Areej Le Doré Walimah Parfum & Walimah Attar

Photographer Alexander Khokhlov, “Weird Beauty” series. Source: My Modern Met. (Direct website link embedded within.)

Walimah is one of several brand-new, upcoming fragrances from Areej Le Doré and is intended to be a celebration of love and marriage. It was created by Russian Adam in tribute to “the beautiful union of two souls from different corners of the globe” and their wedding late last year, so it’s quite symbolic that the fragrance’s two versions — a parfum and an attar — act as yin and yang. Although they have the same notes and formula, they are surprisingly different on my skin: the spray is feminine, ethereally bridal and, later, sensuously creamy); the attar casts dark, masculine shadows upon its luminous, radiant, white florals, sometimes shrouding them almost entirely. The attar is not only more complex but it is also a shape-shifter. In addition, it is unisex-to-masculine in its character, veering between co-equal unisex elements and an elegantly rugged masculinity that has an occasional animalic growl. I’ve been told that the spray version will eventually age into something closer in scent and character to the attar but, even as they are right now, both versions are striking in their own way.

Walimah, attar and parfum. Photos by Russian Adam. Collage created by me.

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Bogue Gardelia: Vintage Luxury Reborn

Photo: Jerry Uelsmann," Untitled, [Reclining nude Woman, River waterfall and Yosemite Landscape], 1992," Telluride Gallery. (Direct link to his website embedded within.)

Photo: Jerry Uelsmann,” Untitled, [Reclining nude Woman, River waterfall and Yosemite Landscape], 1992,” Telluride Gallery. (Direct link to his website embedded within.)

Gardelia by Antonio Gardoni of Bogue Perfumes is a remarkable fragrance. An opulent, baroque, and complex symphony of notes that deluge the senses, evoking the very best of the vintage chypre style, and so much more as well. Animalic, lush, tropical, floral, vegetal, mossy, resinous, furry, musky, and indolic elements shine in pitch-perfect balance within a prismatic kaleidoscope that clearly nods to Gardoni’s famous MAAI, but also to vintage Mitsouko parfum, albeit a Mitsouko that is given a tuberose and gardenia twist. It’s like stumbling upon an unexpected nook of hot-house flowers growing deep within the recesses of a mossy, dark forest, unfolding like a furry and autumnal twist on the Rite of Spring. Roja Dove’s Mitsouko-inspired Diaghilev sought to do something similar, but that fragrance never impacted me the way Gardelia has. I think it’s superb.

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Aftelier Perfumes Cuir de Gardenia



The beauty of a gardenia, with all its multi-faceted richness and inherent contradictions, captured in a perfume that is sometimes much more about a mood than a particular set of notes. That is Cuir de Gardenia, a feat of technical skill, innovation, and perfume mastery by the acclaimed doyenne of all-natural perfumery, Mandy Aftel of Aftelier Perfumes

On her website, Ms. Aftel has a wonderfully detailed explanation of why Cuir de Gardenia is different from many “gardenia” scents, along with discussion of its character and structure:

Cuir de Gardenia retains the unique beauty of the tiare [Tahitian gardenia] flower, not allowing it to morph into the hundreds of petals of a floral bouquet. I had been incredibly fortunate to find an artisanal grower and distiller of the ultra-rare, costly, precious gardenia. In Cuir de Gardenia, I wanted to retain the pure loveliness of the creamy sweet and singular gardenia fragrance, and knew that the rounded warmth of an oil-based perfume (solid and extrait) would be the perfect format.

Tiare or Tahitian gardenia. Source:

Tiare or Tahitian gardenia. Source:

Cuir de Gardenia is unusual in that it has no top notes; I created it in such a way that the gardenia appears immediately, unimpeded from the opening of the perfume onward, merging seamlessly with the leather. The natural isolates ethyl phenyl acetate (reminiscent of a bunch of sweet peas) and the candy-like maltol contribute sweet and floral notes to the animalic base of the perfume.

Source: Fragrantica

Source: Fragrantica

Cuir de Gardenia comes in two concentrations: an extrait de parfum oil and a solid perfume. This review is for the former, the extrait de parfum. The perfume is classified on Fragrantica as a “floral woody musk,” while Ms. Aftel categorizes it as “dry woods.” According to Ms. Aftel, the notes are:

Middle: tiare (gardenia) absolute, jasmine grandiflorum absolute, benzyl acetate.
Base: castoreum, ethyl phenyl acetate, maltol.

It was interesting to smell Cuir de Gardenia merely in the vial. You are struck by an intense burst of heady, rich gardenia with hints of jasmine and a strongly animalic whiff.

