Mona di Orio's Etoile de Hollande

This week, December 2 to 9 will be dedicated to Mona di Orio and her compositions, which I often wear not only because they're beautiful, but also because they remind me of her, a lovely young woman bursting with energy, and a special sensitivity allowing her to see things the others can't see (if I must define an "artist", in fact I'd say "someone who sense things invisible to others").
Yesterday and today I've been wearing Etoile de Hollande, a fragrance dominated by a note of Turkish rose, which reminded me of the red lipstick and gloves Mona was wearing the last time we spoke.

This fragrance features a surprising number of facets: although unquestionably a rose-dominated scent,  the woody facet (patchouli and cedarwood) stands out from the beginning, as well as a fruity hint (bergamot and white peach), a poudrèe one (heliotropine), a leathery facet (perhaps due to the accord benjoin/Peru balsam), which I think is responsible for the velvet-on-skin feeling and a liquorous note. In short, the fragrance is complex, with a warm and sensual touch I appreciated. It gave me the effect of a long scarf of crimson velvet, warm and soft to touch.

Among the fragrances of "Les Nombres d'Or" line, E.d.H. in my opinion is the one that most differs from the others. I do not know if Mona had finished composing it, before passing away, but ... I can detect an indeterminate feeling as an ending open to different possibilities. This feature in other fragrances would give the idea of ​​"unfinished", but not here.  Etoile de Hollande is a rich and multilayered scent, and being Mona's last composition it also has a "strong" story itself. The sense of vagueness pervading it, only provides a "breath" that would otherwise leak a bit and removes any excess of weight and "gravity".
Photo by Visoflora.