Louis Vuitton Parfums: Matiere Noire, Turbulences & Contre Moi

The Louis Vuitton Parfums collection. Source: nymag.com via Louis Vuitton. [Photo lightly cropped on top by me.]

The Louis Vuitton Parfums collection. Source: nymag.com via Louis Vuitton. [The photo’s white top portion has been lightly cropped by me.]

Louis Vuitton has re-entered the perfume world, almost 90 years since its first fragrance and 70 years since its last. This month, the luxury goods giant launched Les Parfums de Louis Vuitton, a collection of seven fragrances. Each one is an eau de parfum that was created by Jacques Cavallier-Belletrud, a Firmenich nose who made Acqua di Gio, L’Eau d’Issey, and Lancome‘s Poeme.

Today, I’ll look at three of the new fragrances, Matière Noire, Turbulences, and Contre Moi. In the next post, I’ll cover Mille Feux and Dans La Peau. So, let’s get straight to it.

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Masque Milano Romanza

Spring is in the air in most parts of the Western hemisphere, and the latest release from Masque Milano embodies its essence quite well. Romanza is a new fragrance that departs from the style of many of the Masque fragrances that I’ve tried thus far, focusing almost entirely on florals this time around. Despite being inspired by Oscar Wilde, the Victorians, Dorian Grey, and romantic dandies, it evoked something else entirely for me for most of its lifetime on my skin: a spring day in the countryside. It’s a largely unisex composition that I suspect will become one of the more popular fragrances in Masque’s collection.

Masque Romanza. Photo source: Essenza Nobile.

Masque Romanza. Photo source: Essenza Nobile.

Romanza is an eau de parfum that was created by Cristiano Canali. It officially debuted at the Pitti show in October 2015, but its world-wide release seems to have been postponed until April of this year. One reason why might be Masque’s change in packaging; unlike the others in the line and unlike the way that I think Romanza was originally shown at Pitti last year, it will now be released in a clear, glass 35 ml bottle instead of the more usual patterned, gold and black 100 ml one.

The inspiration for Romanza seems to be the myth of Narcissus as seen through the lens of Victorian romanticism and 19th century artists. While number of sites discuss or quote copy that is almost entirely about Oscar Wilde and Dorian Grey, Masque’s own website has a slightly different account, but the general narrative is largely the same: a 19th century romantic and artistic twist on Narcissus. That is undoubtedly why a major part of the fragrance is the actual narcissus flower. In addition, Romanza includes also artemisia (aka wormwood), the basis for Absinthe, a potent, allegedly hallucinogenic liquor that was nicknamed “The Green Fairy” and that was beloved by 19th century bohemians and artists, particularly Oscar Wilde. As the wormwood link explains, the legends surrounding absinthe and its effects were such that the liquor was banned for more than 70 years in many parts of the world, but it was a quintessential part of the 19th century’s artistic culture in Europe.

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Parfum d’Empire Tabac Tabou Extrait de Parfum

Perfume names carry weight. They bear certain promises, or hint at things to come. “Tabac Tabou” is a name that portends a hedonistic, sensual, or illicit exploration of tobacco. That last part turned out not to be the case for me. In fact, judging by what appeared on my skin, I wouldn’t consider Parfum d’Empire‘s latest fragrance to be any sort of tobacco soliflore whatsoever. Now, hay and narcissus…. that’s a different matter.

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Penhaligon’s Ostara: Radiant Beauty & Luminous Spring

Penhaligon’s new Ostara is an ode to Springtime and daffodils. It is also one of those rare scents whose opening left me wishing I had poetic talent in order to convey its exquisite beauty and the multitude of images which it inspired in my head. I wished I could paint like an Impressionist master, so that I could capture its rare sense of luminosity. I wished there were a way I could adequately express its essence, its intricate delicacy, and Bertrand Duchaufour‘s technical brilliance — which is on full display here, more than usual, in my opinion. I looked for sonnets, paintings, something, to convey just what the spectacular opening felt and did to me, but I failed time and again, because everything seemed trite or a clichéd in comparison. Perhaps that is because Ostara’s deceptively simple, seemingly unadorned opening is ultimately more of a rapturous sensation than a bouquet of notes. It’s as though a moment in place and time — as well as all the radiant light of that day — had been squeezed into one bottle. I wish I had the poetic words….

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