carlo Corinto has chosen to dumb this down and release it as Vetiver these days.

Costume National Scent Intense

Laurent Bruyere designed Costume National Scent Intense in 2002, sadly he passed away at the age of 43 in 2008. Many will likely remember him as the co-designer with Dominique Ropion of Thierry Mugler Alien. I will choose to remember him for his line of perfumes made for Costume National of which Scent Intense is my favorite. When I was early on in my perfume discovery phase I was looking for a different kind of amber. Scent Intense was recommended because it was simple and led to a different kind of amber at the end. That advice was spot on. M. Bruyere uses as his inspiration for the entire Scent line that of hibiscus. Growing up in S. Florida we had many hibiscus growing in our yard and neighborhood. I was dubious that the very delicate sweet scent of these flowers could be captured in a scent. In Scent Intense the top is a smoky tea note with a very delicate floral character to it. The note list identifies it as "jasmine tea" but the usual intense sweetness of jasmine is tamped way down in favor of the tea. It is that supression of the sweet which allows the hibiscus note to float free in the heart of this. This is as I remember hibiscus smelling on a humid morning in my yard. Very delicate and yet unmistakably floral in nature. the tea combines beautifully with this and allows the delicacy of the hibiscus a platform to radiate from and shine. The base is a warm amber which is the appropriate soft landing for this scent. There are some woods off in the distance but the base is really all about the amber, on me. Scent Intense is another of these scented haiku which manage to do with four notes what many other scents fail to do with the kitchen sink.

Helmut Lang Eau de Parfum/Helmut Lang Woman

In 2000 Helmut Lang had Maurice Roucel create two scents for each gender Helmut Lang Man and Woman. In reality they were two different strengths of the same scent with Man being the eau de cologne version and Woman being the eau de parfum version. It is curious that a brand like Helmut Lang which was known for its androgynous clothing designs actually made an effort to gender classify their signature scent. It is equally curious why he chose M. Roucel to design these scents as his scents have a lushness to them that also seems to be the antithesis of the Helmut Lang design aesthetic. Especially since these two scents are really only different in their emphasis on certain notes I find that I prefer the Eau de Parfum version as it has a strength to it that appeals to my aesthetic. The top starts out with a soft entry on a wave of florals dominated by jasmine and lily. This is a fleeting short-lasting top as the real business of this scent takes hold as musk and rose hold sway in the heart. This combination reminds me very much of Serge Lutens Muscs Kublai Khan as it contains many of that scents deeper muskiness without the intensity present there. The base of this is a creamy mixture of vanilla and woods including sandalwood mostly but joined by some cedar to add some clearly defined lines to the woodiness. Helmut Lang EDP is mostly about musk, on me, and it comes off light and appropriate for daily wear. Where I would never think about wearing Muscs Kublai Khan into the office I happily wear this one. Does that make Helmut Lang EDP, Muscs Kublai Khan Light?

Andy Tauer Orris

Andy Tauer is one of the nicest guys in all of artisanal perfumery. He is generous about sending out samples to the community, very forthcoming with information and clearly loves perfume. So why don't his scents send me the way they do others. Tauer has hit a solid 50% and even the ones I like are not my great loves. Until now. I had heard about Orris, the 2006 very limited release, and based on the note list it sounded like my kind of scent. Of course based on the note list L'Air du Desert Marocain is also my kind of scent and it leaves me cold and wanting more. Orris was first released as a series of samples to his faithful blog readers, see what I mean about nice. Then after much begging and pleading Tauer released a very limited edition of 200 bottles. The reason is that it is difficult to source the quality of materials needed to make this scent and that quality is evident at every stage of this one. I am a lover of iris and rose and the use of these with many of my other favorite accords might make Orris as close to a perfect scent for me as I'm likely to find. The top of Orris starts with the mix of iris, rose, pepper, cinnamon and grapefruit. The floral character is what hits my nose first followed by the tang of grapefruit and the zing of pepper and cinnamon artfully kept at a level that keeps the spices from overwhelming the florals. The iris, rose and cinnamon linger and are joined by what might be my favorite incense accord. This is is not the high mass incense or the head shop incense, this is incense from inside a Tibetan temple in which a fire is built as there is a smokiness in conjunction with the sweetness of the incense. Combine this with the now-dominant rose and cinnamon and the heart of this is incredible. Finally the woods make an appearance as a mix of sandalwood and agarwood (oud) show up and now turn this scent into a woody wonderland as the creaminess of the sandalwood complements the strength of the agarwood and brings this to a resounding crescendo at the close. Orris is a deceptively strong scent as it feels like a skin scent but based on the people around me it has some sillage and projection. I'm not in the habit of saying I'm looking for a "holy grail" or the "one scent I'd save in case of nuclear holocaust" but Orris is definitely on the short list of scents I'd consider for those positions.

Hermes Eau D'Hermes

When it comes to Eaus I'm beginning to think that Hermes just knows how to do them. Starting in 1951 when Edmond Roudnitska created Eau D'Hermes. I love when a perfumer takes a very known entity and turns it into something that feels their own. Hermes seems to make a cottage industry out of it especially with eau de colognes. Francoise Caron did it with Eau D'Orange Vert and Jean-Claude Ellena did it most recently with Eau de Pamplemousse Rose. Roudnitska did it first, however, and Eau D'Hermes is a testament to his ability. The top of this starts off with the classic Eau de Cologne mix of citrus and lavender, the twist Roudnitska added was cumin. This takes the sparkling usual top off into a much more earthy, grounded direction. This same kind of top would be repeated very similarly in Cartier Declaration with less lavender. The cumin is also less than in Declaration which might make it easier on the cumin averse among you out there. For me the cumin makes the top very special and different. Eau D'Hermes comes to end on a slightly leathery note mixed with a little moss to give this a fougere feel at the end. This is a true Eau de Cologne and therefore will not have a lot of longevity on most people. It fares about the same on my skin as most of them and lasts for a decent period of time. It is always a pleasure to see an artist re-interpret something and Eau D'Hermes shows Roudnitska's skills in top form.

Czech & Speake #88

Are there floral scents that are masculine? There are certainly men who can wear floral scents but is there a floral scent out there that any man can wear? There are probably many but I would gues that at the top of many colognoisseur's list would be the 1981 creation of John Stephen, Czech & Speake #88. What is remarkable about Czech & Speake #88 is that out of seven listed notes only three are non-floral and to my nose I don't really smell two of them. This is a highly skilled composition which mix a number of floral notes in a very muscular style. The top comes across first with geranium, there is supposed to be bergamot here but I never get any hint of that. In many ways geranium comes off as a lighter rose and that leads perfectly into the heart as rose does take over. This gives the effect of a slowly ripening rose accord as you move from top to heart. Just as the rose begins to recede in comes a mix of cassie and frangipani to keep things on the deeper side. The scent finishes off with a huge slug of sanadalwood and the mix of the rose and sandalwood is marvelous. This last part of the scent, the mix of rose and sandalwood, lasts for a very long time and it is what you take away from a day of wearing this scent. So go ahead guys while you might not put a flower in your hair, spraying some Czech & Speake on your skin is not so scary.

Tom Ford Black Orchid

In 2006 Tom Ford was ready to take on the world of perfume and with Black Orchid he was looking to make a signature statement.Tom Ford was already well known to most perfumistas due to his design of Yves St. Laurent M7 and Rive Gauche pour Homme, Estee Lauder Youth Dew Amber Nude, and Gucci Rush. All of these were bold statements and I think I was expecting to feel the same kind of boldness in the first scent with his name on it. Instead I was met with a complex arrangement of notes which add up to one of my favorite mainstream releases. The top of Black Orchid is where the interesting stuff lies as it starts off with a shimmery bergamot which is quickly joined by jasmine and something that is earthy like patchouli but not quite patchouli. This is what I assume to be the (in)famous black truffle note. This is followed by a fruity accord which smells vaguely tropical. The black truffle note really adds something to the traditional fruity-floral and makes it something to keep sniffing over and over again. The top is so interesting and it does linger for a good while that one almost forgets that the rest of the scent while traditional is still quite nice. The heart becomes woody with the presence of the aquatic feeling lotus wood. This is rapidly joined by one of the creamier vanillas I've sniffed. If you like vanilla this is a beautiful presentation of the note. The base adds some deeper woodiness in sandalwood along with patchouli to finish in a conventional way. Black Orchid is marketed as a feminine scent but the floral aspect of it is only really present at the beginning. From there on the mix of woods, vanilla and patchouli make this trend more to the masculine side of things. Black Orchid is everything a successful mainstream scent should aspire to be but most of all its good.

Roger & Gallet Jean Marie Farina Extra Vielle

It is said that Roger & Gallet Jean Marie Extra Vielle is one of the earliest examples of a modern cologne. That it dates back to 1806 and is over 200 years old clearly puts it in a small group of contenders for that title. This is an eau de cologne which means lighter wearing and certainly if you're looking for sillage and longevity you should move along as there is nothing here for you to see. If you are a lover of well-constructed scents and have an interest in the evolution of the art of perfumery you should stop , spray some on and luxuriate in the beauty of a real original. The top of this is a beautifully bright citrus that just rises off my skin in a fresh wave. Then a note of rosemary adds a greenness to the citrus that brings it back to earth. Finally there is a development of florals that finally end up in a distinct light rose akin to rose water. It is light and refreshing befitting all that led to this place. It is fascinating when wearing this that this was very likely the first time these notes and accords were introduced. To think that this was the first citrus bergamot top and the first rose base makes this a perfume history lesson in a bottle. Also 200 plus years later it is still an example of everything an eau de cologne should be.

Thierry Mugler A*Men Pure Malt

When I saw the name of this for the first time my mind went to the candy store as I thought of malted milk balls. My mind should've gone to the liquor store and the single malt scotch aisle. The malt in the title refers to the malt used to make scotch and this 2009 follow-up to the successful limited edition A*Men Pure Coffee is as smooth as a 25-year old scotch. Most flankers take the approach of keeping one part of the parent in place and as it was in Pure Coffee in Pure Malt the A*Men base of patchouli, chocolate and coffee is where this scent ends. If you don't like that base, stop reading because it is identical to A*Men and nothing that comes before it will change that. Pure Coffee was good because the intense coffee note at the top helped tamp it down in the base and made the chocolate stand out more, to me. In Pure Malt the titular note has the same effect in making an aspect of A*Men stand out more. The top of Pure Malt is as advertised rich peaty malt. You smell the boozy character bolstered by the oaky barrel it is aged in. Then as this prgresses the caramel that is always present in A*Men is accentuated and brought to the fore by the Malt accord. It totally makes the heart of this different than either version of A*Men that have come before. It bears some similarity to B*Men but I much prefer this boozy beginning which leads beautifully into the caramel before the patchouli, chocolate and coffee come in to remind you of this scent's parentage. This is an ideal boozy gourmand and it is also going to be a nice summer scent as it comes off lighter than A*Men on me as a whole. This makes the second flanker of A*Men to be, what I consider, an improvement on the parent. Rarely is the sequel better than the original but these A*Men flankers are proving the exception to the rule.

Frederic Malle Geranium pour Monsieur

One thin mint, it is what John Cleese offers Monsieur Creosote in "The Meaning of Life". Too often for me one thin mint has led to a note which has resembled toothpaste to me and put me off of enjoying the rest of a scent, Cartier Roadster was the latest example of this. When reading the note list for this 2009 release by Dominique Ropion there it was again, one thin mint, in the person of peppermint right in the top. After spraying it on a card my worries were intensified as it smelled like the mint oil I used to make homemde minted toothpicks. When I sprayed it on my skin, much like M. Creosote, the mint did produce an explosion but a happy one. The top of Geranium pour Monsieur is a vaporous breath of mint, it is the mint brother to the camphor top of Comme des Garcons Monocle Scent One: Hinoki. This feels icy cool and feels like it fills up every nook and cranny in my airway and it is beautiful and fleeting. In the heart the promised geranium comes in as if after the explosion what was left was a vase holding geraniums. This comes off somewhat rose-like and somewhat green and is a near-perfect match to the mint at the top. The drydown is incredibly soft and I can see for many it being too soft as the base is all sheer and light white musk. It is almost too light for me and if it had just a little more bite to it this scent would be brilliant, for me. As it is it is still quite good and still recommended unless like M. Creosote you just can't abide one thin mint.

Montale Red Vetyver

Pierre Montale has made a name for himself with the extensive Aoud based line of scents he has designed for Montale. As much as I like and admire those, my two favorite Montales are non-aoud scents Blue Amber and the 2008 release Red Vetyver. Red Vetyver is a complex citrus forward scent and you won't hear me use complex and citrus-forward in the same sentence too often. Red Vetyver bursts to life with a grapefruit that sparkles over a base of vetiver. The razor sharp cut of vetiver in contrast to the citrus is a brilliant beginning. After a while the spicy kick of pepper joins the grapefruit and vetiver and this blend lasts for a good while and adds some heat to the chilly top. Red Vetyver finishes out on a bed of clean cedar and earthy patchouli which is the kind of depth you want a scent like Red Vetyver to close with. Red Vetyver has been unfairly compared to Terre D'Hermes and I think that comparison is because they were both introduced within a year of each other and they both start with such distinctive grapefruit tops. Terre D'Hermes is classic Ellena minimalism at play. Red Vetyver is almost the exact opposite of that and happily so.If you like the Montale Aouds cross over to the non-aoud side of the street and give yourself a chance to be impressed, like me.

Patou Ma Liberte

I grew up in South Florida and used to regularly ride my bike down to South Beach as a young child in the 70's. During that time the Art Deco buildings were crumbling and you could see the remaining glory in what was, as it was all falling apart. Why am I starting a perfume review with a reminiscence on Art Deco? Jean Patou as a House reminds me of that decaying neglected Art Deco South Beach of my youth. Patou has made so many amazing scents beyond Joy you just want someone to pick up this House and turn it into the perfume version of South Beach today and make it relevant again. The last good new release from Patou was 1987's Ma Liberte designed by Jean Kerleo. Ma Liberte is an example of what I think is an excellent unisex scent. At the top there is a livley heliotrope which is cut by citrus. This leads to a heart that starts with lavender and is joined by jasmine and light spices. There are hints of clove, nutmeg, and cinnamon all throughout this stage. The base is a pitch perfect balance of earthy patchouli, creamy sandalwood and clean cedar. Ma Liberte shows that Patou given over to the right hands could be as relevant and as adored as any House out there. South Beach turned around on the twin influences of fashion photographers shooting haute couture against the decaying deco and Miami Vice. I don't know what it will take to save Patou but Ma Liberte makes me wish very hard for it to happen.

Heeley Cardinal

Incense will always be one of my favorite notes because I've found that every perfumer is able to do something different with it. In 2006's Heeley Cardinal this might be one of the most accessible incense scents out there. It is certainly one of the most straightforward incense scents out there. Cardinal is a simple composition of five notes; incense, cistus, grey amber, patchouli and vetiver. As you can tell this is incense straight, no chaser. No floral accords or wood accords to get in the way just straight ahead incense. The top of this starts out with the incense in full flower just like you get from a swinging censer at High Mass. It stays that way for quite a while before it becomes modulated by the appearance of the amber which adds some warmth to things. The patchouli and vetiver show up in the base but they never become prominent more like grace notes to the incense. The cistus never seems to breakthrough to my nose at any point which is too bad because a light rose at the same intensity of the amber at the top might have turned this from very good into spectacular. What is here is the best incense "soliflore" I've worn. I like it better than Avignon because it is lighter on my skin and that makes it more versatile to wear.

Annick Goutal Sables

In 1985 Annick Goutal wanted to design a masculine scent for her husband cellist Alain Meunier, from that inspiration arose Sables. Perfumery is rife with scents inspired by loved ones and I always find it interesting what a perfumer will choose to pay homage to that loved one. Mme. Goutal made a very interesting choice to center Sables around immortelle, also known as the everlasting flower. Immortelle is one of the most distinctive notes in perfumery as with its distinctive maple syrup and herbal smell it is rarely confused with anything else. Immortelle is also a difficult note to work with because of its strength, a perfumer can't add too much delicacy because it will get overwhelmed and so the choices of other notes have to be bold, as well. Mme Goutal chose three notes to stand up to the immortelle and they are sandalwood, vanilla, and pepper. At the top this is all immortelle as the herbal maple syrupy smell is all-enveloping and very strong. Sables is a scent one has to be very careful about overspraying because I imagine too much of this, particularly at the beginning, would put anyone off of this one. For the first 15 minutes or so immortelle is all you get but slowly but surely the sweet sandalwood starts to moderate the immortelle and in this first phase it realy does help turn down the volume from the beginning. It is when the vanilla starts to interact with the immortelle that Sables becomes special for me as the sweet and dry vanilla takes away the sweeter character of the maple syrup and accentuates the herbal nature. This gets reversed in the base as pepper has the opposite effect and accentuates the sweet while tamping down the herbaceous character. I think Sables is not a safely recommended scent for everyone as the intensity of the immortelle could be a drawback to some. If you are a perfumista who likes intense notes and scents then this is well worth a try.

L'Artisan Fou D'Absinthe

Absinthe made its re-entry into popular culture via Baz Luhrman's "green fairy" swigging heroines and heroes in his 2001 movie "Moulin Rouge". Absinthe or more correctly the wormwood used to make absinthe seemed to re-enter the perfume world not too long afterward. In 2006 Olivia Gicobetti created Fou D'Absinthe and has, for me, done the best job of capturing the essence of absinthe as a scent to date. One of the notes listed for Fou D'Absinthe is frozen alcohol and the top of this scent gives off that icy feel of something that is vaporous as well and with the wormwood in place right from the beginning this evokes a frozen alcoholic drink. It is unique and marvelous. The heart is full of a peppery kick reminiscent of the burn in your throat as the absinthe slides down your esophagus. The pepper is the most prominent of the spices but there is also a nice slug of clove there as well. Finally the shot of absinthe has settled in your stomach and you get that warm feeling all over. In the base a mix of pine and patchouli play with the wormwood to add some warmth to the end of this one. The use of wormwood and the pine make for an astringency to go along with the warmth that the patchouli brings to the base of this. Fou D'Absinthe is a scent which evokes one of Satine's lines from "Moulin Rouge" as she asks one of her compatriots about a man and wonders whether to attract him she should be "bright and bubbly" or a "smoldering temptress". Mme. Giacobetti has created in Fou D'Absinthe a scent that starts off bright and bubbly only to finish as a smoldering temptress.

