Eau de Pamplemousse Rose Hermès 2009

Have you ever smelled it? Yes and no…

Many perfumers develop their ideas further. Once realized, they become a starting point and source of inspiration for other perfumes. This applies to ideas that can offer enticing new elements with a different emphasis. Jean-Claude Ellena works this way too. The starting point of "Eau de Pamplemousse Rose" is unmistakably the "Terre d'Hermès," which was released three years earlier, with its grapefruit opening.
Implementing grapefruit is not easy in perfumery: The characteristic scent of the natural fruit is largely due to tiny amounts of a sulfur-containing compound that is unstable in formulations. Therefore, perfumes with natural grapefruit peel oil often develop unpleasant off-notes resembling sweat and mustiness after a short storage period (this seems to be the case with "Citrus Paradisi" by Czech & Speake). To achieve a manageable, stable grapefruit impression, it must be "reconstructed" accordingly. Jean-Claude Ellena solved this challenge in "Terre d'Hermès" by combining orange oil with the rhubarb fragrance compound Rhubofix. The result, despite the simple formula, is a very naturalistic grapefruit scent. This grapefruit magic trick found many imitators, especially since "Terre d'Hermès" became a bestseller, and grapefruit as a top note became a trend.
Ellena himself likely thought that from here, the path to a citrus-fresh cologne would be an easy one. And so it was: almost the same components, shifted in proportions, define both fragrances. For "Eau de Pamplemousse Rose," the top note is emphasized, and the cedar-vetiver base is toned down. Additionally, the Iso-E-Super concentration was massively reduced. This has two effects: on one hand, expansive sillage and long-lastingness do not suit a cologne that should be refreshed with a few spritzes; on the other hand, Iso-E-Super diminishes juiciness. "Terre d'Hermès" is meant to reflect dryness: dust, sand, flint, ochre-colored, warm earth. That’s why so much Iso-E-Super was added that the grapefruit top note was strangely distorted: dry, but not like shriveled fruits, instead remaining herb-fresh. For "Eau de Pamplemousse Rose," however, the fruit is allowed and should be plump and juicy. Freshly cut grapefruit, and when you take a hearty bite, the juice drips from the corners of your mouth. Refreshing, cheerful, devoid of any serious strictness.
The restrained floral heart of "Terre d'Hermès" around the sharp, slender rose geranium was transformed for "Eau de Pamplemousse Rose" - presumably through the addition of damask and rose oxide - into a soft, full rose. This supports the juicy overall impression. But even in this fragrance, the heart is just strong enough to allow the wordplay "rose" = pink or rose. The cedar-vetiver base known from the original is reasonably intact, but very, very subdued. Hermès has earned a reputation with its colognes for achieving the impossible - offering colognes that can be spritzed on for a refreshing boost without gasping for air, while also exhibiting profound longevity. This is achieved by composing them in such a way that they quickly retreat close to the skin but maintain a constant presence there. "Eau de Pamplemousse Rose" falls into this category only to a limited extent: compared to its successors, the longevity is significantly reduced. This is not a bad thing and is not impractical for summer in sunny regions. However, for those who still want to increase longevity, the following can be tried: position the bottle of "Terre d'Hermès" EdT over the back of the hand so that only half a spray lands on the skin. Spread this generously and layer with about 6 sprays of "Eau de Pamplemousse Rose." In this ratio, the juicy character remains intact, longevity is increased, and the sillage is not overpowering. So, it’s basically a work- and public transport-compatible "Terre d'Hermès."

Without this booster, "Eau de Pamplemousse Rose" ends abruptly. Just like this comment.