Source: Chris Maher or "Artonline" at (Website link embedded within.)

Source: Chris Maher or “Artonline” at (Website link embedded within.)

The latter evoked two very different images in my mind. First, the smooth flanks of an animal covered in leather that has been burnished in lush perfumed oils. Second, the flanks of the human body, with the curve over the hips and slightly musky, satiny smoothness. There is something to both visuals, as Cuir de Gardenia is more than a mere floral scent. Still, there is no doubt that the main note is unquestionably gardenia. In the vial, it smells like a full-throttled gardenia or, more accurately, the essence of thousands of flowers distilled into a few, concentrated, precious drops. As a whole, Cuir de Gardenia is almost more of a mood and feeling than a mere scent.

It’s a different matter on the skin, at least at first. Cuir de Gardenia is an oil, and the first thing I was struck by when I applied it was the glistening, golden sheen it leaves on the skin. For me, smell of the oil initially acted as a barrier between the headiness of the flower that was so apparent from sniffing the vial. You have to give it a few minutes for the oiliness to dissipate and melt. Once the heat of your skin breaks it down, Cuir de Gardenia starts to show itself in all its multi-faceted richness.

North American Beaver via Wikipedia.

North American Beaver via Wikipedia.

Cuir de Gardenia opens on my skin with a fierce blast of strong castoreum musk, infused with the fresh gardenia flower, greenness, and a tinge of sourness. Depending on how much of the perfume you apply, the castoreum either leads the charge or comes in second place. When I applied a lot (about 3 big dabs of the oil), the muskiness was both intense and very animalic, verging almost on the feral. (You can read more about castoreum on Fragrantica, if you’re interested.) It made me think of how Ms. Aftel was reported to buy a very ancient, vintage stock of the beaver secretion from the estate of a former perfumer and how that ingredient is said to be such a part of her Secret Garden fragrance. I suspect the same stock was used for Cuir de Gardenia.



When I applied a smaller amount of the oil, the dominant impression for me was something else. I was struck by how Cuir de Gardenia felt more like a texture. Yes, there is the gardenia that is more moderately indolic and encased in a subtle warmth tinged with the castoreum’s musky, plush, velvety undertones. However, my main impression was rich, Devon clotted cream and butter. Cuir de Gardenia opens like floral butter, touched by a hint of sourness and green. The latter is an unexpected freshness that feels quite contradictory given how rich and ripe the flower can be.



I’m struck by the polarity and juxtapositions. Velvety petals that feel like buttered cream, next to dewy moisture and greenness. You have the gardenia on the stem in the early morning hours, but also the headiness of that same flower after it’s been plucked and its aroma has concentrated over time. None of it feels blowsy or decayed; there are initially no mushroomy undertones nor earthiness the way gardenia can sometimes manifest. Depending on quantity, it is either quietly lusty in its muskiness, or a little bit feral.

Ten minutes in, Cuir de Gardenia smells like buttermilk with its green, sour cream undertones. Deep in the base, there is a subtle whiff of something rubbery, but it’s more textural than anything black or leathered. It’s as if there were so much gardenia richness that it has coagulated and solidified into a hardened oil. I know I’m not doing a good job of explaining all of this, but that is because I’ve never quite encountered a gardenia like this one. For a perfume centered around one main note, there are a lot of unexpected, almost contradictory, complex facets in the opening hour.



I think that’s a testament to Ms. Aftel’s deft handling of the flower. It would have been all to easy for Cuir de Gardenia to be a simple, indolic, voluptuous gardenia. With all that richness, you’d almost expect a single-minded, typical gardenia. Instead, Cuir de Gardenia is one of those rare scents that somehow captures all the tiny, often disparate, layers to the flower actually growing in nature. What it isn’t is raunchy or dirty. This is a very different sort of “indolic” theme than what one usually encounters, one that is more musky than voluptuously narcotic on my skin.

And, in truth, Cuir de Gardenia’s headiness is a very quiet one. I’m not surrounded by an avalanche of gardenia; there is no nuclear-tipped cloud wafting around me, emanating a lavishly thick, voluptuous fleshiness. Cuir de Gardenia is much more restrained. I have to admit, I personally prefer my white flowers on the Wagnerian side, but there is no denying Cuir de Gardenia’s refinement. It is more akin to Vivaldi’s Four Seasons than to the Ride of the Valkyries, more Mozart’s Eine Kleine Nachtmusik Allegro than Beethoven’s Ninth or his Ode to Joy. None of that is meant as an insult. I love all those pieces, deeply, and I listen to Mozart more than I do to Wagner’s powerful “Apocalypse Now“- style piece, but there is no denying that there are distinct differences in style, tone, and mood.