Serge Lutens Ambre Sultan

Maybe my two favorite notes in all of perfumery are amber and incense it is rare that I find the scent that combines them. It is even rarer that I find the scent that knows how to bring out the best in both notes at the same time. Christopher Sheldrake does exactly this in Ambre Sultan which was released in 1993. Ambre Sultan is for many perfumistas a baseline amber scent but I find it to be as much a baseline incense scent for me, too. A consistent comment of reviewers in reference to Ambre Sultan is the beginning is too strong, too chaotic, or too unfocused. On me the intensity of the opening is more like the fanfare you hear at a horse race calling the horses to the post. Breaking out of the inside position and showing early speed is is an amazing herbal mix of coriander and oregano laid over a track of sweet amber. This combination holds my attention early but I know that there are some other notes in this race. After we round the turn and enter the back stretch the track changes character to spicier, edgier amber which goes well with the middle running resins that make up the incense and amber middle portion of this race. Here is where the quality shows up and the front-running spices fall back but not all the way. The incense really blossoms and comes to the lead as the middle part of the race winds down. Finally, as we round the clubhouse turn and make the run for home the sweet amber is back and now the late-closing sandalwood and vanilla have joined the incense for an all-out run for the wire. The shifting character of the base from sweet to spicy back to sweet lays down a track that really allows the other notes to perform to their fullest in their part of the race. After the race is won I sit back and enjoy the memory of a well-composed ride from beginning to end and look forward to saddling up with The Sultan for another ride.

Le Labo Musc 25

For their 2008 Los Angeles exclusive, Musc 25, Le Labo wanted to create "angelic whiteness with a core of sin". To achieve this goal they signed up Frank Voelkl who is the nose behind Sarah Jessica Parker's Covet. As with the two other 2008 city exclusives this time the titular note is prominent and central to the scent. From the top you get a sheer white musk mixed with aldehydes. This is a quite lovely mix and is combined deftly to give this a clean beginning. The heart keeps the musk in place and adds a light rose to it. Towards the end of the heart is where the note that was described as " a synthesized representation of human semen" makes its appearance. While it doesn't reach the levels of in your face wretchedness of Etat Libre D'Orange's Secretions Magnifique it does turn this slightly sour on my skin. Thankfully like everything that came before it is only present in an ephemeral way and it doesn't last long, after that the base is almost refreshingly normal. As cedar and vetiver return the scent to its clean beginnings. Musc 25 is an ethereal scent much like many of Olivia Giacobetti's creations. This does create the stated ideal of surrounding an animalic core with angelic white. For me it is that animalic core's slightly sour feel on my skin that throws this one enough off the rails that I won't be lusting after this city exclusive as I have the other two. It is a thouroughly modern scent and I think on some people with those sensibilities this is going to be a flat out winner. Unfortunately I'm not going to be one of them.

Divine L'Etre Aime Homme

L'Etre Aime Homme translates to The Beloved Man and Yann Vasnier wanted to create a pair of scents centered around Immortelle and hopefully create a beloved scent. L'Etre Aime Homme is the latest in a number of recent scents I've tried to go for a close wearing spicy feel. This comes off as the antithesis of the old Orientals of the 90's which clobbered you over the head with projection and power. L'Etre Aime Homme is subtle and for all intents and purposes only meant to be beloved by the wearer. The top starts with bergamot and lavender, a traditional, almost generic beginning. Thankfully it takes a turn for the better pretty quickly as ginger and basil appear to add some spring to the step of this. It is here that the inspiration note of Immortelle begins to come in but it is a very light application of its signature maple syrup accord and it is almost immediately joined by cardamom which is an almost perfect transition from the zing of ginger to the soft spiciness of cardamom. The base starts to make its appearance as vetiver holds the edge that the spices have provided before. Vanilla and sandalwood come along to round this scent out and tie it off in a familiar combination. This is a beautifully done scent but if you want something that has projection beyond your personal space this is not that scent. That scent is Annick Goutal Sables especially if you like immortelle. This is instead the scent that only you can smell and allows you to have that knowing smile only a tuned-in colognoisseur should have.

Hermes Eau de Gentiane Blanche

What happens when a minimalist takes it too far? In modern art you get Robert Ryman who is known for huge monochrome panels mostly in white or off-white. In perfume you get the 2009 Jean-Claude Ellena composition for Hermes Eau de Gentiane Blanche. I am a big fan of M. Ellena's work and find his minamilist style to allow the notes he uses to have the space to expand to their fullest potential. Unfortunately in Eau de Gentian Blanche this group of notes needs some new companions to bring out their largely unrealizeed potential. Eau de Gentiane Blanche is four notes; white musk, gentian, iris and incense. When you look at that note list on paper it looks pretty good. When you think of M. Ellena interpreting them in his trademark style you think it might soar. From the beginning the iris shows first and it is light and allows for the gentian to join it. Too quickly the white musk is there and then a very faint incense comes out. This development happens in less than 30 minutes and after an hour the remains of the day are mostly memories. This is what happens when a perfumer tries to go too light in attempting to create a modern eau de cologne. Much like looking at Robert Ryamn's solid white panels I'm spending a lot of time convincing myself that there is some there, there when I think the answer is that there isn't.

Eau d'Italie Paestum Rose

Paestum was a city in the Roman Empire which was renowned for the roses which only bloomed twice a year. Bertrand Duchaufour is a perfumer who is in the midst of creating his own empire of renowned scents. Eau d'Italie is a line created by M. Duchaufour for the Positano, Italy hotel La Sireneuse and Paestum Rose was the second scent he created for Eau d'Italie in 2006. One of the things I look most forward to in a Duchaufour creation is the twist he will add to something I think I know well. Rose is certainly a note most colognoisseurs know well and M. Duchaufour finds a way to make it seem new to my nose in Paestum Rose. The top contains none of the rose, as a mix of pepper, cinnamon and currant start things off with a spicy tang. From here the rose comes in and it comes in on cat's feet slowly and quietly. All of a sudden the spices seemed to evaporate, like a morning fog, and the rose is left there. There is a hint of osmanthus to help add a little depth to the very transparent rose but this just flows lightly and lushly over my skin. Into the base, incense comes out followed by the unique feel of wenge and a light amber. If I told you a base was composed of incense, wenge, and amber you would probably be expecting the nasal equivalent of a downpour. What is amazing about Paestum Rose is all of the components of the base plus the rose are given space to breathe together and combine, to instead create the nasal equivalent of a spring shower that refreshes instead of drenches. Bertrand Duchaufour is one of the best and most consistent perfumers working today and Paestum Rose is an example of his talent in full flower.

Lorenzo Villoresi Piper Nigrum

There are scents that come along and make a big splash. Usually it is because they have something new to offer. In 1999 Lorenzo Villoresi released Piper Nigrum and this scent still has something new to offer ten years on. Piper Nigrum is the botanical name for black pepper and this is what makes Piper Nigrum different. There are many scents out there that use pepper to effect to add a bit of slap and tickle to the olfactory development. Piper Nigrum puts the pepper front and center and leves it in place for the whole development. M. Villoresi chose some other herbs to join the pepper at the top namely anise, and mint. The pepper is what you smell when you are walking through the spice section and you get to the shelf holding the ground pepper. There is an arid airy quality to the piquancy of the pepper. Add to this the tang of anise and the zip of mint and the beginning of this comes off as a trip to the spice market. The mint pulls away first followed by the anise to be replaced by woods namely the cleanliness of cedar and the creaminess of sandalwood. This along with the pepper makes for a different take on the pepper as it brings out more of its resinous, almost incense-like, qualities and it tones down the spiciness of it all. This development of the pepper continues into a classic contrast of sweet and spicy as a sweet amber pairs with the central note in the base. This juxtaposition really brings out the resinous quality of the pepper to its fullest extent. I can see why Piper Nigrum was so popular when it first hit the scene. What I don't understand is why it still isn't talked about as it has a singular quality I haven't found in any other scent I've worn to date.

Parfums de Nicolai Maharadjah

Patricia de Nicolai has shown that her Guerlain bloodline runs true and as the grand-daughter of Pierre Guerlain will always have that mentioned. More's the pity because I think she has now achieved a status where she is creating more new and noteworthy scents than the House which she shares her genetics with. 2006's Maharadjah is a good example of a de Nicolai creation. When you hear Maharadjah you think of India and you probably expect some cumin somewhere in the mix. Then you spray on Maharadjah and you are greeted with a strong opening but instead of spices what you get is lavender. Actually I should restate that, you get Lavender with a capital L. I'm one who likes his lavender but this is an industrial strength blast of lavender. I like it but I can see it being too much for some. The lavender sticks around for a good long time before the expected spices start to appear in the heart. This does have spices that begin with "c" but not cumin and not with a capital "c". The spices here are clove and cinnamon. They very slowly come forward and eventually push the lavender to the background. Once the spice firmly takes the wheel this scent does turn the corner into the expected spicy oriental territory a name like Maharadjah would lead you to expect. The cinnamon comes off very warm on my skin and pretty long-lasting. The spices stick around as sandalwood and patchouli close the scent out with a creamy conclusion. Maharadjah is not a scent for everyone and I imagine the strong lavender at the beginning will be a turn-off for many but it is this level of the unexpected that makes Maharadjah such a fascinating scent for me.

Esteban Colere D'Epices

It is always a joy to discover a new House and in this first effort that I've tried from the Parisian niche House, Esteban its even better when the scent is good, too. Esteban's stated purpose is to marry Mediterranean and Japanese aesthetics in their perfumes. The 2007 release Colere D'Epices is translated as the "Wrath of Spices" and is part of the Collection Couleurs. This is another case of the name having little to do with what it smells like on my skin. The spice part is accurate but I feel anything but wrathful over this scent. Cardamom and ginger start things off and this is a beautifully subtle start. Cardamom adds a hint of lemon and in conjunction with the richness of the ginger makes the top spicy and breezy. The transition into the heart begins with the appearance of a clove note which then moves into a light floral dominated by heliotrope. It is here in the heart that the stated Japanese aesthetic is most prevalent. The floral nature is kept at arm's length and it never moves into a full frontal floral. The heliotrope is an equal partner with the clove. The base is also a finely balanced mix of amber and musk. The musk comes off as a sheer white musk mixed with a strong, not sweet, amber. To my nose Colere D'Epices definitely succeeds at making a scent which has Mediterranean influence but done in the way of a zen garden where as you focus on each individual component it is nice but taken as a whole it transcends its ingredients. I am now very curious to try more from Esteban.

Armani Prive Ambre Soie

I have slowly but surely worked my way through all of the Armani Prive scents. I admire the intent to make high quality, read niche, scents under the Armani banner. On me for the most part they have been successful as I have enjoyed most of them. I have found all of them to be close wearing, long-lasting and well-constructed scents. Ambre Soie was the fourth of the Prives, created by Christine Nagel, in 2004. It definitely shares all of the genetics of its labelmates. At the top a stiff burst of ginger, clove and cinnamon start this with a spicy jolt. From there the amber begins to come in and of the three spices that start the scent only the cinnamon remains to combine really nicely with the amber. This is a sweet amber and in conjunction with the cinnamon it comes across as not too sweet and not as gourmand-like as some other ambers like Hermes Hermessence Ambre Narguile. As this moves into the base I get a nice bracing shot of cedar to add some clean lines to the amber and to finish things in a rousing style. Like all of the Prives there are better examples out there of the central note and style of these scents. Ambre Soie will not be my number one amber scent but it very likely will make my top 10.

Comptoir Sud Pacifique Vetyver Haiti

Vetiver may be the most malleable and used note in all of perfumery. Although bergamot would have a case to make, you rarely find bergamot as the centerpiece of many scents. The many takes on vetiver and the ability for perfumers to find new ways to use it without them all feeling the same makes vetiver-centric scents an ever interesting field to explore. Comptoir Sud Pacifique is really more known for its line of Vanilla centered scents and in 1977 Vetyver Haiti was their attempt to marry their vanilla sensibility to vetiver. At the top lemon and bergamot start with a light citrusy feel. I think I would've preferred a sharper more bitter citrus instead of the bright citrus because the bright citrus there, is quickly overwhelmed by a combination of vetiver and carnation. This mix of the green of vetiver and the spicy clove character of carnation make for a spicy heart. The vetiver stays firmly in place but the spiciness of the clove fades away and the vanilla that Comptoir Sud Pacifique is known for comes in. I was expecting a bracing blast of sweet vanilla as that is the hallmark of the rest of the line. Instead this is a lightly applied vanilla and it comes as a perfect light and sweet contrast to the clove in the heart. This mix of vetiver and vanilla stays finely balanced on my skin for many hours and is a lovely companion for the time it is there. Once again I am happy to find that in a different pair of hands a new aspect of vetiver can be discovered.

Jean Patou Chaldee

You have to love the internet because without it I don't know if colognoisseurs would be able to try some of the vintage classics. Now that the whole world is one big Estate Sale we can find ways to expereience these classics. Jean Patou is a House of many discontinued gems and it is mainly through the mechanisms described above that I am able to wear these creations. Chaldee was created in 1927 by the in-house nose Henri Almeras. In the mid 20's sun tanning and looking brown had been made chic and Patou wanted to create one of the first sun-tanning oils and did that in Huile de Chaldee. M. Almeras took that beginning and turned it into Chaldee the perfume. With that inspiration you might be thinking Bain de Soleil ( for that go to Bond No. 9 Fire Island) or Coppertone (for that go to CB I Hate Perfume At The Beach 1966) or cocoa butter (for that go to Estee Lauder Bronze Goddess) and you couldn't be further from what Chaldee smells like. The top of Chaldee blows in with a light bouquet of orange blossom to start. Then like a florist adding to his bouquet M. Almeras begins to add lilac followed by jasmine and then finishes with narcissus all deep and thick. At this point Chaldee is a deep floral melange that floats airily above my skin. You would think the combination would be heavy but instead it is light and beautiful.The base of this is perhaps one of my favorite amber accords ever as it is combined with oppopanax to create a warmth that seems only appropriate for a scent which was inspired by the sun. I grew up in South Florida and cherish the smell of the beach, from the surf to the tanning products, but Chaldee definitely doesn't smell like any beach I've ever been on in my lifetime. The one thing I do know is if the beaches of France smelled like this in the 20's I want to find myself a tricked-out DeLorean to take me there.

Hermes Eau de Pamplemousse Rose

Jean-Claude Ellena has been blazing quite a trail at Hermes since taking over as House Nose. The extension of the Jardins and the creation of the Hermessence lines have been mostly triumphant to me. It was with a lot of interest that I approached Eau de Pamplemousse Rose. In 2009 Ellena wanted to add a couple of new editions of eau de colognes to Hermes' 1979 classic Eau D'Orange Vert which was created by Francoise Caron. Ellena had stated he wanted to offer new interpretations of Kolnisch Wasser. This collection of Eau D'Orange Vert, Eau de Gentiane Blanche, and Eau de Pamplemousse Rose are to be called collectively "Les Colognes Hermes". How would Ellena's minimalist style mix with an eau de cologne style meant to be light and airy? The top of this starts with the titular grapefruit and it is so realistic that it is a transcendent note. It is a pity that it lasts for what seems like only a few minutes. As the grapefruit disappears the more familiar and longer lasting citrus note of orange takes its place. Because that grapefruit note is so beautifully realistic the orange is almost a disappointment to my nose. Thankfully the heart of this picks up the slack. It is here that a very sheer rose note appears along with a green note I couldn't quite place but also left to be sheer and it felt like I was smelling my rose garden after mowing the lawn. According to the note list the green is coming from a new note called rhubofix which is supposed to impart "a zesty freshness and unique green rhubarb effect". I definitely get the green effect and it does seem to keep the zestiness of the citrus at the top. The base is all vetiver and it is the right compliment to the citrus and the rose and it is also kept on the light side. Ellena has a love for the light and I find Eau de Pamplemousse Rose to be closer in style to the two early Jardins, Mediterranee and Sur Le Nil than to Eau D'orange Vert. On the other hand I do find Eau de Pamplemousse Rose to be a quite modern take on Eau de Cologne and Ellena has shown once again that he is attempting to keep Hermes both commercial and artistic. So far, so good.

Kenzo Jungle Le Tigre

Dominique Ropion created a pair of scents under the Jungle brand for Kenzo. The first in 1996 L'Elephant is one of my favorites. Its zoological companion, Le Tigre, was released a year later in 1997. The two scents are very different but yet there are some similarities. Both scents show a willingness on the part of the designer to try something different. The top of Le Tigre starts conventional with a shot of bergamot but it is joined with a tart kumquat note which adds an edge to the beginning. Also along at the beginning is the note Davana which is an African savanna grass. There is a grassiness below the citrus top and that must be the Davana. It is a quite beautiful beginning. As it continues to develop it becomes more floral as osmanthus becomes the dominant note. Through this stage the scent treads fairly traditional fruity-floral territory but the presence of the Davana gives it a different feel. The joy of Le Tigre comes in the drydown as the sweetness starts to recede and first cinnamon makes its appearance in spicy counterpoint to the sweet that has come before. To pair with the cinnamon is an amazing woody base which has hints of coconut to it. This woodiness comes from Massoia and it is just an incredible finish to this scent. Le Tigre is a more starightforward scent than L'Elephant but the use of the African notes of Davana and Massoia give it a unique character and one keeping in the spirit of being in the scented jungle.

Theo Fennell Scent

Theo Fennell is a British jeweller who designs fairly bold and theatrical pieces of jewellery. In 2007 Theo Fennell enlisted Chritophe Laudamiel to create a signature Scent for the House. What M. Laudamiel created was a hide-and-seek oriental that twists and turns as much as a snake through one of Theo Fennell's gold skulls. From the top Scent starts off with a strongly animalic musk combined with cumin. The cumin is there to add to the musk and not to take the lead. This is a bold beginning and as it pulls back over time a floral mix of rose and jasmine push their way forward and completely transform this into a floral as the musk seems to disappear completely. Then the same happens again as vanilla and sandalwood slowly come forth and they turn this into a woody vanilla scent and then over time the musk returns to bring this full circle. Theo Fennell scent is an ever-changing tapestry of notes and it is interesting to wear as just as you start to get comfortable with a phase the next one begins to take shape and change the nature of what came before. I'm not sure I want that kind of mutability in all of my fragrances but once in a while a scent that can't make up its mind on what it wants to be can be kind of fun.

