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Merlotsupern
94 Reviews
Merlotsupern
Top Review
10
Because your skin deserves a little embalming opulence...
Given that Lizzy (the nose behind this creation) has kept any narrative details of her Anubis as mysterious as the pyramids themselves, we're left to our own highly imaginative devices. And, judging by the name, I'd say the Egyptians, those undisputed masters of decorating death, provided ample inspiration.
So, what should you expect? Picture an extravagantly adorned funerary chamber, complete with freshly embalmed mummies and, for good measure, a few wafts of expensive incense. Surprisingly, though, this isn't some deep, dark, and brooding concoction.
Anubis kicks off with a shimmering, almost effervescent resinous amber, given a gentle tinge of sweetness by an ever-so-slightly syrupy immortelle flower. A few extra balmy tendencies round out this rather opulent beginning, making it feel less like a crypt and more like a sun-drenched tomb opening.
About half an hour in, as Anubis settles down, a non-animalic leather starts to emerge, presenting itself more as a soft, luxurious suede (a.k.a. saffron based accord). You'll also catch a whisper of something herbaceous, almost like a freshly cut hay bale. Don't expect this leather to dominate the scene; instead, it acts as a sophisticated bridge to the next act.
Fast forward a couple of hours, and a very dry sandalwood takes center stage, still accompanied by a ghost of that earlier herbaceousness.
Overall, I'm quite impressed with the opening – it’s bright, it’s opulent, and it's quite unique. I'm generally not one for heavy ambers, but here, Anubis cleverly uses a chypre-esque floral touch to temper its resinous heft, making it surprisingly palatable (to me).
Aside from perhaps the first fifteen minutes, I wouldn't call Anubis a particularly challenging wear. Once it dries down, it morphs into an intimate skin scent that will cling to you for a good long while.
Given the abstract composition, this is a unisex fragrance. Could be an everyday wear, leaning elegant. Anytime, aside from high heat.
Just a final tip: unless your personal style involves being wrapped head-to-toe in mummy parchment, I'd strongly advise against spraying this on clothes. You've been warned.
So, what should you expect? Picture an extravagantly adorned funerary chamber, complete with freshly embalmed mummies and, for good measure, a few wafts of expensive incense. Surprisingly, though, this isn't some deep, dark, and brooding concoction.
Anubis kicks off with a shimmering, almost effervescent resinous amber, given a gentle tinge of sweetness by an ever-so-slightly syrupy immortelle flower. A few extra balmy tendencies round out this rather opulent beginning, making it feel less like a crypt and more like a sun-drenched tomb opening.
About half an hour in, as Anubis settles down, a non-animalic leather starts to emerge, presenting itself more as a soft, luxurious suede (a.k.a. saffron based accord). You'll also catch a whisper of something herbaceous, almost like a freshly cut hay bale. Don't expect this leather to dominate the scene; instead, it acts as a sophisticated bridge to the next act.
Fast forward a couple of hours, and a very dry sandalwood takes center stage, still accompanied by a ghost of that earlier herbaceousness.
Overall, I'm quite impressed with the opening – it’s bright, it’s opulent, and it's quite unique. I'm generally not one for heavy ambers, but here, Anubis cleverly uses a chypre-esque floral touch to temper its resinous heft, making it surprisingly palatable (to me).
Aside from perhaps the first fifteen minutes, I wouldn't call Anubis a particularly challenging wear. Once it dries down, it morphs into an intimate skin scent that will cling to you for a good long while.
Given the abstract composition, this is a unisex fragrance. Could be an everyday wear, leaning elegant. Anytime, aside from high heat.
Just a final tip: unless your personal style involves being wrapped head-to-toe in mummy parchment, I'd strongly advise against spraying this on clothes. You've been warned.
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