Very pretty and feminine, lovely floral notes followed by amber, but quite easily forgettable.
I really wanted to be wowed by Alamut, but whilst it's a lovely and pretty fragrance, it doesn't stand out as unusual enough or special enough to make me want to buy a bottle.
Genre: Woody Oriental
Notes: Osmanthus, rose, jasmine, rosewood, narcissus, tuberose, ylang-ylang, orange blossom, labdanum, amber, musk, amyris, sandalwood, patchouli, benzoin, leather and powdery notes.
Given his penchant for spices, sweet vanilla base notes, and big, assertive olfactory profiles, it’s no wonder some of Lorenzo Villoresi’s most successful works, including Piper Nigrum, Spezie, and Incensi, have been in the oriental genre. Alamut is another oriental, more recent than the rest. Where its predecessors were all very spicy, Alamut is more of a floral-amber composition. The top notes include a boozy amber and a very musty indolic orange blossom, soon bolstered by a very heavy rose and an animalic musk that suggests a civet reconstruction. For the first few minutes of wear it feels both overly potent and crude, but Villoresi’s scents often open clumsily before gaining their footing and their poise.
Alamut does settle down into a less strident floral-oriental arrangement, with patchouli, labdanum, and tropical white flowers alongside the rose, sweet amber, and musk. It’s still busy composition, at once very heavy and opaque. Alamut also suffers from a certain plainness, as if all of those ingredients jostle one another into a non-descript oriental blur. This lack of clarity suggests to me that Alamut would have benefited from editing. The drydown features Villoresi’s signature powdery vanilla base note accord (try Teint de Neige for an undiluted taste), though in Alamut it remains cloaked in heavy amber, benzoin, and patchouli. Loud as it is going on, Alamut fades rapidly – either that or I’m very fast to habituate to it. Normally I’d complain, but in this case I don’t enjoy the scent enough to rue its quick exit. I think Villoresi has done better elsewhere.
Powerful classic chypre, deep, spicy and animalic, soapy and baroque, wich rich floral notes – tuberose, rose, narcissus: an overhelming, sensual, majestic triade. Halfway between the classic Chanel's like Bois des Iles and Cuir de Russie, and the more contemporary Amouage's or other opulent Oriental florals, just less thick and dense, more simple, with a more essential and mediterranean twist. Earthy, mossy and moderately dark base of patchouli and vanilla, with soft musks and a dusty sweet feel. Everything sounds loud and clear, all materials smell high quality and the composition is just perfect to make each of them work at its best – both alone and in the blend. More restrained and discreet than it may seem from the composition: the opening is powerful, but it soon calms down. It becomes a mellow, soapy, floral, dark and elegant leather chypre, with spicy notes. Really well-balanced, refined, pleasant and versatile.
Lush, sophisticated and very feminine powdery-floral with a musky and vanillic soul, a considerable note of rosewood and an animalic-lethery undertone that tames, on the side of the musk, the sweetness of the final talky-creamy atmosphere. The final issue expresses a very floral-orangy wake taking off from a bed of woodsy amber, sandalwood and benzoin-labdanum. The note of patchouli impresses boldness and autority to a juice heavy on rosewood, osmanthus and ylang-ylang. The scent, initially a bit alcoholic, sweet and raw, turns soon in a silky-talky fluid that is a perfect shelter for the suave notes of jasmine and rose. The first hispid-metallic blast is a sort of green-floral bouquet surely glamour but classic and a bit retro with the dreamy delicacy of rose and white flowers and because of the combination of citrus, rose and patchouli. The fruity touch of orange blossom enhances the natural sweetness of this botanic opening. In a few time a sort of ambery boise viscosity starts to envelop the fruity-floral elements and to lead them towards the animalic-powdery base. The final part combines the animalism of musk, leather and sinthetic human notes with the creaminess of vanilla, benzoin and labdanum. Alamut is a great white-powdery, autoritative, feminine concoction from the great italian nose Lorenzo Villoresi. The juice is complex and expresses a long process of evolution, you need time to smell the subtle and elaborate bliss of the final outcome. I find Alamut well balanced and fitted of the right level of natural and resinous sweetness, finally moderated in the dust by the opaque mildness of musk and leather. The wake is a white, bit milky dust of flowers and woodsy elements and is classic, bold and a bit potpourri. A respectful classy scent.
31st July, 2011 (last edited: 11th February, 2013)
I detested this initially when I first encountered it. However, on a cold January day it is more nuanced and alive. As pidgeonmurdered says..mommy's make-up bag. But mommy is a lady in the 50's with a frame purse and white gloves wearing kitten heels. I think the perfume makers chose poorly on the powdery-amber base..it may be a bit too thuggish..and blocking out the song of tiny osmanthus flowers. Delicate? No. It's a 2 X 4 of powder. This would be perfect on the SNOW QUEEN.