Rahele

'Red Boats, White Sun'. Rose Strang 2012

Rahele, launched in 2016 by Neela Vermeire, was inspired by the famous 17th century French travel writers Tavernier, Bernier and Thévenot and the idea of an 'east meets west' Europe/Orient perfume aesthetic.

I immediately think of colonialism and E.M. Forster novels with such concepts! But in this case it's from an Indian perspective, since Neela Vermeire is herself Indian. 

Vermeire created Rahele in collaboraiton with the rockstar 'nose' of perfumery, Bertrand Duchaufour, but I can sense her influence strongly here since Duchaufour perfumes are usually very characterful, with notes that recognisably stand out, whereas Rahele is more reserved and speaks of grace and balance.

If you want to unpick it, I suppose the 17th cent. 'west' aspect is here in the form of oakmoss (always present in chypre perfumes and very much a French influence), violet and violet leaf (characteristically temperate zone, slightly aquatic, green and 'cool' in tone) and iris; powdery, refined and mysterious, and again absolutely characteristic of classic European perfumes. 

Think Chanel classics such as No 19, 28 La Pausa, Cuir de Russie - all of which feature prominent iris, though going back much farther, iris featured prominently in ancient Greek and Roman perfumery.

We're well accustomed nowadays to the combination of Oriental and European perfume notes,

though these perfumes tend to open with the lighter citrics and florals, drying down to an ambery vanilla base. Rahele offers somthing different; a smooth blended quality throughout from start to finish in perfect balance.

The key to this might be in the way green notes of violet and violet leaf harmonise with the green intensity of cardamom. The powderiness of iris with the suede-like texture of osmanthus (a classically Japanese flower) in addition to woody, powdery sandalwood. Add the scent of mandarin, to blend with the apricot fruitiness of osmanthus and the whole blends together in a beautiful and quite unique way.

Osmanthus seems central to this composition, the scent of the flower is a perfume in itself really, it's smooth, golden, savoury/sweet - almost like apricot tea if you can imagine such a thing, but it's mostly the sense of texture that makes it such a lovely addition to perfume; it's very soft-edged (though not delicate) and it's often described as having a suede or leather-like scent.

Though this perfume is quite unique, it does in fact remind me of the dry down of Coco Chanel (though not the modern-day version which has hardly anything in common with the original 80s perfume).Those of you who were teenage or older in the 80s will remember those two pillars of 80s perfumery: Opium by Yves Saint Laurent and Coco by Chanel. I always prefered the latter, because although it shared all the spicy ambery impact of Opium, it was considerably softened by rose and, similarly to Rahele, featured a generous helping of osmanthus. I have very fond memories of wearing Coco, especially in my late teens when I lived in Greece with my boyfriend at the time, who was re-building an ancient village in the hills of Paros over-looking the vivid blue Aegean. 

'Blue Bay', Rose Strang 2012

We lived on the building site in a long brick building with rough cement floor and a huge hammock bed, but in the midst of this (cough) charming rural scene, I kept my make-up and bottle of Coco Chanel in a little wall-niche on a slab of polished Paros marble! Maybe its powerful aroma helped keep the moths and lizards at bay! Anyway, by the time I returned to Scotland in the late 80s, this Baroque and dark style of perfume was making way for the minimalist chic of CK One and Issey Miyake's L'eau d'Issey. (I never did love those aquatic-style perfumes!).

Into dry down Rahele is softer, definitely more powdery than Coco, but that suits me fine since Coco in eau de parfum, as it was, would blow your socks off in comparison to the lighter styles of perfume worn today! Rahele is also slightly sweeter, and if I could change anything about this perfume it would be that ubiquitous vanilla dry-down, thankfully though, the osmanthus is still very present, ading its soft suede texture and warmth.

I haven't yet mentioned that Rahele is diferent in style from Vermeire's earlier launches, of which I've tried just one - Trayee. But her debut perfumes were absolutely India-oriented, in fact Trayee reminded me of kulfi ice-cream (she really does do wonderful things with cardamom!) though against a backdrop of beautiful sandalwood and incense.

