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05/19/2020
Konsalik
81 Reviews
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Konsalik
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21
On a creamy mission
Fougères lend themselves to evoking comparatively straightforward notions of masculinity and draw from this, at least in the Western hemisphere, their unbroken popularity; the typical components are usually easy to classify - even without analysis, purely from primary experience. Chypres, on the other hand, are not infrequently enigmatic, challengingly unfamiliar, especially for men, as the often densely interwoven flower walls are not easy to separate. (Deceptive) conclusion: pompous-cloudy woman stuff. Yet, as one can learn, floral notes are among the most complex in the entire perfume cosmos and, as is well known, they go a long way, right up to "dirty" and "spicy". A wide field, therefore, which can be used to refine the nose (and thus also the taste judgement - oh yes!). But where can the half-willed Hagestolz, wholly devoted to the classical Colognes and Fougères, take his first steps into the world of orderly opulence (for this could be approximately the definition of a successful gentlemen's chypre)?
A classic English perfume is a very good starting point for explorations in this respect, as its essential components can be assumed to be better known than ever before and its basic structure can therefore be quickly deciphered. Thus, there is still room to isolate and capture the "other" in a descriptive way. The familiar framework only allows the unusual to emerge more clearly.
This is where Floris's old perennial "No. 89" from the fifties comes in and performs an elegant triple jump under the nose of the homely Hagestolz: starting from the traditional citrus-lavender barbershop, the second jump bridges the gap to the bitter orange, which clearly withdraws to the skin: astringent, bitter and slightly waxy at the same time, thus creating a gently rising ramp to the floral heart of this fragrance. The dear user Yatagan speaks of a hairspray note, but I find it, roughly speaking, creamy and cosmetic without being feminine (although No. 89 should certainly also be attractive to women!). Rather a distinguished, almost courteous, "melting" blossom core inside, never overflowing or even getting lost, but always brought into position by the triad of citric, lavender and wood, established as the masculine triad par excellence. It is easy to understand why Ian Flemming wanted to see or smell this very fragrance (besides Trumpers Eucris) on Bond: There is a glowing core that is receptive to amorousness, but in the end the mission is in the foreground! In terms of expression, this fragrance is not dissimilar to Creeds Bois du Portugal, but it is far more expressive and "narrative". What "such a few flowers" can do.
Finally, we send the technical notes for "M" to headquarters: No. 89 has mediocre, but by no means weak durability and sillage. Just the way you want it. By the way, the comment of the user OhdeBerlin almost makes me happy to applaud only the pathetic, reformulated shrinkage of this really famous fragrance. Knowing the lost original composition would probably plunge me into a depressive mood.
A classic English perfume is a very good starting point for explorations in this respect, as its essential components can be assumed to be better known than ever before and its basic structure can therefore be quickly deciphered. Thus, there is still room to isolate and capture the "other" in a descriptive way. The familiar framework only allows the unusual to emerge more clearly.
This is where Floris's old perennial "No. 89" from the fifties comes in and performs an elegant triple jump under the nose of the homely Hagestolz: starting from the traditional citrus-lavender barbershop, the second jump bridges the gap to the bitter orange, which clearly withdraws to the skin: astringent, bitter and slightly waxy at the same time, thus creating a gently rising ramp to the floral heart of this fragrance. The dear user Yatagan speaks of a hairspray note, but I find it, roughly speaking, creamy and cosmetic without being feminine (although No. 89 should certainly also be attractive to women!). Rather a distinguished, almost courteous, "melting" blossom core inside, never overflowing or even getting lost, but always brought into position by the triad of citric, lavender and wood, established as the masculine triad par excellence. It is easy to understand why Ian Flemming wanted to see or smell this very fragrance (besides Trumpers Eucris) on Bond: There is a glowing core that is receptive to amorousness, but in the end the mission is in the foreground! In terms of expression, this fragrance is not dissimilar to Creeds Bois du Portugal, but it is far more expressive and "narrative". What "such a few flowers" can do.
Finally, we send the technical notes for "M" to headquarters: No. 89 has mediocre, but by no means weak durability and sillage. Just the way you want it. By the way, the comment of the user OhdeBerlin almost makes me happy to applaud only the pathetic, reformulated shrinkage of this really famous fragrance. Knowing the lost original composition would probably plunge me into a depressive mood.
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