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Posted by Dain, Monday, January 14, 2008 6:40 AM (Eastern)
My knowledge of art history is rather limited to the West, but in any case, very few Serge Lutens could be said to reflect an Eastern aesthetic, in spite of the rather ostentatious funding by Shiseido. Each juice is a testament to the vanity of Serge Lutens, justifiably so (I rather agree with Ayn Rand that modesty is a waste, intended to amplify admiration), so at his best the oeuvre is more flamboyant than the minimal but nuanced work of The Great Wave off Kanagawa, by Hokusai:
There is a flat abstraction to Eastern art as a whole that is very different from the structural complexities of the West, which always seems to be in emulation of, or in opposition to, nature itself. Asian artists seem to live in a perpetual dream world, I might venture this about the writers as well, and ultimately there is less conflict between imagination and reality, because it is quite impossible to tell them apart. A work may be very still and pristine yet extremely bizarre. Many Western artists would claim to be dreamers as well, but I find that they usually mean that they are imaginatives who escape from reality, which is quite different. I make many generalizations, but perhaps the image above gives you a sense of what I mean.
Daim Blond is very quiet and graceful. Leather perfumes, as previously noted, are often seen as an exotic category, paired with spices: Robert Piguet Bandit, Chanel Cuir de Russie, and Caron Tabac Blond are all singular examples. But Serge Lutens explore a slightly different direction, a fine, pale suede... And it really smells like suede. This gives this leather perfume the soft, close-to-the-skin aura of a fine white musk. There is elegant iris, too, brightened by the fruity notes of apricot and the sweetness of heliotrope. Daim Blond is very singular and unusual, but its embrace is so quiet that it could never be viewed as aggression.
Labels: perfume reviews, serge lutens
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