Fleur de Portofino Tom Ford 2015 Eau de Parfum

In my review of "Noir Extreme," I accused Tom Ford of half-hearted Hollywood brutalism and showiness (even though I didn't find the scent "in itself" catastrophically bad). I have encountered this somewhat superficial, backdrop-like tone in pretty much every creation from his house to varying degrees (Noir, Black Orchid, For Men). And "Fleur de Portofino" also breathes a bit of Hollywood - but certainly in a good way!

The association that holds throughout the entire scent journey in my mind is that of a Hollywood star from the past, celebrating her early success with a villa by the Mediterranean. "Fleur de Portofino" exudes, shortly after spraying, an old, in a sense "vintage" notion of youth and the South from a time when America still meant promise and longing with its cultural exports. Here, "old"-smelling flowers and timeless, cologne-like hesperides and woods are so effortlessly married into a kind of "neo-retro" that it is truly a joy. There stands the young Audrey Hepburn in a summer dress on the balcony of her (crouched, certainly not grand) villa by the sea, leaning over the railing and looking playfully coy. The image is black-and-white, yet the bubblegum that swells before her mouth shines peach-pink. Yes, even the bubblegum that I otherwise so heartily despise in fragrances (here: Osmanthus!) has been artfully and unobtrusively integrated into the scent panorama and does not disturb at all; on the contrary: it feels "new" - like back then, when bubblegum in old Europe still stood for an exciting, previously unknown kind of self-assurance and nonchalance.

But Mr. Konsaliki! This kitschy retro image, this cheap child-woman eroticism (bubblegum bubble!!): you can't seriously wear that!
Oh yes, I say. Both men and women. And now don't bother me any longer with your pseudo-enlightened, condescending concerns; I have to hop into my Alfa Romeo convertible. Don't you hear? The strings are already starting. I have to catch the Technicolor sunset. Audrey is waiting.