Acne Studios par Frédéric Malle Editions de Parfums Frédéric Malle 2024
4
Tigerlily by Suzy Le Helley
Writing stream-of-consciousness:
Opening blast highly reminiscent of the aldehydes employed in Minneapolis 5.3 by Spyros Drosopoulous. This, however, quickly calms down and transitions into a metallic, almost grape / blackberry like accord, further smoothed out by an underlying violet. People are referencing the salmon pink at the bottom of the bottle; however, I see almost more fuchsia as opposed to magenta. This is a bit more transparent than 5.3, but this does indisputably reference detergent/fabric softener. This is metallic, tongue tickling aldehydes that verge on the tuning-fork-to-the-skull effect, but really calm themselves down to a background presence within a reasonable amount of time - the persistence of the effervescence seems quite astonishing and is quite enjoyable (the same sort of happy feeling I get with Cristalle Eau Verte) - personal preference may vary.
The overall fragrance now 20 or so minutes in wears relatively moist, as opposed to say the chalky dry down of No 5 L’eau. Unlike L’eau though, this is not aggravating my sinuses regardless of me placing my nose close to the skin or retaining distance from my arm. The detergent association is inescapable, but this is not dusty - quite fresh, uplifting, and less (imo) crass compared to the more recent MFKs.
This smells “icy” without being “cold”. Hence I believe the references to No. 22. Perhaps a bit of bubblegum too - that pink rose bubblegum feeling that FilipMurray references below reminding us of CDG Concrete - nothing too juvenile. My wife commented on a slight smokiness in the background, in our opinion attributed to the frankincense - that sort of cool, smoky, grey feeling to it. There is no watermelon in this, but I do get that sort of proto-aquatic fruity/salty freshness in the dry down akin to Aramis’ New West for Him (vintage, not that abomination Gentleman’s Collection version).
The fragrance is perhaps traveling down a linear path, but there are a few swerves here and there - the fragrance feels fluid instead of static. It retains interest - I keep wanting to discern the scent subtleties. The deep dry-down brining incensed sandalwood rubbed over with a vanilla balm - not sweet, not different, just a continual smoothing of the opening.
This reminds me more of the quality/pace of the brand with Eau De Magnolia, say as opposed to earlier produced Iris Poudre - make of that what you will.
This makes me happy.
Owning Lys Mediteranee (my wedding fragrance and first Malle), Bois d’Orage, Geranium Pour Monsieur, Vetiver Extraordinaire, Cologne Indelibe, and Eau De Magnolia, I can genuinely see myself reaching for my wallet for this far sooner than for either Rose & Cuir or Heaven Can Wait.
I think a lot of the contempt for this fragrance is due to Malle retiring and this being a collaboration that “appears” more low-browed compared to Dries Van Noten and Alber Elbaz - I believe wholeheartedly if this had a black label marked with Suzy Le Helley’s name and was given a conventional title (let’s randomly steal “Tigerlily” from Natalie Merchant’s debut solo album) this would be less attacked and more appreciated for what it is.
In fact, it’s a crime that Suzy doesn’t get her name plastered on this - just as Bruno for Dries and Dominique for Superstitious . For her first all-on-her own fragrance? Bravo!
Opening blast highly reminiscent of the aldehydes employed in Minneapolis 5.3 by Spyros Drosopoulous. This, however, quickly calms down and transitions into a metallic, almost grape / blackberry like accord, further smoothed out by an underlying violet. People are referencing the salmon pink at the bottom of the bottle; however, I see almost more fuchsia as opposed to magenta. This is a bit more transparent than 5.3, but this does indisputably reference detergent/fabric softener. This is metallic, tongue tickling aldehydes that verge on the tuning-fork-to-the-skull effect, but really calm themselves down to a background presence within a reasonable amount of time - the persistence of the effervescence seems quite astonishing and is quite enjoyable (the same sort of happy feeling I get with Cristalle Eau Verte) - personal preference may vary.
The overall fragrance now 20 or so minutes in wears relatively moist, as opposed to say the chalky dry down of No 5 L’eau. Unlike L’eau though, this is not aggravating my sinuses regardless of me placing my nose close to the skin or retaining distance from my arm. The detergent association is inescapable, but this is not dusty - quite fresh, uplifting, and less (imo) crass compared to the more recent MFKs.
This smells “icy” without being “cold”. Hence I believe the references to No. 22. Perhaps a bit of bubblegum too - that pink rose bubblegum feeling that FilipMurray references below reminding us of CDG Concrete - nothing too juvenile. My wife commented on a slight smokiness in the background, in our opinion attributed to the frankincense - that sort of cool, smoky, grey feeling to it. There is no watermelon in this, but I do get that sort of proto-aquatic fruity/salty freshness in the dry down akin to Aramis’ New West for Him (vintage, not that abomination Gentleman’s Collection version).
The fragrance is perhaps traveling down a linear path, but there are a few swerves here and there - the fragrance feels fluid instead of static. It retains interest - I keep wanting to discern the scent subtleties. The deep dry-down brining incensed sandalwood rubbed over with a vanilla balm - not sweet, not different, just a continual smoothing of the opening.
This reminds me more of the quality/pace of the brand with Eau De Magnolia, say as opposed to earlier produced Iris Poudre - make of that what you will.
This makes me happy.
Owning Lys Mediteranee (my wedding fragrance and first Malle), Bois d’Orage, Geranium Pour Monsieur, Vetiver Extraordinaire, Cologne Indelibe, and Eau De Magnolia, I can genuinely see myself reaching for my wallet for this far sooner than for either Rose & Cuir or Heaven Can Wait.
I think a lot of the contempt for this fragrance is due to Malle retiring and this being a collaboration that “appears” more low-browed compared to Dries Van Noten and Alber Elbaz - I believe wholeheartedly if this had a black label marked with Suzy Le Helley’s name and was given a conventional title (let’s randomly steal “Tigerlily” from Natalie Merchant’s debut solo album) this would be less attacked and more appreciated for what it is.
In fact, it’s a crime that Suzy doesn’t get her name plastered on this - just as Bruno for Dries and Dominique for Superstitious . For her first all-on-her own fragrance? Bravo!
Beardy
