A sweetish opening blast, mostly due to a pleasant honeysuckle that is a touch unexciting - less scintillating than, for instance, Creed's Chevrefeuille - but nonetheless well executed.
The core note develops very early in the drydown, a beautiful orange blossom that is rich, sunny and intense - a sheer delight. A touch of an orangey undertone is present, but in the base it is exchanged for a rather restrained tonka note.
In the end what remains is the orange blossom with the tonka fading out slowly. This is a successful pairing throughout; and it is never sticky or cloying.
I get moderate sillage, good projection and a very reasonable eight hours of longevity on my skin.
The one thing that is truly convincing in this summery evening creation is the gorgeous orange blossom centrepiece that elevates this scent into a higher tier of quality, not least due to the first-class natural ingredients used in this mix. Although maybe the whole is a touch too linear, the orange blossom wins the day. An orange blossom classic. 3.75/5.
After a fresh opening blast of petit grain and neroli, a lovely orange blossom develops and take over as the main note. This orange blossom is of excellent quality and remains in the foreground until closer to the end; at times other white florals, mainly gardenia, are also evident.
In the second half a sweeter undertone develops, p pleasamt vanilla mainly, and woodsy components in the background deliver some counterbalance to the sweeter notes.
The sillage is moderate, the projection very good and the longevity nine hours on my skin.
This very pleasant spring creation lives by the high-quality orange blossom core. Never really very sweet on my skin, it is definitely worth a try. 3.5/5.
A deep, dark opening of ripe, fruity plum and touches of raisin that soon gives way to the high-power floral onslaught: a tuberose is tuberose is tuberose. This tuberose is deep, dark, with some, but not a lot, of waxiness attached to it. A whole battery of other floral notes are needed to counteract the soaring central tuberose: a darkish rose for starters, with jasmine, orchids and carnation contributing their shares.
The second stage mellows a bit and grows sweeter, owing to to tonka and ylang-ylang, and whiffs of a light musky undertone. Towards the end touches of neroli add a slightly brighter note.
I get strong sillage, excellent projection and nine hours of longevity on my skin.
A rich scent for cool spring and warm autumn evenings, this is for the tuberosophilic only. In all its headiness it still is quite balanced on me, and never cloying or overly intrusive, except, perhaps, for the first minute or so. The main drawback - and the main reason for the neutral score, is an, at times overbearing, synthetic nature of the core components. 2.75/5.
This is indeed a rose that is a rose that is a rose. Initially a bold but elegant rose impression, it soon adds a second rose impression that is sweeter and very bright. The top notes a definitely on the bright side.
The drydown, whilst sticking with the rose-theme, is smoother, the sweetness more discrete, and touches of anise and a soft patchouli in the central stage, but until the end theme is remains a potpourri if different roses; initially Damascene, later more centifolia.
I get moderate sillage, very good sillage and seven hours of longevity on my skin.
A gorgeous summer rose scent, elegant and rich at the same time, and composed of beautiful ingredients of high quality. A rose fest for the rose lover. 3.75/5
The incense is clearly the dominant impression at the opening - restrainedly spicy, with only a touch of an balsamic undertone, not really ceremonial and quite well done. After a while a synthetic fuitiness creeps in, which at times takes on a mildly boozy character.
In the drydown a slightly sweetish amber evolves that appears to have a touch if tonka attached to it. Towards the later stages the incense retreats and the ambery fruitiness prevails until the end.
I get moderate sillage, very good projection and seven hours of longevity on my skin.
Not a particularly creative scent for wintery days, it is a lighter and not too intensive incense composition - incense lite so to speak. The fruitiness in not particularly nice, but not really unpleasant either. Overall just deserving a - just - positive score. 3/5.
The top notes as marvellous: rose, muguet, jasmine and - just the right dose - aldehydes emanate to create a floral basket of delicious beauty. Just a touch boozy, the rose is medium-dark, rich and intensive, counterbalanced beautifully by the white florals. A fine web of coriander with whiffs of a soft patchouli add just a hint of spice.
