Floriental Week: My Short But Sweet Taste of Perfume Making

Trailing Roses, briar roses at Horton Bay in Mayne Island - a photo by Laríssa on Flickr.

I remember quite clearly the first time I ever met Ayala and came across her fragrances. I was in my first semester of the Fashion Marketing Diploma program at Kwantlen Polytechnic University and I met Ayala at Portobello West very briefly while I was in the process of completing an assignment. I have always loved fragrance as more than just a sensory pleasure but also as a complex and powerful art form - the sense of smell is the sense that is most closely linked to emotions and memories. I was immediately intrigued by her unusual scent combinations (urban inspired Hanami and simplistic but powerful Roses et Chocolat were the scents that left the biggest impression on me) and by the stories that were behind each one and I never forgot about our discussion or her fragrances. I met Ayala again a year later at her Etrog tea-party after writing an article about her custom fragrances for a bridal fashion website. We talked about fragrance and bonded over the fact that we are both chypre-lovers (from Ayala's collection I particularly adore Rainforest and Ayalitta). I told her that I loved her product and that if I could ever be of help to her in any way that I would love to volunteer. Another year later and I am lucky enough to have the privilege of working for Ayala Moriel Parfums.

While I was interning for Ayala in July, I was fortunate to be able to sit in on one of her classes and participate in the solid-perfume workshop during her five-day Floriental Perfume Course. While I do have a passion for fragrance and spend a fair amount of time researching fragrance myself, I knew very little about florientals and what key components make a scent a floriental versus a floral or oriental.

Many people think of floriental fragrances as being heavy, rich, ambery, and spicy. But truthfully, Florientals can be best described as a Floral-Ambery: a sub-category of the floral family, and the love child of two harmoniously mingled fragrance families - heady White Florals, and smooth Ambery Orientals. Opulent, smooth scents like Guerlain's iconic Samsara or Chanel's Allure often come to mind but floriental fragrances, while having a similar structure and similar notes, can vary greatly in smell and spirit. They can be light and sparkling, creamy and beachy or dark, smoky and seductive, depending on the composition and accent notes used.


Coralle parfum, an all-natural floriental from Ayala Moriel Parfums' archives

Floriental perfumes can vary greatly but are unified in their composition structure. Those who are familiar with fragrance know that notes are only a percentage of what leads to the final smell of a perfume. Florientals are more base heavy than other florals. Amber is always in the base, along with other heavier notes such as incense, sandalwood, vanilla, massoia bark or myrrh. The heart is where the richer flowers (roses, violets etc.) and white florals reside and the top is reserved for the airy citrus notes and lighter flowers (i.e.: mimosa), cool spices (i.e.: coriander, ginger, cardamom), balsams and woods. Perfumers will play around with the composition of fragrances but that is the basic outline of what the formula for a floral-oriental fragrance would look like.


Class of Summer 2013 (Floriental Week)

It was fascinating to listen to Ayala explain how the different components and ingredients of a floriental perfume could work together. Perfume is often explained and described in terms of the ingredients or "notes" within a fragrance. Ayala stressed that the ratio of notes within a fragrance is as equally important as the notes themselves. There may be several different versions of a fragrance with similar or the same notes, but each version will smell entirely different based on the amount of each note and the concentration. The subtle but distinct differences between fragrances of the same family was illustrated most vividly when Ayala began passing around different examples of floriental fragrances, some her own creations, some commercial perfumes, and some truly intriguing indie and vintage scents.

I was particularly intrigued by a vintage fragrance that she presented to us called l'Heure Bleue. The perfume was released in 1912 and I was truly surprised at how modern the fragrance smelled.When I used to think of vintage perfumes I would think of heavy abstract florals, thick spices, and animalic, aldehydic notes reminiscent of those on my great-grandmother's dresser. This perfume, created more than one hundred years ago could easily be worn and enjoyed today which made me appreciate the perfume and the perfumer all the more for being able to create a fragrance that can transcend time - not an easy task for an art form as personal perfume.



