The Merchant Of Venice
The Merchant Of Venice
84 votes
A unique visual signature based on accords, character, and seasonality
The violet leaf and frankincense combination hits with unexpected sharpness—green, slightly herbal, with the woody incense providing ballast. Mandarin and apple blossom shimmer around the edges like watercolour bleeding into sketch, promising sweetness that the dominant green-spice accord deliberately suppresses.
Black pepper and clove crescendo with a gentle warmth, whilst white lily emerges with an almost clinical freshness that prevents any descent into sweetness. The fragrance settles into its true character here—firmly spiced, woody, and possessing a restrained florality that feels more like an accent than a statement.
Cedarwood becomes the primary voice, offering a soft, slightly smoky foundation, whilst leather and amber create a skin-scent warmth that lingers without projection. What remains is quietly masculine and contemplative—not a fragrance that demands attention, but one that rewards close proximity.
La Fenice pour Homme opens with a contradiction that immediately intrigues: violet leaf's green, almost peppery bite cutting through the warm resin of frankincense, whilst mandarin and apple blossom provide a deceptive hint of sweetness that never quite materialises into fruity comfort. This is a fragrance that refuses to be straightforward, sitting somewhere between the austerity of a Renaissance apothecary and the quiet confidence of a man who knows his own mind.
The composition is unmistakably spicy—black pepper and clove emerge with palpable warmth, whilst white lily adds an almost medicinal, slightly soapy counterpoint rather than lush florality. There's a deliberate tension here between the green-edged top notes and the increasingly warm spice, creating something that feels more intellectual than sensual. Cedarwood anchors the base with restraint, refusing to overwhelm, whilst leather and amber provide a gentle, skin-scent warmth that suggests expensive Italian leather rather than dramatic animalics.
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3.1/5 (225)