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Notes04/02/2020
FvSpee
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FvSpee
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47
CoViD comments, thirteenth piece: We are Miss!
It does not require any visionary skills, but only a glance at the score awarded to realize that I am enthusiastic about this fragrance and an enthusiastic comment awaits the inclined reader. Two limitations (or rather requirements) should be added for the sake of good order: Before a laudation like the one I now intend to give, I would normally test for a number of days; in this case, I left it at two days (under slightly modified conditions) on the skin and a separate test on a cotton handkerchief (my old grey Bundeswehr times, still top of the line). In times of epidemics, abbreviated procedures apply. And the scent to be celebrated here was bought by me here in the souk, where it was offered as "Miss Dior Originale EdT", but the specimen was labeled "Miss Dior EdT Vintage", which leaves the remote possibility that I had the original 1947 original in front of my nose. But I don't really believe that, and the difference in the formula should be small anyway.
This is sent ahead: ...Miss Dior is going to be one of my very, very big old Dior's Diorella is undoubtedly already very beautiful, Diorissimo is a wonderful, beautiful lily-of-the-valley fragrance (which, however, suits Spee's wife better than me), with Dioressence it's something like this: the original perfume, which is no longer produced today, is the most beautiful, most accomplished, most perfect perfume I've ever been able to smell (thanks to a dear co-parfuma); today's is still excellent, but every time the gap to the original version hurts a little. Miss Dior, probably the first fragrance in the series, although perhaps not as perfect as Dioressence, is the one I fell in love with immediately and absolutely.
Descriptively, there is not much to add to the previous reviews, especially the very excellent one by SchatzSucher: Miss Dior opens with a wonderful, beautifully tangy, almost bitter green, which is only slightly citrusy and into which at best very delicate floral clouds of heart note rise. As already noted elsewhere, the fragrance in the overture thus resembles "Vol de Nuit", but is (although hardly less powerful) somewhat more relaxed and brighter. The heart note, which fully develops after thirty to fifty minutes, has little to do with this opening, and is anything but the rich, heavy floral bouquet that one might expect from the pyramid. We find here a really enchanting, subtle and yet unique pearly, noble shimmering, actually only slightly floral fragrance; light, cheerful, mostly champagne-silvery, sometimes colourful, here almost sparkling, there almost powdery, always fine and delicate, but only sometimes seemingly fragile (then also of elastic strength). The third phase, which is again quite clearly separated, already very close now, perhaps from the fourth to the seventh hour, is like light spicy, beige-brown, and more than just a little bit reminiscent of the archetypal masculine barber freshness.
What holds these three seemingly completely disparate phases together for me (apart from the beauty of each of the paths) is the moderate coolness of the entire fragrance's course, its anything but glaring, but nevertheless quite bright luminosity and two "leg notes" that run through the entire course; firstly, a very slight mentholy freshness and then the ultra-classical, striking, austere and yet beautiful chypre bass. Yes, I really only perceive it (on the skin) as an overtone: on fabric it dominates everything.
Above all, however, there is a soul that holds "Miss Dior" together from within despite all the dynamics of development. Miss Dior is a young fragrance in the very best sense (I almost have to think of Nietzsche or Bergson, although that is not my philosophical direction): fresh, clear, full of élan vital: tense, cheerful power. It's one of the most unsnarled and, despite its complexity, unfuzzy scents I know. Certainly Miss Dior is also a feminine fragrance (far from all the relevant clichés, it is not in the least sweet and only very moderately flowery), but in this beautiful young lady lives not only an experienced soul (so that her games do not lack seriousness and intelligence), she also has, like Niebelschützen's princess Danae, all (supposedly) masculine qualities: she knows the affairs of state and war, knows how to hold the reins and hit equally sensitively with tongue and epee.
For me, this is no contradiction: One time: This Miss Dior is a beautiful young woman, to whom I lay my heart at her feet. And yet also: We are (if not more Pope...) Miss! Miss Dior is young and feminine in a way that we all can be: A person who is not mentally aged and who does not wall himself up in a self-made image of masculinity can wear this fragrance, for whose name I naturally draw the smooth ten, regardless of sex and age; it will stand him a second skin.
