Man Pure Jil Sander 1981 Eau de Toilette

1981
Start-up difficulties of the decade, as certain burdens from the 1970s must be overcome.
The second oil price shock, gigantic interest rate hikes in the USA as a crazy countermeasure, stagnation of the German economy, and rising unemployment.
New technologies are conquering the production process, creating innovative space in the entertainment industry.
That countermeasures had to be taken in the face of declining consumer sentiment is shown in the fragrance sector by the ultimate hits of the year.
In Paris, Greek heroes duel, the black Antaeus Eau de Toilette and the white "Kouros (Eau de Toilette) | Yves Saint Laurent," while in Hamburg, one remains composed.
One observes very closely how the individual quietly becomes aware of themselves and how the social interplay will be thrown into disarray.
The analog has danced itself out.

Insight.

Jil Sander demonstrated intuition and foresight when she was able to enlist Jacques Artarit for two of her legendary fragrances.
On board is Peter Schmidt as the designer of the bottles according to Bauhaus style guidelines. He will brilliantly show what form means.
Two cubes as containers, a cylinder as a cap.
The foundations of sober elegance.

Here now is the scent that should master the art of contrasts and their penetration.

Hiss!

The pure man opens green aromatic, slightly citrusy.
Very simple.
Seemingly.
For the oregano will contribute a very masculine spiciness, which is softened by the basil and marked herbally by the sage, slightly urinous.
In addition, there is a citrusy base that almost drifts into the ethereal.
Chypre as a film negative.

Brain activated.

Moving on.
Let’s not kid ourselves, the dispassionate heart will analyze the flowers soberly.
No overreaction.
The geranium offers no Black Forest idyll, dry and herbaceous, it finds its way into the big city without difficulty.
No romance.
Only the true feeling counts.
The powdery scent of the garden carnation falls like fine plaster from the concrete walls.
The precise ration of cinnamon colors the waves of Zen pebbles on patchouli grounds.

Tadao Andō.

Sensual.
Castoreum and oakmoss falsify the unthinkable.
With warming nutmeg, a new sexual aesthetic breaks with old habits.
Well-groomed, distant, and at the same time penetrating all senses.
The culmination of physical desire.
Black-and-white clarity.

Robert Mapplethorpe.

Man - naked - as a seated sculpture on chrome and leather.
Marcel Breuer’s Wassily chair breaks surfaces, creates insights.
Torso chiseled.
Labdanum underscores with black leather, but does not cover.
Opposite the waiting couch - model Cassina by Le Corbusier - on wooden parquet.
Observation.
Silence.
Action.

Second sexual revolution.

Jacques Artarit masters the art of penetrating contrasts.
For where a strict fragrance progression should mark conclusions, he breathes an independent flicker into the pyramidal sections.
When one thinks they are in the base, the herbaceous green components of the top note suddenly reappear, the floral heart beats softly like behind a curtain.

Eisbär by Grauzone provides the perfect musical background.
Consistently, the group creates exactly the break with the 1970s that was long overdue.
Minimalistic and striking.
Not only does the polar cold reflect the contrast to retreating into the warm self, but the chaotic interruption of the dance rhythm clarifies the inseparable penetration of the fragrance levels, allowing the apparent solitary to dictate the rhythm in the next section until the next mixing.

Most convincing is the countering of previous animalistic notions.
Through the oakmoss, it experiences a peculiar purity.
The physical is discernible, but so refined that it seems staged. Nothing is left to chance.
This oxymoron elevates the flesh almost into the imagined.

Congenial are the flowers.
The classic theme of rose-patchouli is masterfully driven to near zero.
Geranium, always the shady companion of the magnificent rose in other fragrances, is allowed to present its herbaceous beauty here all alone, well-measured.
Dry and with subtly pleasant emotional control, for it is by no means emotionally cold.
It has merely learned from the wounds of the previous decade.
And these are gently covered with powdery garden carnation.

Labdanum as a fixative remains leathery, without immediately presenting a whole Mackermontur.
The balance between coarseness and refinement.
A small piece of leather, very restrained, very intimate.

And here closes the revolving, penetrating circle of the novel leather-chypre that has made history.

Pure perfection.