"Music and perfume share a lot of similarities, like notes and structure; they both help set the mood and create atmosphere. Using Duo’s music for inspiration, I wanted to produce something that echoed their dark, smokey, lustful sound. This is a perfume about love. A tale of our inner demons, rising to meet, in a new world of their making."
LiTA fragrance notes
- bergamot, coriander, grapefruit, sandalwood, ylang ylang, champaca, cypress, gardenia, jasmine, tobacco, patchouli, incense, myrrh, tonka bean, vanilla, vetiver, benzoin
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Latest Reviews of LiTA
The bottle of LiTA I have to admit for whatever reason drove me to want to sample the perfume on sight, and knowing the perfumer was Antonio Gardoni who has many successful compositions under his belt didn't hurt its cause either. So, does LiTA live up to its rather cool looking bottle? The answer is for the *most* part, "yes." If I had a short descriptor to give a quick blurb about what the perfume smells like at its core, it would have to be "Burning Firewood and Vanilla." In order to enjoy this perfume you *must* be OK with, or preferably enjoy the smell of burning wood (something I confess to not being much of a fan of personally). The late dry-down finally gets rid of that burning wood aspect, leaving the high quality vanilla used to shine, and it does. There are tons of published notes to the perfume outside of vanilla, but alas the burning woods (derived from incense in the base) obscure a lot of them for most of the perfume's development. The bottom line is the $225 per 50ml bottle LiTA is a pretty decent "good" to "very good" 3 to 3.5 stars out of 5 rated effort by Gardoni that will appeal to a small segment of perfume lovers, but the burning woods that dominate through the key heart development phase are a bit too much of a distraction for this writer, earning LiTA only a very tepid recommendation, unless one loves the smell of burning firewood.
LiTA (sic) leaps off of my skin with the kind of thunderous, skip-to-the-base-notes fusillade familiar to admirers of Josh Lobb's Slumberhouse scents. Nonetheless, Antonio Gardoni's fingerprints are all over it: here are the mysterious and somehow archaic-smelling resins from Cologne Reloaded and the tuberose accord that hovers over MAAI; there the creosote of Tyrannosaurus Rex, and, perhaps most conspicuously, the dense burnt chocolate accord so central to his collaboration with Bruno Fazzolari, Cadavre Exquis. What immediately distinguishes LiTA, though, is a gargantuan civet that blares above the rest of this dense and busy composition like a bugle blast. Mind you, it's not as if Gardoni hasn't employed civet before, but in none of his previous compositions do I recall it being under so intense a spotlight.
I can't accurately describe LiTA as a gourmand. However strong the reminiscence of chocolate, the dried fruit accord (I think Luca Turin may have once referred to it as raisins) from Cadavre Exquis is noticeably absent, and all that foetid civet ensures that LiTA smells anything but edible. In case you haven't yet gleaned, this fragrance is far from shy. Wearing LiTA may entail the kind of confidence required for big old vintage powerhouse fragrances, or for more modern examples, the bolder, early Serge Lutens orientals or (again) Josh Lobb's Norne, Jeke, or Ore. (The latter of which I might be very vaguely reminded of when wearing LiTA.)
A thumbs-up, then, for a bold, and perversely fun scent as so many of Gardoni's are but I'm honestly not sure how many will find it wearable. If you do dare take LiTA out for a spin in public, be assured: you will be noticed.