JubilationJubilation's Perfume Reviews

11/11/2019
1 Awards
It was back in 1984 when this magnificent perfume was launched in the hermes house, the texture and weave of which is typical of the brand.
The great perfumer raymond chaillan has composed this monument of olfactory art together with the mythical akiko kamei. The idea was to produce a perfume of the highest quality that could fully represent the maison throughout the world, moving away from the genre of hermes.
And so, from the bunch of innumerable trials came this magnificent chypree where the floral heart revolves around the absolute of rose.
The opening is citric (bergamot) dense and aldehyde almost metallic, a freshness typical of female chypreas, where the aldehydes enter the scene in a bursting way. After this very fresh and metallic phase, the green aspect of the perfume comes out, with galbanum and hyacinth giving a strongly harsh, rigid and floral scent. Followed by the beautiful iris that submerges a red and bloody rose that is the master throughout the composition.
The rose is accompanied by an indole jasmine and ylang ylang creating a dusty flower.
The rose is also well built with warm and smoky myrrh that makes the flower warm, bloody and seductive, also the sandalwood together with cedar wood create a woody background that after the first hour is already remarkable. The result is a magnificent floral chypre where the rose is the undisputed protagonist of the entire composition.
A rose that has many faces: sometimes it is cold (pink and aldehydes) of the other is strongly pungent (pink and hyacinth) but the base is certainly a rose made oriental with lots of myrrh resin and sandalwood.
This composition is similar during the early stages of development to guerlain chamade (which does not become warm and velvety as parfum d'hermes) so there is a very strong association with the mythical guerlain chypree. This similarity is very marked because they share many common notes: bergamot, hyacinth, rose, jasmine, galbanum and sandalwood.
The combination of pink and sandalwood in many places has similarities with another great Guerlain: Samsara. It is a sweet and velvety powderiness, a warm appearance that is given by the large amounts of sandalwood that is expressed in both perfumes.
The result is a perfume with a luxurious luminosity, a powdery warmth that warms and bewitches, the idea of velvet cinnabar color that becomes warm and seductive skin.
This perfume expresses everything that elegance and refinement can be represented by the perfume. Because this is luxury in one word: Parfum d'Hermes!!
(Reviews edt vintage version 1984)


11/05/2019
1 Awards
Back in 1985 (a decade of great olfactory ferment and enormous expression of oriental fragrances) paco rabanne launched the third female perfume on the market (after the two chypre floral fragrances such as metal and calabria).
To this end, he turned to his internal perfumer of the time: the great nose of Rosendo Mateu and under the direction of another mythical composer Jean Guichard.
They worked for over a year and a half on this fragrance, deciding only after the construction of a chypree leather on the fruity floral genre, a choice that was certainly dictated by the olfactory current and the market trends of that time. But it must be remembered that this rare perfume gem had more than an added value, in fact it is not a simple chypre leathery perfume but in it we find the subtle expression of different olfactory sub-categories to which it belongs.
The idea was to build a chypree with a strong dose of honey but the overall result was a much more complex, deep and magical fragrance.
The opening is very strong and bursting with a lash of aromatic skin very similar to some masculine leather (belami of hermes and moschino pour homme) so we are talking about a skin dried under the scorching sun and sprinkled with schwann black pepper, after a few minute a glowing honey comes out that melts the hot and torrid skin with its languid seduction. We speak of a wild, dark, dry honey (similar to miel de bois of serge lutens) strengthened by oak moss.
The second phase sees the rose as the protagonist: a dirty, animal and carnal rose due to the enormous quantity of animal civet contained in the formula. In this case we talk about a real civet!
In this second phase we can note the magnificence of the fruity chypree with the dense and juicy peach at the limit of its maturation that gives a strong fruity effect while maintaining its marked raw and carnal skin appearance.
In the third phase we see the presence of an oriental aromatic chypree with a heavy spiciness that for some traits submerges any other note, even that of the skin. After a few hours of the third phase, the wood component stabilizes the perfume with notes of animal musk, cedar wood, patchouli and amber, creating a robust and imposing effect of the perfume.
All this is called La Nuit and this name was never so perfect as to give a fragrance because it is the scent of sin at night, a glowing night where any erotic and highly perverse dream can be realized.
The result of such a masterpiece was completely unexpected because building a chypree with three sub-categories (leathery, fruity and floral) is an almost impossible undertaking. This is a treasure that has gone a little unnoticed but on the other hand such masterpieces never meet a wide audience.
A gem, a treasure, a sexual amulet.
All this speaks of the mythical decade of the 80s and today we can only say: how much of everything has remained?
The answer is yours!


