Estee Lauder Beautiful

A pleasant surprise arrived for Christmas 2011–a book of perfume samples. Many of the fragrances were new and I was just thrilled. Estée Lauder’s Beautiful was one of the first I pulled out and giddily peeled back the flap to smell.

Beautiful

Beautiful

In Bottle: Extremely floral and a bit powdery. There’s no floral standing out, it’s just a big homogenous bouquet at the moment.

Applied: Initial hit of citrus then the floral bouquet rolls into town and takes over the whole operation. From then on, it’s all flowers all the time. Now, I love a good floral fragrance. But the key is balance and moderation. It seems like those are the two things missing from this iteration of Estée Lauder’s Beautiful. I heard the original Beautiful is a far different animal. So don’t turn yourself off from the classic based on what I say about this contemporary version. The florals in Beautiful really do smell like a confused mish mash that doesn’t quite know what it wants to do with itself. The scent seems to suffer a bit from over composition where there are too many ingredients vying for space and there just isn’t enough space to go around. The result is a fragrance that people can distinguish as “flowery”, but no one can truly say what kind of flower. I’m not the kind of person who just likes smelling like a bunch of flowers. I wanted more depth to it than this, but Beautiful settles into it’s explosion of florals in the midstage then ends it all with a bit of cedar at the end as my nostrils continue to burn from the florals thrown at me earlier.

Extra: The first iteration of Beautiful was released in 1985. It has since gone through a few cosmetic changes and some formula changes. I do not have any access to classic Beautiful, which is a real shame as I’d love to see how it compares to this.

Design: The bottle is reminiscent of Calvin Klein’s designs. I want to say Obsession for Women comes to mind when I look at this, but Beautiful is a little easier on the eyes. It’s metallic cap really helps pull it together a little more.

Fragrance Family: Floral

Notes: Bergamot, lemon, cassia, fruit, blackcurrant, galbanum, mimosa, magnolia, carnation, chamomile, tuberose, orange blossom, freesia, lilac, narcissus, jasmine, neroli, clary sage, violet, iris, lily of the valley, ylang ylang, marigold, geranium, sandalwood, myrrh, vanilla, vetiver, cedar.

As I looked up the notes list for this one, I found every single source listed an enormous amount of stuff. I just ended up picking out what I thought I could get out of this. In the end, I’m sorry, Beautiful, but you really just smell like flower stuff.

Reviewed in This Post: Beautiful, 2011, Eau de Parfum.


Chloe Love Eau Intense

Love Eau Intense is the ‘intense’ version of 2010’s very beautiful Chloe Love fragrance.

Love Eau Intense

Love Eau Intense

In Bottle: Hint of florals a bit of powderiness and a lot of warm amber and vanilla.

Applied: Florals on the opening, a bit of bitterness and powder from what I think might be the iris note. Don’t be scared by that description, the powder and bitterness was barely detectible to me. It enhances the fragrance, giving it a bit of sophistication. As the fragrance progresses, I get the sweet warm amber vanilla fragrance with what I think is a little touch of honey. Love Eau Intense is a very well-blended and well rounded scent. It fades into its end stage with a nice floral dusting on a warm oriental base. It’s very nice, grownup, but also very loud so go easy on the sprayer.

Extra: Love Eau Intense was composed by Louise Turner (JLo Glow, Fahrenheit 32) and Nathalie Gracia-Cetto (Burberry Brit, Escada Sentiment).

Design: I love the design of Chloe’s Love fragrance line. The shape itself is reminiscent of a hip flask made of glass with a metal band at the bottom. I love the cap with the chain and the overall simplicity but elegant aesthetic.

Fragrance Family: Floral Oriental

Notes: Iris, heliotrope, hyacinth, lilac, wisteria, balsam, musk, vanilla.

Love Intense is fantastic and a great progression from Chloe Love. The original Love was already well done and Love Eau Intense improved upon it, in my opinion.

Reviewed in This Post: Love Eau Intense, 2011, Eau de Parfum.


Guerlain Chamade 1969

How long has it been since I last smelled a classic Guerlain and marveled in that signature Guerlinade? Entirely too long, I think. I took a break from posting up Guerlain reviews because it’s clear I’m a fan girl from the amount of Guerlain vs. other fragrance houses. But we’re taking a bit of a respite today as summer winds its way down for autumn.

Chamade

Chamade

In Bottle: Ah glorious aldehydes mixed with a complex bouquet of florals and deepened with woods and resins and that unmistkable Guerlinade.

