November Cb I Hate Perfume

Unisex
Eau de Parfum
Year: 2008

At a glance

Is November Cb I Hate Perfume worth trying?

November by CB I Hate Perfume is a fragrance for women and men.

Best match
Casual wear in Fall
Performance feel
Moderate longevity with Intimate sillage
Signature profile
earthy, green, woody with Boletus edulis, Pumpkin, Oakmoss

The first impression

November by CB I Hate Perfume is a fragrance for women and men. November was launched in 2008. The nose behind this fragrance is Christopher Brosius.

What shapes the scent

earthy 100%
green 85%
woody 70%
mossy 60%
sweet 50%
fruity 40%
fresh 35%
aquatic 30%
herbal 25%
fresh spicy 20%

The perfumer behind it

Christopher Brosius

Christopher Brosius

Christopher Brosius is an American perfumer and founder of CB I Hate Perfume, known for his unconventional, narrative-driven scents. His portfolio includes fragrances like 2nd Cumming, At the Beach 1966, and Beautiful Launderette, which evoke specific memories and atmospheres. He also created Cumming for actor Alan Cumming, blending personal storytelling with olfactory art.

Notes pyramid

All Notes

Complete scent profile

Boletus edulis Boletus edulis
Pumpkin Pumpkin
Oakmoss Oakmoss
Hay Hay
Red Apple Red Apple
Wheat Wheat
Water Notes Water Notes
Grass Grass
Woodsy Notes Woodsy Notes
Green Notes Green Notes
Pine Pine
Ember Ember
Smoke Smoke

The mood it creates

The Wanderer Archetype: Portrait of November Cb I Hate Perfume

Essence

November embodies the Wanderer archetype, a soul drawn to the untamed edges of nature. Its earthy green and woody accords evoke damp forests after rainfall, where pine needles mingle with decomposing leaves. This fragrance doesn't romanticize wilderness - it captures its raw, fungal heartbeat, appealing to those who find solace in solitude and the cyclical decay of seasons.

The scent's hay and smoke notes suggest transience, a Wanderer's acceptance of impermanence. Water notes ripple through like fleeting memories, while the pumpkin and apple hints nod to harvests left behind. This is a perfume for those who measure time in fallen trees, not ticking clocks.

Style & Aesthetic

They favor practical layers - waxed canvas jackets, well-worn boots, woolens smelling faintly of campfires. Their aesthetic leans toward the intentionally unpolished: handmade ceramics with rough edges, linen shirts wrinkled from backpack storage. Every object tells a story of movement, bearing scuffs from train platforms and mountain trails.

In scent as in style, they reject ornamentation. The mossy bitterness and wet soil realism of November mirrors their disdain for pretense. Their color palette is the forest floor in November - umber, slate, the faded green of lichen on bark.

Philosophy & Values

They believe in the wisdom of root systems and mycelial networks, seeing interconnectedness where others see desolation. The fragrance's boletus edulis note reflects their respect for nature's quiet processes - the unseen breakdown that enables new growth. They measure wealth in quiet hours spent observing changing light through bare branches.

For them, authenticity means embracing life's dampness and decay. The hay accord's sweetness never dominates, just as they temper nostalgia with clear-eyed acceptance of life's transience. Their mantra might be: "All journeys circle back to earth."

Relationships

They connect deeply but briefly, like the scent's ember notes - intense warmth that fades but leaves an imprint. Romantic partners often mistake their need for solitude as rejection, failing to understand their love language is shared silence on foggy trails. They bond over foraging expeditions or the gift of a perfectly irregular mushroom.

Friendships are maintained through postcards bearing dirt smudges, meeting sporadically between wanderings. Their social circles include park rangers, herbalists, and others who understand that some bonds grow strongest when given space to breathe like forest air.

Lifestyle

Mornings begin with bare feet on cold floors, black tea sipped while watching mist rise from fields. Their calendar follows natural cycles more than dates - they note the first frost, not birthdays. Homes are waystations between journeys, furnished with found objects: a pinecone collection, jars of dried botanicals labeled in messy script.

November is their scent of ritual - applied before long walks, its green woody notes blending with crushed leaves underfoot. They keep a field journal where pressed foliage shares pages with fragmented poetry about transient things: bird migrations, the scent of rain on hot stones.

Shadow

Their strength becomes weakness when solitude turns to isolation. The fragrance's smoky undertones hint at this danger - how easily a wanderer can become lost. They sometimes romanticize melancholy, mistaking connection avoidance for enlightenment.

Others may perceive them as emotionally withholding when they retreat like creatures to burrows. The challenge is learning that roots don't equal captivity, just as the perfume's oakmoss shows how stability and wildness coexist in nature.

Conclusion

November captures the Wanderer's truth: that moving through the world leaves scent traces - crushed grass, woodsmoke, damp wool. This fragrance doesn't comfort; it companions. Like its wearer, it finds beauty in what's decaying, wisdom in transience, and poetry in the quiet collapse of autumn into winter.