Students smelling tea roses at Nelson Park community gardens

During my time as a stand-in student of Ayala Moriel's I found that I most appreciated the way Ayala would connect science with more artistic side of creating a fragrance. What I mean by that is she would tell us about the chemical components of an ingredient and how that would affect a fragrance but would also describe it in imaginative and sensory terms that made it relatively easy for someone like me, with no background in science or chemistry to understand. I also appreciated the way that every lesson was illustrated with examples. If she was trying to show us how carnation blossoms smell similar to clove essences because of their high eugenol content, she would pass around the essences and have us describe any detected differences as well as similarities. Ayala thoroughly saturates you in the content of her lessons, urging you to use every sense while learning. Fragrant snacks (elderflower tea, floral-flavored cookies and bitterly rich dark chocolate), and garden walks allow her students to experience fragrance and explore the different components of fragrances in different ways. It is amazing how one flower, or spice, or balsam can produce essences with completely different aromas. The different facets of natural ingredients are fascinating and really made an impression on me in terms of how complex an art-form perfume-making is. It made me think of music or painting, where tiny brush strokes and notes combine together to create something abstract or simplistic but always emotionally/intellectually impacting. Everyday we are surrounded by different smells, some pleasant and some not so pleasant but they have a strong impact on our perceptions of our environment and on our memories. Fragrance can transport you to a different time, place, or emotional state depending on what you associate with different smells.

Grating beeswax for making solid perfumes

Ceramic casseroles for solid perfume making.

The highlight of my week as Ayala's student was the solid perfume workshop. Using beeswax, jojoba oil, and essences we were encouraged to close our eyes and transport ourselves to a place that really represents ourselves and where we feel most alive, inspired, safe etc., a place that we would want to capture and carry with us always. For me that place is Mayne Island, a gulf island close to Vancouver Island. Briar roses, sun-baked blackberries, spruce, pine, broom and salty ocean air are the aromas that are closest to my heart. Using notes of Rosa rugosa, lavender absolute, vanilla absolute, wild frankincense, and ylang-yang I created a fragrance that reminds me of my home away from home and that smells just a little bit vintage-esque because of the frankincense. I named it Marion after my great grandmother who helped build my family's cottage on Mayne Island. It was a meditative but somewhat nerve-wracking experience because of how much a subtle change in the amount of each essence and even the slightest variations of notes can change the entire fragrance. The process of creating the solid perfumes felt similar to cooking and is definitely something I would like to explore for my own enjoyment in the future.

Solid perfume in a vintage poison ring 

Overall what I would say about Ayala's classes are that they are intensive, artistic and scientific, and very hands-on. These are not classes where you will simply sit, read, and memorize. Every one of your senses will be involved while taking her classes. Perfumery is a rich and complex subject and there is always a lot to learn. Ayala has been practicing perfumery for years and years and as she says, even she is learning on a regular basis. In my opinion, the mark of a good teacher is to be able to take a fairly complicated subject and to be able to explain it in easy to understand terms. As Albert Einstein said, "If you can't explain it to a six year old, you don't understand it yourself.". I learned a lot from my couple of hours as Ayala's student even without a base of knowledge to reference.

Truly, perfumery is an art-form that should be further explored and celebrated. It is an incredible form of expression even for those who perhaps don't necessarily want to pursue it as a career. Not only will you develop a new creative skill and outlet but you will become more aware of the aromas and environment around you. I, for example, will never look at a tuberose the same away again after meeting and talking with Ayala about it (such a mesmerizing, multifaceted flower). I encourage anyone who has an interest in aromatherapy or perfume to take one of Ayala's courses, such as her Orientals week-long course from September 30th to October 4th 2013. Registration for this course closes Friday, August 30th at 12 noon PST. 

Asja: Honey and Cloves

Delicacy, originally uploaded by toybreaker.

Faithful to its name, Asja is all you could expect from a classical old-time oriental, but has a modern, up-bit twist that will make it adored even by those who typically dislike Orientals.

Rested on a sound foundation of all that could make a perfume an oriental - patchouli, musk, amber and clove bud absolute – Asja brings light and sparkle to this theme by using a well-balanced heart of a floral bouquet consisting primarily of carnations, and topped with a mouth-watering fruity accord.

