It’s not just melted sugar (ethyl maltol), but caramel sauce with butter and cream. There’s the custardy aspect of ylang-ylang, the milky aspect of sandalwood, plus a toasted almond note like nuts in a graham cracker crust. This big pink glow is offset by a deliciously creamy base, all the materials chosen for richness. The primary fruit note is strawberry, but it’s more abstract than literal – like a pop-art painting of a strawberry. Spray it on and you’ll smell a facsimile of a fruit tart from a French bakery: berries arranged just so and glistening with apricot jam. Butterfly, instead, was content to be pretty. Created by Bernard Ellena in 1995, just three years after Angel, Hanae Mori borrowed the apparently new idea of layering fruit over caramel, but skipped the massively pungent patchouli note that made Angel so shocking. The original Hanae Mori for women, sometimes known as “Butterfly” due to the bottle design, is a first-generation gourmand. I was recently in one of those moods, what Holly Golightly would call “the mean reds,” when such a palliative is called for, and my mind immediately went to Hanae Mori. My comfort scents are the equivalent of crème brûlée, which is to say, sugar and fat: perfume as mouthfeel. I can claim no such level of sophistication. 19 – perhaps because your mother wore it, or perhaps because the orris, vetiver, and galbanum are cool like a hand on a fevered head. I suspect there are those among you who, on an especially rough day, derive comfort from an elegant classic like Chanel No. Elisa on stress and the gourmand ways to fight it.
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