Pablo Picasso was adept at using either melancholic blue hues or warm shades of red, orange, and earth to create masterpieces characteristic of his Blue and Rose Periods. Similarly, fragrances in styles that are as distinctly opposite as dark woods and pastel florals number amongst the œuvre of perfumer Olivia Giacobetti. Her virtuosity can be seen in both the spiced sandalwood of Idole (Lubin, 2005) or the sublime soliflore of Hiris (Hermès, 1999). And if I had to pick a spring time favourite, it would be this water-colour iris par excellence.
Despite its delicate character, Hiris is not simplistic. In fact, the composition is polished. It possesses the various facets that afford iris its inimitable complexity. Green and waxy notes in the beginning provide the vegetal impression of orris, which is reminiscent of raw carrots. This is contrasted by a spicy touch of coriander seeds. Then, a hint of orange blossom imparts the subtle floral nuance. These subtleties give Hiris its sophisticated bearing.
At the heart of it is an interplay between powdery and woody notes of iris. Violet overtones emphasise the powdery aspect, whilst cedarwood lends its subtle woody, powdery character. Such curious duality is what makes this raw material beautiful, and it is employed here as the centrepiece of the composition. Then, rounded by musky notes, the combination of powder and woods also acquires a soft, hazy signature.
The sum is a composition that offers a vibrant contrast even with its soothing pastel shade. Her unique treatment of iris is the reason why I find the composition intriguing. And though its diaphanous character may be intended for the wearer’s admiration, it is surprisingly persistent. Having said that, if you have an appreciation for such a style, you will find her other water-colour works just as beautiful an offering. And in the case of Hiris, it is a great example of how a light composition can have yet a strong character.