At the end of 30 minutes, the perfume hovers an inch above the skin in a mix that is at once delicate, restrained, and rich. When you apply a larger quantity of Cuir de Gardenia, it adds another hour to the time frame before the sillage drops. In both cases, when smelled up close, the perfume is a massively concentrated hit of lush, buttery smooth gardenia infused with greenness and a tinge of buttermilk sourness. The gardenia is carefully placed upon a soft castoreum base that is very quietly musky, plush, velvety, and dark. Yet, there is very little of the animalic whiff that I detected when I smelled Cuir de Gardenia in the vial or that the perfume opened with when I applied a lot. The castoreum seems to have melted into the petals, having an indirect effect on the notes in a much more discreet manner. The whole thing is lovely, and I’m very impressed by the carefully calibrated balance.

"Dressage Black and White" by Diana Rose Greenhut or DianaExperiment on Flickr. (Website link embedded within.)

“Dressage Black and White” by Diana Rose Greenhut or DianaExperiment on Flickr. (Website link embedded within.)

You may have noticed that I’ve barely mentioned leather at this point. Well, initially, it didn’t show up on my skin in any discernible fashion. Then, suddenly, right at the 30 minute mark, things start to change. There is a muted impression of an ultra-expensive, high-end Hermès saddle which carries the tiniest lingering traces of the horse it had been on many hours before. There is something almost akin to civet in the animalic muskiness that is starting to stir on my skin. Lurking in the distance and at the edges are tiny flickers of notes that are simultaneously mushroom-y, earthy, vaguely chocolate-y, and nutty. It is undoubtedly due to the gardenia’s mushroom side combined with the castoreum. Whatever the cause, it adds dimension to what was previously and primarily a fresh-ripe, green-creamy floral bouquet.

The issue of the leather is perhaps the best evidence for how beautifully Cuir de Gardenia has been blended and the technical mastery involved. For the first hour, the leather never stays in one place on my skin, but moves throughout the notes like a very friendly ghost. Sometimes, he stops to say hello, and remains to chat for 4 or 5 minutes. Then, he drifts away to other worlds for a brief span, before popping back in. Every time I think he’s finally vanished, he waves a dark, friendly, leathered arm at you from the horizon. Then, suddenly, 90 minutes in, he decides to move in permanently. And he’s brought luggage with him! Suitcases filled with black smoke whose tiny tendrils wind their way up from their depths to slowly wrap their threads around the creamy gardenia. The leather ghost gives you a cheeky grin, puts his feet up, and is there to stay.

Yet, I want to emphasize that this is a very subtle, muted “leather” as a whole. It’s not the sort of leather that you have in fragrances like Etat Libre‘s hardcore, black Rien, the deeper, burnished brown leather of Puredistance M, the distinct leather of Parfums Retro‘s Grand Cuir, or the animalic leather of LM ParfumsHard Leather. The note here is more about an impression of leather. It is strongly infused with an animalic edge that sometimes feels a bit civet-like in nature, and it creates a subtle kinship to horsey leather. To be clear, though, the note is never fecal but is primarily just musky. Still, if you’re expecting a true, hardcore leather fragrance, you need to put those thoughts aside. Cuir de Gardenia is a spotlight on gardenia first and foremost. The flower merely happens to have a animalic leather undertone that distinguishes it from the traditional take on the note.

"Gardenia sketch" by Angel H. Juarbe on Fine Art America.

“Gardenia sketch” by Angel H. Juarbe on Fine Art America.

From the start of the third hour until its end, Cuir de Gardenia is a seamless blend of gardenia with animalic “leather” and musky touches. The smokiness lingers, but it becomes increasingly overshadowed by the warmth in the base that makes the gardenia more golden in feel. It is a skin scent on me at the 2.5 hour mark, but Cuir de Gardenia’s longevity is excellent. As an extrait or pure parfum, that is to be expected, but Cuir de Gardenia is also an all-natural perfume, so I was surprised when I noted Cuir de Gardenia lingering well after the 7th hour. All in all, with 3 big dabs, the perfume lasted just short of 11 hours on my perfume-eating skin. It was a mere whisper after the 6th hour that you could detect only if you put your nose right on your skin, but it was most definitely there. With a smaller quantity, Cuir de Gardenia lasted just under 9 hours.