Chanel Cuir de Russie

Chanel has all of the history that Guerlain does as a House and it also had its early 20th-century genius of scent in Ernest Beaux. In 1924 he created Cuir de Russie, what was daring about this was he chose to use leather as the center of a women's scent for the first time and created a classic. Flash forward to 1983 and Jacques Polge takes over at Chanel and looks to revive this Ernest Beaux classic as one of "Les Exclusifs". Cuir de Russie had to be reformulated because the birch tar that Beaux used in the original was no longer allowed as an ingredient. The beauty here is Polge shows he is up to the task of restoring a masterpiece to life by understanding how to hold the previous structure. At the top there is a burst of aldehydes and jasmine that tickle the nose. They are like an amuse bouche for the nose as the animalic business of Cuir de Russie comes in straightaway as the leather comes in and stays at first underneath the jasmine and then in combination. There is a moment of pure olfactory bliss as the sweet jasmine and the sweet animalic leather reach a balance that is just magic to my nose. It is a fleeting moment as the leather takes over the heart of this, rich and supple. As this develops further into the base I get a little of the clean lines of cedar, some warm amber and a hint of vanilla but mostly it stays leathery and gorgeous. I've had the opportunity to compare the original Beaux composition with Polge's and outside of what seems to be a slightly more intense leather phase in the heart Polge's reformulation is a smashing success at recreating a masterpiece of perfumery. One could only wish some of the other Houses would treat their classics with such respect.

Issey Miyake Le Feu D'Issey

When a scent is described as a "colossal failure" and "ahead of its time" it does make one wonder which was right. What one generally finds is reality tends to fall inside the extremes presented by those quotes. So it is with Jacques Cavallier's 1998 creation Le Feu D'Issey. One thing I can say with confidence is that this is not an easy scent to categorize. I've worn it five times and it seems different on me each time. My wife has worn it twice and it has been different on her, too. I think a scent should have some consistency from wear to wear but Le Feu D'Issey sure seems to confound that postulate. At the top I get bergamot and the smell of coconut. This is not the rich smell of grated coconut or of coconut milk. This is the raw smell of the water contained in the nut in the center of the coconut. It contains some of the richness of the meat of the cocnut but it also has a pungency to it. I think it is this accord that cause some people to refer to the opening of Feu D'Issey as smelling "spoiled". For me this is a pungency that I have not encountered before in a scent and on me it wears quite nicely. From wear to wear the strength of this beginning seemed to be slightly stronger or barely there. As this progresses into the heart, jasmine and the controversial milk note come into play. I've only run across one other scent with a milk note, Lostmarc'h L'ann A'el and the milk note here is used as contrast to the jasmine and it creates a richness that brings out the sweet of the jasmine without it being overwhelming. Add to this a light use of rosewood and the heart is a lightly sweet combination of sweet floral and sweet wood. This aspect was consistent from wear to wear. The base went back to being confoundingly difficult to nail down as it seemed like I encountered a different wood every time I wore it. One wear it felt like a creamy sandalwod, another time it was the clean lines of cedar, still another time it seemed like gaiac. Partnered with it was vanilla which was a near perfect transition from the milk accord in the heart. So where do I come down on this one? Surely not "colossal failure". This is envelope pushing perfumery but a fragrance that has an inability to settle down on a person's skin and offer a similar experience from wear to wear is never going to be something the average colognoisseur will seek out. "Ahead of its time", I'm not sure I'm there either this feels kindred to many of the androgynous unisex scents being produced in the late 90's into the new millennium. I don't think if Issey Miyake went back into production this would all of a sudden find an audience and become a huge seller. If I had to categorize this in two words they would be- noble experiment.

Comme des Garcons H&M

Comme des Garcons have come to be known for some of the better examples of incense scents out there. Avignon, Kyoto, and Hinoki are all examples of some of the better regarded of the line. In this 2008 limited release for the clothing store H&M Shyamala Maisondieu has added another star to the incense crown of Comme de Garcons. H&M would be a perfect gateway incense for someone who is a little nervous about smelling like a church at high mass. At the top there is cedar but it is a restrained cedar the kind of airy cedar you would get as if you were sawing a cedar board. The real core of this scent then comes in as the incense makes itself known in short order. The smell of this incense brings to mind the smell of the box of incense cones I had as a teenager. It is incense but in a concentrated form which also had a slight metallic smell to it. Don't get me wrong this is full throttle incense, the metallic note is light and not nearly as prominent as in Bond No. 9 Silver Factory. The scent transitions to full resinous pine base to go with the incense and this brings this home beautifully. Comme des Garcons H&M, if it had a wider distribution, has all the qualities to make it a big success. It has a niche feel without getting too out there. It keeps an admirable restraint on all of its development and it is a fairly linear scent without offering up any jolting surprises. H&M shows off its Comme des Garcons pedigree extremely well.

Hermes Un Jardin Sur Le Nil

I make no secret of my affection for Jean-Claude Ellena and find him to be one of the most consistent perfumers out there, for me. The scent that sealed the deal on him to my nose is 2005's Un Jardin Sur Le Nil. It was here where I learned what a designer could do with just a few notes artfully chosen and expertly woven together. The beginning of Un Jardin Sur Le Nil starts with a sheer run of citrus which pulls back to reveal a lush fruity note intertwined with the watery feel of lotus. The lotus has an aquatic feel to it that reminds me of the accord I get when standing next to a river. I then get a light woody note which wafts in with a sheer incense. The wood becomes stronger and more pronounced as the incense stays with it but recedes a bit. Un Jardin Sur Le Nil is one of M. Ellena's most assured compositions and I believe one of his best.

Acqua di Parma Lavanda Tonica

I really enjoy lavender but it can be a tricky note to pull off as it can be too astringent and come off harsh or too powdery and come off too light. In this 1999 release from Acqua di Parma the balance is just right. In truth I want a lavender scent that is going to ring my chimes to sort of hit the middle ground between the two extremes I described above, Lavanda Tonica achieves that. The top is a concentrated blast of lavender it comes acroos as intense but not harsh. It also sems more rounded than lavender is in other scents where it is the central note. The intensity of the lavender is all I get for a good while but eventually the other notes begin to stick their heads up. First I get a nice citric shot of lemon this is followed by an herbal air of rosemary and then a floral accord that seems more rose than anything else. As this finally comes to rest there is a nice sheer amber in the base which gives a nice soft landing. Lavanda Tonica is a strong lavender scent for those who want their lavender straight with no chaser.

Christian Dior Eau Sauvage

One of the great joys of wearing perfume is that I get a chance to personally experience the history for myself. It is why every time I wear an acclaimed classic like Edmond Roudnitska's 1966 creation for Christian Dior, Eau Sauvage, I am reminded how great artists transcend what is going on around them and lift their art to a new level. Eau Sauvage is one of those scents that does this. From the top the lemon and petitgrain beginning make for a light, crisp beginning. It is as the rosemary and basil mix with jasmine in the heart of Eau Sauvage that this attains the heights of classic. The green, herbal character of rosemary and basil in conjunction with the very light jasmine is the signature stage of Eau Sauvage and the place where Roudnitska shows off his artistry. This leads to a classic chypre ending of oak moss and vetiver. One thing to mention about Eau Sauvage is that as a creation of the 60's this is a scent that doesn't feel the need to raise its voice. It is a light close wearing scent that you can fool yourself into thinking its gone after an hour but you'll keep wondering why you're smelling a hint of it 12 hours later. That hint of genius has lasted for over 40 years, now. Not bad.

Jo Malone Black Vetyver Cafe

Jo Malone Black Vetyver Cafe is my favorite coffee scent out there. Usually when one mentions coffee you think that indicates the scent should be a full-blown gourmand. What is completely refreshing about Black Vetyver Cafe is coffee is used as an aromatic note and not as an excuse to roll out the olfactory buffet of food notes. This 2003 release by Jo Malone is a coffee centered scent that is different. From the top the coffee note calls out its presence but this is the coffee of the roasted bean prior to being ground up. I can smell the rich almost nutty quality of a whole coffee bean and it is beautiful. Where another scent would start piling on with chocolate and vanilla this one takes a different road and instead turns towards the woods . The heart of this contains a woody note which comes out in stages and acts as a bridge to the vetiver in the base. The herbal, green character that the vetiver imparts really compliments all that has come before and finishes things quite nicely. This is a beautifully composed scent which shows that coffee is a note which can stand all on its own without needing something else to go with it.

Creed Cypres-Musc

I've complained often about how some names of perfumes have nothing to do with what is inside the flacon. With this 1948 creation from the House of Creed I needn't have worried this perfume is all about cypress and musk, delightfully so. Right from the top the cypress is present and it is a beautiful astringent wood that has a beautiful aromatic scent to it. As the woodiness mellows I pick up the greenness that galbanum imparts as it adds a sense of life to the cypress. I have heard mint mentioned as a note many have expereienced with Cypres-Musc but I never seem to pick it up. The top and heart of this is all green and woody to me. The base is the advertised musk and it seems to balance the green beginning with something animalic and different. It could be a jarring shift in tone but the musk comes in slowly until after a few hours it has taken over and I hardly remember the shift happening. Cypres-Musc is very probably my favorite Creed that I've tried to date.

Parfumerie Generale Cuir D'Iris

Pierre Guillaume has really done an incredible job of creating a number of different scents in his Parfumerie Generale line. Over the course of these creations it is clear that he has a particularly deft hand with gourmand notes and with leather. In the 2008 release Cuir D'Iris, part of the Private Collection, he perhaps creates his most intense leather to date. Right from the top you get leather and it is the leather of a fine leather arm chair. At first that seems to be all that is there but then ever so subtly you smell the vase holding the bouquet of irises that is next to this armchair. This is a powdery iris which is delicateley added around the edges of the leather. I'm not sure I would've placed iris in the name of this scent for all of the heft it brings and the length of its stay. The heart of this mixes a little chocolate in with the leather this is the cocoa powder version of chocolate which comes across less rich and compliments the leather center. The base is all amber and leather and this is exquisite in its depth as the rawer edges of amber rough up the leather and make for an excellent ending to this scent. If you're an iris lover and not a leather lover I wouldn't bother with this one because the iris is really only there for a short time. If you are a leather lover this is a must try because it is one of the finest pure leathers out there, to me.

Guerlain Mouchoir de Monsieur

I love weaing the old classic Guerlains and while I feel they are timeless I also feel they hearken back to a slightly different era, too. I've also heard that this 1904 creation of Jacques Guerlain is supposed to be the EdT version of Jicky. I don't think I'm ready to go that far as I think the similarities have more to do with being Guerlain than trying to be a different version of an earlier creation. From the top it is lemon and lavender with a little bergamot and this is one of the deepest lavenders I've come to wear. I certainly find it deeper than Jicky's start on me. The floral heart of this is gorgeous as a light rose replaces the lavender and this is done in stages and when the lavender and rose are in balance at the interface of the top and heart, my heart like the Grinch's grows two sizes. The base is where the civet note which I think is what everyone seizes on to make the comaprison to Jicky appears. Here I find the civet to be more prominent, than in Jicky, and in perfect balance with the classic Guerlinade finish. Mouchoir de Monsieur translates to "gentleman's handkerchief" and it does remind you of a time and place where gentlemen carried and wore a handkerchief. What I find so amazing is it still feels relevant over a 100 years after its creation.

Diptyque Philosykos

It is always interesting to me to go back and visit the early work of aritsts I admire. These early efforts usually hold the embryonic beginnings of what will become their trademark style over time. Diptyque Philosykos is one of those cases. It was the third scent created by Olivia Giacobetti and released in 1996. It was interesting that Ms. Giacobetti was choosing to revisit fig as her central note as she had already used it in her first scent for L'Artisan, Premier Figuier, two years earlier. In that scent Ms. Giacobetti created a rich fig scent. In Philosykos her second take on fig was to strip it down to basics. Right from the top the fig bursts to life and come flying out of the gate. This is a green fig a few days away from being ripe. It is also a very dry beginning as if a warm arid breeze was wafting the scent of a fig grove towards you. As this progresses that imaginary fig grove begins to take shape as the leaves and the wood begin to accompany the fruit of the fig. Finally at the base this wonderful wet earth accord pulls this fig grove of the nose together in a beautiful way. Ms. Giacobetti will go on to perfect this accord in 2000's Frederic Malle En Passant but in Philosykos you definitely sniff its genesis. The overall feel of Philosykos of sheer central accords will be repaeated many times by Ms. Giacobetti and this is a good early example of what will become her signature style. Philosykos is one of my favorite fig scents because of that style.

Carthusia Numero Uno

Laura Tonatto undertook the task of creating perfumes for Carthusia back in 2006 and Numero Uno was released in 2007. Ms. Tonatto has created a very masculine chypre which develops in a fairly traditional way but holds true to what I think she was trying to accomplish. The top of Numero Uno is a classic, some might say ubiquitous, mix of citrus and lavender as a tart orange note is cut with lavender. This is the opening of many scent journeys and there are no new revelations made in this one just a competent opening salvo which is well-executed. It is in the heart where things get interesting as it is here where Ms. Tonatto chooses to amp up the herbal character of the scent by making thyme the central note but pairs it with ylang-ylang and a camphor note to give the heart of this a vaporous beauty that is unique as it revolves from aromatic herbal to lush floral to the iciness of camphor. This makes for a beautiful heart of this scent. The base is back on common ground as vetiver, patchouli and a hint of musk bring this back to familiar surroundings. For a man looking for a masculine chypre I think Numero Uno could be just the ticket.

Profumum Fiore D'Ambra

I do enjoy my amber centered scents and Profumum has one of my favorites in Ambra Aurea which used amber in a way which brought out its more strong lines. In this 2008 release Fiore D'Ambra chooses to explore the sweeter side of amber and is just as successful as its predecessor. Profumum can be frustrating with their note lists, for instance the note list for this scent is ambre gris and opium. Who knows what that means but it does free one to experience a scent without too many pre-conceived notions of what should be there. Other, than of course, amber which is in the name. From the top the amber is present and this is a sweet amber full and round. It is paired with a lovely sweet incense accord that amplifies the sweeteness of the amber without taking over the scent. The amber persists into the heart where there is a spiciness present but it has a floral character to it which makes me think carnation because there is a hint of clove. Again this is partnered well with the amber as the contrast brings out a different facet of the amber. In the base a soft creamy sandalwood mixes with the amber to finish this off in traditional territory with an accord I've smelled many times before and it feels like coming home as the amber and sandalwood mix together like peas and carrots. Profumum have now done two very different takes on amber and Fiore D'Ambra is every bit as good as Ambra Aurea, to me. If I was to be stuck with only these two scents as my amber contingent in my wardrobe I'd be fine with that.

Thierry Mugler Cologne

Thierry Mugler as a House is known for over the top gourmands like Angel and A*Men. Thierry Mugler cologne feels out of place against the backdrop of what came before but in 2001 Alberto Morillas took a different tack when he created Thierry Mugler Cologne. Thierry Mugler Cologne is supposed to be reminiscent of a soap used by M. Mugler in his youth. The top full of citrus does come off a little soapy but not in a bad way. It comes off as a homemade citrus soap which has a freshness to it not the defined edges that we usually get from citrus especially at the top of a scent. The heart continues with the crispness of the top and although not listed I get a vetiver feel at this point in the development. One of the notes listed is a secret "S" note, to my nose it smells quite herbal and closer to vetiver than anything else. The base is a light white musk which keeps this scent on the light side all the way to the finish. Thierry Mugler Cologne is not a powerhouse like Angel or A*Men it is a very light wearing scent that has an excellent duration on my skin. There is nothing particularly ground-breaking or special about this but there has to be a place for well-balanced clean smelling scents and this is one of those.

Balenciaga Ho Hang

Balenciaga would not be one of the first Houses that would spring to mind when asking a perfumista or colognoisseur to start naming Houses. That's a shame because Belenciaga as a House has put out some pretty bold and different scents which are still available at a reasonable price. On the women's side that includes Cristobal, Talisman, and Rumba. Sadly on the men's side there are only two scents left, Cristobal pour Homme and Ho Hang. Ho Hang was created in 1971 and for a scent created in the early 70's it manages to have that spicy oriental vibe of the time without feeling dated in the 21st century. Ho Hang starts off with the traditional mix of citrus and bergamot and while it is nothing new it is well-balanced and performs its function as the gatekeeper to lead you into the heart of this scent. The heart is a magnificent mix of rosewood and lavender. These two notes blend together to create a warm floral heart that is at turns sweet and dry, on me. The base starts with the clean lines of cedar and soon pairs it up with the green of vetiver which tempers the sweetness of the heart quite nicely. Ho Hang definitely hangs around on my skin for a long time and it definitely has some projection but not to the level of some of the big powerhouses from the 70's and 80's. If you're looking for a spicy Oriental that doesn't overwhelm give Ho Hang a try it just might introduce you to a new House.

Cartier Declaration Eau Genereuse

Flankers are not my favorite subject in perfumery. Very often they are weaker un-balanced versions of the original and suffer in comparison. Try the sport version of many popular fragrances to see where I'm coming from. Then someone like Jean-Claude Ellena takes the idea and actually does something incredible with it. The Declaration line he created for Cartier shows how a central theme can be re-interpreted over four different scents. I am a big fan of the original Declaration and as someone who likes cumin in his scents it is a great scent, for me. What about the cumin averse out there? Ellena's first answer was, in 2001, Bois Bleu which stripped the cumin out and left the remainder firmly in aquatic territory. While I liked Bois Bleu it had lost some of the citrus sparkle that was present in the original and I missed that. In 2003, Ellena designed the scent that retains that spark and created Declaration Eau Genereuse. This is Declaration without the cumin and it is all sunshine and light and wonderful, on me. The top recreates the citrus beginning but without the earthiness of the cumin the green notes are much more prevalent. The wormwood is also missing which removes the astringent woody aspects and keeps Eau Genereuse all on the side of lighter, brighter accords as the zesty cardamom and artemesia lead down to a cedar-centric base. This is a clean, fresh scent expertly executed in an Eau de Cologne style. That Eau de Cologne style means not a lot of sillage but on me it stays as a close wearing skin scent for many hours. Ellena has almost made me a believer in flankers. Maybe more appropriately he has made me a believer in flankers designed by Ellena.

