02/04/2019

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The would-be germs
This commentary is based on a whole collection of classically proven perfumes, a phalanx of selected modernists, a pronounced taste, strong opinions and, last but not least, a pair of "Grey Flannel" bottles.
What is noticeable - in contrast to unpopular modernists - is on the one hand the price, and on the other a will to design. "Grey Flannel" is wearable, pleases the outside world many times to always, and truly does not cost the world. But while here we say for 30Eus/100ml at least within the budget of the perfumer (certainly no longer the inventor, André Fromentin), this is no longer found in the mentioned modernists. Not even at ten to 20 times the price. They only want to imitate strong natural odours to give the impression of substantial value. They're not really perfumes anymore. The 'notes' stand next to each other, hardly forming chords, let alone a melody.
"Grey Flannel" dares a dissonant sound of violet leaf, certainly synthetic, which develops from a rather short and artificial, citric echo. It contrasts with a flowery middle section. In the aftertaste contrast continues against the mossy woody base.
In the comparison of two variants of the "Grey Flannel" a certain arbitrariness of the execution is to be noticed. The variants are different as far as the abundance is concerned. The earlier one is considerably more multi-faceted, the newer one rather cuttingly reduced. From this I deduce that even the older version lacks one or the other "twist" of an (unknown to me) original.
"But even in its current form "Grey Flannel" has the absolutely essential advantage of wanting to make something like a fragrance at all. To bring into the world something unlikely, astonishing, and only therefore worthwhile. It's become more than that: Fahrenheit also uses this chemically wrong smelling violet leaf to evoke the effect of something special (in the newer versions it's heavily truncated, by the way).
If one compares/fru "Grey Flannel" with other perfumes of our time, which also want to have a fresh effect, it wins through the means which are no longer in use today. It's just different because it's made of something else. And it dares a contrast, a stylistic device that lacks acceptance today. Despite all the clarity, it still looks friendly. Especially because it doesn't hit the spot. Like the Beatles: simply elegantly thought through, effective but open.
What is noticeable - in contrast to unpopular modernists - is on the one hand the price, and on the other a will to design. "Grey Flannel" is wearable, pleases the outside world many times to always, and truly does not cost the world. But while here we say for 30Eus/100ml at least within the budget of the perfumer (certainly no longer the inventor, André Fromentin), this is no longer found in the mentioned modernists. Not even at ten to 20 times the price. They only want to imitate strong natural odours to give the impression of substantial value. They're not really perfumes anymore. The 'notes' stand next to each other, hardly forming chords, let alone a melody.
"Grey Flannel" dares a dissonant sound of violet leaf, certainly synthetic, which develops from a rather short and artificial, citric echo. It contrasts with a flowery middle section. In the aftertaste contrast continues against the mossy woody base.
In the comparison of two variants of the "Grey Flannel" a certain arbitrariness of the execution is to be noticed. The variants are different as far as the abundance is concerned. The earlier one is considerably more multi-faceted, the newer one rather cuttingly reduced. From this I deduce that even the older version lacks one or the other "twist" of an (unknown to me) original.
"But even in its current form "Grey Flannel" has the absolutely essential advantage of wanting to make something like a fragrance at all. To bring into the world something unlikely, astonishing, and only therefore worthwhile. It's become more than that: Fahrenheit also uses this chemically wrong smelling violet leaf to evoke the effect of something special (in the newer versions it's heavily truncated, by the way).
If one compares/fru "Grey Flannel" with other perfumes of our time, which also want to have a fresh effect, it wins through the means which are no longer in use today. It's just different because it's made of something else. And it dares a contrast, a stylistic device that lacks acceptance today. Despite all the clarity, it still looks friendly. Especially because it doesn't hit the spot. Like the Beatles: simply elegantly thought through, effective but open.
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