Gardenia
Ylang-ylang absolute
Ambrette
Bourbon vanilla
Champaca
Magnolia
Indian sandalwood
05/22/2025
ClaireV
969 Reviews
ClaireV
Helpful Review
6
Tropical dream
This has been described – by the perfumer himself – as a suntan oil and flip flops kind of beach scent, while Luca Turin thinks it is a midway point between Jicky and Fracas. Going out on a limb here, neither of those are particularly accurate. To the first point, this is no suntan oil bit of fluff. It is a serious piece of floral perfumery – big, classical, sensuous. To the second, the dirtiness that Turin identifies as Jicky-esque is more the moist, body odor-ish roundness of cumin than the sharp, herbal (and dare I say masculine) civet that is the secret to the Guerlain. In truth, Un Bel Amour d’Été comes shockingly close to vintage Songes by Annick Goutal, specifically the eau de parfum version, with a side swipe of the spicy-milky tuberose bread pudding that is Alamut (Lorenzo Villoresi).
But there are key differences. The first bright, creamy explosion of tuberose and gardenia (for a few minutes, this is clearly a stunning gardenia recreation) is far more savory – saline almost – with a bready nuance that smells like the apricot-jam-slathered sandalwood of Jeux de Peau, a clear departure from the grapier nuances of Songes’ jasmine and ylang notes. Further differentiating it are a greenish ‘snapped leaf’ note, something that smells like red modelling clay, and a coarse apricot note so resinous it feels like the last, thick dregs of a carton of peach juice that burn your throat as they go down. The cumin and turmeric notes are also more audaciously spicy.
But in all honesty, it is more like vintage Songes than not. The opening is as momentously floral, powerful to the point of being pungent, and it is also similarly intensely cuminy. Both are extremely sensual – beads of glossy lady-sweat popping out and then drying on the surface of Carmen Miranda’s skin under that Bahia style dress. Though Un Bel Amour d’Été does finally swap out Songes’ creamy sandalwood for a lactonic (but also strangely dry) vanilla, there is always the overriding impression of a densely savory floral bread pudding soaked in second day lady sweat and wood.
As a Songes devotee, I am bowled over by this, but even I am sensible enough to know that there really is no justification in me owning more than a sample of something that, while not note-for-note derivative, is similar enough to an older model. Objectively-speaking, however, Un Bel Amour d’Été is more modern, richer, and honestly, probably better constructed than Songes, and it may be an option when my vintage bottle (with real sandalwood) runs out. I am impressed that there are perfumers like Marc-Antoine Corticchiato who are unafraid to play in waters so crowded by monsters like Fracas and Songes. It must be like trying to create a spicy floriental just after Coco and Opium came out.
But there are key differences. The first bright, creamy explosion of tuberose and gardenia (for a few minutes, this is clearly a stunning gardenia recreation) is far more savory – saline almost – with a bready nuance that smells like the apricot-jam-slathered sandalwood of Jeux de Peau, a clear departure from the grapier nuances of Songes’ jasmine and ylang notes. Further differentiating it are a greenish ‘snapped leaf’ note, something that smells like red modelling clay, and a coarse apricot note so resinous it feels like the last, thick dregs of a carton of peach juice that burn your throat as they go down. The cumin and turmeric notes are also more audaciously spicy.
But in all honesty, it is more like vintage Songes than not. The opening is as momentously floral, powerful to the point of being pungent, and it is also similarly intensely cuminy. Both are extremely sensual – beads of glossy lady-sweat popping out and then drying on the surface of Carmen Miranda’s skin under that Bahia style dress. Though Un Bel Amour d’Été does finally swap out Songes’ creamy sandalwood for a lactonic (but also strangely dry) vanilla, there is always the overriding impression of a densely savory floral bread pudding soaked in second day lady sweat and wood.
As a Songes devotee, I am bowled over by this, but even I am sensible enough to know that there really is no justification in me owning more than a sample of something that, while not note-for-note derivative, is similar enough to an older model. Objectively-speaking, however, Un Bel Amour d’Été is more modern, richer, and honestly, probably better constructed than Songes, and it may be an option when my vintage bottle (with real sandalwood) runs out. I am impressed that there are perfumers like Marc-Antoine Corticchiato who are unafraid to play in waters so crowded by monsters like Fracas and Songes. It must be like trying to create a spicy floriental just after Coco and Opium came out.
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