Annick Goutal Un Matin D'Orage

I grew up in South Florida and one of the scents that reminds me of my childhood is gardenia. In my neighborhood there were gardenias everywhere and the sweet, sharp scent of gardenia reminds me of humid days and sunshine. Un Matin D'Orage which means Stormy Morning is a 2009 release by Isabelle Doyen the longtime nose of Annick Goutal. She wanted to evoke a Japanese Garden after a storm. I'm not sure about the Japanese part but a garden after a storm she hits right on the nose. That evocation of a post-storm feel comes right at the top as there is an ozonic note redolent of the way the air smells after a particularly active thunderstorm has passed. It is paired with an aquatic accord and really does a nice job of starting this off on the right foot. As this garden begins to dry out in the sun the scents of the different flowers come back starting with gardenia. Mme. Doyen does a marvelous job of capturing the sweet of the gardenia but there is a green sharpness to gardenia that doesn't translate as well and this gardenia accord stays firmly on the sweet side of things. The other floral in the heart to balance this is magnolia which is less sweet and keeps the gardenia in check and from dominating the development of this one. Finally in the base a mixture of jasmine and champaca bring the sweet level down a notch and finish this with a sense of night falling as the aquatic notes creep back in. Un Matin D'Orage is a 100-proof floral which does one of the best jobs of evoking the garden after a rainstorm I've smelled, to date.

Le Labo Oud 27

I've recently realized that Le Labo has been the House that has the highest percentage of scents I really like a lot. A lot of that has to do with the mix of styles that Le Labo puts out. The spectrum between the challenging mix of Patchouli 24 and the unique Rose 31 makes for a House that takes chances and at least for me has rarely fallen flat. Oud 27 is the 2009 release designed by Vincent Schaller and it falls closer to the Patchouli 24 side of things in the Le Labo universe. Oud is one of those notes that is not for everyone and Montale has made a cottage industry of putting out different versions of full-on Oud centered scents. Le Labo, I felt, was going to take a different tack and they do. From the top the Oud is there and it is strikingly bold. It is mixed with saffron and cedar. Oud is one of those notes that many liken to a medicine cabinet or more prosaically, urine. If you have tried an oud scent in the past and it does that on you then I expect the beginning of Oud 27 will be enough to send you screaming into the bathroom to scrub this off. I, on the other hand, love the smell of Oud I find it reminiscent of every bar I frequented in my misspent youth. It always smells to me like the mix of cheap booze, old cigarettes and yes maybe a little of the men's room in the back. I wouldn't call it a comfort scent but it is certainly a familiar scent and one I like. That all happens at the beginning but then its like walking out of that that olfactory bar and into a hazy summer night where somewhere a fire is burning. The scent slowly releases the Oud and uses an incredible mix of sweet amber, and a hint of rose. You can smell all of this while the cedar stays in place. The base of this is a nice rough leather which still retains hints of all that came before. Sort of like if I wore a leather jacket to my imaginary bar and was picking it up the next morning. I'd predominantly smell the leather but I'd catch whiffs of everything else, too. Oud 27 is a challenging scent and I can't recommend it for everybody. If you are a fan of Patchouli 24 I think there is a good chance you'll like this one. I know I do.

Jo Malone Sweet Lime and Cedar

Truth in Advertising is a concept we believe in and one thing I can say for the Jo Malone scents I have worn, the notes that are on the label are the notes that are prominent. No Le Labo bait and switch here. This 2008 release combines two of my favorite notes and executes a typical Jo Malone style beautifully. The top is the fresh blast of lime full of tart energy. The sweet is provided by a mix of jasmine and ylang ylang. The floral character is there to add a little contrast to the tartness of the lime but not to be an equal partner. Therefore the top comes off very much as a full-on citrus. The transition to the titular partner of cedar goes through a layer of spices that are light and fresh. The most prominent of which is cardamom. This is a quick transition and it gets you right to the very clean lines that cedar affords a scent and here the cedar just lasts and lasts on me leaving me with the epitome of a fresh and clean feeling. Sweet Lime and Cedar is one of my favorites of the Jo Malone line and it wears better on me than the flagship Lime, Basil and Mandarin, while sharing some of the same thoughts in composition. Its nice when you get what you asked for.

Cartier Declaration

Jean-Claude Ellena is my favorite perfumer and as a result I look forward to wearing almost everything he has created. One of the reasons that I enjoy his creations is, as with my favorite rock bands, the song may be different but the inherent style is always on display. In 1998 he created Declaration for Cartier and this is a beautiful scent full of Ellena trademarks. What makes this stand out is it has a little more of a modern edge to it than others of his creations. That modernity starts at the beginning as he chooses to combine classic bergamot with a bitter orange note to create a tartness which is then joined by the rich spiciness of cumin. This beginning is brilliant on my skin as the aromaticity of bergamot cut by the bitterness of the citrus along with the earthy spice of cumin offers different facets to enjoy. Cumin averse colognoisseurs should stay away from this as the cumin stage lasts for quite a while and is not subtle. The progression into the heart is led by another spice as cardamom uses its fresher feel to lead into a central core of green edgy woods dominated by wormwood and juniper. These woods are tighter spicier woods which keep this scent just a little on the green side of things. The base is a mix of the green of vetiver and the clean lines of cedar bringing Declaration home in a fresh burst. Declaration is a beautiful scent all on its own but it is also interesting because it contains themes that will return in scents that Ellena creates over the next few years. Another winner from Ellena for me.

Ungaro III

Sometimes I just want a scent that does the simple things well. Sometimes I don't want to have to work to figure out what is in each phase because the notes that are being used are obvious. Sometimes I like to see when a perfumer has embellished earlier themes. Ungaro III is one of those scents for me it was co-created, in 1993, by Francois Demachy and Jacques Polge. It is a fairly common progression of citrus, patchouli/vetiver, wood. It feels like a thematic brother to Polge's 1989 creation Tiffany for Men. From the top it is a classic mix of orange and lemon, it is bright and fresh and everything a colognoisseur has come to expect from a citrus-forward opening. The heart is patchouli, at first, soon joined by the edginiess of vetiver. Once again no new ground broken here but balanced nicely and adding some depth to the citrus beginning. In the base sndalwood adds smoothness and creaminess to the proceedings, making for a traditional closing argument. Ungaro III is a classic masculine scent, made in a classic masculine style. Sometimes that is all one needs to head out into the world.

Armani Prive' Cuir Amethyste

The Armani Prive line was an attempt by Armani to create their version of a niche line. The first two that I have tried of the Prives, Bois D'Encens and Vetiver Babylone have suceeded to my nose in achieving this goal. They were interesting if not terribly original scents which felt more niche than mainstream to me. I looked forward to trying Cuir Amethyste the 2006 release by Michel Almairac who did Bois D'Encens. This was billed as a violet and leather scent and it definitely lives up to it. Right from the top I get a beautiful full-on astringent violet and it is strong on me. If you do not like violet this will be too strong for you. I am a great lover of violet and so it is fine to my nose. A mix of patchouli and birch come into play as this progresses and it makes for a well-balanced and interesting heart. The base is where the leather comes in and this is a soft suede accord which is perfect to finish off the floral beginning. I have seen Cuir Amethyste compared to Serge Lutens Daim Blond and on my skin I don't agree. The violet comes off less sweet and more floral than the apricots in the beginning of Daim Blond. The final notes of suede are probably pretty close but the trip to that final accord is very different. Again I feel that Cuir Amethyste is a not terribly creative well-executed scent and if you like violet and leather it is worth a try.

Annick Goutal Musc Nomade

Musc Nomade is one of four scents in the Les Orientalistes line created in 2008 by Isabelle Doyen and Camille Goutal. The inspiration for these scents was said to be the smells of the harem. Up until now while enjoying the other Les Oriantalistes I haven't been whisked away to my mental seraglio. Musc Nomade achieves the stated goal admirably. Musc is one of my favorite notes to see interpreteted by different perfumers and in Musc Nomade MMes. Doyen and Goutal choose to go for the less earthy musc and instead use a combination of three white muscs to add a layer of brightness to this. At the top, the first of the white muscs comes out and it is paired with the nutty note of almond. The almond adds a little sweetness to the airiness of the musc and gets this off to a sparkling start. The heart undergoes a shift as the musc changes and gains a little more depth along with a new partner, tonka, Once again it is a little sweet mixed with the musc and creating a nice accord. The base is also a mix of musc and sweet in the presence of Bombay wood which is the sweetness of papyrus. As this progresses the musc gets a little more pronounced and a little more power until the mix at the end feels very sensual. This is a beautiful light musc which feels light on my skin but yet has a subtle intensity that I enjoy all during its development. No musc is ever going to be completely clean but Musc Nomade has the quality of feeling exotic and a little erotic which fits a scent trying to evoke a harem.

Etat Libre D'Orange Divin' Enfant

Antoine Lie has done two of my favorite Etat Libre D'Orange scents to date, Rossy de Palma and Vierges et Toreros. Both of those scents are very different and I was looking forward to see what M. Lie would do with a note list of: orange blossom, marshmallow, rose, mocha, leather, amber, musk, and tobacco. With a roster like that you would probably think gourmand but this 2006 scent doesn't come off like that on me. The top is the floral sweetness of orange blossom combined with the marshmallow note. This is that slightly sweet, slightly doughy note you get when you open the bag of marshmallows for the first time. It is that doughiness that keeps this from being too sweet. The sweet nature begins to modulate in the heart as the chocolate-coffee mocha note along with rose and a sweet amber keep this sweet. The coffee note is evenly balanced with both the rose and amber which keeps this from feeling like a coffee centered scent on me. Finally in the base the sweetness centers around the smell of leather and tobacco leaf combined with a deep musk. Divin' Enfant is a tone poem of sweet on my skin from the intensity of the top to a more restrained level in the base to a sweetness paired with animalic notes in the base. When I want something sweet that won't cause my insulin level to rise this is the style of scent I'm looking for.

Caron L'Anarchiste

It was early in my exploration of scents that I tried the Caron "masculine holy trinity" of pour Un Homme, Le 3me Homme, and Yatagan. They were all excellent scents on me. It took a little while longer for me to try L'Anarchiste. Richard Fraysse created L'Anarchiste in 2000 and it is encased in a striking copper bottle designed by Serge Mansau. This is one of those cases where everyone involved artistically on this should be pleased. The top notes are orange in the form of mandarin which quickly are joined by the clean lines of cedar. As this prgresses into the heart the orange becomes lighter and sandalwood joins the cedar to add a creaminess to the wood and to soften some of the edges that cedar brings to this scent. The woods stick around as a plush musk takes over and then the edge returns in the form of vetiver to round out the base. L'Anarchiste fits easily into the trio of Caron men's scents that came before. L'anarchiste falls closer to Yatagan than to either Le 3me Homme or pour Un Homme but really has its own unique place on the Caron spectrum. Looks like the "holy trinity" just gained a fourth.

L'Artisan Dzongkha

As a lover of incense scents Bertrand Duchaufour has become my "go-to" nose for these kinds of scents. In his incense portfolio he has Amouiage Jubilation XXV, CdG Kyoto and Avignon, and L'Artisan Aedes and Timbuktu. In 2006 he created a second scent for L'Artisan playing on some of the themes he explored in 2004's Timbuktu. If Timbuktu was the incense of the streets, Dzongkha is the incense of the temple. The combination of floral notes with the incense makes this a much more refined experience than Timbuktu. Right from the top there is a beautiful sweet floral which according to the notes is peony. This slowly becomes the more focused and less-sweet iris. The heart is a mix of the spiciness of cardamom, the smokiness of tea, and the watery sweetness of lychee. Underneath all of this, right from the beginning, is the incense. At the beginning it is lighter and taking second-billing to the floral notes. In the heart is has become part of the ensemble adding both smoke and sweet to the other notes. Finally in the base it has the stage to itself and gives off a memorable soliloquy for my nose. It is always nice that the constants in one's life are there and for me M. Duchaufour, incense notes and excellent scents are becoming as sure a thing as the sun coming up.

Maitre Pafumeur et Gantier Grain de Plaisir

Maitre Parfumeur et Gantier was formed in 1988 Jean Laporte, after his stint at L'Artisan. M. Laporte's vision for MPG was to create a line that hearkened back to Paris of the 17th century. These scents almost all have that sense of being from another time. Grain de Plaisir was one of the last scents M. Laporte designed before turning over the reins at MPG to Jean-Paul Millet Lage. Grain de Plaisir feels like a blast of freshness that one could belive being worn by a male courtier of the 17th century. The top of Grain de Plaisir is the most amazing citrus herbal mix. It is mostly lemon but I also detect some grapefruit along with a very green note which according to the note list is celery seed. This is the bite of lemon with a blend of green that is beautiful. The top of this lasts for an amazingly long time on me, which is unusual for citrus scents but this top is still in control on my skin two hours after application. Since the top is the best part of this scent, this duration is a good thing. The descent in to the heart begins with an almost minty pine accord which mixes with the remains of the citrus and celery quite nicely. The base is a sweet amber which is nice contrast to the tart beginning. Grain de Plaisir translates as a "moment of pleasure". For me this is much more than a moment of pleasure and the top notes of this are spectacular.

Etat Libre D'Orange Noel au Balcon

Noel au Balcon is the beginning of a Freanch proverb "Noël au balcon, Pâques aux tisons." Which translates to "If the weather is mild at Christmas it will be cold at Easter". In November of 2007 Antoine Maisondieu created Noel au Balcon as an exclusive to European Sephoras for the holidays. It was discontinued with the close of the holiday season in 2008. That's a shame because this is one of the best scents I've tried from Etat Libre D'Orange and with a wider distribution could have been a mainstream winner for the line, I think. The beginning of this is a beautiful honeyed fruit as the honey drenches a mix of orange and apricot. This is a restrained sweetness and it is a hallmark of this scent as M. Maisondieu uses notes throughout that if used with an unsubtle hand would've ruined this scent. This scent then takes a turn into the spices and pepper, cumin and cinnamon are the prominent notes in the heart. This could be a jarring transition but in this scent it is not. The progression is unusually smooth and the spices are a refreshing contrast to the sweet beginning. The base returns to a mix of sweet as vanilla and musk bring this one home. M. Maisondieu has created a beautiful interplay of sweet and spicy here. One thing is for sure this is not a "mild Christmas" so I can look forward to a less chilly Easter.

Jo Malone Dark Amber and Ginger Lily

Jo Malone is a British perfumer known for their simple one or two-note fragrances. As a line they are usually very high quality and they are ideal for layering. That is why the 2008 limited release Dark Amber and Ginger Lily was so surprising to me. For the first time this was a Jo Malone which felt like it was meant to stand all on its own. So much so that I couldn't possibly think about putting anything on top of this because it is so nice it would ruin it for me. The top of this scent begins with a light combination of spices. First to my nose was cardamom followed by pepper and then ginger. This leads to the heart where the ginger slowly morphs into a lily accord combined with incense. This scent was inspired by Japanese incense ceremonies and it is here where that mood is most evoked as the combination of floral and incense comes off near-perfect for me. In the base is where the amber finally makes its appearance and it is combined with a suede-like leather and sandalwood. I'm not sure this is a "dark amber" but it is a deeper less sweet amber than is usually present in the base of most scents. For me this scent is a complete triumph as it mixes almost all of my favorite things and does it in a way that keeps it from being jarring or banal. From spice to floral incense to woody amber this scent pleases me on every esthetic level I hold for perfume. As mentioned above this was a limited release in 2008 but it was brought back in 2009 also in a limited release and is as the time of this review still available. For me this is the best Jo Malone to date and is one of my favorites in any line.

Ava Luxe No. 23

Ava Luxe is another artisanal House, the creative force behind this House is Serena Ava Franco. One aspect of this type of perume House is the sense of experimentation that takes place. Where a larger House might put out one of two scents a year, an artisanal House might put out one or two scents a month. This leads to more misses than the average big House, but by being able to try different things when they get it right it can be special. Ava Luxe No. 23, released in 2007, is one of those times that its very right. Sandalwood is one of the more widely known notes to anyone who sniffs. In No. 23 Serena has chosen to see what sandalwood can do when paired with different floral notes. From the top the pairing is hawthorn and acacia this gives it a green character to start but still distinctly floral. It is in the heart where geranium and rose pair with the sandalwood that this turns lush. At the end it becomes a sweet amber and incense feeling scent on my skin although neither of those notes are listed. No.23 has been compared to Diptyque's Tam Dao and in construction that is probably not correct as the similarity has mainly to do with the strong sandalwood core of both scents. Tam Dao uses different pairings of notes to explore sandalwood than No. 23 does. One place they are similar is in their quality. As one who likes Tam Dao very much No. 23 holds equal standing to my nose.

Frederic Malle En Passant

One of my favorite scent associations is the smell of lilacs and the assurance that that smell lets me know winter is over for another year. Lilac is one of those notes that is notoriously hard to execute well. Most times it is used with a heavy hand and it comes off smelling like a heavy-duty air freshener. Then you have someone like Frederic Malle give Olivia Giacobetti, in 2000, the opportunity to create a scent around lilac and you get En Passant. Ms. Giacobetti has had transparency used to describe many of her scents and in En Passant that quality reaches its apex. From the top the lilac comes across boldly and for a moment I worry that the air-freshener quality is about to take hold. I needn't have worried because the heart is where Giacobetti's trademark transparency takes hold. She tones down the lilac and pairs it with a watery accord. This is how lilac smells to me after a spring rain as the breeze wafts the scent through my window. It is at once heady and close but yet subtle and far away. The brilliance of this scent is that this level of delicacy is maintained for hours on my skin. In other perfumes these kinds of delights are fleeting, in En Passant it is not. As this develops I finally begin to get hints of the wet earth the lilacs are planted in as there is a noticeable greenness that appears. The note list would seem to make cucumber the note responsible for this but it has much more of a wet soil quality to my nose. The one funny note that peeks in and around this scent as it develops is the wheat note which smells like freshly-baked bread, it never lingers for long but it plays peek-a-boo with my nose throughout the heart and base of En Passant. Once again the freedom Frederic Malle has given a perfumer has resulted in one of their best pieces of fragrant work. En Passant translates to "in passing" but it also refers to a chess move which, is not often seen and, is the only occasion in chess where the capturing piece does not move to the square of the captured piece. Olivia Giacobetti has also created a transparent lilac masterpiece that is also a rare piece of artistry.

Chanel Allure Homme

In 1998 Jacques Polge created the first scent in the very popular Allure Homme line of scents for Chanel. M. Polge doesn't really create anything groundbreaking here but he does manage to make the first of a line of designer scents that each have their own personality. In the original Allure Homme he starts with a citrus and bergamot top, it has a mix of both mandarin and lemon and it is really nice if not incredibly original. As Allure Homme moves into the heart there is a muted attempt to be bold as there are hints of pepper and labdanum. I honestly think I notice them only because they are in the note list. I wonder how much better this scent could have been if M. Polge had chosen to amp up the interplay of labdanum and pepper more in the heart. As it is they are shoved to the back seat as sandalwood takes the wheel and eventually picks up its regular rider in the shotgun seat, vanilla. I could wish for Chanel to have chosen to push things more but I think this is exactly what they desired from this line a solidly constructed, easily worn, conventional, masculine cologne. On that scorecard they go four for four.

