Creed Santal Impérial
(1850) Woody Oriental ------------------ Top Notes: Bergamot Middle Notes: Sandalwood Base Notes: Tonka Bean, Ambergris
------------------ This is a very straightforward sandalwood, with a little bergamot in the top and some other woody and coumarin notes in the base, plus the ever-present Creed signature ambergris. Not great on longevity, this scent is nevertheless redolent of aristocracy and conservative notions of style. If you like solid and reliable scents that send a message of (perhaps slightly smug) self-possession and self-regard, this is for you. The other possibility is that you like something very obviously old-fashioned; simple, yet brilliant in its simplicity; and satisfyingly (if fleetingly) beautiful; then this is for you, too. Personally, I think I'll take it on the latter terms.
CacharelAnaïs Anaïs (1978) Perfumers: Raymond Chaillan, Robert Gonnon, Paul Léger, and Roger Pellegrino *** Top notes: Bergamot, Galbanum, Hyacinth, Honeysuckle Heart notes: Lily, Lily of the Valley, Rose, Ylang Ylang Base notes: Frankincense, Cedarwood, Sandalwood, Amber, Oakmoss
Immanuel Kant's Critique of Judgment juxtaposes the beautiful and the sublime. The beautiful is ordered and pleasing because of its symmetry and our ability to comprehend that organization. The sublime shocks and frightens by virtue of being something that our understanding cannot order or contain... it does violence to our imagination and gives us a perverse pleasure in reminding us of our inadequate smallness.
Jean Patou's Sublime edp lives up to its name for me.
The citrus, jasmine, patchouli and sandalwood combine to bring a rich and creamy flowering oriental that never ceases to fascinate.
Wearing this for nostalgic purposes today (and also in an attempt to finish off the bottle). I wore this back when I first started dating my wife. She loves it. I really enjoy the melon note -- the reason I bought it. Too bad it's so fleeting.
Finishing my amber week with one of my newest amber finds.
One of the enjoyable aspects of having the group of artisanal perfumers that have arisen in perfume is they don’t have to choose to play it safe. They are allowed to follow their artistic vision and because they aren’t playing to a mass audience they can make choices in materials and composition that bigger Houses don’t have the freedom to do. Liz Zorn is one of these artisanal perfumers and her Soivohle brand has some of the most interesting compositions out there. What is especially interesting is when a perfumer, like Ms. Zorn, chooses to interpret a well traveled note like amber and add her own twist to it.
Her perfume Amberene is that take on amber and she somehow takes a note that I have variously described, many times, as warm or medicinal or edgy; and makes it bright and shiny. She does this by using notes that would normally add a heft to a fragrance and by adding them in with a light hand she keeps Amberene a sprightly nimble fragrance on my skin.
Amberene begins with a fanfare of cardamom which comes across almost lemony in its brightness. The amber is present right at the beginning too but in a far off way like it is on its way but not quite there. The heart takes incense and adds it to the amber, but this is a light incense, and while the amber intensifies in the heart the incense stays at a distance. This makes it almost a grace note in relation to the amber but this works better than you might imagine as the resinous character of the incense never overwhelms and instead drifts as if on a breeze over the amber base of Amberene. The base takes a turn for the sweet with the introduction of vanilla but as with the incense in the heart the vanilla is kept modulated and it never takes Amberene into the sweet territory that vanilla sometimes imparts to a fragrance.
Amberene has above average longevity and modest sillage.
Ms. Zorn has taken amber and really created almost a classic eau de cologne splash out of it as it feels refreshing when I wear it. She just might have created the ideal warm-weather amber fragrance in Amberene.