12/15/2023
Axiomatic
22 Reviews
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Axiomatic
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47
Contradiction and rockrose
Sometimes such small miracles do happen in the world of fragrances.
Things long gone become accessible and tangible again.
It is with melancholy that one looks back on a lost fragrance era, which now only provides a few great exhibits.
The history of Jacomo is unusual.
It was Gérard Courtin, a French musician, who met James Kaplan, an American art lover, on a trip to New York in the 1960s after an accident and the subsequent loss of his piano playing skills. They became friends.
They both decided to open a boutique to sell luxury leather goods.
From then on, their brand was to be called Jacomo.
Yes for JAmes, Co for COurtin and Mo for a melodic ending.
From the 1970s onwards, they commissioned perfumers from Grasse to create very successful fragrances, which were to become the brand's main business.
Today, the brand's fragrances that are still sold are produced in Normandy.
Eau Cendrée, an ashen water, was Jacomo's first fragrance.
Despite its successful composition and outstanding flacon design - it was even exhibited at the Museum of Modern Art in New York - it was only granted a relatively brief appearance on the market.
Too bulky or even misunderstoodly innovative?
Hiss!
The decades have of course left their mark and affected my copy a little.
But since I have had this experience several times with fragrances that are too old, I learned to understand the components of the top note in their decay.
The hesperides in particular develop a bitter ester note, which fortunately fades quickly here and provides some insight.
In addition to the bergamot, I detect a very bright lavender note, slightly minty even.
And this leads me to the classification in the large family of fougère fragrances.
Before I continue describing the fragrance, I would like to point out that the spray head emits a nostalgic mist reminiscent of deodorant spray. If you press it once, you get a finely diluted portion of the liquid on your skin.
Of course, this gets a mega plus point from me!
So, now on with the fragrance progression.
Real ambergris is now allowed to provide a mineral freshness, here declared as algae.
And now, at the latest, it becomes clear just how great this composition is.
Because...
Just two years later, in 1972, a new fragrance based on Eau Cendrée would see the light of day, namely Drakkar Eau de Toilette. Mind you, the father of Drakkar Noir Eau de Toilette from 1982, which became a superstar.
It should also serve as a model for what I consider to be Davidoff's best fragrance, Davidoff Eau de Toilette from 1984. Here I agree with the assessment of Parfumo MarkCross1.
This Eau Cendrée, however, retains its contradictory uniqueness, it will make the cistus glow in all its components and extinguish it.
But for this it needs the extremely beautiful woods in the background, such as cedar and sandalwood.
It's wonderful how you can see the dried cistus flowers in the scorching heat! The interplay with the ambergris and lavender (here this hay-like coumarin) creates little sparks.
Anyone who has experienced the summer heat on the Mediterranean may know that the body suddenly feels a scorching white coolness, a contradiction full of magic.
When cultivated, the fragrance becomes ever greener. Oakmoss is so well integrated that it never suggests too clumsy a proximity to shaving foam. Well-groomed, yes, but in moderation.
And this is where it gets exciting. Juniper and allspice deepen the bass somewhat.
These almost black berries, with their animalistic, dusty character, have the ability to conjure up a targeted, full-bodied appeal.
They are supported by green pepper with a quite pleasant spiciness, never too sharp or overpowering.
Everything is in balance.
That's what I call sexy!
Later, the resins of cistus, labdanum, together with patchouli will offer this typical leather note of the 1970s.
A pleasing leather, well-groomed, nobly tanned, never too loud.
And yet powerful. As if the naked torso were clad only in a leather jacket, never concealing its physicality.
A little dance of two skins, human and animal at the same time.
Towards the end of the fragrance, you understand the name.
Having soaked up the passion of the hot sun, it's time to put out the fires and pass them on for the evening. The great art of eroticism!
The water turns ashen after the embers are extinguished and their steam fills the room with the power of fire one last time.
A blazing cedar, cedar rose leaves about to burn, all this is stopped and captured in time by the cool water.
Suddenly there it is, the cistus path to the beach.
However, the fragrance is not meant to be worn in summer, but in the cooler months of the year, warming us with its sunny memories.
Contradictions complement each other and result in harmony.
Just like the Danse Profane by Claude Debussy.
You meander through highs and lows, cool water and woody heat, to enjoy this beautiful harmony in the evening at the end.