Guerlain L'Heure Bleue

The more I learn about perfume the more I realize how much more I have to experience. I've come to be a big fan of scents I would classify as modern or edgy. A scent that takes chances and tries to combine notes in unexpected ways. Naturally I also expect that this scent would be contemporary in the date of its creation. Then there are days like these. Guerlain L'Heure Bleue was created by Jacques Guerlain in 1912 and this has everything I would want from a "modern" scent but it was created almost 100 years ago. L'Heure Bleue translates to "blue hour" and is meant to describe the twilight portion of the day as the sun has dropped below the horizon but the stars have not yet appeared. Like Jacques Guerlain it is one of my favorite parts of the day, too. I treasure it not for the tinge of blue that seems to be draped over everything but for the unnatural sharpness that the receding of the light seems to impart to my vision. L'Heure Bleue contains those kind of sharp edges I associate with modern scent making. At the top you are met with orange blossom and bergamot. This is a lovely light beginning reminsicent of the dying of the light as these are bright fleeting notes. The heart is that part of twilight that the night flowers begin to peek out. Anise is the note that shuttles my nose into the deepening dark as carnation and its clove-like character begin to take hold, this is soon followed by rose and violet. The base is vanilla and musk but it is superbly balanced and it is never too sweet or too animalic it is just right. L'Heure Bleue has been described as a melancholic scent and I just don't get that at all. It captures the end of the day and the potential of the evening ahead and I find that exhilirating just like L'Heure Bleue makes me feel.

Kenzo Jungle L'Elephant

Y'know how we say we want more movies that take risks or music that doesn't sound like anything else or perfume that is willing to take risks? Very often we say these things but it seems that these artistic efforts that live up to our desires never seem to stick around for long. Today's example is 1996's Kenzo Jungle L'Elephant. This was one of a pair of scents created by Dominique Ropion in this time period and both of them stand out from my impression of Kenzo as a standard designer of solid scents that don't necessarily push the envelope. At least back in the mid-90's the line took a chance and tried to do that and of course they both are discontinued. L'Elephant is full of the spices I love and while most scents would just stop there L'Elephant continues to accelerate seemingly adding every note in the perfumer's arsenal and somehow making it work for me. From the top this blows in on a stiff breeze laden with cardamom, cumin and clove. There is a hint of citrus but it is so fleeting it took my third sniff of this to convince myself it was there. No, the beginning of this is the cool lemon fresh of cardamom, the depth of cumin, and the heat of clove and it works wonderfully on me. If you are cumin or clove averse the beginning of this will be tough for you, let me ask you to be patient beacause as much as I like the top this one just gets better as it develops. The heart starts with a ripe floral mix of ylang-ylang and heliotrope; the contrapuntal beat is provided by anise and this is full-on licorice which in contrast to the sweet floral makes beautiful music. The note list again lists mango as a note but this time I can't convince myself that it's there. This heart smells like a chai tea as the spices are still there but way in the background. Just as I think things are on the verge of getting too busy in comes more in the form of vanilla and amber and these add to the richness of this scent. The development of this just kept piling on so much I was beginning to feel like the olfactory equivalent of M. Creosote and fearing the one thin mint note which would cause my nose to explode. Let me close this with a warning, this scent is not for everyone it has all of the subtlety of a jackhammer at times and then at other times it rewards you with subtle surprises as these notes interact and create different landscapes to explore with your nose. If you're not into trying weird things, stay away. On the other hand if you're a scent adventurer strap on your pith helmet and head into the Jungle and hunt up some L'Elephant.

Escada pour Homme

There are some mornings I don't want to be inspired by my perfume or have my perceptions challenged or to challenge other's perceptions. Nope, some mornings I just want to smell like a man, without having to resort to wearing Old Spice. On those mornings my eyes fall to a specific part of my wardrobe and one of the scents that fall into this category for me is Escada pour Homme. Escada pour Homme was released in 1993 and is one of those easily obtained very reasonably priced bottles that smell much better than their under $20 pricetag would lead you to believe. If you look at the pyramid for this one you'll see a ton of notes listed. I'm not sure that all of those notes are there but the ones that are present make for a really nice scent. At the top is a well-balanced opening of lavender and citrus, this is a classic beginning and it is done competently. The heart is a very nice melange of spice with sage and pepper being the more prominent players but there is also some juniper and cinnamon there to my nose, as well. The base is a smooth transition, all sandalwood and musk, once again very well blended. Escada pour Homme is one of those scents that I can recommend very easily because of its economical price and its expensive feel.

Diptyque Tam Dao

Diptyque started making fragrances in 1968 but in the last few years they have really begun to make an impact in the scented world. One of these impact makers is Tam Dao which was developed in 2003 by Daniel Moliere. Tam Dao has bcome a sandalwood reference standard because of the heavy presence sandalwood exerts on this fragrance. There are three other notes listed; rosewood, cypress, and ambergris. While many who love this scent mention it as almost a sandalwood "soliflore" it is more than that due to the presence of those other notes. From the top the sandalwood is clearly present but the note that pairs with it is cypress and the fresh cleanliness that cypress adds produces an edge to the richness of the sandalwood. As we move into the heart the rosewood begins to show up . The rosewood adds a subtlety to the sandalwood and as it becomes more apparent to my nose a suppleness to the development. The ambergris is the sweet version which intensifies the sweetness inherent in sandalwood and brings this to a beautiful close. Tam Dao is like a meditation on sandalwood in three acts and M. Moliere has used each of the partnering notes to explore a different facet of sandalwood. For those who like sandalwood Tam Dao is a must try scent as it should expose you to all of the potential it has as a note in perfume making.

Lostmarc'h Lann-Ael

Lostmarc'h is a perfume house located in Brittany in France. Lostmarc'h refers to the last beach in continental Europe. Lann-Ael translates to Angel Heath in Breton. This scent has been compared to a bowl of cereal with milk for the skin. With a note list of buckwheat, cereals, milk, apple and vanilla you can see where this comparison comes from. From the top for me I get the milk note but also a lot of vanilla and the apples are there but quite muted. Because I was in a cereal frame of mind when putting this on I found the comparison cereal to be Cap'n Crunch. This smells like I remember my bowl of Cap'n Crunch smelling after I had eaten all the cereal and there was a little milk left in the bottom of the bowl. What you smell at the top pretty much sticks around for quite a few hours as it develops it becomes creamier as the vanilla takes more of a central role. This is a really unique smelling scent that lasts quite a while on me. I can see wearing this to bed and having sweet dreams of my childhood.

Kenzo Power


To know that Olivier Polge can make a masculine floral one needs go no further than the magnificent Dior Homme. To wonder if M. Polge can catch lightning in a bottle twice one would have to wear this 2008 release from Kenzo which describes itself as "an imaginary flower in the heart of a woody ambery fragrance". I wore this with great anticipation because of M. Polge's previous success. The top is a mix of the citrus-flavored spices of bergamot and cardamom along with a pinch of coriander. This makes for a refreshing intro to the floral business that is to take place in the heart of Power. This floral accord is called "an abstract floral note". I think I can be a little less abstract than the ad copy. On my skin I get what smells like a combination of osmanthus, lily and jasmine. This mix comes off as clean and not so much a pretty floral as a more cleanly edged floral appropriate for a masculine scent. The final stage is the promised woody amber which is cedar and amber. This keeps Power firmly on the clean side of the scent line. I like Power quite a bit and find it to be a better everyday scent than Dior Homme. That doesn't mean I think it is better than Dior Homme on an absolute scale. What I mean is that when I want the ubiquitous fresh and clean scent but I also want something that is still interesting to me I'm going to be reaching for Kenzo Power. I don't know whether this is catching lightning twice but I do know that M. Polge has made me want to try his next take on a masculine floral very much, whenever that is.

Serge Lutens Nuit de Cellophane

A scent called Cellophane Night conjures up memories of my mis-spent 20's in NYC in the mid 80's and the theme nights at the clubs. I can't say for sure but I just feel that somewhere during those days one club must have had a Cellophane Night. When I see a name like that from Serge Lutens and his partner in scent Chris Sheldrake it makes me shiver with anticipation. Nuit de Cellophane is a 2009 release from Messrs. Lutens and Sheldrake and I have to say based on the name wasn't what I expected. Serge Lutens' stock-in-trade has been scents that match lush central themes with other notes that should approach from right angles. The surprise in Nuit de Cellophane is this as linear a scent as I've tried from Serge Lutens. The top of this is fruity floral territory as a melange of fruit mixes with a bouquet of white flowers. The indoles are out in full force here and they are what remain as the fruit recedes fairly quickly. The heart of this is indole heaven (or hell if you're not an indole afficianado) the jasmine and osmanthus seem to come at me in waves and it is here where the scent feels most like something reminiscent of cellophane. I know when I unwrap a package covered in cellophane I sometimes get that plasticky smell and it is the indoles here that are most reminiscent of that. The base is musc and sandalwood and holds no surprises as it is a nice dusky finish to the florals that led you here. While wearing this I kept waiting for the unexpected to make its appearance but it never did. I think this could be a Serge Lutens for people who have been turned off by the weird, I would call it interesting, notes of past Serge Lutens scents. It will have to be for those who love indoles and white flowers because that is the most prominent and long-lasting phase of Nuit de Cellophane. For me, I feel the same way I probably did about Cellophane Night back in the 80's. For a concept that held such edgy promise it just turned out to be another fun night on the town. Ditto that for Nuit de Cellophane.

Bond No. 9 Brooklyn

Laurice Rahme’s Bond No. 9 line has explored most of the neighborhoods of Manhattan and now under the creative direction of perfumer Laurent LeGuernec, in 2009, the line takes a trip across the bridge into Brooklyn. Brooklyn is marketed to be a woody oriental which is to “tilt towards the masculine”. I picked up the graffiti covered bottle, which is fabulous looking, hoping to be as impressed by the juice contained inside. The top of this is grapefruit but more the tanginess that comes from the rind of a grapefruit and not the juiciness of the pulp. In compliment is the lemony smoothness that cardamom brings. This top note lasts much longer than the normal citrus top note and I was able to sniff it on paper and my wrist hours after application making this one of the longest lasting grapefruits scents I’ve worn. When I tested this on paper and on my wrist the middle notes listed of cedar, juniper and geranium never appeared and I kept sniffing to try and find them. Things were much different when I did my usual full-body application. After multiple sprays I do get the cedar and juniper but they are very subtle on my skin and I’m not sure if I wasn’t hunting for them that I would be talking about them. Mainly because as the grapefruit finally burns away the base of this is really quite nice; as first a leather note comes in followed by guaiac. For a note which is getting as much use as guaiac is lately I am finding its versatility to be quite astonishing. Here it adds a clean edge to the supple leather and doesn’t overwhelm as it has in other guaiac containing scents I’ve sniffed lately. I can see where this does slightly tilt towards the masculine but this would be easily worn by a woman who likes a woody scent as the wood is not layered on with a heavy hand. With a graffiti covered bottle I think I was hoping for an edgier scent with more modern sensibilities, what I got was a surprisingly long-lasting woody citrus that I think will be just right in the warmer weather. Unlike the graffiti on the bottle I won’t be trying to scrub this off my walls.

Annick Goutal Encens Flamboyant

Isabelle Doyen and Camille Goutal are the creative forces behind Annick Goutal. In 2007 they released three scents called Les Orientalistes, Encens Flamboyant is one of these. The inspiration behind Les Orientalistes is supposed to be the smells of a harem. When I wear Encens Flamboyant I'm not sure the scent picture they want to paint is the one that comes to mind on me. From the top the "encens" is in full force. The note list calls this "frankincense essence and resinoid". There is definitely a liquidity to this incense that makes it feel more lush than most frankincense accords I've sniffed. Nutmeg is also present in the top to lend a sweet rounding to the frankincense. There is almost an oiliness to the way this feels at the top. That quality allows the frankincense to linger and then I get what I would describe as the smell of wet concrete after a spring or summer rain. Some might call it a musty note but to me it is more a wet note which goes well with the development to this point. The concrete phase is fleeting and short before the real star of this scent takes over. This turns into a beautiful woody scent dominated by fir trees. The balsam of this in conjunction with the remains of the incense is a beautiful combination that just lasts on me. At this point I feel like I've walked through a cloud of incense into a fir-lined forest after a spring rain. None of that feels particularly harem-like to me. While Mmes. Doyen and Goutal may have missed in their imagery they have scored a direct hit on my incense sensibilities and created a scent I will add to my growing incense harem of bottles.

Frederic Malle Lys Mediterranee

In 2000 when Editions de Parfums Frederic Malle came into being they hit the scene with eight scents. Six of these were impressions of specific floral themes. Lys Mediterranee is Edoaurd Flechier’s, of Dior Poison fame, take on lily as inspiration. Right from the top this is a lily blast. The top is a mixture of lily of the valley which keeps it sweet but is cut by an astringent, but spicy, partnership with ginger lily. As you transition into the heart there is a whiff of saltiness befitting a scent with Mediterranee in the name. It is subtle and is soon mixed with the lighter citrus of orange blossom and the slight muskiness of angelica root. The scent ends on a base of sheer white musk which pairs with the floral remains of what has passed before quite nicely. Lily can be a tough act to pull off without bringing to mind funeral parlors with badly recycled air. M. Flechier has done quite the opposite as he has brought to life a sun-drenched garden in a villa overlooking the blue of the Mediterranean. This never gets too heavy on me and the muskiness added by the angelica and white musk keep this solidly in unisex territory. This is another winner from Frederic Malle for me.

Profumum Ambra Aurea

Amber is one of my favorite ingredients. Mainly it is because it can be used in such different ways. There is the sweet amber that is so familiar in many amber forward scents. There is a sheerer subtle amber when it is used as a compliment, and not the focus, usually adding to the warmth and depth of a scent it is used in. Then there is full-on amber in all of its glory which has an almost medicinal edge to it. The two best examples of this are Montale Blue Amber and Serge Lutens Ambre Sultan. Until now when I've wanted that blast of amber those have been my standards. Profumum released Ambra Aurea in 2007 and it has a very short note list. One note short: Grey amber. In many ways that note list does accurately capture what is going on here. Right from the moment this is sprayed on my skin I get the blast of amber that reminds some of a medicine cabinet. To me it is a strong edgy smell full of angles and planes. What I like about amber is it is a note that can be on its own because as it develops on one's skin it will take on all of the forms of amber. The hard-edges finally strip off and after a couple of hours the sweeteness of amber takes the reins and this stage stays for hours. Towards the end of the day as it is wearing off I get the sheerness of amber and it makes me want to go get something else to layer on top of it because I know it will bring out some new facet of whatever I would apply on top. Ambra Aurea is not going to replace Blue Amber as my favorite amber but it is nearly as good and that is not faint praise in my book.

Etat Libre D’Orange Vierges et Toreros

Tuberose! Say it out loud and many men run the other way as this single note would be one that would be described as feminine by many of those men as they look back over their shoulder trying to get away. It is why when Team Antoine, Lie and Maisondieu, undertook the goal of making a “tuberose for men” in 2007 the result was sure to be interesting. Pair that with Etat Libre D’Orange known for their demure marketing, naming this Virgins and Toreros, and you’ve doubled down on interesting. Right from the top the tuberose makes its appearance but this isn’t a lush floral, this is an edgy tuberose and just to butch it up a bit it is paired with a full compliment of tough guy spices, pepper being the most prominent. The heart is where this one really shows off its masculinity as a full leather accord struts into the mix. This is the leather of a well-worn-leather jacket. The base mixes in some vetiver and patchouli to round things out but this is most of the time a leather and tuberose scent. I think Team Antoine did a fine job here using tuberose in a way to make it palatable to most floral-aversive men. It only dominates the scent for a short while and with the spices to keep it from getting too powdery it is quite nice. The leather is the predominant note of the scent and that keeps it from becoming the gateway floral to something more gender challenging like Frederic Malle’s Carnal Flower. I like this one quite a bit.

Hermes Hermessence Vanille Galante

Jean-Claude Ellena became the house perfumer for Hermes in 2004, since that time he has been on a creative and popular run rivaled by few perfumers. Upon arriving at Hermes he created the Hermessence line in which he applied his minamilist esthetic to “single note” scents. The earliest entries like Ambre Narguile and Vetiver Tonka are some of the best loved scents out there by both perfumistas and colognossieurs. As the Hermessence line has evolved the scents have grown to be more that just Ellena’s musing on the titular note and more about what can be discovered by making that note part of an ensemble and letting it show a different side. This is just what is realized in Vanille Galante, the 2009 addition to the Hermessences. The top of this is a lily in spring. It is a very tightly coiled scent surrounded by a green accord. Very faintly as the transition to the heart happens, almost like shouting from across the street, vanilla is noted as present. In the heart there is spiciness to go with the hint of vanilla. The spices are rounded off by something that according to the notes is ylang ylang but it seems different to my nose from other ylang ylang I've encountered before as it seems to be more synthetic and less natural. The vanilla finally makes a more prominent appearance in the base, as combined with sandalwood, it completes this scent. This is another great example of Ellena's style of perfumery as the whole scent develops in sheer and light stages which combine in unique ways to create a complete experience. Vanille Galante wears very lightly and close to the skin and it sometimes seems like its gone only to get a whiff to remind you that it is there. Vanille Galante is a worthy addition to the Hermessence line and Ellena's body of work.

M Micallef Black Sea

Husband and wife Martine Micallef and Geoffrey Newman established M Micallef in 1997 and Black Sea is one of their earlier efforts. This is a spicy scent which manages to not be overpowering on me. Right from the top the spices come out to play as clove and pepper show up first. They give way to the saffron; soft, smooth, and exotic. The saffron leads the way into the heart which is predominantly gaiac. The mix at the interface, between top and heart, of saffron and gaiac is breathtakingly beautiful and I wanted it to last longer. It seems like these two notes are olfactory soul mates to my nose. The gaiac is joined by an incense note as the saffron fades away. This part of the development suffers because of what came before, it is fine and it isn't jarringly out of place, I just wanted this to be something more. The base is vanilla with the gaiac and incense also sticking around in the background. I like Black Sea but there is a moment there where I thought this was going to be incredible.