As many of you know by now, Cuir de Gardenia has been a massive hit. Over 12 different bloggers have placed it on their Best of 2013 list, from The Perfume Shrine and The Non-Blonde to The Fragrant Man, Angela at Now Smell This, and many others. Out of the full reviews, I think that of The Non-Blonde is worth noting. On her skin, Cuir de Gardenia was more overtly sensual (or sexual?) than it seemed to be on me. Furthermore, her review includes a useful comparison between the extrait parfum and the solid:

Cuir de Gardenia, the new perfume from Aftelier tells the story of luxury, eccentricity, and sensuality. […][¶] This gardenia smells warm: warm from the tropical sun and sands as well as warm skin. The creamy aspect is also there, musky and sensual. This flower is unmasked by top notes. There’s nothing there to lighten the mood or make it go down easily. Instead, you get a journey from flora to fauna, as the creamy gardenia becomes fattier and more animalic and the perfume embraces the skin and wraps it an unmistakable buttery leather. […]

Cuir de Gardenia is offered as an extrait and a solid perfume, to keep the warmth and sensuality on skin-level. This perfume is pure decadence– you don’t want to send it into the stratosphere on a cloud of volatile alcohol molecules. I suspect that beyond the preciousness of the raw materials, a big sillage would have been just too much for polite company: this thing requires intimacy, which this format allows. Applied where it truly counts, Cuir de Gardenia is sweet and intense. I find it incredibly sexy in a very femme way, but then again, I’m all woman. Men who feel comfortable in dirty gardenia fragrances (from JAR Jardenia to Lutens Une Voix Noire) shouldn’t hesitate to try this Aftelier perfume in either form. The solid smells more animalic upon application but becomes smoother and almost honeyed after an hour or so. The extrait works for me in an opposite way– its true leather and castoreum nature becomes more pronounced with time. They layer beautifully, obviously, and last for at least six hours even when dabbed extremely sparingly.

Cuir de Gardenia was originally meant to be a limited-edition release, but the degree of the positive response has led Ms. Aftel to make the perfume a permanent part of her line, and to also offer it in a new 1/4 oz (about 7.4 ml) extrait bottle. It’s not cheap at $195 (or $240 for the solid), but you really need to keep in mind just what we’re talking about here: real gardenia, not a synthetic recreation through other notes. As I’ve mentioned a few times, gardenia is one of those flowers whose aroma cannot be easily captured through distillation of its petals. When you smell “gardenia” in a perfume, you’re usually smelling some combination of tuberose, jasmine, or synthetics. A fragrance made purely from actual, genuine gardenia is incredibly rare.

Tiare. Source:

Tiare. Source:

The Fragrant Man offers insight on yet another difficult aspect of using gardenia, especially when it’s the Tahitian kind called tiaré:

[Ms. Aftel’s Cuir de Gardenia] is a breakthrough moment for gardenia ‘fume lovers. The issue with gardenia oil is that when it leaves its heated homeland the scent changes to ‘off’ or more precisely, indolic at the unpleasant end of the spectrum. It is unstable when taken out of its natural tropical environment. We are talking about Tiare here, the gardenia that is native to Polynesia so my guess is that Tahiti or New Caledonia is probably the source. In these islands the local people make manoi oils. Tourists are often charmed by the scent of these oils until they arrive back home. This has happened to me. […] Manoi oil is coconut oil usually blended with the Tahitian gardenia known as Tiare but also with frangipani, ylang ylang and vanilla, in an enfleurage type process. Coconut oil is the carrier fat for the scent.

Ms. Aftel has found a way around all that, while also avoiding synthetics and gardenia substitutes. The result is a fragrance that seems to drive many men and women wild. (You can read The Fragrant Man‘s proper review of the scent, subtitled “Olfactory Orgasm,” which not only includes links to all the other reviews out there, but also has a discussion on the role of antique castoreum in recreating the leather note.)

There are a few other male bloggers who also fell hard for Cuir de Gardenia. In the case of The Black Narcissus, his immediate, instant reaction to Cuir de Gardenia was so extreme that the usually elegant writer could barely get the words out:


the perfume, just deliciously arrived in my postbox: immediately, for me, knee weakening. not gardenia, as in gardenia,… tiare:a tropical, moist, neptunian, sultry white witch emerging, hair slicked to shoulders, from the sea. sweet Italian bubble bath honey. cuir: but fresh.tango’s eminently wearable younger sister, unencumbered

Photo: Chris or "Rapt in Roses" on Flickr. (Website link embedded within photo.)

Photo: Chris or “Rapt in Roses” on Flickr. (Website link embedded within photo.)

I liked Cuir de Gardenia a lot, but it was more quiet and restrained on my skin than I had expected. It is infinitely creamy, but I think I like my white flowers to show more skin, to ooze ripened sexuality like a heaving bosom on a courtesan. In other words, I like my big white flowers to be narcotically BIG WHITE FLOWERS, Wagner and Valkyrie style.

