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DasguteLeben
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12
[vintage] Separates the Men from the Boys
...was the slogan for Baldessarini, among other things decorated with the iconic face of Charles Schumann. Tiffany for Men, however, is really true, but not simply in a hierarchical sense, for the purpose of promoting a men's fragrance as an olfactory indicator of silverback status in the Horde, but culturally sociologically: as an indicator of belonging to a particular generation of perfumers (and of course there are overlaps between the two fields). To say it, it is completely understandable when a forty-year-old never even gets beyond Tiffany's prelude, but screamingly goes to the next shower and spends the weekend underneath with the root brush to wash away the trauma after a combination of the always blazer-wearing grandfather and the overpowering kissing great-aunt to smell. The powdery, soapy intensity of this top note from another era is as exhausting as the semolina brew wall, through which you first have to eat your way to the land of milk and honey. If an Axe body spray ever tried to smell "sophisticated", that's about what it would do.
Once one has overcome this 15-30 minute phase, however, one arrives in a paradise of classical perfumery art. The powder remains, but recedes, because now spice, wood and oriental sweet notes unfold: cloves, sandalwood, amber notes, tonka. The parallels to fragrances like Creed's Bois du Portugal or even more New York by de Nicolai are obvious and the latter also gives a keyword again: that's what conservative men of the East Coast upper class smell, wearing tailor-made suits or Ivy League styles, reading the Wall Street Journal, being lifelong Republicans and despising Donald Trump as a vulgar upstart (he never forgave them for not having been accepted into the New York elite club, so he's actually anti-establishment). In this phase Tiffany is comparatively calm and discreet, but still present. It works with the concept of a subtle olfactory aura, not with fast effects like the current Niche style; also methodologically conservative/classical. Artistic ambitions are also lacking here, this is dignified craftsmanship in which the artist recedes behind the function of the object. All this leads to the fact that Tiffany for Men on the one hand, in his entire attitude, seems to have fallen out of time like the last representative of paternalistic capitalism, Mr. Grupp von Trigema, in the era of the digital economy. Funnily enough (like Mr. Grupp's approach) it still works quite well: Mr. Tiffany's reserved noblesse makes him much more adaptable than many of the overbooked perfume battleships of the '80s. What remains, however, is the scent for a certain type of man - who buys from Ladage & Oelke, who will always prefer the FAZ to the world, who wears his father's gold watch, and who would never have the idea of flying something called easyjet.
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