Jubilation XXV (2007)
    by Amouage




    Average Rating: 4.5

    Based on 467 ratings
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    Jubilation XXV Fragrance Notes

    Jubilation XXV information

    Jubilation XXV is a men's fragrance by Amouage. The scent was launched in 2007

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    $255.00
    50ml EdP
    $229.50
    100ml EdP
    $212.00
    50ml EdP

    Reviews of Jubilation XXV


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    Showing 1 to 6 of 79 reviews.

    G.M.K.'s avatar

    Pakistan Pakistan

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    I got it finally , and what a lovely fragrance it is , very incensy , woody oriental which has a hint of some Gucci's fragrances like Envy and Rush for men but far more better and high quality then those, Awesome blending of so many notes never get cloying , A trail of Myrh and Olibanum makes it dark smoky and sexy. So far the best Amouage I have tried.
    10/10

    13 July, 2014

    jtd's avatar

    United States United States

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    The founding concept of Amouage is the hybrid that results from a meeting of cultures. Eastern materials and sensibilities, Western methods and composition. Omani direction, European perfumers. Combining cultures shifts power and transforms identity. It's not easy and although the outcomes can’t be predicted, some consequences can be expected: assumptions will be exposed, borders will be redrawn, mores will be dissected, and the full ramifications will play out over a timeframe of generations.

    Notions of beauty reflect cultural ideals and changes can be examined as bellwethers of larger societal change. Early hybrid models of beauty, such as Amouage Gold (1983), might appeal to one generation, seeming opulent and dramatic, yet not meet the needs of the next-generation. To them the style might be objectionable, ie. offensively orientalist or melodramatic.

    To a younger perfume wearer or someone new to all perfume, the original Gold Woman looks like the perfume equivalent of The King and I, dated, out of step, presumptuous. Jubilation XXV reflects more of the contemporary school of multiculturalism. It exposes differences rather than smoothing them over. Each perfume is a reflection of the perfumer’s sensibilities and artistic approaches. Guy Robert, who composed Gold, is a classicist, and therefore a traditionalist. Gold is considered both Robert’s crowning achievement and the realization of Amouage’s goal of ‘the finest, damn the expense.’ The fact that the apotheosis of French perfumery came from Oman might have shocked at the time, but can be seen as a best-foot-forward approach sometimes taken at a meeting of polite strangers. 

    Bertrand Duchaufour, perfumer of Jubilation XXV (2004) is more of a postmodernist, and is known for breaking down form in order to rebuild it into the vision he prefers. There is a logical through line from his previous work to Jubilation XXV. From his work for Comme des Garçons, where he stripped wood down to its essence, to his use of fruit as spice, to his fascination with frankincense, there is a direct line from his seminal Timbuktu to Jubilation XXV. I don’t mean to imply that by having come after Gold, Timbuktu is the product of a more enlightened sensibility. The multi-culti world-arts philosophy that Timbuktu’s post-modernism refers to is starting to look a bit long in the tooth in retrospect.

    From Shalimar to Opium to Ambre Sultan the perfume industry is so steeped in cheap 20th century Euro-orientalism, that its cultural bigotry, often couched as fantasy, often passes unnoticed today. Gold and Timbukto are styles of a cultural myopia that is common to the perfume industry despite long-standing criticism. (Don’t get me started on by Kilian’s full-blown orientalist new lines. It makes the 1920s French Oriental fantasy perfumes seem positively PC.)

    So, here's the thing. Does any of this after-the-fact interpretation matter? My point is that it matters if you bring yourself to it. If you give it your attention, an art object, a perfume, can be read. It deserves examination and deliberation. Consideration and pleasure are two non-mutually exclusive sides to perfume use. Why not take both?

