03/30/2021
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Neukölln 23 - The Actual Grey Flannel
I wrote one of my first comments on this forum four years ago about this wonderful fragrance. Even if it was difficult for me to delete this (also because of the sentimental feedbacks of readers who are no longer active here for a long time) I felt the need to write a new review.
Because in the meantime I know far more Colognes and far more Lehmann fragrances than back then (with the Lehmanns: almost all), so I can better compare. And even if New York has received only "decent" ratings from many esteemed fellow perfumos: If I could only keep three Colognes and only three Lehmann fragrances, New York would be in both groups, because I still love this fragrance as much as I did back then.
New York is a wonderfully distinguished, clean, fresh, subtle scent that is perfect for a sunny spring day with cheerful birdsong in the background. On opening, it prominently offers a very delicate, discreet, unobtrusive, grounded, rather tart citrus freshness, perhaps with a minimal neroli preponderance, the whole paired with a good dose of lavender powderiness. This delicious first impression then gradually transitions into a light-flooded, very lightly woven Fougere sound tapestry in D major. The quite mild sweetness in the background, already noted by me four years ago, I would want to interpret today as a hint of lime blossom.
In my early comment, I had described a strong haptic and visual impression, which is still valid today: "This haptic is at the same time soft (gentle) and firm (stable, dense), it gives the feeling of a compact, good wool flannel of a men's suit for spring and autumn. When I run my nose over the sprayed skin, I mean to feel the powdery, chalky, soft touch of flannel fabric on the skin of my face." "...And after just a few seconds, the color I associate with this scent is definitely gray. A very nice, classy light to medium grey."
As a cologne, New York is typical on the one hand because it is fresh and light, has a strong citrus component and a discreet projection. On the other hand, New York comes across as a fully composed, even artistically filigree elaborated perfume work of art for all its understatement and in no way like a mere utility cologne. Untypical it is also because of its (with me) considerable durability: Still after seven, eight hours nudges from time to time a fragrance cloud my nose tip.
As a loam, this scent is remarkable because it's so quiet. Even the fresh, cheerful Lehmänner (which I like quite excellent), such as Tulip, Springfield, Esterel or Mirage come yes otherwise rather loud and clear around the corner and always seem something (for me quite sympathetic) roughly sewn. That is different with this fragrance, which I would therefore always spray (never splash). Of the other Lehmann fragrances, this one is most similar to "Eau de Berlin", in fact the relationship is even close. New York, however, is infinitely finer.
Still just to the name: About what this fragrance has to do with New York, we should not worry so much, because Lehmann apparently throws out the city names to the fragrances. In his case, Boston smells of oranges, Naples of apples and St. Tropez of lilies of the valley. A nice revue to the other fragrances of this name (especially to the great fragrance of Nicolai, I love in particular its New York Intense) has brought Yatagan in his very readable review of this fragrance.
Conclusion: New York is for me a Preziose, a not only valuable, but downright distinguished and precious seeming fragrance for a low Preos than that of a kilo of apples and six organic eggs; colognig light and fresh, but artfully crafted and very long lasting. It is wearable all year round with a pre for March to June, reminiscent of grey flannel, but is therefore no less wearable for ladies than for men. New York is proof that Lehmann has also mastered delicate lightness. It is the perfect fragrance for occasions when you don't really want to smell perfumed, but discreet and delicately scented. And, even if New York is found by most commentators here rather only for "neat": I love this fragrance now for four years intimately!
Because in the meantime I know far more Colognes and far more Lehmann fragrances than back then (with the Lehmanns: almost all), so I can better compare. And even if New York has received only "decent" ratings from many esteemed fellow perfumos: If I could only keep three Colognes and only three Lehmann fragrances, New York would be in both groups, because I still love this fragrance as much as I did back then.
New York is a wonderfully distinguished, clean, fresh, subtle scent that is perfect for a sunny spring day with cheerful birdsong in the background. On opening, it prominently offers a very delicate, discreet, unobtrusive, grounded, rather tart citrus freshness, perhaps with a minimal neroli preponderance, the whole paired with a good dose of lavender powderiness. This delicious first impression then gradually transitions into a light-flooded, very lightly woven Fougere sound tapestry in D major. The quite mild sweetness in the background, already noted by me four years ago, I would want to interpret today as a hint of lime blossom.
In my early comment, I had described a strong haptic and visual impression, which is still valid today: "This haptic is at the same time soft (gentle) and firm (stable, dense), it gives the feeling of a compact, good wool flannel of a men's suit for spring and autumn. When I run my nose over the sprayed skin, I mean to feel the powdery, chalky, soft touch of flannel fabric on the skin of my face." "...And after just a few seconds, the color I associate with this scent is definitely gray. A very nice, classy light to medium grey."
As a cologne, New York is typical on the one hand because it is fresh and light, has a strong citrus component and a discreet projection. On the other hand, New York comes across as a fully composed, even artistically filigree elaborated perfume work of art for all its understatement and in no way like a mere utility cologne. Untypical it is also because of its (with me) considerable durability: Still after seven, eight hours nudges from time to time a fragrance cloud my nose tip.
As a loam, this scent is remarkable because it's so quiet. Even the fresh, cheerful Lehmänner (which I like quite excellent), such as Tulip, Springfield, Esterel or Mirage come yes otherwise rather loud and clear around the corner and always seem something (for me quite sympathetic) roughly sewn. That is different with this fragrance, which I would therefore always spray (never splash). Of the other Lehmann fragrances, this one is most similar to "Eau de Berlin", in fact the relationship is even close. New York, however, is infinitely finer.
Still just to the name: About what this fragrance has to do with New York, we should not worry so much, because Lehmann apparently throws out the city names to the fragrances. In his case, Boston smells of oranges, Naples of apples and St. Tropez of lilies of the valley. A nice revue to the other fragrances of this name (especially to the great fragrance of Nicolai, I love in particular its New York Intense) has brought Yatagan in his very readable review of this fragrance.
Conclusion: New York is for me a Preziose, a not only valuable, but downright distinguished and precious seeming fragrance for a low Preos than that of a kilo of apples and six organic eggs; colognig light and fresh, but artfully crafted and very long lasting. It is wearable all year round with a pre for March to June, reminiscent of grey flannel, but is therefore no less wearable for ladies than for men. New York is proof that Lehmann has also mastered delicate lightness. It is the perfect fragrance for occasions when you don't really want to smell perfumed, but discreet and delicately scented. And, even if New York is found by most commentators here rather only for "neat": I love this fragrance now for four years intimately!
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