Hermès, first launched its Hermessences range in 2004 under the guidance of the much-mythologised perfumer Jean-Claude Ellena. These ‘olfactory poems’, as Hermès bills them, generally foreground one or two ingredients, and have a refinement and an interest in unusual pairings that, while always intriguing, sometimes come across as rather uncommercial – which in our book makes them truly luxurious. They’re certainly miles away from most mass- and middle-market fragrances.
With Christine Nagel taking over as in-house perfumer in 2016, it was only a matter of time before she turned her attention to the Hermessences range. But her decision (and she insists that it was her decision, not the brand’s) to launch five new perfumes in one go comes as a pleasant surprise, especially as each has its own definite character and strengths. Three of them are eaux de toilette, like the others in the range, but two mark a new departure for Hermès, being oil-based ‘essences de parfum’, intended to be worn on their own or used as a base for other perfumes.
As their names suggest, the two oil-based scents, Cardamusc and Musc Pallida, are both centred on refined, long-lasting modern synthetic musks. Cardamusc is infused with the fresh but spicy smell of cardamom – an appealing update on Ellena’s trademark use of cumin, whose faintly sweaty character some people find unpleasant. Musc Pallida mixes musk with the equally soft and sensual scent of iris or orris root (the species iris pallida is grown for the essential oil extracted from its rhizomatous roots).
As for the three eaux de toilette, Myrrhe Eglantine is Nagel’s light, fresh interpretation of the so-called wild dog rose, rosa canina, often poetically referred to as eglantine, combined with the dry scent of myrrh. ‘Myrrh is a difficult material to work with and hardly ever used today, though it’s one of the oldest perfume ingredients,’ Nagel says, and you can sense that she’s enjoyed the challenge of balancing her disparate ingredients to make a harmonious whole. The myrrh adds an extra note of resinous sweetness to the scent, extending the evanescent smell of this lightest of rose perfumes. (In practice, eglantine’s simple, five-petaled flowers yield no viable amounts of perfume oil, so Nagel has had to recreate its scent using a skilful blend of other ingredients.) Cèdre Sambac cleverly unites the woody, rather pine-like smell of cedar wood with the floral lushness of sambac jasmine, playing a conventionally ‘masculine’ ingredient off against one that’s usually regarded as very feminine – and creating an intriguingly androgynous perfume in the process.
With Christine Nagel taking over as in-house perfumer in 2016, it was only a matter of time before she turned her attention to the Hermessences range. But her decision (and she insists that it was her decision, not the brand’s) to launch five new perfumes in one go comes as a pleasant surprise, especially as each has its own definite character and strengths. Three of them are eaux de toilette, like the others in the range, but two mark a new departure for Hermès, being oil-based ‘essences de parfum’, intended to be worn on their own or used as a base for other perfumes.
As their names suggest, the two oil-based scents, Cardamusc and Musc Pallida, are both centred on refined, long-lasting modern synthetic musks. Cardamusc is infused with the fresh but spicy smell of cardamom – an appealing update on Ellena’s trademark use of cumin, whose faintly sweaty character some people find unpleasant. Musc Pallida mixes musk with the equally soft and sensual scent of iris or orris root (the species iris pallida is grown for the essential oil extracted from its rhizomatous roots).
As for the three eaux de toilette, Myrrhe Eglantine is Nagel’s light, fresh interpretation of the so-called wild dog rose, rosa canina, often poetically referred to as eglantine, combined with the dry scent of myrrh. ‘Myrrh is a difficult material to work with and hardly ever used today, though it’s one of the oldest perfume ingredients,’ Nagel says, and you can sense that she’s enjoyed the challenge of balancing her disparate ingredients to make a harmonious whole. The myrrh adds an extra note of resinous sweetness to the scent, extending the evanescent smell of this lightest of rose perfumes. Cèdre Sambac cleverly unites the woody, rather pine-like smell of cedar wood with the floral lushness of sambac jasmine, playing a conventionally ‘masculine’ ingredient off against one that’s usually regarded as very feminine – and creating an intriguingly androgynous perfume in the process.
adapted from Wallpaper
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