Perfume Reviews

Reviews by gimmegreen

Total Reviews: 730

Le Parfum de Thérèse by Editions de Parfums Frederic Malle

Le Parfum de Thérèse is assembled from disparate elements (many of which, one feels, should clash hideously) that all synchronize from the start to reveal a thing of beauty – not a mosaic, but an organic unified creation. The crucial factor of its success is that though it projects well, Le Parfum de Thérèse feels light – so all the notes that could have shouted at each other instead gently sing.
Chief among the fruity notes is a delicate melon, just about to reach the point of ripeness rather than going over. We’ve all probably had our fill by now of the melon-aquatic pairing, but here the watery note is marine, briny, salty. Among the florals is the ozonic blur of violets but also abstract white flowers coming up behind, an impressionistic lily of the valley among them. There is a curious thyme-like accent that would be totally off-putting except that it marries so well with the worn leather in the base which would also be totally off-putting with the other elements already mentioned except that it is handled with kid gloves and is well aware of its manners.
The trace this perfume leaves in a room is of a diffuse, kindly, sweetness – a fantasy meadow in full bloom just over the horizon, a kind of floral Enya (if that is not too great an insult).
I can easily imagine it’s the kind of perfume that appeals as a signature scent (well, that’s how it started life); it is confident and palpable, refined, but without any suggestion of severity. And it holds a surprise in its later stages – a warm oriental base becomes just about perceptible as the notes blend into each other, speaking in the same civilized manner as the rest.
For all that, I must admit that I would rather admire it from a distance than wear it myself. The memory of the foghorn aquatics that came much later but which I encountered before I met Thérèse interferes too much with my enjoyment of this perfume.
17th November, 2016

Regal Secret by Auphorie

Grassy, lavender-inflected, bright fruity floral whose chief virtue is its delicacy. It has a nice out-in-the-field feel and judiciously deployed citric accents. A drawback is Auphorie’s stingy sample size which meant despite spraying it all on, I was still left wanting more. A shame as there’s a breeziness and a fresh, somewhat tart, juicy feel about this that I would have liked to experience a bit more fully.
17th November, 2016

Narciso Rodriguez for Her by Narciso Rodriguez

Gauzy abstract white floral with a nice peachy voluptuousness about it and a comforting milky undertow. Has something of the siren lure of Rush without the latter’s pushiness. This is squarely mainstream made in the highly buffed manner of 1970s mixed florals, but when it’s done right, hey it’s the kind of perfume to spray on and head to the nearest convivial social gathering.
Smells soft and welcoming to bystanders. Lots of airy musks involved but deployed well in the service of the floral notes. So smoothly executed, it’s a safe buy for purchasers of designer florals, but it also has the ability to remain interesting to those of more particular tastes provided they approach it with open minds.
(Review for EDT.)
17th November, 2016
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Black I by AJ Arabia

This is the kind of perfume I often find myself longing for – warm, reassuring woods done in an unfussy style with ingredients that fall perfectly into place. Here we have a sappy, just-cut kind of evocation of cedar, tinged with green, paired with a sandalwood that almost brought a tear of joy to my eye, so long has it been since I’ve come across anything that truly resembles the best of this wood: dry yet buttery, salty-sweet and smooth as satin. There are touches of restrained spice – mainly cardamom which has a natural affinity to woody notes, and an additional musky sweetness in the base to bolster the sandalwood. No baffling complexity, no shock and awe, but oh so satisfying. This is a perfume one doesn’t need to think twice about wearing, it would suit almost any mood.
However, three things check my admiration turning into fully-fledged love. One is the painful price point, two, its restrained projection (it just wears too close to the skin and requires generous spraying to boost it a bit), and three, that it is top-loaded, turning into a sweet woody muddle after a couple of hours.

17th November, 2016

Oriental Essence Collection : Roi d'Orient by Rituals

Of the recent lot of perfume releases by Rituals, Roi d’Orient was the one to which I was drawn. It performs a clever trick of coming across as a fairly sophisticated lighter Western take on an oud – minus the oud! What I mean is that it has the warmth and rounded woody-spiciness that are signifiers of much Arabic perfumery, but done in a lighter, won’t choke the horses style.
Rituals list just amber, musk and white pepper as notes – and they are all present and correct. But the amber is airy and diffusive, and avoids the slathered-in-molasses tendency by incorporating subtle hesperidic touches. The musk used is suitably come hither and frisky, despite not being animalic in the least. The pepper, only really evident in the opening phases, balances the composition, providing a touch of dry heat before it sinks back into woodsy aromachemicals which play the same role. There’s an appetizing suggestion of charred wood in the mix too which is possibly what nudged my thoughts towards ouds.
The materials may be familiar and perhaps not grand, but what has been achieved with them is impressive. I find the overall impression quite erotic – this is a suave Roi who seems to be patting the space on the bed beside him, daring you to resist.
However it collapses somewhat after a few hours – a common problem with so many promising perfumes nowadays – dialling down to a skin scent and becoming more of a fuzzy sweet whiff rather than the demon lover we encountered earlier.
17th November, 2016

