Sometimes in cold weather, I’ll do a minute or two of exercise before applying perfume – just to get my skin warm enough to be receptive. With Eva Kant I wouldn’t need to bother – it’s a perfume that somehow feels massaged in rather than sprayed on.
A resins and spice combination which has the pleasing moreishness of a skilfully made milky desert (something Indian maybe with lots of ground cardamom and just a touch of ginger), it feels comfortable, relaxed and at home on my skin. Gentle myrrh and dusty vanilla are also prominent in the central theme and they blend right in. A rather traditional citrus and lavender combo injects air and space through the opening stages, while not detracting from the after-dinner feel, and a hint of something like raw, split wood adds a pleasing contrast. The wood changes subtly, getting waxier and more prominent over the course of the wear, but doesn’t unbalance the other elements.
While Eva Kant is a fine thing, I find it (like its projection and longevity) a touch too measured, inspiring little by way of passion. An occasional visit will do me.
This O'Driu'fragrance represents in my humble opinion a step forward in the growth process of this wonderful artisanal italian brand. The Eva Kant's aroma is indeed less "wild" than usual for the previous Pregoni's olfactory performances (less traditionally abrasive, raw and visceral) and more modern, glamour, finally silky and approachable. We are dealing with an aromatic (delicious) fresh exotic vanilla-white resins based concoction extremely balanced and subtle (of course not a gourmand juice in my opinion but just a well calibrated spicy-oriental). Eva Kant opens with a spacious and sparkling fluidy (clean hotel room type) twist in which the concert of turbulent orangy mild spices (cloves, cumin, cinnamon, saffron...in my opinion) is supported by a certain dose of soapy fresh fluidity rooted over a wet accord of lavender, grapefruit, cardamom, ginger and chamomile (a really modern touch). This initial approach is really stunning, I would define it exotic, daring, laundry and hyper sophisticated (I'm sure a minimal implementation of synthetic is granted providing a more modern and refined "industrial" feel). The note of spicy (and vaguely honeyed) ylang-ylang is central in this exotic approach and provides a really "far in memory" tropical feel gradually morphing (across a boisterous molecular spicy initial storm) towards a soapy white resins/balsam centered fresh oriental aroma of immense beauty. The note of myrrh imprints an utterly spicy-oriental daring twist so dreamy (almost tropical) but basically fresh, balmy and aromatic. Magnolia provides an utterly magistral touch of hyper modern (floral) sophistication. The usage of sticky resins (opoponax and in my humble opinion a minimal touch of frankincense) is modern, cool and somewhat trendy-chic. It's weird to believe what follows but the intense Eva Kant's resinous peppery-exotic spiciness, its rich texture, the general opulence, the particular usage of resins and its soapy-cosmetical hyper modern undertone conjure me more than vaguely the cult Donna Karan Black Cashmere's "caribbean" exoticism (of course in here it works in a fresher and brighter way.....it seems Eva Kant could be considered anyway a sort of Black Cashmere's brighter brother). The dry down is a really articulated, fresh and woody spicy-oriental mixture with a yet intense spiciness and a soapy-fluidy optimistic aura. A great piece of olfactory "modernism" by the italian Wizard Mr Angelo Orazio Pregoni.
A peculiar sequence of powder, citrus, and herbs starts Eva Kant off with a candy-like quality that’s destabilized by a plasticy-herbal accord. It’s neither unpleasant nor pleasant; instead, it’s mainly confusing as the scent wants to pull you in several directions at once. Fortunately it sorts itself out fast and settles into sweetened myrrh with distant chimes of lavender, citrus, and something that smells like bay leaf. Once it hits this stage, things become subdued—both in force, but also in interest. Even though it’s a fairly spindly composition, something about it seems off-kilter as there’s a war going on between the sweetness and the notes that reference O'Driu's earlier reliance on apothecary herbs. In this respect, Eva Kant feels like a bridge between the O’Driu of the past and some of the most recent releases.
