And it is to the restless genius of Kinski, that another little genius of the perfume world, the German Geza Schoen, had wanted to pay a tribute on the occasion of the twentieth anniversary of his death. Geza Schoen is a perfumer who has made a lot of talk about himself for having proposed minimal creations at the limit of the conceptual: the Escentric Molecules line, which includes fragrances without construction, obtained by diluting individual chemical aromas in alcohol (almost the equivalent of a canvas monochrome, or even objet trouvé).

As much acclaimed as criticized for this choice, it cannot be said that the boy did not have a nose, being, these, among the most loved and sold perfumes of recent years in the field of research perfumery. Kinski, however, could only follow a more complex and difficult trajectory. It is a perfume as bold and edgy as the character that inspired it. If an accord of oceanic freshness is declared at the center of the fragrance, don't be fooled: he is not a marine (forget the various Motu and progeny) and to tell the truth he is not even fresh.

If there is freshness, this is covered with aromatic notes of juniper berries and black currant leaves that give green but acrid notes, and on the bottom, those that in perfumery we call "animal" notes await you quietly but on the alert: intimate, dry, unsettling scents. The ocean of this perfume is not resumed on the surface, but in depth. And, don't ask us why, smelling this perfume, as well as Kinski, we are reminded of the splendid images of the underwater reportage on women of the sea made by Fosco Maraini in Japan in the 1950s.