Top Notes 
Heart Notes 
Base Notes 
11/05/2015
BrianBuchanan
355 Reviews
BrianBuchanan
5
The floral print dress by Kerléo
When it first goes on, Mille has an unresolved feel - as though it's been made of many small pieces that don't quite fit. It's like a billowing Laura Ashley dress - which promotes surface pattern over structure - but the dress is crumpled and the pattern gone awry. A bit of wear smooths that out.
It's an apricot floral, with stand out notes of osmanthus, rose and iris. But it would be misleading to pin down a complex juice to a few simple accords. The other notable note is violet leaf, whose green and cucumber nuances give a delicate lift to this voluminous fruity floral.
This is anything but the fruity floral we find in modern juices however, Mille's fruitiness is like a rich liqueur that adds depth to the floral body.
The type of long formula at work here is radically out of style these days. What is - by modern standards - a lack of synthetics, results in a complicated surface at the expense of structure.
The advantage of this is, the components can change hue as they move.
The down side is, the surface obscures the base - and we can't see into the structure - making Mille difficult to read.
There's a wistful air to Mille, which captured the romanticism that running through the fashion world of 1972, but it's quite at odds with the chypre style to which it belongs.
Mille could have been the signature of Margot Leadbetter in the TV sitcom The Good Life (Good Neighbors) sharing her warm - yet defensive - middle class aspirations.
The petit bourgeois equivalent of Joy.
It's an apricot floral, with stand out notes of osmanthus, rose and iris. But it would be misleading to pin down a complex juice to a few simple accords. The other notable note is violet leaf, whose green and cucumber nuances give a delicate lift to this voluminous fruity floral.
This is anything but the fruity floral we find in modern juices however, Mille's fruitiness is like a rich liqueur that adds depth to the floral body.
The type of long formula at work here is radically out of style these days. What is - by modern standards - a lack of synthetics, results in a complicated surface at the expense of structure.
The advantage of this is, the components can change hue as they move.
The down side is, the surface obscures the base - and we can't see into the structure - making Mille difficult to read.
There's a wistful air to Mille, which captured the romanticism that running through the fashion world of 1972, but it's quite at odds with the chypre style to which it belongs.
Mille could have been the signature of Margot Leadbetter in the TV sitcom The Good Life (Good Neighbors) sharing her warm - yet defensive - middle class aspirations.
The petit bourgeois equivalent of Joy.
Hermesh
