The making of Tyger Tyger The title is the incipit of a masterpiece of poetry, The Tyger by William Blake. “Tyger Tyger, burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry?” In this composition I have been searching for the perfect balance between two opposite elements, and the expression of their clashing contraposition. I had in mind a Post-Apocalyptic condition, where traces of a highly sophisticated and refined civilisation survived in the dark and fearful condition of a collapsed and destructured world.Blake’s Tyger embodies both qualities I wanted to depict: sublime and irresistibly attractive from one side and terrible and scary from the other one. The ‘fearful symmetry’ – a character attributed to the tiger by W Blake – aptly represent this opposition of beautiful perfection and terror. The perfume is built around an accord of narcotic white flowers with sweet-fruity facets, which includes also an absolute of Tuberose – like a prima donna, the protagonist of a dramatic piece, she’s the finest example of a refined civilization of a bygone world; in opposition to that, the base notes present different kind of woods, with some burnt and leathery qualities, referring to a post-apocalyptic scenario of destruction, mystery and darkness. The result of these parts – which wouldn’t work individually – is a clashing, sparkling fragrance which gives me an exciting emotion of highly dramatic sophistication – the kind of contrasted sentiment that anything attractive arouses in me.
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