Parfums MDCI Le Rivage des Syrtes/PdN1

Patricia de Nicolai has been called the spiritual heir to Jean-Paul Guerlain and in her eponymous Parfums de Nicolai label she has created some classic scents of her own, most notably New York which is a representation of her Guerlain bloodline, she is the grand daughter of Pierre Guerlain, and her ability to make it her own. Parfums MDCI has hired Ms. De Nicolai to create two new scents for them and Le Rivage des Syrtes is the first of those scents released in 2009. The name comes from a novel by the French author Julien Gracq. Gracq is known for writing which centers on “….the promise of meaning, but there is no meaning”. That might be the theme but trust me there is as much meaning and intent as a perfumer can bring to bear on a scent. The top starts, with what is becoming clear, is one of Ms. De Nicolai’s skills and that is the deft hand she uses with citrus, namely orange. Here the orange is the lush pulp inside the peel which is paired with a juicy pineapple. This could come off as fruit salad in other’s hands but here it is an incredible start. The heart of this is all floral as the orange does a Benjamin Button and ages in reverse as orange blossom leads the way followed by tuberose and a sheer incense note so light you only get hints of it. The best of Ms. De Nicolai’s scents tend to be built around vanilla and in this one vanilla is the linchpin of the base, there is a little musc but this one ends up vanilla. The interplay here between the fruit at the top and the floral plus incense down to the vanilla shows a perfumer at the top of her game and one living up to and improving on her glorious heritage.

Chanel pour Monsieur (1955)

Chypres are one of the classic perfume families but it is a hard family to find masculine scents in. It's not that the class is inherently feminine, it isnt. Its more that the best examples of the class are all more commonly classified as feminine scents. That changed in 1955 when Henri Robert composed Chanel pour Monsieur and perhaps created the best masculine chypre. The scent starts out with the typical fresh top of bergamot and citrus. What I enjoy about the top of Chanel pour Monsieur is that I can pick out the individual citrus notes present. First it is lemon, then orange all with the bergamot entwined. The transition to the spicy heart of this is ushered in by cardamom. The lemon character of the spice forming the perfect intermezzo until coriander and delicate ginger join in. This spicy heart just sings on my skin and to my sensibilities. The base is a mix of cedar and oakmoss to usher this home in classic style. There are many scents that wish they could do what Chanel pour Monsieur pulls off almost effortlessly, which is to ooze class from every note. One caveat this scent is discontinued and extremely hard to find. The Chanel pour Monsieur Concentree that is widely available is a different beast entirely. To experience the best masculine chypre you will have to do a little hunting. I think it is well worth the effort.

Histoires de Parfums Noir Patchouli

When your House is called History of Perfume you can already tell how high they are trying to aim. In 2005 they created three scents focused on one note. Noir Patchouli is the first of these I've tried. The top of this starts out with a roar of patchouli which is matched only slightly by some spice. I like patchouli but the top of this was so much patchouli I was worried that patchouli was all this was going to be. I needn't have worried because as we progress to the heart the patchouli pulls back and it is matched with rose and a different set of spices from the top. Here there is some pepper to add some edge to things. As we get to the base here is where this one comes alive as a leather note becomes a co-conspirator with the patchouli. This end phase lasts and lasts and is really quite evenly balanced between the two to leave this in a great place. I have read that for others the patchouli seems to disappear after the top. I didn't find that, patchouli is at its most aggressive in the top and the floral character of Noir Patchouli clearly rules the heart but it is on equal footing in the base. For me, as one who likes his patchouli you can serve it up to me "Noir" anytime.

Helmut Lang Cuiron

I do have to admire a scent which has a note list like this; top notes, "fluid" leather; middle notes, "sensual" leather; and base notes, "noble" leather. If that doesn't give you a clue about what this scent is all about then I don't know what will. Created in 2002 and now discontinued, but rumored to be making a return, Cuiron is a benchmark leather scent. While the description of the top notes might be a little grandiose they do capture that this scent goes through three distinct transitions of leather. The "fluid leather" stage is paired with a plum note and that is a good pairing as the sweetness of the plum plays counter to the leather in a quite pleasant way. The "sensual" leather of the heart is the intense leather reminiscent of Knize Ten. This level of leather can come off as having a note similar to petroleum products like gasoline or motor oil. It needs to be kept in check by the perfumer to be successful and it probably will be specific from wearer to wearer how prominent this note comes off on them. For me, it is a comforting note which is part of a deep leather scent and never becomes too much and it smells intense. Into the base and the "noble" leather, this is a softer suede-like leather which reminds me of the transition in Serge Lutens Daim Blond after the early apricot has left and all you are left with is a luscious suede leather. The base of this is a little more intense than the suede in Daim Blond but that is the way it should be. Especially as the transition from the more intense leather in the heart requires more chutzpah to not be overwhelmed. Very late in the development I get hints of sandalwood, which is not listed as a note. As Cuiron tends to last, as a close wearing scent, on me for 12-14 hours I get a lot of opportunity to tease it out and it sure seems like sandalwood is there. For those who want to experience all of the highs and lows that leather can bring to a scent Cuiron is a great experience. One I hope can be brought back into production so that more will be able to take the ride.

Comme des Garcons 2 in the Silver Words Bottle

I have had a difficult time with most of Mark Buxton's creations as when he gets it right as in Vetiver 46 I really like it. Then there are note lists and intentions that seem like I should like them more as in Comme des Garcons 2Man which comes off OK but not great on me. He does keep things interesting which is what keeps me coming back. In 1999 he composed Comme des Garcons 2, the intent was to create a scent which recalls "black ink". He has created a scent which does have its own character. Right from the top there is a healthy dose of aldehydes coupled with a citrus and floral accord which is more tart than sweet giving this a very tight opening stanza. The heart expands to include a spicy mix of cinnamon, coriander, and cumin.The base is a mix of cedar, vetiver and juniper which ends this as it began, with a zingy astringency. Mr. Buxton can never be accused of minimalism as most of his creations are chock full of notes. In this case he has found a tricky balance by bookending a spicy middle with the tight and tart, top and base. I don't know if this reminds me of "black ink" but I will definitely sign up to wear this again.

Frapin Caravelle Epicee

Caravelle Epicee roughly translates to Spice Ship and while that may conjure visions of Frank Herbert's Dune this scent is true to its name in a literal sense. Caravelle Epicee was created in 2007 by Jeanne-Marie Faugier. Ms. Faugier created four scents for Frapin the well known French cognac company. All of them are interesting but Caravelle Epicee is the best of the lot, for me. The top starts right off with a mix of pepper, nutmeg and a sweet amber. The voyage continues as new spices make their way into the mix with coriander, cumin, and cardamom all making their presence known. For those for whom cumin is a problematic note this is another of those scents where its presence is clear and present and if it isn't your cup of tea I'd book passage on a different ship. It is in the base where we find out the wood our metaphorical ship is made of, sandalwood and gaiac as well as the other cargo we are carrying which is a sweet tobacco which turns the drydown of this soft and creamy. This is one of my top 10 scents but that is because I love spice notes and this scent seems to carry all of my favorites. In less skilled hands this could be a case of too much but Ms. Faugier creates a voyage I look forward to taking again and again.

Slatkin & Co. Black Fig & Absinthe

Christophe Laudamiel was tasked with creating a line of frgrances for Slatkin & Co. Black Fig & Absinthe is the first I've been able to test and if this is any indication of the rest of the line I'm going to be digging around in bargain bins. Slatkin & Co. was acquired by the parent company of Bed, Bath and Beyond and the fragrance line has been placed in limbo. Which is a shame because at least in this case this scent desereves to find a wider audience. Until now, when I think of fig scents the green fig of scents like Diptyque's Philosykos or L'Artisan Premier Figuer were the standard. In Black Fig & Absinthe, M. Laudamiel creates the polar opposite of a green fig. Right from the top this fig is the note of a concentrated fig paired with a deep currant that brings to mind a dried fig in all of its depth and power. Anise is the next note and it is the perfect transition between the intensity of the top and the base. In the heart this becomes very similar to Lolita Lempicka au Masculine as the anise really does take over for awhile. Once the anise pulls back; the wormwood, medicinal quality of absinthe comes in and adds a new facet to what has come before. This is a powerhouse of a scent with each phase of it carrying a longevity to it that allows a colognoisseur to truly savor the entire development at a leisurely pace. I can't tell you how much I hope that the powers that be realize what a gem they have on their hands and eventually re-release this one, I know I'll be first in line on that day.

Neil Morris for Takashimaya New York

I just am enraptured by this one. Neil Morris has created his first scent for Takashimaya in New York at the end of 2008. This scent feels like the synthesis of many themes I have enjoyed in previous scents by Mr. Morris. This also manages to evoke the asian esthetic of the store, Takashimaya, this is made for. It starts off with the fizz of aldehydes, currant and bergamot. The aldehydic fireworks are beautifully offset with the currant and bergamot. Then the floral heart of this comes alive with cherry and plum blossom combined with narcissus. All of my favorite Neil Morris scents contain narcissus in them. This time he lets it support the very asian mix of cherry and plum blossoms. The base is cedar and bamboo and the mix of these two notes ground this with a woody base that feels perfect. This scent reminds me of a Japanese garden in spring as the trees are full of blossoms. It is another winner from Neil Morris for me.

Chanel Coromandel

One thing I can say about all of the Chanel exclusifs I've worn so far is they don't feel the same to me. Coromandel starts off with a patchouli and spice top. Now this is not the patchouli of the Summer of Love this is the patchouli of dried,powdered root.Dry and desiccated and light, mixed with the spiciness this is an unusually light start for a ptachouli-forward fragrance.The patchouli remains throughout the development as in the heart I get some florals beofre the chocolate accord makes itself known. As before, this is the chocolate of cocoa powder dusty and rich. The base is amber and musk and is the most conventional part of this scent on me. Thankfully what has gone before was unconventional enough that I forgive it. How this is not marketed as unisex is quite beyond me.

Acqua di Parma Blu Mediterraneo Mirto di Panarea

The Acqua di Parma Colonias are all three quite nice takes on the citrus-forward scents and I like them all. The Blu Mediterraneo line has been less successful on me and its my respect for the Colonias that keeps me trying these as they come out. I liked this one more on the strip than any of the others and so I had hope this would be better. I was not disappointed as right from the top I got a nice tight composition of orange, lemon and bergamot. What is nice about this is that each note is present and accounted for. This combination is the beginning of hundreds of citrus fragrances but when it is done right you are reminded why it is such a successful top and it is done right here. This then blends into a very subtle floral heart with jasmine and hints of rose mixed with a juniper note that adds some bite. A heavier hand would have obliterated the top of this but here this is like walking from the citrus groves into the flower garden on a spring day. The base is also subdued, cedar combined with a very light amber. For me, this is another well-done scent from Acqua di Parma which can easily be placed next to the Colonias without embarassment.

Comme des Garcons + Stephen Jones

If one associates certain Houses with class or sophistication the one thing I associate Comme des Carcons with is edginess and risk-taking. Trying a new scent by them is a little like a high-wire act, exhilirating when its great, like Hinoki and a long fall to the safety net when its disappointing, like White.When I heard this co-production with Stephen Jones would be centered around violets I was excited as violets are one of my favorite smells and if anyone was going to do an edgy violet it would be Comme des Garcons. When I heard Antoine Maisondieu who did my beloved Hinoki was the nose my expectations were as sky-high as my metaphorical high-wire. This one starts off chock full of aldehydes shooting off in every direction, once the fizz dies down the violet peeks out but it is a scorched violet returning to life after a fire as there is a little bit of a scorched wood note present. The violet stays front and center as more florals join in but never take over the lead position just add a depth to the astringency of the violet. The base takes a good long while to come through all of this and it is a mix of wood and vetiver which feels just right to bring this trip across the high-wire to a close. This is as out there a scent as it gets and I can see someone just hating all that is going on here but for me this is as good as it gets.

Calvin Klein Obsession for Men

If Opium was my party scent Obsession was my date scent. When this came out in the mid 80's I had become bored with both of my staples to that point Aramis and Ralph Lauren Polo. I remember going into my local Macy's to buy clothes and getting a whiff of this amazingly different scent coming from the nearby fragrance counter. When I walked over and the SA sprayed some on me although I didn't know what to call it at the time I had my first bout of the Basenotes Salute as my wrist kept returning to my nose over the entire rest of the day. I was back the next day buying the whole darn line: soap, body wash, deodorant, A/S, and EDT. I couldn't get enough of it for the next six months. What attracted me then was it was so different from the powerhouses of the 70's. The much softer spices in the middle of this which led to the amber/musk/sandalwood base which was what I thought smelled amazing on me and I thought was so nice on date night.
Today I took more notice of the top notes as the bergamot and citrus top, which has become so prevalent in today's fragrances, leads perfectly into the softer spicy heart which makes this scent so enjoyable for me. The combination of nutmeg, sage, and coriander combine with lavender to give this a satiny soft heart. The base is the nicely balanced mix of musk, amber and sandalwood I recall. I think I notice the amber more these days because this is one of the notes I have grown to truly enjoy. I am almost surprised to be reminded how nicely it fits in with the other notes in the base without dominating.

Yves St. Laurent Opium pour Homme.

I used to love wearing this out to bars and clubs in the 90's and it was very often my preferred scent for those nights.
What I loved about it was the spicy and sweet mix that was like nothing else I owned at the time. The pepper note in the heart was always a favorite and once it would settle into the vanilla and cedar at the base it would be the olfactory soundtrack to the end of a fun-filled evening.
What Basenotes has helped with is my appreciation of the top of this fragrance. I don't remeber ever noticing the currant, at the top, cut ever so slightly by the anise. Now, these notes blossom right away and then fade into the spicy, hot heart of this that I still enjoy. I remember the base being more vanilla laden in my younger days but lately it is the cedar that dominates with the vanilla playing a supporting role and thus making it less sweet than I remembered. Either way this scent is still a favorite and while I have come to discover others with this spicy heart I like more (Ormonde Jayne Man, Patour pour Homme) this will be a baseline scent for me.

Nicole Miller for Men

Ever since seeing the apple listed at the top of the pyramid this one has been of interest to me. The top of this is a tart green apple martini as the apple is mixed with a deep boozy note. What is quite eye-opening is the shift this one makes into the heart as we go from bright fruit to deep leather and oakmoss. This again shifts gears to soft amber and sandalwood to finish this one off beautifully. The bottle I have is a vintage bottle I bought on the sales board (thanks Ron199). I don't know if the re-issued version is reformulated and if it is significantly different. If it is, that would be a shame, because this is an entertainingly developing scent on my skin that will be a fun going-out scent for many years.

Guerlain Derby

It's nice to know that even the big houses can screw up sometimes. There is no bigger house than Guerlain and their inability to market a scent as good as Derby makes one wonder who was responsible for the marketing and whether they've made a better effort in their new post as head of Axe Body Spray marketing. Derby was created in 1985, pulled from the market in 1988, them sold only in Paris, then discontinued due to issues with ingredients, reformulated, but only re-issued in Paris and a few stores and now reportedly discontinued again. To date, I've only worn the reformulated version and that is what this review covers. The inspiration for Derby was said to be the remains of a Roman amphitheatre in Tunisia that Jean-Paul Guerlain was touring. If he was inspired to create a grand, classic scent by the sight of this edifice, he succeeded. The top of this is a delightful and refreshing mix of peppermint, bergamot, and lemon. This is a scented version of the cooling taste of peppermint but translated into an olfactory accord. It is unique and makes the use of mint in a scent like Cartier Roadster seem clumsy by comparison. The top soon gives way to a heart of pepper and florals mainly jasmine with a subtle amount of rose thrown in. All of this is applied with a gentle hand and kept in exquisite balance. If the word floral usually makes you flinch when talking about a masculine scent I think this never reaches the level that this in any way feels feminine. As much as I like what has come before the base of this is a masterpiece of balance. All of the components of many men's colognes are present but they are exquisitely combined to make one realize what the sum of the parts can really equal. Leather leads the charge and holds the center. It is soon followed by vetiver, then patchouli, then oakmoss and finally sandalwood. Each of these notes seems to present itself and then blend into the whole making the drydown into a constantly evolving expereience. This is an amazing cologne. In my opinion this is the best Guerlain masculine in the line. If I had to have only one Guerlain this would be the one.

S-Perfume S-ex

This is one of those scents that I acquired solely because of Turin and Sanchez's five-star review of it. Chrtistophe Laudamiel created S-ex in 2004. M Ladamiel is known by mall shoppers everywhere as the nose behind Abercrombie and Fitch Fierce which is the scent of every A&F store in the world. In S-ex he raises his game above glorified air freshener to create a singular scent. Right from the top it is unusual as I get a strong oceanic note that is the mix of salt and ozone on a mid-summer day. This is the opposite of every aquatic I have ever put on. Just as I am prepared for the entry of the clean notes that tend to be the companion of aquatic accords in hundreds of scents out there, things take a turn. The heart of this is full of soft leather. For those of you who are fans of Helmut Lang's Cuiron this is the same soft leather I get in the heart of that one. The base is full of musky goodness and adds the needed savoir faire to a scent named S-ex. This is a scent unlike any other I own. I would classify it as an aquatic leather which lives up to its five-star reputation.

Bond No. 9 Andy Warhol Silver Factory

Bond No. 9 has made three Andy Warhol scents and while they all have striking containers in the style of their namesake only Silver Factory lives up to its pedigree with the juice in the bottle. Aurelien Guichard created Silver Factory in 2007 this was on the heels of Chinatown in 2005, which is arguably Bond No. 9's best scent. Here he chose to use an incense forward scent to try and evoke the experimental culture epitomized by Andy Warhol in the late 60's. The top of this starts with that incense note right out in front and combined with grapefruit and bergamot it is a nice start. In the heart is where the "metallic note" M. Guichard was attempting to create makes its presence known. Based on the note list I think it is a mix of violet, iris and amber that pull this off. I think that because there are times I feel like I get one of those notes but then the metal accord appears right away.The incense in combination with this is where Silver Factory creates a new feel all of its own and one which feels like an experiment Andy Warhol would have participated in. Cedar comes in and then there is a thicker resinous note which deepens the original incense note that has been present from top to base to finish this off quite nicely. This is a very good incense scent and for lovers of incense is one you should try.

