Grossmith
Grossmith
234 votes
A unique visual signature based on accords, character, and seasonality
The bitter orange and bergamot strike with almost aggressive clarity—a zesty, slightly acerbic citric snap that feels more tea-like than fruited, immediately establishing the chypre's sophisticated backbone. Within moments, you sense something floral beginning to emerge beneath the citrus, suggesting depth rather than brightness.
The florals bloom into full complexity as the citrus fades, revealing that intricate iris-ylang-jasmine interplay in all its textured glory. The ylang ylang's creamy sweetness begins to anchor the composition, whilst the jasmine's dark, animalic character prevents any descent into feminine convention. The patchouli and sandalwood become perceptible now, grounding everything with woody, honeyed solidity.
What remains is a deeply woody-chypre skeleton, the florals reduced to aromatic memory rather than present fact. Oakmoss, cedarwood, and vetiver create an almost greyed-out, mineral aesthetic, warmed gently by tonka bean's vanilla undercurrent. The fragrance becomes increasingly intimate, hugging skin rather than projecting, transforming into a personal second skin.
Hasu-no-Hana arrives as a meditation on restraint—a fragrance that whispers rather than shouts, yet commands absolute attention. The bitter orange and bergamot opening cuts through with sharp, almost austere citric precision, immediately establishing a chypre framework that feels scholarly and deliberate. What follows is the beating heart of this composition: a triumvirate of iris, ylang ylang, and jasmine that creates an unusually textured floral accord. The iris brings powdery, almost iris-root intimacy; the ylang ylang contributes creamy, custard-like sweetness without tipping into gourmandise; and the jasmine adds dark, indolic richness that prevents the composition from ever becoming pretty or decorative.
The base is where Grossmith reveals its true character—this is fundamentally a woody-chypre dressed in floral clothing. Patchouli provides earthy substance, whilst oakmoss and cedarwood construct a skeletal framework of austere, almost greyed-out woods. Tonka bean and sandalwood soften this architectural severity with honeyed warmth, and vetiver adds a mineral, almost camphoraceous counterpoint. The result feels deeply cultured: a scent worn by someone who reads nineteenth-century literature, frequents antiquarian bookshops, and considers fragrance as intellectual pursuit rather than casual adornment.
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3.9/5 (111)