The first note I discern in 10 Corso Como is a very smooth, nutty, and somewhat sweetened vetiver. The vetiver is soon joined by incense, sandalwood, and rose, all well-blended in a very dignified accord. There is some oudh in the mix as well, but it's only a grace note, not a lead player, and like everything else in this scent, it's very smoothly integrated.
"Smooth" keeps coming up as I describe 10 Corso Como, and I realize that this is an exceptionally suave and civilized scent. Surprisingly for a fragrance featuring rose, vetiver, incense, and oudh, it's also quite soft and mild, and wears close to the skin. It grows progressively creamier as it develops, with the oudh lending a certain coolness to the composition. Over the course of hours, 10 Corso Como also sweetens and becomes more resinous, as the gentle oudh and smooth (again!) sandalwood lead it into its clean musk, wood, and incense drydown. This is nice stuff, and I find it very easy to wear. I see it as a solid, sophisticated daytime scent for those occasions where you want to project poise and decorum.
A fragrance that has apparently had glory days but the present iteration is a rather flat if pleasant sandalwood with sweet breath and somewhat sweaty edges. Disregard the alcoholic opening, 10 Corso Como soon settles into its mild woodsy smile which it holds for the length of its stay. A bit of a plain Dwayne.
I find this boring. It sits very close to the skin, I pretty much have to press my nose right into the skin to smell this at all.
Once I put it on, Corso Como is a weak, bitter vertiver layered on dry, bleached sandalwood. There is a hint of oud around the background, but it is not very noticeable, and I am not a fan of oud. This ends up smelling both medicinal and bland; it most reminds me of a wooden tongue depressor, with something herbal at the edges.
As it warms up, the vertiver comes out more, and I detect a strange sweetness. It doesn't make much difference to me; I would not recommend this.
l have seen this one compared to Costes, but to my nose the two are quite different. l get a strong woody incense in the opening, but none of the rose. What l get instead is a note l can only compare to sweet pickle. l keep hoping it will go away, but having noticed it, l cannot ignore it. l sense a rather friendly oudh trying to get out from beneath it, but the pickle note just ruins this fragrance for me. lt hasn't changed at all when the fragrance fades out around four hours in, but at least the projection is mercifully low, otherwise l would have scrubbed it off long before that.
Here are the notes I saw listed: sandalwood, frankincense, musk, rose, geranium, vetiver, Malay oud.
This is a very subtle, close to the skin scent. The incense is very smooth, and the sandalwood is creamy. There are mere hints of green-coniferous frankincense and rose; and even a fainter hint of tangy oud. Overall the scent is beautiful, perhaps just a bit too smooth and restrained to really attract my attention. However, I cannot fault it and I am sure that many will find it very nice.
I appreciate the clean complexity and translucency of this silent incensey fragrance. It reminds me a sort of less aromatic and slightly more incensey kind of Cardinal. The woodsy smell conjures to me a green graveyard with some smoke around, the aromatic odour of moss and pine resins soaring in the air, the smell of white roses and geraniums coming out from the chapels and the fruity aroma of the country around whirling under your nose. The blend of sandalwood and incense, the backbone of the fragrance, is perfectly balanced and aromatized by the woodsy chord of musk and resins. The vetiver expresses its words since the beginning but is not rooty indeed smooth and civilized in its link with a touch of amber. The final outcome is woodsy and incensey remaining clean and moody without traces of dustiness or prickliness. The mysterious, almost sinister, aura exuded reminds me a bit Serge Noir that smells more sweet and mellow under my nose. A well made fragrance for solitary souls under the sky.