Geisha Blue - Aroma M

This Aroma M perfume, Geisha Blue, comes in the form of a light roll-on oil, and is based on a strong blue chamomile component, characteristically strong, warm, sweet and herbaceous. 

The scent itself is modern and elegant, melded with honey and green tea, jasmine and leafy greens into a whole with a high-flying modern air.  The blue of the name is symbolic and descriptive. The color blue claims beauty and calm, and Geisha references the others in the Aroma M line and the Japanese traditions of strict aesthetic discipline that result in refinement, elegance, lightness and allure.

Delicate and clean yet distinctively and emphatically there, I would say if a hovering and energetic dragonfly had a signature perfume, this would be it, suitable for its blue body glinting and hovering over a pond surrounded by fresh greens and warm air.  That sense of energy in repose, that hovering, that stillness held up in the air with wings that move so fast they whir, all that energy that nonetheless instantly relaxes you just to apprehend it. Every time I’ve seen a dragonfly with blue bodily highlights hovering over water I am reminded of the otherworldly spheres all around us, going about their own business.  They put our preoccupations in perspective.    

This perfume has a similar very active yet calming  air, as blue the color itself often does.  The blue chamomile’s active ingredients directly affect the body  and mood through aromatic means.

In this perfume form it combines with the other elements to calm while it uplifts and enlivens.  It opens up honey sweet but in the dry-down turns gentle. Yet the scent is tenacious. The green leaves and green tea take over and the lift of jasmine, invisible yet soothing, blends all together. Either sex can wear it.  It is beautiful, calming and modern on a woman, and would be quietly sensational on a man, surprising, yet would make perfect sense.  Blue is always cited as the favorite masculine color, and this creates its equivalent on a different wave-length.

I associate our Western fascination with Japanese beauty with seeking a cohesive sense of calm and spareness, and a rest from Western restlessness.  The Japanese traditional arts pursue a disciplined form of calm elegance and refinement that soothes and that in turn is mysteriously beneficial to the body.  

Translating this into perfume takes a familiarity and ease with influences from both directions.  Maria McElroy, who I have been getting to know over our mutual interest in films and perfumes, has unified a personal life of balance between East and West into aromatic forms.  In Geisha Blue, she has created a form of olfactory iridescence that is cool, refreshing and soothing.

The format of a small, subtle yet densely aromatic perfume is highly portable, a great thing in my opinion, and comes to you covered in a layer of fine Japanese printed paper.

Above images:  Dragonfly brooch by Lalique, from The Magic Lantern 

Geisha Blue is available online directly from the Aroma M site and at various retail locations around the U.S., Europe and Asia.

See this site for more images and influences of Japan on theWest - The Floating World

Japonisme is a beautiful site with a wealth of images and information, poetry and art influenced by Japanese aesthetics both in Japan and in the West.

DSH Secrets of Egypt Collection - Timeless Allure

I LOVE THE perennially intriguing and glamorous style of ancient Egypt, as so many have before me, from the interior design of the Napoleonic era to the Art Deco skyscraper architects in New York to the Hollywood directors who made classic films about Cleopatra.  I was so excited about ancient Egypt when I was a kid.  It's a pretty common obsession because the imagery is so vivid.  All those sacred cats and bird headed gods and the exquisite miniature replicas of daily life artifacts. The images in flat unshaded outlines puts me in mind of a very elegant comic book style in some ways.

One of the things that DSH does that I absolutely love are collections of perfumes based on the original texts and references from past times of perfume-centricity.  DSH (aka Dawn Spencer Hurwitz) has this delightful perfume-geek side to her, and indulged it to make a collection based on the fragrances of ancient Egypt. Using the texts and historical references that remain, and interpreting them as fragrances that are very wearable right now.

There is much from that period of time that translates well to our own.  They were just as preoccupied with their bodies as we are.  They put a lot of effort into daily bathing, depilation, applying cosmetics, ornamenting and adorning themselves with jewelry and perfume, with everyone participating in the beauty culture with the best quality they could afford. The poor wore colorful clay beading, the rich as much gold as they could.

Why try perfume based on the formulas of ancient Egypt? It was a great society for perfume and inspirational across the ages as personifying a strong, lithe, bejeweled cleansed and perfumed body-conscious aesthetic.