Yet, it’s hard not to be impressed and a little bit seduced by a more tasteful, refined take when it is as rich, buttery and multi-faceted as Cuir de Gardenia is. The perfume is a study of paradoxes — paradoxes which are perhaps the best and truest manifestation of the flower in nature that I have ever encountered — but done with an ingenuous animal twist. The whole thing is intellectually fascinating, but Cuir de Gardenia is also a testament to pure skill. You can’t be a niche perfumista today without hearing about Ms. Aftel’s role as the professor, alchemical wizard, and pioneer of all-natural perfumery. You hear it, but you may not really understand it fully until you try something like Cuir de Gardenia.

Or, in my particular case, her Chef Essences which I have to say here and now blew my foodie mind in such a way that my eyes rolled back in my head, and I was considering engaging in lewd acts with the bottle. (Well, not quite, but… close. I was certainly molesting the bottle of Ginger Essence in full disregard of the instructions on the stated quantity, and I was pretty much drooling on both myself and my food. The degree of my reaction, amazement and disbelief over those genius fragrant oils cannot be stated enough, and they will be the subject of a review sometime in the next 2 weeks, once I finish my cooking tests. Those Chef Essences…. Good God!) If Cuir de Gardenia didn’t arouse quite such an intense reaction in me, it is only because I care about food much more than I do about perfume. Gastronomy is my first love, while perfume is perhaps my fifth, so don’t misinterpret my tone. I think Cuir de Gardenia is very pretty, even if it isn’t really very “me.” It is also, without a doubt, masterfully done.

I think that anyone who passionately adores their lush, big white flowers should give Cuir de Gardenia a sniff. Those who normally fear white flower bombs would probably enjoy it as well, given the perfume’s intimate restraint and refinement. At the same time, the animalic side and suggestion of leather make Cuir de Gardenia a fragrance that men can pull off. The perfume’s low sillage also means that it is something you can wear to work, though I personally think Cuir de Gardenia feels far too special for such mundane, daily events. My only note of caution is for those who are accustomed to more commercial, traditionally sweet, or conventional florals. If you’re not used to castoreum, I don’t know how you will respond to Cuir de Gardenia’s very animalic muskiness. 

All in all, I think Cuir de Gardenia would be perfect for a date night, or an evening when you want to discreetly tantalize. It is delicate sensuality done with great refinement. 

Disclosure: My sample was courtesy of Aftelier Perfumes. That did not impact this review. I do not do paid reviews, my opinions are my own, and my first obligation is honesty to my readers.

Cost & Availability: Cuir de Gardenia is exclusive to the Aftelier website, and is available in 3 different sizes. There is a 2 ml mini of Pure Parfum extrait for $55; a new 1/4 oz bottle (about 7.4 ml) of the Extrait for $195; or a 0.25 oz of solid perfume in a handmade, sterling silver compact for $240. Samples are available for $6 for a 1/4 ml vial. Ms. Aftel ships worldwide, and you can find further information on her FAQ page. 

Arquiste Boutonnière No. 7: Vetiver Gardenia

Carlos Huber. Source: Fragrantica

Carlos Huber. Source: Fragrantica

History in a bottle, and a trip back in time through scent are the specific goals of the American niche perfume house, Arquiste. Founded by the architect turned perfumer (and now, also, designer), Carlos Huber, Arquiste always attempts to bottle a specific moment in history, using fragrance as a symbolic time-machine. In the case of Boutonnière No. 7, the target date is 1899 in the lobby of the Paris Opera house.

Released in late 2012, Boutonnière No. 7 was created by Rodrigo Flores-Roux and is an eau de parfum. (I’ll refer to the fragrance from this point forth merely as “Boutonniere” for convenience and practical reasons.) Boutonniere is categorized as a “Floral” on the Fragrantica website but, interestingly, Carlos Huber calls it a “Floral Woody” on the Arquiste website.

Source: Arquiste.

Source: Arquiste.

There, Carlos Huber elaborates further on the precise historical scene that the perfume is meant to recreate:

May 1899, Foyer of the Opéra-Comique, Paris
During the Opera’s intermission, a group of seven young men gather at the Grand Foyer in search of new flirtations. Women of all sorts are lured in by the crisp, green scent of the men’s gardenia boutonnieres, enlivened with the bergamot and lavender colognes they wear. As they draw closer, the “Opera Flower” exudes its elegant masculinity, the last breath of a bloom sacrificed on a black-tie lapel.

