Masque Russian Tea

Photo: iStock via foodandwine.com

Photo: iStock via foodandwine.com

Imagine yourself camping in a forest, sipping tea by the fire. Bright, green mint and a dollop of raspberries float in your mug of black Lapsang Souchong whose leaves you’ve toasted in a cast-iron skillet to release their smoky darkness and delicate nuttiness. The campfire billows out smoke from cade and birch logs, each coated with blackened tar that smells like butch leather as much as burnt, singed wood. Labdanum amber glows like coals amidst the flames, and release a meaty, musky warmth.

Photo: "Controlled Burn" by Kevin Cooley. Source: indulgd.com or http://indulgd.com/controlled-burns-by-kevin-cooley/

Photo: “Controlled Burn” by Kevin Cooley at http://indulgd.com/controlled-burns-by-kevin-cooley/

The smell of your tea rises in the air, sending out streamers of cool mint and juicy raspberry to counter the billowing campfire smoke. Bright freshness and fruited sweetness vie with multi-faceted smoke, leather, tar, and woods, all enveloped by the fire’s soft warmth. You take out a pipe, stuff it with dark tobacco, and light it as you sip your tea in the flickering light of the warm fire which serves as a beacon in the dark forest, casting shadows upon the desiccated remains of nearby trees, and creating a woody-ambered dryness. It would be a lovely picture were it not for a few issues, one of which is that you’re also being doused with arid, harshly acrid, and often antiseptic-smelling chemicals that pour down on you like heavy rain.

Unfortunately, that was not my only difficulty with Russian Tea, a popular fragrance released last year that I’ve absolutely dreaded covering for the last two months. It actually took me a few attempts to get through wearing the fragrance all the way through, instead of quickly scrubbing it off, but at least it eventually gets better after its very abrasive opening hours. Well, somewhat better. In general, Russian Tea has not been a joyous experience.

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Guerlain Heritage (Eau de Parfum)

Ralph Lauren Purple Label editorial ad via tumblr.com

Ralph Lauren Purple Label editorial ad via tumblr.com

Strains of Guerlain’s heritage float like olfactory ghosts over a banker wearing pinstripes in a wood-paneled boardroom. As he sits in conservative elegance and restrained reserve, the Ghosts of Guerlain Past move over him via Jicky‘s aromatic lavender creaminess and Habit Rouge‘s citrus cologne opening that lies atop slightly leathered, balsamic resins. There is also the Ghost of Guerlain Future in the form of L’Instant de Guerlain Pour Homme, as well as strains of a fragrance created years later by a Guerlain family member for another company entirely. This is Jean-Paul Guerlain‘s Heritage, both the name of the actual fragrance and an intentional, symbolic encapsulation of parts of Guerlain’s past.

Heritage (officially spelled with an accent as “Héritage“) is actually meant to feel familiar on some levels. The fragrance was created in 1992 by Jean-Paul Guerlain and, according to the unaffiliated website, Monsieur Guerlain, he intentionally sought to combine some of the most beloved parts of various Guerlain classics into one scent, but to push the limits even further,by “playing on the whole legendary Guerlain scent repertoire.” At the time, it was probably an inventive idea; there weren’t endless flankers back in 1992, and the call-backs to Guerlain’s Jicky and Habit Rouge subtly swirled in a sea of other notes that helped to make Heritage a singular character in its own right. I remember smelling the fragrance shortly after its release, and finding it elegant but also very interesting. People sometimes reference bankers when talking about Heritage, and it definitely gave off that vibe, but what a chic, pinstriped banker he was and how he dominated the room with his complex, powerful presence.

Vintage Heritage ad. Source: Basenotes.

Vintage Heritage ad and the old, limited-edition bottle. Source: Basenotes.

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Von Eusersdorff: Classic Mimosa, Orange, Myrrh & Vetiver

Camille Henfling of Von Eusersdorff.

Camille Henfling of Von Eusersdorff.

Von Eusersdorff is a Dutch-based perfume house that is run by the descendents of German immigrants with roots dating back to the 15th century and who are now inspired by the vibrancy of New York City. According to the company’s website, the original Von Eusersdorffs ran an apothecary for three centuries, “dealing in rare perfume materials, spices and herbs.” The brand was reborn in 2010 as “Von Eusersdorff New York” under the direction of Camille Henfling-Von Eusersdorff, and its five eau de parfums finally became available in America a few months ago after being European exclusives.

I first tried a few of the fragrances last year at Jovoy, but didn’t have the time to give the full range a thorough assessment. Finding the scents in America turned out to be impossible, despite the “New York” part of their name. Then, several months ago, a very thoughtful, generous reader, “Petra,” kindly sent me samples of all the fragrances from German. About six weeks later, the perfumes became available in America, first at Twisted Lily and now at Indigo Perfumery. So, I thought it might be useful to briefly cover four of them — Classic Mimosa, Classic Orange, Classic Myrrh, and Classic Vetiver — leaving the fifth one, Classic Patchouli, for a comparative review with Lorenzo Villoresi‘s Patchouli.

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O’Driù Pathetique

Source: truffleharvest.com.au

Source: truffleharvest.com.au

Pathetique is the latest creation from O’Driu and Angelo Orazio Pregoni, a scent that briefly takes you to the heart of the forest floor with black truffles, singed woods, vetiver, jasmine, and mosses that are woven together with incense, before it then segues to something very different. I liked parts of Pathetique (officially spelled with an accent as “Pathétique”) quite a bit, particularly the creamy vanilla crème anglaise that acts like a bridge between its various parts, but it is not a scent that matches up to its hyperbolic description. O’Driu describes Pathetique as everything from “performance perfume” and “contemporary artwork” to wholly “unique” in all the world and a “masterpiece” whose name was chosen as an ironic finger to critics. In reality, Pathetique is an easy, very wearable scent. It’s not a mainstream fragrance but, comparatively speaking, it’s the most commercial Pregoni creation that I’ve tried thus far. I think its approachability is a good thing, but my description would probably horrify its controversial creator.

Source: Fragrantica

Source: Fragrantica

It’s hard to talk about Pathetique without talking about its creator. Mr. Pregoni’s character is part of everything, from the scent to its press release description and his interviews about it. My initial impression was that Mr. Pregoni was a progressive free-spirit who sought to work outside the lines out of genuine intellectual artistry, and whose approach was driven purely by a self-deprecating, whimsical sense of humour. I think I was mistaken.

Angelo Orazio Pregoni at Pitti. Source: Fragrantica

Angelo Orazio Pregoni at Pitti. Source: Fragrantica

Several recent reports from people within the perfume industry that were told to me privately show a very different side to Mr. Pregoni, as does a very telling Fragrantica interview with him which took place at the recent Pitti exhibition and concerned, among other things, Pathetique and “perfumed art.” None of this is helped by the self-aggrandizing way that the scent is described on the O’Driu website. Ultimately, though, it is not my place or business to talk about a perfumer as a person, only about the way a fragrance smells. So, I’ll leave it to you to read that Fragrantica interview and draw your own conclusions. I’ll move onto Pathetique.  Continue reading