And so the cistus dissolves the contrasts.
Things long gone become accessible and tangible again.
It is with melancholy that one looks back on a lost fragrance era, which now only provides a few great exhibits.
The history of Jacomo is unusual.
It was Gérard Courtin, a French musician, who met James Kaplan, an American art lover, on a trip to New York in the 1960s after an accident and the subsequent loss of his piano playing skills. They became friends.
They both decided to open a boutique to sell luxury leather goods.
From then on, their brand was to be called Jacomo.
Yes for JAmes, Co for COurtin and Mo for a melodic ending.
From the 1970s onwards, they commissioned perfumers from Grasse to create very successful fragrances, which were to become the brand's main business.
Today, the brand's fragrances that are still sold are produced in Normandy.
Eau Cendrée, an ashen water, was Jacomo's first fragrance.
Despite its successful composition and outstanding flacon design - it was even exhibited at the Museum of Modern Art in New York - it was only granted a relatively brief appearance on the market.
Too bulky or even misunderstoodly innovative?
Hiss!
The decades have of course left their mark and affected my copy a little.
But since I have had this experience several times with fragrances that are too old, I learned to understand the components of the top note in their decay.
The hesperides in particular develop a bitter ester note, which fortunately fades quickly here and provides some insight.
In addition to the bergamot, I detect a very bright lavender note, slightly minty even.
And this leads me to the classification in the large family of fougère fragrances.
Before I continue describing the fragrance, I would like to point out that the spray head emits a nostalgic mist reminiscent of deodorant spray. If you press it once, you get a finely diluted portion of the liquid on your skin.
Of course, this gets a mega plus point from me!
So, now on with the fragrance progression.
Real ambergris is now allowed to provide a mineral freshness, here declared as algae.
And now, at the latest, it becomes clear just how great this composition is.
Because...
Just two years later, in 1972, a new fragrance based on Eau Cendrée would see the light of day, namely Drakkar Eau de Toilette. Mind you, the father of Drakkar Noir Eau de Toilette from 1982, which became a superstar.
It should also serve as a model for what I consider to be Davidoff's best fragrance, Davidoff Eau de Toilette from 1984. Here I agree with the assessment of Parfumo MarkCross1.
This Eau Cendrée, however, retains its contradictory uniqueness, it will make the cistus glow in all its components and extinguish it.
But for this it needs the extremely beautiful woods in the background, such as cedar and sandalwood.
It's wonderful how you can see the dried cistus flowers in the scorching heat! The interplay with the ambergris and lavender (here this hay-like coumarin) creates little sparks.
Anyone who has experienced the summer heat on the Mediterranean may know that the body suddenly feels a scorching white coolness, a contradiction full of magic.
When cultivated, the fragrance becomes ever greener. Oakmoss is so well integrated that it never suggests too clumsy a proximity to shaving foam. Well-groomed, yes, but in moderation.
And this is where it gets exciting. Juniper and allspice deepen the bass somewhat.
These almost black berries, with their animalistic, dusty character, have the ability to conjure up a targeted, full-bodied appeal.
They are supported by green pepper with a quite pleasant spiciness, never too sharp or overpowering.
Everything is in balance.
That's what I call sexy!
Later, the resins of cistus, labdanum, together with patchouli will offer this typical leather note of the 1970s.
A pleasing leather, well-groomed, nobly tanned, never too loud.
And yet powerful. As if the naked torso were clad only in a leather jacket, never concealing its physicality.
A little dance of two skins, human and animal at the same time.
Towards the end of the fragrance, you understand the name.
Having soaked up the passion of the hot sun, it's time to put out the fires and pass them on for the evening. The great art of eroticism!
The water turns ashen after the embers are extinguished and their steam fills the room with the power of fire one last time.
A blazing cedar, cedar rose leaves about to burn, all this is stopped and captured in time by the cool water.
Suddenly there it is, the cistus path to the beach.
However, the fragrance is not meant to be worn in summer, but in the cooler months of the year, warming us with its sunny memories.
Contradictions complement each other and result in harmony.
Just like the Danse Profane by Claude Debussy.
You meander through highs and lows, cool water and woody heat, to enjoy this beautiful harmony in the evening at the end.
And so the cistus dissolves the contrasts.
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