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05/19/2019
Meggi
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Meggi
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23
Late Courage or Seventh Breakthrough
While browsing the extensive oeuvre of Mr Morillas, I was astonished to discover that he had accompanied me incognito, so to speak, for years. For both the widely known 'M7' and the little-known 'Gai Mattiolo Uomo' come from his hand - both acquisitions from the pre-Parfumo period, without a deeper preoccupation with them, certainly not with the perfumer. Gai Mattiolo' was all at some point and the 'M7' fell victim to the orientation towards the niche. After all, MisterE inherited it. But it was good, at least proper stuff.
And now this is
Within minutes, a watery-soapy rose of the variety "Grandma's WC-Frisch-Helferlein", on the one hand, and on the other hand seductively old, experiences a sting as if of moldy mandarin. Later I think of a musty cleaning rag with a remnant of "The General - Rose Freshness" hanging in it. The fragrance drifts through an olfactory unpleasant morning in such a convulsive, accidentally fresh and dull way. A trenchant note of dark, polish-soaked wood gradually complements the previously mouldy stinging part. To grasp such things under "Oud" requires good will as well as a certain imagination on the part of the recipient. If both prerequisites are met, the approach may of course be comprehensible. Optionally perhaps consciously at the precious eagle wood fungus infestation product was saved, the fruit mould cousin gives it simply more favorably...
Only very slowly do balsamic-creamy-sweet parts penetrate into it and alleviate the greatest distress. The overall picture of the fragrance can now be more benevolently formulated for me as a "bitter lace bordered by floral creaminess and gently candied", although 'Rose Exaltante', smelling directly on the skin, continues to awaken mould associations in me.
That Muscenone and Exaltone are musk replicas, I willingly believe in the course of the afternoon. And their performance actually saves something. In combination with the stink from above, a mixture is created which seems to be composed of two kinds of musk: clean and...animalistic. Who'd have thought? Not overly animalistic, but at least. And without the overpowering greasiness that Lutens' 'Muscs Koublaï Khän' had given me. Light-coloured wood offers a somewhat suitable substructure towards the evening, while a remnant of the once very soapy watery rose now develops delicate sweet ambitions, thus also rising to unexpected form. The next morning I even think to catch a few scattered, basal resinous molecules: Labdanum, maybe? Rose exaltante as the seventh copy of Diors 'Oud Ispahan'?
Elsewhere I could possibly appreciate this late courage - which is to be understood strictly relative - more euphorically, but today I lack the adequate derivation for it throughout the day. Had the oud idea come across more conclusively in the front, the basal Schnick would have fitted better.
Conclusion: The backward-naya is a little milder. But the first hours are mean.
I thank Kovex for the rehearsal.
And now this is
Within minutes, a watery-soapy rose of the variety "Grandma's WC-Frisch-Helferlein", on the one hand, and on the other hand seductively old, experiences a sting as if of moldy mandarin. Later I think of a musty cleaning rag with a remnant of "The General - Rose Freshness" hanging in it. The fragrance drifts through an olfactory unpleasant morning in such a convulsive, accidentally fresh and dull way. A trenchant note of dark, polish-soaked wood gradually complements the previously mouldy stinging part. To grasp such things under "Oud" requires good will as well as a certain imagination on the part of the recipient. If both prerequisites are met, the approach may of course be comprehensible. Optionally perhaps consciously at the precious eagle wood fungus infestation product was saved, the fruit mould cousin gives it simply more favorably...
Only very slowly do balsamic-creamy-sweet parts penetrate into it and alleviate the greatest distress. The overall picture of the fragrance can now be more benevolently formulated for me as a "bitter lace bordered by floral creaminess and gently candied", although 'Rose Exaltante', smelling directly on the skin, continues to awaken mould associations in me.
That Muscenone and Exaltone are musk replicas, I willingly believe in the course of the afternoon. And their performance actually saves something. In combination with the stink from above, a mixture is created which seems to be composed of two kinds of musk: clean and...animalistic. Who'd have thought? Not overly animalistic, but at least. And without the overpowering greasiness that Lutens' 'Muscs Koublaï Khän' had given me. Light-coloured wood offers a somewhat suitable substructure towards the evening, while a remnant of the once very soapy watery rose now develops delicate sweet ambitions, thus also rising to unexpected form. The next morning I even think to catch a few scattered, basal resinous molecules: Labdanum, maybe? Rose exaltante as the seventh copy of Diors 'Oud Ispahan'?
Elsewhere I could possibly appreciate this late courage - which is to be understood strictly relative - more euphorically, but today I lack the adequate derivation for it throughout the day. Had the oud idea come across more conclusively in the front, the basal Schnick would have fitted better.
Conclusion: The backward-naya is a little milder. But the first hours are mean.
I thank Kovex for the rehearsal.
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