ISO-E-Super
Provençal lavender
Hedione
Musk
Tonka bean
Vanilla
Petitgrain
Sandalwood
Turandot
841 Reviews
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Turandot
Top Review
20
Edvard Munch? God forbid, rather Claude Monet.
The name of the fragrance "The Scream" refers to the stirring painting by Edward Munch that we all likely have in mind. The painter created the motif multiple times, resulting in nearly identical paintings.
No, I do not like the painting; it disturbs me - and it surely is meant to do so. I would never have suspected the theme behind a fragrance that strikes me as melancholic but not disturbing. Therefore, I also disregard the painting in my test, as the scent does not come across as expressionistic to me, but rather impressionistic. Skrik does not strike me as blatant; instead, it puts me in a soft mood that has nothing loud or jarring about it.
I experience a cozy, almost tender mélange of sandalwood, tonka, vanilla, and cooling lavender. I cannot perceive the other notes. This may be due to the musk on my skin, and with the other ingredients, it is certainly because the perfumer has skillfully used them to give the fragrance atmosphere. Skrik elicits more and more a wistful smile from me, a vulnerable mood, a downshifting that I can truly enjoy. And this works for me for hours. The scent appeals to me greatly, and therefore I simply disregard the "Scream" and enjoy a beautiful perfume that I can also very well imagine on a man.
I do not know if the name does the fragrance any favors, as I associate the perfume more with Monet than Edward Munch; on the other hand, it is unlikely that any potential customer will bother to find a translation of the word "Skrik," unless they stumble upon it on Lengling's homepage. If I had known beforehand what it entails, it would have likely repelled me rather than attracted me; however, as described by Lengling, this perfume is indeed a stirring soul painting for me.
No, I do not like the painting; it disturbs me - and it surely is meant to do so. I would never have suspected the theme behind a fragrance that strikes me as melancholic but not disturbing. Therefore, I also disregard the painting in my test, as the scent does not come across as expressionistic to me, but rather impressionistic. Skrik does not strike me as blatant; instead, it puts me in a soft mood that has nothing loud or jarring about it.
I experience a cozy, almost tender mélange of sandalwood, tonka, vanilla, and cooling lavender. I cannot perceive the other notes. This may be due to the musk on my skin, and with the other ingredients, it is certainly because the perfumer has skillfully used them to give the fragrance atmosphere. Skrik elicits more and more a wistful smile from me, a vulnerable mood, a downshifting that I can truly enjoy. And this works for me for hours. The scent appeals to me greatly, and therefore I simply disregard the "Scream" and enjoy a beautiful perfume that I can also very well imagine on a man.
I do not know if the name does the fragrance any favors, as I associate the perfume more with Monet than Edward Munch; on the other hand, it is unlikely that any potential customer will bother to find a translation of the word "Skrik," unless they stumble upon it on Lengling's homepage. If I had known beforehand what it entails, it would have likely repelled me rather than attracted me; however, as described by Lengling, this perfume is indeed a stirring soul painting for me.
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