Editions de Parfums Frédéric Malle Portrait of a Lady, 2010

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Christy Turlington by Peter Lindbergh

Perfumer Dominique Ropion.

The rose and patchouli pairing is such a good fit that it seems like proof of fate. It’s been the basis for a range of leathery, ambery, woody and mossy perfumes spanning woody-floral, chypre and oriental genres. The Malle PR boasts that Ropion used surpassing doses of rose essence and patchouli coeur, a fractionated patchouli. Fractionated naturals are botanical materials that have been separated into their constituent parts by chemical and physical processes, especially molecular distillation, and edited to remove undesirable traits.

Around the time of Portrait’s launch more and more of these ‘tidied up’ botanicals were becoming available. Well understood materials like vetiver, cedar and patchouli saw their challenging attributes reduced or removed, leaving frictionless, blissful versions of the materials. They were sanded, polished and lacquered. Aroma materials manufacturers were pushing their hot new high-tech, stripped-down botanicals. They were an easy sell. They used a version of the best-of-all-worlds tactic to sidestep the endless botanical vs synthetic debate. They are ‘natural’ and therefore good but they have also been made better through chemistry and are therefore contemporary.

Used thoughtfully, fractionated botanicals allowed a measured, precise tailoring of olfactory effects. Unfortunately they also made their way into some simplistic compositions that smelled like ‘easy listening’ perfumes. The niche and mainstream markets of the time were top-heavy with a glut of radiant, synth-woody fragrances. Many perfume buyers had unknowingly become accustomed to judging the quality of a perfume by how closely it approximated the properties of woody amber materials. These scrubbed versions of botanical materials matched the tone created by woody ambers. An entire fumie cohort was conditioned to respond to the ‘clarity’ of the new generation of fractionated botanicals.

Distillation of materials is not new to perfumery by any means. The recent emphasis on fractionating well-understood botanical aroma-materials stems from the attempt to dissect IFRA-designated toxic materials such as lavender, lemon and the notoriously virulent oakmoss and remove their noxious bits. Think of a fraction as a potent material that has undergone an exorcism.

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Ropion plays up the complementary facets of rose and patchouli and paint the perfume with broad, confident strokes. Patchouli chills rose and acts like an astringent, keeping a perfume from falling into the inadvertent beauty of the flower. The forest-floor effect of patchouli is used to smart effect, lining up with fruity, berry notes to conjure the scent of a wine-cellar. Camphor, berry notes, musk and amber are the olfactory attributes emphasized in coeur de patchouli and Ropion uses them along with incense, benzoin and god only knows what else to create the durable accords that allow Portrait of a Lady to last for days.

Portrait of a Lady is the epitome of Ropion’s style and technique in that rich natural materials and potent synthetics are focussed on the same goal: coherence. The perfume’s sillage and forcefulness hint at potent synthetics. Happily, though, the ear-ringing, gut-churning feeling I associate with over-reliance on particular synthetics to give radiance and endurance is nowhere to be found. Portrait of a Lady showcases Ropion’s exceptional capacity to calibrate synthetics toward specific compositional ends while avoiding their side-effects.

Since 2010 when it was released, Portrait of a Lady has come to stand toe-to-toe with an equally imposing patch-rose, Aromatics Elixir. While Aromatics Elixir dominates the mossy/chypre side of the rose-patch hoards, The Lady has become the standard against which woody and oriental side of the rose family is compared. Rose-oud as well. It’s a perfume that begs to be described in superlatives and worn with abandon.

 

Perfume purchased from Editions Frédéric Malle.

(Photo of Christy Turlington by Peter Lindbergh.)

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