doomsday_disco
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Everything posted by doomsday_disco
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Desert Sage and Palo Santo.
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Creamy white chocolate sweetened with rich date paste and brightened with a spark of fresh lime zest.
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Mandarin A strawberry stain on scarlet silk: strawberry nectar and translucent lychee folded into rock sugar and creamy sandalwood.
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Roses have been woven into magic and folklore for thousands of years, and this oil reaches past the lovely sweetness of petal and hip. In addition to the rose’s association with love and romance, the rose's spiritual depths encompass blood, rebirth, resurrection, and immortality. The root carries all of this in concentrated silence: love that is not fragile, love that has come back from the frost, love that grew itself back from the cold, shadowed death of winter. The rose is an emblem of Venus, deeply associated with love, passion, and friendship across cultures, but she is also sacred to Aphrodite, Isis, Hekate, Inanna, Ishtar — goddesses of the underworld as much as the bloom. She lives at the crossroads of beauty and power, and her thorns and roots have always been part of its power. An earthy, patchouli-touched rose oil with a hint of oakmoss and vetiver.
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Cedar and graphite illuminated by a light citrus zing.
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Red peony, sweet red wine, plum blossom, cherry blossom, honeyed apricot, salted yuzu, saffron threads, cedarwood, dark patchouli, and black amber.
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The story of the Gibson House begins with Catherine Hammond Gibson’s move to the Back Bay, Boston’s newest and trendiest residential neighborhood. Catherine commissioned noted Boston architect Edward Clarke Cabot to design the Gibson House at 137 Beacon Street. From 1860 until 1954, six different Gibson family members and dozens of their employees lived at the house. Its interior is filled with the family’s original furnishings—elegant wallpapers, imported carpets, and an abundance of furniture, art, and family heirlooms. Its working spaces, which include a kitchen, laundry room, and coal shed, also remain. The Gibson House Museum is the vision of Charles Hammond Gibson, Jr. (1874-1954), a writer, a preservationist, and a gay man. Understanding and interpreting Gibson's sexuality within the context of the rest of his lived experience is a key part of the historical work at the Gibson House. Making the Gibson House Museum a welcoming and affirming place for the contemporary LGBTQ+ community is a key part of their current mission. Let us then take a sweeping glance around, for we may not have another half so grand, half so fair, or half so high, while we are in the old Touraine which lies before us, there in the last orange glow of the departed sun. And if we follow these avenues of the roof below us, if we wind our way around these great towers, around the high and pointed roofs of slate, we may well imagine ourselves in some fairyland. This maze of cupolas, of domes, of towers, appears more bewildering to us than ever. And we lean against the stone, in an artistic intoxication, so overpowering is it. A crisp lavender-forward fougere with a heart of bourbon vanilla, sandalwood, warm, well-loved leather, and clary sage. When the founder of the Gibson House Museum Charles Hammond Gibson Jr. (1874-1954), met Maurice Talvande, the self-styled Count de Mauny Talvande (1866-1941), he was immediately inspired to write about him. In 1895, Charlie began writing Two Gentlemen in Touraine (1899) as a fanciful and semi-autobiographical version of their travels together through France. This Arcadian story details the flower-scented landscape where their romance began.
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Hot weather, hot tempers. Utilize this oil when anger overtakes reason to soothe nerves, banish friction after an argument, and clear the mind, spirit, body, and room of volatile energy. This oil cools, grounds, and calls back clarity. Contains: Lavender, lemon balm, passion flower, chamomile, blue vervain, ylang ylang, neroli, rose geranium, and frankincense.