11/03/2019
Surely here one of the highest peaks of perfection in perfumery has been reached.
How could it be otherwise if behind this masterpiece there was the chypree master like Guy Robert.
In 1983 the Sultan of Oman made him arrive specially in Oman to build the first magnificent amouage perfume.
An olfactory gem without equal.
He put the maximum of the finest delicacy in front of Guy Robert, the noblest Omani raw materials, and the great genius created this magnificent chypre that has more than 120 elements cleverly orchestrated in an amazing perfume!
A soapy and slightly smoky opening with notes of dog rose, incense and myrrh. Follows a floral heart where the dryness of the lily of the valley gives a lash of green to the indolic, warm and animal jasmine supported by a very marked note of civet.
Follows a strongly woody base with cedar wood, patchouli and mysore sandalwood. But the common cadine as for any chypree is the oak moss that gives a moist and dark earthiness that thickens the entire composition making it a timeless masterpiece.
This is not a perfume but it is the quintessence of perfumery of all times and is intended only for noses that love the floral-animal chypree.
A bow to the genius Guy Robert who always lives in the memory of every vintage perfumery enthusiast because history passes from here!


11/02/2019
1 Awards
There are parentheses of social, cultural, economic, literary and therefore olfactory history that enclose in them the condensation of unchanged moments whose greatest representative very often is a perfume.
We are not referring to a simple perfume that corresponds to the mythical decade of the 80's (sumptuous, opulent and sensual) but here we are talking about an olfactory firmament that bears the name of chanel.
If we like, this firmament has been rather pioneristic because even if we maintain a basic key of interpretation deriving from many other masterpieces from which it happens, we certainly find a new introduction, tacitly revolutionary and never shouted as often happened.
The perfume was marketed in 1984, a historic moment and very important for perfumes because we already see the impressive rise of the two oriental spicy fragrances of reference that had already made history and had inevitably marked it (opium 1977 by YSL and cinnabar 1978 Estee lauder).
The myth of the oriental perfume had already invaded the west but with opium and cinnabar we see a "pure" orient made by the proclaimed desire to challenge the sense of smell with rivers of murky and smoky spices, resins and conditioners whose demarcation in the female perfume was difficult even then. While coco represented the evolved orient, a concept of the Frenchized orient, a deviation from what until then had been the path followed by the various noses
The perfume was composed by the great master perfumer Jacques Polge, worthy heir of the legendary Henry Robert (creative genius in the N 19) who is perhaps in front of the greatest project assigned to him by chanel . This was his first work on a female perfume for chanel (as he had already composed a male perfume for chanel in 1981; Antaeus).
The expectations were great because the house came out of a very critical historical moment because only a year had been taken in hand by the genius karl Lagerfeld who will be able to relaunch and reinterpret it under a modern and iconic key (concepts that the house had now lost).
The perfume fully describes this moment of great ferment because if the perfume was marketed as an interpretation of the spirit of chanel we can say that this olfactory exercise forever photographs the spirit of a brand no longer represented by the great designer gabrielle chanel but by a visionary genius who will maintain a stylistic code even if the original will upset everyone with the release on the catwalk so far from the strict, linear and elegant canons of the maison.
In fact, this olfactory masterpiece that I want to define as an amber florietal will keep the spicy aspect no longer raw and angular as was the case with cinnabar and opium, but will contain almost soft and velvety rounded spices. Surely the amber background is what makes the scent widely different from other oriental spices. The base is built with a disarming mastery and with the use of natural raw materials associated with others of a synthetic nature. What immediately stands out in the nose when analyzing the background structure is the very rare sandalwood mysore (coco will be one of the last perfumes that will actually contain it), opoponax, amber and labdanum that thickens the fragrance within a harmonious and condensed olfactory perimeter.
Despite the fact that the base is already something excellent, the real olfactory revolution is found among the top and heart notes because if on the one hand we want to give a spicy boost right from the start with coriander, cloves and clover, on the other hand we find the pivotal flower of the whole composition: the rose. An alcoholic rose, grape-like, amber-coloured and fruity at the same time. The peach and the rose will make this a true masterpiece, it is a rose that while maintaining the dark and spicy connotation is imbued in its intimate essentiality of ripe and juicy peach. (Far from the mythical exercise of guerlain with Nahema)
Returning to the amber base, which is shiny, iridescent and golden, making the perfume soft and velvety, we see that there are several aspects that allow us to build such a work; if on the one hand we find an excellent quality of natural raw materials (the absolute floral triptych: pink, mimosa and orange blossom), on the other hand we see the use of an imported quantity of synthetic materials. In this case there will be several ingredients that make up the synthetic formula including: Hedio, iso and super, methyl ionone, eugenol (already contained naturally in cloves that then over the years will be severely restricted by ifra regulations), coumarin and various salicylates. For the amber and resinous base we find the use of amyl salicylate and benzyl salicylate with hydroxychronellal (which gives a green, sour and radiant smell similar to the olfactory acuity of linder flower).
The result is a baroque, opulent and ultra-feminine where the juxtaposition of the floral component (semi fruity) with the resinous amber part produces a balance of golden opulence, languid and radiant. All this fully represented the vertiginous necklines of the women of that time, including the amount of jewelry and the quantity of hair, all of which was the reflection of an era where everything was over-expressed because, unlike today, we where disinterested from olfactory and cultural flattening.
(Reviews relative coco chanel EDP first version 1984)