Rahele appeals to me far more than Trayee ultimately though, probably as I've never really been drawn to gourmand style perfumes, however authentic and classy.

As summer mellows towards Autumn, I really can't think of a lovelier perfume than Rahele right now, with its golden apricoty osmanthus, dusted with soft green powder and spice.

(If you like the paintings and photographs in this post, you can view more at my artist's website at   https://rosestrangartworks.wordpress.com/gallery/ )

Autumn pond reflections, Rose Strang 2011

Pontevecchio

It's been quite a while since I posted here as I've been more busy than usual, but with a bit more time on my hands I've started to quite miss my perfume musings!

So today I'd like to introduce my favourite perfume of the summer this year; Pontevecchio for Women by Nobile 1942 - a new discovery for me, though it was released back in 2009.

It's not a well known perfume, at least not among non perfume obsessives. I discovered it on First in Fragrance, a German online perfume and samples shop.

As always I was hunting for an ultimate perfume of some sort. Usually my searches are related to season and since it was May the search was for a summer perfume with a difference.

Sampling by post is a great way to try something unusual, I tested a few, but Pontevecchio 'spoke' to me. It's quite different from my usual style but I liked it so much I bought a bottle, though it's fairly rare for me to buy full bottles. Also I tend to go for fresher summer florals, or something more moody with shady/powdery hints of iris (my summer stalwarts being Cartier's Baiser Vole or Prada's Infusion d'Iris)

Pontevecchio refers of course to the old bridge lined with artisanal shops that spans the River Arno in Florence. The perfumers of Genoan perfume house Nobile 1942 decided on this as the name for their first fragrance, (created in 1942) for men. Pontevecchio for Women was their second.

Incidentally I'd love to try the men's version, just to see what male character images it conjures up, because Pontevecchio for women suggests beautiful images of dreamy renaissance gardens - a painting shimmering into life - Simonetta Vespucci wafting away a bee as she sits for her portrait, no longer an idealised study in static line and pattern but alive in warm sunlight. Despite its citrus and green floral notes, this perfume is definitely warm.

It smells slightly old-fashioned, though having said that I can't pinpoint it to a particular perfume I know, or have known. It just has the feel of a timeless classic. Analysying it, aside from all the poetic musings, I'm pretty sure it's to do with the perfumery methods used by Nobile 1942. From a quick peruse of their website it's clear they're painstaking about quality and authenticity.

Although the opening notes are fresh, almost contemporary (mandarin, coriander seeds) the drydown has that warm, relaxed musk that's easy on the nose -with the combination of orris root (from iris) and oakmoss (here described as white moss, so probably a contemporary version of oakmoss since the original is now banned in large amounts).

Hence its old fashioned aura - creamy, rich florals in pure absolute, authentic base notes - this couldn't be more different from the spiky synthetic freesia or peony featured in many contemporary women's perfumes, or scratchy synthetic notes such as ISO E, ambroxan or 'Cashmeran woods'. (I'm not against synthetics generally, but those mentioned can irritate the nose and throat in large amounts I find).

The official notes listed on Nobile 1942's website (those that we non-perfumers are told of anyway) are bergamot, mandarin, coriander, Florentine iris, Indian jasmine, Bulgarian rose, sandalwood, musk and amber.

At the same time I discovered this perfume, a friend of mine who enjoys giving tarot readings told me the Nine of Pentacles was featuring sigificantly in my life. I don't know how seriously to take such things! But it did make sense since this last year life seems easier for me in many ways, not just financially, but increased confidence in painting. Somehow the process of painting and exhibiting is all a bit less angsty, and since I'll turn fifty this November I like to think angst is a feature of the past. (just saying that makes me feel a bit angsty mind you!) and so it is that Pontevecchio is my perfume of summer this year  - it's tranquil, warm  and uplifting.

Most of my 'holidays' are work-related - involving painting trips into the Scottish islands up north, which I love - they're pure artistic inspiration (my latest series of the Hebrides can be viewed here if you'd care to take a look) but I think now a sunny holiday is required to fully appreciate this perfume of summery tranquility!