Perfume Directory

Mito Voile d'Extrait (2013)
by Vero Profumo


Mito Voile d'Extrait information

Year of Launch2013
GenderShared / Unisex
AvailabilityIn Production
Average Rating
(based on 17 votes)

People and companies

HouseVero Profumo
PerfumerVero Kern

About Mito Voile d'Extrait

Mito Voile d'Extrait is a shared / unisex perfume by Vero Profumo. The scent was launched in 2013 and the fragrance was created by perfumer Vero Kern

Mito Voile d'Extrait fragrance notes

Reviews of Mito Voile d'Extrait

Kotori Show all reviews
United States
Mito Voile d’Extrait

Snapped green sappy stems, geranium/carnation, peaches and cream, spice, wood, moss

This is a richer, less citric version of the one I originally tried, Mito EDP. It comes to the drydown more quickly, and has more creamy, spicy weight there. There is a bubblegum pink tuberose hiding in the background. This could stand in for Mitsouko for fans who want something a little different. But it would also attract fans of Cacharel Lou Lou.

I love it! But I don’t think it’s actually really a magnolia scent anymore. For that, I’d need to stick with Mito EDP. Or, if money is no object, the extrait layered under the EDP!
06th February, 2019
Addictively green! Actually, green and acid yellow, because along with the garden’s worth of green leaves and a tree’s worth of dry, resinous galbanum shoe-horned into Mito’s opening notes, there is also a hyper-lemon or bergamot accord in there that feels like a million citruses pressed into action all at once. The bitter rind, the juice, the pulp – it’s all here, upfront.

And immediately, in the midst of all this green-and-yellow madness, a creamy white flower starts unfolding its petals, explosively, in a hurry to show off its pushy beauty. Magnolia? Maybe jasmine. Surely, at first it is magnolia – a creamy, non-indolic smell that smells like a magnolia freshly plucked from the tree, complete with the slightly poisonous smell of the green juice of the just-ripped leaves and stems.

It’s beautiful and heady, and yes, supremely botanical in feel. Mito feels like a dense, packed green thing at first, but it has development. It unfurls. The green, citrus ‘roid-rage’ opening unfurls to reveal a magnolia, and the magnolia parts its petals to reveal a very Diorella-esque note of overripe peach or melon. No fruit is listed, but I smell a sticky fruit of some sort.

This ‘rotting fruit’ core is the part of Mito that takes it from a merely botanical wonder of citrus and greens that might have been done by Annick Goutal (only 100 times stronger) to something more complicated, something closer to the slightly decaying, salt-grass-and-fruit chypres that form the bedrock of French summer-chic perfumery, specifically Le Parfum de Therese, Diorella, Cristalle, and even Femme.

Wearing Mito is an all-in experience. You get the lush grandeur of an Italian garden, the resinous greens, the citrus, and creamy white flowers. But you also get the gassy fruit and underlying decay. The extreme dry down of Mito is a surprise – on my skin, it’s all jasmine, with nothing green or botanical or chypre left to provide ballast. I find myself re-spraying to re-live the amazing opening and heart. That’s the part that I find exciting. I’ve gone through two samples, though, and am currently Mito-less. Damn it.
18th June, 2015
Mito’s topnotes are pure Spring. It's all white dresses, espadrilles and birds singing.

Yeah, right.

Don't let the green breeze fool you. Look closely and Spring's annual rebirth gets messy. The birth and life bit isn't placid, it's explosive. Green is to plants what blood is to us: vitality. And like blood, green can connote both life and violence. Mito Voile d’Extrait reads like a dramatic production. Think of Mito as Kern's Right of Spring.

The acceleration of the perfume's opening is almost overwhelming but the topnotes settle into a legible green that ranges from sharp citrus to peppery grassiness. A world of green grows up around you and becomes the mise en scène for the unfolding of the rest of the perfume. The brightness of the topnotes is balanced by mossiness and the white flowers of the heart complete the picture. Creamy magnolia, breathy jasmine. Where green connotes vitality and growth, the white flower's allure is its decadence, its hint of decay. From the moment a flower opens, it moves slowly toward its death. The threshold between ripeness and rot is a fine one and Mito teeters on the line.

Over the course of the heartnotes Mito keeps the green backdrop but shifts the focus to the white flowers, magnolia in particular. Moss connects the top and heartnotes and lends a bit of saltiness to balance the floral sweetness. It gives the heart a rich, slightly rough texture and magnifies magnolia's inherent sultriness. The heartnotes are intricate but hardy and seem to rise up from my wrists almost unpredictably.