Applied: There’s something familiar and almost nostalgic when I smell Guerlinade in a fragrance after many months of hiatus. It’s like a comforting friend waiting for me with a cup of coffee after a rough day. Except in Chamade’s case, it’s a bouquet of aldehylic florals that stretch beyond the spectrum of complexity. You truly don’t smell anything like this these days. Not even the more daring of fragrance houses have quite this much depth to a fragrance. I can get the florals and the woods with the spicy and resins, but I can’t pick out specific notes. It’s just so beautifully blended together that I can only describe the opening as bright, slightly bitter, green and sophisticated. The midstage is a deep, resinous, complex floral aldehyde. The dry down is a warm, resin woodsy scent with this signature vanilla-like note. Just beautiful.

Extra: Classic Chamade, like many great perfumes, disappeared a little while ago. It was reintroduced in 1999 as Chamade Pour Homme as a limited edition then finally added to the line of Les Parisiennes. Looking at the notes list for the two, you can kind of see the new Chamade has been thinned out a bit. I haven’t smelled her yet though so I can’t pass judgement on whether or not the fragrance has actually been thinned out but I am worried for its history and its lush complexity.

Design: Classic Chamade was bottled in a beautiful flacon that reminds me half of a heart and half of a leaf. It’s a little reminiscent of an Escada bottle (or rather, the Escada bottles are reminiscent of this) except done far better with much nicer design elements and superior form. It’s a beautiful piece of glass and I have no complaints.

Fragrance Family: Classic Floral

Notes: Bergamot, Turkish rose, aldehydes, hyacinth, ylang-ylang, jasmine, lilac, cloves , blackcurrant buds, lily of the valley, galbanum, sandalwood, vetiver, musk, balsam, amber, benzoin, iris, tonka bean.

That was a nice respite. I especially found this pleasant after the disappointing adventure with Cher’s Uninhibited. Classic perfumes can be kept for many years and it’s a good thing too, or we wouldn’t be able to enjoy original Chamade.

Reviewed in This Post: Chamade, ~1980, Eau de Parfum.


Dior Diorissimo

Diorissimo is a classic from the 1950s before Dior went the youth route and replaced their hard hitting fragrance lines with stuff like Miss Dior Cherie. I smell Diorissimo and miss the days when it was okay for a fragrance to be heavy and heady.

Diorissimo

In Bottle: Florals with a slight sting of citrus up front and a coating of animalic civet in the background.

Applied: Fresh and green with a citrus opening and that smell of leaves and dew. The lilies come in during the mid-stage and in the final act of the opening and proceed to dominate the fragrance. The lily scent in the middle is very noticeable, clearly the stars of the show as the fragrance settles into this heady floral lily mixture that’s just unrelenting. I still get a bit of that fresh green leaf scent that present when this fragrance was first applied but the civet can’t stay hidden forever. It creeps up as the fragrance gets warmer and dirties the scent up quite a bit. At times I’m wondering who let the mongoose into the garden as the civet is a bit disturbing but at the same time feels like it belongs. The dry down introduces a bit of sandalwood, scenting together with the lilies as the two do a little good against the ever-present civet.

Extra: Diorissimo is still available in its Eau de Toilette form and for the most part, it smells similar now to when I first smelled it in the 90s and, all things considered, it is available for a fairly reasonable price. You can also hunt down the Parfum concentration, though I’m told it’s more rare, more expensive, and even headier than the EdT.

Design: Bottled rather simply but has a classic elegance to it that says this stuff doesn’t need frills and gimmicks to look good and be good. I like the simplicity of it all. The brush script I can take or leave but the overall design is pleasing and nice.

Fragrance Family: Classic Floral

Notes: Bergamot, leaves, rosemary, lily, lilac, jasmine, lily of the valley, ylang-ylang, civet, sandalwood.

I’m not sure how to treat the civet in Diorissimo. It’s not heavy enough to be a deal breaker, but I do notice it and it does put me off a little. Regardless, if you like a little civet here and there Diorissimo is a beautiful classic that’s survived the times–mostly–in tact.

Reviewed in This Post: Diorissimo, 2005, Eau de Toilette.


Caron Or et Noir

Word on the street at the time of my opening the decant vial of Or et Noir was that it had amazing strength and projection. Why I didn’t listen to good advice is anybody’s guess. It knocked me off my feet. In a good way though.

