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An Olfactory All Hallows' Eve
Why are we often strongly attracted to morbid themes? They contradict everything that life could sweeten for us and offer in terms of beauty. Right now, around Halloween, many people are inspired by the fantastic creatures of the night (whether legend or pure fiction) and confront the supposed horror.
From a psychological perspective, this is a game with fear, which makes us all the more aware in confrontation of how beautiful it is to enjoy the comfort and security of our enlightened world every day.
The course of human history holds secrets that stem from the imprint of several cultures or eras. The origin of our current spooky fun "Halloween" goes back to the Irish "All Hallows' Eve."
On the night of October 31st to November 1st, Celtic customs unite with Christian beliefs in "All Hallows' Eve." Exact distinctions and derivations are hardly possible, but in everything, the primal fear of our own transience and the inevitable end of life resonates.
Scents can also consciously or unconsciously take up this theme. Amouage Interlude is such a perfume - one that creates more effect than one might have originally planned. Certainly, an oriental perfume was to be composed again, in which Opoponax was to play the main role. But imprints and associations create their own effect:
Freshly sprayed, the citrus top note flashes briefly, which can only momentarily prevent the plunge into the olfactory abyss. Quickly, a herbal note combines with the immediately showcased Opoponax.
Anyone who has ever had the scent of a corpse in their nose can confirm that it possesses an unbearably piercing, putrid, and moldy penetrance, which is, however, introduced by a sweet note that is hard to convey. The tree resin Opoponax has this sweet component of the corpse scent at its core. Only the subsequent feeling of disgust does not (thankfully) set in.
As is customary with Amouage, the main theme is artfully played around in the development of the scent. Frankincense, patchouli, and sandalwood shape the interplay of smoke, spice, and heavy sweetness.
Nevertheless, Interlude can never quite shed its morbid effect even in the base - where the woody patchouli and the sweet sandalwood dominate. The image of a wilting rose, which illustrates transience, fits very well here.
While such associations in everyday life are usually not well received (or even seem strange) by those around us, the heavy soul of the fragrance enchants the wearer in quiet moments and can indeed evoke a very strong fascination.
Despite or precisely because of its olfactory abysses, Interlude rightfully has a large fan base (which I count myself among). This may be due to the reasons described at the beginning, being able to encounter an olfactory "All Hallows' Eve" whenever a morbid contrast can once again clarify what life - in its unavoidable transience - offers us every day.
In this context, the name "Interlude" fits very well.
I would like to add a few final words about the excessive sillage and longevity. These do not fit the presented theme and jump out at everyone in the immediate vicinity. One should keep this in mind when making a purchase. One to a maximum of two sprays can last up to two days (if accidentally getting on clothing, even significantly longer). Whoever possesses 100 ml has enough for a lifetime. ;-)
From a psychological perspective, this is a game with fear, which makes us all the more aware in confrontation of how beautiful it is to enjoy the comfort and security of our enlightened world every day.
The course of human history holds secrets that stem from the imprint of several cultures or eras. The origin of our current spooky fun "Halloween" goes back to the Irish "All Hallows' Eve."
On the night of October 31st to November 1st, Celtic customs unite with Christian beliefs in "All Hallows' Eve." Exact distinctions and derivations are hardly possible, but in everything, the primal fear of our own transience and the inevitable end of life resonates.
Scents can also consciously or unconsciously take up this theme. Amouage Interlude is such a perfume - one that creates more effect than one might have originally planned. Certainly, an oriental perfume was to be composed again, in which Opoponax was to play the main role. But imprints and associations create their own effect:
Freshly sprayed, the citrus top note flashes briefly, which can only momentarily prevent the plunge into the olfactory abyss. Quickly, a herbal note combines with the immediately showcased Opoponax.
Anyone who has ever had the scent of a corpse in their nose can confirm that it possesses an unbearably piercing, putrid, and moldy penetrance, which is, however, introduced by a sweet note that is hard to convey. The tree resin Opoponax has this sweet component of the corpse scent at its core. Only the subsequent feeling of disgust does not (thankfully) set in.
As is customary with Amouage, the main theme is artfully played around in the development of the scent. Frankincense, patchouli, and sandalwood shape the interplay of smoke, spice, and heavy sweetness.
Nevertheless, Interlude can never quite shed its morbid effect even in the base - where the woody patchouli and the sweet sandalwood dominate. The image of a wilting rose, which illustrates transience, fits very well here.
While such associations in everyday life are usually not well received (or even seem strange) by those around us, the heavy soul of the fragrance enchants the wearer in quiet moments and can indeed evoke a very strong fascination.
Despite or precisely because of its olfactory abysses, Interlude rightfully has a large fan base (which I count myself among). This may be due to the reasons described at the beginning, being able to encounter an olfactory "All Hallows' Eve" whenever a morbid contrast can once again clarify what life - in its unavoidable transience - offers us every day.
In this context, the name "Interlude" fits very well.