I've made the point before that perfumer Vero Kern is more a classicist than a traditionalist and I'll stick by that. But in the case of Mito she manages to be both. Here she works in the tradition of perfumers such as Edmond Roudnitska and Germaine Cellier referring to both Dior Diorella and Balmain Vent Vert. Like Diorella, Mito has a decadent heart and a louche tone but it also plays with a chilled floral contrast as Cellier did in Vent Vert. Roudnitska and Cellier shook the perfumery of their times by the shoulders. Their works were as subversive as they were sublime. Cellier put the coded language of butch/femme lesbianism into her perfumes. Roudnitska re-created the scent of a delicate little flower in his seminal Diorissimo and in doing so defied convention and rewrote the rules for composition.

So, Cellier was profane and Roudnitska was radical. Where does that leave Kern? It's too early in her career as a perfumer to characterize her body of work, but Mito is a hybrid pinnacle of the green and floral chypre sub-genres, a field that includes works such as YSL Y, Guerlain Parure, Chanel 19 & Cristalle, Estée Lauder Private Collection and Parfum de Nicolai Odalisque. It is both meaningful and delectable and just as in Cellier's Vent Vert and Roudnitska's Diorissimo, art and desire go hand in hand.

The most satisfying artistic traditions step outside of their forms and their genres and Mito reaches outside perfumery. Kern has said that the inspiration for Mito was the sumptuous gardens at Villa d'Este, a 16-17th century fountain and garden extravaganza in Tivoli, Italy. Like the gardens, Mito is the result botany and artifice and feels like rococo drag next to the 'just the topnotes, ma'am’ perfumery you’d find in fashion mag inserts. As Kern also demonstrates in Rubj and Rozy sumptuousness is not a sin


Mito is a perfume that I could wear forever and still be surprised by. Disposability is built into most contemporary perfumery by design. Even the idea of a signature fragrance means the perfume you might wear for a spell before you flush it in lieu of the next one. Mito reminds me why many people in the early and mid-20th-century had one perfume that they bonded to for life. I've said that I could wear Diorella forever, but reformulation has nixed that prospect. Thank god I've found Mito. Now I know which bottle to grab if the house is on fire.

17th May, 2015
This fragrance crosses my Too Sweet line...and yet, it is captivating, making it impossible to remove my forearm from my nose.

I can pick out a note here or there, a sweet floral, something fruity, and a mossy base, but in fact, it is so well blended, the composed fragrance is different, and more than, its notes list. It is sui generis.

Like Colin M, I'm not sure I'll be wearing Mito VdE a lot. But when I'm in the mood for a thoroughly engaging olfactory trip, I'll be thankful I have cached a modest decant of Mito VdE.

Big Thumbs Up.
14th August, 2014
Solid, powerful opening as for many other fragrances by Vero Kern, one of the key features which makes her work stand completely aside and alone in nowadays' perfumery: an overhelming, narcotic concoction of pungent vibrant flowers, with a juicy citrus accord and a fruity/vegetable feel (I smelled melon, it's peach), all emulsified in a subtle, humid and kind of earthy/medicinal accord. A kaleidoscopic, modern take on green/resinous floral scents, quite complex and multifaceted, with an exploding, leafy naturality blended with something deeply archaic and obscure. A suspended garden, realistic but completely imaginary – which in fact, exists only on your skin. This is an enjoyable and precious example of "alchemic" creation – a unique, complex scent where you smell all of the notes, and none of them, and much more. In fact, there is a lot of nuances which are not in the composition and I still get clearly, for example a sticky, decadent fruity note, a smoky/honey accord, and that medicinal subtle base. The scent evolves then gracefully and softly on a mellow, powdery and slightly waxy drydown, still with a vibrant and heavy nondescript floral feel – which is not "silky" or "velvety" and not "graceful", it's more botanical and organic. The composition is just brilliant and unique, amazingly balanced, dynamic and mutating, with no borders, no codified structure, and a powerful but "controlled" dynamic and oniric personality. To be really honest, personally I enjoy this more as a pure "smell" to admire - and you bet you will admire this - more than a scent to wear, not because I dont' like it; on the contrary, I like it so much as a pure perfume that it ends up in lacking in some bourgeois, boring and safe features I still look for in scents to actually wear (coziness, gracefulness, fitness with my personality, my mood(s) and so on). That's the border between safe classics and contemporary, more "daring" perfumery that sometimes I find hard to cross. Howevery, surely a mandatory try for anyone. Bravissima Vero!

05th May, 2014 (last edited: 06th May, 2014)

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