Notes include:
Lavender, Bergamot, Italian Mandarin, Gardenia jasminoides/Gardenia citriodora duo, Genet absolute, Vetyvert, Oakmoss.

Rodrigo Flores-Roux (left) and Carlos Huber (right). Source: Fragrantica.

Rodrigo Flores-Roux (left) and Carlos Huber (right). Source: Fragrantica.

A brief word about the notes. First, “genet” is apparently some sort of Broom plant, not a relative of the civet mammal. (A big thank you to perfumer, Maggie Mahboubian, who clarified that point for me, and who also commented that it has a rich, honeyed, herbal aroma.) Second, you have to remember that the smell of a gardenia flower is often replicated through other floral notes. In this case, however, Arquiste seems to be saying that different varieties of actual gardenias were used. Regardless of source, the goal seems to have been a masculine, green floral. A Fragrantica profile on Boutonniere and Carlos Huber states, (or perhaps quotes Huber himself):

In taming and “sharpening” gardenia’s multifaceted nature towards a great masculine feel, it took a mix of lavender, bergamot, Italian mandarin, vetiver and oak moss. And the “gardenia” is a duo of Gardenia jasminoides and Gardenia citriodora. While citrus and bergamot combine with lavender to create the opening, the base of vetiver and oak moss in the final stages will always back up the straightforward courage into the subdued passion of the wearer.  

It all sounds terribly good on paper. How often do you have the lush, indolic, hyper-feminine gardenia flower treated almost like a traditional fougère with its lavender, moss and herbal elements? A masculine take on gardenia has infinite potential for originality, so I was really excited to try Boutonniere when I won a sample set of the Arquiste line in a giveaway on The Fragrant Man blog. If only the reality of Boutonniere were as complex or unique as the promise of its notes.

Boutonniere No. 7 presentation on the Arquiste website.

Boutonniere No. 7 presentation on the Arquiste website.

Boutonniere opens on my skin with a burst of fresh, very green gardenia. It is heavily infused with vetiver that has a brief nuance of something rather minty, and is also accompanied by a touch of bright, springy mossiness. The whole thing is a visual panoply of emerald greens with a bright, dewy, green-white gardenia at its center. Dainty whiffs of bergamot, orange, and a vaguely herbal, very abstract aromatic note dance around the edges, but they are mere specks in the picture. The final element is a subtle, synthetic tonality resembling ISO E Super that lurks deep down in Boutonniere’s base, though it is very muted at this point. [Update: Arquiste has clarified that the aroma-chemical in question is Ambermax, a synthetic which Givaudan describes as having “the power of dry amber” with “subtantive [sic] fusing [of] cedarwood facets.”] Initially, the whole thing wafts in an extremely airy cloud that blooms 2-3 inches above the skin. It is perfectly balanced between the bright, fresh, green elements and the sweet gardenia, and is initially strong when sniffed up close. From afar, however, Boutonniere smells merely like a translucent wisp of green gardenia with vetiver.

Haitiian vetiver grass. Source:

Haitiian vetiver grass. Source:

Time is not kind to Boutonniere on my skin. Less than 15 minutes in, the perfume starts to devolve. Boutonniere becomes thinner in feel, and also loses its touches of citrus and mint. A bare 25 minutes in, the sillage drops further, and Boutonniere hovers an inch above the skin. Before the first hour is even up, the perfume lies right on the skin, and is close to becoming a skin scent. It accomplishes that disappointing feat a mere 75 minutes into its development. Around the same time, a subtle element of pepperiness pops up at the periphery, as the ISO E Super Ambermax starts to rise from the base.

Gardenia jasminoide. Source:, photographer unknown.

Gardenia jasminoide. Source:, photographer unknown.

The end of the first hour ushers in another change as well. Boutonniere feels creamier and warmer, as the more jasmine-based gardenia element becomes more prominent. The scent still retains its greenness, but the flower is less dewy and crisp. It parallels the evolution of a white flower that you pick and wear, moving from the dainty, fresh greenness to a warmer, more yellowed creaminess after a few hours. The minuscule citric curlicues vanish; and the vetiver begins to turn more dry. It eventually becomes more woody than green and bright, but, for now, Boutonniere is still primarily a gardenia scent with varying levels of fresh vetiver.

By the end of the third hour, Boutonniere lives up to its description on the Arquiste website as a woody floral, for the softened, velvety gardenia is now firmly entrenched in a woody, dry vetiver embrace. It has a lightly mineralized feel that is supplemented by the tiniest touch of oakmoss, but there really isn’t much more to the scent. It is light, simple, and airy, but it clings to the skin like translucent gauze. In fact, the perfume is so wispy and thin that I was sure it was going to die at any moment after a mere 2 hours, so you can imagine my surprise to see Boutonniere cling on tenaciously for quite a bit longer.

