The most interesting thing about Ikat Jasmine is its name. Ikat is an elaborate resist-dyeing and weaving technique in which rather than dyeing the finished, woven fabric - the individual threads or bundles of yarn are tightly tied or resistance-treated before being dipped in the dye, and only then woven into elaborate patterns that (unlike printing a pattern) are visible on both sides of the fabrics. This is an ancient technique that is labour-intensive and requires both skill and artistry. It is extremely difficult to create accurate patterns with the pre-dyed yarn, especially when trying to create elaborate designs with multiple colours. Therefore there is always a blurry quality to it - which adds to its charm and character. Ikat fabrics made with finer threads (such as silk) and several colours require an expert weaver, and usually are more accurate and costly. In many of the cultures where Ikat is produced, the fabric is considered to possess magical powers, endow its wearer with good luck, or at least be a symbol of status.


The technique can be found among specific weaving traditions, all over the world: Central Asia, Southeast Asia, India, Japan, Africa and the Andes indigenous people of South America. Most of these cultures use either a warp or weft ikat; while only very specific locations produce the even more elaborate double ikat, in which both the warp AND the weft are resist-dyed, for example: India (Pochampally Saree from the Bhoodan Pochampally village in Telengana State; and Puttakapa Saree from the Puttakapa village in Andhra Pradesh). The Balinese village Tengan (Indonesia) produces the beautiful geringsing; and in Okinawa, Japan (where it is called tate-yoko gasuri). In Okinawa there is an additional uniquely Japanese ikat technique called Oshima, which is used for stiff fabric and is so labour intense it is reserved for royalty).

Reading up about it was probably the best thing that came out of this short-lived perfume experience. I now have an even greater appreciation for the art of weaving. But also am more disappointed of this perfume, whose only connection to its name is its blurry, nondescript quality. However, while the blurriness of an ikat fabric shows its handmade origin and gives it a one-of-a-kind value - Ikat Jasmine perfume smells impersonal, industrial, synthetic and showcases neither jasmine nor ikat-like craftsmanship in its design and execution. To begin with, its only resemblance to jasmine is to star jasmine, which is not a true jasmine at all. In other words - there is no indole and no other dirty secrets to discover. In addition, there are absolutely no fun surprises of twists-of-plot for this number. From a nondescript floral frolic it smoothly and stretches into a yawn-inducing musky-ambery vagueness. To be fair, it is a pretty and wearable whitish floral ambery-musky thing, and all in all not bad if you place it next to, say, Halle Berry Exotic Jasmine. But compare it to what true jasmine absolute smells like or one of the more successful renditions of the theme (Jasmin de Nuit, Jasmine Rouge and A La Nuit), not to mention something a tad more imaginative such as Alien - it hardly demands mentioning.

Another point of reference is the price: for $125 CAD plus tax, you can do better than that: Either save yourself $26 and get Pure Poison, which is basically the same thing (minus pretending it's a high quality jasmine fragrance) add $25 more and get A La Nuit by Serge Lutens, both available at Sephora on Robson Street (for some reason they don't have the Serge Lutens on their website). To be fair, though, it is so much better than California Star Jasmine by Pacifica. Like, 100 times better. But that says more about Pacifica's disappointing launch rather than the topic of this blog post.

The notes are supposedly Tuberose Fleur, Jasmine Sambac, Jasmine Egypt Infusion, Honeysuckle, Tuberose Infusion. What my nose is smelling is Star jasmine, orange blossom, white musk and a hint of powdery, sheer amber. 

As much as I love to hate Tom Ford and his excessiveness (especially with anything noir and/or oud-related) - when it comes to floral his artistic direction is just right. Velvet Gardenia is haunting, beautiful and with an intriguing candle-wax and labdanum base notes; and Shanghai Lily unusual yet strangely pretty. While I was a bit disappointed with Champaca Absolute's intensely fruity-fresh and shampoo-like quality, I still find it oddly interesting, and many of the other seasonal floral releases were intriguing even if not enough to warrant a full bottle purchase (that only happened with Velvet Gardenia), and the entire floral Jardin Noir collection (with purple label) smelled promising, namely Café Rose and Ombre de Hyacinth - even I did not get around to try them on yet.

I didn't make much of Jasmin Rouge when I tested it on scent strip at Holt Renfrew, where I was also given a sample of it just because they had one in stock. It just did not smell like jasmine on paper, so I didn't bother trying it on my skin. Admittedly, it was not until this jasmine series and noticing it was mentioned favourably in a few jasmine features by other blogs. They were right. Jasmin Rouge turned out to be one of if not the best jasmine perfume I've sampled in the last three weeks. It was created by nose Rodrigo Flores-Roux, a most prolific and productive perfumer who knows both how to create expressive florals, rich orientals and effervescent fresh and citrusy fragrances: He is the nose behind the magnificent Anima Dulcis (Arquiste), and many other fragrances for that line including L'Etrog; Donna Karan's Black Cashmere, Essence Wenge and Essence Labdanum, and too many others to count. He has already worked with Tom Ford on Neroli Portofino (in 2011, the same year as Jasmin Rouge was launched in conjunction with a make up collection - hence the names such as "Santal Blush" and "Jasmin Rouge"), and more recently (2013) Fleur de Chine.


Jasmin Rouge is a realistically convincing yet imaginative jasmine. It begins with a strong, unmistakable jasmine cloud, as if you've just passed a bush full of flowers while blindfolded, and taken by a pleasant surprise. Next you might notice an emphasis on fruity notes - plum, apricot and peach, but these are very grown-up fruits, nothing like the fruit punches you get in the teeny bopper lip-glosses, but that is not to say the fruit notes are dry or overripe either... They are subtle accents  that give the perfume an  deliciously juicy, almost edible presence to the otherwise too serious or toxically beautiful white flowers who are the true stars of this fragrance.

Next you'll notice a tuberose/gardenia/orange-blossom quality of methyl anthranilate, which also adds to the juiciness but in a darker, more sinister way (methyl anthranilate also developed in the more advanced stages of the decomposition of corpses). With all that being said, the jasmine maintains its character throughout, but there are some darker notes in there giving it more depth - hints of spices, resins and balsams. The jasmine itself possesses both the qualities of tea and of milky stone fruit, which makes me think of jasmine sambac variety - but I am also smelling jasmine grandiflorum, with its more pronounced indole. If compared to Serge Lutens A La Nuit though, the sambacness of this perfume is a little more pronounced. But on its own, I wouldn't think of it as any particular variety of jasmine.

There is also a hint of a fatty, modern-day lipstick-like quality as the perfume dries down, to prove that this perfume goes to the extreme to promote upscale makeup. And while there are myriads of spices, flowers and even leather and herbs (Clary Sage) listed in the notes, they only perform as accents to the jasmine, which is for a change truly the main focus of the perfume.

Top Notes: Bergamot, Mandarin, Cinnamon, Ginger, Cardamom, Black Pepper, White Pepper
Heart Notes: Jasmine (Sambac and Grandiflorum) Broom, Neroli, Ylang Ylang, Clary Sage
Base: Mexican Vanilla, Labdanum, Leather, Woodsy and Ambery Notes