Asja opens with a seductively luscious fruity notes that are sweet without being cloying and fresh without being flat or one-dimensional. The top not is engaging and inviting, and truly states what the perfume really is: a beautiful and rich, yet not overpowering Oriental, that is fruity and floral and not in the least cloying.

The eugenol theme (eugenol is the main constituent of clove buds and carnations) that characterizes this composition through all of its layers is pervasive but does not overpower the blend, and is not medicinal or sharp as you may expect:
There is something about the overall first impression of the top notes that brings to mind a rich, full-bodied mulled wine...As applied on the skin, a freshly-cut carnation flower emerges, immensely sweet and fresh, thanks to the addition of the round, rich and luscious fruity notes of peach and apricot, and a hint of citrus freshness.

The carnation heart is sweet and floral, and is rounded by exotic, fruity-floral notes of ylang ylang and a rich, subtle rose. It is also backed up by other spices that slowly emerge as the perfume develops on the skin: primarily Allspice Berry – the exotic large peppercorn-like spice, bold and interestingly dry and multi-layered. Allspice smells a lot like a pumpkin pie spice – a combination of cloves, cinnamon and nutmeg.

The eugenol note at the base is dry and sweet at once, like clove-bud absolute, which is much more subtle, refined and feminine than the essential oil. The accord at the base is especially rich and lovely – the orient at its best: patchouli, a hint of dry spices, amber, musk, honey and vanilla, and perhaps even a hint of dry moss.

Asja is a real treat, and an easy-to-wear Oriental. It is sensual, stimulating, soothing and comforting all at once. It’s a perfume you could wear everywhere for any reason (just take care of the doses) – you will enjoy it as well as others around you!
It somewhat reminds me of the charming and un-demanding Cheap and Chic by Moschino – just like it, Asja is a little flirty and mischievous, and begs for being enjoyed without hesitation or a second thought – just put it on and have fun!

Top notes: Carnation, Apricot, Peach

Heart notes Carnation, Clove bud oil, Rose, Jasmine, Ylang Ylang, Allspice berry

Base notes: Patcouli, Amber, Musk, Clove bud Absolute, Honey absolute

Tabu

Tabu has a dry edge of spices and carnation with a heart of gold – rose, orange blossom and jasmine - sweetened with resinous honey note over a sultry foundation of patchouli, amber, oakmoss, civet and musk. Although the top notes seem dry and somewhat severe at first, they quickly evolve into voluptuous and seductive curves that whisper a lustful invitation.

And you better listen to those whispers, as Tabu is the definition of a good buy – a high quality, original perfume with class and lasting power (remarkable for an Eau de Cologne!) which any great name perfume house would be proud of, for prices as low as $8-$15 depending on the size. It’s also very reliable: it’s been around since 1932 and hasn’t been altered as far as I know. In fact, it is written in the history of perfumes as the trendsetter for perfumes such as the patchouli drenched Youth Dew (1952), the spicy carnation & incense Opium (1977) and the ambery-mossy Obsession (1985) that tried their hand at this Oriental greatness only decades later, and in my opinion owe much for their greatness to the taboo breaking Tabu.

Tabu truly fits its name and image (as in the famous painting in the original advertisement): a forbidden, sensually provocative scent – just like the forbidden love between Anita and Holger in the unforgettable film “Intermezzo”.

The opening is dry and spicy with some orange notes; the heart is a well rounded floral; and the base is a sweet, animalic amber with powdery characteristics. It’s a seductive scent and I love wearing it in the winter or for bedtime, as it is rather comforting.

Top notes: Orange, Allspice, Carnation
Heart notes: Orange blossom, Rose, Jasmine
Base notes: Amber, Civet, Patchouli, Civet, Musk

Photo from Intermezzo from Luebe.de

Le Grandiose Révéler

I am back from the desert (paradise) Galiano Island, enjoying the serene scent of yellow freesias at my tabale, and am ready for the The Grand Reveal for the Blind Scent Reviews:

One:
Youth Dew Bath Oil (Vintage)

Two:
Tabu Eau de Cologne

Three:
Opium Fleur Imperiale (Limited Edition Summer 2006)

Thanks to Victoria and The Scented Salamander - you are both the winners of the Spicy Sample Pack!

Please contact me at ayala@ayalamoriel.com with your mailing address so I can send you the prize!

Thanks for participating!

Blind Scent Reviewing & Guessing Contest!

End War NOW, originally uploaded by Lali°.

We played a game amongst us, Scentbloggers, where we sent each other unnamed samples of mystery scents. Each of us had at least 6 mystery scents to review, and the sender is suppose to reveal them on their blog after posting the reviews made by their blind bloggy-friends…

I sent three samples of mystery scents to Victoria and Patty, simple labeled as One, Two and Three. These were all oriental scents of different types: One was a dark (visually almost black in colour), oil based spicy oriental, in fact a vintage one; the second was a cheap drugstore ambery-spicy oriental that can be found anywhere on the planet for less than $20, and was amber in colour; The last one was the most transparent in colour, pale yellow, and is a limited edition oriental, a light interpretation of a very famous perfume, spicy still, but much lighter than the other two.

Here is what Victoria and Patty thought about the scents:

One

Victoria says:
"#1 is a nice amber oil. Maybe a hint of something else, like myrrh. Sweet and warm. My guess is maybe something by Kuumba Made. I like it".

Patty says:
"Wow! Deep and oudish, this is a great. Really strong and dark at the beginning, but the drydown is just spectacular. I'm really loving this, can I get some, please? I just wish it stuck around a little longer and -- oh, no, when it's almost gone, all the good stuff goes away and leaves a kind of musty rubber sheets note that I'm not liking at all".

Two:

Victoria says:
"#2 is a soft oriental. Vintage, with a nice sweet amber drydown. Powdery. I think I have smelled this before. It reminds me of Lou Lou, it has that feel, that era. It is light and soft with not much punch, I can't tell if that is because of age or composition. If it is composition, then it might be something like Windsong, or some older Avons come to mind, like Occur! or Topaz. If it has faded due to age, it may be a more classic house like Guerlain. Whatever it is, I like it. The vintage appeal, gives it a romantic, nostalgic feel".

Patty says:
"This went on a little meh, a note in there was bothering me. Vintage? It's drying down with a note in it that I personally don't care for. It just smells vintage to me, old fashioned, a little powdery".

Three:

Victoria says:
"#3 is modern, a fruity floral? I can't name the fruit, but it doesn't smell straight floral. I like this one very much too. Powdery with a coolness to it, maybe a touch of anice, do I smell tobacco, violets, ozone? A light medicinal note,benzene? Not a clue. Strangely compelling".

Patty says:
"Some white flower in this, a little sharp too, pretty, but not a smell that I'm going to keep in the memory banks as groundbreaking. Definitely pretty and wearable, though! It's just not lasting either".

I hope you could use Victoria and Patty’s blind reviews, and my clues above to reveal the scents yourself. I am just extending the game here, not really following the rules as we originally set, but I just thought it would be a fun summer game! Be the first to guess the scents, and win a sample pack of Ayala Moriel Parfums most spicy concoctions – Palas Atena, Fete d’Hiver, Epice Sauvage, Finjan and Rebellius!

You are also invited to visit the other participating blogs in the bling scent reviewing game:
Aromascope
Perfume Posse
Perfume-Smellin' Things
Victoria's Own
Perfume Critic.Com and Scentzilla! (my own blind reviews will be posted on there very soon)

The Big Reveal of both the names of the perfumes and the name of the winner for this blind contest will be announced on Tuesday night!

Anné Pliska

Now that the heat is almost at its full Northwest Coast capacity, I hesitated for a moment before I drenched myself in that rich ambery oriental - the fabulous purple concoction that is Anné Pliska. But I am glad I did not give up and tried it despite of the “inappropriate” weather. Like my other two favourite ambery orientals, Shalimar and Obsession, they actually glow in the heat and are a real treat, just like vanilla ice cream...