But this particular bridge is rickety. Eva Kant is a scent that doesn’t quite come together in the way that Pregoni’s past work has. Even though a clear attempt was made to align the elements, they just don’t cohere in a way that’s either daring or complimentary. On the one hand, it’s as if the scent wants to do something blindingly original but is afraid to get its feet wet; yet, on the other hand, it’s too ugly to aesthetically redeem itself in any meaningful way. For me, the combination of savory / herbal with gourmand-ish aspects was similarly botched in Piguet’s Oud as well as MiN’s Botanist, and while it’s tamer here, it’s just as displeasing. After a while, this smells like a rough draft of Armani’s nasty saccharine-bomb, Myrrh Impériale, that’s been soaking in the kitchen sink with a bunch of unwashed dishes for a few days. It’s not the worst thing I’ve ever smelled from Pregoni (the guy was very prolific early on and made some real clunkers), but it’s somewhere in the bottom 30% or so. If you’re curious about this line, look back to scents like Allegradonna, JMT, and Lalfeogrigio to get a better sense of what he can do.
Perhaps a bit overlooked on account of the buzz surrounding first Peety and then Pathétique, O'driu's Eva Kant is a completely unique scent that I've taken a very strong liking to.
I get lavender, citrus, a doughy note on a soft woods held together with a cement note. Sounds weird as I've described it, but it is a beauty of an opening. In the mid phase flowers and a gentle vanilla become evident, and the play-doh note morphs into something more approximating band-aids, a la the presently unavailable Skin Graft. In fact, if I were forced to pigeon hole this one, I'd call it a skin scent, but categories are only misleading when applied to a scent as unique as this one. EK dries down as a gentle band-aid/vanilla blend, as goofy as that sounds. The drydown is delightful.
EK never screams. It barely makes moderate silage, but has excellent longevity (18hrs). At the risk of horrifying its creator, EK also is great for office wear. Two thumbs up.
19th October, 2014 (last edited: 20th October, 2014)
One of the most intriguing and stunning "new" scents I have smelled since a long time, one of those scents which literally smell like nothing else. The opening is a slap: a biting, angular, nondescript potion of flowers, musk, a load of spices, an animalic oily drop on a gorgeous dusty vanilla base, mixed with a totally unrelated, still inexplicably perfect and fit carnal and lascivious "feel" I can really not come to describe. Cloves, ginger, pungent spices, a really dense and pulsating heart of flowers – magnolia and ylang – some raw animalic notes like castoreum, aniseed, a meditative balsamic breeze with an herbal feel, caramelised benzoin and myrrh, incense. A totally peculiar blend both decadent and medicinal, archaic and futuristic, with ambery translucent notes and narcotic flowers. I kept thinking of art while wearing this, as this scent has a really oniric and "imaginative" progression which triggers images and unconscious "situations" more than words, and I recalled the work of some of my favourite artists which kind of work or worked with the same suggestions, from Jeremy Mortimer to Jenny Saville, to Schwarzkogler and other provocative Viennese "aktionists". An alchemic smell of gauzes, bandages, blood, medicines, flowers, flesh, animals, with a heavenly, but at the same time gloomy balsamic sweet breeze all around it. Really hard to catch, decompose and define, but terribly irresistible and captivating. And most of all, speaking of "perfume" itself, so good and pleasant to wear. Then, it slowly and brilliantly evolves on a rich, decadent floral accord, which in turn gets a really weird, evocative and a bit creepy, sticky and opalescent feel of water – not in a predictable "calonic" way, rather of lacustrine, stagnant water, still salty but much dense and almost oily, together with a counterpart of talcum/vanilla and spicy dusty notes, medicinal and sensual at the same time. That medicinal feel is the other "pillar" of this scent, a subtle but bold vibe which does not disappear and stays there like a psychotic nurse from some obscure Italian horror/crime movie of the Seventies. Ghosts and fantasies apart it's a terrific scent, not "challenging" to wear since it perfectly manages to be daring and new still smelling amazingly good, exuding talent and intelligence, with a beautiful evolution and a totally unique and distinctive personality. Bravissimo Angelo!