There are, of course, two great dangers to writing about fragrances in such a way that the reader's imagination becomes something like a clear impression of the fragrance, and both have their origin in the extraordinary difficulty of mastering the two great approaches to fragrances if one does not want to be overwhelmed by their siren chants in a literary way.
One access is now the one leading over the memory. It is no secret that in childhood and adolescence the world is generally perceived more holistically than in the following decades, when the seemingly unmotivated sighs (where do they come from and what is their exact reason?) that were unheard at a young age become more frequent. The sense of smell as on the one hand the most disordered, most difficult to grasp analytically and thus at the same time the least filtered of all senses through reason and comparison, plays a powerful role here, who wanted to deny it. So it's no wonder that not a few reviews - at least half of my own I count explicitly and without shame! - in the Summoning always the same more beautiful, the same more touching, but also more or less the same Super 8 movies: "Understand, I can't do otherwise. My father, his shaving mirror, my mother humming at the sink, the trips to the Taunus." Wonderful, but, if not formally mastered, basically self-talk (sometimes in front of graves).
It's a good thing I'm connecting Knize Ten to Nüscht. All blanco. But now I don't have in any way the scent historical wealth of experience and the essences library of our experts, such as the forum trickster Catch22 (I'm airing the hat!), which I hold in high esteem. I don't have much to objectify - and when I wrote: "Quite nice, but now without moss, something annoys me, 5 points" - that wouldn't work (yet).
Then on to failure on the second path, that of the imagination. I hope at least it won't be a self-published angel thriller.
The setting is clear to everyone who has worked his way through the other comments and statements: Vienna, inner city, early twentieth century. World cities? Paris, London, Vienna. Closing time. Fiaker; coffee house; kiss the hand; all somehow melancholic, somehow exhilarating: the fin de siècle has survived, albeit with damage; Mei, the Ensign is smart; Mr. Section Council, how is the state of health; the k.k.tobacco director convicts large amounts of Turkish and Virginias - modest prosperity etc. etc.
Does Knize Ten then get caught in all these anchor points as if by itself, without any great effort on the part of the imagination? Yes, it is. Unrestricted. The jamy strawberry or stone fruit note described by many is still the most difficult to locate in the top note. Please: What would Art Nouveau be without strawberries and apricots in green glass bowls? The leather comes back, somewhat worn. Worn coffee house upholstery (red!). Over it a slightly pointed aftershave note. Not specific, more generic. Privy Councillors were with the barber to celebrate the previously frozen assets successfully retrieved from England after the war. Among them roses (kiss the hand, Mrs. Section Councillor!, we already had that above) and then always this slightly burnt one. Well, coal stoves, a light, constant smell of fire in streets and courtyards. Homeliness without fat and onion smell - quite fine. Others have associated the smell of fire with plastic and the dawn of a new era. Thinkable and conclusive, but not for me. All this in noble disparity and yet at the same time in changing intensities. A fragrance like a social evening.
Is that still portable in 2018? How do you answer this question? What is always meant by this question, which somehow doesn't want to have a right salary for me? Food for the blog? I might. Until then, I don't know what the honored reader wants from a scent. If he wants to smell good (and didn't want to spit on himself while reading my scent impressions), he should buy it and wear it. Little helps a lot, 15ml do not cost the world and should last long.
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