In the drydown the white florals, emboldened by additional lashings of carnation and geranium, gorgeous! A floral fest extraordinaire!
The base takes a turn to the darker, with the soft patchouli more evident and a convincing dark musk too. More amazing is the underlying well-balanced top-notch oakmoss, which adds just the right amount of an harsher edge towards the end, with a touch of salty and earthy vetiver roots mixing with the faecaloid-mossy backgound seamlessly.
I get moderate sillage, excellent projection and a splendid longevity of twelve hours on my skin.
This is a nighttime spring creation of great character, luscious with seductive darkness under a floral aura of great beauty. The quality of the natural ingredients is absolutely sublime, the nuances are breathtaking at times and the whole is one of the masterpieces this house has produced in its somewhat patchy olfactory history over time. For once the name is apt - this is classic olfactory art; a Turner for the nose 4/5.
These three lines describe the core character of this composition. Orange blossom mainly, touches of muguet, and a thin veil of a delicate thin muslin layer of jasmin underneath it all.
Whiffs of an orangey aroma, and hints of a gentle tuberose - no waxy ir woody undertones here - add playful elements in the drydown, but the white florals continue to reign supreme throughout.
Whilst the inherent sweetness of this creation is usually never going beyond the sweetness expected from white flowers in full bloom, in the base just a touch of tonka is added. This additional sweet component is quite subtle on my skin and blends in rather innocuously, as does a pinch of bezoin, which, like table salt, enhances the mix unobtrusively in its judicious application.
I get moderate sillage, excellent projection and nine hours of longevity on my skin.
This pleasant spring scent is the epitome of a white floral scent. Not supremely brilliant and at times a tad linear, it is well crafted and of solid quality. 3.25/5.
A bright mix of a fruity-orangey aroma with a core of aldehydes, touches of wormwood and untertones of forest berries - delightful and uplifting are the words that come to mind when enjoying these top notes.
Soon, very soon, an apricot/peachy tone combines with jasmine and muguet; but on my skin this never turns into a floral-dominated composition, as the fruity side plays an equally important part in the overall scheme.
In the base tonka and a soft patchouli are added, but until the end the brightness prevails to some extent and never leaves.
I get moderate sillage, excellent projection and eight hours of longevity on my skin.
This spring scent has a lovely opening phase that is the most convincing stage of its development; towards the base is looses intensity and the bright vividness of its components. Whilst not necessary the most exciting fragrance released as the result of Tom Ford's reign at Gucci, it is certainly one of the good ones. 3.25/5.
The opening is a bright and quite fresh combination of fruity aromas - berries, rhubarb a fresh-earthy undertone. The drydown turns a bit incense-herbal, but never into a really incense-dominated composition.
The base adds a soft impression of a light soft suede and a good lashing of cistus and labdanum, wich account for the slightly harsher character towards the end.
The sillage is moderate, the projection good and the longevity eight hours on my skin.
An overall quite bright spring creation that is well created and blended, albeit not very exciting. Still, it is convincing enough to make it - just - into the borderzone of the thumbs-up category - once it is enlarged sufficiently. 3/5.
The opening is dominated by a fruity, peachy rose impression that is sweet, candied and with a slight leaning towards a bright touch of tuberose at times. Is is the fruitiness of an overrripe nature, very synthetic and a tad cloying at times.
In the drydown the cloying side gradually dissipates, and a pleasant woodsy undertone develops, later on morphing into a pleasant fruitiness of forest berries; with the rose less strong and more harmoniously integrated into the whole mix.
I get strong sillage, excellent projection and an impressive ten hours of longevity on my skin.
Unlike is many other compositions, here the top notes are too chemical-generic and unbalanced, whilst after the first couple of hours this turns into a much more balanced creation - the later stages are the strengths in this case. Overall 2.5/5.
