The opening is truly intriguing: bergamot and a nice lavender have jasmine added, which results in a classic but totally unstuffy top note. In the drydown a fern-mossy note merges of a herbal character, which on my skin at times smells like a delightful celeriac note. I get a touch of floral notes that are not sweet.He base is woody and the least original part. Acceptable projection and three hours of longevity. Overall a notable fragrance with a creative top note.
There Is More To This One Than I Initially Thought...
Venezia Uomo opens with a clean lemon and bergamot tandem before quickly adding relatively soft lavender to the mix. As the fragrance reaches its early heart phase the aromatic lavender takes over as the citrus dies, now joined by a tonka bean sweetened watery vibe with an underlying clay-like accord derived from just slightly indolic jasmine over a growing woody cedar rising from the base. As the fragrance enters the late dry-down, slightly sweet amber joins the now dominant woody cedar with subtle oakmoss support to round out the rest of the fragrance development. Projection is slightly above average, and longevity is also above average at 8-10 hours on skin.
Venezia Uomo is an interesting composition that on first sniff seems to be relatively benign, but on closer inspection is quite intriguing. It opens like so many others with the citrus, but then the fragrance uses its lavender and jasmine florals to create an overall watery vibe without being an actual aquatic. The cedar, which joins the lavender as dominant notes through most of the fragrance development is never too in your face, though always present and quite critical to the overall fragrance structure. I should also mention that while never overly sweet, Venezia Uomo definitely does have a sweet side primarily derived by its heavy use of tonka bean in its base. While I tend to dislike sweet notes in most fragrances I did not mind the sweetness here at all as it seems to balance the woody and floral notes nicely. Folks who absolutely can't stand any sweetness in their fragrances should most likely avoid this release as disappointment is bound to set-in. The bottom line is that while no masterpiece, Venezia Uomo is a very good 3.5 star out of 5 rated composition that reveals it has a lot more to it than initially presented, setting it apart from most releases you find nowadays. As it has been discontinued, Venezia Uomo is not inexpensive on the after-market at just over $90 a 125ml bottle, but that is about the same retail price you would pay for the latest mundane designer release, and this is anything but. Absolutely recommended.
Pros: Very deft use of florals to create a watery vibe without actually being an aquatic.
Cons: Starts off a bit bland and generic before distinguishing itself as time passes.
Well, sorry to be a damp rag in an otherwise fairly enthusiastic gathering... but this I find this to be a rather lame spicy-aquatic fougere.
It is certainly quite sweet -- uggh.
Doesn't seem particularly masculine in style.
I view the "fern" note with lavender and woods as a reason to call it a fougere.
However, it certainly has a synthetic, aquatic-fresh note... perhaps suggesting the canals of Venice on a sunny day when the backwash is not too great.
Dry-down is amber-musky, hence some people think of it as an oriental.
Don't get much in the way of wood, perhaps a few molecules of a very sweet sandalwood.
I honestly don't know whence the kudos are here... it seems like a rather generic and low-rent sort of scent.
In sum: sweet, aquatic, ambery. I guess some like this style. I don't.
Discontinued -- in my opinion not worth a protracted search.
This is one of my favourite masculine italian fragrances, a scent that conjures the languid and decadent atmospheres of the nineteenth century in the floating and crying city of Venezia, a sense of void after a death. Venezia Uomo is decadent and mysterious as a baroque palace full of fires and candels, as a carnival's mask, two obscure eyes under a hood that stare you with an hypnotizing power. The fragrance is a spicy oriental averagely dry in its alternance of angular nuances from hesperides and greens. Gorgeous bergamot's usage, the element is aristocratic and sinister. The multifaceted aroma (full of angular nuances) is not deeply ambery, creamy or mellow but just slightly powdery by sweet spices, lavender and tonka. The decadence is properly set by a baroque initial connection of hesperides, aromatic greens, spices, (i detect cinnamon and cloves), patchouli and lavender with the floral luxurious wake coming from nocturnal jasmine, languid rose and sinister flowers of graveyard. The note of lavender (connected to bergamot) adds fresh powderiness, a touch of "botanic water" in a first stage and woodsy breeze later ( as flanking a central aromatic note of fern) while the jasmine is deep, lushful and melancholic. The alternance of flowers, sharp fruity notes (grapefruit?), bergamot and citrus (orange and lime) is simply stunning and dramatic. The dry down is delicious but basically sharp with its central cedarwood and with its minimal (magistrally calibrated) touch of balsams (amber, vanilla, benzoin?) paired by exotic tonka and woods. Each element is in a perfect harmony with the others and the oriental-retro feel is basically elicited by a combination of hesperides, lavender, royal patchouli and tonka. The combination is dry but changeful, sweetly spicy, wintery, deep of nocturnal flowers and deliberately languorous. Venice is gelid and tears flow down from its eyes.
11th October, 2011 (last edited: 13th May, 2015)
Bright, very bright opening. Still manages to be well rounded. The rest of it goes from there. The first impressions set a very nice tone for the Venezia.
Wood and a bright opening don’t always work together too well/subjective/. Here though, the woodiness is layered in a way hard to resist. On paper, the Fern appears to be the odd choice. I can smell the overlapping of Jasmine/Fern note with the sandalwood. It makes it beautiful and builds a deeper base for the finish.
The whole experience is based on early morning sunshine gathered with a walk in a forest around four in the afternoon. It can easily be a staple for the Mediterranean. But not quite, because it holds much more in terms of deepening the aspect, on which most easy going scents depend on-the obvious departure from the really heavy basenotes/ha/ used in perfumery.
By any means Venezia has depth, so much of it, delivered in a very bribing way. It omits the need for being too straight forward in the final approach to your nose. Sometimes if you misplace the edges you don’t get a sword, but a trident.
I’m not the kind to get hyped up, because it’s been discontinued. This one however is so refined, it’s hard not to “stock-up”. When wearing it, is needless to worry about “the right occasion or circle”. It will only reflect your preference. This is what matters, at least to me.
Venezia is much stronger than appears. The silage is outstanding, longevity-more than enough.
Personally, this must be the best Laura Biagiotti. I love Roma Uomo, but Venezia is outgoing, easy, and at the same time, deep and luscious.