I have a feeling this one gets overlooked because of the ho-hum reviews and lack of punch, which is understandable. There's nothing "vitrol" about it...it's fairly tame in comparison with other spice-bombs. Also, carnation is tricky...many of us have associations with outdated perfumes, or even soapy-smelling cosmetic products.
Alas, Vitriol d'Oeillet is still a beautiful, dry, spiced-floral, relying heavily on ylang and rose to conjure the image of a proper carnation. I happen to find it very wearable and elegant, minimal in its details (a good thing), and a good candidate for any guys out there looking to dip their toes in the land of florals.
ps - irrelevant, but the colour of the juice is so perfectly matched to the scent, it's uncanny...
If, like me, the name “Vitriol d’Oeillet” had you dreaming of a transgressive floral successor to the brilliant Tubéreuse Criminelle, dream on. This isn’t all that vitriolic, and it’s not even much of an oeillet. In all fairness, I’m not sure how you’d do a convincing carnation soliflore with the current restrictions on eugenol. (The distinctively medicinal aromachemical common to cloves and carnation reconstructions.)
What Lutens delivers is not so much an angry carnation as a spicy-woody rose. That’s not a bad thing in itself; in fact it puts Vitriol d’Oeillet in the august company of Caron’s brilliant Parfum Sacré, Amouage Lyric Man/Woman, Czech & Speake’s No. 88, and Frédéric Malle’s Noir Epices. Vitriol d’Oeillet shares with most of these its notes of clove and black pepper, but its profile seems somehow less distinctive than any of them. It has neither the reckless intensity of Noir Epices, the exotic opulence of Parfum Sacré, nor the oudh and incense fueled mystery of the Amouage or Czech & Speake.
For a perfume house that made its reputation on bold, supersaturated compositions, Vitriol d’Oeillet smells oddly subdued. Indeed, the recent series of conventional – even apologetic – compositions, from Nuit de Cellophane and Bas de Soie to L’Eau Serge Lutens, leaves me wondering what’s become of the outfit that gave us Muscs Koublaï Khän, Ambre Sultan, Tubéreuse Criminelle, and La Myrrhe? This scent is pleasant and competent, but hardly likely to inspire passion, much less controversy. Meanwhile, for a convincing carnation soliflore, vitriolic or not, I’d aim for Comme des Garçons’ Series 2 Red: Carnation.
Female 1: 3.5/5, Impression: a little musky but clean and uplifting. Has a defining smell
Female 2: 3.5 /5, Impression: soapy, flowery, feminine aroma
Female 3: 0/5, Impression: Pompous. Does not suit you (which is me)
Male 1: 1/5, Impression: Too feminine and flowery
Male 2: 4/5, Impression: I like this one
Male 3: 3/5, Impression: a sweet but heavy floral scent
Projection: average +
Longevity: 10 h +
This is a mystery to me. There is definitely depth to it, but I’ve never understood this type of perfumes. It’s just like the Myrrh from the same creator. I love the house generally, but they do sometimes come up with these exceedingly abstract constructions. Luxurious soap and flower in an architectural excellence that does not speak to me. This is like a polished semi-precious stone ball on a dark velvet. Too round, somehow closed and detached. I usually prefer wilder, more angular and resonating fragrances.
This is slightly pompous, quietly proud aristocracy. And it’s really too feminine in my opinion.
Maybe if I could detect the peppers that are supposed to be there.
So, generally… respect but no attraction.
A peppery carnation with cloves is what I'm mainly picking up. What has been done to the carnation note, it can be really beautiful in a fragrance but here they have ruined it.
As time goes by other floral notes come into play making the main spicy peppery carnation smell like soapy bubblegum.
Thumbs down with this one.
Super harsh opening, pungent green notes, raw freshly-cut carnation flowers, a massive aldehydes feel, all in a trasparent, metallic, vibrant cloud, with a slightly sweet base. The carnation is powerful, vivid and biting, surrounded by spices (cloves and pepper) and a tasty, savoury bittersweet note of pimiento. The softer base of vanilla and ylang comes in shape and emerges as minutes pass, slowly turning the fragrance in a sweeter and almost slightly milky tanning cream-like scent (I recall Un bois vanille). The middle phase is basically a talcum-musky fairly pleasant and sweet take on the initial accord - meaning that it's still all there, just "emulsified" in a sweeter shape. The evolution is a bit odd and almost "sea-roving", it ranges from metallic to sweet than switching back to a dry green/floral, then ending back again to a musky sweet drydown, which eventually dries and settles in a discomforting floral/medicinal accord. And frankly I do not enjoy any of these passages in particular, it's like watching a movie with people yelling and moving in front of the screen – the movie is carnation and the rest is, well, all the rest that surrounds (or better say, covers) it here. Plus I don't get any "feeling" in particular - it's not refined, not pleasant, not "ironic", not evocative... not even shady or masculine or avant-garde. Not that it has to be some of these, it's just that it's more kind of a sequence of smells, none of which achieves any result in terms of identity. A bit too much, in a bit too much unclear concept. If you like carnation, you'd better go CdG's Carnation - an unbeatable quintessential tribute to this beautiful flower.