
Top Notes: Cassis, Indigo Violet Petals, Lily of the valley, Cactus Flower,
Middle Notes: Night-Blooming Cereus, Orange Flower Absolute, Bulgarian Rose Absolute, Desert Lily
Base Notes: Patchouli, Silver Birchwood, Amber, Vanilla Bourbon, Rum.

Olivia Giacobetti’s Philosykos for Diptyque is by far the most satisfying fig scent I’ve ever encountered. It reminds me of the whole fig picking experience, tongue burning, milky sap and all. I’m sure by now you are well aware of my partial opinion about it. This summer I am enjoying both the scent as well as the “Figuer” from Diptyque. I got it at Lola, and the first time was very unfortunate: the candle has no scent at all, unless you happened to stick your nose to the flame. Not even than, really. Christina was kind enough to take it back (this is her personal favourite too, and after (not) smelling for herself the poor performance of that particular specimen, has given me a replacement candle, which I am enjoying tremendously.
Io Capri, on the other hand, is an uncomplicated summer pleasure of wild fig and tea leaves. To me this smells mostly of green tea, and while being not in the least sophisticated it makes perfect sense for summertime, when we tend to be a little more extrovert and don’t need the additional distraction of a contemplative fragrance. Io stays the same on my skin, light and fresh and delightful, both unchanged and extremely long lasting yet at the same time never overpowering.
The latest from Patou, Sira des Indes, signifies the hope of the return of classic perfumery in at least some of its glory. Despite the rundown of notes for Sira des Indes, which seems quite conformist and girly in an “I’ve Smelled This Fruity Floral Before” way, it is not.
Well, let me back off a little by saying that there is something familiar about it; familiar in a good way. First of all there is the familiarity of cooked fruit – primarily banana and pear. I can’t say I am noticing any berries and the bergamot is very muted as well. The cardamom, on the other hand, is there to complement the banana in a warm, seductive way, much as it does so in the dessert that inspired this perfume.
Than, there is also something classic about it. Perhaps I am reminded of the indolic jasmine of Joy, of seductively cloying narcissus as in Narcisse Noir and Vol de Nuit. There is also some champaca, and in this context it is a continuation of the banana-semolina pudding: fruity, warm, sensual and soft, with rare glimpse of magnolia peachiness. As I mentioned earlier, champaca is a very rare note to find in Western perfumery, and especially a French perfume. There is not a lot of it here (not as much as in Aftelier’s Tango or Ormonde Jayne’s Champaca), but there is enough to notice and make this stand apart.
Perhaps the familiarity and the feeling of return of classic perfumery is due to the well cushioned structure – no-nonesense base notes, creamy, rich and full-bodied of powdery yet sweet amber and musk, with sandalwood and vanilla in quantities that won’t embarrass Guerlain’s Samsara. The final drydown, by the way, is very similar on my skin to a cross between Samsara and Shalimar.
Like most “Orientals” made by Westerners, Sira des Indes brings a hint of the flavours to us in the West rather than abduct us on the Orient Express to the source (only very few “Western” perfumes do it in my opinion, such as some of Serge Lutens and Montale’s). Nevertheless, it’s a fresh, reviving scent that gestures to the past, winks at the Orient, and looks forward with a promise of dignity.
Top notes: Bergamot, Banana, Pear, Pink Berries, Cardamom
Heart notes: Red Champaca, Jasmine, Narcissus, Ylang-ylang
Base notes: Musk, Amber, Vanilla, Sandalwood.
If you are interested in reading other reviews of the same fragrance, visit:
Legerdenez
Bois de Jasmine
Now Smell This
Victoria's Own