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Notes05/17/2018
Serenissima
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Serenissima
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26
a beautiful piece of jewellery with a precious golden setting
"Fath de Fath" I could actually acquire more by chance while strolling through the net at a true ridiculous price.
This interesting flacon, which really looks like the one on the photo, was offered from a discount and I think the seller didn't even know what he had in front of him.
Everything he wanted to sell was far below the prices that would actually have been reasonable.
"Fath de Fath" reminds me of a painting; none specific, but it could already have an Impressionist as "father": the different scents flow harmoniously into each other like the colours there, forming an incomparable whole of fruits, flowers, woods, resins and wonderful aromas.
They sound together to a beautiful melody!
At the very first meeting I meet peaches: ripe, yellow, very juicy peaches that give off their fragrance generously.
These are accompanied by a basket full of black currant; this tart, in taste and smell a little biting fruit, contributes a pleasant counterpole.
Because mandarins - not too synthetic here - and ripe plums draw this fragrance composition back to the sweeter fruit side.
Bergamot, which always seems a little dull to me, brings a little calmness into the bright fruits, which here want to surpass each other in aromas.
A little green mixes quietly, as if on tiptoe: grass, freshly cut twigs and leaves? This "green nuance" is clearly perceptible for a moment, but is not sufficient to be able to assign it exactly.
Suddenly but appear with much pomp and not shy at all, the flower scents in this melange.
The white-flowered plants are, as so often, led by large-flowered ripe jasmine and the enchanting lily of the valley; only much later does tuberose with its well-known rich aroma join in.
The majestic rose also tries to dominate in "Fath du Fath", but is elegantly put in its place: it too must bend and remain in the text of the scent's sound image.
Strong dark purple heliotrope with its vanilla-like sweetness, stands next to the delicate waxy orange blossoms. These two get along very well!
It is amazing what a wonderful unity all these flowers that feel like solitary beauties can form here.
None of them pushes themselves forward, all play harmonically in this orchestra with noble scent nuances.
In this sense, patchouli and cedar wood also create their appearance; the two play with this fragrance probably in a league: they get along very well and are a pleasant ingredient to the previous fragrance.
Vanilla, which otherwise likes to play a leading role, also subjects itself to the general rules here: no special sausages!
So it contributes its warm, so much rounder aroma than the heliotrope, very well dosed.
For the spicy, slightly smoky components, Benzoeharz and Ambra now appear on the podium (to stick to the orchestral comparison).
Together with the already before present team Patchouli and cedar wood, now a certain stability comes into this nevertheless quite floating smell formation; a stability, which does good!
All this is skillfully brought to its climax by the rich musk:
The finale shows such a rich, noble splendour that one can only bow to the creator of this fragrance painting.
Because music and painting meet here skillfully: perhaps held together by the great genius of Jacques Fath!
Quite rightly this golden scent deserves its name!
Sillage and durability correspond to the values that were valid 65 years ago: fine and noble, this lavish fragrance accompanies you for hours.
Applied in the evening, it can still inspire in the morning: a fine, elegant touch is still present.
Not stale, not tired: no, more like the slightly melancholic smile of a woman who has just said goodbye to her beloved and looks after him in a pensive way.
"Fath de Fath" has proved to be a wonderful blind purchase for me: not only the glass flacon, which surely looks a bit futuristic for its time, gives pleasure, no, the golden content inspires me.
I got a pleasantly fragrant, impressionistic painting here in my house.
It shall be welcome to me from the bottom of my heart!
This interesting flacon, which really looks like the one on the photo, was offered from a discount and I think the seller didn't even know what he had in front of him.
Everything he wanted to sell was far below the prices that would actually have been reasonable.
"Fath de Fath" reminds me of a painting; none specific, but it could already have an Impressionist as "father": the different scents flow harmoniously into each other like the colours there, forming an incomparable whole of fruits, flowers, woods, resins and wonderful aromas.
They sound together to a beautiful melody!
At the very first meeting I meet peaches: ripe, yellow, very juicy peaches that give off their fragrance generously.
These are accompanied by a basket full of black currant; this tart, in taste and smell a little biting fruit, contributes a pleasant counterpole.
Because mandarins - not too synthetic here - and ripe plums draw this fragrance composition back to the sweeter fruit side.
Bergamot, which always seems a little dull to me, brings a little calmness into the bright fruits, which here want to surpass each other in aromas.
A little green mixes quietly, as if on tiptoe: grass, freshly cut twigs and leaves? This "green nuance" is clearly perceptible for a moment, but is not sufficient to be able to assign it exactly.
Suddenly but appear with much pomp and not shy at all, the flower scents in this melange.
The white-flowered plants are, as so often, led by large-flowered ripe jasmine and the enchanting lily of the valley; only much later does tuberose with its well-known rich aroma join in.
The majestic rose also tries to dominate in "Fath du Fath", but is elegantly put in its place: it too must bend and remain in the text of the scent's sound image.
Strong dark purple heliotrope with its vanilla-like sweetness, stands next to the delicate waxy orange blossoms. These two get along very well!
It is amazing what a wonderful unity all these flowers that feel like solitary beauties can form here.
None of them pushes themselves forward, all play harmonically in this orchestra with noble scent nuances.
In this sense, patchouli and cedar wood also create their appearance; the two play with this fragrance probably in a league: they get along very well and are a pleasant ingredient to the previous fragrance.
Vanilla, which otherwise likes to play a leading role, also subjects itself to the general rules here: no special sausages!
So it contributes its warm, so much rounder aroma than the heliotrope, very well dosed.
For the spicy, slightly smoky components, Benzoeharz and Ambra now appear on the podium (to stick to the orchestral comparison).
Together with the already before present team Patchouli and cedar wood, now a certain stability comes into this nevertheless quite floating smell formation; a stability, which does good!
All this is skillfully brought to its climax by the rich musk:
The finale shows such a rich, noble splendour that one can only bow to the creator of this fragrance painting.
Because music and painting meet here skillfully: perhaps held together by the great genius of Jacques Fath!
Quite rightly this golden scent deserves its name!
Sillage and durability correspond to the values that were valid 65 years ago: fine and noble, this lavish fragrance accompanies you for hours.
Applied in the evening, it can still inspire in the morning: a fine, elegant touch is still present.
Not stale, not tired: no, more like the slightly melancholic smile of a woman who has just said goodbye to her beloved and looks after him in a pensive way.
"Fath de Fath" has proved to be a wonderful blind purchase for me: not only the glass flacon, which surely looks a bit futuristic for its time, gives pleasure, no, the golden content inspires me.
I got a pleasantly fragrant, impressionistic painting here in my house.
It shall be welcome to me from the bottom of my heart!
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