    Here’s the real fun, though: what if your experience of a perfume doesn't fall in line with the reading? Which side is true? Critical thinking and the pleasurable use of perfume are both parts of the art of perfumery. But the two aspects collide for me. Gold does have that King-and-I feel to it, that old-school western colonial flavor. It's a flavor I would kindly call distasteful, and more likely call historically naive and ignorant. Yet despite my better angels, I love Gold. It is sumptuous, it is decadent. I love to spray it on and embrace the extravagance! Does this make me a hypocrite? My cold, poststructuralist soul tells me that Jubilation XXV should win my heart, that I should refuse the the thoughtless chauvinism of Gold. But in spite of my appreciation, I actually don't like Jubilation XXV. On anesthetic level, it's not pleasurable or satisfying. On the compositional level, it feels as if Duchaufour tried to shoehorn the entirety of an Arabic sensibility into a bottle of Timbuktu.

    Perfume discussions very infrequently play out as an argument of gut versus intellect. Why not? The uncommonness interests me. There is a contemporary assumption that perfumery is not, cannot be, an intellectual practice, neither for the perfumer nor the wearer. This presumption is false and goes unquestioned because we’re not taught to think about or discuss perfume. The Gold versus Jubilation XXV argument tells me that there's much more that can be unearthed from perfumery than we imagine. If an art-form works rigorously with aesthetics, intention and expression, as perfumery does, then it holds that our discussion should rise above opinion and preference.

    Let’s be thoughtful about perfume.

    19 June, 2014

    Way Off Scenter's avatar

    United States United States

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    Genre: Woody Oriental

    2007:
    When Amouage first emerged oh those 25 years ago, it was noted for (OK, notorious for) outrageous pricing, rare, high quality ingredients, engaging noteworthy noses, and ridiculous snob-appeal advertising. The fragrance market has since changed, and so has Amouage. Thanks to the current craze for "prestige" designer scent lines, you can now pay as much for scents from Comme des Garcons, Armani, Hermès, or Christian Dior as for Amouage Gold or Dia. Meanwhile Amouage moved (stooped?) to chase a younger, hipper market with "clean, fresh" scents like Arcus and Cirrus. These were less individual than the earlier offerings, and even eschewed or downplayed Amouage's signature frankincense note.

    Last year's Reflection duo were a positive development. They were composed by outstanding noses (Roucel, Sieuzac), showed much more originality than Arcus or Cirrus, and won some favor from bloggers and critics. (Pace Luca Turin.) Now, hot on their heels come the two Jubilation offerings, the first since a new artistic head announced a major change in direction for the house.

    So how does the male scent, Jubilation XXV, relate to the rest of the Amouage line? For starters, the frankincense is back. With a vengeance! Frankincense aside, Jubilation bears little resemblance to Gold Man, whose abundant aldehydes, sweet heady white flowers and civet make it difficult for some men to wear. It is also a much thicker, darker, and woodier fragrance than the buoyant and well-named Ciel Man. Jubilation XXV is a more closely related to Dia Man than of any other Amouage offerings. Yes, Jubilation is denser, sweeter, and more opulent than Dia, but their frankincense/floral/leather accords run parallel, if distinct courses. With Reflection, Arcus, and Cirrus, Jubilation has nothing in common.

    What of Jubilation XXV itself? Fruity top notes - especially blackberry - introduce the heavier cinnamon, clove, frankincense, and immortelle. I give Bertrand Duchaufour, who composed this scent, special credit for his handling of immortelle. With its peculiar bacon and pancake syrup (some say fenugreek) profile, this potent floral note tends to hog the spotlight wherever it appears. Not so here. The note is beautifully integrated, adding warmth and sweetness, yet never overwhelming its neighbors. An ambergris reconstruction in the base notes lends Jubilation XXV a sensuous, yet slightly "dangerous" animalic glow. The luxurious drydown persists for hours and hours and is perhaps this fragrance's best feature. Oudh, myrrh, and opopanax engage in a complex dance upon a stage of leather. The medicinal astringency of oudh and myrrh offer a perfect balance to the sweet opopanax.