A fierce burning and smoke impression opens up this set of top o notes, with burnt rubber in the air - think the openings of Bvlgari Black without tea, of D.S. & Durga's Burning Barbershop without the B.B.Q. component, or Knize Ten without the leather. There is not much incense in this initial burnt note, sheer fire. After the riot?
In the drydown the smoke gets harsher, and a acceptable birch tar aroma develops, with an undertone of burnt cedar - much more burnt than pencil-shave - and whiffs of old dry tanner's leather apron. This gradually fades away, with the last residual whiffs on my skin being - surprise surprise - burnt!
The sillage is strong, the projection excellent and the longevity nine hours in my skin.
The composition of this wintery creation is - unusual for this house - actually making some sense as representing certain themes from the film whose name it has adopted. Well crafted, the smokiness is convincing, whilst the birch tar is lacking complexity - this is no Creed Cuir de Russie. Still, overall as concept as well as in blending, this is quite convincing. 3.25/5.
Bergamot and lemon, pleasant, fresh and summery, developing a bit of an aquatic and ozonic character - as mentioned previously, this contains calone galore.
The drydown changes direction with its woodsy/herbal side, as well as the cedar and soft musky notes later on in the base, are not bad, but at times a bit generic and a tad too synthetic on my skin.
I get moderate silage, excellent projection and six hours if longevity on my skin.
A very agreebale set of top notes, albeit a bit too generic especially later on. Close to a thumbs up, but just not making it by a slim margin. 2.75/5.
Rose and rhubarb - on my skin definitely more rose, albeit lashed with a synthetic fruity sourness in the backgound - a rose in acid rain?
A pleasant bright rose; straight up and he result of good craftsmanship - well executed with moments of beauty.
The sillage is moderate, the projection excellent and the longevity five hours on my skin.
Minimalist, zen or laziness? The rose, in spite of being nothing sensational on me, is very pleasant. Thus a thumbs up - give and take the acid rain. 3.25/5.
Initially I got orange blossom, touches of orange fruit, mandarin, whiffs of muguet and a background of violet. Quite close to my skin and little iris - initially that is.
In the drydown a touch of bright summer rose arose - and then the iris gradually developed, and, paradoxically, is got stronger and stronger, and after the first half became the dominant force in this mix. At that stage the sillage and projection had improved very much on my skin.
The base changes little apart from losing the other aromas gradually, with the last one remaining the iris in full bloom, fading gracefully.
With moderate sillage, very good projection and a longevity of nine hours, this summery scent's performance turned out much better than I envisaged during the initial impression it made on me. Whilst not a top-notch iris creation, it is one of the better ones around, and although it seems to need time in my skin to unfold fully, this blossom is worth trying if you like iris. 3.5/5.
Ukiyoé? Maybe one can wear this scent whilst admiring the artwork???
With the green fig and the sandalwood together I can well appreciate that Philosykos as well as Tam Dao - one of my regulars - are mentioned in this case. The fig is there first, green, a touch sharp, but soon gaining depth by added tones of dried apricots/prunes with a touch of almond-nutty vibes after a while - further into the drydown a discreet coconut is added on. Overall there is a sweet touch but not a heavy or cloying one.
Now after the first hour or two the sandal arrives, a very restrained- as they mostly are - sandalwood that, unlike Tam Dao - carries with it only a minor amount of cedarwood; I do not get much of pencil-shavings here but I get darker wood notes too. The sandalwood remains present into the base and is freshened up by a vetifer impression that has only a touch of a woody character attached to it.
I get moderate sillage, adequate projection and six hours of longevity.
An autumnal sandalwood scent with fig - Diptyque^2 so to speak. Well crafted, not too synthetic. 3.25/5.
The fruitiness that greets me in the opening stage has some orangey undertone, but is in its core if a peachy apricot nature. Very discreet.
Soon the ismanthus develops, and whist is is in the foreground for a while, the initial impression is weakened by the fact that the the osmanthus weakens soon, and from then on stays in the background.
A fruity tea note, a very gentle white floral tea note develops and merges with the fruity notes. This is a tea note that is not very exciting in itself, but it provides a lovely counterpoint as well as a complimentary aroma that blends in well.
