Top Notes 
Aldehydes
Bergamot
Fruity notes
Lemon
Violet
Heart Notes 
Coriander
Carnation
Honey
Iris
Jasmine
Ylang-ylang
Orchid
Rose
Base Notes 
Frankincense
Musk
Amber
Benzoin
Cedar
Sandalwood
Axiomatic
149 Reviews
Translated · Show original
Axiomatic
Top Review
45
Hanseatic Soap Bubbles
White. Straight lines. Black lettering. A bold definition of exclusive care. Smile, don’t laugh. Apparent emotionlessness. Deep experience of self. Principles of the Bauhaus in the fragrance composition. Form follows function. Light and shadow.
1981.
The audio CD is presented at the Berlin Radio Exhibition.
“Fade to Grey” by Visage has ushered in a new coldness in pop music.
On the runways, shoulder pads, Y-cuts, and straight lines have definitively broken with the previous decade.
A strange illness emerges.
Distinctive fashion signals are sent from Hamburg to the world.
Fragrance.
Play Vladimir Cosma’s piece “Gorodish” from the film Diva from 1981.
Prepare your senses.
Open the cap and bring the bottle opening to your nose. Don’t be deceived by the familiar aldehydes and dare to make skin contact with the liquid.
It will be a chypre, but don’t make hasty judgments.
The citrus notes are light and fleeting. Instead, a quiet violet greets you with a kiss from 1975. That will fade away.
No tears, please.
You have completed Phase N°1 of the journey. Congratulations.
A balmy honey takes the lead. Within it are ylang-ylang and a peculiar jasmine, whose hedione will activate brain areas and hormone regulation.
A very subtle, powdery iris root and a dry, herbaceous carnation will control any possible exalted emotional outbursts.
Receptors can’t detect any other flowers, but there is a light fresh note of coriander. It lifts and lightens the otherwise heavy flow.
Once again, you have mastered another stage. Phase N°2 has succeeded.
You are now confronted with the androgyny of the base.
A laic incense clears away false illusions. A clear mindset is necessary.
The cutting of old ties is gently eased with bittersweet benzoin. Sit back and relax.
Amber woods invite you to lie comfortably.
You owe the clean and caring overall impression to the musk. Oakmoss is not used here. Unusual, but skillfully done.
You have passed the fragrance journey; Phase N°3 is now completed. Stay tuned.
Phase N°4 will now bring together all overall impressions.
You will notice the difference between analog and digital. The bass of the base does not thump; the highs of the middle phase avoid any distortion. Well-balanced and harmonized. Very clear. No noise.
You will now experience your body, your feelings.
But you are solely responsible for that.
Two opposing sine curves will accompany you: Above, the dry flowers, the fresh-citrusy coriander, the slightly sweet honey. Below, the tamed incense, the slightly dark resins, the noble woods. The intersection points are cleanly tuned by the musk without interruption.
This final delicate phase will last a while longer.
Congratulations and enjoy the peace.
With this puristic fragrance jewel, a clear statement was made in the early 1980s.
Something was different from the familiar chypre fragrances of the 1970s. Here, a minimalist daring interpretation of the theme was presented for one of the most extensive exclusive care lines of the time in Germany. And it was far ahead of its time. A floral, bitter creation, defined by incense and woods, was opposed to the floral, sweet, and creamy preferences. Successfully!
The congenial delicate and subtle scent by Jacques Artarit was bottled in a successful flacon by Peter Schmidt. These clear lines, evoking white bathroom tiles, were a guarantee for a unique selling point. It was even showcased at the Museum of Modern Art in New York and the Museum of Applied Arts in Frankfurt/M.
If I were to list the various care products in the line, I would need several lines.
And all this high art has now vanished, ignored by market events at some point and removed from the assortment by a short-sighted and risk-averse management.
One thing cannot be taken from me: formative experiences in the cool 1980s.
When I hold the flacon (thankfully almost full) in my hand today, the events, the conversations, the maturation process come back.
This fragrance meant calm and inner reflection amidst the loud, attention-seeking compositions of the decade.
It often stood unspectacularly on the shelves, but that was exactly its strength. Shouting, filling the space, that was foreign to it. It cared, sometimes even provided comfort.
And for that, I am still grateful to its creators today.
There is a beautiful, quiet song from that time, very minimalist and expressive:
“The Dancer” by Ulla Meinecke.
Perhaps someone still has a few drops of Bath & Beauty left.
Perhaps a drivable car with a sound system is ready.
Perhaps the evening is calm, the streets empty.
