Lovers of the dry, woody, transparent style this scent helped launch will probably also love this fragrance too, but people not convinced by Jean-Claude Ellena or Nathalie Lorson’s efforts with Hermès and Lalique respectively may find more to chew on here with Timbuktu, since this is a far more complex fragrance than them. Timbuktu will never get the credit it deserves thanks to the low-exposure of L’Artisan Parfumeur as a house (zero advertising since inception in 1976), but this is the brand that invented “niche” as we know it, and they stick to their guns regardless of who owns them. All told this is the ur-example of the unofficial genre typically attributed to Hermès, doing something that nobody else at the time had thought of doing, then undoubtedly copied or at least inspiring the perfumers behind everything I’ve mentioned. Timbuktu was originally part of the Travel Collection, meant to evoke exotic locales in design, and released before Puig purchased the house then cheapened the packaging of the bottles to the plastic-capped black and white designs they currently use. In particular, a flower called karo karounde is used, which is similar to jasmine but with an almond-like facet, combining with the rest of a bright and dry aromatic accord that replicates the incense and papyrus smoke also found during the ritual. Created by journeyman niche perfumer Bertrand Duchaufour, the idea behind Timbuktu was to capture the spirit of the African fragrance ritual called “Wusulan” practiced by Mali women.
L ARTISAN PARFUMEUR TIMBUKTU ISO
L’Artisan Parfumeur Timbuktu (2004) would eventually become known by some as the origin of the species for fragrances like Terre d’Hermès (2006), Encre Noire by Lalique (2006), JB by Jack Black (2010), Patchouli by Murdock (2010), and others heavily based on the Iso E Super woody aromachemical.
0 kommentar(er)
