Stéphane Humbert Lucas
A unique visual signature based on accords, character, and seasonality
Tuberose hits with dramatic intensity, almost piercing, immediately flanked by violet's soft counterweight and pink pepper's sharp, almost caustic snap. The opening feels confrontational—beautiful florals rendered slightly menacing through spice and structural precision.
As the top notes settle, leather emerges with unexpected authority, the rose materialising behind it like a reluctant acknowledgement of beauty. Sandalwood adds creamy depth, but the composition never softens; instead, the spices redistribute, becoming more integrated yet somehow more present, creating a warm-skinned leather-floral hybrid that smells lived-in and deliberately complicated.
Patchouli, amber, and frankincense form the foundation, earthy and resinous, whilst musk provides barely-there sensuality. The fragrance becomes increasingly earthy and woody, the leather mellowing slightly but never disappearing, leaving a sophisticated, slightly austere skin scent that feels more like a second skin than a fragrance.
Crying of Evil announces itself as something genuinely unsettling—a fragrance that prioritises provocation over pleasantness. The tuberose arrives with an almost aggressive floral intensity, immediately tempered by violet's powdery restraint and pink pepper's sharp, almost medicinal bite. It's a tense opening conversation between beauty and discomfort, and that tension never fully resolves.
What makes this scent architecturally interesting is how the leather accord (at full saturation) anchors the florals rather than softening them. The rose in the heart doesn't smooth the edges; instead, it compounds the fragrance's inherent duality—hothouse flowers wrapped in worn suede, the olfactory equivalent of something beautiful touched by decay. Sandalwood provides creamy structure, but it feels almost defensive, as though trying to mediate between warring factions that refuse compromise.
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Giorgio Beverly Hills
4.5/5 (84)