Velvet Cherry Miller Harris 2020
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The time for fun is over
The scents of Miller Harris are often difficult for me. Exhausting. And mostly serious. Very, very serious.
Velvet Cherry is no exception, on the contrary: I could speak of a prototype here. The fact that I still like it - as a basically rather cheerful nature - may be due to the fact that it - like case Noir, for example - has no heaviness whatsoever despite the darkness. This may be due to the lack of sweetness or creaminess, because nothing drips, drips, smears here or lies heavy in the stomach. But it is not alone
Velvet Cherry is very dry. Even the entry - difficult enough for me, this one - is dusty. Bitterly spicy saffron powder in the highest potency mists me (and I'm already a low-doser) and makes me rip open the windows and doors. As soon as the somewhat stuffy cloud has dissipated, she appears, she, the queen and eponym of the fragrance:
the cherry.
A sour cherry, not a morello cherry. Full-bodied and full of fine aromas, but not sweet, and the added almond does not make it a Guerlain's Little Black. No, this sour cherry is dignified, serious, grown-up. No lollipop, no jam, no compote, no cream to go with it.
The stems are still attached. A very fine wood note accompanies them and gives them a certain masculinity and elegant edge, which is intensified in the further course. Soon I sniff a touch of bone dry leather and brittle patchouli, further deepened by a noble mahogany note. A dry, light red wine also comes to mind.
Vanilla, musk, floral? Doesn't come out noticeably on me, at most to discreetly round off the edges. The scent is slightly bitter and rough throughout. Serious. Dry. Dark. The velvet is not puffy and caressingly soft, but dull and short pile. Nothing lets me associate opulence or sensuality.
No, fun in the broadest sense of the word does not do any of this. But it has an inner ordering effect. Tidy. Withdrawn. Calm. Intellectual. No color. Although not really cool, it smells of Bauhaus, New Objectivity, purism, minimalism. The beauty here lies in the quiet depth, not in the colourful effect, the excessive volume, the horror vacui.
And that can be beautiful, too, very much so. Differently beautiful. It doesn't have to be (forever) one single party in this life.
Velvet Cherry is no exception, on the contrary: I could speak of a prototype here. The fact that I still like it - as a basically rather cheerful nature - may be due to the fact that it - like case Noir, for example - has no heaviness whatsoever despite the darkness. This may be due to the lack of sweetness or creaminess, because nothing drips, drips, smears here or lies heavy in the stomach. But it is not alone
Velvet Cherry is very dry. Even the entry - difficult enough for me, this one - is dusty. Bitterly spicy saffron powder in the highest potency mists me (and I'm already a low-doser) and makes me rip open the windows and doors. As soon as the somewhat stuffy cloud has dissipated, she appears, she, the queen and eponym of the fragrance:
the cherry.
A sour cherry, not a morello cherry. Full-bodied and full of fine aromas, but not sweet, and the added almond does not make it a Guerlain's Little Black. No, this sour cherry is dignified, serious, grown-up. No lollipop, no jam, no compote, no cream to go with it.
The stems are still attached. A very fine wood note accompanies them and gives them a certain masculinity and elegant edge, which is intensified in the further course. Soon I sniff a touch of bone dry leather and brittle patchouli, further deepened by a noble mahogany note. A dry, light red wine also comes to mind.
Vanilla, musk, floral? Doesn't come out noticeably on me, at most to discreetly round off the edges. The scent is slightly bitter and rough throughout. Serious. Dry. Dark. The velvet is not puffy and caressingly soft, but dull and short pile. Nothing lets me associate opulence or sensuality.
No, fun in the broadest sense of the word does not do any of this. But it has an inner ordering effect. Tidy. Withdrawn. Calm. Intellectual. No color. Although not really cool, it smells of Bauhaus, New Objectivity, purism, minimalism. The beauty here lies in the quiet depth, not in the colourful effect, the excessive volume, the horror vacui.
And that can be beautiful, too, very much so. Differently beautiful. It doesn't have to be (forever) one single party in this life.
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