I get soft sillage initially, adequate projection - initially - and an unexpectedly excellent longevity of eight hours on my skin - albeit very close to it.
This is a very restrained, at times weak spring scent, which after the first couple of hours is basically a skin scent. So is it too weak? Well, whilst it is a skin scent for most of its duration, it is well structured and the components, and especially the eponymous osmanthus remains with admirable persistency present until the end.
Is this sheer and simple diluted weakness or an array subtle impressionist touches on a pastel
canvas? On my skin it is the latter. A few extra sprays are, however, definitely needed.
A weak fruit tea in a very thin bow with just enough aroma after a long brew. 3.25/5.
Bergamot and cardamom with good herbal lashing - clary sage and basil - combine in the opening to a gently spicy set of top notes. Whilst the spiciness is clearly the backbone of the whole combination, this is neither a heavy nor an incense-laden mix; it is lighter on my skin with a touch of playful elegance. Nicely done!
In the drydown the fresh side - the bergamot that is, - retreats into the backgound and is replaced by a lovely lavender impression, and the base adds a nice, gently restrained musky untertone. Just prior to the end a tiny hint of woodsy-vetiver-tainted soapiness is present.
I get moderate sillage, adequate projection and nine hours of longevity on my skin.
A well-crafted scent for warmer winter days, made of traditional ingredients and nice as a lighter incense-spice-centred creation. 3/5.
The opening in an archetypical chypre opening, with bergamot and galbanum, quite a boozy galbanum, playing the main role in the opening phase. With touches of clary sage in the backgound, the latter turns in the volume further into the drydown.
The heart notes turn away from the opening stage, except for the herbal components lingering on, but now this turns into a floral fragrance: a nice jasmin, fortified by an underlying violet leaf impression; beautiful in execution and balance.
The base adds an woodsy character, with whiffs of rose, but more the woodsy aroma of a rose bush with touches of the blossom; the rose aroma as such is very distant only. Towards the end a touch of leather wraps it all up.
The sillage is moderate, the projection excellent and the longeivty a very good nine hours.
Despite of its being related to Royal Bermuda Sailing, this spring scent is neither ozonic nor particularly aquatic on my skin. In spite of the opening it is mainly a herbal floral composition of high quality. 3.5/5.
The myrrh and incense are the dominant force here. There is no harshness, just smooth incense as if representing an aroma wavering in the air above an Indian spice market. The absence of any harsh or peppery components is noteworthy.
Whilst I do net get any specific and separate phases here, the myrrhe is more dominant intially. As a myrrhe it is a bit generic but not badly done, although there are better myrrhe fragrances around, including Myrrhe Ardente. Later on the spiciness moves inti the foreground. This is a rather sweet spiciness, which has a slightly honeyed caramel overtone at times, and occasionally the sweetness pushes the rest aside.
A rather generic amber impression lurks in the background, but it never takes a leading rôle in the composition until the second half. There are synthetic woody hints - cedar and sandal - fleeingly greeting from afar.
I get moderate sillage, good projection and six hours of longevity on my skin.
A nice concept with an agreeable result most of the time, this wintery creation is a bit too generic to impress. Still - pleasant it is nonetheless. 2.75/5.
Pineapple - sweet and ripe - and bergamot are evident in the opening blast, and the fruitiness of the pineapple is the dominant element here. The bergamot freshens it up, aided by a pleasant mandarin in the background.
Soon a spiciness - a green clove mainly - is added, as is a nice jasmine impression. The fruitiness is still pervasive at the stage; this pineapple is sticking around for quite a long time.
The base is the lease interesting phase, with a soft and predictable patchouli combining with a somewhat palse amber; a touch of new suede is gracing the end stage but also is quite generic.
I get moderate sillage, good projection and six hours of longevity on my skin.
