Fall: 94 posts

One of the most interesting principles in Japanese garden design is the idea of borrowed scenery, shakkei. Using existing landscape elements—distant mountains, ponds, and neighboring structures, a creator would plan the garden in such a way as to incorporate the surroundings into her composition and create her personal vision of nature. Perfumery is generally more about artifice and fantasy, but as summer fades, I too become inspired to borrow autumnal scenery for my fragrant accompaniment. My perfume choices become led by the scents of fall.

Even in the deodorized urban environment, autumn is a fragrant season. The moment that leaves start to fall, the air is filled with a mellow sweetness reminiscent of walnut shelves and faded leather. On my way to the metro, I take a roundabout way through a park, kicking the golden leaves and glossy chestnuts with the tip of my boots. On my scarf I carry Serge Lutens’s Chypre Rouge, a perfume that smells of maple syrup and bittersweet moss. Or I might select the delicate Bulgari Eau Parfumée Au Thé Rouge, an infusion of tea, ripe figs and maple leaves.

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Marie Kondo, the author of the best-selling book “The Life-Changing Magic of Tidying Up,” suggests that only items that spark joy should be kept around the house. Of course, Kondo’s “spark joy” philosophy is more nuanced as she applies it to various aspects of cleaning and decluttering, but the idea of surrounding oneself with objects that are meaningful and special makes perfect sense. It can also be applied successfully to selecting a perfume.

Whenever I’m asked by friends and readers for recommendations, instead of listing fragrances, I try to determine what scents make them feel good. Or, to use Kondo’s phrase, what perfumes spark joy for them. One such composition for me is Serge Lutens’s Iris Silver Mist. It’s a cool, polished fragrance based around the scent of iris root, and when I wear it, I feel as if I’ve stepped into a secret garden filled with pearly light and the soft rustle of leaves.

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Mid-Autumn Festival is on Saturday, September 10th, and I already envision brewing a pot of tea and admiring the full moon in the evening. Some years the weather doesn’t cooperate, and the temptress moon hides behind the clouds, but when it reveals its full splendor, the effect is magnificent. The pearly moonlight makes the sleeping city shimmer and the skies turn a deep blue color, with soft whispers of grey.

My moon-viewing is incomplete without mooncakes, pastries filled with lotus seed paste or red beans, and an appropriate perfume. The latter is particularly important to set the ambiance and add more magic to my evening. Below are my seven choices, for both men and women.

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A good fragrance smells familiar, a great fragrance smells surprising. The whole quest of modern perfumery can be summed by this sentence. We’re instantly attracted to the scents that remind us of something — a pleasant memory or another pleasant perfume, which is why well-liked, best-selling fragrances are often reminiscent of other perfumes on the market. A composition that rises above a merely easy-to-like, however, has an unexpected element. This surprising touch makes the scent linger in the memory and intrigue us. Finding the right combination of familiar and surprising is part of perfumer’s aim.

The five fragrances below represent different genres and styles, but the one element they have in common is surprise. I’ve selected examples that surprise rather than jolt to show subtle accents at play. These perfumes reinterpret classic themes, challenge conventions, and most importantly, smell wonderful.

Galop d’Hermès

At the top of my list is Galop d’Hermès, a fragrance that appears at first as a pastel toned, chic rose but has a dark, smoldering heart. To wear Galop is to be enveloped in soft layers of leather, woods and musk. The new Hermès in-house perfumer Christine Nagel also added an accord of incense inflected rose and juicy quince, an additional surprise.

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Despite a persistent belief that perfumers aim to imitate nature, fragrance is about a fantasy. So looking for the exact smell of a rose in a bottle is like reading Dostoyevsky’s Crime and Punishment to relive a vacation in Saint-Petersburg, even if said sojourn involved all things dark and sordid. Like literature, music, and sculpture, perfumery is a meditation on reality, rather than its photographic reflection. The best of compositions give us a glimpse into someone else’s world and their olfactory idea of a rose—or a cup of black tea, their lover’s skin, or a melancholy evening in Paris.

We read scent message differently

Each one of us might interpret the aromatic message in different ways. For instance, when I smell Balmain’s Vent Vert, I feel the same exhilaration as I do on the first days of March when the air smells intensely green and fresh. My friend, on the other hand, finds it disconcerting and aggressive, a storm of sharp, raspy notes that leaves her lightheaded. Considering that Vent Vert’s creator, Germaine Cellier, minced neither words nor accords, perhaps my friend’s impression is closer to the original intention of the perfumer.

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