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The controlled temptation
As is so often the case with fragrances, it is the individual notes of a composition that are particularly striking and nevertheless suggest a certain similarity to already familiar ones. Whether it is actually this one component (note) or the interplay of several (chords) of the pyramid that can be held responsible for this is questionable or, better, not proven. How, when, by what and why subjective associations are evoked is, in my opinion, an extremely neuropsychological process, which proceeds differently from person to person and consequently cannot be explained with a standardized model.
So it does not remain out of the question that one ponders from time to time and even racks one's brains about where this or that impression has already been perceived before. Sometimes it comes to the realization. More often, however, this remains out.
Maybe it is a sensual paradox, but possibly just another (more or less) untrained nose, respectively an inexperienced olfactory consciousness.
Caught in this, as unsatisfactory perceived situation of being thrown open, this thought is perhaps a comforting one: the memory of a smell and the inability to assign it conscientiously and accurately arises from an evolutionary handout, which should help to be able to discover new things for life. So to speak, a genetic setting of the course, of a universally valid process of forgetting. This can be regarded as a truly life-sustaining institution, it is nothing less than the origin of continuous pleasure in everyday events.
This, or something similar, may be the introduction to a paper when the descriptive endeavor turns into an attempt at explanation to be rooted "far out" on a holistic level of abstraction.
The fact that MFK Amyris Homme (EdT) in my subjective perception is directly related to this, stems less from the agreement of the previously established and admittedly deliberately steeply formulated thesis, but rather from the fact that it has ultimately presented itself differently in the present case.
Whereas yesterday I was wholly caught up in affirming this thesis, today for the first time I am able to qualify it, though not entirely refute it. The ongoing examination of the fragrance dynamics allows me to establish the, initially believed hidden association, with a view to the temporal development in the drydown yet. This sets m.E. due to a rather moderate durability, quite quickly, albeit abruptly. Namely, exactly when the rather top-heavy, masculine freshness has evaporated and the soothing freshness and cleanliness radiating iris (iris) is felt to be receding. What comes next is the grandeur already announced in the title, and truly controlled-seductive ambivalence. The fragrance now appears a few shades darker, though not necessarily heavier. The entering, rounded sweetness of the tonka bean makes the appearance eerily shallow and harmonious. To me, the progression of MFK Amyris Homme towards the base reminds me, to some extent, of a prominent Italian designer that comes in a fitted, black glass bottle. In contrast, the performance in MFK appears much more sedate and subtle.
Ultimately, both are of course a rather unequal pair, since structure, pyramid and not least the target group associated with it - certainly also justifiable in terms of price - have some differences. What the one wants so badly, the other one shows off rather subtly. With a very fine, ensnaring and creamy, in parts vanilla-suggestive note, it strikes "towards the end" the quiet, but still more amicable tones. That is altogether round and pleasant.