01 novembre 2010
In five steps from dusk to dawn, Cristina guided us through a talk-path among the smelled fragrances, describing sensations and impressions from them, all well illustrated by Francesca coupling readings and movies from Matilde Serao to Lasse Hallström's Chocolat to many others.
Darkness falls down and Passion springs featuring as main role tuberose with his intoxicating notes, embodied by two very different takes on it: Nasomatto's Narcotic Venus where Alessandro Gualtieri uses a more floral and charming register and Frédéric Malle's Carnal Flower in which Dominique Ropion morphs the milky and nocturnal flower in a hoarse voice, green and sappy, just opened and with a brutal sensuality, almost masculine.
It's Night and the darkness, excluding sight, sharpens the other senses and we cannot prevent trusting our nose and smelling perfumes that become more intense with an unkonown spatial dimension. I've been particularly fascinated by a perfume I didn't know, Secrète Datura by Maître Parfumeur et Gantier for which Jean-François Laporte put over five years work to recreate the suggestion of witches grass (also the pubblic was very curious about it) through a complex and perfectly balanced olfactory architecture. The opening is floral-green with lily of the valley, lemon and heliotrope and introduces the simphonic theme of datura flower, rebuilt with very intense jasmin and honeysuckle giving a sensation like crumpled corollas opening. The released aroma is substained by a complex base with cocoa and vanilla touches without blurring into gourmand yet giving their sinful temptation to invisibly seal colder and more powdery iris and white musk.
Speaking of nocturnal sins, it's impossible not to name the Sin of gluttony with gourmand facets making the mouth watering, pleasing and reassuring. Among the various gourmand tasted for sure Musc Maori by Parfumerie Générale conquered someone's heart. To me it remembered some kind of french bonbon haute chocolaterie where the crunchy chocolate covering with a bitter-spicy tone given by anise and cofeee flower breaks under the taste buds, releasing a creamy heart of milk chocolate with pralins given by cumaru wood to stimulate even more taste and touch with their nutty backtaste and physical crumblyness.
Black Afgano di Nasomatto, a very potent aromatic wood, and in Amouage Memoir Man by Karine Vinchon that, despite the inspiration of a trip to hell and back to new life, seemed very pleasant and delicate on the paper, with a nice green opening of absynth sweetened by basil and minth and then smoked up by a cold incense similar to cypress resin, just warmed by rose, anise and vanilla. For sure on skin it has a different effect so I will try it next time.
Onda by Vero Kern (she was present too) where it's coupled with a smoky leathery vetiver totally rounded by honey and beeswax also animal and persuasive. I finally had the chance to try the parfum extrait and it's gone straight in my wishlist: I felt it powerful, manly, wild and in a word awesome compared to the also nice eau de parfum I tried at Exsence.
In the end comes the dawn with the first lights and from the abyss of senses we emerge again looking at the sky taken by the ethereal chant of Parfumerie Générale's Louanges profanes that I liked a lot for that tinkling of white Madonna lilies like crystal little bells through whiffs of incense. Nothing clerical like the incensed lilies of Giacobetti's Passage d'enfer for L'Artisan, here Pierre Guillaume creates a more decidedly ambery base with a warm benzoin. It seems that Pierre got the inspiration for this fragrance from a request of recreating the smell of angels making love. Is it maybe that tinkling of little bells I ear?
Portrait of a Lady, the last creation from Dominique Ropion for Frédéric Malle. The interpretation if the victorian novel by Henry James here is translated in a contemporary way and you can feel it immediately by the very green and sharp opening, almost rough with rose oxide acidulated by redcurrant leaves introducing the blooming vibrating turkish rose, with fruity and winey facets. The full bodied wine is empowered also by a base of patchouli purged from all its camphoraceous and musty impurity leaving only the fluidity spatially deepened by ambroxan and a dense and longlasting incense without being mystical yet really interesting. The rose-patchouli theme is for sure nothing new but Ropion shows to be able to add something new, above all in that so vegetal opening, where the rose almost blooms through the tomato leaves, really clever.