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Interplay Project: Multi-Media Dance Show Featuring Fragrances by Ayala Moriel Parfums June 7 & 8


The Contingency Plan Collective puts together annual multi-media shows centered around dance in collaboration with other mediums and local artists. This spring, there are six choreographers who are working in collaboration with other artists such as live musicians, media artists, visual artists and more.
I'm extremely honoured and excited to be collaborating with dancer & choreographer Katie DeVries in her piece, which will be featuring 2 of my fragrances as part of her dance performance. Please go there and support local contemporary dance and art!

What:
The Interplay Project

Where:
The Moberly Arts and Cultural Centre

When:
June 7th and 8th at 8:00pm

Tickets are $15 at the door

New OOAK Perfume: Tubereuse et Violette

Awaken, spring. by alexstoddard
Awaken, spring., a photo by alexstoddard on Flickr.
This morning I've completed a new OOAK perfume today - Tubereuse et Violettes that has been aging since 2004...

Tubereuse et Violette is a Green and tender variation on tuberose, reminiscent of green fig and milky iris. Its inspiration was the majestic and extravagant perfumes of the Royal French courts at the time of Marie Antoinette when European perfumery became more sophisticated and extravagant, with the addition of flowers extracted by enfleurage.

Top notes: Black pepper, Mimosa, Rosewood, Ginger Lily
Heart notes: Tuberose, Violet Leaf, Orris Root (butter and tincture), Jasmine, Rose de Mai
Base notes: Opoponax (oil and tincture), Vanilla tincture, Tonka Bean, Vegetale Musk

Volutes

zebra volute shells by *omnia*
zebra volute shells, a photo by *omnia* on Flickr.
Diptyque's has already won my heart if not at least gained my deepest respect time and again with their classics - Philosykos, Oyedo, l'Ombre Dans l'Eau, Ofresia and Tam Dao. But I kinda stopped following their latest releases as I found them all to be pleasant enough; yet non has stirred anything in me. I probably would have dismissed Volutes completely if it wasn't for Trish's enthusiastic recommendation - she literally left a sample for me on the kitchen table to take home with me - which she didn't need anymore, because she already got her own bottle. Imagine that! If you're a perfumista, you know how rare a "full bottle" is...

Smelling it from the vial (or bottle) did not do it justice, and in my haste to catch the plane to San Francisco, they were left on the kitchen table... And caught up to me a little later, when Trish sent me a care package of a few perfume samples she thought I ought to try.

When I finally made the skinspace for Volutes, I understood what the enthusiasm was all about. It's very different from the other Diptyques in that it's a lot more substantial and full bodied; and dances on the edge of ethereal, smoky, oriental, and maybe even a little gourmand. If anything, it reminds me more of some of the more forthcoming scents they've created for their candle line (i.e.: Feu de Bois, Essence of John Galliano come to mind, in terms of their bold, outspoken complexity).

Volutes plays on the contrast between two themes - the smoothness, warmth and strength of polished woods against the airy, untouchable movement and swirling of incense. It spills out on the skin like warm melted beeswax and honey, creating a feeling that is not quite gourmand, but more so a sensory memory of gliding honeyed wax on smoothly-plucked skin. And maybe licking a polished wooden staircase (I might have done that at some point between the ages of 2-4...).

And then comes a waft of swirling incense mingled with pink pepper, roses, saffron and dates. Sounds familiar? Yes, it does bring to mind another favourite of mine - Ormonde Jayne's Ta'if. Only here the dates are more pronounced, and the musk is less powdery, and more sweet and addictive. The dry down reminds me of the (also addictive) Chai incense sticks (in Shoyeido Gourmet Incense Series).  Burnished pipe also comes to mind, which echoes the tobacco notes beautifully... And the tobacco with an accent of dried hay and immortelle are the last to remain while everything else is has jumped ship.

Top notes: Pink Pepper, Dates
Heart notes: Honey, Beeswax, Roses, Saffron, Incense
Base notes: Tobacco, Vanilla, Musk, Immortelle, Hay

ScentHive reviews Zohar Perfume + NEW Body Oil

"The luminosity of the top notes becomes a little hazy, the buzz of musky honey and the fuzzy legs of bees dance around the trees".

Thank you to Trish Vawter of Scent Hive for the lovely review of Zohar perfume + body oil. Even just reading her review transported me to my childhood's orchard and made me smile. 
 And, since you've asked -
Yes, we have a new body oil this spring!
I created it especially for my trip in San Francisco back in March and wasn't even thinking of selling it. But once I saw how excited Trish was about it, I decided to make it available to you too.
Hope you enjoy it!

Lightshed

Coal Harbour by Ayala Moriel
Lightshed, a photo by Ayala Moriel on Flickr.
This thought provoking sculpture by Liz Magor is a great inspiration to me. It's a puzzling piece of the landsacpe that whenever I pass by I ask yourself questions. At the same time, it's very realistic looking - yet it's obviously completely impractical. There is no chance that people actually live there, unless they are stuck inside forever... It's sort of a 1/3 size model of sheds that used to be scattered along this harbour when it was used for harbouring ships... But not quite: It's complete with barnicles and all - and is all silver. In fact, it is made of aluminum, even though it looks like wood. I pass by it a lot in my morning walks in Coal Harbour - sometimes without giving it even a second thought. But now that I'm getting deeper into my perfume inspired by this place, I am finding that in a way it relates to what I'm working on beyond the location.

In my perfumes, I often times need to create an illusion of a certain scent, using completely different material. The natural perfumer's palette is not nearly as versatile as I would like it to be and when attempting to express a concept such as the contract between city and nature (a recurring theme in my perfumes - for example: Hanami) - it's difficult to portray the man-made materials, minerals, etc. without the avant-guarde advantages of modern synthetics. I'd use galbanum as a representation for freshly cut grass (in combination with other notes, of course); vetiver for evoking wet wooden constructions; and who knows what else to emit the scent of hot metal, wet pavement or dusty concrete, rusty iron, or abrasive aluminum.

Creating the impression of something from something else is a challenge. And when there is a challenge I think there is also creativity at its best. I would (metaphorically) open the paint tubes of colours I don't really "like" or gravitate towards: seaweed absolute, fossilized pine resin, even galbanum didn't really used to be a favourite to be honest until I really learned how to use it. So I hope through this experiment I will learn how to embrace the nasty fishy smells of seaweed absolute and the evasive burnt grease notes of fossilized pine resin, and turn them into the beauty that I find in the contrast between the glass towers of the neighbourhood's new developments, the greasy marina and struggling sealife, and the pretty green spaces alongside the seawall, which are full of water-gardens in concrete and encourage the passers by to reflect and relax.
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