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10/16/2021
Intersport
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Intersport
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Maximum difference
... or so Fendi's letter to Jacques Cavallier could have sounded. Maximum difference to Fendi Uomo from 1988, the balmy, almost cinnamon-gourmand late-80s first work of the company, an Italo-Antaeus or Mediterranean Bel Ami, including ads campaign in front of Roman antiquity in Renaissance pose, part photographed by Lagerfeld.
And the difference could hardly have been greater. Cavallier, mentioned for some time only under the double name Cavallier-Belletrud, was involved in the 90s in a variety of most diverse as successful alley hit. Perhaps Fendi simply wanted an eau à la Issey. But Cavallier's result is one of the lightest, most sheer and green organza fabrics I've come across. Other fragrances, especially from the designer sector of the time, seem like the heaviest whale loden against it, Comme des Garçons Series 1: Leaves comes close to Theorema Uomo, a few of Guerlain's Allegorias too, later some of Ellenaschen's Hermessences, but the Fendi remains more conventional perfume than reduced-skilled staging of ingredients. Theorema is once perfumed cut meadow grass, or its industrialized counterpart, sans plastic note in a lightly aquatic mist of geranium, mint, vetiver, bergamot, nutmeg and cardamom. The oscillation is successful, the perfume seems artificial and interwoven enough not to hallucinate only impressionistic gardener's constructs; to make out the presumed notes is difficult if you would increase the potencies by a factor of ten, maybe you will end up near Geranium pour Monsieur's mint-geranium-musk trio at some point. Theorema remains synthetic and ultra-light. Werner Sobek writes "Designing in lightweight construction is the search for the lightest possible ... reduction to a minimum previously thought inconceivable ...". Theorema Uomo is not even minimal, in the sense that it focuses on a reduction of one, two, three ingredients, it seems it is a broad spray, diffuse, temporary, ephemeral, lightweight construction, but voluminous and yet in slimmed down 90s outfit. Outlines of a facade behind wisps of fog, somewhere in the Po plain, or in Milan's suburbs. Melancholic? Perhaps the Fendi was too much, too much a water past which sailed a whole armada of greenest ingredients and, thanks to sufficient osmosis an impressively volatile eau has emerged.
Theorema Uomo comes in light green liquid, it could not fit better, in a functional-looking bottle, reduced, if you think of Uomo's meticulous Terrazzo Gold Monstrance. Whether the fascinating name now also has something to do with Pasolini's 1968'er film of the same name, Teorema - without 'h' - is not yet clear to me, particularly beguiling Theorema is not. The more voluptuous ladies version of Theorema from 1998 or the Fendi's of the 80's perhaps had more to do with this bourgeoisie.
And the difference could hardly have been greater. Cavallier, mentioned for some time only under the double name Cavallier-Belletrud, was involved in the 90s in a variety of most diverse as successful alley hit. Perhaps Fendi simply wanted an eau à la Issey. But Cavallier's result is one of the lightest, most sheer and green organza fabrics I've come across. Other fragrances, especially from the designer sector of the time, seem like the heaviest whale loden against it, Comme des Garçons Series 1: Leaves comes close to Theorema Uomo, a few of Guerlain's Allegorias too, later some of Ellenaschen's Hermessences, but the Fendi remains more conventional perfume than reduced-skilled staging of ingredients. Theorema is once perfumed cut meadow grass, or its industrialized counterpart, sans plastic note in a lightly aquatic mist of geranium, mint, vetiver, bergamot, nutmeg and cardamom. The oscillation is successful, the perfume seems artificial and interwoven enough not to hallucinate only impressionistic gardener's constructs; to make out the presumed notes is difficult if you would increase the potencies by a factor of ten, maybe you will end up near Geranium pour Monsieur's mint-geranium-musk trio at some point. Theorema remains synthetic and ultra-light. Werner Sobek writes "Designing in lightweight construction is the search for the lightest possible ... reduction to a minimum previously thought inconceivable ...". Theorema Uomo is not even minimal, in the sense that it focuses on a reduction of one, two, three ingredients, it seems it is a broad spray, diffuse, temporary, ephemeral, lightweight construction, but voluminous and yet in slimmed down 90s outfit. Outlines of a facade behind wisps of fog, somewhere in the Po plain, or in Milan's suburbs. Melancholic? Perhaps the Fendi was too much, too much a water past which sailed a whole armada of greenest ingredients and, thanks to sufficient osmosis an impressively volatile eau has emerged.
Theorema Uomo comes in light green liquid, it could not fit better, in a functional-looking bottle, reduced, if you think of Uomo's meticulous Terrazzo Gold Monstrance. Whether the fascinating name now also has something to do with Pasolini's 1968'er film of the same name, Teorema - without 'h' - is not yet clear to me, particularly beguiling Theorema is not. The more voluptuous ladies version of Theorema from 1998 or the Fendi's of the 80's perhaps had more to do with this bourgeoisie.
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HugoMontez
