Friday, 10 June 2016

Persolaise Review: Myths Woman (Nathalie Lorson) & Myths Man (Karine Vinchon, Dorothée Piot & Daniel Visentin) from Amouage (2016)

The soundbites
Myths Man
If it were a colour, it would be: metallic grey
If it were a piece of music, it would be: Holst's Mars
If it were a texture, it would be: baked carbon 

Myths Woman
If it were a colour, it would be: livid green, with facets of earthy brown
If it were a piece of clothing, it would be: a long, high-collared cape
If it were a texture, it would be: parchment

The review
As long as Christopher Chong remains at the helm of its output, I think I will continue to say that Amouage and I don't always see eye to eye. Please note: I mean this to be the highest of compliments. I have nothing but respect for the boldness which the Creative Director instills into his range, and if it sometimes results in work which delves too deeply into unpalatable, weirdo-chem territory, then that's a price I'm happy to pay. Because every now and then, Chong gives us something which achieves that fragile balance between the bizarre and the beautiful. Something like the new Myths duo.

Granted, Myths Man (composed by Karine Vinchon, Dorothée Piot and Daniel Visentin) opens like another one of Chong's more standoffish efforts. Petrol, coffee, woods and acid florals clash like antagonistic in-laws at a grandchild's birthday party. But when the anger settles, a sweep of epic romanticism takes over. Sun-battered earth. Thundering seas. Razor-edged grass. Billowing smoke, whose smell lies somewhere between ash, snuffed candles and charcoal. It's all rather... well, dare I say it... mythical. The drydown may be a teeny bit too 80s, but never mind: what it lacks in originality, it makes up for in scale and grandeur.

In some senses, Myths Woman (Nathalie Lorson) is even braver. Here, the concept of the mythic appears to turn its attention towards death. A courageous opening - galbanum as dry as silk flowers and greener than a Van Gogh pasture - heralds the arrival of gaunt chrysanthemums and skin-and-bone cedar. It's all super-parched and super-haughty, like the face of a marble goddess, ravaged by centuries of desert sand. Then there's the civet note: funky, musky and, crucially, half-way between life and limbo. It adds a perplexing, commendable twist to the whole and makes it one of the most fascinating - and yet wholly wearable - pieces we've had from Chong for years. Long may these particular myths run.

[Reviews based on samples of eau de parfum provided by Amouage in 2016.]



  1. " the face of a marble goddess, ravaged by centuries of desert sand." Such a beautiful description!

    1. Thank you. It's very kind of you to take the time to say that. I've been thinking about the British Museum a lot lately, so maybe my subconscious was stuck on classical imagery :-)

  2. I smelled Myths man today and found it interesting with a weird Lapsang Souchong note. I already own Gold which I've worn for years and love. I think I need to try this one on skin but I've got over 60 fragrances and I really have to stop at some point.

    1. Greek Mike, I know what you mean. Those of us with... ahem... healthy perfume wardrobes need to think twice before buying any more bottles. Mind you, it's a nice problem to have.

  3. The majority of the reviews so far find Myths Man to be unpleasant. I'm glad to see that your opinion is more similar to mine own. After 10 minutes of disturbing whirling of notes, it settles down to a highly wearable, comfortable, even cozy scent - no Amouage in the past several years has come up with.

    1. Sandor, thanks for your comment. Yes, I found Myths Man to be totally wearable. And I love its 'crazy' opening.

  4. Myths woman is stunning - it's an intelligent scent that moves in both complex and subtle ways. It's leather, and hay, and dew, and flowers at their most redolent.

    1. Wow! High praise indeed. I'm pleased you like it.


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