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06/08/2021
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Opaque mythology
Offhand, I can not think of any other perfume of a major cosmetic brand, which despite current 10-year anniversary - can not refer to any flanker, summer version or quite in general - subsequent fragrances from the same segment. Eau d'Ikar is still the only explicitly categorized (while absolutely unisex as I think) men's fragrance of the company Sisley. Their Eau de Campagne, a wonderfully bulky and strange product, was already outwardly different from much of what was in perfumeries in the 80's thanks to its elegant but also totally unfashionable packaging, including crest and textured metal lid. The outrageously natural-looking - as immediately engineered - green note thanks to tomato leaf absolute or similar distillery, did further that Eau de Campagne to date is special.
Because of these tomato leaf memories, it was also that Eau d'Ikar came a good ten years ago immediately on the handwritten wish list. The perfume was announced at the time with a narrative that was a bit too heavily applied, supposedly decades-long in conceptual development to address the centuries-old roots of the Sisley owner's D'Orsano, etc. - yet Eau d'Ikar is quite a stand-alone release that leads a real shadowy existence and has never really taken off. Titles that flirt with Greek mythology can be almost as disastrous as biblical first names.
Central is a mastic note, which appears throughout the course again and again iridescent. Integrated in traces of citrus, iris, jasmine, perhaps tea, and to finish minimal woods, a drop of vetiver and sandal synthetics. Although fresh and herbaceous, especially at the beginning, Eau d'Ikar is characterized by an all-encompassing waxiness. No beeswax with smell, but rather a sealing agent, a soapy layer that makes everything underneath only slightly blurred.
Three other perfumes I see close to Eau d'Ikar: Jean-François Laporte - who was there when Sisley was founded, before the company was sold to D'Orsano, proposed something similar with Grain de Plaisir back in 1988, perhaps owed to vegetable seeds. Helmut Lang's Cuiron has a related opaque character that allows components to be guessed at, but never complete clarity. And Corsica Furiosa. This, with its much more direct combination of mastic and tomato leaf, is a kind of intersection of Eau d'Ikar and Eau de Campagne anyway. Despite these close coordinates, Eau d'Ikar is excellently different, quiet and discreet, only conditionally sweet, powdery, greenish and warm golden yellow enough not to wander off into any competitor territory.
The bottle - a massive, expressionistic glass work as well as the packaging - similar to the OpArt of Agam's original design for Caron's 3ᵉ Homme, are most welcome counterpoints to seemingly too quickly picked up minimalism and opportune functionality of the last 10 years.
A look in the suspicious databases shows that mastic is increasingly used since 2010, whether this is due to taste - the first time I actually came across mastic gum in a recipe - or available extracts, remains speculative; Eau d'Ikar laesst nevertheless not easy to classify chronologically, which makes this solitaire among Sisley's products even more sympathetic.
Because of these tomato leaf memories, it was also that Eau d'Ikar came a good ten years ago immediately on the handwritten wish list. The perfume was announced at the time with a narrative that was a bit too heavily applied, supposedly decades-long in conceptual development to address the centuries-old roots of the Sisley owner's D'Orsano, etc. - yet Eau d'Ikar is quite a stand-alone release that leads a real shadowy existence and has never really taken off. Titles that flirt with Greek mythology can be almost as disastrous as biblical first names.
Central is a mastic note, which appears throughout the course again and again iridescent. Integrated in traces of citrus, iris, jasmine, perhaps tea, and to finish minimal woods, a drop of vetiver and sandal synthetics. Although fresh and herbaceous, especially at the beginning, Eau d'Ikar is characterized by an all-encompassing waxiness. No beeswax with smell, but rather a sealing agent, a soapy layer that makes everything underneath only slightly blurred.
Three other perfumes I see close to Eau d'Ikar: Jean-François Laporte - who was there when Sisley was founded, before the company was sold to D'Orsano, proposed something similar with Grain de Plaisir back in 1988, perhaps owed to vegetable seeds. Helmut Lang's Cuiron has a related opaque character that allows components to be guessed at, but never complete clarity. And Corsica Furiosa. This, with its much more direct combination of mastic and tomato leaf, is a kind of intersection of Eau d'Ikar and Eau de Campagne anyway. Despite these close coordinates, Eau d'Ikar is excellently different, quiet and discreet, only conditionally sweet, powdery, greenish and warm golden yellow enough not to wander off into any competitor territory.
The bottle - a massive, expressionistic glass work as well as the packaging - similar to the OpArt of Agam's original design for Caron's 3ᵉ Homme, are most welcome counterpoints to seemingly too quickly picked up minimalism and opportune functionality of the last 10 years.
A look in the suspicious databases shows that mastic is increasingly used since 2010, whether this is due to taste - the first time I actually came across mastic gum in a recipe - or available extracts, remains speculative; Eau d'Ikar laesst nevertheless not easy to classify chronologically, which makes this solitaire among Sisley's products even more sympathetic.
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