08/08/2021
Ronin
1 Review
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Ronin
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Juice instead of power
Ever smelled? Yes ...
Many perfumers develop their ideas further. Once implemented, they are the starting point and source of inspiration for further perfumes. This applies to ideas that give it to offer delightfully new with a different accentuation. Jean-Claude Ellena also works in this way. The starting point of the "Eau de Pamplemousse Rose" is unmistakably the "Terre d'Hermès" and its grapefruit start, which appeared three years earlier.
Implementing grapefruit is not easy perfumery: for the characteristic scent of the natural fruit decisive are tiny amounts of a sulfur-containing compound that is unstable in formulations. This is why perfumes with natural grapefruit peel oil often develop unattractive off-flavours in the direction of sweat and mustiness after only a short period of storage (this seems to be the case with "Citrus Paradisi" by Czech & Speake). In order to achieve a controllable, stable grapefruit impression, it has to be "reconstructed" accordingly. Jean-Claude Ellena solved this task with "Terre d'Hermès" by combining orange oil with the rhubarb fragrance Rhubofix. The result is a very naturalistic grapefruit scent despite the simple formula. This grapefruit magic trick found - especially since "Terre d'Hermès" became a bestseller - many imitators and grapefruit as a top note became trendy.
Ellena himself probably thought that from here the path to a citrus-fresh cologne would be an easy one. And so it has been: almost the same components, shifted in proportions, determine both fragrances. For "Eau de Pamplemousse Rose", the top note was emphasized, the cedar-vetiver base dimmed down. In addition, the Iso-E-Super concentration was massively lowered. This has two effects: on the one hand, a sillage that takes up a lot of space and a long shelf life are not good for a cologne that should be able to be topped up from time to time for refreshment; on the other hand, Iso-E-Super takes away juiciness. "Terre d'Hermès" is supposed to reflect dryness: Dust, sand, flint, warm ochre soil. That's why so much Iso-E-Super was added that the grapefruit top note was strangely alienated: dry, but not like shriveled fruit, while remaining tartly fresh. For "Eau de Pamplemousse Rose", on the other hand, the fruit can and should be plump and juicy. Freshly cut grapefruit, and when you bite into it heartily, the juice drips from the corners of the wound. Refreshing, cheerful, bar any serious austerity.
The restrained floral heart of "Terre d'Hermès" around the lacy, slender rose geranium became a soft, full rose for "Eau de Pamplemousse Rose" - presumably through the addition of Damascon and rose oxide. This supports the juicy overall impression. But even in this fragrance, the heart is brought out just enough to allow the pun "rose" = pink or rose. The cedar-vetiver base familiar from the model is tolerably intact, but very, very restrained. Hermès has earned a reputation for squaring the circle with its colognes - offering colognes that noses can constantly re-spray to cool down without gasping for air, while also exhibiting profound longevity. This is achieved by composing them in such a way that they quickly retreat close to the skin, but maintain a constant presence there. "Eau de Pamplemousse Rose" falls into this category only to a certain extent: compared to its successors, the longevity is significantly reduced. That's not a bad thing and not impractical for summers in the sunny south. If you still want to increase the shelf life, try the following: place the bottle of the "Terre d'Hermès" fragrance over the back of your hand so that only half a spray lands on the skin. Distribute this generously and layer with about 6 sprays of "Eau de Pamplemousse Rose". In this ratio, the juicy character is maintained, the durability is increased and the sillage is not encroaching. So quasi an office and public transport compatible "Terre d'Hermès".
Without that booster, "Eau de Pamplemousse Rose" ends abruptly. As does this comment.
Many perfumers develop their ideas further. Once implemented, they are the starting point and source of inspiration for further perfumes. This applies to ideas that give it to offer delightfully new with a different accentuation. Jean-Claude Ellena also works in this way. The starting point of the "Eau de Pamplemousse Rose" is unmistakably the "Terre d'Hermès" and its grapefruit start, which appeared three years earlier.
Implementing grapefruit is not easy perfumery: for the characteristic scent of the natural fruit decisive are tiny amounts of a sulfur-containing compound that is unstable in formulations. This is why perfumes with natural grapefruit peel oil often develop unattractive off-flavours in the direction of sweat and mustiness after only a short period of storage (this seems to be the case with "Citrus Paradisi" by Czech & Speake). In order to achieve a controllable, stable grapefruit impression, it has to be "reconstructed" accordingly. Jean-Claude Ellena solved this task with "Terre d'Hermès" by combining orange oil with the rhubarb fragrance Rhubofix. The result is a very naturalistic grapefruit scent despite the simple formula. This grapefruit magic trick found - especially since "Terre d'Hermès" became a bestseller - many imitators and grapefruit as a top note became trendy.
Ellena himself probably thought that from here the path to a citrus-fresh cologne would be an easy one. And so it has been: almost the same components, shifted in proportions, determine both fragrances. For "Eau de Pamplemousse Rose", the top note was emphasized, the cedar-vetiver base dimmed down. In addition, the Iso-E-Super concentration was massively lowered. This has two effects: on the one hand, a sillage that takes up a lot of space and a long shelf life are not good for a cologne that should be able to be topped up from time to time for refreshment; on the other hand, Iso-E-Super takes away juiciness. "Terre d'Hermès" is supposed to reflect dryness: Dust, sand, flint, warm ochre soil. That's why so much Iso-E-Super was added that the grapefruit top note was strangely alienated: dry, but not like shriveled fruit, while remaining tartly fresh. For "Eau de Pamplemousse Rose", on the other hand, the fruit can and should be plump and juicy. Freshly cut grapefruit, and when you bite into it heartily, the juice drips from the corners of the wound. Refreshing, cheerful, bar any serious austerity.
The restrained floral heart of "Terre d'Hermès" around the lacy, slender rose geranium became a soft, full rose for "Eau de Pamplemousse Rose" - presumably through the addition of Damascon and rose oxide. This supports the juicy overall impression. But even in this fragrance, the heart is brought out just enough to allow the pun "rose" = pink or rose. The cedar-vetiver base familiar from the model is tolerably intact, but very, very restrained. Hermès has earned a reputation for squaring the circle with its colognes - offering colognes that noses can constantly re-spray to cool down without gasping for air, while also exhibiting profound longevity. This is achieved by composing them in such a way that they quickly retreat close to the skin, but maintain a constant presence there. "Eau de Pamplemousse Rose" falls into this category only to a certain extent: compared to its successors, the longevity is significantly reduced. That's not a bad thing and not impractical for summers in the sunny south. If you still want to increase the shelf life, try the following: place the bottle of the "Terre d'Hermès" fragrance over the back of your hand so that only half a spray lands on the skin. Distribute this generously and layer with about 6 sprays of "Eau de Pamplemousse Rose". In this ratio, the juicy character is maintained, the durability is increased and the sillage is not encroaching. So quasi an office and public transport compatible "Terre d'Hermès".
Without that booster, "Eau de Pamplemousse Rose" ends abruptly. As does this comment.
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