    Jubilation XXV is not a revolutionary fragrance or a blockbuster release, but it is an easily wearable and distinctive scent of obvious high quality. I believe Jubilation XXV represents a return to form for Amouage after a string of less-than-distinguished releases. Now that the rest of the fragrance world (for better or for worse,) has caught up with its pricing, the house of Amouage may become more relevant than it once was. One can now spend Amouage prices, if not more, on a fragrance and get far less in return. If Amouage maintains its commitment to top-flight ingredients and continues to engage noses as accomplished as Bertrand Duchaufour, it may become a house to watch over the next decade.

    2014:
    Prolonged acquaintance with Jubilation XXV has cemented the fragrance in my esteem and my affection. In retrospect, this scent, along with its sister Jubilation 25, marks the beginning of a revival in output and quality for Amouage under the artistic direction Christopher Chong. The superb Homage and Tribute attars, the two great rose-and-incense Lyric scents, and the frankincense and spice-laden Epic twins that followed all sustain an admirable trend.

    19 June, 2014

    2nosedtwin's avatar

    Netherlands Netherlands

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    Amouage - Jubilation XXV
    In the same way that Ferrari made history by building cars around their engines- Bertrand Duchaufour has done it by building perfumes around Frankincense. Both are made with flair, stylish precision, deep passion and fine-tuned with great craftsmanship. Jubilation XXV is a very good perfume that breathes in a very baroque kind of way but is approached with a minimalistic point of view. All notes are mixed to gain a maximal effect on eachother and on the perfume as a whole. This perfume doesn’t show any bumps or flaws on its road and it accelerates and speeds up as smooth as a Ferrari with automatic transmission.
    A very distinct rich, spicy opening (with a surprising jammy blackcurrent-note), results in an evenly rich, an layered, intense dryout. After ca. 45 minutes it smells very similar to Feminite du Bois, with the same (gourmand)rosy-peachy-cederwood tone, which I found very surprising, and a bit disappointing because it was familiar. But in a way, that’s a good thing because it has a very mellow, gentle and simple feel to it which gives this perfume a chance to take a rest from the intensity of its top- and base-notes. The difference is that its dryout is more smoky-animalic-resinous orientated. Its also the best part of it- a gorgeous honeyed-frankincense with a back-up of tar/smoky-amber, myrrh, cedarwood, labdanum, peru-balsem, iris, and a touch of sandalwood and oily orangeblossom- it also gets a slight leathery, raw-edged, oily skin-feel to it and the waxiness of beeswax.
    Overall the sweetness in the whole perfume is perfectly balanced, and it holds the same intensity from start to finish. Very flowery too, from the lavender in the top, the rose in the mid, to the iris in the base. Great thing about XXV is that its basenotes already shine their light and warmth upon the top- and mid-notes, as soon as you spray it on your skin- great interplay and dynamics between the ingredients. I imagine that this modern perfume dresses up and blends very well with the scented interior-ambiance of a Ferrari oldtimer- they're both classics with an independent, luxurious and distinctive feel of soul, air and beat of heart.
    Somehow Duchaufours's perfumes, especially its dryouts, seems to connect and communicate with the warmth of the human blood-stream; that changes, adapts and personalizes the perfume to the skin of its wearer. His perfumes have a customized feel-fit to them, and really settle down on your skin- in their own special way. I guess this links the color of Ferrari-red to the color of human blood; and vice versa...

    04 May, 2014

    wormstir's avatar



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    This is a very nice scent but nothing in it really stands out to me, it's that usual fruity oud and incense vibe of all those other arabian scents. I get a bit of the hamster cage cedar smell from this one as well. Considering the eye watering price, I'll look elsewhere.

    09 April, 2014

    Wheatstraw2's avatar

    United States United States

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    The first hour of this is, for lack of a more eloquent way to put it, just a bad combination of random stuff, in my opinion. After the fruit, berries, overly green notes and whatever else people brought to this potluck dinner trails off into the atmosphere, then you get a smoother, more tolerable incense and dry wood. Not that the dry down is anything to write home about. It's just better than the opening. I like the incense in Cartier's Heure Mysterieuse better than the incense here, so I've finished my sample and this review marks the end of my experiment with Jubilation XXV.

    29 March, 2014

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