Robert Piguet Baghari, 2006

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(image Sophia Loren)

Perfumer Aurélien Guichard (Original 1950 formula by Francis Fabron)

Baghari is an exercise in high-impact soft focus. Though the notes have a glow to them that suggests a vaseline lens, the lushness also has an amped quality that makes the sofness just the outer edge of the trap.  By the time you notice that the wafting quality has entirely surrounded you, you’ve been sucker-punched and are down on the mat.

Even when you’re in the throws of Baghari, the power can surprise you. The notes just seem to float, not sting.  White florals, aldehydes, sweet resins, citrus fruit, musk, vanilla. It’s all velvet to the nose. Soft and luxurious rather than bold and dramatic. Instead of any of these bits becoming the lead note at a particular point in Baghari’s development, they move together to achieve this fragrance’s aim: to smolder. We talk about perfumes having shape or telling a story. Think of Baghari having an intent. This perfume is the tendency toward arousal in a bottle. No need to go further down a storyline here. It’s about a state.

Baghari balances contradictions easily: animalic yet powdery, candied yet bitter, heightened but subtle, delicate and direct. It suggests self-possession. It is the perfectly edited perfume. There’s no ornamentation and not a single rough edge. Baghari is designed and executed like the perfect little black dress. The cut is is flattering, the fit is perfect. No frill, no loose threads.

Baghari has a roundness similar to, but not as expansive as the lactonic quality of Gucci Rush. Rush comes at you. Baghari walks past you and you turn your head before you can think.


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