Inouï
Eau de Parfum, Shiseido (1976)

Inouï by Shiseido (1976) is a green floral chypre very much in step with chypres of the 1970's, when galbanum and white florals ruled the world of women's perfume (and even some of men's). A lot of people will call this a forgotten gem, but the reality is Shiseido has always been more of a skincare brand outside of its home market of Japan. In the American market, the perfumes were an afterthought, with Inouï launching and then Tactics by Shiseido (1978), a men's market fragrance. Most of these in the US are rarer than hen's teeth because they didn't sell in any respectable numbers, but in the outside world they fared much better. Inouï might have deserved better, but that could also be nostalgia for the style talking.

having smelled a lot of bitter green chypres from the 1970's, Inouï most resembles some Avon fragrances from the period, with its freesia, muguet, jasmine, and bitter oakmoss and musk mallow underneath. Unspoken by Avon (1975) really comes to mind, and so does Avon Sportif (1978) and Avon Emprise (1977). For those not deeply-versed in drugstore or downmarket door-to-door perfume from the US, Aliage by Estée Lauder (1972) can perhaps be the best point of reference, and arguably the earliest aside from maybe Givenchy III (1970). Galbanum, juniper, and soft peach notes over lemon open Inouï, and a tiny bit of civet anchors a skin-feel, but I would not call this animalic, as the Japanese didn't like that kind of raw muskiness.

The herbs, pine, and incense make this very bitter and serious, but the floral choices that Inouï has in common with its Avon contemporaries makes it clean, waif-like, and almost reserved. Most perfume from this era was anything but reserved if it came from a major designer or popular perfume brand, so I can see why Inouï might not have been more popular in the states than it was, as bigger, bolder, more uncompromising things were stalking the fragrance counters of the day, like Chanel Cristalle (1974) and Rive Gauche by Yves Saint Laurent (1971); and then there were all the musks and ambers coming back en vogue too, further complicating Inouï's chances. This is a footnote, but a really good one. Thumbs up

Inoui is one of the most poetic and contemplative fragrances I have experienced, not only from the 1970s, but frankly in general. While its rooted in trend of galbanum-green and woody floral chypres that were de rigueur at the time of its release, Shiseido lent a certain quiet (not to be read as "weak"), melancholy sensibility, with also having an arresting, pure gradation of its elements. Sour, bitter, sweet, cool and autumnal, it elicits emotions in me. I wear this as the buzz of life is persistent, unyielding, but Inoui represents my strong need to detach for a while, to explore the spaces in between the sentences and the phrases. The world nags and demands, and Inoui is the Bonshō bell: it all stops and I carefully examine.

The most forward accords are that of pine and juniper, the masculine yang, at first seeming stoic, but when under their boughs, have warm, protective hearts, and a compassionate embrace. These are paired with the yin of freesia, nurturing and affectionate, airy and light, reminiscent of coriander and some facets even reminding me of burgundy wine. This has me thinking of the metaphor that perfume can provide: that it represents this beautiful duality in all human beings. We all have different fractions, but there's no denying that we hold both. The conifers and freesia are underlined by a peach and myrrh that resembles the confectionary and the digestif of the undergrowth.

Over time, it feels like a gauzy veil, a mist through tall trees, the scent of damp cedar amongst ripe humus and the knell of organic impermanence. The myrrh lingers, an abiding warmth, an anchor to earth in the cool air. A trail, like Kōdō, a thin plume of smoke, softens and stirs, undulating in an otherwise still space. Grief and joy, pain and pleasure, one always needs to other, especially to give birth to inspiration. How remarkable that one fragrance can suggest so much for me. C'est inouï!

This is the soft green scent I've been searching for, complete with delicate fruit, a bit of herbs and pine, and all of it lazy and sun-warmed.

The sunny pine needle scent in Inoui's opening is unlike anything I've encountered before. And this combined with juniper and thyme makes me feel as if I am trekking deep in the woods on a summer's afternoon. I am aways thrilled whenever I find scents that hint at the natural world of dirt and wet stones and forest floors, and Inoui reminds me of all of these, but done up in a surprisingly sophisticated and slightly floral way, thanks to the overlay of freesia and jasmine. The dry down, with its hint of myrrh and musky civet drops the register just a bit, and whispers that there may be furry animals hiding somewhere in this perfumed woodland.

Of course it's discontinued and costs a fortune. But what price can be placed on magic?

This is very green, but also a bit acidic (thyme and juniper) or medicinal, as Barbara Herman describes it. Pine lightens it as does the jasmine.

I was not won over by Inoui, finding it interesting in its fruit/floral/herbal combination, but not memorable and not really that significant as a scent in and of itself.

One experiences more the chemical than the natural in the ingredients.

Not awful, but not good.

To die or kill for.My all time favorite hands down.The sharp, the sweet, the warm!!! Can't get enough. Where did it go?? Such a tragedy that they discontinued this one.

Missing the chypre accord, Inouï is to my nose mainly a green floral. It starts off herbal and acidic but soon morphs into a melange of green notes, powdery florals and a fleeting peach skin note somewhat reminiscent of Mitsouko's own. Unlike the Guerlain legend this Shiseido wears brighter and smells fresher, the freesia keeping an indolic jasmine in check and reins in the civet. Unfortunately for fans of green florals it's mostly the talc-like freesia I'm getting in sillage, and not so much of the balsamic greens. Up close and personal is where the real fun begins – like a well cut Tsavorite, its multiple jewel facets keeping the feline shadows tantalizingly visible but just out of reach.

'Inouï' is French for 'unprecedented' yet there is an unmistakably Japanese element to the composition, particularly in reference to keeping things prim and proper on the exterior, notwithstanding the caged animal hidden within. If this were a film it comes with a 'mature' rating. Certainly not for the uninitiated and definitely not for fans of sweet bubble gummy scents.