Chanel Bois des Iles

To be a well-rounded individual one should experience the classics. Certainly that holds as true in perfume as it does in any of the other art forms. One set of these classics are the five Chanels created by Ernest Beaux in the 20's. The most recognized is No. 5. Bois des Iles is one of the other four scents created and it is as much a classic as No. 5 is to my nose. It starts off with the aldehydes which are No. 5's signature. This similarity is so strong I had to take a look at the bottle a second time to make sure I wasn't spraying No. 5 on me. The aldehydes in the EDT strength are as long lasting as any aldehydes I have ever had and one's tolerance for aldehydes, if you find them annoying, will be tested. I love the fizz and pop of them and most of the time they don't last long enough for me so this is a pleasant experience for me. There then comes a beautiful group of florals which join in starting with jasmine, joined by ylang-ylang, lily, and finally a soft rose. As the heart comes alive the signature note of Bois des Iles is the gingerbread accord present here. This is gingerbread cake as it comes off quite moist because it is paired with an almond note, I think that is what makes me think cake. The real star to my nose, of Bois des Iles, is the sandalwood base. The sandalwood is mixed with vetiver and a very light musk to make this one of my favorite sandalwood scents out there. Some of that is because it is slowly revealed over the course of the development of this scent on my skin and when it makes its appearance it brings this scent home beautifully. The sandalwood is what remains and it lasts for a very long time on me even in the EDT strength. It's nice to know that sometimes when you experience the classics you truly inderstand why they are classics.

Serge Lutens Cedre

Serge Lutens must have run out of Bois names and just wanted to cut to the chase and therefore Christopher Sheldrake created Cedre in 2005. Because the Serge Lutens line has been so creative and prodigious in their use of cedar, and my appreciation of it as a note, I was looking forward to a scent named simple Cedre. Imagine my surprise when after spraying it on, the top is full of cloves and cinnamon. This is a spicy beginning but where is the cedar? Must be in the heart. There I get tuberose to begin followed by a really nice honeyed amber. The tuberose is really tightly controlled by the amber and never gets to a level of full frontal floral that can be off-putting in a tuberose forward scent. Wait what did I say? Tuberose forward? Where is the cedar? Wait there it is almost 45 minutes after applying this the cedar arrives but it is incredibly subtle and subdued. The tuberose and amber are much more prominent on my skin. The base is a beautiful musk, subtly animalic, which again takes the lead but at least the titular cedar sticks around. This is a beautiful fragrance but it does not participate in truth in advertising rules in its name. Cedre? Only for a short while and it certainly isn't the center of this one. I'm not sure what I would have called this but certainly not Cedre.

Serge Lutens Fleurs de Citronnier

Citrus scents should be worn in the summer. It is almost like "Don't wear white after Labor Day" as a scent rule of thumb. Except when someone as skilled as Christopher Sheldrake decides to prove it wrong. Fleurs de Citronnier was created in 2004 and if you want a cool-weather citrus this is the scent for you. This starts out with a razor-sharp neroli bolstered by citrus. The heart holds onto the citrus while introducing honey, tuberose and iris into the mix. Depending on how you feel about white flowers this is where this scent will excel or flop for you. The tuberose becomes prominenent for a decent amount of time but with the honey and citrus cutting it, it never gets out of control on my skin. Iris shows up and really smooths this out. As we move into the base, nutmeg is the perfect transition to the musk present there. The florals and musk make this citrus with oomph and one that is best worn on a sparkling cool spring or fall day.

Guerlain Heritage

Heritage was created in 1992 by Jean-Paul Guerlain. It was his concept to try and take the best of all of the Guerlain masculine scents and combine them into a scent that would represent the heritage of masculine fragrance making at Guerlain. I am a big fan of all of those scents and I was curious to see whether Heritage would be successful at achieving this lofty goal. The opening is classic as it uses lavender and bergamot cut with a little bit of citrus to make a powerful start. Funnily on me for a scent that is supposed to remind me of Guerlain masculine scents the beginning of this is more reminiscent of Shalimar. That impression is banished very quickly as pepper and coriander become the prominent players. This combination is spicy and does recall a masculine Guerlain, Habit Rouge. This comparison continues into the base as patchouli is the note that carries this scent to the classic "Guerlinade" of tonka and vanilla. I'm not sure that this is the synthesis of all of the Guerlain masculine scents that Jean-Paul Guerlain was going for but it is heavily laden with many of the accords and notes Guerlain is famous for and it displays its heritage, pun intended, proudly.

Le Labo Gaiac 10

If pink is the new black; is gaiac the new sandalwood? I've certainly noticed the use of it has increased in the last half of the year as it seems to be cropping up on note lists all over. Annick Menardo has created a gaiac centered scent for Le Labo's city exclusive line, in late 2008, called Gaiac 10. She is the nose behind Patchouli 24 and Bvlgari Black which are two of my favorite off-beat scents and I was curious to see where the creative process would take her in this case. I've said in other reviews that the essence of clean and fresh for me has been cedar but I think I'm going to have to revise that as gaiac is going to be another note that will conjure that combination for me as well. If the phrase clean and fresh just made you think this is boring, far from it. From the top the gaiac holds the stage and does what a clean note hasn't done for me in the past and also exude a depth. The reason for that I believe is that Ms. Menardo has paired the Gaiac with, according to the notes, four different muscs. These muscs add a depth to the bright intensity of this without overwhelming the sparkle of the gaiac. Truly a skillfully executed balancing act. With the gaiac holding my attention from the start this scent becomes more intense as it develops. As we move into the heart cedar comes into the mix to continue the themes begun at the top and double down on it. I get a hint of what seems like orange here but it isn't listed in the notes. As we head to the base the intensity builds as incense notes combine with the gaiac and cedar to finish this in spectacular fashion. This scent was created to be a city-exclusive for Tokyo and it feels like an Asian aesthetic is at work here. The top is the simplest part of this scent and things add to it and increase the complexity until you are left with a co-mingling of all that has come before. I would not classify this with Ms. Menardo's off-beat creations this is more a testament to how much beauty can be created from simplicity. I have to conclude with how sad I am that due to the marketing decision of Le Labo to charge exorbitant prices and to only be able to buy this in Tokyo many people will not have the opportunity to experience this perfume. I would love to be able to tell everyone who likes fresh and clean to try this scent because I think it elevates it to a new level. The sad part is I can't in good conscience ask people to jump through the hoops Le Labo has put in place.

Frederic Malle Noir Epices

Frederic Malle's ideal to let perfumers have the freedom to create has produced, for me, one of my favorite houses. One reason I like these perfumes as much as I do is the sense of the unexpected I get every time I wear one. Michel Roudnitska in creating Noir Epices in 2000 displays all of the creativity envisioned by M. Malle. As I've come to sniff so many things; the most common beginning to many, many fragrances is citrus married with bergamot it becomes almost rote for my olfactory synapses to start to fire that way as soon as the first note of citrus hits my brain. Noir Epices was one of my first refreshing experiences that made me realize there are so many more wonderful things to pair with citrus. Michel Roudnitska creates a stiletto sharp citrus paired with geranium over all of this is the metal tang of aldehydes evaporating madly. Then peeking around the edges comes a beautiful rose to make this one of my favorite beginnings to any scent I've worn. As the aldehydes make their departure the titular spices enter the fray. First up is a sharp pepper paired with clove then the zing of cinnamon followed by the mellowing influence of nutmeg all mixing together on my skin with depth and power. The base is the only ordinary thing about this scent as patchouli ushers you into a cedar and sandalwood finish that is smooth and somewhat familiar. It is only at the base that I find anything pedestrian about this scent and perhaps with the fireworks that have taken place before one needs a little familiarity to bring one's feet back to earth. Michel Roudnitska has created a thoroughly modern scent that lives up to all of what Frederic Malle must have hoped for when he created Editions de Parfum.

Shiseido Basala

Shiseido is, of course, the corporate influence behind Serge Lutens but they do put out scents on their own. Sad to say many of these scents are for the asian market only and they are difficult to find. Basala was created in 1993 by Dominique Preyssas who is better known for D'Orsay's Le Dandy. In Basala she has created what feels to me like a very asian feeling scent. Almost scent Haiku if you will as each transition is mostly made up of two notes which lead to the next. The top is a bright mix of citrus and lavender. The lavender is really in near-perfect balance with the citrus to create a dry astringent beginning. The heart is spice and woods which is very similar to the middle of Obsession for Men to my nose but somehow a little more reserved and a little better composed. The base is a classic pairing of sandalwood and vetiver and with the herbal feel of the vetiver to provide contrast to the creaminess of the sandalwood you bring to a close a well-constructed chypre. This is clean, austere perfume construction which shows, like haiku, even the simplest of themes can lead to beautiful artistry.

Neil Morris Gotham

Early on in my exploration of niche lines I was introduced to Neil Morris' perfumes by ComDiva. I ordered some samples and have become a fan of his creations. Neil Morris creates dense landscapes of notes that can be overwhelming at times but when he gets it right this density feels like immersion in a personal scented wonderland. Of all of his scents Gotham is my favorite. Gotham begins with an intense mix of yuzu and pepper, the spice and floral character mixed just right. The transition into the heart is subtle and beuatiful as narcissus is the core around which rose and leather are wound in intense strands of complexity. If you are not a fan of narcissus I think the intensity of the note could be off-putting. For me, it is beautiful and indolic and twists and turns with the leather and rose to make beautiful music. Very slowly this gives way to a warm amber, redwood and ambergris base which leaves me feeling warm and comforted in the drydown. This is as intense a scent as I own and every time I wear it I feel surrounded by beauty and a scent who's complexity allows me to discern new nuances upon every wearing. This is easily one of the top 10 scents that I own.

Etro Messe de Minuit

I am a huge fan of incense-forward scents and any scent named Midnight Mass is going to have me excited to try. Messe de Minuit was created in 2000 by Jacques Flori and I think he has come up with a very unique take on incense. Right from the top it starts with something that smells like the holiday wassail bowl from the church basement as a mix of citrus and cinnamon start this off. It doesn't take long for the incense and myrrh to come in and eventually take over. The heart is also cut with a skillful use of honey which adds depth and traditional sweetness to the more resinous sweet of the incense. The base notes of amber and patchouli add more warmth and mix with the heart notes making for a lovely intermingling of notes. I've seen this described as musty but on my skin I don't get a hint of that. On me this comes off as a very dry austere scent, there isn't anything that feels lush about it. Which is as it should be at Midnight Mass.

Armani Prive' Bois D'Encens

I think all of the designer lines want to secretly be niche but their size precludes that from truly happening. In 2004 Giorgio Armani did the next best thing he created an exclusive line called Armani Prive' in an attempt to make a niche-feeling scent. Incense is one of my favorite notes and I am always struck with the variety of ways it can be approached. Michel Almairic's approach was to create a sheer enclosure of incense that always feels on the verge of disappearing but somehow never does. Many incense scents cling to you like being enveloped in a cloud of smoke this one feels like you are in the back row at midnight mass and are getting intermittent whiffs of incense. The top starts off with a mix of pepper and incense this is a vibrant beginning as the spice of the pepper contrasts the sweet of the incense quite nicely. As we move into the heart the sweetness of the incense changes to the more austere version and is paired with cedar. The cedar adds a clean edge to the scent which is continued into the base as a smoky vetiver finishes this off. This is the second of the Armani Prive' scents I have tried and in both cases I have been impressed that a scent with the lightness of touch they have also have a nice longevity and a high degree of complexity out of what seems like a simple note list. This is another example of what a designer is capable of when they put their mind to creating something of quality and beauty.

Parfumerie Generale L'Ombre Fauve

There are times I want to be a fly on the wall when perfumers are coming up with the name for their creations. Many of them give you insight into the scent you are about to put on. Then there are scents like L'Ombre Fauve. L'Ombre Fauve translates to Bestial Shadow. I don't know what kind of picture that calls up in your mind's eye but with that name I'm thinking an animalic, deep, dark scent. BZZZZT! Wrong! Thanks for playing, maybe next time. The note list is deceptively simple; amber, musk, woods, incense, and patchouli. The result of this is not so simple. The top leads off with a very light amber and incense and is beautifully subtle. The amber is sweet to complement the sweeteness of the incense. The amber changes character almost completely in the heart as it becomes a less sweet, more dry and ethereal amber; as the sandalwood holds court. Finally the amber once again turns into a deeper note, which contains the edgier quality that some people describe as medicinal that amber sometimes gets,which complements the patchouli present in the base. The note list says musk but I'm having a hard time picking it up. With a scent named L'Ombre Fauve I'd expect the musk to be way more prominent instead of having to send a search party out to find it on my skin. This scent feels opulent on me and lush. If I was going to name this I would call it "Study in Amber" because on me it presents three distinct faces of amber through the progression and I want to linger over each one.

Parfumerie Generale Querelle

I am a huge fan of the German director Rainer Werner Fassbinder and Querelle was his last film. As a film Querelle is some what of a disjointed mess and probably indicative of the state of Fassbinder's mind as he would die of a drug overdose after he completed the film. Pierre Guillaume was inspired by Jean Genet's novel and not the film. Thankfully, M. Guillaume is in much tighter control of his creation and it shows. This is a unique creation built around familiar notes. Right at the top there is an unfamiliar note a deep smell that again reminds me of spice but in a subtle way. This is not the nose tickling spice of pepper or the rounded feel of cardamom this is a beast of a different kind a deep dark feel to it. I had to go to the note list to find out it is black caraway which is combined with a beautiful citrus accord which allows the beginning of this to start in a completely different style.I don't know how difficult it is to source black caraway but I could wish for more perfumers to substitute it in place of the ubiquitous bergamot as the companion to citrus notes, it is that good. The heart of this starts with a hint of cinamon before the real star shows up and that is a beautiful myrrh this creates a rounded and luxurious heart that makes this feel sumptuous on my skin. The base uses traditional chypre components of vetiver and oakmoss but with the myrrh still firmly in place the combination of all three brings this to completeness. Querelle is what can happen when a perfumer chooses to push the boundaries, he can create something unique and something that will not appeal to everybody which come to think of it might be the tie-in to Fassbinder's film after all.

Hermes Bel Ami

Hermes introduced Bel Ami in 1986 and according to many websites and posters on Basenotes was reformulated recently. I believe the bottle I have is the old formula because one area of agreement in the new formulation is there is more citrus on top. On me, the bottle I have is more a mix of pepper and what I would call cardamom but cardamom has a sort of lemon character to it and so it might be lemon but it feels like a dried lemon. After the spice fades a raw cedar note appears like a newly hewn piece of wood has been heaped on the olfactory fire. Then the leather shows up and this is a quite beautiful and deep leather and it lasts for a long time. Very slowly the well-balanced base of vanilla and patchouli mix with the leather and by the time all three are on equal footing the transformation is elegant and sophisticated. If the alleged re-formulation is more citrus prominent and less pepper and lighter lemon, like I experienced, I could see that I might not enjoy that as much as what I just wore. I hope that it isn't another case of changes made for the worse, as the version I'm wearing is beautiful.

Burberry Brit for Men

If you step up to any men's fragrance counter you will be bombarded by scents that have in their description "fresh and clean". For the general public that is clearly what sells, but for me it sometimes carries the stigma of saying "Danger, Will Robinson!" I think I know what I want fresh and clean to be and most of these scents do not meet that standard. Enter Burberry Brit for Men which was designed in 2004 by Antoine Maisondieu. This is an example of what I want fresh and clean to be. The start is citrus, bergamot and ginger and it is here that my main quibble with the scent comes out. It just starts too loud. The top of this projects off the skin like an olfactory typhoon. But in what is almost a hallmark of Burberry scents it is the drydown that is special (see Burberry London for Men as Exhibit A of this phenomenon). Once the winds die down a creamy and beautiful nutmeg and cedar accord arises. I am coming to realize that when it comes to clean, cedar is the note I want present and here the combination with nutmeg makes it different but still crisp. The base is musk and tonka and the progression is really quite nice as the cedar pulls back to give the base some room to breathe. I own a few of the "fresh and clean" crew and this one of the best examples I have.

The Different Company Sel de Vetiver

Vetiver has to be one of the most versatile notes for a perfumer to work with. I probably own a dozen vetiver-based scents and I can say that none of them smell alike. The latest vetiver scent for me is Sel de Vetiver which was designed by Celine Ellena in 2006. There are signs of her father's minimalism throughout but there is also a tone which is all her own. The top is a mix of grapefruit and cardamom and it is applied lightly. The sharpness of the top notes are smoothed out with the appearance of iris and ylang ylang again applied lightly. The base is all patchouli layered with a slightly heavier hand. All of these notes are laid like a sheer drape over the core of vetiver that is present throughout the development. In the description of this Celine Ellena says she was going for an accord of "salt drying on skin after swimming in the ocean". For me, about a half an hour in she nails that accord. I could feel myself on a beach lying on the towel as the sun dried my skin after a swim. This is a beautifully done scent which achieves its stated goals but I feel it might be too light and all of the things that make it good are gone too swiftly to leave a lingering impression.

If Jovan was the introduction, to most Americans, of musk as a perfume, Muscs Koublai Khan is musk elevated to its highest aspiration. For todays SnS it contains the animalic triple play of musk, civet and castoreum. Just typing those notes in might give one the thought that this is like what the cage cleaner at the zoo must smell like. On me this is about as far from that as one can get. This is a mix of so many things but I find this scent to be exotic and sophisticated. The top of this is a combination of cumin and rose and that combination leads straightaway to the heart of castoreum. In the base the hallmarks of many Serge Lutens scents vanilla and patchouli make their presence known and it feels like there is labdanum there but there is so much else on display that I might be fooling myself on that score. All throughout from beginning to end is the most incredibly rounded and beautiful musk I’ve worn. As the scent progresses the interplay between the musk and the notes in each phase create a luxurious one-of-a-kind experience on my skin. I recently had one of my colleagues pick me up a bell jar of this from the Paris Salon because I know this one will stay with me for the next thirty years.

I sprayed it on and my initial impression was “Ouch!”. The top verged on being harsh and it was very loud as citrus and spice seared their way into my consciousness. I was beginning to think my 14-year old self had a much stronger constitution than my current incarnation. Then just like that too loud person you meet at your high school reunion who first bowls you over with too much information but then eventually lapses back into the personality you remember you liked; so too does Jovan Musk for Men. Once the top burns off, fairly quickly, there is a straight-forward lavender and woods before the musk makes its appearance in the base. As this dries down the musk takes a solo turn on my skin and really smells very nice. The longevity is not so great but for something that is less than $10 a bottle I think it is certainly adequate.

Lalique Perles de Lalique

With the new restrictions on the use of oakmoss no style of scent will undergo more change than the chypre. It is and will be a challenge for perfumers to create something in this style without using the signature note. Nathalie Lorson's take on a modern chypre came out in 2006. I was introduced to it by picking up a card I thought had something else on it and being struck by this beautiful pepper note. When I asked what this was I was told it was Perles de Lalique. The top comes off very fresh this could be the start of many current bestsellers. Quickly this fresh accord is joined by a delicate rose. This is applied lightly allowing the fresh accord and the rose to complement each other. The heart is where the pepper note which so intrigued me on the card resides and it is paired with a note-perfect iris. This combination works so well on me and this phase lasts a good long time on my skin. The transition from here is a smooth ride to the base which is a light application of patchouli combined with musk. My favorite chypres show off different facets as they develop and this makes for a memorable olfactory trip. Perles de Lalique certainly qualifies on that score and Ms. Lorson begins the discussion of what constitutes a modern chypre in fine form.