This culture of avid makers and consumers of perfume began a long Middle Eastern tradition where perfume is both a spiritual and carnal influence on people. They used the aromatic materials around them, as an enhancement of the climate of dry heat, worn by both sexes and all social classes.  I was touched to find that historical evidence shows ancient Egyptians of all ages, classes and both sexes considered perfume and eyeliner to be basic necessities.  I agree.

The Secrets of Egypt Collection was put together in conjunction with a 'conversation lecture' at the Denver Art Museum's 2010 King Tut exhibit.  DSH researched, reformulated and recreated both sacred temple perfumes and luxury perfumes, using botanical, precious and rare essences with minor elements of synthetics to replicate wine nuances.  I have four samples provided by DSH.  They are all parfum strength.

1000 Lilies (aka Susinon) -- I think of the lilies of Egypt as the blue water lily, which was literally a natural intoxicating narcotic when dipped into the alcohol of wine, as it often was.  It is depicted everywhere on the wall paintings and bas reliefs and the tops of the columns.  The habit of this flower is to close at night and go back down underwater, then at dawn to rise up and open again.

This is the legendary fragrance Cleopatra used to perfume the sails of her river barge, wafting her presence as a sense of both real and intangible gorgeousness on the Nile out to her people along the shore. The power and beauty of the fragrance signaled her special status as a living goddess moving among them.  Resins and spices were soaked in fragrant wine, a special "balanos" oil prepared, then added to the spiced wine and also literally, 1000 lilies.  The listed notes are:

Top notes: Cardamom Seed, Cinnamon Bark, Fragrant Wine (accord), Galbanum
Middle notes: Kenya Lily, Narcissus Absolute, Orris Root, Pink Lotus, Saffron absolute, Turkish Rose Otto, Ylang-Ylang
Base notes: Australian Sandalwood, Honey, Myrrh Gum, Sweet Flag

Even with so many spices and galbanum listed in the notes, the primary initial sensation is of a smooth floral, supported by subtle woods and spices that warm up and intensify on the skin.   There is not a huge sillage, legendary perfumed sails notwithstanding, which is just as well nowadays when people get offended by overly noticeable perfume.  The lily note has an uplifting effect, and as time goes on the spices step forth,  as perfumed by the lilies, woven together with frankincense. The lotus gives a light rainwater note, which is a favorite of mine.

When I catch the scent as I move about, subliminally I get the message this is very special, this is sacred, signaled by its aromatic complexity and sheer beauty.    This is a pretty form of beauty too, so it appeals on many levels. As a floral this one is both unusual and easy to wear, but not specifically "young", it has enough dimension to carry on someone over the age of 30 and as well as would be incredible on someone younger.  The very high percentage of natural ingredients, over 85%, impart great depth and dimension.  I get a lily of the valley tone also, couched in the resins and woods.

Antiu (aka Metopion) is far more resinous and woody, the materials had to be imported into Egypt and were therefore all the more precious to them, and idealized as a perfume.  As a modern perfume this one could be worn by a man and also a serious woman who can carry an Oriental perfume implying magnificence and energetic strength. The cedar, balsam and resin notes predominate at first, then settle down quickly, as soothed by the interior sandalwood, rose otto and honey beewax.  The notes are listed as:

Top notes: Bitter Almond, Cardamom co2 Absolute, Fragrant Wine (accord), Galbanum, Lemongrass
Middle notes: Australian Sandalwood, Gallica Rose Otto, Honey Beeswax
Base notes: Copaiba Balsam, Mastic, Myrrh Gum, Peru Balsam, Pine Resin, Sweet Flag

Ancient lyrics say this would be worn on the head, and I can see that brushed into hair it would be great especially if you whip your hair back and forth as they were and we are wont to do while dancing. For those who shave their heads, and the Egyptians did that too, I can imagine how it would imply a special presence like a fragrant aura around your face.

People liked to perfume different parts of their bodies with different perfumes then, and they still do in  certain parts of the Middle East today.

Which brings me to Keni, an interpretation  of the Mendesian, aka The Egyptian,  a perfume so popular in ancient times it was appropriated by other cultures, namely the Phoenicians who as merchant traders would spread it far and wide.  Cleopatra was said to use it to perfume her feet, and since she went barefoot or in sandals, it was an effective use of such precious perfume substances.  I tried that myself, since it's summer, and it does kick up a scent aura as you walk, and perfumes your sandals, where it lingers very nicely.  The main tone for me is that of a warm woody clove,  from the main elements of cardomon, cinnamon and myrrh.