Perhaps one needs this special hour of the setting sun, the gentle twilight.
Perhaps it is time to come to terms with oneself.
Then the song takes care of everything else.
“We both fly through the nights,
sailing through the day.
In the meantime, I am sure,
you know that I like you.
Now I sit next to you,
we drive through the wet city.
Come on, let’s empty your tank!
Until it has rained out.”
1981.
The audio CD is presented at the Berlin Radio Exhibition.
“Fade to Grey” by Visage has ushered in a new coldness in pop music.
On the runways, shoulder pads, Y-cuts, and straight lines have definitively broken with the previous decade.
A strange illness emerges.
Distinctive fashion signals are sent from Hamburg to the world.
Fragrance.
Play Vladimir Cosma’s piece “Gorodish” from the film Diva from 1981.
Prepare your senses.
Open the cap and bring the bottle opening to your nose. Don’t be deceived by the familiar aldehydes and dare to make skin contact with the liquid.
It will be a chypre, but don’t make hasty judgments.
The citrus notes are light and fleeting. Instead, a quiet violet greets you with a kiss from 1975. That will fade away.
No tears, please.
You have completed Phase N°1 of the journey. Congratulations.
A balmy honey takes the lead. Within it are ylang-ylang and a peculiar jasmine, whose hedione will activate brain areas and hormone regulation.
A very subtle, powdery iris root and a dry, herbaceous carnation will control any possible exalted emotional outbursts.
Receptors can’t detect any other flowers, but there is a light fresh note of coriander. It lifts and lightens the otherwise heavy flow.
Once again, you have mastered another stage. Phase N°2 has succeeded.
You are now confronted with the androgyny of the base.
A laic incense clears away false illusions. A clear mindset is necessary.
The cutting of old ties is gently eased with bittersweet benzoin. Sit back and relax.
Amber woods invite you to lie comfortably.
You owe the clean and caring overall impression to the musk. Oakmoss is not used here. Unusual, but skillfully done.
You have passed the fragrance journey; Phase N°3 is now completed. Stay tuned.
Phase N°4 will now bring together all overall impressions.
You will notice the difference between analog and digital. The bass of the base does not thump; the highs of the middle phase avoid any distortion. Well-balanced and harmonized. Very clear. No noise.
You will now experience your body, your feelings.
But you are solely responsible for that.
Two opposing sine curves will accompany you: Above, the dry flowers, the fresh-citrusy coriander, the slightly sweet honey. Below, the tamed incense, the slightly dark resins, the noble woods. The intersection points are cleanly tuned by the musk without interruption.
This final delicate phase will last a while longer.
Congratulations and enjoy the peace.
With this puristic fragrance jewel, a clear statement was made in the early 1980s.
Something was different from the familiar chypre fragrances of the 1970s. Here, a minimalist daring interpretation of the theme was presented for one of the most extensive exclusive care lines of the time in Germany. And it was far ahead of its time. A floral, bitter creation, defined by incense and woods, was opposed to the floral, sweet, and creamy preferences. Successfully!
The congenial delicate and subtle scent by Jacques Artarit was bottled in a successful flacon by Peter Schmidt. These clear lines, evoking white bathroom tiles, were a guarantee for a unique selling point. It was even showcased at the Museum of Modern Art in New York and the Museum of Applied Arts in Frankfurt/M.
If I were to list the various care products in the line, I would need several lines.
And all this high art has now vanished, ignored by market events at some point and removed from the assortment by a short-sighted and risk-averse management.
One thing cannot be taken from me: formative experiences in the cool 1980s.
When I hold the flacon (thankfully almost full) in my hand today, the events, the conversations, the maturation process come back.
This fragrance meant calm and inner reflection amidst the loud, attention-seeking compositions of the decade.
It often stood unspectacularly on the shelves, but that was exactly its strength. Shouting, filling the space, that was foreign to it. It cared, sometimes even provided comfort.
And for that, I am still grateful to its creators today.
There is a beautiful, quiet song from that time, very minimalist and expressive:
“The Dancer” by Ulla Meinecke.
Perhaps someone still has a few drops of Bath & Beauty left.
Perhaps a drivable car with a sound system is ready.
Perhaps the evening is calm, the streets empty.
Perhaps one needs this special hour of the setting sun, the gentle twilight.
Perhaps it is time to come to terms with oneself.
Then the song takes care of everything else.
“We both fly through the nights,
sailing through the day.
In the meantime, I am sure,
you know that I like you.
Now I sit next to you,
we drive through the wet city.
Come on, let’s empty your tank!
Until it has rained out.”
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