Because I feel that I should love Gatsby 22, but definitely don’t, I have worn it heavily over the course of the summer to figure out how to describe it to someone who very well might. All perfume reviewers have their blind spots, and here’s mine: I am terrible at describing huge floral-woody musks that are little more than a vague shape in the air.
Amber smells delicious, kind of like food. Flowers smell distinctly of themselves, once you know what they smell like individually. Incense smells like church. Pine smells like the forest. But to me, Gatsby smells less like the individual flowers or woods or vetiver referenced in the notes list, and more like an abstract (and ever-shifting) set of ‘moods’ caused by these notes bouncing off each other as they jostle around that expanse of sour, rubbery musk.
Parts of it certainly smell good. I appreciate the clean, bright citrus shifting into the spearmint tones of geranium, the tangy waft of violets, that Ormonde Jayne osmanthus with its high-end, peach fuzz suede, all washed down until shiny with benzyl salicylate water for that mild, sweet balsamic touch. This familiar familial arrangement of Ormonde Jayne notes cannot fail to please.
But then again, these accords all come drenched in, and partially obscured by a woody musk material that screams eau de department store for once, rather than the usually palatable (to me) Iso E Super accord that Ormonde Jayne uses. The effect of this particular woody musk is to make the more natural-smelling fruit and floral notes read as arch, highly stylized versions of themselves – glossy magazine inserts rather than the real thing.
Here’s the kicker. I am not the young professional or cool girl/gal at whom it is aimed. So, can I do this scent justice for the reader who does form part of this demographic? Ormonde Jayne call Gatsby 22 edgy, but it took me a whole month of wearing it to figure out that they didn’t really mean that it smells edgy (it doesn’t) but rather that it has that clean, androgenous, Ambroxinated vibe that people who wear Glossier You or Tanagra by Maison de Violet or even Baccarat Rouge 540 find so sexy. These are perfumes that smell like nothing at all but also like crushed gemstones, fresh air, sexual confidence, and the aspiration of personal wealth.
In other words, it is the abstraction of Gatsby 22 that matters. Worn side by side with, for example, Bal d’Afrique (Byredo), a scent that goes for a similar sparkly champagne-lemon-vetiver vibe, it soon becomes clear that Gatsby 22 is much drier, more urbane, and far less literal than the Byredo (which suddenly seems quite ostentatiously gourmand-ish in comparison). Gatsby’s tart woody musks act like a pour of the driest Vermouth on earth, swishing all the notes together into a blur of things that your field of perception sometimes catches (was that grappa?) but more often not (why am I not picking up on the vetiver?).
Gatsby 22 isn’t something I can see myself ever leaning into, but I appreciate that it made me work harder than usual to figure out why I don’t like it and, conversely, think more seriously about the person for whom it might be the best thing ever. Because, as it turns out, those are two types of people whose tastes will never intersect on a Venn diagram. And that’s ok too.
Source of sample: Ormonde Jayne very kindly sent me a 50ml bottle of this free of charge for review.