"Can I write with my tea and drink my ink?"
Its 1864. Colonel Lyle Oldershaw-Plaskitt is sitting in his dimly lighted small office, in his colonnial mansion, in the outskirts of Bangalore. He's about to start writing a letter, to inform the newly appointed Viceroy of India, Sir John Lawrence, Bt, that Bangalore's rail connection to Madras is finally completed and ready to operate. He realises, with a slight annoyance, that what is left in his inkwell is not going to suffice for more than a few words, and he silently curses himself for having failed to notice that his ink supply was that low. Unwilling to wait till morning, he decides to mix what ink is left with a dram of the strong tea he's drinking, hoping that the Viceroy will excuse this slight inappropriateness. Before being able to write down even a single word, he's utterly surprised (an extremely rare situation for a stiff upper lip British senior officer) by a heavenly smell that seems to arise from his inkwell. As close to mesmerised as a soldier of his stature could be, he slowly puts his Gillott's nib down, and reaches for the inkwell.
Next afternoon, with his skin a little darker than usual, he enters the country club, to be greeted by Brigadier Eugene Boulstridge-Smythe, who turns from glad to amazed within five seconds of standing next to him.
"Goodness gracious me Lyle, you smell divine! Any good old Atkinsons new stuff? And how on earth did you get a tan since yesterday?"
Colonel Lyle Oldershaw-Plaskitt smiles complacently and drinks a sip of his whisky.
"You shall see old friend, you shall see..."
Colonel Lyle Oldershaw-Plaskitt perished during a storm four days later en route to Ceylon, where he was heading for purchasing an unusual for an individual quantity of tea. His order of three firkins of Indian ink was already on its way, but he failed to receive them due to his untimely demise. His comrades mourned and honoured their distinguished fellow countryman with all respect, and in his memoirs, then General Eugene Boulstridge-Smythe didn't forget to mention, besides all other attributes, that Colonel Lyle Oldershaw-Plaskitt was the best-smelling man he had ever met, and what a pity it was that this magnificent and absolutely unique scent of his was sadly lost for ever under the waves surrounding Adam's Bridge.
Until one year before the new millennium, when a France-based Japanese lady, obviously not giving a damn about what people would think of such a concoction, reinvented it...
P.S.: Call me a madman if you please, but to my nose (which I'm the first to admit that it's not to be taken very seriously), and despite the fact that they barely share a couple of notes, this has a very strong resemblance to Azzaro's Acteur...
I’m reminded of a style of drawing where loose strokes, unconnected to each other, fall into place and form the image. CdG 2 has that kind of space and surety of purpose: elements will move in and out of focus depending on mood or perception on any particular day but the whole will still please. A light and billowy herbal rose, glimpses of a metallic sheen contrasted against skin tones, some smoke weaving through, CdG plays with abstraction but oh so stylishly, in a manner that is open, uncrowded and eminently wearable. The base is woody-musky in a manner that has become almost traditional now.
Avant garde it may have been in its time but one cannot imagine the intention ever having being other than to please.
Coming back to Comme des Garçons 2 Woman after smelling a decade’s worth of subsequent CdG releases is an odd experience. Seen from this perspective, it’s a surprisingly conventional spicy floral scent distinguished an admixture of incense and some of the same very crisp, unabashedly synthetic dry woody base notes that anchor fragrances like Zagorsk and Avignon.
Cdg 2’s structure is almost a distillation of Caron’s Parfum Sacré, which plays on woods, incense, and rose in a style that’s at once richer, weightier, and more naturalistic. In CdG 2, Mark Buxton takes the fundamental idea and strips it down to bare essentials, eschewing any soft padding or pretense of natural origins. The result is a refreshingly translucent, yet incisive fragrance that has aged much better than many of the more dogmatic exercises in minimalist perfumery that Buxton’s work has since inspired.
I think CdG 2’s strength, sillage, and projection are perfectly judged: sufficient to make an impression, but restrained enough for comfort. I can’t speak to anybody else’s gender assignments here, but as a man I wouldn’t hesitate to wear this for an instant.
Its very fresh, but not as citrus fragrance, opens up wit tea-mandarin mix that is airy , light, and reminds me of morning sunshine , its floral in a way, and then i thought of iso E super, it has that type of structure, airy, light, woody, fresh, i like that citrus hint that reminds me of geranium, then a little bit of nutmeg,gives touch of sweetness, and something reminds you of incense note but modernised version,
What struck me the most is that it reminds me of a cathedral built of spider net ,its hardly noticeable yet the complexity is there,
This is one delicate beauty, for hot summer days:-)
Let me preface this review by saying I live in the temperate climes of Victoria Australia. It gets dry (and down to zero Celsius sometimes) and humid (in the 30's) and then UBER dry over 40 degree Celsius at times in the summer.And I am describing CDG2... NOT CDG 2 Man or any other variant here!!! (more on 2 Man another time)! This scent is unbelievable in all conditions here. You can wear this morning noon and night at work or play. The fragrance is indescribable to me... In the BEST way. Projection is great. Longevity likewise. (When a woman sprays it twice a week on pillow slips ... you know it works well)! It is definitely masculine, but the scent is loved by women in their 20s 30s and 40s and beyond! It is one of a number of higher end EDT I prefer to use, and I am into my 3rd bottle...
06th January, 2013 (last edited: 28th January, 2013)
This interesting transparent renowned fragrance is a sort of subtle mix of the most interesting facets exuded by some known fragrances around some of which are for instance Black Angel Buxton, Black Aoud Montale, Declaration Cartier, Magnolia Nobile Acqua di Parma, some Costume National (Scent and Pour Homme) and Battistoni Marte Arte. The aromatic/floral/dusty refinement owns texture and lasting power for me. I detect the aldehydes for sure side by side with some inebrious spices (cumin, saffron may be). The beginning is aromatic/haldehydic and slightly herbal with its combination of juniper berries, angelica , aldehydes, orangy juice, bkackcurrant and cumin. The opening is bright, crisp/botanic, citrusy, a bit rooty and with a sort of metallic edge, the latter soon partially fading in the way to the middle transition towards a barely floral heart exuding a sort of violet/muguet/ neroli (almost peachy) kind of vibe (probably aroused by the combination of magnolia and other elements). The more the development procedes towards the end the more the smell projects out several feminine facets and i detect a sort of rose/jasmine orangy feel over a labdanum/patchouli, vetiver structure and a slightly powdery amber/cedarwood base with musky accents. Some incense is inserted somewhere in the blend on the side of resinous elements but i detect it more in the course of the run than after the crossed bourne. A respectful fragrance for the lovers of the genre which starts decidedly masculine and finally winks to the womanly side.