Or et Noir

In Bottle: Sharp rose up front. Very strong and overwhelmed my nose as I, foolishly, whiffed instead of wafted.

Applied: After waiting out the initial knockout punch delivered by my whiffing, I tried her on. You need very little of Or et Noir because 1) The stuff I had was in parfum concentration, and 2) It’s strong no matter how you dress it up. The rose is immediately noticeable, heady and dense and rich. I felt like I was projecting so much of this that someone could be standing on the other side of the room and still smell me. It’s quite a bit intense on first application but it grows more complex and settles down during the mid-stage where the other florals spring up like–well, flowers in a garden. Lilac and geranium help temper the rose a bit and there’s a bit of spiciness lent by the carnation to draw the complexity out of the scent. The rose is still the star of the show and remains the star throughout as you head into the dry down with a slightly earthy, soft scent covering the background as the rose rolls through.

Extra: Or et Noir was released in 1949, making it a Caron classic. I don’t know how anyone can get a hold of this fragrance now aside from asking around at Caron boutiques.

Design: I’ve only ever seen the extremely fancy crystal flacon of this stuff. Now, seeing it and touching it and using it is another matter as I have yet to do any of those things. It sure looks expensive, delicate and extremely luxurious though.

Fragrance Family: Classic Floral

Notes: Rose, lilac, carnation, geranium, oak moss.

I’m not sure I really like this interpretation of rose more than my current top pick (Mahora by Guerlain) but it’s lovely. I just wish she was wearable from the get go instead of having to wait for her to settle down a bit.

Reviewed in This Post: Or et Noir, ~1970, Parfum.


Lancome Tresor

I know I haven’t done any reviews of Lancôme’s fragrances because very few of their fragrances interest me. The scents are fine, of course, but they all seem to hit an off note on my skin.

Tresor

Tresor

In Bottle: Very strong but the notes are all blended together to form a rather generic perfume scent that isn’t very pleasing to me. It’s generic-smelling right from the get-go and that disturbs me a bit.

Applied: Goes on with a slightly fruity and sweet sheerness that’s rather pleasant. A powderiness approaches the opening turning the fruity sweetness into something akin to sugar dust. The florals amp up next taking the scent into the mid-stage with a sweet jasmine and rose combination. Now, jasmine and rose are two of the most common floral notes in perfumes and the result is a rather generic floral scent unless something else in the fragrance is helping it hold its own. So far Trésor’s sticking to a pretty generic scent as the jasmine and rose combination dominate the mid-stage with a few wafts of iris and that sweet sugar dusting wiggle in and out of the scent. The dry down is an unremarkable affair too with a sandalwood note layered over vanilla and a very subtle dirty amber note.

Extra: Trésor’s considered to be a classic smelling perfume amongst some circles. To me, she’s not so much a classic as she is a generic. I smell Trésor and I think generic floral mostly due to how strong the jasmine and rose notes were in the mid-stage for me.

Design: Trésor’s design is an interesting jewel-like bottle. It also bears a resemblance to a pyramid in a way and reminds me also of honeycomb. I don’t know why but the design is decent, not garish but not exactly to my tastes. I do think it is well done though.

Fragrance Family: Floral

Notes: Pineapple, peach, lilac, bergamot, apricot blossom, lily of the valley, rose, orris, heliotrope, jasmine, apricot, peach, musk, sandalwood, amber, vanilla.

What I think of Trésor I can pretty much apply to the other fragrances from Lancôme. At least for their recent releases anyway. I haven’t had the gumption to dig up a sample of Climat though I have it on good word that it’s a beautiful piece of classical perfumery.

Reviewed in This Post: Trésor, 2008, Eau de Parfum.


Estee Lauder Pleasures

When I first smelled Pleasures, the only Estee Lauder perfumes I was aware of were White Linen and Youth Dew. I was afraid of Pleasures and other Estee Lauder perfumes because of the iconic status of some of their fragrances.

Pleasures

In Bottle: Pleasures is actually a very approachable modern fragrance set as a dewy floral. It’s light and gentle and highly wearable without the need to understand it first.

Applied: Starts off a sweet little kick from the pink pepper and the violets. Freesia adds a jolt of clean and sweet to the opening too. I can barely smell any tuberose in this. In fact, aside from a slick, creamy quality that settles close to the background on the opening I can’t even get tuberose. Pleasures evolves into peony and rose. The rose is a modern interpretation, clean and fresh and coupled with a crisp set of lily and lily-of-the-valley. The fragrance is such a benign blend of florals. The dry down doesn’t move too different, introducing a soft sandalwood mingling with cedar while clean musk keeps everything lumped together.

