Perfume Directory

Le Cri / Le Cri de la Lumière (2017)
by Parfum d'Empire


Le Cri / Le Cri de la Lumière information

Year of Launch2017
GenderShared / Unisex
AvailabilityIn Production
Average Rating
(based on 32 votes)

People and companies

HouseParfum d'Empire
PerfumerMarc-Antoine Corticchiato

About Le Cri / Le Cri de la Lumière

Le Cri / Le Cri de la Lumière is a shared / unisex perfume by Parfum d'Empire. The scent was launched in 2017 and the fragrance was created by perfumer Marc-Antoine Corticchiato

Le Cri / Le Cri de la Lumière fragrance notes

Reviews of Le Cri / Le Cri de la Lumière

There's no doubt that this is a top notch, high quality floral, impeccably composed in the top and heartnotes. My issue is with the super-sonic soapy musk in the drydown. I may be overly sensitive to this kind of thing, but I find it unwearable as a result.

Still worth trying to see what mileage you get from it. Just wear it with a light hand.
31st October, 2019
Le Cri de la Lumiere reminded me of two compositions - Fleur de Peau (which I'm largely anosmic to) and Superstitious. It is an aldehydic iris-rose, with lots of musk (ambrette seed); luminous because of the aldehydes. The aldehydes are underplayed relative to vintage aldehydic florals, and the iris-rose-musk accord is nice but not a novelty; very minimal soapy vibe from the aldehydes. It wears too close to skin, and the base is a light accord of florals, musk and soft wood.

Overall, I'm not really convinced by Le Cri; it isn't a great iris scent, and definitely not one's first choice for an excellent aldehydic floral (I find Superstitious to be much more convincing and on a different level). Le Cri is definitely not bad but middling, too weak and eventually underwhelming. Not to mention, not sure why this eau de parfum is nearly two times as expensive as Ambre Russe or Wazamba.

30th May, 2019
An exceptional Iris Rose. A great conversation.

The iris is a cool neutral architectural beauty, quite patrician. It and the rose are balanced, both being distinct and providing each other space, but beyond that they’re so well matched they feel like kin. So this separate yet together quality makes this well-done duet feels simple, but you know it’s one of those whose seamless construction only makes it seem that way.

In the opening half hour, it’s all about the rose and iris. What other notes are there that make this seem enough, a deconstructed ambrette possibly though I’m honestly having problems understanding the ambrette here, I’m not sure, but it doesn’t feel thin or spare. The iris seems so high quality that it carries within it a cornucopia of ethereal white and polished notes. The rose, which is subtle and strong, is a full-blooded one that doesn’t flounce. It has to be a rose with character to be able to match the iris I smell here.

The woods which start coming in after half an hour or so, are like a small revelation, so subtle and perfectly adjusted to the main chord they are; it’s a really exquisite transition, well worth paying attention to and focusing on. If anything, instead of taking over, for half an hour they instead support the main notes, seeming almost iris-like in their clean driftwood sheen.

This is an elegant and intelligent perfume made with a really good iris, which is the note I loved most; and other materials which are fit together so well they create a rightness of composition. After three hours the fragrance becomes more green, or slightly tart, perhaps vegetal. Though still impressed, I miss the incredible iris edifice sheen that preceded it, as greened florals aren’t my favorite note. But this is still well-done, as possessing a strong drydown isn’t a given anymore. A high quality, trim perfume without histrionics or excess.
10th March, 2019 (last edited: 17th June, 2019)
This dance of the iris and the rose sweeps effortlessly and elegantly past a vast vista of shades, it would appear, in a hall built from fragrant timbers. The essential harmony of the rose and iris plays out in a vast vaulted space entirely of this perfume’s creation where fine spice, silken woody notes along with the root-like aspects of the iris float like gauzy strands encountered in the perpetual movement that seems to be at the heart of this creation. Le Cri has similarities to other woody oriental rose perfumes, especially those with an Arabic inflection, but where it differs is how it seems suffused with air and light, being expansive without overbearing, present as a vaporous aura about the person of the wearer.
A marvel for a good 3 to 4 hours after which Le Cri fades back quite a bit to a still satisfying woody rose, though lacking the vitality of what came before.
20th September, 2018
From the first sniff of Cri, you’re drawn directly to the center of the perfume. Perfumer Marc-Antoine Corticchiato even factors in the volitility of the alcohol burning off and uses it to segue into a lustrous accord with the olfactory dynamic of an eau de vie. The topnote is like the scent of Poire Williams brandy or Slivovitz, where the fruit is pressed so far into the alcohol that it is reduced to essentials. It’s neither juicy nor sweet and has an incisive slant. My note from first sampling Cri de la Limière reads, “Super fruity but dry as fuck.” Not the loftiest of insights, but apt. The Poire Williams note is the perfect backdrop for a sleek iris note. Woody, rooty, cool to the touch. Matching iris to the desiccated fruit brings out the vegetal nature of ambrette.

