Rebecca movie still and Masque Milano L’Atessa drawing, collage by Nicoleta

 “Last night I dreamt I went to Manderley again.”- Daphne du Maurier, Rebecca

The first time I went in, knowing it will be a ride on the iris carousel, I was all defensive and tensed, as iris – although so beautiful and multifaceted – had this “old world”- “old money” type of elegance that often leaves me feeling like a debutante at the ball, nervously laughing, trying to fit in.

The grand staircase at Manderley, Rebecca movie still 1940

Oh, but how exquisite is this ball we are invited to! L’Atessa rolls the opening credits and we pass the iron gate leading into the drive. A gust of wind ruffles the bushes, swooshing up a lemony vegetal fresh smell with a bit bitter, a bit salty after-taste, just like this autumn air with the promise of the ocean nearby. We enter the majestic hallway, passing the large flower arrangements that frame the entrance, smiling to the other guests that are gathered in small circles, engaged in the ritual of pointing out the obvious bad weather and the latest exotic vacations they went on. You pass them by, leaving behind the foreign sweet – flowery smell of their bronzed skin and unnerving sound of smile-uncovered-teeth hitting the champagne glasses.

 Joan Fontaine, Rebecca movie (directed by Alfred Hitchcock) 1940

You caress with your fingertips the old, wooden rail staircase, as you climb. Time has carved texture into the small crevices in the wood, in a long-forgotten-braille language, unveiling the tales of all the hands that have touched it, climbing up and down, further down into time. Arriving in the west wing, you approach the door of the main bedroom, the one overlooking the sea and you catch your breath for a second, in preparation. With eyes closed, you stay in the doorway and imagine her, in all the painstakingly detailed filigree of emotions. The sound of the brush, passing through her long black hair, the bitter cloud of powder, dusted on her ivory shoulders, her fingers, freed from the leather riding gloves, nervously searching in the drawer for that perfect shade of red lipstick, to finish up her look.

“If only there could be an invention that bottled up a memory, like scent. And it never faded, and it never got stale. And then, when one wanted it, the bottle could be uncorked, and it would be like living the moment all over again.” Daphne du Maurier, Rebecca book excerpt

Masque Milano L’Attesa was the perfume that finally made me understand and love iris, with all the emotional baggage, nostalgia, ghosts, and faux memories it drags along.

Still from Hitchcock Rebecca

I went in, the first time, fearing a thin-lipped-poised and icy cold Mrs. Danvers and got seduced by a perfume based around a flower I can safely say “I’m dying over” (again and again and again, all 9 lives included).

*Also read The Silver Fox’s in-depth review and find out more about three facets of iris used in Masque Milano L’Attesa, an Italian iris absolute, Italian iris root butter and French iris root butter: here

**For stories and secrets “behind the bottle” and  insights into Masque Milano’s  Creative Directors Alessandro Brun and  Riccardo Tadeschi read more here.

Masque Milano L’Atessa and William Curtis illustration collage by Nicoleta

Masque Milano L’Attesa was created in 2016, composed by Luca Maffei.

Head Notes: Italian Bergamot, Moroccan Neroli, Champagne accord;Heart Notes: Italian Iris abs., Italian Iris Root Butter, French Iris Root Butter, Tuberose abs., Ylang Ylang Madagascar; Base Notes: Sandalwood Mysore, Oakmoss, Leather accord

Nicoleta Tomsa, Editor

Disclosure: My sample, opinions are my own

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