Extra: Pleasures and the Pleasures line of flankers is like Estee Lauder’s modern floral attempts. And they succeeded. Pleasures is a great clean, fresh floral. There’s not a whole lot of personality to this but it is successful for what Estee Lauder tried to make of it.

Design: I’m always underwhelmed by Estee Lauder’s bottle designs. They tend to be simple, which I like. But for some reason, the designs also remind me of the 80s. And not just the 80s in general but shoulder pads in floral print dresses. Pleasures is no exception to this. The bottle is simple, easy to hold and easy to spray. It just isn’t really imaginative.

Fragrance Family: Fresh Floral

Notes: Pink pepper, violet, freesia, tuberose, berries, poeny, rose, lily, lilac, jasmine, lily-of-the-valley, geranium, patchouli, sandalwood, cedar, musk.

I’m all right with Pleasures. I think it’s a very well done floral that could be a good contender in the modern fragrance arena. I just don’t find it interesting at all.

Reviewed in This Post: Pleasures, 2010, Eau de Parfum.


Jean Desprez Bal a Versailles

People hunt down bottles of Bal à Versailles to see what it smells like. I have to say some of these people probably do it because they’re curious about the perfume Michael Jackson wore. Hard to blame them for being curious, but amongst some of the more popular opinions include, “This doesn’t smell like how I’d imagine Michael Jackson would smell like” and “This smells weird”.

Bal à Versailles

In Bottle: It opens as an aromatic animalic. Love how that rolls off the tongue. Rosemary is prominent at first, followed by a very light dust of florals that are accompanied by a dark animalic undertone.

Applied: Get used to that dark animalic undertone as it will accompany you on your olfactory quest. The rosemary is quick to open up and for me, the rosemary stuck around in the top notes and fled as the mid-stage introduces a very classic smelling floral. Powder and flowers, sultry, dark, sensual. The florals are joined by a smooth series of woods that keep this fragrance somewhat unisex. This is a masquerade party in the form of a perfume. It’s classic, it’s sensual, but it’s not afraid to be elegant either. It’s a deeply complex little journey as the mid-stage slowly gets more and more sultry on entering the final round of its very interesting existence. The end stage is a mix of warm amber, smooth woods, and sensual musk.

Extra: Bal à Versailles was released in 1962 and ever since a certain King of Pop adopted it as one of his favorite perfumes, it has been known to many of his fans as, “That perfume Michael Jackson liked, but I don’t”. For the rest of us, Bal à Versailles is a beautiful piece of complex nose art.

Design: I like the shape of the bottle, very vintage looking. It’s beautifully designed and beautifully presented. I’m even okay with the Rococo-style painting on the bottle which at first glance seems out of place, but grew on me. It’s Rococo, how can I lose? For someone who doesn’t usually get on board with things like this, Bal à Versailles played just the right amount of right to make the design work. Not to mention the look of this bottle is so easy to recognize anywhere.

Fragrance Family: Oriental

Notes: Rosemary, orange blossom, mandarin orange, cassia, jasmine, rose, neroli, bergamot, bulgarian rose, lemon, sandalwood, patchouli, lilac, orris root, vetiver, ylang-ylang, lily-of-the-valley, tolu balsam, amber, musk, benzoin, civet, vanilla, cedar, resins.

Now, bear in mind that Bal à Versailles is not the most accessible fragrance out there in terms of going to a department store, slapping some money on the counter and saying, “I’ll have the usual, Tom”. I wish ordering perfume was like that. Anyway, Bal à Versailles is not as hard to find as one might think. It’s not everywhere like Britney Spears Fantasy, but it’s not squirreled away in an obscure niche like–heh–Bruce Willis Cologne either. You can easily find Bal à Versailles on discounter sites and some department stores. I recommend anyone interesting in fragrance to give it a sniff. And if you were wondering what one of Michael Jackson’s favorite perfumes smells like, well, there you go.

Reviewed in This Post: Bal à Versailles, 2003, Eau de Toilette.


Black Phoenix Alchemy Lab Villain

Villain is one of my holy grails. It’s a clean, herbal fragrance that doesn’t overdo the green or herbal. It’s clean and semi-masculine. Like a really well-behaved aftershave or a white starched shirt. Villain

In Bottle: First thing I smell is a sharp clean white musk with a hint of lavender and lilac floating in the background.

