Tyrannosaurus Rex marks the pairing of two popular figures in the niche world: Victor Wong‘s Zoologist brand and Antonio Gardoni, the celebrated perfumer. Together, they sought to create a “gargantuan” fragrance that was not only worthy of the T-Rex associations but also one which they specifically wanted to evoke the smoky, dark, hot, and fiery Cretaceous period in which he lived, a time where ferocious beasts ripped apart delicate florals amidst dark woods set alight by smoldering flames.
It’s been a long time since a new release gave me a frisson of instant joy, longer still since one moved me to write reams of pages upon first sniff. Ensar Oud‘s newest fragrance, EO No 2 parfum, did precisely that. Within moments of spraying, I rushed to dig up a yellow legal pad, my head filled with the story of what the fragrance conjured up, so real that I practically saw the sentences in my head, saw the visions of what the notes evoked. It was a moment of pure olfactory delight, something which has been all too rare for me lately.
Names have a funny way of shaping one’s expectations, so when Masque Milano told me that the name of its forthcoming scent would be “Hemingway” and a tribute to the author, I had a certain olfactory profile in mind. I associate the author with the scent of rum, whisky, bourbon, and cigars, but Hemingway the fragrance was something quite different. To my surprise, however, alcohol did end up being unexpectedly involved, even if it was not actually intended to be a part of the scent and even if it wasn’t the sort that I had expected.
For perfumistas, reading about fragrances is fun but smelling what you’ve read about is even better. As most of you probably know, Luca Turin and Tania Sanchez just published their Perfumes The Guide 2018, the first new version of the book in ten years. The authors sought to examine the changed perfume landscape since the original Guide was released and, consequently, there is a heightened focus on both niche and indie/artisan houses.
I haven’t done a giveaway in years and years, but this seemed like a good occasion to make an exception. One of the criticisms of the book, in some quarters at least, is that too many of the houses are small and unknown. That won’t be the case if you’ve been a regular reader of this blog because I’ve long emphasized niche and indie/artisanal houses over big designer ones. In fact, a good number of the brands that I’ve covered are reviewed in the book.