A garden lies at the heart of Guerlain‘s vintage Apres L’Ondee, a secret garden pulled straight out of Frances Hodgson Burnett’s famous 1910 children’s classic by the same name. It’s a magical place awakening after a long sleep, brought back to life in early Spring, reborn with tender efforts that make its once untamed nature a thing of the most civilized Edwardian beauty. It’s an exquisite portrait, even a heartbreakingly tender one, where fields of iris and violets sprout to spread their wings in the morning light, their petals glistening with dew and the last traces of Spring showers, their fragile bodies shooting up out of dark, loamy soil to bloom against rambling thickets of rose, sweet jasmine, and green walls covered with climbing vetiver and mossy greenness. The morning light is bright, fresh, and crystal clear, offset by gleaming rays of yellow citrus freshness and clean aldehydes, but a mist of sweet powder swirls through the air like pixie dust and tiny fairies.
There are unicorns that hide amongst the shadows of our world, fragrance unicorns that are spoken about in hushed, reverential tones, fragrances of such great rarity that they rise from the eBay mists only a bit more frequently than King Arthur’s Avalon. These myths of legend belong to an elite club in the vintage world, and one of them is Nombre Noir.
Nombre Noir is so famous for so many reasons that it’s hard to know where to begin. It was the very first fragrance ever made by the visionary Serge Lutens, his introductory footsteps into the perfume world, albeit under the umbrella of Shiseido rather than his own name. That would come later, but so many of the famous Lutens olfactory signatures make their debut in Nombre Noir that it’s like following a map into the future. But the reasons why the fragrance is so mythical have little to do with Lutens himself and everything to do with an aggregation of olfactory, technical, and market-oriented factors. The fact that there is a whiff of Greek tragedy to the tale just adds to the mystique.