Vetiver roots, the primary source of the aroma. Photo:

Vetiver roots, the primary source of the aroma. Photo:

As the hours passed, Boutonniere fought for dear life as the most basic gardenia soliflore around, with fluctuating degrees of vetiver and a growing ISO E Super Ambermax peppered flourish. At times, the vetiver actually seemed like it had wiped out the gardenia altogether, but the flower is stalwart and makes a comeback. In its final moments, Boutonniere is the sheerest smear of a vaguely greenish gardenia. All in all, it lasted just under 7.5 hours on my skin.

On Fragrantica, the comments range all over the place:

  • Like Carnal Flower, but less skanky/interesting. WAY too feminine for unisex IMO.
  • On paper I thought that maybe a little bit of Carnal flower had somehow got mixed up in my sample, I was overpowered by crushed gardenia petals. However when put on skin the sweet floral edge almost disappears to give way to a sensual spicy skin scent that I can not stop sniffing! This is like carnal flowers darker sultry sister, still with a hint of sweet gardenia but mostly about spicy wood (vetiver) and balmy lavender, and dirty (in a good way) genet and a shimmer of petitgran. In the heart the creamy sparkly gardenia comes back a bit to soapy strong for my liking. This scent wears very close to the skin not much silage. But depending on how long the soapy gardenia lasts this could be a little gem that should be worn close to skin, a little secret that only those close to you can appreciate.
  • This smells like a balloon that was rubbed against someone’s head…. [¶] I honestly don’t know know what notes are clashing to create that sharp, dense rubber note (oakmoss and genet poop perhaps!?), but I cannot imagine forking out that kind of money to smell like this, it’s bizarre.

Jasmine. Source:

Kevin of Now Smell This had an infinitely better experience than either that last commentator or me, though Boutonniere did not seem to sweep him off his feet. In his review, he wrote:

Arquiste Boutonnière no. 7 opens with a burst of fleshy white flowers (not gardenia, but jasmine); the flowers are sweet, mildly indolic and have an undercurrent of woodiness. As the fragrance quickly develops, I detect a soft “orange peel” note, a gentle touch of “smoke” (the vetiver?) and oak moss. Arquiste Boutonnière no. 7 plays nicely on skin: after I sprayed the fragrance on, I detected indoles on my left hand, orange peel on my right hand, and vetiver and flowers on my wrists; this fragmentation makes for an interesting experience, and all the perfume’s notes work together to create a “happy,” sunny, summertime vibe. Boutonnière no. 7 dries down to a “fresh” (but creamy) white floral and smooth vetiver perfume.

Arquiste Boutonnière no. 7 can easily be worn by women, but how will men take to a jasmine/“gardenia” fragrance? (I’m betting, without any evidence, that women will buy this fragrance more than men.) Arquiste Boutonnière no. 7 contains excellent ingredients, has good lasting power, discreet sillage, and it does not smell old-fashioned[….] As for me…the gardenia perfume I’ve been waiting for has not yet arrived.

Victoria of Bois de Jasmin loved Boutonniere, though her experience was closer to mine with all the vetiver than to Kevin’s. In her review, she writes, in part:

My first impression of Boutonniere no.7 was that it was a gardenia at long last. […][¶] But as I wore Boutonniere longer, I realized that it’s really a vetiver fragrance with just a scattering of white petals. The earthy vetiver and cool moss are so rich in the drydon that you are no longer sure if you’re smelling the petals or the stems. The damp, nutty vetiver may seem a surprising companion to the lush gardenia, but their earthy facets are natural complements. A bright touch of bergamot keeps the composition sparkling and vivid, while lavender takes off the overripe, indolic edge. The result is a bright, crisp fragrance, the heady gardenia notes notwithstanding. […]

There are many elements of Boutonniere that draw me to it. I love its contrasts and smooth transitions from one accord to another. I love the salty, damp darkness of vetiver that is contrasted against the white petals. I also love its quality and polish.

I envy her experience. I wish I had “twists” with Boutonniere No. 7, let alone “transitions.” On my skin, the only significant changes pertained to the early, muted, tiny flickers of tertiary elements vanishing in less than 15 minutes.

I love big white florals, so I enjoyed the green gardenia in Boutonniere quite a bit, but my overall reaction is disappointment. The Arquiste signature style seems skew towards light, discreet scents as a whole, but the sillage on Boutonniere is far too weak in my opinion. 50 minutes for it to lie right on the skin, and a 75 minutes for a skin scent? It is extreme. If Boutonniere had more projection, body, or richness, then I wouldn’t mind that it was a completely basic, linear soliflore that primarily consisted of two elements.

