|Poster designed by Bruno Fazzolari|
Knowing the perfumer is also a painter, I suspect he composed them both completely in his own mind first, conceptually, and then worked with the qualities of certain perfume materials to heighten effects by using intensities and contrasts within the perfume materials.
As with color, scent can show how an intense/condensed form can morph entirely, transformed into something more sheer and open, moving on in time and evaporation, as color moves from opaque and dark into translucent or transparent tints and shades. I know the perfumer also works with his own synaesthesia, that experience of two or more senses joining together.
Such contrasts work psychologically too, both in color and in scent, as we all have strong associations with both color and scents. For example a bright solid red that dilutes into a soft pink, or a heavy rose diluted into an almost invisible presence, that acts to join and hold the balance between top and base notes, moderating their presence and mood.
Seyrig opens powerfully with a short burst of citrus and creamy soapiness, that lasts less than a couple of minutes, and then turns into a more classical perfume with cool greens and rosy musk infused with aldehydes, toned by woods. The predominantly chemical feel of the opening high notes gives way to a more lyrical, naturalistically styled floral mood.
The theme is an abstract rendition of the syringa, aka lilac, which doesn't lend itself to scent extraction. Here it has been created from accords, as a heightened fantasy version of lilac's fresh qualities, taking off from a beginning of creamy citric soapiness into an invigorating and sparkling tone of early Spring. Notes are listed as Aldehydes, Red Mandarin, Rose de Mai Absolute,Ylang Ylang Absolute, Syringa Accord, Muguet Accord, Oakmoss, Musk and Radical Chic (of course).
|Image by Bruno Fazzolari|
Perhaps this implies the fragrant spirit that remains after the hotel room has been cleaned between many different incidents, personalities, events, passing through, both good and bad. There is an coolness, even a pine scent cleanliness to the opening of this perfume, which like Seyrig, then transforms itself, moving into a softly polished fougere-musk spirit.
There's an impish spirit of modern amoral spookiness, but also one of a fresh start and another chance, starting over, or in other words, a little hope. Maybe things will turn out differently this time? Notes are listed as Flea bane, West Indies Bay Leaf, Angelica, Oppoponax, Costus Root, Peculiar Florals, Vinyl Shower Curtain.
It's brave and experimental to use the opening of perfume to be so different than the main body of the experience, as most perfumes are made to 'sell' on the top notes, as those are the immediate impression on first encounter. It takes time to get what's happening with these two perfumes, and appreciate the dimension brought to the perfume's unfolding.
These perfumes show a sense of humor and are an intimate communication sent to the wearer from the perfumer. It's highly likely that only the wearer will experience those first few minutes of radical difference at the opening overtures on initial application. The rest of the day there remains a subtle tint of that opening, but the main body of the perfume will be something your public audience will find easy to love. But you will remember and recognize the initial scent message in the experience throughout the day.
Samples provided by the perfumer.
Please see the perfumer's site for more info on stockists and prices.
Copyright 2015 Lucy Raubertas, All Rights Reserved.
Above images from the Bruno Fazzolari website.