Fleurs des Comores by Maître Parfumeur et Gantier

Beautiful Old School opening of plump floral notes (sweet banana-and-plastic ylang, lush jasmine and somewhat sharper orange blossom for contrast), with cooling aldehydes and a touch of green, a golden sprinkle of powder for class and a lurking bed of warm vanilla supported by a dab of amber. When you can smell all of that all at once you know this is one of the better ones.
The aldehydic and green garnish vanishes quickly, leaving a benign, almost fruited vanilla with a lightly powdery floral haze surrounding it. Satisfying stuff, if a bit quiet in terms of projection.
28th October, 2016

Shambhala by Auphorie

From the creations I have tried so far, it seems the brothers Au are particularly adept at giving wearers of their perfumes deeply indulgent sweet notes in a manner that feels so natural and relaxed that one can have one’s cake and eat it, too. There’s none of the syrupy dreck that has plagued so many perfumes in recent years, and yet the notes deployed are unmistakeably, tooth-rottingly sweet. I for one am grateful for this particular service of theirs to perfumery.
They also have a way of presenting notes in a way that one has unlikely to have encountered before. If the osmanthus in Miyako was capable of taking one’s breath away and blowing one’s pants off, look what they do here with the tried and trusted rose and jasmine combo. Whereas the osmanthus in Miyako startled by virtue of one not having encountered such a pure, golden, true (and, yes, super-amplified) rendition of the note, Shambhala’s rose-jasmine pairing is presented in a crazily novel form, where the nose is uncertain what it is smelling and yet, despite not being like any rose (natural, otto or absolute) I’ve ever smelled, there is the rose centre-stage with the jasmine in a supportive role.
Shambhala takes a few minutes to settle; the opening smells off-puttingly synthetic, like a Far Eastern preparation for glossy hair, where vaguely fruity and herbal suggestions clash in a sweet carrier. But soon enough the siren-like main accord of this perfume begins its song, it’s a clear, high sweetness, almost glassy were it not simultaneously so deep – a scent that seems to reach down far into one’s capacity for olfactory recognition. This is the rose like no other, warmed by a glow of jasmine liqueur and utterly at home on my skin.
Shambhala seems pretty quiet at first, but resist the temptation to spray a bit more – it starts to unfold and assert its voice after about the first fifteen minutes (unlike Miyako that emerges from the bottle ready to bitch slap anyone within sniffing distance into submission), revealing its treasures bit by bit.
After the nectar-like chord struck by the unveiling of the rose in the heart phase, slowly other accents emerge during the evolution, enriching Shambhala bit by bit. I am most struck by a very gentle, earthy quality about the perfume – quite unlike the animalic notes listed (indeed these don’t come into play in my perception at all). It’s a feel of dry mountain soil, old paper, nothing too obvious, just enough to root the composition. A rich, boozy, over-ripe fruitiness shadows the soprano rose, giving the necessary shade to its brightness. I can understand the Himalayan fantasy being aimed for in the creators’ description. The touch of incense here is like Tibetan joss sticks with their dry, peppery and woody character, similarly the tea adds a bitter, slightly tannic note, and the amber construct is given edge by the suggestion of macerated herbs.
These are textural notes that one puzzles out only by paying close attention for there is nothing obvious about the way Shambhala is put together. And it seems a somewhat pointless exercise, except for the purpose of writing a review, when it would be far better to just let Shambhala play.
Something this novel and accomplished needs to receive much more attention than it has had so far.
28th October, 2016

