(Warhol at The Silver Factory by Ugo Mulas, Smithsonian Institution)
Pefumer Aurélien Guichard
Does anybody else see Bond No 9’s marketing as the same Creed’s but with a different fetish? Both rely on a symbolism of affluence and privilege. Bond relies on neighborhood chic. The brand deals the currency of privilege and exclusivity of NYC real estate in the same manner that Creed trades in lineage. Creed’s ancestor worship, prestige and mythology-as-history give the air of a quality that only the appearance of pedigree can grant. Both trade on the vanity of class.
I’m cynical about schtick, and Bond’s is ridiculous. But Andy Warhol Silver Factory is a sensational take on the incense/floral. The floral note centers on a beautifully high-pitched iris, and the incense is resinous, not at all smoky, and wonderfully sharp. This doesn’t smell like church and it doesn’t simply smell like olibanum oil. The shiny metallic note (silver, get it?) is the common link between the iris and the incense.
I find Andy Warhol Silver Factory different from the other incense perfumes of the mid-2000s, an era that gave us some gorgeous incenses. l’Artisan’s Timbuktu is a deconstruction/rebuild of incense with woods and fruit. Comme des Garcons Avignon and Heeley’s Cardinal riffed on the smoky church. Jubilation XXV emphasized frankincense’s voluptuousness. I find Andy Warhol Silver Factory closest in approach, though not outcome to CDG 2 Man. Each takes a particular aspect of incense, CDG’s smoke and flame, Factory’s metallic chill, and builds a portrait. Andy Warhol Silver Factory also smartly refers to a direct predecessor, taking Bond’s Chinatown’s cool resinous incense base as a leaping-off point. Which leads me to my ubiquitous fandom of Aurélien Guichard, author of both Chinatown & Andy Warhol Silver Factory. This guy makes some gorgeous perfumes.