Baldessarini by Baldessarini, 2002

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baldessariniPerfumers Pierre Wargnye and Jean-Marc Chaillan

Disliking a linear fragrance is somehow worse than disliking a scent with a traditional top, middle and base. Where the three-tiered fragrance might surprise you and win you over, for a linear scent, the first sniff becomes the lasting impression. A linear fragrance must have notes that connect at various points in order to keep your interest. It allows for reconsideration from different perspectives. Here is where a good linear fragrance can hold its own against a known classic.

In Baldessarini, I found the saccharine-sweet note unpleasant, the nose equivalent of a high-pitched whistle. This note reinforces my feeling that a wearing an unpleasant linear fragrance is like listening to a singer who is consistently off pitch and never quite hits the key. In this case, the tone is always sharp. The cedar-like tobacco note has no connection to this sweet note, and so the two sit uneasily side by side for the duration of their mutually linear paths. A botanically derived material evolves over time. When it doesn’t, a ‘reference’ note must be used carefully. If it simulates tobacco, but is not tobacco, and the other components to the fragrance don’t enhance it, the nose may recoil, as mine did.

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