Myrrh: 20 posts

When the Hermessence collection was first launched in 2004, it was conceived as an olfactory haiku—a few subtle details combined to create a complex impression. I still remain partial to the original creations like Vétiver Tonka and Ambre Narguilé, but the Middle East-inspired trio of Myrrhe Églantine, Cèdre Sambac, Agar Ebène has become my favorite. The compositions are complex and layered, with the classical Hermès radiance.

Myrrhe Églantine, for instance, plays with the shimmering effect of rose, setting it against a velvety background. This contrast has fascinated me from the first time I tried the perfume and the more I wear it, the more beguiling it becomes. The fragrance starts out on a sweet citrus, followed by a dark glimpse of violet. Unexpectedly, however, the notes fuse into an illusion of a crimson rose. When later, myrrh, a plush, resinous material that smells like licorice, woods and unburned incense, stakes its claims, the rose becomes even warmer.

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“When they saw that the star had stopped, they were overwhelmed with joy. On entering the house, they saw the child with Mary, his mother; and they knelt down and paid him homage. Then, opening their treasure chests, they offered him gifts of gold, frankincense, and myrrh.” Matthew 2:11

Gold, frankincense and myrrh have been venerated since antiquity and their importance often exceeded their monetary value. Many know the Biblical story of the adoration of the Magi, but you can find mentions of these materials interspersed in Hindu, Islamic and Judaic texts. Since perfumery reflects trends in art, fashion, and society at large, I have always wanted to explore the three gifts of the Magi in the context of fragrance. I thought that it would be a fascinating exercise.

While the value of gold may be self-evident, its ability to hypnotize and dazzle is even more prized. The pursuit of such an irresistible sensation has deeply influenced perfumery, despite the fact that gold does not have an obvious olfactory profile. After all, just as gold is an exquisite adornment, so too is perfume.  Although every perfumer might interpret the gilded idea differently, many gold fantasy accords fall in the realm of rich oriental notes—spice, amber, balsam, tobacco, vanilla.

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As a complement to my article about Autumnal Fragrances, I recorded a video about the fragrance that scented my fall this year, Serge Lutens La Myrrhe. Early into the spring lockdown, I decided to devote more attention to studying, wearing and enjoying my old favorites, rather than seeking out anything else. Partly, it was a matter of necessity–I transferred my studio to my home and I didn’t want to bring all of the fragrance samples from the office. Partly, it was influenced by my desire to pare things down to the essentials. It was a much needed antidote to the persistent commercial message of buying things.

So I would sometimes spend days analyzing a fragrance, finding its nuances and decoding the stories hidden within its accords. It reminded me of the time I was a perfumery student and would spend weeks studying a single fragrance. I can tell you that I didn’t miss anything. On the contrary, I’ve learned a great deal about fragrance over these past few months.

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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 walks, 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 La Myrrhe, a perfume that smells of dark licorice, myrrh and dried roses. Or I might select the delicate Chypre Rouge, also from Serge Lutens, a dark potion of amber, moss and honey.

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As much as I love colognes and find them refreshing on a hot day, sometimes I want to mix things up. After all, citrus is not the only thing that feels cool and uplifting. This is the topic of my recent FT magazine article, Summer scents that are crisp, cool – and rather unexpected.

Even more unusual, however, is the coolness suggested by myrrh, a rich and complex ingredient hinting at liquorice, driftwood and green sap. In ancient times, it was burned as incense, added to wine as a digestive or blended into perfumes to give them a lingering, suave finish. The latter is the reason I seek out myrrh-based fragrances; they are at once velvety and cool – the most intriguing of contrasts. One of the best examples is Serge Lutens’ La Myrrhe (£170 for 70ml EDP), a languid rose, smothered in myrrh and bitter almond. The champagne-like effervescence of aldehydes, the aromatic compounds found in rose petals and orange peel, lights up the composition. To continue reading, please click here.

What perfumes are you currently wearing and what is your fragrance today?

Image via FT