Jasmin de Toscane

A fresh flower traveled from Rania Naim's childhood to Paris and made Jean-Christophe Hérault rediscover jasmine. JACQUES FATH Jasmin de Toscane is not a sketch of a white flower, but a study of three different sambac voices.

Grapefruit oil, a freesia accord, and Tunisian petitgrain first open up a green, radiant space. Citrus here serves as light before Indian jasmine absolute and sambac jasmine absolute develop a denser, more intoxicating florality.

The third layer belongs to the living imprint of the Grand Duke of Tuscany variety, captured using the Living Process. This jasmine, which accompanied Naim on her trips to her childhood country, has a different, distinctly full character and, according to the house, had not been used in perfumery until then.

Hérault dosed natural sambac in proportions rare in contemporary formulas. That's why the liquid can take on a more amber color over time; the change is a result of the abundance of natural jasmine, not spoilage of the contents.

As grapefruit and petitgrain recede, the three jasmine facets merge into a creamy, green, and slightly fruity trail. The flower does not remain still on the skin: it transitions from a fresh plant towards a warmer evening, almost colored with an amber fullness.

Jasmin de Toscane is not a neat bouquet for someone seeking discretion from sambac. It is the Grand Duke of Tuscany among grapefruit, petitgrain, and a double jasmine absolute — a flower so present that it even changes the color of the perfume over time.