Tom Ford Noir pour Femme by Tom Ford

All bagged up and ready to go – that’s often the pose of Tom Ford’s perfume offerings. The i’s are dotted and the t’s are crossed, and if it’s all a bit familiar, then what the hell, at least it’s thorough. What we get is a musky, ambery vanilla that wears like a thick cloud and will satisfy yearnings for voluptuousness while also making a bid for maternal warmth. Because, hooo boy, this perfume sure is calculated and it’s safe.
The fleeting top notes offer a whizz of chocolate orange, before the orange evaporates and the chocolate morphs into the curious Play-Doh vanilla that’s at the heart of this offering. It’s a thick and foggy accord, with one foot firmly in the gourmand camp, and the other surrounded in a plastic haze of florals – as if someone had added a dash of Tocade to the mix. My nostrils were pricked for the kulfi note promised, but as someone who has consumed vats of the stuff, I don’t find a trace of it. Unless the saturated character of this perfume is supposed to suggest it; to me that just gives it an off-putting deprived-of-air closeness.
Supporting this gloopy plasticine vanilla is a predictable woody amber base, firmly underlining the mass market goal. All would be well, if the execution were something to behold. But alas, the heavy-handedness makes me feel as if I’ve been force fed.
No doubt perfumes like this make a better impression on bystanders who just get a whiff of something that promises cookies and warm milk (perfect for the infantile age we live in), but wearing it just feels like I’ve added an extra layer of blubber.

28th October, 2016

Les Nombres d'Or : Vetyver by Mona di Orio

A bit of a counterpoint vetiver where fresh notes are placed against warmer ones, so we get cool citrus, clean aspects of the vetiver spectrum matched with ginger that is both warm and cool, sun-soaked saltiness and the deeper burn of nutmeg. Dry, well-balanced and easy wearing, but there’s little here that lifts it that little bit above all the other well-executed vetivers out there.
28th October, 2016

Eau Duelle by Diptyque

The coniferous forest take on vanilla, where a bouquet of greenish spicy and balsamic tones are contrasted against a subtle and creamy vanilla. Leaving aside the official notes list here, what my nose actually encounters are the scents of pine needles (maybe the elemi), juniper and the resinous (as opposed to the smoky) aspects of incense. This is a good mélange of slightly spicy yet fresh accents that takes this vanilla scent down a much less trodden path. Cool and warm elements enjoy their seesaw ride.
A polite perfume, without much of a throw, it’s designed more for just the wearer’s pleasure, not to make a statement to the company they may keep.
24th October, 2016

Eau de Camélia Chinois by Maître Parfumeur et Gantier

A sharp, green tea floral that did this wearer no favours. The components smell el cheapo, the tea note with a citric edge is strident and chemical as it often can be in bargain variants and the florals, well, they’re muddled, ‘feminized’ (as in what marketers think women like to wear, generically sweet and lacking any contour) and vaguely white. The overall impression was of a scent looking for a scouring product as its home. Warmed up a bit with wear, but still remained a joyless experience.
24th October, 2016

Vétiver Matale 6.1 by Parfumerie Generale

A textbook crisp, dry and slightly salty vetiver, with a light citric touch at the top. The points of interest here are the skilful evocation of something green within the overall dryness, and the subtle introduction of the honey-cured tobacco, which seems to creep up inch by inch, to form the main vetiver-tobacco theme. Pierre Guillaume’s airy, diffusive style is evident.
Stylishly executed but with the profusion of vetiver perfumes done in this not-too-heavy, easy-to-wear manner it doesn’t quite stand out from the crowd.
24th October, 2016

Les Nombres d'Or : Vanille by Mona di Orio

A grand floriental, dreamy and lush, is the opening impression of this perfume. A gorgeously nectary ylang (similar to the starring note in Perris’s soliflore) holds the centre ground, ringed with gourmand accents of booze and orange, deepened by heavier notes of clove and smoky guaiac, all soaking though into a woody base which has a creamy sandalwood as its quality turn. A seamless composition, blending bracing, fresh notes with richer, dirtier ones in the manner of classic perfumery. The orange and petitgrain (with its suggestion of citrus leaf) accord is a particular point of interest, always just there, lifting the congregation of other notes with its brightness. It hangs on for a good three or four hours, after which the perfume grows mellower and just a shade sweeter.
And as for the vanilla? Well, as an eager cook I’ve smelled plenty of freshly split pods and, despite what the PR may assert, they ain’t to be found here. What one does get is an abiding vanilla base note that is fine in the mix but hardly the star. The only reason why this may matter is due to the name of this perfume; disregard it and enjoy its many pleasures instead.
24th October, 2016
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Spirituelle by Divine