And indeed, what I first got from Anné Pliska was a summery note of orange and cream soda slushy topped with soft vanilla ice cream, along with daring hints of leather (or wintergreen and birch), creating a root-beer-like effect – which adds an interesting, contrasting accent. After a few minutes this thirst-quenching, cool concoction of sweet crushed ice and vanilla desert fades a bit, and the herbal note softens and moves to the background (perhaps it is tampered by the sweeter, more well-mannered geranium). Vanilla and amber are definitely the most dominant notes and are the theme of Anné Pliska, and are much softer and mellower in the dry down, and become almost powdery. But despite the fact that the scent stays quite linear for most of the composition – it is never boring. The notes weave in and out and maintain the sweet and lovable presence of amber,

Anné Pliska , made by South Californian independent perfumer by the same name, was launched in 1987 (two years after Obsession). Although it shares many similarities with Obsession, it is quite different and more sultry and complex. Think about the creamiest Shalimar vanilla, the amber of Tabu and Obsession, the orange-mandarin notes of Obsession, a tad of unique spiciness that is vaguely reminiscent of Joop! For Men - and an unusual, mysterious oomph of its own – and you get Anné Pliska. If you love these three bombshell orientals, you must try Anné Pliska. In fact, you must try Anné Pliska anyways because it is a special amber perfume, and an example for what a well-made American perfume is: boldly luxurious and sensual, yet sophisticated and elegant.

Top notes: Orange, Mandarin, Wintergreen/Birch
Heart notes: Geranium, Vanilla
Base notes: Amber, Vanilla, Patchouli

P.s. Image is from Luscious Cargo, which carries all of the Anné Pliska line. For more information about where to get it visit the Anné Pliska Blog. Like other American luxury items of yesteryear (i.e. Estee Lauder's Youth Dew), it is also sweetly affordable. Don't you just love them parfum extraits under $100?

Fleur de Shanghai

Forever Magnolia, originally uploaded by Plavi.

Sometimes, it is more difficult to write a review about a perfume you love. But sometimes a thing of beauty does not need any more words to describe it in order to convince one of its beauty. This is the case in Fleur de Shanghai – the most addictive Opium I have ever tried. There is really not much more to say. The notes are simple. The structure is simple and coherent. The scent is simply divine from start to finish. Even if I could, I wouldn’t change a single note about it. So what is there to say about a perfect perfume, whose only flaw is that it is a limited edition? This special one is doomed to become extinct before even having an adequate shelf exposure. A unique flower hybrid designed to bloom for only one season, and than collect dust in a safe somewhere and become forgotten along with hundred other limited edition and discontinued fragrances.

I wish I could say more about Fleur de Shanghai besides that it is beautiful, and state my reasoning more clearly for why this scent should not be a one-season-stand. I would love start up a petition to YSL’s perfume division and beg them to change their minds and add Fleur de Shanghai to the permanent collection. But I am afraid this will be useless, for this scent was meant to be nothing more than a retail success. If Opium hasn’t proceeded it, I am certain Fleur de Shanghai would have gracefully joined other classics in the Perfume Hall of Fame (that, of course, if such a thing really exists in a perfume world where hundreds of new releases happen every season, and classics become discontinued or are altered in order for the big corporations to make more money). Please do tell me if I am not alone in my devoted affection to Fleur de Shanghai.

Fleur de Shanghai starts with lovely notes of mandarins, underlined with the sweet-spiciness of cloves, as cozy as my grandmother’s perfect honey cake. The heart is floral yet light: magnolia petals unfold to reveal their fresh and cool honeyed scent along with a hint of green, and tiny white star jasmine blossoms float around delicately like miniature steps of Asian dancers concealed by their floating robes. A heavy undercurrent of myrrh, narcotic and poetic, is soon unleashed and becomes the centre theme, underlined with just a hint of Saxon moss to keep it dry and balanced its medicinal aspects, and made delicious by coumarin and sheer vanilla – mellow and sweet yet light-weight.

Fleur de Shanghai was love at first sniff. In fact, I loved this summer version of 2005 so much, that I had to stock up. Luckily, my perfume collection is big enough to distract me from its extinct status for most of the year. But when summer comes – I have to wear it very often and seem to never get enough of it. I enjoy re-applying even though it has a great lasting power. It never seems to overwhelm though. Despite its sweet notes, the myrrh and moss make it as refreshing and protective as a rice-paper parasol, Vetiver woven mats and blinds, and pale linen suits. I run out of 50ml just last summer. So I guess I have 3 more years to go if I am counting the other 100ml bottle that I have saved for bad days. I also have Fleur Imperiale, the limited edition for summer 2006 – pleasantly based on myrrh like Fleur de Shanghai, but lacking the unique sweetness of magnolia, which is replaced but a much less significant or authentic osmanthus and apricot blossoms.