So many women put a lot of work into their feet in the summer, with pedicures and polishes and open decorative shoes,  and even jewelry, this could be yet another added layer of ornamentation.  What luxury.  Keni also means embrace, and Mendesian means from the city of Mendes, the very ancient capital city.  The notes are listed as: 

Top notes: Bitter Almond, Cardamom co2 Absolute, Cassia, Cinnamon Bark
Middle notes: Australian Sandalwood, Benzoin, Fragrant Wine (accord)
Base notes: Atlas Cedarwood, Myrrh Gum, Pine Resin

Megaleion is named for the perfumer, Megalus, or the location, Megale. The inclusion of spikenard is significant because that element was considered to be especially valuable.  People would save all their lives to obtain spikenard for important personal and family ceremonies. This style of perfume was extremely costly and complicated to make, and was perhaps the earliest highly regarded "designer" fragrance.  Personally I find this the most soft and subtle of the four.  I get  a camphor/aromatic wood bark tone with the edge taken off by rose and myrrh, and the rest seems blended so tightly together that the result is a very subtle veil of aroma that simply enhances the skin tone, like a natural version of white musk.

Top notes: Cardamom co2 Absolute, Cassia, Cinnamon Bark, Fragrant Wine (accord), Lemongrass
Middle notes: Australian Sandalwood, Balm of Gilead (accord), Spikenard, Turkish Rose Otto
Base notes: Copaiba Balsam, Costus, Myrrh Gum, Olibanum (Frankincense), Peru Balsam, Pine Resin, Sweet Flag. 

These are all in limited edition, and all the full size flacons are strung with semi-precious stones of turquoise and carnelian. Samples are available.  As with all predominantly natural perfumes*, these may require some re-calibration of your nose and attention, because the beauty is more subtle, quiet and round than what you get used to around fully synthetic fragrances.  I think of it as the difference between classical music played on acoustic instruments and rock or pop played on electrified ones with microphones.  Both are engaging and wonderful in their own way but must be evaluated on their own terms to be truly appreciated as they deserve.

*85% and above natural concentrations.  Please note there are synthetic ingredients within the wine accords in these compositions. 
DSH has over a dozen fully 100% gorgeous botanical perfumes on her site as well.

Above images:  Claudette Colbert as Cleopatra in the 1930s;
Art Deco Grille from the lobby of the Chanin Building in New York City;
Egyptian mural of a dancing girl, 14th Century BCE;
Blue Water Lily by a wonderful Adelaide photographer,  please open this link for more images of water lilies;
Lotus Sculpture from the Global Egyptian Museum online; 
which also shows the image of the lady with a perfume cone on her head (this may be symbolic rather that literal, it may be simply a symbol of participating in a special activity);
Christian Louboutin sandals, from Manolo's Shoe blog.
and as Manolo says, 
    "such thing of beauty go a long way to making our lives more bearable".  
As in both perfume and shoes, so true.
DSH Secrets of Egypt Collection is on the DSH website, go there to find out more about these perfumes.

Note, I have received no compensation for this post, it's simply as Manolo says, such things of beauty go a long way to making life more bearable.

Haute Claire by Aftelier & Sharif by La Via del Profumo - With a Special Double Giveaway

Two exceptionally beautiful new fragrances from two unique natural perfumers, Mandy Aftel and Dominique Dubrana, have something in common, to my mind, distinctive as they both are. Both have kept a connection with the wildness that emanates from certain strong natural materials identified with the ancient Middle Eastern perfume traditions. Both imprint this reference with a distinctively contemporary sensibility. They both use twists and turns in the perfume's development and both keep a surprising sense of sheerness within that strength that allows your own bodily presence to be a part of the experience.

I am holding a giveaway of both perfumes together at one time, so that the lucky winner can get a physical understanding of the perfume experience I am trying to describe. I think experiencing one after the other in close proximity is a unique and beautiful perfume experience and I wonder if you will see the stylistic connections that I do. I was so struck that both used such powerful materials and yet keep a sense of transparency and space so that the wearer is still an actor in the play.

Both have immediately strong openings that seem to open with the base rather than the top notes.

I see them both as powerful liquid substances that enhance both the spiritual and sensual animal side of our nature. This treatment combines the two as one; quite a lovely concept well suited for the medium of perfume.

