It’s been a long while since I’ve done a throwdown, but thanks to Portia’s comment the other day, I finally got down to business to set the two Ines de la Fressange fragrances head-to-head.
Okay, first off, let’s clarify things: the first Ines fragrance was discontinued before the second came into being, so apparently nobody thought it would be confusing to give them the same name. (Wrong.) Luckily, the packaging is different enough that there should be no question which version you’ve got – unless you are looking at a sample vial labeled simply “Ines de la Fressange.” Because then, you’re going to have to smell it to find out.
Inès Marie Lætitia Églantine Isabelle de Seignard de La Fressange, daughter of a French marquis and banker and an Argentinian model, is a model and couturier who worked exclusively for Karl Lagerfeld at Chanel in the 1980s. She is a designer in her own right, and has owned a chain of boutiques; she recently wrote a style guide called Parisian Chic. On top of her own career, she’s a mother as well: that’s her lovely daughter Nine d’Urso featured in the ad campaign for Bottega Veneta’s first fragrance.
Photo stolen Fragrantica.
And in 1999, she released the first perfume under her name. It was created by Calice Becker. This one was packaged in the octagonal column bottle with simple silver top, and the juice inside it is a soft peachy-yellow color. That’s appropriate, because this scent is one of the best representations of fresh peaches out there (according to me), at least in the topnotes. If you’re already shuddering, please give me a moment. It’s not about the peach. In fact, it’s a multilayered Proper Lady’s Fragrance, and if I had to classify it, I’d have to resort to a description that goes like this: Aldehydic Fruity Floral Woody. It’s not exactly everything-but-the-kitchen-sink, but it’s complex.
The notes for Ines I include peach, aldehydes, bergamot, Brazilian rosewood, rose, jasmine, ylang, carnation, iris, lily of the valley, sandalwood, tonka bean, benzoin. I warn aldephobes that the aldehydes are noticeable here. They are less soapy than they can sometimes appear, and add a great deal of sparkle in a fizzy Champagne-like way. The peach is not sweetened, candied, or even creamy; it’s very tart and refreshing. From that sparkling Bellini top the florals come up, and they are beautiful. The rose and ylang are prominent to my nose, but this is definitely a big bouquet of flowers, symphonically floral in the way that, for example, Estee Lauder’s Beautiful and the old Karl Lagerfeld Chloe are floral. Both of those fragrances are considerably bigger than Ines’ first – if they’re big hotel-lobby arrangements, this one is a far simpler mixed arrangement on your best girlfriend’s dinner table, not formally arranged but simply flowers heaped into a bowl in a simple profusion. The base, which blends benzoin and sandalwood undergirds all those flowers with a warmth and friendliness. I do not know whether the sandalwood is real Mysore, though given the release date, it is just possible that there is at least some in there. The general effect of the fragrance is summery, graceful, and effortless, maybe even a bit nostalgic.
I reviewed the first Ines (Garden Party in a Bottle) in August of 2012, and I still love it every bit as much as I always did – maybe more, because supplies are truly drying up. (It’s extremely hard to find now. I paid under $15 for a 1-oz bottle from Beauty Encounter – not affiliated – in 2009, and under $20 for a 1.7-oz, once I realized how lovely it was. Those days are gone. I can’t find any reasonable supplies of this one at all, save for ONE 100ml bottle, currently listed at $150, on eBay. It seemed to have been available at the discounters when I wrote that review two years ago, but time unfortunately goes in one direction…) I wear this fragrance only in the summer, when its quiet, effortless elegance seems just right. It’s perfect for tea parties and afternoon weddings, or any occasion where peach silk and cream lace wouldn’t be out of place. (For other reviews, click the “Garden Party” link above.)
Photo stolen Fragrantica. See, isn’t this bottle pretty?
The second fragrance from the house of Ines de la Fressange came just five years later, so I might assume that the first one didn’t sell like hotcakes. (It might have been too ladylike.) This fragrance, packaged in a beautiful flask-shaped bottle with a gold overlay and gold oak leaves, was created by Alberto Morillas.
I recently snagged a manufacturer’s sample of the 2004 version and have been wearing it. It’s… nice. It’s perfectly okay. It may be suffering from not being sprayed, because even dabbed generously it’s pretty quiet (and I’ve heard from two friends who own both versions that the Morillas one is louder and more fun).
Notes for this one include bergamot, mandarin, either blackcurrant or blackberry depending on the list, neroli, peony, iris, white rose, muguet, patchouli, benzoin, vetiver, white musk. I’ve read reviews of this one that call it “blackberry musk,” but to be honest that’s not what I get out of it. It is, instead, something of a Coco Mademoiselle clone on me, dominated by patchouli until very late in the drydown. I am sort of freakishly sensitive to patchouli, so of course your experience may vary, but there it is: patchy floral.
It opens up with a sharply acidic fruit note – I say it’s blackcurrant and mandarin – and, to be frank, the opening is my favorite part of this one. “Froot” smells that approximate candy or Kool-Aid, those I don’t like, but I tend to appreciate a fruit note that smells realistic, as this does. It’s nice. Blending with that tart fruit accord is some neroli, joined by rose and peony, and then very quickly I get a snootful of patchouli. It’s at this stage, and for the next four hours, that Ines II reminds me of Coco Mademoiselle. (It also reminds me of Patou Enjoy, for that matter, and it’s not all that surprising since all three are modern chypre florals, “modern” meaning no oakmoss, with a number of notes in common. Come to think of it, a three-way tussle between CM and Enjoy and Ines II would be a fun throwdown as well.) There are clearly some natural florals involved here, as well as some that are clearly synthetic (the peony, obviously, and there’s a “clean rose”
Well into the drydown, Ines II becomes a real joy to wear. It’s in this late stage that I do begin to get the musk, which does have a berry tinge to it, and there’s a good deal of benzoin. I am a sucker for that, I admit. The soft plushy base lingers for a long time, as a quiet skin scent, and it’s lovely. Whether you find Ines II pleasant may depend on whether you like this style; if the phrase “modern chypre” incenses you, you’ll curl your lip.
This one is still available (albeit in limited quantities) at discounters, and it’s reasonable, approximately $30-35 for a 50ml bottle. Other reviews: The Non-Blonde, March at Perfume Posse, Musette at Perfume Posse (brief).
Neither one of these fragrances are groundbreaking or innovative or terribly distinctive; nor were they apparent commercial successes. I enjoyed wearing both of them, however, and it’s highly unlikely you’d cause a fellow elevator-occupier to faint while wearing these. Ines II seems very much “of its time,” the husky-voiced, floral-patchouli-musk “modern” chypres of the early 2000s, but for all that it’s quite pleasant. Ines I is a Calice Becker through and through, with its soft-edged floral blend that seems shot through with light and grace.
It’s pretty clear which one I prefer, but then I love perfumes done in a soft mixed-floral bouquet style. Feel free to disagree.