![]() At warmer temperatures, however, I perceive both more strongly. In addition to the balsamic, this has a slightly sweet quality, which Duchaufour has added as well as the mango in discreet form. For me, less frankincense than myrrh is also influential for the further course. ![]() How exactly Karo-Karounde should smell now, I don't know and there are different descriptions of them (warm, soft, fruity, sweet, indollic, animalistic), but Timbuktu has indeed a facet, which I can't classify exactly and could come from the African plant. Furthermore, a slightly exotic side is created by the mango, which is fortunately used subtly and rather as an unripe fruit. I think that this impression is achieved by the cardamom and the initially cool incense. Although the long-lasting foundation is formed by woody and balsamic notes, Timbuktu starts off fresh and ethereal - almost reminiscent of mint. This association may seem plausible to me, but when I smell Timbuktu, I think above all of the fact that Orient and Occident, nostalgia and modernity meet here. The source of inspiration for Bertrand Duchaufour's creation was the mixture of woods, roots, spices and resins, "Wusulan", which is widely used in West Africa as a perfume substitute in burnt form. But Timbuktu should not come to most people's minds much more than that the city is somewhere in the middle of nowhere - more precisely, in Mali, on the edge of the Sahara. Making a connection between the name of a perfume and its fragrance is usually a good way to start a commentary.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |