The Story
Why it exists.
The beginning
Myrrhiad, released in 2011, is dedicated to the ancient resin of myrrh. Rather than deploying it as a dramatic backdrop, the way most oriental fragrances use resinous materials, Pierre Guillaume builds the entire composition around this ingredient. He wanted to explore every facet of myrrh. To strip away the ceremonial and find what remains when myrrh meets skin. The result is a fragrance that treats something sacred and makes it intimate.
The combination of warm vanilla and cool black tea creates a striking contrast within the oriental framework. The tea's astringency cuts through the sweetness, preventing it from becoming heavy. Licorice adds a slightly bitter edge, almost anise-like, which grounds the composition further. It's a careful balance, sweet without cloying, resinous without being dense, and it works because each material keeps the others in check.
The evolution
On skin, myrrh opens sharp and resinous. The black tea arrives quickly, bitter, clean, almost medicinal. Then the warmth emerges. Vanilla stretches out beneath everything, soft and almost edible. Licorice whispers in and out. By the time the drydown arrives, the sharp edges have softened. The leather note becomes more pronounced, but it's soft, almost suede-like. The myrrh persists, but now it's warm, powdery, intimate. The next morning? A ghost of vanilla and tea, barely there. On fabric, it lasts longer, a quiet reminder hours after you've forgotten you sprayed.
Cultural impact
Myrrhiad occupies a quiet corner of the niche world, the kind of fragrance collectors recommend to each other rather than one that dominates conversation. Within the Pierre Guillaume catalog, it stands as one of the house's warmer offerings, appealing to those who want oriental richness without the density of traditional incense compositions. The licorice-tea combination is unusual enough to inspire strong opinions, which keeps it from disappearing into the background of similar-scented fragrances.
