“Given the pervasive darkness in RUNDHOLZ’s clothing lines, their first release 03. Apr. 1968 surprises with honeyed kisses and salacious immortelle implications. It’s sticky resin is golden, evoking Rumpelstiltskin and fermentation—alchemical spinning wheels, smoldering whiskey burn, controlled burn in flaxen fields, incense burn, then incense ash.

Olibanum’s heaving inherent complexities are lightened with a stoic yet still fluffy heliotrope, effecting a luminous dusting in the pastel colors and pastel flavors of sugared almonds. Just beyond the staccato drag and patter rhythm alluding to sacred ritual and profane pale violet equanimity, one finds curling heady tendrils tending toward something tobacco.

Historical record shows that the date for which the fragrance is named was the occasion of Martin Luther King, Jr.’s last public speech. A month later, the enigmatic art and labor movement called the Situationist International reached its apex. Hairy Who painter Suellen Rocca was making groovy, suggestive artworks out of purses. Lynda Benglis swirled and marbled latex paint into puddles on the floor and called them things like Fallen Painting and Night Sherbet A. Yvonne Rainer proved herself the theoretician of modern dance in her sharp-witted, flummoxing essay in ‘68 called “A Quasi Survey of Some ‘Minimalist’ Tendencies in the Quantitatively Minimal Dance Activity Midst the Plethora, or an Analysis of Trio A.” 1968 was a year of assassinations and of sultry resignations within the dawning of the Age of Aquarius.

With similar muchness RUNDHOLZ 03. Apr. 1968 is serpentine, well suited to reading tea leaves in a prophet’s parlor. It’s a visceral injunction to make hay while the sun is shining.” — Matt Morris, Fragrantica

NOTES

lychee
heliotrope
olibanum
incense

NOSE — Arturetto Landi

Germany, 2012

About Rundholz