I may be a bit behind on the Amouage-front, but I still cannot believe that the time has come (and now passed) for the house to launch their annual pair of fragrances. Last year’s duo, Fate Woman and Fate Man, were definitely a divisive pair, with some perfume lovers falling madly in love with the scents and others finding themselves not too impressed. My feelings were somewhere in the middle of this spectrum, seeing them as high quality outings, but perhaps not the most stimulating offerings from such a dynamic brand.
This year Amouage is launching Journey Woman and Journey Man, two perfumes inspired by “Shanghai deco, Chinese cinema and film noir” and for the first time, housed in striking two-tone bottles of rich red and gold. These new fragrances mark the end of the first cycle of the Amouage narrative and as much as they smell like Amouage fragrances, they don’t appear to be as noticeably bold as the perfumes that have proceeded them.
Journey Woman and Journey Man mark a change in the Amouage aesthetic, not only with the two-toned bottles, but also with their fragrant signatures, both of which are unusual takes on the house’s staple oriental opulence. With this new duo, Amouage moves forward into unchartered territory, speaking in the language of subtlety and scenting the air with an understated sense of panache.
I never know what to expect when a new Amouage lands on my doorstep. The entire output from the industry’s most luxurious of houses is complex, intricate and grand beyond much else found in perfume stores. This complexity means that they’re not always the easiest perfumes to pin down and I personally find that one has to spend a fair bit of time with an Amouage before they can truly say they know it.
Amouage’s latest edition to their experimental Library Collection, ‘Opus VIII‘, is no exception and much like the wickedly dangerous, galbanum-soaked leather jacket of Opus VII and the delectably intense, salty amber of Opus VI that have preceded it, this beguiling perfume created by perfumers Pierre Negrin and Richard Herpin in conjunction with Creative Director Christopher Chong, is perhaps the most labyrinthine composition to have ever exited Amouage’s doors.
A scary fact dawned on me this weekend – the fact that it is not long at all until my dear fiancée and I get married, 103 days in fact. And I mean properly hitched, thanks to our lovely politicians allowing for gay marriages to take place for the first time in the UK in 2014. It’s a brave and wonderful world that we’re leaving in and I hope that all around the world others will have the same opportunities that I am ever so fortunate to have.
Now I’m very excited for my pending nuptials of course, but there is a lot to organise and whilst Nigel and I are very much on top of things, the pressure definitely feels on to get things done in the little time that we have left. We’ve sorted the flowers, cake, venue, Butler & Wilson bling, favours and a whole host of other things – but there’s still a lot to do and I’m hoping not to turn into a Groomzilla anytime soon!
Of course, one of the most important decisions for me to make is what perfume to wear on the big day. I posted a little while back, pooling some of my ideas together for the big wedding scent hunt. So how far have I come now? Have I finally picked my wedding scent? Or am I just as clueless as I was when I first started this little journey? Well the answer is…
This week on Escentual I have revisited two fragrances that I reviewed a month or so ago – Fate Man and Fate Woman by Amouage. The latest duo from the famed Omani house have just launched over at Escentual and as usual are intriguing compositions full of surprise and mystery.
As usual, just click on the above image to head over to the Escentual Blog and read the review – it’ll be worth your time, I mention wizards and everything. You may also feel free to leave a comment either here or there, and I look forward to reading your thoughts.
I didn’t envy Amouage the task of topping their masculine & feminine duo from last year. Both Interlude Woman and Man were triumphs of perfumery, taking chaotic notes and throwing them together to create two challenging, yet wearable (and not to forget bloody gorgeous) fragrances.
This year’s duo – Fate Woman and Fate Man – certainly have big shoes to fill and it appears that Creative Director Christopher Chong has pulled out all of the stops to create two fragrances that are bold enough to mark the “end of the first cycle of the Amouage narrative” and leave one excited for exactly what wonders the beginning of the next cycle may entail.
Fate Woman (created by perfumer Dorothée Piot) and Fate Man (created by Karine Vinchon) “explores the uncertainty of the future and the universal principal by which the order of things is inescapably prescribed” and in their own, very distinct ways illicit polarising responses. They, as with many Amouage perfumes, are for those that adore excess and do not shy away from bold statements.
My lovely perfume sisters and brothers – Persolaise, Eyeliner on a Cat, Fragrant Moments and Olfactoria’s Travels – and I, have yet again clubbed together to bring you an olfactory group project. This time we’re focusing on the seven deadly sins and have cooked up our very best selections of the most sinful perfumes.
“A feeling of deep pleasure or satisfaction derived from one’s own achievements, the achievements of one’s close associates, or from qualities or possessions that are widely admired.”
The Oxford English Dictionary’s
Definition of ‘Pride’
When given the choice of picking a sin for my article I opted for ‘Pride’. The sin of pride focuses on self-adoration and vanity – taking pleasure and satisfaction from our own achievements, looks and attractive qualities. Pride intrigues me because I think it’s the sin that nearly everybody is guilty of at some time in their lives and it can be a key driver for us to continue to succeed in our professional and personal lives.
The perfumes I have picked for this article all display an element of pride – each in a slight different way. Whether it’s vanity, pride in artistry, the pride that precedes a fall or even a faceless pride, these perfumes are subtly sinful in a subversive and utterly compelling way
There should be a club for those that consider themselves as ‘Amouage Addicts’. We could all sit around discussing our adoration for the Omani house, pouring over our favourites and consoling each other over the fact that we’ll never be able to own them all. One matter that definitely would not be up for discussion however, is the idea of giving the house up any time soon. It’s simply not on the table.
We are truly helpless really, what with the annual masculine and feminine pairings. Not to mention special editions such as Beloved and the highly artistic and fascinating Library Collection. The truth is that we are mere lemmings for Amouage and we wouldn’t have it any other way.
This year’s addition to the Library Collection is Opus VII. Created by perfumers Pierre Negrin and Alberto Morillas it “arouses the juxtaposition of harmon with the intensity of reasoning between conflicting ideas and beliefs” . Much like the chaos of the Interlude duo from last year, Opus VII appears to take a slightly more abstract approach with its dark black flacon serving as a small hint for the wild ride that’s unleashed upon the very first spritz.