Since 2000, in the past 20 years, there has never been a perfume like Superstitious, using the grand aldehydes to wash your withered soul. This is an overwhelming victory for the classic perfume, although not comprehensive.
Understanding Superstitious requires an understanding of the old-fashioned perfumes which based on aldehydes, from Chanel No. 5, Jean Patou Joy, Estée Lauder White Linen to Lanvin Arpege. Aldehydes are abstract, florals are concrete, and abstraction is used to change the specifics to create a new taste of imagination. Jasmine is not jasmine, it is a white jasmine dream wrapped in aldehyde. Rose is not a rose. It is a rose residue stained with aldehyde. The peach screams in the aldehyde. All the plant elements are exaggerated and varied, like in the world of Picasso. On my body, the most prominent effect of Superstitious is jasmine and vetiver. The aldehyde-modified jasmine is like a chemical weapon. The dry vetiver is laid out underneath it. The ecstasy is an uninterrupted rebellion. It takes a long time for the rose to have a trace, not a vigorous rose carol, but a sharp rose blade, which is not as sharp as the old aldehyde flower rose, not so full, but enough to attract attention. On the whole, it takes a few hours to carefully distinguish its connotation. This is a very interesting olfactory game that everyone should try to figure out and learn.
It is extremely aggressive, and I used adjectives such as “Glorious Grand” to recommend it to several people. This kind of perfume is like a secret weapon. It should be worn under a rose-red dress. It is worthy of the word perfume, passing through the smoky and fascinating taste, showing you only a stubborn figure, never admitting. It is a woman’s grenade, a man’s bayonet, and ferocious love can make it soft, but never compromise,