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10/27/2018
Palonera
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Palonera
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24
from Hamburg
It's been a few years since I discovered Uli Schneider's fragrances in the Bruchsaler Parfümerie's range. I loved fragrances without, of course, taking a closer look at them.
They were too unknown to me, too little could I begin with the name Uli Schneider, behind which I - mea culpa! - initially suspected a man, but not the Hamburg designer Uli Schneider, who, according to her website, "has been successfully marketing exclusive women's collections worldwide since 1990."
It may be due to my fashionable banalism that the lady was not known to me until now, although she obviously works in the tradition of houses like Joop and Sander, who had set out from Hamburg to conquer the fashion world.
But while in the western hemisphere there is unlikely to be anyone who is unaware of the first names, Uli Schneider's fashion seems to be reserved for a circle of initiates on the Rhine and Elbe for whom she has opened showrooms in Hamburg and Düsseldorf.
Other branches, I read, are in France, Italy, Belgium, Asia and Switzerland.
To complement her collections, which are characterised by "understatement and the finest materials, transparency and clear lines", Uli Schneider launched the fragrance concept "two of a kind" in 2009, developed by the Hamburg-based perfumer Kim Weisswange, with a "floral-fresh companion for the day" and "a more powerful version for the big evening appearance", with which the "No. "1", which I got under my nose as the first Schneider fragrance - at a time when Uli Schneider was no longer listed by Wuchsa and I couldn't find a way to buy the designer's fragrances anywhere on the net.
That's odd.
An olfactory mayfly?
She's certainly not bad, Mrs. Schneider's number one.
A short, almost aldehyde-like opening is followed very quickly by almost immature notes of peach and plum, which soon combine with a warm, rich bouquet of so finely interwoven flowers that hardly any of them can be separated.
Not for me at least, not for my nose.
I am thinking of the opulent flower scents of the eighties and nineties, of "Van Cleef" and "Gianni Versace", but also of "Enlèvement au Sérail" and the early classics that Francis Kurkdjian quotes with him.
Dense and heavy and very elegant, the "No. 1" appears on my skin, without being too loud, spacious, sophisticated.
Tuberose, carnation and ylang-ylang give the fragrance its distinctly feminine, adult character, but here they are so finely adjusted that no room is flooded.
A little wood provides support and stability, a drop of resin depth.
Thus the "No.1", moderately dosed, qualifies as a scent of the day, even though it should unfold its full potential only in the evening, when the occasion is finer, the clothes more elegant.
As an extension of the current fashion of Uli Schneider I would not see the "No. 1" on the other hand - but she lacks hipper coolness.
I have no idea who wore the No. 1, who might still wear it.
Here nobody seems to own it, nobody seems to know it - and also I will not wear it, not beyond the test.
Maybe because I don't live on the Elbe, not even directly on the Rhine.
Because I don't belong to the clientele for whom Mrs Schneider sews her clothes.
And that's okay.
They were too unknown to me, too little could I begin with the name Uli Schneider, behind which I - mea culpa! - initially suspected a man, but not the Hamburg designer Uli Schneider, who, according to her website, "has been successfully marketing exclusive women's collections worldwide since 1990."
It may be due to my fashionable banalism that the lady was not known to me until now, although she obviously works in the tradition of houses like Joop and Sander, who had set out from Hamburg to conquer the fashion world.
But while in the western hemisphere there is unlikely to be anyone who is unaware of the first names, Uli Schneider's fashion seems to be reserved for a circle of initiates on the Rhine and Elbe for whom she has opened showrooms in Hamburg and Düsseldorf.
Other branches, I read, are in France, Italy, Belgium, Asia and Switzerland.
To complement her collections, which are characterised by "understatement and the finest materials, transparency and clear lines", Uli Schneider launched the fragrance concept "two of a kind" in 2009, developed by the Hamburg-based perfumer Kim Weisswange, with a "floral-fresh companion for the day" and "a more powerful version for the big evening appearance", with which the "No. "1", which I got under my nose as the first Schneider fragrance - at a time when Uli Schneider was no longer listed by Wuchsa and I couldn't find a way to buy the designer's fragrances anywhere on the net.
That's odd.
An olfactory mayfly?
She's certainly not bad, Mrs. Schneider's number one.
A short, almost aldehyde-like opening is followed very quickly by almost immature notes of peach and plum, which soon combine with a warm, rich bouquet of so finely interwoven flowers that hardly any of them can be separated.
Not for me at least, not for my nose.
I am thinking of the opulent flower scents of the eighties and nineties, of "Van Cleef" and "Gianni Versace", but also of "Enlèvement au Sérail" and the early classics that Francis Kurkdjian quotes with him.
Dense and heavy and very elegant, the "No. 1" appears on my skin, without being too loud, spacious, sophisticated.
Tuberose, carnation and ylang-ylang give the fragrance its distinctly feminine, adult character, but here they are so finely adjusted that no room is flooded.
A little wood provides support and stability, a drop of resin depth.
Thus the "No.1", moderately dosed, qualifies as a scent of the day, even though it should unfold its full potential only in the evening, when the occasion is finer, the clothes more elegant.
As an extension of the current fashion of Uli Schneider I would not see the "No. 1" on the other hand - but she lacks hipper coolness.
I have no idea who wore the No. 1, who might still wear it.
Here nobody seems to own it, nobody seems to know it - and also I will not wear it, not beyond the test.
Maybe because I don't live on the Elbe, not even directly on the Rhine.
Because I don't belong to the clientele for whom Mrs Schneider sews her clothes.
And that's okay.
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