Who turned off all the lights? This is the most pitch-black perfume I have encountered.
The opening volley is of an endearing, transparent, almost watery rose warmed by mature woody tones. But within seconds it gets intensely inky, ferric almost, with rooty vegetal accents. You know the rose is still in there, because Rosam has soft edges, but it’s cloaked under that velvety darkness.
There are hints of other notes, a touch of zingy saffron, the depth charge of patchouli, but the abiding impression is prehistoric vegetal. The oud here is wood that is slowly liquefying under centuries of soil into a dark, highly unusual liquid.
I think Monsieur Ghislain’s oud trilogy is something else – unique, daring, but also, to me (there are those who disagree) perfectly judged in intensity, so that they are eminently wearable. In my greedier moments, I dream of owning full bottles of all three.
Rosam does shrink considerably in the later stages and the rose becomes more evident; the pleasure for me is in the black heart phase.
Now that I tested Rosam and completed my journey into this "trilogy" by Histoires de Parfums, I must say overall I quite liked Ghislain here. Petroleum, Ambrarem and now Rosam are three good scents, each with its own personality, but connected by a clear and consistent stylistic "fil rouge", which I would sum up into a sort of "post-modern", mostly tending to "dark" also, revisiting of classic themes. Rosam opens with a captivating and fascinating rose-oud accord, which smells quite unique, in a sort of industrial-mystical, austere and dry-to-the-bone way, restrained, sharp but silky and captivating, rounded by artificial means but without smelling "fake" or plastic. There is a really peculiar ghastly transparency, heavy like concrete but at the same time, breezy like a winter day. The rose notes are processed in a very interesting way, they are not "predictably" rich or dense as they often tend to be, but rather "plain" and dry in a creative way: this scent makes me think of its accords as thin, linear, white-grey fogbanks one gently floating on another, refreshed only by some delicate hints of citrus, amber and spices. Still, they manage to smell vibrant and "alive" in their own way. With my references to "post-modernism" I am not implying this is some avant-garde or minimalistic scent - it partially is (minimalistic), but it has also a prominent "mystical" and Oriental feel all over, so don't think of anything to "abstract" or synthetic. The evolution is close to zero, and fairly long-lasting. I must also note that it's not exactly a "pleasant" scent to wear, it's intellectually interesting but frankly, as a scent itself, a bit too much linear and austere – to the point it almost becomes boring after some hours. Nonetheless it's a really interesting work.
Histoires de Parfums' rather articulate take on the rose/incense/woods theme. Slightly dusty but never dry, the rose velvety and just a touch soapy, the woods warm but elegantly restrained. In my view ROSAM sits snugly somewhere between By Kilian's Rose Oud and Amouage Lyric Man. That can only mean one thing: it's a winner.
Rosier than the rosy Boucheron Pour Homme. I enjoy it as much as its older cousin: immensely!
How many rose -oud -saffron combos have you smelled? too many, last one i smelled was Montale Black Aoud, but that name suits this here scent much better! How can this be interesting? Unique?
I would call it Roseman:-) , this is the only rose that suits better to men then to women! The drydown is completely woody oud smell, it radiets cleaness, simplicity, freshness, but in unique way, while Montales ouds are somehow moisturized and medicinal, bit heavy,creamy too, this here is light and more abstract
This is amazingly well balanced scent but the name would suggest its all about roses!No it is not! the rose from the opening fades away slightly but steadily that you can hardly smell it in the drydown, wich lasts forever, longevity and silage are great!