Paloma Picasso
Fifty millilitres is more than enough of a perfume this emphatic, which is the argument for Paloma Picasso Eau de Toilette 50ml over any larger bottle.
It starts out on aldehydes, soapy and slightly metallic, the signature of an era rather than a material anyone reaches for now. Coriander adds a dry spice, bergamot and lemon a sharp citrus edge, and neroli a clean floral brightness over the top. The first few minutes are bracing and a little stern. The flowers that follow are green rather than sweet. Hyacinth leads, and that is the unexpected part: it is sappy, cool and faintly rubbery, the smell of a bulb forced indoors in February. May rose is soft behind it, lily of the valley adds a soapy clarity, jasmine a creamier weight, and mimosa a dusting of powder over the lot.
Oakmoss, civet, vetiver, musk, sandalwood and amber make a base that very few houses would sign off today. The oakmoss is bitter and damp, the civet unmistakably animal, the vetiver dry and rooty, and the warm materials underneath keep the whole thing from being purely austere. It is the half of the fragrance people either love or cannot wear at all. Released in 1984, in toilette strength it is a little lighter in the opening than the parfum concentrations but loses nothing of the drydown. Cold weather and evenings suit it, and two sprays will comfortably carry a long night out.
The designer has worked in jewellery since the 1970s, and in cosmetics, china and accessories alongside it. Perfume under her name is contracted out to a separate company, and this composition has anchored the range from the beginning.
Please note: images are a guide only. Packaging and bottle design may occasionally differ from those shown due to manufacturer updates or promotions.
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