One of the particularities about orris root, is that even better than other notes, expresses an almost infinite spectrum of facets; depending on how it is treated and what you choose to lay beside it, shows very different characteristics in each perfume: a royal nature (Iris Silver Mist by Serge Lutens), or intellectual and refined to the core (Hiris by Hermes) a sophisticate outdoor simplicity (Bel Respiro by Chanel), minimal and prone to ascetism (Iris Poudre by Frederic Malle, Iris Nazarena by Aedes de Venustas), opulent and feminine, vaguely retro (Attrape Coeur/Guet Apens by Guerlain) or, as in the beautiful N.19 by Chanel, an almost unfriendly and snobbish austerity.
The composer Michele Marin of Infragranti Parfumeur had worked very well in the compositions he created in recent years, for Gini and for Castello di Ama (beautiful candles, exceptional sprays) and so my expectations were nothing short of stellar.
Iris Mater has not disappointed, and even taught me some things.
Although orris is the star of this fragrance, it's not alone at the center of the stage. If your name is Chanel or Hermes you can certainly afford to buy large quantities and use it almost alone, with few other notes used solely to highlight the valuable lead vocal. But how do you do create a recognizably “orris fragrance” without going in a soliflore direction?
Making an intelligent use of all the rest.
If you pair it with a green, fresh bergamot, green violet leaves, osmanthus (feeling floral/fruity), damask rose, and finish with sandalwood and white musk, the composition will go in a green direction, spring, blooming fresh and bracing.
Wildflower meadows, young laughter, lightness, loose and relaxed elegance.
This scent explores a different direction from what has been done so far. I mean, there's plenty of florals with an orris note. But an orris surrounded by flowers, is not as easy to find. Iris Mater is a brave scent, trying to take a different, not obvious direction, although to do this it was necessary to sacrifice some orris and focus on the outline (a valuable one, given the presence of osmanthus and damask rose, both of which are worth a small fortune).
I recommend you go and try: bright and lively even on a young woman, is unusually playful and tender on a man.
The scent is gentle and not at all intrusive, the duration of skin is acceptable thanks to the presence of the providential white musk, which in addition to supporting the powdery side of the scent "stretches" it also a bit.
Visit the website of the Castello di Ama (here) to find all the information about this scent and the reasons behind its evocative name ...