I like the idea of our animal nature being drawn to choose a distinctive scent to mark and transmit information about us to those who come intimately near.

Both are fully appropriate for men and women, but I believe they would give different signals on each. In my opinion, on a man, they would impart the power, refinement and sophisticated elegance of a high stepping thoroughbred horse. On a woman I believe the impression of strength, competence and the sensuality of a relaxed lioness. On both men and women, an earthy connection to our animal nature in its best sense.  These enlivening substances emanate a spirit of confidence and energy.

Haute Claire notes are listed as galbanum, Mexican lime, wild sweet orange, ylang ylang CO2, honeysuckle absolute, clary sage, ylang ylang extra, ethyl phenyl acetate, vetiver, and vanilla absolute.

For me, the galbanum, citrus, clary sage and vanilla are the most distinctive notes. The natural strength of the galbanum is mediated by the citrus that is perhaps what opens the window to the air and space. The vanilla and both forms of ylang ylang soften and smooth and link the perfume closely to your own skin tone. I love clary sage, which is too rarely used in perfume, and find it gives a high-energy heartening green tone. Haute Claire the name references the most important sword in the Song of Roland, which makes sense to me since it resembles the medieval French style as it was so much influenced by contact with the Arabian tradition.

Haute Claire is a marriage of opposites, it is bright as a floral citrus yet deep as leather. It holds together both of these two sides equally and that is what is most unusual about it. You are never going to miss the galbanum/vetiver for a moment through the entire development of the perfume but it is in dialogue with the other lighter heady elements, and a green tone suffuses everything, while enhancing your own skin tone with a vanilla reference. The Middle Eastern perfume tradition is in the galbanum and vetiver and the contemporary air is in the citrus and vanilla; the wild card is the clary sage. This style is a continuation of other perfumes I love from the Aftelier line such as Cepes and Tuberose, also bright and dark, the earthiness and headiness as one, contrasting and enhancing each other.

Sharif  by La Via del Profumo has a romantic air.  Composed with the traditional deep almond-amber and leather accords, and also the balsam and woods of the legendary Arabian caravan perfume materials that are so powerful they seem to stain the skin with ornamental warmth. There is even a whisper of civet  to reference the caravans of animals that carried the precious aromatic materials across the deserts along the old trade routes.  This perfume was inspired by and uses the materials associated for centuries with Arabian nobility.  The word Sharif means "nobleman" in Arabic.  In this case the perfumer wanted to reference the natural nobility of a soulful character,  and make this type of perfume beauty available to those whose natural confidence would be enhanced as translated through a perfume expression of this manner of being.

Even with these powerful elements, there is a refined sense of holding back their full strength while clearly referencing their depth, so as not to overpower the modern wearer. The wearer’s skin and persona are integral to the perfume.  I get a breath of the energy of camphor too.  Those who recall that other exquisite beauty, Balsamo Dell Mecca, will know what I mean by the strength inherent in this style of perfume, but while Sharif belongs in this perfume family it is far more open and spacious, energizing and wearable on a daily basis.  It is a modern interpretation of the Arabian style that uses the wearer's skin as a base and element in the perfume experience.

Both are fully natural perfumes, independently and completely hand made with care and respect for the natural power of the materials.  Anyone who does not know these perfumers already but is a fan of the darker ones in the Serge Lutens line, or has an affinity for the Amouage line will, I believe, appreciate these perfumes fully.

Please enter by commenting for a chance to win generous sample sizes of both of these perfumes. I will send Sharif, and Aftelier will ship Haute Claire directly to the winner from the studio in California.  They are 10ml and 5 ml respectively.  The winner will be announced on August 19th.  If you wish to share a few thoughts on your experience of natural hand-made perfumes, it would be lovely.

All  samples and giveaways have been generously provided by the perfumers.  I will be doing another draw in the Fall (September)  for a gorgeous full bottle of Sharif, so if you don't win this time, do not despair, you will have another chance.

Above illustration in the spirit of the perfumes: The Bahari Lacquer Book cover, Persian, approximately 1575, Tabriz;
follow the link for more information on this beautiful Persian miniature.
Follow the links above for more information on the perfumers and purchase information.

MICHAEL SINGELS, as they say, the hat has spoken, and it is you!  Please contact me at once at indieperfumes at gmail dot com with your address, you have WON!