A peony and suede have nothing in common. One is as diaphanous as summer out in the open, the other is an armchair in a study with heavy curtains. Put face to face, they ought to produce a disaster. But Altaïr defies expectation. The peony stays floral, clear, almost cool, while the suede catches it underneath and holds it there, warm and matte. Above them, a touch of agarwood; below, sandalwood, cedar and styrax, making the connection as though it had been one idea from the start. Émilie Bouge says that Altaïr evokes the symbolism of wood and earth with the finesse of a flower. That's roughly what happens. The flame brings them out in turn rather than all at once: first the flower, then the wood. And the amber glass, Parisian with oriental leanings, holds the light inside and returns it warm to the room. Things this different rarely get along this well.