Releases
DNA over time
Each column is an era. Each colored band shows that family’s share of accord weight across every perfume the house released in that window. Bigger band = the house leaned harder on that family.
All fragrances
Four Thieves
Mellifera
Tabaceau
Sainte Blanche
Café Simien
Chamarre
Vanille
Mona Di Orio's Vanille is not a gourmand — it's what vanilla is before it gets sweet.
Oudh Osmanthus
The opening presents petitgrain's green-bitter clarity, an unexpected prelude that clears the air before the perfume's deeper intent reveals itself.
Amyitis
Jabu
Santal Nabataea
Rose Concrete
Suède de Suède
Violette Fumee
Violette Fumée is Mona Di Orio's violet study filtered through ash and resin.
Musc
The neroli opens bright and briefly green before melting into something altogether more hushed.
Ambre
The opening carries a dusty sweetness—labdanum touched with resin and an almost medicinal quality, like old amber beads warmed in the hand.
Dõjima
Carnation
Domaine
Vermilion Wood
Vetyver
Grapefruit opens with a tartness that reads almost saline — slightly mineral rather than sweet, pointing toward something earthy ahead.
Oiro
Semper Augustus
Cuir
Cardamom and anise arrive with an almost medicinal clarity, their spiced sweetness preparing the ground rather than announcing luxury.
Nuit Noire
Eau Absolue
Rose Etoile de Hollande
Rose Etoile de Hollande opens not with the rose but with heliotrope — the almond-cherry-powder note that acts here as a warm preface before the central subject arrives.
Bohea Bohème
Tubereuse
Tubéreuse opens with a sparkling contrast—bright bergamot cut through with pink pepper's metallic warmth.
Lux
Lux opens with a bright, slightly bitter burst of petitgrain—green, citrusy, and alive with natural oils.