I would like to add a few final words about the excessive sillage and longevity. These do not fit the presented theme and jump out at everyone in the immediate vicinity. One should keep this in mind when making a purchase. One to a maximum of two sprays can last up to two days (if accidentally getting on clothing, even significantly longer). Whoever possesses 100 ml has enough for a lifetime. ;-)
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Elementary and almost perfect.
I ride my racing bike along the Rhine. In the middle of the old harbour road, wild herbs push their way through the porous asphalt. The embankment is also overgrown with plants that exude the scent of essential oils. All around there is hectic activity. The workers of the malt factory are loading an anchored ship. Grains roll down a gutter onto the loading area. It is dusty and smells malty sweet. The sun warms the Rhine, which evaporates contrasting fresh accents. This is where the elements come together: sweet and dusty air, fresh and cool water vapour, herbaceous and flowery earth and dry and warm sunrays. I grasp the scenario with all my senses and I feel infinitely free and happy.
Amouage "Reflection Man" corresponds to this scenario. The top note is briefly dominated by pink pepper in combination with green rosemary. This emphasises the herbaceous nature. But very quickly a contrast of white flowers is added. The interplay of the mild pepper with the light orange blossom creates the illusion of cool water vapour. The base, with its powdery sweetness, slowly works its way into the centre of the fragrance. But woodsy patchouli and woody vetiver once again embody a facet of nature. The circle is complete. All contrasts create an extremely harmonious arc of tension. The overall impression is very light, open and dry. One can hardly speak of firm scent chords here, as the individual scents are constantly rearranging themselves.
Mazzolari "Hartley" and Bond No. 9 "Chinatown" go into a similar fragrance direction, but do not reach the perfection of Amouage "Reflection Man", because they have a strong to obtrusive sillage and thus emphasize and structure different chords in the fragrance individually. The freedom that Refelction offers is in my opinion a masterpiece. That this is at the expense of the Sillage should not be surprising.
Another disadvantage, besides the weak radiation of the fragrance, is the habituation effect that creeps in with the pleasing harmony. If I wear Reflection two days in a row, I hardly notice it anymore. This is because there is absolutely no scent that disturbs me. Nothing stands out noticeably and thus the scent is probably very quickly classified by the brain as harmless or harmless and completely faded out. With Hartley and Chinatown a slightly pungent scent (not unpleasant, rather something - in a positive sense - demanding) and a "thicker" base counteract the habituation effect in a sensible way. That's why Amouage "Reflection Man" does not represent an everyday scent for me, but remains in its harmonic perfection an ideal for special moments; and for some critics maybe just (as an analogy) a dream from which they try to wake up:
"Have you ever looked at her closely, marveled at how flawless and beautiful she is? Billions of people just live on and have no idea. Did you know that the first Matrix was planned as a perfect world where no human being had to suffer? An all-round happy life! It was a disaster. People didn't accept the program. Some of us don't think we have the right programming language to create a perfect world for you. But I believe that the human species defines its reality through sorrow and suffering. So the perfect world was just a dream your primitive brain was trying to wake up from." (quote from Agent Smith, from the film Matrix)
Amouage "Reflection Man" corresponds to this scenario. The top note is briefly dominated by pink pepper in combination with green rosemary. This emphasises the herbaceous nature. But very quickly a contrast of white flowers is added. The interplay of the mild pepper with the light orange blossom creates the illusion of cool water vapour. The base, with its powdery sweetness, slowly works its way into the centre of the fragrance. But woodsy patchouli and woody vetiver once again embody a facet of nature. The circle is complete. All contrasts create an extremely harmonious arc of tension. The overall impression is very light, open and dry. One can hardly speak of firm scent chords here, as the individual scents are constantly rearranging themselves.
Mazzolari "Hartley" and Bond No. 9 "Chinatown" go into a similar fragrance direction, but do not reach the perfection of Amouage "Reflection Man", because they have a strong to obtrusive sillage and thus emphasize and structure different chords in the fragrance individually. The freedom that Refelction offers is in my opinion a masterpiece. That this is at the expense of the Sillage should not be surprising.
Another disadvantage, besides the weak radiation of the fragrance, is the habituation effect that creeps in with the pleasing harmony. If I wear Reflection two days in a row, I hardly notice it anymore. This is because there is absolutely no scent that disturbs me. Nothing stands out noticeably and thus the scent is probably very quickly classified by the brain as harmless or harmless and completely faded out. With Hartley and Chinatown a slightly pungent scent (not unpleasant, rather something - in a positive sense - demanding) and a "thicker" base counteract the habituation effect in a sensible way. That's why Amouage "Reflection Man" does not represent an everyday scent for me, but remains in its harmonic perfection an ideal for special moments; and for some critics maybe just (as an analogy) a dream from which they try to wake up:
"Have you ever looked at her closely, marveled at how flawless and beautiful she is? Billions of people just live on and have no idea. Did you know that the first Matrix was planned as a perfect world where no human being had to suffer? An all-round happy life! It was a disaster. People didn't accept the program. Some of us don't think we have the right programming language to create a perfect world for you. But I believe that the human species defines its reality through sorrow and suffering. So the perfect world was just a dream your primitive brain was trying to wake up from." (quote from Agent Smith, from the film Matrix)
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