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06/30/2021
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Œil, Œillères
Authors perfumery as a subject for olfactory amateur forensics. If this is, as in the case of the despite almost 20 years of existence, such a compact, manageable and especially also diversified work as that of Marc Antoine Corticchiato, so much the better. The perfumer, who up to now has kept himself sympathetically restrained as far as the number of releases is concerned (many put out as many in a year as he does within a decade), is therefore already ideally suited for such boldness.
Traces, tracks, processual thinking, at least speculatively pick up. The visible or noticeable this process, connections from one to the next or even temporally again times in the opposite direction. To stay with the proverbial author of this perfumery, also deciphering handwriting and codes. In-house, at Parfum d'Empire once the citrus-chypre base led from Tokyo to Azemour, a spirit note connects more recent releases, and also Œillères, developed by Corticchiato for the photographer Roberto Greco (who has often staged perfume bottles for glossy magazines and websites), opens a round of internal and more extensive references.
Œillères, can be considered an evolution of the hay note that was already central to Tabac Tabou (2015). The daffodils are now completely faded, the immortelle and tobacco leaf crumbs pulverized by the heat, the honey - which I see as a refinement of the nectar base from Désarmant (2013) - is reduced to a crystalline something. This decay, or rather composting, and ephemerality is what Œillères is supposed to be about, despite all the virile whirliness in details, now leaves prominent space for the hay absolute, framed in a host of Corticchiato's ingredients: Chamomile, lavender, cumin and especially styrax are present, sometimes discreetly perceptible and sometimes cleverly interwoven. Small mushrooms only briefly bring to mind Oriza's insane Chypre Mousse - which is not too far away in spirit. Fitting in this context, exotic things like broom, lime and heliotropin contribute their part, and add up to a superb atmosphere in the heat of bygone days, weeks or even more becomes perceptible.
With this multi-dimensional drydown: Œillères is more classic perfume than it initially lets on, especially in the drydown. Comme des Garçons wonderfully dry-bulky Tea (2000) from the Leaves series is close to Œillères. In an interview on the French Nez site, Greco mentions, in addition to descriptor consensus, perfumes he put up for discussion during development: Grey Flannel, Kouros, Cuir Mauresque, Knize 10: as a whole this makes sense, and although Œillères resembles none of these at first, in such a context I would have rather suggested one of Eduard Fléchier's Italian commissions. Not Etro's Gomma (1989), arguably the most herbaceous, Mediterranean and playful interpretation of the Knize leather note, but Vendetta pour Homme (1991), Fléchier's distinct Styrax / Benzoin composition for Valentino. Œillères' swathes of styrax, dry cumin, herbs and grasses are not far away. As with the work for La Parfumerie Moderne, Œillères is another candidate for Corticchiato's more perfume-heavy projects - the more experimental stuff is currently appearing in-house at d'Empire. And, sticking with olfactory forensics - the distinct cumin/benzoin combination was spun on almost simultaneously by Lutens/Sheldrake with L'Innomnable (2019), albeit succulently more opulent. Less arte povera. The question remains open for now - was there a new Cumin distillate in 2017/18, or a coincidence that, with the conifer resin consensus from Wazamba and Fille en Anguilles tested before in 2009?
Despite all the initial vehemence, Œillères quiets down surprisingly quickly, with less persistence than the opening suggests. On fabric (wool sweater, 2 ply) let the remains the next day an almost holographic abstraction of the aforementioned leather / Styrax Duefte earlier days arise, and could so also be suitable for Derby players, Bel Ami Cocktail Afficinados or Cuir Ottoman / X fetishists. And finally to be concrete, as Bloodxclat aptly suggested, hervorranged at high temperatures.
Traces, tracks, processual thinking, at least speculatively pick up. The visible or noticeable this process, connections from one to the next or even temporally again times in the opposite direction. To stay with the proverbial author of this perfumery, also deciphering handwriting and codes. In-house, at Parfum d'Empire once the citrus-chypre base led from Tokyo to Azemour, a spirit note connects more recent releases, and also Œillères, developed by Corticchiato for the photographer Roberto Greco (who has often staged perfume bottles for glossy magazines and websites), opens a round of internal and more extensive references.
Œillères, can be considered an evolution of the hay note that was already central to Tabac Tabou (2015). The daffodils are now completely faded, the immortelle and tobacco leaf crumbs pulverized by the heat, the honey - which I see as a refinement of the nectar base from Désarmant (2013) - is reduced to a crystalline something. This decay, or rather composting, and ephemerality is what Œillères is supposed to be about, despite all the virile whirliness in details, now leaves prominent space for the hay absolute, framed in a host of Corticchiato's ingredients: Chamomile, lavender, cumin and especially styrax are present, sometimes discreetly perceptible and sometimes cleverly interwoven. Small mushrooms only briefly bring to mind Oriza's insane Chypre Mousse - which is not too far away in spirit. Fitting in this context, exotic things like broom, lime and heliotropin contribute their part, and add up to a superb atmosphere in the heat of bygone days, weeks or even more becomes perceptible.
With this multi-dimensional drydown: Œillères is more classic perfume than it initially lets on, especially in the drydown. Comme des Garçons wonderfully dry-bulky Tea (2000) from the Leaves series is close to Œillères. In an interview on the French Nez site, Greco mentions, in addition to descriptor consensus, perfumes he put up for discussion during development: Grey Flannel, Kouros, Cuir Mauresque, Knize 10: as a whole this makes sense, and although Œillères resembles none of these at first, in such a context I would have rather suggested one of Eduard Fléchier's Italian commissions. Not Etro's Gomma (1989), arguably the most herbaceous, Mediterranean and playful interpretation of the Knize leather note, but Vendetta pour Homme (1991), Fléchier's distinct Styrax / Benzoin composition for Valentino. Œillères' swathes of styrax, dry cumin, herbs and grasses are not far away. As with the work for La Parfumerie Moderne, Œillères is another candidate for Corticchiato's more perfume-heavy projects - the more experimental stuff is currently appearing in-house at d'Empire. And, sticking with olfactory forensics - the distinct cumin/benzoin combination was spun on almost simultaneously by Lutens/Sheldrake with L'Innomnable (2019), albeit succulently more opulent. Less arte povera. The question remains open for now - was there a new Cumin distillate in 2017/18, or a coincidence that, with the conifer resin consensus from Wazamba and Fille en Anguilles tested before in 2009?
Despite all the initial vehemence, Œillères quiets down surprisingly quickly, with less persistence than the opening suggests. On fabric (wool sweater, 2 ply) let the remains the next day an almost holographic abstraction of the aforementioned leather / Styrax Duefte earlier days arise, and could so also be suitable for Derby players, Bel Ami Cocktail Afficinados or Cuir Ottoman / X fetishists. And finally to be concrete, as Bloodxclat aptly suggested, hervorranged at high temperatures.
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