Why not the ten? I am a little irritated by the sudden collapse of projection; after the very expansive Galbian opening, the second and third acts are characterized by almost erotic intimacy. And by the way, it's hard to love the absolute perfection. It is the small flaws that bring about the real perfection: when the Zen garden is perfectly clean and orderly, one lets dry old leaves blow in.
This is sent ahead: ...Miss Dior is going to be one of my very, very big old Dior's Diorella is undoubtedly already very beautiful, Diorissimo is a wonderful, beautiful lily-of-the-valley fragrance (which, however, suits Spee's wife better than me), with Dioressence it's something like this: the original perfume, which is no longer produced today, is the most beautiful, most accomplished, most perfect perfume I've ever been able to smell (thanks to a dear co-parfuma); today's is still excellent, but every time the gap to the original version hurts a little. Miss Dior, probably the first fragrance in the series, although perhaps not as perfect as Dioressence, is the one I fell in love with immediately and absolutely.
Descriptively, there is not much to add to the previous reviews, especially the very excellent one by SchatzSucher: Miss Dior opens with a wonderful, beautifully tangy, almost bitter green, which is only slightly citrusy and into which at best very delicate floral clouds of heart note rise. As already noted elsewhere, the fragrance in the overture thus resembles "Vol de Nuit", but is (although hardly less powerful) somewhat more relaxed and brighter. The heart note, which fully develops after thirty to fifty minutes, has little to do with this opening, and is anything but the rich, heavy floral bouquet that one might expect from the pyramid. We find here a really enchanting, subtle and yet unique pearly, noble shimmering, actually only slightly floral fragrance; light, cheerful, mostly champagne-silvery, sometimes colourful, here almost sparkling, there almost powdery, always fine and delicate, but only sometimes seemingly fragile (then also of elastic strength). The third phase, which is again quite clearly separated, already very close now, perhaps from the fourth to the seventh hour, is like light spicy, beige-brown, and more than just a little bit reminiscent of the archetypal masculine barber freshness.
What holds these three seemingly completely disparate phases together for me (apart from the beauty of each of the paths) is the moderate coolness of the entire fragrance's course, its anything but glaring, but nevertheless quite bright luminosity and two "leg notes" that run through the entire course; firstly, a very slight mentholy freshness and then the ultra-classical, striking, austere and yet beautiful chypre bass. Yes, I really only perceive it (on the skin) as an overtone: on fabric it dominates everything.
Above all, however, there is a soul that holds "Miss Dior" together from within despite all the dynamics of development. Miss Dior is a young fragrance in the very best sense (I almost have to think of Nietzsche or Bergson, although that is not my philosophical direction): fresh, clear, full of élan vital: tense, cheerful power. It's one of the most unsnarled and, despite its complexity, unfuzzy scents I know. Certainly Miss Dior is also a feminine fragrance (far from all the relevant clichés, it is not in the least sweet and only very moderately flowery), but in this beautiful young lady lives not only an experienced soul (so that her games do not lack seriousness and intelligence), she also has, like Niebelschützen's princess Danae, all (supposedly) masculine qualities: she knows the affairs of state and war, knows how to hold the reins and hit equally sensitively with tongue and epee.
For me, this is no contradiction: One time: This Miss Dior is a beautiful young woman, to whom I lay my heart at her feet. And yet also: We are (if not more Pope...) Miss! Miss Dior is young and feminine in a way that we all can be: A person who is not mentally aged and who does not wall himself up in a self-made image of masculinity can wear this fragrance, for whose name I naturally draw the smooth ten, regardless of sex and age; it will stand him a second skin.
Why not the ten? I am a little irritated by the sudden collapse of projection; after the very expansive Galbian opening, the second and third acts are characterized by almost erotic intimacy. And by the way, it's hard to love the absolute perfection. It is the small flaws that bring about the real perfection: when the Zen garden is perfectly clean and orderly, one lets dry old leaves blow in.
26 Replies
Kurai
Jazzy76