Le Labo Poivre 23

Le Labo has taken the step of making exclusive scents for the cities they open new outposts in. The Dallas, Aldehyde 44, and Paris, Vanille 44 are among my favorites from Le Labo so the difficulty of obtaining the scents can be annoying. That's beyond the ultra-expensive price tag once you get to the city in question. Late in 2008 Le Labo released three new city specific scents for LA, tokyo and London. Poivre 23 is the London exclusive to Liberty of London. Poivre 23 was composed by Nathalie Lorson who has made my two favorite scents from Lalique, Encre Noir and Perles de Lalique. A quirky aspect of the Le Labo scents is that while they are all named after a note they rarely display that note front and center. Poivre 23 breaks that rule right off the bat as the first note that hits my nose is dry pepper. We have a great spice store near our home and this is exactly the smell I get when I walk over to the pepper section. Thn from there an almost seamless transformation takes place as the pepper very casually mophs into a dry frankincense note. It is so hard to tell where one ends and the other begins. Again this is the smell of the incense unburned ,dry and very light on the skin. Just when I think this is going to stay spicy, vanilla appears and softens the edges. The vanilla is also applied with a light hand so this never really becomes sweet just more creamy or rounded. The base continues with the light foot on the gas pedal as amber and patchouli finish this off with sandalwood playing around the edges in a peek-a-boo style. This is a scent full of powerful notes that in other perfumes and other hands would make for a scent that could knock one off one's feet. That Ms. Lorson has been able to combine these in such a subtle fashion it almost feels like the perfume version of souffle, rich and oh so light. I wish I could tell you to ignore this scent because of the pretentiousness behind it all but I just can't do that, I think it is one of Le Labo's best.

Penhaligon's Elixir

Olivia Giacobetti is one of the most reliable noses out there, for me. On my personal scoreboard she has always scored a hit but for Idole de Lubin. It was with high anticipation that I sprayed on her latest creation Penhaligon's Elixir. This is a beautiful composition that on me feels just right for a winter morning. The top hits high C with a spicy mixture of cardamom, cinnamon and clove. These three notes are skillfully combined but it is the next note into the mix that elevates the beginning; as a vaporous eucalyptus joins the 3C's and give this the feel of a sauna where someone spilled a spice basket on the hot rocks. This beginning is so good I want to keep spritzing myself so I can keep experiencing it. That would be bad because the heart of this is tonka, incense and vanilla. Another trio of notes that pulls this one into a softer place from the spicy beginning. The incense keps the transition from being jarring and as the tonka and vanilla arise the transition into the heart is complete. The base is the yin and yang of sandalwood and guaiac which brings this to a woody close. Penhaligon's Elixir is easily my favorite Penhaligon's to date and Giacobetti has another hit on my scorecard.

Juozas Statkevicius

Juozas Stakevicius is a Lithuanian Fashion Designer and while not particularly well known out side of Lithuania he asked Fabrice Pellegrin to design a signature scent for him in 2004. Until recently it was a difficult to find scent, which increased its notoriety. As a confirmed incense lover this one had been high on my list because of the good things I had read about it. In this case all of those writings were right on the money. Right from the top the incense announces itself and at this point Juozas Stakevicius doesn't stand out from many of the others on my incense shelf. It is the next shift, which happens fairly rapidly, that makes this a stand-out. As the incense pulls back just a little, first jasmine comes out to play and combines with this and makes for an amazing floral composition. Then the floral fades and vanilla comes in. This is where the sharpness of the incense keeps the sweetness of the vanilla in check to make a sweet and spicy combination of excellence. Finally the warmth of amber in combination with the incense ends this one in a combination of two of my favorite notes. This is just a beautifully done scent and one I will wear over and over again.

Maxim's pour Homme

When it comes to discontinued colognes there seem to be cults that spring up, the Patouists, the Montanaites, and the Maximistas. There is always the curiousity about whether it is just misplaced emotion or is the juice really that good. Maxim's pour Homme seems to be the victim of a grand plan gone bust. Dimitri in his Sorcery of Scent blog relates that Maxim's was created by Pierre Cardin in 1988 after acquiring the French restaurant Maxim's with dreams of taking it worldwide. The fact that there is no Maxim's in your local area should indicate the success of this venture. What I find interesting is the thought that a scent would be the first step to creating a brand. Nevertheless that was the path taken in 1988 and Maxim's pour Homme was created. The top of this is a solid lavender which leads striaght to a heart of jasmine and spicy carnation. According to the notes bergamot and a "fruit note" are supposed to be present but right from the beginning I get a strong floral character. It takes a while but the sandalwood and cedar appear and move this into a different stage as they eventually push the floral notes to the background. The base is a delicately balanced patchouli and musk on me which is really nice. I like that this scent has three distinct stages from floral to woody to musky. It doesn't feel like the longevity is going to be very good as two hours in I'm already feeling it is starting to fade away. This is a good scent and if you see a bottle floating around your local flea market or at a discounter I'd say go for it. If this ever becomes one of those scents that commands a premium because it is discontinued that's when I'd say buyer beware. For me, I don't think I'm joining the ranks of the Maximistas just yet but over time they may get me yet.

Guerlain L'Instant de Guerlain pour Homme

L'Instant de Guerlain pour Homme was created in 2004 by Beatrice Piquet and she has created a singular masculine scent in this one. So many masculine scents begin with a citrus and bergamot top note that I am almost disappointed when that isn't the first thing that hits my nose when "pour Homme" is on the bottle. Ms. Piquet starts with a tart citrus paired with a deep green note and anise. This is such an unusual start it makes me want to have it stick around but then I would miss the incredible mix of jasmine that rises out of these top notes by first seeming to come from a distance before eventually becoming the prominent note. The floral aspect of the jasmine begins to intertwine with a smoky tea note which cuts the sweet of the jasmine and adds an unexpected contrast to the heart of this. From here a mix of rosewood, patchouli and amber ground the scent. What is even more amazing is the citrus present in the top makes a surprising reappearance and the very slight acidity this adds to the base is like a reminder of the beauty of the beginning of this all over. This has "pour Homme" on the bottle but this is one of those that I would love to smell on a Femme.

Comme des Garcons CdG2Man

Back in 2004 Comme des Garcons asked Mark Buxton to create a male version of their very successful CdG2. As in so many art forms the sequel is not as interesting as the original Mark Buxton creation but it does carry its own charms. The top dives straightaway into the olfactory spice cabinet as cumin takes the lead along with saffron and nutmeg. The latter two are really there just to soften the rough edges of the cumin. The progression into the heart is where this one really comes alive as the spices slowly recede and a smoky wood accord takes over. This has been compared to the smell of a fireplace in other reviews and that is a spot-on description of what I get. It is like the memory of last night's fire on your sweater, very unusual and very comforting. Vetiver takes the lead as we head into the base and the woods become less last night's firewood and more today's log, ready to be thrown on the fire. Mark Buxton is becoming the perfumer who I think I should like much more than I do, his creations use many of the notes that I appreciate but for some reason don't mesh to make me go all giddy with praise. I can't say that I've found any of his compositions boring they just haven't lifted my spirits as high as I expected.

Guerlain Coriolan

Guerlain Coriolan was created by Jean-Paul Guerlain in 1998 and was soon discontinued and considered a flop for Guerlain. Much like the Roman general Coriolanus it is named after who was accused of corruption and fled Rome to find refuge in the arms of the enemy tribe, the Volscians, he had previoulsly defeated. After wearing this I am hard pressed to understand why this was not more widely accepted. Coriolan starts off with a huge blast of lemon and bergamot. This is a standard opening for many masculine fragrances but what allows this to stand out is both notes are very tight and distinct to my nose. The lemon is tart with just a hint of sweet, the bergamot adds the right complement of aromaticity. It feels just right and progresses into a spice-laden heart of coriander, juniper, nutmeg and a medicinal note which is provided by absinthe. Coriander and juniper are the main constituents of gin and the heart of this has the bite of a good martini but the absinthe adds a potency to the heart and a complexity that kept me sniffing over and over to tease out the different strands presented to my nose. This ends in a classic chypre fashion full of oakmoss and patchouli and, as at the beginning of this, each note holds its own place and is allowed to stand on its own. Coriolan has all the hallmarks of the best Guerlains out there, complex construction, quality ingredients, and classic composition. This is a powerhouse scent and overapplied could easily be overwhelming but conservatively applied this is a beauty. Guerlain has re-released Coriolan and supposedly toned it down a bit under the name L'Ame d'un Heros. One can hope that unlike Coriolanus who led the Volscians back to the gates of Rome only to withdraw at the sight of his mother that Coriolan can one day return to the perfume pantheon in glory.

Etat Libre D'Orange Rossy de Palma

Etat Libre d'Orange has made its mark on the clever names of its different scents as well as what is contained in the bottle. That's why it was surprising to see them putting out an actress inspired scent. On the other hand Rossy de Palma, star of Pedro Almodovar's Women on the Edge of a Nervous Breakdown, isn't likely to be confused with Jennifer Lopez anytime soon. This is a rose-focused scent which is also unlikely to be confused with the rose water your grandmother used either. Perfumers Antoine Lie and Antoine Maisondieu combined to make a modern rose which also contains elements of the new. For me the difference comes right at first sniff as the rose is present but also a tart manadarin note which plays antagonist to the rose protagonist in the first act. The mandarin slowly fades and as the curtain goes up on the second act the co-star is honey and a sweet aura wraps the rose in what at first seems like a gentle middle when from stage left enters a hint of spice in the personages of cumin and cinnamon. As we move into act three the rose maintains its central role but now gracefully shares the olfactory stage with patchouli applied very lightly over musk and vanilla. The top and heart of this one are a joy on my skin as the rose holds my interest but the mix of citrus honey, and spice as the scent develops really add depth. The base is almost disappointingly normal but then one does need to ground the unusual in the familiar at some point. All involved need to take a bow as I stand and wrist pressed firmly to nose give the Basenotes Salute.

Serge Lutens Borneo 1834

Borneo 1834 has been compared to Coromandel and because they share a nose, Christopher Sheldrake, and two prominent notes in patchouli and chocolate I would guess the comparisons are inevitable. Borneo 1834's patchouli arrives on a flying carpet of camphor. The vapor trail this leaves behind is indelible and memorable. As the camphor recedes the patchouli changes character and it seems as if it becomes more herbal and a very light incense note compliments it through this stage of development. The biggest similarity I notice between Borneo 1834 and Coromandel is the source of the chocolate note. In both cases it is the smell of dry cocoa powder and not the lusher milk chocolate found in many gourmands. By using this aspect of chocolate as a note it keeps Borneo 1834 from being considered a gourmand. As the arid chocolate takes the spotlight there is a beautiful hint of wood that comes in, which I think is rosewood, and the sweet woody note really brings this home in fine style. I think that Borneo 1834 shows what a talented perfumer can do when he is using the same central players and yet still create something different.

Nasomatto Hindu Grass

There are some Houses out there who have delusions of grandeur and try to cloak the art of perfumery in as much smoke and mystery as possible. Nasomatto is probably the biggest practitioner of this approach. Nasomatto does not release note lists, the perfumer, or some sense of what the scent is supposed to smell like. For example the only description available for Hindu Grass is that it "aims to breathe the belief in universal peace and love". That's a tall order for a world leader and I have no idea how to correlate that to a scent. You could get a clue from the name, Hindu Grass which led me to think and hope for incense with a green and herbal component. I didn't get any incense at the top I get a blast of sweet which seems to have a camphor/menthol-like component. This is an interesting yin and yang to start that is pleasant but then the heart is overwhelmed by a nuclear strike of patchouli that obliterates almost everything for a good 20-40 minutes. It was so off-putting that it was only after the fallout from the heart had dispersed that the combination of green and amber came through and was really nice. I like the top and base of this one but the incredible lack of balance present in the heart completely puts me off this one. For something that wants to uncover the greater mysteries I guess the answer is Patchouli.

Rochas Lui

I am a big fan of Rochas Man and am just now starting to try some of the other offerings from Rochas. First up is Michel Almairac's and Amandine Marie's, Rochas Lui. Lui starts off with the ubiquitous citrus note this time represented by neroli but what I like about this top is cedar is right there too. This is reminiscent of Gucci pour Homme but it isn't that deep cedar of pencil shavings. Lui presents a fresher cleaner cedar because of the presence of the neroli and because the neroli is more prominent. The top is also very intense for a top as the depth of the cedar makes for unexpected depth. I wish the top lasted longer because the heart feels so pedestrian on me there is a hint of sweet incense mixed with the cedar but as opposed to elevating the scent it feels like it has been geared down a notch. The base is a pretty nice mix of patchouli and vanilla which gets better over time. This is a scent which has its best moments at the beginning. This is an affordable good scent that I can easily recommend to those on a budget. There are better fragrances out there but you'll pay much more for them.

Montana Parfum D'Homme (red box)

I'm not a bottle person but the Devil's Tower-like bottle this one comes in, intrigued the Close Encounters geek in me. Not enough to try it. That came with the unabashed fans this one has and the comparisons to Aramis Havana, one of my favorites. It was with anticipation that I sprayed it on and was met with a very similar spicy citrus blast to Havana. This seems different as the lemon seems to show its dry side and I get the slightest tingle of aldehydes. This is a fleeting top and we progress quickly into the deep heart of this and here is where the spice takes over and the Oriental character bursts into life. There is a floral weave of rose, jasmine, and carnation. The clove character of carnation combines well with the cinnamon also present. The real star of the heart is the pine note that comes in and adds depth to the spice and counterpoint to the florals. The addition of this pine note is where Edouard Flechier turns this into a beauty. The pine note sticks around to lead the scent into the base which is chock-full of sandalwood and amber. I get little hints of patchouli and vanilla but this settles into pine, sandalwood and amber and it is a lovely place to end this journey. I get the comparisons to Havana but this is its own scent and in many ways as good or better than Havana. Really I think the more apt comparison is these were the kinds of scents prevalent in the early 90's, powerful Orientals. Montana Parfum D'Homme stands on its own, as tall as the monument the bottle looks like.

Histoire de Parfums 1740 Marquis de Sade

There are some perfumes that are going to have a hard time living up to their name. Any scent named after the most publicized libertine of all time is going to have to be a combination of the sensual and the novel. In this case I think Histoire de Parfums did a pretty good job. The fragrance starts with a bergamot and light leather beginning. It is a quite lovely mix harkening to that which the Marquis is most known for. Continuing that theme the leather deepens into the heart but adds some heat in the form of spices cumin and cardamom. All of this is enhanced with an earthy patchouli. Here is the sensual heat that the name promises. It is as we move into the base that the novel makes its appearance with a candied fruit note that makes for a shift in tone. It doesn't last long before the patchouli ushers in a mix of wood and vanilla in the base with the leather note still present. This is a lush scent which in my opinion lives up to its name.

Murray and Lanman Florida Water

I've been wet shaving with a double-edged razor for awhile now and I've been trying some of the eau de colognes recommended in the wet shaving community. Florida Water is one of the more highly regarded of these and after a solid 4-pass shave I sprayed some on. The first blast is an intense ginger which in something calle Florida Water is surprising. Y'know since Florida is so well known for their ginger. The ginger is bracing and refreshing but quickly to the rescue is something Florida is well known for, as a citrus note comes in and makes for a spicy citrus melange that is quite nice. The spice and citrus linger for a good while before transitioning into a light floral middle which leads to a vetiver base. Like many eau de colognes the longevity is modest and if you need something to last you all day it will require you to top it up at some point. This is a really beautifully constructed eau de cologne which is amazing when you consider the price tag of $5 for 4.2oz.!! Florida Water is said to have use in voodoo ceremonies, I don't know about that, but the designers of this one have definitely performed some kind of olfactory voodoo to make something this good at that price.

Abercrombie & Fitch Fierce

Anybody who has shopped in a mall in the US that contains an Abercrombie & Fitch has smelled Fierce. Some stores pump it through their ventilation and others have SA's who have the job of spraying the mannequins every 20-30 minutes. As a red-blooded shopper I knew what I was going to get. As far as mass-acceptance scents go I think this is pretty good. Cristophe Laudamiel will always be better known for Burberry London, Theo Fennell Scent or S-ex here on Basenotes, but Fierce is far from an embarassment and in its ability to connect with a wider audience might be a more difficult task. That is for the philosophers to decide. For me, Fierce starts out with an agressive mix of citrus and spice. When it comes to the ubiquitous fresh top that seems to be desired these days this is a nice variation on that theme. Fierce then transitions into a pretty generic woody heart this is the least interesting phase of the development. The base is the best part as a combination of musk and amber weave together quite nicely. This is very much a young man's scent, appropriate to where it is being sold. I can't see going through this bottle very quickly but I also don't see getting rid of it as I have had far worse scents on my skin.

The People of the Labyrinths Luctor et Emergo

When reading reviews there are a couple of criticisms that are leveled at scents which are supposed to be withering accusations, that they are synthetic or they smell like Play-Doh. This scent shoulders the burden of having both of these labels applied to it. As one who likes the synthetic notes of Beyond Paradise for Men and has no childhood trauma associated with Play-Doh I was looking forward to wearing this. The top of this starts off with a cherry-almond accord that is subtle, and not too sweet on me, there is something of a plastic quality to it like a supermarket package of cherries and almonds wrapped together which gives the "not quite from nature" feel to the top of this. That synthetic quality takes over in full in the heart as the cherries recede and a stronger deeper note presides, which does bear a similarity to Play Doh, but this is sweeter and along with this artificial note there are some natural notes of woods and incense to keep this grounded. The synthetic note fades to the background in the base and I continue to get hits of it but the woods along with vanilla are more prominent at this point in the development. This is one of those scents that gets put in the interesting category, for me. I won't be reaching for this on a regular basis but there will be days when this combination will seem like just the ticket.

Bois 1920 Real Patchouly

Patchouli is one of those notes that is difficult to work with, I think. It is easy to use it and come off smelling like every head shop in existence. It is a more difficult trick to get past that association and through a combination of other notes bring out a different facet to patchouli. In Real Patchouly, Enzo Galardi do