Roaming the Dutch Meadows
It is big fun to discover the perfumes of a gifted newcomer who is unconcerned about the wonts of the perfume industry, and who follws his own path. Spyros Drosopoulos combines talent with individual taste, freedom of thought with personal style. It is good to get acquainted with perfumes that do not follow a well-known role model and instead leave the conventions behind.
Green-flowery fragrances have to be soft and tender and may be a little bit fresh. It is the area of pastel colours, and the pictures that these fragrances draw could come from Monet. That is the way in which we encounter the popular fragrance Tilleul by d'Orsay and others. Its tender butterfly wings can be consdidered the role model for the entire "blossom meadow" style.
But it is not impressionism that Spyros Drosopoulos finds his inspiration but Jan Vermeer van Delft who worked and lived in the 17th century. The genre paintings by this artist of the baroque era show the people in their environments, and in their times. They are impressive in a way that we can almost sense the scents and fragrances of the scenes shown.
With Melkmeisje - the milkmaid - the perfumer finds a conclusive alternative draft to the tenderness and fragility of the French linden blossom perfume. A Dutch melkmeisje knows what to do when the cow comes back from the range with bulging udders. She is not so pampered, she is a practical person, and she just shrugs when somebody becomes moony about the fragrance of tender lime blossoms.
The Netherlands in early summer - the perfumer gives us bright and sunny colours, and he may be just a bit too optimistic about the weather there. So what! Let's go on a bicyle trip with Melkmeisje, along meadows and fields on the excellent Dutch cycle tracks. And let us sense whatever fragrance will touch our nostrils!
These strong notes are simply fun. Besides lime blossom I smell traces of broom, blooming rape, yellow lupine and of course, grass. The interplay of flowers is opulent, there is a strange, somehow "fatty", almost resinous effect - just as if certain aldehyds are incorporated. This effect surprises me, and it sets Melkmeisje apart from the ordinary.
In fact, I find it difficult to distinguish singular notes. My attempts to give them a name rather refer to the style and the overall impression, and not so much to the actual presence of a specific note.
At least I can say that a slight honey note remains after everything else has faded.
But one thing has to be criticised: All Baruti perfumes are labelled as Extrait de Parfum. High longevity is what the customer expects from such a labelling - and this is something Melkmeisje really can't provide. The spectacular Dutch landscape fades away within three hours, and what is left is so close to the skin that you want to reapply. I have no problem with that: If a perfume is so well done as Melkmeisje one can accept a compromise. But that a rather high concentration of fragrance can nevertheless result in a rather fleeting experience does need to be explained.
We have assigned Melkmeisje as a ladies' fragrance, due to the naming. I would no longer support that. Melkmeisje rather includes a counter-concept to traditional feminity in perfumery - which would be associated with tender flower notes. Despite Jan Vermeer Melkmeisje must be seen as a contemporary fragrance since it points out an alternative way of presenting green-flowery notes in perfumes.