Cri de la Lumière is a closely tailored perfume that holds to a tight dynamic range. Rather than broaden the composition the musk accord focuses it, though the perfume sidesteps the strictness that a minimalist approach can impart. The rosy, fruity facets of ambrette are balanced by a plastic quality that gives a deliberate synthiness to the perfume. The fruit appears embedded in clear lucite and the slightly peony-like berry/rose gives a transparent pink sheen to the perfume. The effect is perfectly calibrated and though subtle, is durable. The fruit gives Cri de la Lumière a stained-glass effect and despite the specificity of the fruit notes, the perfume reads as fairly abstract.

The perfume’s woodier side reveals itself periodically like a bit of slip showing. Once I spotted it, I couldn’t stop looking for it to reappear. This sort of diversion is a good example of how Corticchiato’s perfumes engage the wearer. Whether in a forceful perfume like Tabac Tabou or a more watercolor one like Osmanthus Interdite his perfumes reward your attention with engaging olfactory shapes and transitions. The perfume plays subtly with the animalism found in musk ambrette. (Musk ambrette smells like a sweaty, imaginary fruit.) Of the various dimensions of the material, the animalic feature is among the most durable. Corticchiato doesn’t hide the material’s ‘skin’ side but he does nest it fairly deep into the perfume, where is is a quiet foil to the plastic, acrylic details.

27th June, 2018
After a brief whiff of a waxy, faintly rooty, lipstick-like iris, Le Cri de la Lumière soon bursts into a dazzlingly bright light of ambrette. It has a somewhat starchy, grainy texture, underscored by the iris lurking around. There is also an astringency over the steamy, clean vegetal musk, swinging back and forth between the alcoholic taste of pear liqueur, and the fizzy, faintly soapy aldehyde.

If ambrette and iris make the main body of the glaring white beam of Le Cri, it's the rose and a green nuance that transform it into an opalescent gemstone. The rose here is slightly tart, reminiscent of the wine-like facet of a classic rose-patchouli accord but much, much softer and less saturated in tone. In the Fragrantica interview, M. Corticchiato talked about using a cleaner version of patchouli and vetiver, and creating a lightweight moss-like greenness thanks to other innovative materials. I'm unable to perceive patchouli or vetiver in a distinctive manner, but the mossy greenery without its heaviness is spot on to describe the green nuance that I smell in Le Cri. Actually, Le Cri reminds me of a rose version of Heeley Chypre 21, which also focus primarily on a clean, vaporous white musk and a diaphanous mossy greenery.

This olfactive firework doesn't last long, though. After about 2 hours, Le Cri is already a gentle, smooth clean white musk with a drop of sweet pear juice. To be clear, the musk here doesn't evoke laundry detergent to me, but reminiscent of the sensual smell of skin freshly out of bed.

Afterwards, Le Cri retains this innocent, pure clean musk skin scent until the end. It stays close to skin for the most of the time, and lasts about 7 hours on me.

Le Cri de la Lumière aims to interpret the light with its perfume, and I think it succeeds beautifully with this radiant, crystalline composition. Its first 2 hours let ambrette shine like a glowing star among other supporting notes, demonstrating that one can make a clean fragrance without sacrificing its nuances or sophistication.

However, as smooth and versatile as the dry down is, I'm still a bit disappointed by the quick departure of the gleaming ambrette. Moreover, I was not touched by it on a personal level like with many other creations from Parfum d'Empire, probably because this type of clean, aldehydic floral green musk is ultimately not my cup of tea.

That being said, Le Cri is definitely among the better-made perfumes in this genre. If you enjoy sparkling, pure white musk with a nod to classic aldehydic and chypre perfumes, I think Le Cri de la Lumière is worth considering at least a test.
02nd December, 2017

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