Ck Obsession for Women

In the midst of an artificial perfume collection, dominated by computer generated fragrances, Calvin Klein’s Obsession stands out, being a modern Oriental that is surprisingly charming.
Obsession appeals to the young generation of impulsive, simplicity-seeking youth as well as “grown ups” with style that haven’t yet completely repressed their sensuality for the sake of synthetic class. It’s intense appeal is derived from an interesting approach combining heavy and rich natural essences such as oakmoss and frankincense, with an added touch of modern sparkle that is almost deceivingly perceived as fresh and “light” by distracted passing-by noses…

It starts with quite a blast of summery sparkle of tangerines and mandarins, beautifully melted into an ice-cream like note of intensely sweet vanillin. This accord is sweet and fresh at once, almost like a creamsickle…

The heart, though floral, still possesses the charming contrast of sweet floral notes with some tanginess: heady jasmine mellowed and balanced by the citrus-invoking floral note of Orange Blossom absolute. It is backed up by a warm accord of fluffy smoke of sandalwood incense.

The base contains an interesting dosage of oakmoss that is dry and synthetically modified, to create an almost spicy impression reminiscent of allspice berry and of cyclamen. It is accompanied by frankincense and is heavily backed up with notes of vanilla and fresh-smelling, radiant amber, which will end up dominating the dry down without compromise.

Obsession is fun to wear, and is quite versatile. Though classified as an oriental, it has certain quality to it that makes it suitable to wear also in more casual social settings, and in mild and even warm weather.

Top notes: Mandarin, Tangerines

Heart notes: Orange blossom, Jasmine, Sandalwood

Base notes: Vanillin, Amber, Frankincense, Oakmoss

Image from Un Monde En Senteurs - the first musical, olfactive, and aquatic concert ever held in Switzerland

Shalimar

Comparing to the multi-faceted masterpieces Mitsouko, Vol de Nuit and l’Heure Bleue, Shalimar is in danger of being the most obvious – a purely seductive indulgence. Even the bottle shows off with it’s fountain-shaped stopper – or is it the feathered crown of a peacock’s head? It is a grandiose show-off of sensuality and passion – not unlike it’s inspirational tragic love story which resulted in the bombard grave known to us as Taj Mahal.

In fact, Shalimar is almost too good to be true. There is nothing in this perfume that is not pleasantly dripping of sweet softness and curvy sensuality. From the sweet and fresh bergamot and curiously smoky top notes through the rose petals and jasmine blossoms softened by powdered iris, carnal base notes of castoreum, musk and opoponax sweetened with amber, tonka and affectionate doses of vanilla. The real beauty, however, and where the genius of Shalimar lies, is in the final dry down – a soft and delicious just-kissed skin,fondled and worshiped by a lover.

From the most memorable creations of Jacques Guerlain, Shalimar is least complex, despite its incredible richness and expressiveness.: it sends a clear message of an indefeasible aphrodisiac. It’s beauty lies in the uncompromising hedonistic attitude and the absence of ambivalence in it’s total romanticism and sensuality.


Top notes:
Smoky leather notes, Bergamot, Orange

Heart notes:
Rose, Jasmine, Orris

Base notes:
Vanilla, Amber, Opoponax, Musk, Patchouli, Castoerum



p.s. The only concentration I recommend for Shalimar is the Parfum Extrait. It may be different with vintage Shalimar, but the newly produced ones in other concentrations are a far cry from the love song that is the pure parfum.





Illustration from Karin Kuhlman’s Peacock fractal

l'Heure Bleue

L’Heure Bleue is one of the true masterpiece by Jacques Guerlain. I see it as standing hand-in-hand with its sisters Mitsouko and Vol de Nuit. There is certain quality that underlines those three masterpieces and makes them even more than an amazingly beautiful-smelling perfume to wear - but truly a work of art.

L’Heure Bleue is sophisticated and anigmatic, and yet has a unique melodramatic peacefulness that definitely does not lack reflective, philosophical melancholy…
When you realize, once the last dusky lights are giving themselves away to the first stars, how beautiful the day was, and how wonderful the deep blue night is, and the world is so vast and immeasurable and so full of beauty that it may even make you want to cry…
This moment of beauty is so eternal that it makes you feel your mortality in a painful way. Still, you are content with yourself and your life that you know if it will be taken from you that moment, you will feel complete and in perfect harmony with the universe…

You breathe in the silent fresh air of your warm summer garden… The night blooming jasmine is beautiful and intoxicating… The grass that has been just watered, full of murmurs and insects’ summer-songs… The orange blossom flowers are just folding themselves for a long, peaceful night sleep. You pick a late blooming rose, a deep, velvety-purple-crimson rose, her petals already soft after warming up in the sun for the past three days. You hold the rose and fondle the petals and hold them against your cheeks to sense the warm scent of a mature rose releasing the peak of her last fragrance into the night air... And it is all part of you now, there is no need to hold on to it.

Those beautiful, magical notes interweave with each other so gently that it is hard to tell one from the other. Together they create one impression that in my mind I visualize as a very earthy brown colour, though somewhat rich and copper like. I simply cannot see a deep blue when smelling l’Heure Bleue, though the different notes on their own make sense and tell the story of this time of the day:
There are the subtle citrus and anise top notes that are there to accentuate the soft florals, including violet flowers, and link them to the deeper base notes.
The root of the composition, apparent from first application, is a soft and bittersweet heliotrope, combined with tonka bean that accentuates the softness, yet also possesses the bitter-almond-like undertones. Vanilla and orris root are also present, to support the overall powderiness and soft, mature and philosophical nature of l'Heure Bleue.

The drydown is somewhat more smooth and ambery (though it is hard to see l’Heure Bleue as an oriental per se –it has such a unique individuality and perhaps deserves not to be categorized at all…Just like Vol de Nuit and Mitsouko, I am afraid it does not quite fit into categories…)– The drydown is a bit less powdery, with a vanillic accord. It also has some woody notes in the drydown – I suspect vetiver, but cannot quite pin point it. I will not be surprised to find some oakmoss in it either, though not in a chypre context but an oriental context, and perhaps some underlining spices that are subtle and are not meant to be recognized but rather create a warm undernote to support the rest of the scene.

There is something in it that totally reminds me, surprisingly, of Mitsouko – the fruitiness that is quite dry, bittersweet (dry peach like notes in Mitsouko, and the cherry-like notes in l’Heure Bleue); and a certain dark woodiness at the base that is interesting, mysterious, hard to grasp – but once you get it you are totally captivated!
The fruitiness of l’Heure Bleue lasts much longer though – as it originates in the heliotrope base notes, rather than the peach top notes in Mitsouko (that most people find they fade just a bit too quickly after been exposed…).

Top notes: Bergamot, aniseed
Heart notes: Jasmine, Orange Blossom, Rose, Violet, Carnation, Orris root
Base notes: Heliotrope, Tonka Bean, Vanilla, Vetiver, Woods, Spices

L’Heure Bleue is probably the most incredible inspiration one could have ever found for a perfume – the name is beautiful, captivating, alluring, enchanting...
Initially, the fragrance itself did not do the same thing to me - It seemed to be extremely sweet, with a dominant, bittersweet heliotrope note in it, and dries down to a rather interesting and comfortable ambery-powdery vanilla. It wasn’t until I tried l’Heure Bleue in pure parfum that I got to enjoy, understand and appreciate it more – although I believe I only touched the surface of this aromatic mystery. It smelled intensley of jasmine when I smelled it directly from the bottle, and from there the images started flowing...

When I first heard about l’Heure Bleue I was so fascinated with the inspiration for it that I decided to create my own interpretation for such a magical hour. It immediately made me think about my mother – an enigmatic lady (I am still trying to figure her out…), she is an aquired anosmic who always loved anise and velvet. I created for her the perfume Indigo, an enigmatic concoction of anise, caraway, bergamot, boronia, orange blossom, jasmine, violet, spices, incense and amber. To be honest, there is hardly anything in common between the two fragrances, left for a few notes and the insipration. Indigo is soft and cool as satiny-velvet, and smells like a nightfal in the Wadi – the dried riverbed, full of luscious greenery and vegetation, and the sounds of frogs and crickets.

