Year: 2012
Nose: Dorothee Piot
The opening is superb, similar to Roja Dove's style and that "new wave"of classics, with an overwhelming cloud of talcum, labdanum, incense and an elusive, irresistible accord of beautifully-crafted plushy leathers. Quite a significant dose of Iso E and ambroxan, the same dusty, silky, crisp "aeriality" of some other contemporary scents (Dove, Tauer), with a lot of nuances, from balsamic to flowers (violet), from woody to green, with perhaps some tobacco too (I though of Miller Harris' Fleurs de Tabac for a while). Everything is perfectly shaped, controlled and balanced, with a lot of harmonic variations depending on what you "focus" on when smelling. As Darvant brilliantly and passionately described on Basenotes, an utterly sophisticated depiction of a shady, delicate, elusive, luscious, decadent aristocracy, the breeze of a Luchino Visconti movie, but with the post-modern oniric "nowhereness" of Russian Ark by Sokurov – the ball scene, notably. A perfectly balanced and complex symphony, where everything brilliantly and effortlessly blends with the rest. The significant amount of synthetics gives it a definitely contemporary "look", it's nostalgic but in a more figurative, metaphorical and modern way. Cozy, elegant base comprising mellow cashmeran-like woody notes. A dry, spacious, even transparent opulence, romantic but avant-garde, linear and restrained. On the drydown the leather-suede base emerges better, a rare beauty: soft but bold, plushy and delicate but sharp and dense, really pleasant and again, much sophisticated. It also arises an anisic-aldehydes feel, halfway between soapy and metallic, another "contemporary" feature (it reminded me of Invasion Barbare). An interesting, contemporary scent, with an utterly sophisticated and versatile elegance. Quite overpriced, though.
8,5/10
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