Chiesa d'Oro

The most Infatuating goth floral ever... HELLO! Like if skanky jasmine and funerary carnations seductively lay down on a bed of burning ashy incense then this is it! It's so gothic and floral but not sad or gloomy it's so hot like actually makes men go feral it's got that freaknasti elvira morticia addams poonaninani to it. Like a supermodels sweaty bod but like if u set it on fire and then covered it in jasmine and carnations and myrhh

Carthusia’s Fiori di Capri is for narcissist who desires his own church, Amouage’s Gold Man is for narcissist who thinks he deserves his own church, and Filippo Sorcinelli’s Chiesa d'Oro is for narcissist who thinks he himself is a church. Smell heavenly, but sexy as hell.

This is probably my favorite from the Memento line, a really beautiful and dark musky carnation forward scent. Great longevity.

like you put your nose in a bouquet of carnations. first fragrance in my life which made me cry 🙈 what a journey!

Clean as the voice of a castrato, and divine as the refractory period of a beast in rut.

My partner and I are fans of Filippo Sorcinelli fragrances. So he requested a decant spray mini of Chiesa D'Oro, from a reputable online store, to be delivered along with a bottle of a different fragrance we bought. This review is from my impression of the fragrance one hour in. This is a linear powdery carnation chypre, with the exception of a fleeting warm cinnamon top note that lasts only until the dry down. I'm not sure why oakmoss is not listed in the scent note list, because it is the dominant note in my view. After only one spray to the wrist, my partner called out from an adjacent room saying it smelled like I lit a candle or incense. So the fragrance does project. Sadly, my partner agrees that the warm spice note is best detected from the nozzle and not from the skin. I think if you like the idea of smelling like powdered carnation and oakmoss, and if you do not necessarily care that the warm spice note may be gone in a flash... then you might enjoy this fragrance. I'm in the creative mood to try a layer of Chiesa D'Oro and another fragrance that holds the cinnamon note to get that top note back longer. 🦋🧡🦋

bomb of florals in the opening, jasmine is what i pick up on most. there’s almost something sort of soapy about this. i actually like how it’s a bit chemical smelling in the dry down, it’s more of a fabric softener type of chemical... like something that has been manufactured to smell like flowers. it’s actually really nice, and i’m usually not partial to florals when they dominate a perfume. this is a pleasant surprise

Not my kind of scent, but if you are into florals, you might enjoy it. One of the best in the Memento line in my opinion. I mostly get the carnation. There are hints of roses and jasmine, but very faintly. It's more like a mixed bouquet, where the carnations are the stars. I think carnations smell a bit powdery, so the powder in the fragrance seems like an integral part of the floral scent and not some suffocating note added on top, which I appreciate. There is a teeny-tiny bit of bitterness or sharpness to balance the flowers out. Quite strong and long-lasting.

The opening notes painfully remind me of monoi and lush white flowers. It begins with a bright, almost blinding burst — thick, sweet and slightly oily, as if the fragrance wants to announce itself immediately and without any hesitation. At first the composition can even feel a little overwhelming. The fragrance is loud, almost shouting, and certainly not what one would call elegant. This is not a perfume that whispers softly close to the skin. Instead, it walks into the room before its wearer does. It feels made for a stately, larger-than-life woman whose presence is impossible to ignore. However, once the initial chemical sharpness fades away, the fragrance reveals a completely different side. A very beautiful and noble carnation appears — warm, spicy and slightly dry. There is something aristocratic and dignified about it, like the lingering scent of perfume in an old theatre. At this point the fragrance becomes truly interesting. The jasmine softens and deepens, while the carnation gives the composition structure and character. With every breath a new facet appears, and the perfume gradually develops a kind of unexpected refinement. This is one of those fragrances that cannot be understood immediately. It needs time to unfold and reveal its true personality. For that reason, I would recommend it not to everyone — only to those who are willing to wait and listen to its full story.

The opening notes painfully remind me of monoi and white flowers. A strong, bright flash at the very beginning — almost blinding — which gradually softens, leaving behind the scent of blooming jasmine. The fragrance is loud, almost shouting, and not elegant at all. It would suit a stately, larger-than-life woman — someone whose presence is announced by her perfume the very moment she steps into the room. Once the chemical sharpness fades away, a very beautiful and noble carnation emerges. There is something aristocratic and stately in it — a feeling that accompanies every breath. This fragrance is not immediately understood; it reveals itself only after it fully opens. Therefore, I would recommend it not to everyone, but only to the chosen few.

A Chiesa d’Oro illata, mint egy aranyba öltözött oltár: nyitányában a bergamot friss fénye világítja meg az utat. A szívben a damaszkuszi rózsa, a jázmin és a szegfű gazdag, fűszeres virágfüzért fon, amely egyszerre pompás és áhítatos. Az alapban a tonkabab és a vanília lágy melege, a pézsma és a vetiver földes mélysége ölelik körbe a kompozíciót. Ez az illat a szakrális szépség és az érzékiség találkozása, olyan, mintha a templom falain átsejlene az arany fény.

Two words: ABSOLUTELY INCREDIBLE.