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The story of the Gibson House begins with Catherine Hammond Gibson’s move to the Back Bay, Boston’s newest and trendiest residential neighborhood. Catherine commissioned noted Boston architect Edward Clarke Cabot to design the Gibson House at 137 Beacon Street. From 1860 until 1954, six different Gibson family members and dozens of their employees lived at the house. Its interior is filled with the family’s original furnishings—elegant wallpapers, imported carpets, and an abundance of furniture, art, and family heirlooms. Its working spaces, which include a kitchen, laundry room, and coal shed, also remain. The Gibson House Museum is the vision of Charles Hammond Gibson, Jr. (1874-1954), a writer, a preservationist, and a gay man. Understanding and interpreting Gibson's sexuality within the context of the rest of his lived experience is a key part of the historical work at the Gibson House. Making the Gibson House Museum a welcoming and affirming place for the contemporary LGBTQ+ community is a key part of their current mission. Let us then take a sweeping glance around, for we may not have another half so grand, half so fair, or half so high, while we are in the old Touraine which lies before us, there in the last orange glow of the departed sun. And if we follow these avenues of the roof below us, if we wind our way around these great towers, around the high and pointed roofs of slate, we may well imagine ourselves in some fairyland. This maze of cupolas, of domes, of towers, appears more bewildering to us than ever. And we lean against the stone, in an artistic intoxication, so overpowering is it. A crisp lavender-forward fougere with a heart of bourbon vanilla, sandalwood, warm, well-loved leather, and clary sage. When the founder of the Gibson House Museum Charles Hammond Gibson Jr. (1874-1954), met Maurice Talvande, the self-styled Count de Mauny Talvande (1866-1941), he was immediately inspired to write about him. In 1895, Charlie began writing Two Gentlemen in Touraine (1899) as a fanciful and semi-autobiographical version of their travels together through France. This Arcadian story details the flower-scented landscape where their romance began.
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A deep black-tinged red chrome, dark as dried roses, with micro flakes that smolder from black into burning red. All of our nail polish is hand crafted by Haute Macabre! Ingredients: Butyl Acetate, Ethyl Acetate, Nitrocellulose, Acetyl Tributyl Citrate, Adipic Acid/Neopentyl Glycol/Trimellitic Anhydride Copolymer, Isopropyl Alcohol, Stearalkonium Bentonite, Acrylates Copolymer, Silica, Benzophenone-1, N-Butyl Alcohol, Diacetone Alcohol, Trimethylpentanediyl Dibenzoate, Mica, Non-Phthalate Plasticizer. D&C Red #6, D&C Red #7, Ba Compound 16
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Red Roses and Saffron Oudh.
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A glimmer of hope: white musk glittering with meyer lemon, mimosa, freesia, cashmere wood, and iris petals. Wilhelm Kotarbinski
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Pink Roses and White Sandalwood.
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Cognac, sweet rum, plum skin, rice milk, salted prune, Haitian patchouli, matcha, and cistus absolute.
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Cacao & Creamy Incense.
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Cardamom cream, sweet bourbon, tolu balsam, toasted bamboo, raw cacao, and hinoki.
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Winding through the Tree of Knowledge, the serpent offers transformative awareness, wisdom, and the awakened potential that elevates the soul or brings its downfall. Far be it from me to pass up an opportunity to revisit my beloved Snake Oil (especially with a Biblical twist) so I’ve crafted a Serpent in the Garden take on the original formula, suffused with fig, pomegranate, apple, green sandalwood, olibanum, blackcurrant, and iridescent serpent scale accord.
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An invitation: black amber and pink peony sealed in a creamy white paper envelope.
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Orris and Crystalline Musk.
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The Tree of Life bearing twelve flaming fruits, emblematic of the twelve signs of the zodiac. In the flames burn consciousness, passion, and the material, sensual pleasure bound into human existence. In these fiery branches, the Lovers are challenged with questions of moral discernment, conscience, and consequence, and in the shadow cast by these flames, the soul is challenged before union can be achieved. Twelve fiery fruits ablaze with saffron and clove-spiced labdanum held aloft in arching acacia branches.
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Milk & White Musk.
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Thick slices of coconut-frosted coconut cake dunked in a vat of Snake Oil.
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Foresty and carnal, heady blooms twined around a mossy log.
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Here is Edward Bear, coming downstairs now, bump, bump, bump, on the back of his head, behind Christopher Robin. It is, as far as he knows, the only way of coming downstairs, but sometimes he feels that there really is another way, if only he could stop bumping for a moment and think of it. And then he feels that perhaps there isn’t. Anyhow, here he is at the bottom, and ready to be introduced to you. Winnie-the-Pooh. When I first heard his name, I said, just as you are going to say, “But I thought he was a boy?” “So did I,” said Christopher Robin. “Then you can’t call him Winnie?” “I don’t.” “But you said——” “He’s Winnie-ther-Pooh. Don’t you know what ‘ther’ means?” “Ah, yes, now I do,” I said quickly; and I hope you do too, because it is all the explanation you are going to get. Honey-slathered buttered toast, glittering amber beams of sunlight, warm milk, cotton stuffing, and cuddly roasted vanilla.
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A stunningly lovely flower that only grows in California. It is integral to the health of recently burnt areas: its roots spread rapidly, anchoring the soil and preventing further erosion. Vanilla-soaked sweet pea, white sandalwood, and almond milk.