This spring scent, sampled in the Paris flagship store, is pleasant all right, but does not reach the standard set by Patou's great classics. Quite pale and full of synthetic sweetness after the opening phase, the second half is a bit to generic to convince. 2.75/5.
The opening is a classic fougère blast: bergamot and galbanum as the core top notes, fresh, crisp and a touch peppery, but less green in character than, for instance, Montana Homme.
Soon a delightful oakmoss enhances the astringent side a bit more, with a drydown that expresses a floral tendency apt for a fougère - jasmine mainly and some iris, but on my skin the opening notes are still present at an equal strength. In this well-crafted blend of the chypre with the floral lies he attraction of the heart notes, which is enhanced by a touch of a restrained rose in the background.
The base adds some general woodsy untertones, with the tail end of the galbanum impression still present and mixed with an underlying green vetiver layer towards the end.
I get moderate sillage, excellent projection and six hours of longevity on my skin.
An archetypal chypre, with the bergamot, the galbanum and the oakmoss being of very high quality, balanced in its astringency and not very loud - this is no Gucci Nobile. A very fine fougère. 3.5/5.
The first virtual olfactory impression of a fruit bowl?
A mix of the aromas of apples, pears and peaches, with subtle hints of butyric acid, very fuity, emanating the sweetness of very ripe fruit, nearly candied fruit. Very artificial, as if created by an olfactory app.
The drydown brings in a touch of jasmine, but compared with the fruity core, the floral component is a mere sideshow. I don't get a clearly separated base phase; only the addition of a rather nonspecific woodsy hint towards the end.
I get moderate sillage, just adequate projection and six hours of longevity on my skin.
A daytine spring scent that has a somewhat amusing opening; it is so brashly synthetic and generic that one might be surprised, but alas there is nothing particularly creative, unexpected or even ironic behind this concept that would make it memorable. Still, to the lover of synthetic fruit aromes the opening might be bearable, but the rest is the silence of tedium. 2/5.
G and S
A slightly sweetish fruity-floral greeting hits me in the opening blast, and with time a few more nuances emerge: the fuitiness discloses blackcurrant with touches of rasberry, and the floral side a somewhat pedestrian jasmine that has a green-indolic undertone, with ylang-ylang the other significant player. The latter, pepped up by a very standard-type vanilla, drives the sweet component that is unmistakable present and dominates in the drydown, towards the end endowed with a dull woodsy component.
In the base I get additional hints of a perfunctory white musk.
The sillage is weak, the projection limited and the longevity three hours on my skin.
Generic and synthetic, very synthetic, are the terms that sum up the fabric of this spring scent. Never mind the awe-inspiring lineup of components in the official description - this is all I get. Given the poor performance it is hard for me to identify any redeeming features.
In spite of the name, not only is there not much exposure to it, but there also is nothing lost. 1.75/5.
Expecting the heavy and intrusive x+oud(heavily synthetic/sharp) formula deployed that I recall from a number of other Montale products in the past, I recoiled surprisedly, checked the label again and realised that I underestimated this house in my expectation.
The rose was there from the beginning; a light, bright and elegant rose, without depth and heaviness; a bit simple and linear. Still, a very pleasant rose.
After a brief moment another note is evident: a slight greenness with a touch smoky incense, although the latter arises later in the drydown.
The harshness - often a synthetic oud - that characterises some other Montale products is replaced by faint whiffs of white musk in the background, which are more evident towards the end.
I get moderate sillage, good projection and six hours of longevity on my skin.
Not a complex rose creation, this daytime sping scent is lighter and much more elegant than I expected. A Montale that gives the rose a chance to shine. 3.25/5.
08th March, 2017 (last edited: 09th March, 2017)
The floral opening - or white floral opening to be precise - is a somewhat expected entrée into the development of this composition. There is a gently spicy undertone present, but white florals - freesia with touches of gardenia - remain in the foreground.
Later on a notion of a fruity tea briefly appears.
This a fairly restrained blend. The sillage is soft, the projection adequate and the longevity four hours on my skin.