I don’t believe in examining perfumes in a vacuum, and, in this case, all the factors combined together are very problematic in light of the perfume’s cost. Arquiste may currently sell the perfume for $175 for a small 55 ml bottle on its website, but most of the big U.S. retailers are charging $195. The same story applies in Canada, too. With tax, that makes the final price for a small bottle of Boutonniere just under $220. In my opinion, that’s bloody high for the fragrance and size in question.

I find it interesting that a handful of the biggest perfume sites in Europe seem to have dropped Arquiste. Perhaps it is merely a contract issue, but Arquiste fragrances are no longer available on Liberty London’s website, and Jovoy Paris has stopped carrying the line entirely. At the same time, First in Fragrance is massively slashing its prices on those few fragrances in the line that it still has, an action that I find to be quite telling. Others large retailers who continue to carry the Arquiste line (like Essenza Nobile, Osswald in Zurich, and First in Fragrance as well) don’t even bother with Boutonniere No. 7, suggesting that the perfume simply doesn’t sell at the high price point that Arquiste wants for it. 

[UPDATE 1/30/14: Arquiste has responded in the comments to both the pricing differential and to the distribution issue, and it’s only fair to repeat the gist of their position up top in the text where everyone can see it. Arquiste clarifies that the $195 price is for a special numbered edition of the fragrance which comes with a steel stick-pin made by jewelers. The regular, retail price for the normal Boutonniere No. 7 fragrance is still $175. According to Arquiste, the “stores have chosen which one to carry based on what they liked.” As for the issue of distribution in Europe, Arquiste states that it is a matter of finding out which partnerships work and which don’t. You can read the full text of their response down in the comments.]

One can only wonder if perhaps Arquiste is over-pricing fragrances that are consistently sheer, wholly unobtrusive, quite simple, thin, and with only moderate longevity. I really love Arquiste’s Anima Dulcis, but it has similar flaws in projection, body, and longevity which renders its price too high for me. Same story with another Arquiste fragrance that I tested last week. As for l’Etrog, an Arquiste citrus scent I reviewed a while back, I found it to be a dull, overly simplistic, terribly boring, linear, ISO E Super-laden disappointment.

Boutonniere is a significantly better fragrance than that one, but a complex, nuanced masterpiece it is not. I think it would work best for women who are looking for an extremely intimate, green gardenia scent that few other people can detect. Boutonniere is most definitely suited for an office environment. I’m less certain as to whether men may fall hard for Boutonniere. It’s not as masculine as touted, and the amount of vetiver (let alone lavender) that you may experience will undoubtedly depend on skin chemistry. I think if you enjoy green interpretations on white florals (like, for example, Frederic Malle’s Carnal Flower), but want something even sheerer, lighter and more unobtrusive, then Boutonniere No. 7 will be right up your alley. I’m still highly dubious about the value for the price, though. 

Cost & Availability: Boutonniere No. 7 is an eau de parfum that is available only in a 55 ml/1.85 oz size. It costs currently $175 on the Arquiste website, but many U.S. retailers carry the special, numbered edition which costs $195. The perfume’s non-US price is: CAD$195, £125, or €159 (I think). In the U.S.: You can buy Boutonniere for $175 from Avery Fine Perfumery, The Twisted Lily, and Babalu Miami. The following sites sell it for the higher $195 price with the numbered bottle and accompanying steel stick-pin: BarneysOsswald NYC, Beauty Habit, and Aedes. Outside the U.S.: In Canada, the Arquiste line is available at Holt Renfrew Bloor in Toronto (though I could not locate it on the overall Holt Renfrew website), or at Etiket in Montreal for CAD $195. Each store is the exclusive dealer for the Arquiste line in their city. In the UK, Boutonniere is available for £125.00 from Bloom Parfumery, along with a sample. In France, Jovoy no longer carries Arquiste, and First in Fragrance is discounting those few Arquiste fragrances that it still carries. In Australia, there are a few vendors which carry the Arquiste line, such as Peony Melbourne or Libertine which sells Boutonniere for AUD$199. Arquiste is also sold at numerous small retailers throughout France, Italy, and Germany, but also Mexico, New Zealand, Lithuania, Croatia, Ireland and more. You can use Arquiste’s “Stockists” page to find a retailer near you. Samples: Samples are available at Surrender to Chance where the price starts at $4.99 for a 1/2 ml vial. The site also sells all 7 perfumes from the Arquiste line in a sample pack for $33.99.