A luxuriant (initially radiant-aldehydic-spicy) mélange of heliotrope, floral dust/pollen (mimosa in primis, violet and than Jasmine), spicy ylang-ylang, orange blossoms, powdery woods, tonka beans and rich (resinous) amber. The general "dust" is spicy-powdery-wet (cloves, cinnamon with a fluidy-liquid sparkling undertone) at the beginning and finally honeyed-resinous (may be due to a touch of honey, rich amber, frankincense). Amouage Opus III is an opulent (not utterly original but well crafted) florioriental (powdery-resinous) chypre with a sticky-velvety dry down. The floral-oriental way (each one of the following juices with its peculiarities) has been already traced by glorious beasts of the far/recent past (Caron Nuit de Noel, Chanel Cuir de Russie, Etro Heliotrope, Boucheron, Penhaligon's Cornubia, Guerlain Chamade, Mona di Orio Carnation, Amouage Jubilation for Women, Dior Addict etc.). Anyway while a notable part of the flori-oriental around tends to evolve towards "a floral bright whiteness" properly powdery-radiant, rosey or balmy-soapy (and initially also dealing with this fragrance somebody could catch this misleading feeling), actually Opus III tends to a more "yellow" (initially fluidy and than) resinous-honeyed (vaguely incensey) and kaleidoscopic allure, "swimming" in the middle between the unworthy Chanel Allure (thankfully just slightly along the first ten minutes), Kingdom Alexander McQueen (this one more "sweaty" and dirty but not far from Opus III), CK Secret Obsession (the latter more leaning over the rose-tuberose duo), Bvlgari Jasmine Noir (but Opus III plays in a far more powdery-resinous and dense way), Guerlain L'Heure Bleue (just a touch of its honeyed-resinous grandeur) and Dior Dune (but the Amouage's one finally performing in a more resinous, honeyed and warm way). At the beginning I detect that sort of quickly fading "earthy licorice-like" undertone which (as mixed with the almondy-honeyed accord of heliotrope/jasmine absolute) connects me immediately with the less articulated (but more balanced) Bvlgari Jasmine Noir. Unfortunately the final evolution tends too much towards a sort of overly rich resinous floral soapiness (honeyed due mimosa/jasmine pollen and may be properly honey flanking amber-vanilla and a touch of incense) that works well at distance but is probably "too much" when your nose brushes the layered skin (probably rich amber, incense, benzoin, precious woods and honey overly charge the oriental dry down). Anyway we can't deny the rich sensual glamour of this hyper warm but multifaceted fragrance (with an impressive sillage).
a big aldehydic burst that quickly goes away for me...then I get a spicy/flowery/woody accord with a momentary smell of wet paint...but I thought it smelled pretty good...has a dry, resiny feel...flower scented wood...because of the aldehyde/flower mix get a slight association to the Golds...get more of the sweet white flower kind of smell...I can see myself enjoying wearing this...a dry woody/sand/resin feel...decent projection...I don't find it to be overly flowery IMHO...Smells of quality and exquisite blending...agree with comments in other reviews that have called this gorgeous, complex, comforting, classy...rich and luxurious smelling...just the lightest touch of incense as it dries down...
IMHO decant to FBW
Spicy/Sweet Woody Floriental
This third in the Amouage Library Series opens with a blast of sharp, soapy/waxy aldehydes worthy to stand beside White Linen or Chanel No. 22. Opus III bears further resemblance to the Chanel in that it’s other dominant ingredient turns out to be frankincense. Among the key differences: No. 22 has more citrus up top than Opus III, and the Amouage backs its frankincense and aldehydes with jasmine and violet where the Chanel offers mostly rose.
Opus III hovers for a few hours on its cloud of incense, violet, and aldehydes, throwing off ample sillage all the while. During the third hour or so, some soft, woody notes, particularly sandalwood and cedar, detach themselves from the frankincense, while the aldehydes retreat ever so slightly. As a result the olfactory texture shifts slightly toward a more rounded and less aggressively “perfumey” style. Over the ensuing hours the woody base notes grow more and more prominent, until the floral notes and aldehydes finally disperse altogether, leaving a soft, powdery drydown of incense, sandalwood, and ambrette musk.
Opus III avoids the sense of imbalance that mars Andy Tauer’s equally aldehyde-laden Orange Star, but I can’t say I find it all that compelling or original a composition. Nor does it speak so clearly of quality as to merit its super-premium pricing. I now stand disappointed with the Library Series as a whole, and must wonder if Amouage can maintain the standard it reestablished with Jubilation XXV, Jubilation 25, Homage, Tribute, and Lyric Man and Woman under the Gatling-gun pace of this past year’s releases.
Amouage - Opus III
Its impossible to understand that this got through the trials and made it to a real perfume, that is actually being sold. Made with very good materials and a great deal of artistic freedom - Opus III still manages to disappoints very much. It feels very unfocused, almost like the ingredients don’t like eachother and cant seem to blend into to something that above all, just smells good.
The opening has no sparkle or freshness and smells like dusty-musty, very old books full of moths. It smells like the oldest perfume in the world that was dug up out of the ground in ancient Egypt - like the aromatics had passed there date of expiry. There is no lifting effect of the florals - jasmine/ylang/violet and the opening shows a difficult combination of carnation/thyme/nutmeg/mimosa that together seem to radiate a uninspired, sad and depressing mood that gives it a grey-like color - there is no joy here… Its dryout smells bitter-sour; with dry cedarwood and sweet-like sandelwood with warm incense/benzoin/vanilla. You can really smell the quality of the ingredients here - especially the sandelwood, but also the dryout feels restless and unsettled. Somehow this whole perfume smells like how myrrh smells on its own - alienating and slight obnoxious to my nose. Also the word shoepolish comes to mind when I sniff Opus III; shoe polish for black shoes you can wear on a funeral, matching it with this perfume: Opus Funeralus.
Powerful opening, a violet that smells like iris, a mimosa as powerful as a tuberose, other (nice) flowers I don't get clearly. A classic, honest, well-executed floral chypre with a mimosa heart, an earthy and aromatic base of cedar and dry woods (that, weirdly, vanish quickly), softened by a gentle and pleasant vanillin-tonka note with a resinous touch. Green and balsamic feel coming and going. As I said, a classic, initially kaleidoscopic and opulent composition which just "switches volume off" too soon. In fact, its promising, musky, baroque, decadent, soapy, shady and bold chypre-poudrée personality evolves really quickly – or better say, tones down, losing much of its vitality, and what you get sooner than you expected is an elegant, pleasant but fairly dull and sleepy floral-talcum poudrée blend still with a persistent (evolving into "annoying") tonka note. And at this point you're probably already regretting the crazy price you paid for this. Decent.
24th April, 2014 (last edited: 25th April, 2014)
There in not much to talk about this fragrance.
It's a smooth and creamy sweet floral scent with a little amount of spice in the background that turns to a darker floral scent.
It's not a complex scent. there are no major changes in the notes from the opening to the base.
To be honest I don't see anything special or exciting here unless you want to spend big money to have a pleasant, simple, floral feminine fragrance.
Projection is really good and longevity is around 10 hours on my skin.