The Story
Why it exists.
Corpus Equus was conceived as a tribute to something feral, untamed, the heat of flanks still radiating after exertion. Naomi Goodsir wanted to capture raw power and unpredictability. Bertrand Duchaufour translated this vision into a composition where birch smoke and rawhide leather don't soften or apologize. Black rose and amber deepen without sweetening. It's not a tribute that flatters. It's one that means it.
If this were a song
Community picks
The Last Emperor
Vangelis
The Beginning
Corpus Equus was conceived as a tribute to something feral, untamed, the heat of flanks still radiating after exertion. Naomi Goodsir wanted to capture raw power and unpredictability. Bertrand Duchaufour translated this vision into a composition where birch smoke and rawhide leather don't soften or apologize. Black rose and amber deepen without sweetening. It's not a tribute that flatters. It's one that means it.
Birch tar is the material that sets this apart. Not the incense smoke of a church, not the oud smoke of tradition, birch brings a medicinal, acrid edge that cuts through the leather like a blade. The smoked wood and animalic musk evoke horsehair and warm hide simultaneously, that intimate closeness of a living thing. Rose doesn't arrive as a bright floral, it emerges as dark petals, bruised, close to the skin. By the drydown, leather has softened to suede and smoke has mellowed to char, but the animalic warmth remains. What lingers is the memory of heat.
The Evolution
The opening hits fast, birch smoke and rawhide, assertive and immediate. No apology. Within minutes, the leather deepens as the smoke settles, and the rose appears not as a bright floral but as something darker, velvet-dark, the color of a bruise. Incense and musk layer underneath, warm and animalic, the scent of hide warming against skin. As the heart emerges, smoke settles into the background and amber takes prominence, resinous, golden, but not sweet. Leather and birch tar remain the structural elements, with rose continuing its quiet dark work beneath. The fragrance doesn't announce itself after this, it holds you. By the drydown, leather has softened to suede. Smoke lingers like the memory of a fire, charred wood, not ash. Rose persists quietly, its brightness faded to something dried and dark, like petals left in a dim room.
Cultural Impact
Corpus Equus stands apart within Goodsir's collection as an unapologetically bold statement. Working with perfumer Bertrand Duchaufour, whose approach favors raw materials and untamed beauty, Goodsir created something that refuses to recede into the background. The fragrance appeals to those who seek scent as declaration rather than decoration. It doesn't invite, it demands.
The House
France · Est. 2012
Naomi Goodsir is an independent Australian perfumer whose couture background shapes fragrances that read as sculptural objects. Based in Grasse, France, she creates scents defined by sharp contrasts and deliberate asymmetry, building a collection that spans aromatic greens, smoked leathers, and powdery irises. Her work appeals to those seeking fragrance as statement rather than atmosphere. Each scent operates as a complete object, demanding attention on its own terms rather than complementing an ensemble.
If this were a song
Community picks
Corpus Equus sounds like galloping through smoke at dusk, not gentle, not ambient, but alive. Dark wood, warm hide, the rush of motion that hasn't cooled yet. Music for moving through the world at full stride.
The Last Emperor
Vangelis































