...then it must be one with whom one connects something in one way or another, preferably of course something positive through and through. But perhaps just a feeling, a memory, a weak shadow on the structure of one's own thoughts - far away in the background and beyond the tangible, but always close enough at the right time to point the finger at it to be able to name it. In this or a similar way I would describe Tom Ford's Grey Vetiver (EDP), someone would ask me to equate this fragrance with a feeling.
"Clean, somehow clean and clean."
Probably these would be the words of a tester who would have been offered a scent like Vetiver by Guerlain (but also from 1959 and thus exactly 50 years older than the scent described here) for comparison before or perhaps at the same time. Unlike most (mostly or mainly) vetiver-based fragrances, the perfumer Harry Frémont has used grapefruit and iris to create the famous trick of removing the "hardness", the "scratchiness" or, as many would say, the "mouffliness" from the sweet grass that originated in Asia Not that a classic like Guerlain's can be described as "musty", but in a time of synthetic and sweet scents, it is often precisely this characteristic that brands the scents as "old-school" or - and this is the real outrage - "old-man's scent" with too much vetiver. Harry Frémont, on the other hand, manages to bind the - yes, probably the tester is not wrong at all - cleanest variant of vetiver in this fragrance.
Seemingly teasing, the early morning walk through a path covered in fog away from the asphalted roads seems to be a teasing experience. The air seems to stand still and yet to have preserved the fine smell of the surrounding meadows and grasses in the tiny water droplets of the fog.
"Well, I can imagine him for the job! But otherwise...well..."
In fact and not without reason Grey Vetiver is advertised in the forums as well as in the corresponding videos on YouTube as a "clean man" and as an "office" scent and thus indirectly tries to bring to the man.
Just because all (or at least almost all) protruding splinters and edges have been taken from the leading vetiver, it doesn't seem to get to anyone. Nothing gets caught, nowhere seems a nose to be turned up or even a disparaging comment to be made. Vetiver scents on your own skin seem to be either loved or hated - in the air or on others, on the other hand, everyone seems to be able to at least come to terms with them.
But what about the orange blossom and the grapefruit? Nothing!, here should be the honest answer.
Although they are immediately and wonderfully harmoniously embedded in the fragrance every time they are sprayed again, their actual presence is only of very short duration. Already after a few minutes up to a quarter of an hour they clear the way for the herbs, the woods and the clarifying iris in combination with the nutmeg, which in turn seem to be only the trailblazers for the grass giving the name. Few commutes to and from work should be short enough (no post-spraying during the working day taken into account) to reduce the
To present the so wonderfully introductory fragrances to colleagues. Nevertheless, they should not be missing in any case, let alone ignored in the description of the fragrance. Only in common harmony with the vetiver do they leave this fragrance a story, a start and an end - no disdainful being. Those who experience the heart and top notes enjoy them, whereas the base notes at least give a hint of the past.
"Pretty unemotional and cool."
True. Grey Vetiver is definitely not a fragrance for the club, disco or similar venues! Not because he seems to lack the necessary strength and endurance for such races, no, but because he doesn't want to shine with his presence in such places anyway or show any other presence. Straight-lined and quite a bit undercooled, it does not seem to originate from this time on many days. A naive observer would probably not guess the right year - oh iwo, probably not even the right decade - if he had to fix this scent on a timeline without any other indication.
A fragrance that seems to originate from an era in which the suit, the Oxfords, Budapest and tie in the
most professions were not only good tone, but fixed guidelines, yes, clear instructions. A time in which an opinion was not immediately commented, tweeted or hashed - and not only because the
were not yet available according to technical possibilities. Grey Vetiver seems to come almost entirely from a quieter time, in which restraint, reserve and thoughtfulness were preferred to indignation, outcry and branding. An epoch with as many - albeit sometimes completely different - injustices and mistakes as today, but also with as many qualities that seem to fall victim to the ravages of time unnecessarily.
"Somehow I only smell it so briefly."
Either way, a tester could describe the fragrance because of its shelf life. And in no way would the tester be wrong. Grey Vetiver is one of those fragrances that doesn't seem to care much about impressing a large environment with its Sillage. Relatively quickly at arm's length, the fragrance nevertheless knows how to hold its own and can rightly continue to bear the name "Eau de Parfum". Even if your own nose doesn't seem to perceive him anymore because of the environment or oversaturation, he still sticks, knows how to please and gets a rare compliment even when you think you've already flown away the scent.
"But I think the bottle's pretty!"
Of course. The art deco style reduced to the absolute minimum, the milky glass with its grooved surface, the cool metal plate on the front and the almost lonely silver ring on the neck of the bottle - they all radiate with bravura what Grey Vetiver tries to be: an unagitated, reserved but by no means reserved scent that seems to have almost fallen out of time In a time in which the loud, the colourful, the excited and polarising seems to set the direction and we will miss some - only almost - past virtues, it should be completely lost to us.