An agreeable spring creation, but the whole is very generic-synthetic and quite anaemic. Nothing to be excited about. 2.25/5.
07th March, 2017 (last edited: 08th March, 2017)
A fresh orange blossom with an underlying layer of jasmine - that is the impression I get from the opening blast. Pleasant but very restrained very soon after the first few moments.
The main addition in the drydown is a vanilla note that is nicely done. It is neither particularly brilliant nor particularly unpleasant. On the contrary, this is a rather elegant vanilla, and at times vibrations of a faint Guerlinade add whiffs of a subtle powderiness to the vanilla.
All the base adds is a glimpse of a nondescript white musk that is hardly worth mentioning.
The sillage is soft, the projection adequate and the longevity six hours on my skin.
A rather simple - maybe too simple a concept is behind this spring scent, which is not bad but very linear. Now a simple or minimalist composition may be very convincing if the superior quality of its ingredients or some especially creative twist elevate it in way or another, but I cannot discover any such redeeming features in this Guerlain. Nice but a bit too plain. 2.75/5.
The opening is a sweet citrus - not sweet as in overripe, but endowed with a sweetness that is based on added vanilla notes.
In the drydown the citrus recedes and ylang-ylang takes over as the main purveyor of the sweet component. Touches of white florals are present in the later stages, but quite faint compared to he vanilla and the ylang-ylang.
I get moderate sillage initially, limited projection and two hours of longevity on my skin, with whiffs of generic white floral and vanilla appearing on and off over another couple of hours
Pleasant in spring, is is somewhat bland after the first hour and hardly perceptible. Overall a tad too generic and performing rather poorly. It truly only lasts an Instant of Guerlain. 2.75/5.
The smell of a bunch of roses in your hand - the bright and beautiful rose aroma in full flower, mixed with the aroma of wet rose leaves and the woody impression of the stems - well done indeed.
Over time spicy notes develop: saffron, myrrh and oud - but on my skin all these, which often tend to push themselves into the foreground - especially the oud - remain remarkably restrained. This leaves the rose proudly in the centre of attention, like the solo violin in a violin concerto, and the other notes constitute the orchestra.
I get moderate sillage, very good projection and four hours of longevity on my skin.
A well-made rose scent beautiful in spring, bright, not heavy or rich and more in the elegant side. A bit linear and displaying limited performance, but less overtly synthetic than many other rose-oud products. 3.25/5.
The opening's main ingredient is a diluted rose, which is more on the bright side; this is affirmed by sprinkles of silvery aldehydes cast over the rose note.
The drydown adds a somewhat generic iris with touches violet and a fruity accord, on my skin mainly peachy in character. It is unashamedly sweet and tender but never too intrusive or cloying.
I get moderate sillage, adequate projection and three hours of longevity.
This is all right as a fruity-floral sping scent, but too linear and too generic to impress. Not awful, but mediocre with unsatisfactory performance and a tendency towards the thumbs-down. 2/5.
A delightful opening blast greets me, with jasmine and a terse immature boysenberry-style fruity acidity constituting a perfectly balancing counterpart. Cedarwood, spiced up gently by a restrained white pepper and at times whiffs of castoreum, leads into the later stage.
I do not get any clearly distinct phases in this creation, just shifts in the prominence of its various constituents, and towards the end it is shifting away form the fresh side and more towards the woodsy end of the spectrum, with touches of somewhat generic white musks rounding it off.
The sillage is moderate, the projection very good and the longevity four hours.
This spring scent has a very nice opening phase, but the rest is not up to the standard set by he top notes, and the development as well as the rather pedestrian perfomeance are not either. Still, the first part is extremely well done.
This appears to be a reformulation of Les Secrets de Sophie. As far as the name is concerned, which reflects that fact that this is a commemorative issue celebrating the towering genius of an amazing ballet company as well as one of the immortal creations in music history, this fragrance is a bit of a disappointment. As a scent in itself it just makes it across the line to a thumbs-up, courtesy of the opening - frequent re-application might be needed. 3/5.