Applied: The citrus comes up faster than the white musk on my skin. It sort of blasts itself into the beginning and settles down as it lets the lighter lavender note come up. I know lavender is polarizing. Too much of it and a fragrance stinks, but use just enough and it adds a bit of much-appreciated personality to the scent. Villain has enough lavender to detect, not enough to make eyes water. The lavender is also toned down by a more predominant lilac note that works incredibly well with the clean white musk. Villain’s lavender evolves into a stronger player as the fragrance ages on me, but it never gets to the point where it overpowers the rest of the scent. Put all this together and you get a clean, semi-aromatic fragrance that makes me think masculine, but that shouldn’t stop you from enjoying this if you’re a woman.

Extra: Villain is described by BPAL as a Victorian lavender fougere.

Design: Villain is designed like all other 5ml bottles from Black Phoenix Alchemy Lab. It’s set in amber glass with a plastic screwtop. The label on the bottle displays the fragrance’s name and fragrance house.

Fragrance Family: Clean Aromatic

Notes: Lime, lavender, citrus, lilac, musk.

Just realized that it’s been a long time since I lumped a fragrance in the aromatic category. Anyway, Villain is one of the better lavenders I’ve smelled, but I tend toward sissy lavenders!

Reviewed in This Post: Villain, 2009, 5ml Bottle.


Gucci Guilty

Am I the only one who gets a little bored seeing “scandalizing” skin flashing ad campaigns for perfumes? I mean, I loved the cute and girly approach Miss Dior Cherie took. I also liked the commercial for Covet. And just to be fair, those were two perfumes I blasted. Now Guilty, on the other hand, it’s a fine perfume. Very interesting release for Gucci actually. But its ad campaign is once again one of those show as much skin, have as much writhing as possible, dealies that’s so overexposed that the ads are just boring now. I’m not a prude. In fact, I’m the opposite of offended and/or shocked. I’m just bored to tears by racy ad campaigns and I wonder if anyone else is also tired of the age old adage that “sex sells”. They even had Frank Miller come in, and he gave the commercial a fabulous look and feel–it’s just too bad it boils down to the sexualization of a fragrance. Oh, right, we’re doing a fragrance review.

Guilty

In Bottle: Fruity citrus topper with a spicy kick. Pink pepper, is that you again? Wow, it’s like I’m seeing you an awful lot around these parts now.

Applied: Pink pepper’s on the verge of becoming one of those overused trump cards in perfumes. It seems there’s an awful lot of fragrances released lately with pink pepper thrown in there for a bit of spice. It works well in Guilty, giving the top fruity citrus notes a bit more complexity than they’d have otherwise. The fragrance heads into its middle stage still smelling fruity with a lingering bit of pepper as the florals come up with a bit of sweetness to keep Guilty young and approachable. The florals being lilac and geranium, neither of which are very heavy hitters, are really sheer so the mid-stage smells mostly fruity with the pepper receding into the background. The dry down is marked with a surprisingly interesting warm smooth amber and cleaned up patchouli. I’m surprised Guilty used those two to end on an oriental note and I was happy to note how pleasant it all was and how nicely it rounded itself off at the end.

Extra: Guilty’s commercial and ad campaign is a benign drop of raciness in an ocean of racy perfume ads. It’s nothing special to behold and in the end, despite its big ticket production, the ads fall flat on me. However, the perfume was good so I’m glad I looked beyond the ad and got to what matters.

Design: Fascinating little glass bottle encased in a gold outer shell. It reminds me of 1 Million. I can’t say I’m a fan of metallic outer shell bottles like this but it looks all right. The elements are balancing, the shape is appealing and the logo is used in a rather clever way. Not my favorite design but not bad at all.

Fragrance Family: Fruity Oriental

Notes: Mandarin, pink pepper, peach, lilac, geranium, amber, patchouli.

So is Guilty as racy as its ad campaign wants you to believe? No. It’s a benign office scent that smells like flowers and warm amber. I guess that’s another part of why these sexy commercials bore me. Very rarely do they ever advertise a fragrance that’s actually sensual. Guilty’s main appeal to me is actually in how wearable and inoffensive it is. This stuff smells like a grey dress with long sleeves, a high collar, and an ankle hem. It is not, in other words, your little black number.

Reviewed in This Post: Guilty, 2010, Eau de Toilette.