Bois 1920
A unique visual signature based on accords, character, and seasonality
Sicilian lemon bursts with green, herbaceous bite—immediately reinforced by tarragon's savoury anise quality and cardamom's warm spice. The citrus feels almost peppery, stripped of sweetness, hitting the skin with mineraline sharpness rather than brightness.
Galbanum's metallic green emerges to challenge the lemon's fading brightness, whilst patchouli rises from beneath with earthy, tobacco-like density. Jasmine materialises as a slightly powdery, almost uncomfortable presence caught between competing forces, creating a tense, introverted middle passage where the fragrance seems to turn inward rather than radiate outward.
Oakmoss settles into its characteristic green-amber earthiness, joined by birch's papery austerity and amber's faint warmth, creating a muted, introspective base that clings closely to the skin. The fragrance becomes quieter, more intimate, fading to a barely-there whisper rather than a graceful farewell.
Come La Luna arrives as a deliberate contradiction: a chypre that refuses comfort, a citrus fragrance that doesn't brighten so much as complicate. Sicilian lemon opens with sharp, almost herbal precision, immediately shadowed by tarragon's anise-tinged whisper and cardamom's dusty warmth—there's nothing here of sunshine simplicity. Instead, you're presented with a lemon that tastes slightly medicinal, as though squeezed through dried herbs.
The composition's true character emerges in its heart, where Persian galbanum's green, almost petroleum-like plasticity wrestles with Indonesian patchouli's tobacco-leather earthiness. This isn't the fruity patchouli of mainstream fragrances; this is dense, slightly fermented soil. Jasmine attempts to soften the confrontation but finds itself caught between the galbanum's structural rigidity and the patchouli's stubborn richness. The result is oddly unsettling—a floral note that feels less like a reward and more like an uninvited guest at a rather tense dinner party.
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3.8/5 (130)