Balsams & Resins: 32 posts

The news of Frédéric Malle selling his Editions de Parfums house to Estée Lauder reminded me that I haven’t gotten around to writing about one of the most intriguing fragrances from his collection, Portrait of a Lady. Why intriguing? Well, consider the name. If it brings to your mind the cool elegance of Henry James’s heroines, then you’re not alone. I also expected something along these lines–ultra refined, sophisticated and feminine. Except that it is all wrong. Portrait of a Lady is interesting precisely because the scent is not at all what you expect. It’s a twist on a Middle Eastern theme, and it’s not all that lady-like.

If you’ve already smelled traditional Middle Eastern perfumes or western blends inspired by them (Amouage, Kilian’s ouds, Armani Privé Rose d’Arabie), then you might recognize similar elements in Portrait of a Lady. It has a generous dose of classical “oriental” notes–sandalwood, amber, patchouli, dark woods smoked over incense, and of course, rose. It has a similar dramatic and mysterious character that makes this perfume genre so distinctive.

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Jean-Paul Guerlain, the last perfumer for the house carrying the family name, once memorably said that one could be a Shalimar woman or a L’Heure Bleue woman, but not both. Of course, he made the statement in his usual provocative manner, but the idea was that the two perfumes had such different characters that you loved either one or the other. I had all the makings of a L’Heure Bleue woman, having fallen for its older sister Après l’Ondée, but then I met Habit Rouge. One encounter was all it took for me not only to be captivated by its velvety orange blossom doused in incense and bergamot, but also to understand the allure of Shalimar.

That Habit Rouge is marketed to men should make no difference to women. In 1965, when Habit Rouge was created by Guerlain, the collection had many splendid feminine perfumes like Jicky, Shalimar, L’Heure Bleue, and Mitsouko, but the offerings for men were considerably less outstanding. The exception was Vétiver, which Jean-Paul Guerlain created a few years earlier. His solution to draw gentlemen to the perfume counter was to take the basic outline of Shalimar and its famous accord of citrus and sweet oriental notes and give it a dandy appeal with leather and green orange blossom. The result was a less sweet, less curvy and less ripe version of Shalimar, but with all the elegance and panache of its great ancestor.

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Does the world need another rose perfume? I’ve posed myself that question on many occasions, as the variety of roses keeps increasing, but I invariably end up saying, yes. Jasmine, orange blossom and tuberose, the so-called white flowers, may seduce me, but rose makes me happy. Light and shimmery or dark and velvety, this blossom in the perfume bottle is my gateway to fantasy. Enter the new rose to tempt me, Ann Gérard Rose Cut.

A jeweler based in Paris, Ann Gérard has already three perfumes to her name, Cuir de Nacre, Perle de Mousse, and Ciel d’Opale. All three were created by Bertrand Duchaufour, the perfumer whose name graces many niche offerings. Rose Cut is also his composition, and in creating it, he and Gérard were inspired by a diamond-cutting technique which gives stones a special radiance.

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I have an article in the September 2013 issue of Perfumer & Flavorist magazine. It’s called “Story in the Bottle : Supporting Natural Ingredients Article,” and it’s about benzoin production in Laos. Benzoin is a vanilla scented resin used widely in fragrances and flavors, but its supply chain is extremely fragile. It’s mostly grown in the mountainous regions of Laos where small communities gather it to supplement their income. As the younger generation moves to the cities and other sources of income become more appealing, traditional activities like benzoin collection disappear. A loss of benzoin could have significant consequences to perfumers’ palettes.

A similar story could be told about many other natural raw materials used by the perfume industry, and I take a look at the current situation and what is being done to support the producers. Perfumer & Flavorist is aimed at the professional audience, so the article is on the technical side. Still, if you’re curious about such topics, you might like to take a look.

“The northern regions of Luang Prabang, Phongsali, Houaphan and Oudomxay supply the bulk of the benzoin used in the perfume and flavor manufacture. Benzoin is a balsamic resin obtained from the genus Styrax. The Laotian resin, tapped from Styrax tonkinensis, is considered to be of the highest quality, given its unique blend of vanilla, cinnamon and almond facets. In perfumery, benzoin can be found all over the fragrance wheel, from citrus colognes to orientals. Classics like Chanel Égoïste and Guerlain Shalimar rely on its velvety accent, while the addictive richness of this balsamic note is important for the caramel and chocolate flavors in ice creams and pastries.”

The magazine is currently available at www.perfumerflavorist.com.

If you’re curious to read more about benzoin and other resins, please take a look at my post Perfume Vocabulary: Resins and Balsams. Prada Candy contains the high-grade Laotian benzoin, and it’s one of the most interesting benzoin dominated compositions on the market. Despite a  generous dose of this rich, warm resin, Candy has a luminous, bright quality. On the dark and brooding end of the spectrum, I love the layer of benzoin in Chanel Coromandel. 

Photography by Bois de Jasmin, benzoin tears.

I’ve been slowly testing the new Atelier d’Orient quarter, which was launched earlier this season in Tom Ford’s Private Blend collection. While I was enjoying Plum Japonais, Fleur de Chine and Rive d’Ambre well enough, Shanghai Lily stood out the most. I fell for it so hard that on any given day if I don’t have other perfume wearing plans it ends up on my skin. There are a few fragrances from Tom Ford’s Private Blend collection that hit the spot–Champaca Absolute, Velvet Gardenia, Cafe Rose, but Shanghai Lily is quickly becoming my favorite.

I like my flowers with a twist, and Shanghai Lily is a white floral with a dark mood. The jasmine and tuberose are warmed up and cossetted with plenty of spices and dark resins, which is already interesting. But the best part is that nothing about Shanghai Lily is heavy or oppressive. Instead, it sparkles from its gingery top notes to the incense accented drydown.

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