Serenissima
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Serenissima
Very helpful Review
14
A Fragrance Like a Valuable Antique Artwork
Recently, I read here that Guerlain fragrances are probably made for the demi-monde; on the other hand, those from Caron are said to be for ladies.
I find it rather audacious to associate a traditional company like Guerlain with "streetwalkers" just because one personally does not like a fragrance. But so be it!
In the late 19th century, it was more or less unusual for ladies, especially young women, to wear perfume; more than a hint of lilac, violet, or lavender was considered inappropriate.
Stronger oriental-sensual fragrances were worn by artists, not entirely respectable women, and their male entourage.
This only changed at the beginning of the 20th century; at that time, the fragrance creations that are now known as classics literally became "salon-worthy".
So far - so good!
That the fragrance creations of the House of Caron, however, underscore the elegance of ladies is undisputed.
The fragrances I have been able to test so far, and some I wore until the samples were used up, all exhibited their ladylike and elegant nature.
Here, "Bellodgia" is no exception; it gains a very special, slightly old-fashioned charm from the spicy delicacy of the cloves and the accompanying flowers.
This perfume reminds me of one of the enchanting miniatures that were painted with a very fine brush, often with the help of a magnifying glass and a lot of patience on ivory plates and intricately framed.
With a bit of luck, one can sometimes still find such a piece while browsing in antique shops.
I discovered a pyramid online that corresponds with the fragrance notes perceived not only by me.
In contrast to the very modern chypre fragrances of that time, "Bellodgia" opens with a sea of frilled cloves and magnificent scented roses.
Let’s imagine these in our miniature painting in various shades of pink and very delicate reds.
The spicy, slightly intoxicating scent of the cloves (I still love these flowers as much as I did in my childhood and youth) and the aroma of the graceful roses create a beautiful opening.
Aromatic-sensual jasmine, the lovely violet, and the ever-assertive lily of the valley join in: they form a charmingly old-fashioned fragrance unit that is tastefully arranged into a pretty floral bouquet with the two already present fragrance protagonists.
The fine brush of the fragrance miniature painter skillfully dips into shimmering pearly white, strong violet - and here and there yellow for a little violet face - and a delicate fine green-transparent white tone to accentuate the lily of the valley.
So far, this artwork is enchantingly intense in scent and yet delicately feminine.
The floral aspect prevails, and therefore, something from the spice box is brought in for the base.
Cloves and vanilla pods meet for the first warm-spicy and sensual concluding chord. For an alluring feminine note, sandalwood and musk additionally ensure: And forever the woman beckons!
Thus, the most diverse shades of brown are incorporated into this miniature with a delicate swing.
With the last skillful brush strokes, a slightly antique jewel is created, whose value is still highly appreciated by me today.
For its floral delicacy, "Bellodgia" perfume has an astonishing longevity.
This floral adornment seems not to wither; even jasmine and lily of the valley avoid their usual fine scent of decay during the fragrance development: this lady is and remains thoroughly elegant!
Her extraordinary beauty captivates even almost a hundred years after her first appearance.
Ernest Daltroff has also succeeded here in creating an unforgettable and above all timeless fragrance.
I have fallen head over heels in love with this finely tuned fragrance lady.
She was supposed to be my sleep scent last night, but she became a delightful companion throughout the night.
And there is no doubt: "Bellodgia" will stay with me - until the last drop of perfume!
To conclude this time, a dedication:
Dear Azura!
Please consider this comment as a thank you for the multitude of delicious fragrances you have filled for me!
I find it rather audacious to associate a traditional company like Guerlain with "streetwalkers" just because one personally does not like a fragrance. But so be it!
In the late 19th century, it was more or less unusual for ladies, especially young women, to wear perfume; more than a hint of lilac, violet, or lavender was considered inappropriate.
Stronger oriental-sensual fragrances were worn by artists, not entirely respectable women, and their male entourage.
This only changed at the beginning of the 20th century; at that time, the fragrance creations that are now known as classics literally became "salon-worthy".
So far - so good!
That the fragrance creations of the House of Caron, however, underscore the elegance of ladies is undisputed.
The fragrances I have been able to test so far, and some I wore until the samples were used up, all exhibited their ladylike and elegant nature.
Here, "Bellodgia" is no exception; it gains a very special, slightly old-fashioned charm from the spicy delicacy of the cloves and the accompanying flowers.
This perfume reminds me of one of the enchanting miniatures that were painted with a very fine brush, often with the help of a magnifying glass and a lot of patience on ivory plates and intricately framed.
With a bit of luck, one can sometimes still find such a piece while browsing in antique shops.
I discovered a pyramid online that corresponds with the fragrance notes perceived not only by me.
In contrast to the very modern chypre fragrances of that time, "Bellodgia" opens with a sea of frilled cloves and magnificent scented roses.
Let’s imagine these in our miniature painting in various shades of pink and very delicate reds.
The spicy, slightly intoxicating scent of the cloves (I still love these flowers as much as I did in my childhood and youth) and the aroma of the graceful roses create a beautiful opening.
Aromatic-sensual jasmine, the lovely violet, and the ever-assertive lily of the valley join in: they form a charmingly old-fashioned fragrance unit that is tastefully arranged into a pretty floral bouquet with the two already present fragrance protagonists.
The fine brush of the fragrance miniature painter skillfully dips into shimmering pearly white, strong violet - and here and there yellow for a little violet face - and a delicate fine green-transparent white tone to accentuate the lily of the valley.
So far, this artwork is enchantingly intense in scent and yet delicately feminine.
The floral aspect prevails, and therefore, something from the spice box is brought in for the base.
Cloves and vanilla pods meet for the first warm-spicy and sensual concluding chord. For an alluring feminine note, sandalwood and musk additionally ensure: And forever the woman beckons!
Thus, the most diverse shades of brown are incorporated into this miniature with a delicate swing.
With the last skillful brush strokes, a slightly antique jewel is created, whose value is still highly appreciated by me today.
For its floral delicacy, "Bellodgia" perfume has an astonishing longevity.
This floral adornment seems not to wither; even jasmine and lily of the valley avoid their usual fine scent of decay during the fragrance development: this lady is and remains thoroughly elegant!
Her extraordinary beauty captivates even almost a hundred years after her first appearance.
Ernest Daltroff has also succeeded here in creating an unforgettable and above all timeless fragrance.
I have fallen head over heels in love with this finely tuned fragrance lady.
She was supposed to be my sleep scent last night, but she became a delightful companion throughout the night.
And there is no doubt: "Bellodgia" will stay with me - until the last drop of perfume!
To conclude this time, a dedication:
Dear Azura!
Please consider this comment as a thank you for the multitude of delicious fragrances you have filled for me!
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Serenissima
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