L’Air du Desert Marocain (Tauer, 2005) is dear to us at NOAH, a breakthrough scent and a beloved introduction to the Australian market - its complex of cedarwood, coriander seed, and amber materials is immediately recognisable; a feeling and an evocation of sweetly scented and dry spiced desert air, gathered from the souks and markets of Morocco. It continues to make Fragrantica’s top lists, even twenty years after its launch. The Dark Side (Francesca Bianchi, 2016) travels deeper into the Marrakech medina, achieving intensity - moving through darkness and coming out on the other side. A rich blend of spices, animalics, and resins, impossible to decipher, combine with honey, incense, woods, and iris to produce a potent fragrance.
It is clear that Morocco is the source of great inspiration, and Marc-Antoine Corticchiato’s tribute is personal, speaking to his homeland. Azemour Les Orangers (Parfum d’Empire, 2011) ventures to the ocean coast - Azemmour - visiting the family orange grove. This scent is aptly the whole universe of the orange tree, a chypre tribute to the land where realistic citrus freshness meets the sea and sunlit earth. Etruscan Water (Franesca Bianchi, 2019) finds similar freshness in the secret lakes in the forests of Tuscany, a retreat for the perfumer in her youth. She recalls the herbal and spicy scents of the Mediterranean, which has historically inspired many masculine creations. Snappy basil leaf, caraway seed, and bergamot settle on a robust base of oakmoss, immortelle, and labdanum.
Ambre Russe (Parfum d’Empire, 2005) shares an evocative power and showcases another face of amber with a full-bodied richness; as warm as a Slavic winter needs it to be. It is the opulence of an imperial soiree, the heady delights of effervescent Champagne, wood-smoked black tea, chilly vodka, and ambergris against a traditional Russian leather accord tinted with amber notes. Cuir Ottoman, also by Parfum d’Empire (2006), darkens and rounds this ambery scent, adding intense texture and refinement with its injection of iris, tonka bean, styrax, and benzoin. Inspired by the discovery that prized Turkish ‘Ottoman’ leathers were tanned with iris, this enchanting combination forms the leading inspiration for this delicate yet potent fragrance, with a distinct signature trail.
Knize Ten (Knize, 1920s) is the oldest scent in this assortment, and remains one of the most exquisite leather perfumes still today. Volumes of praise have been recorded for this fragrance - but what is most essential is that it defined the genre - it has a handsome intelligence, a faint rugged line down its middle, with the irreplaceable floral charm of carnation set against the dark deep shades of birch tar and castoreum. 1740 (Histoires de Parfums, 2000), without doubt, belongs to this lineage - emphasising a sublime bitterness up top with bergamot, immortelle, and artemisia oils - until its leathery patchouli shape takes form. It gets its name from the birthdate of the Marquis de Sade, who famously declared the libertine slogan: “in order to know virtue, you must get through vice”. Trust us, it’s worth it.
Find freshness in Bon Monsieur (Rogue Perfumery, 2020), a good gentlemanly contrast to 1740. The beautiful and purifying scent of rich lavender absolute, generously doused here, is further freshened with rose geranium and citrus oils, finding completion in oakmoss, cedar, and woody materials. A generous aromatic fragrance, redolent of fine shaving soaps and retro aftershave preparations. Lavender becomes extraordinary (in the literal sense of the word) in MEM by Bogue (2017), a fragrance that actively avoids falling into stereotype and repetition. It is huge, overdosed, and complex, a lavender unlike any other, finding its complement in the unusual: from malt, cep mushrooms, peach jam, animalics, grapefruit, and champaca. A scent that needs to be worn to be believed.
Our dedication to independent and artisanal perfumery is restated with Ummagumma by FZOTIC (2017), championed by art professor turned perfumer Bruno Fazzolari. “Authenticity is non-negotiable”, he argues: creative storytelling, honesty, time are all essential. Ummagumma is part biography and part magic, a memory of winter via candlelight, sacred incense, and decadent chocolate desserts. The work is intoxicating and creamy: rich tonka bean mingling with sandalwood and tobacco. A requisite degree of bravery in ‘indie’ perfumery is required, too. Mousse Illuminee by Manuel Cross (Rogue Perfumery, 2018) is a scent so gloriously anachronistic - so radiant and strong - that it could only be the result of small-batch craft. A hymn to the powerhouse fragrances of the ‘80s, lifting bitter herbal and mossy notes with frankincense and impressive green nuances.