I only learned about l’Heure Bleue’s sweetness after creating Indigo (I didn't find l'Heure Bleue until after I created my own interpretation for that inspirational and magical hour). So, once I actually smelled the original creation I must admit I was somewhat confused and initially, perhaps a bit disappointed: it was not what I expected, it did not make me think about the blue hour – until after I worn it several times in the parfum form, which unfortunately is becoming harder to find by the minute…Like Mitsouko, I think it takes rare personality to carry it through easily and without tapping into it first…

Now that I have given l’Heure Bleue a chance, and tried it several times, I must confess that I understand why this classic has survived two world wars as well as the currently overwhelming age of perfumery.

p.s. Although the other concentrations are nice too, the pure parfum is for sure the best one. The Eau de Parfum is quite true to the parfum, while the Eau de Toilette is more similar to Apres l'Ondee. The other concentrations will be reviewed later.

Artwork: Frank Holmes - Blue Twilight

Youth Dew

With its dark juice and dense composition, the name Youth Dew seems a bit out of place - unless the dew drop smells of civet, and adorns a wild narcissus in the middle of winter. The opening of Youth Dew reminds me tightly knotted woolen yarn, soft, warm and inviting - yet you can’t find the end/beginning and start knitting yet!
As it settles on the skin, it starts opening up, one bit at a time. As the citrus wears off and the spices soften by woody undercurrent, bit by bit the floral heart starts to emerge until reaching a peak – where narcissus and ylang ylang dance to the indolic rhythm of the civet base – sexual to a degree that borders on the impolite, so you need to hold on with self-conviction and dignity. But even the luscious of flowers decompose and return to earth, this time made of muddy puddle of earthy patchouli and vetiver which gradually softens and mellows until finally reaching a delicate dry down phase that is vanillic and surprisingly reminiscent of Chanel no. 5.

This is the review for the pure parfum – a limited edition in a beautiful, frosted flacon with a delicate frosted flower stopper, filled with the almost black juice this leaves an unforgettable impression!

I find Youth Dew to be very suitable for winter, and can’t imagine wearing it in any other season and being able to keep my olfactory bulb intact. The indolic heart and the earthy base surprisingly reminds me of sticking my nose into a narcissus, inhaling the scent that smells so delicate from afar, and so deadly from nearby; inhaling it along with the some rare raindrops that clang to the petals; All this after spending the whole afternoon jumping in puddles after the rain stopped

Top notes: Citrus and Spices
Heart notes: Narcissus, Ylang Ylang, Cloves, Rose
Base notes: Civet, Patchouli, Vetiver, Vanilla

Arabie

Even the faintest whiff of Arabie sends me to places I haven’t visited since I was a little girl of 3 or 4 years old, back to the Muslim quarter in ancient Jerusalem. My parents used to take me there almost every Saturday. Arabie smells just like the Muslim market over 26 years ago - spices such as saffron, coriender, cardamon, cinnamon... Sweet confections (Rahat Loukum) and the famous refreshing scents of Tamarhindi drink that were sold by merchants carrying a copper barrel on their back (with little taps, the glasses they had were actually made of glass, so they will wait for you to finish the drink before continuing their merchant-trail). Scents of straw mats, Persian carpets, handmade mattresses, copper lamps, ropes... All somewhat dusty and desert smelling, enclosed between tall ancient stone wall, and cool underneath the arches, protected from the heat of sun and human temprament alike... The abundant tactile and sensual distractions will confuse the warrior and soothe the poliltician… Tangy green almonds with salt sold at the exit by young boys sitting on rolls of rubber tubes…As well as the famous long oval sesame-drizzled fluffy bagels with Za’atar (a herb mixture based on wild hyssop and thyme). Those bagels and the cliché olive-tree camels and a few blue glassblown vessels at the Jaffa Gate only scrape the surface of these memories...