Peau d’Espagne 1872 is the most recent addition to Oriza L. Legrand‘s collection of leather fragrances. It’s supposed to center on Spanish Leather, a specific sub-genre of the leather family of fragrances. I found it to be more of a hybrid, however, that also used Russian Leather and modern isobutyl quinoline methods of leather recreation. I think that makes an olfactory difference, especially if you’re expecting the softer, gentler fragrance style of Spanish leather, so today I’ll talk about the different olfactory ways in which the scent of leather is recreated in perfumery as well as what Peau d’Espagne 1872 smells like in particular.
Balmain‘s vintage Jolie Madame — an exquisite chypre that turns into a softly animalic floral leather then into a suede-like floral — was created by the legendary Germaine Cellier but it is not one of her creations that I hear people commonly talk about, unlike Bandit, Fracas or, to a comparatively lesser extent, Vent Vert. That’s a shame because I think that Jolie Madame has a heartbreaking tenderness and delicacy which I find largely missing in those bolder, more operatic masterpieces. In essence, Jolie Madame is like Chopin or Vivaldi, not Wagner or Beethoven.
Today’s further examination of Les Indémodables centers on Fougère Emeraude (hereinafter spelled without the accent) and Cuir de Chine. One is far more of an aromatic floral and a floral gourmand than an actual fougère, in my opinion, while the other is a lovely fruity osmanthus leather.
Agar Aura‘s Malayaku is a paradoxically simple yet complex shapeshifter – something which I’m starting to suspect may be a characteristic of many of Taha Syed‘s opulently rich creations. I think it will appeal to fans of high-quality vetiver, leather, frankincense, tobacco, oud, and sexy dark musks. So let’s take a detailed look at the scent.