A rose and clean musks concoction with a luxurious high end cosmetics finish to it – all powder and cream with sweet, spicy oozings.
Having said that, there is a slight problem – and it’s a curiously Divine one. Like some other Divine creations, Spirituelle is supremely competent in every aspect, but what’s missing is some spark or a touch of zaniness that would truly send this spinning. Every aspect of this is so smooth and well-rounded, it comes across as overly polite and well-bred.
Having got that off my chest, there is still plenty here to admire. The rose materials used are distinctly rosy (with a good depth of sweetness touched by a lovely tartness) and refined, and paired with that trustworthy old partner, geranium, for lift. Some lovely peppery spices at the start and middle are kept at the level of a genteel murmur, they add warmth without sticking their elbows into any ribs. And then there are the musks, powdery and cloudy, offering the requisite penumbra to the roses. The deep drydown simplifies things – we are left with the main theme, roses and their memory. This is a perfume that lingers in my mind despite my comments about its somewhat schooled deportment and that, when it comes down to it, is what counts.
24th October, 2016

Safwa by Haramain

A deep golden coloured oil which reveals the perfume of an old cedar casket filled with spices and eastern ambery mixes. If that sounds too full on, it is worth remembering that the feel of Safwa is creamy and smooth, so none of its rich players actually overpower; its projection doesn’t broadcast you to the whole wide world either, settling instead at a well-judged middle distance.
Heavy spices in a perfume usually cause me discomfort, so the first thing I note is that though Safwa has a good dose (clove, cardamom, cinnamon, in that order of strength) they are contained in the brightest of ambers, translucent and gently sweet, backed by triple-milled vanilla, a dab of earthy but also greasy patchouli and weathered aromatic woods. This is a comfort scent and would provide a nice warming glow on a cool evening.
It has a tantalizing bit at the opening section, where fresh herbal notes give it quite a lively feel. Alas, they recede quite quickly into the background where, mixing with the sweeter elements, they contribute a curious old school ‘man cologne’ touch. It doesn’t quite jar but it doesn’t seem entirely at home in the mix either, and finally departs after about four hours.
Safwa has a long evolution and the later stages are marked by a fascinating ebb and flow effect where sometimes the vanilla and amber aspect is more upfront, and sometimes the spicy woody one. There is plenty here to keep the nose interested for the entire day that one application will last.
10th October, 2016

Oud for Love by The Different Company

One of the essential qualities of a successful perfume is its ability to disarm. One could pick little things to praise or blame about it, but when one feels, ‘why bother, it’s lovely’, then it’s a winner. From the moment Oud for Love landed on my skin, it said only one thing: ‘You must have me.’
One could look at the roster of listed notes – and yes, there are rather a lot of them – and try to place them in their order of prominence and appearance but that would be a fruitless task, capturing little of the mature and balanced nature of this perfume. It is nothing but elegant. Its centre of gravity is a deep green chord (at once herbal and somewhat medicinal in the vein of eucalyptus) married with an oud construct which seems to be a combination of a smoky wood note (like cypriol) and vetiver. (Here there is a faint echo of Ormonde Man which works magic with a similar marriage.) Behind this lurk malty and sweet flavours, a touch of vintage booze, a crumb of toffee, and spices to give just a hint of carnality and plenty of warmth. But the whole panoply of effects is blending harmoniously to provide an overall deeply satisfying rich woody experience. This seems to be living wood, breathing with the wearer’s breath, sending generative green shoots out in the early stages, yet carrying the ancient memory of its years in its olfactory pleasures.
Oud for Love is completely present but never excessively so, a quality that Duchaufour has said in interviews he aims for in his compositions (but doesn’t always achieve).
10th October, 2016

La Collection Croisiere : Metal Hurlant by Pierre Guillaume

Reading the breathless publicity material to this one I just knew there was no way it could live up to it. Here’s a snippet: ‘This “aerodynamic leather”, electrified by animalic, sensuous musks, conjures a blond, bearded, tattoed biker smiling behind his Ray-Bans… Born to be wild!’
So it’s a bit of an adjustment to realize just how polite this one is – clean, with sweet breath, and softly spoken. To my nose it’s an almost completely abstract somewhat musky composition whose chief quality is to convey a sense of airiness, openness and space. There’s a hint of fresh paint at the opening but the perfume soon settles to a soft, fluffy sweetness which the nose registers as floral even though it may not be, an airbrushed (rather than ‘aerodynamic’), scrubbed, gentle leather and a lingering sense of something cleansing like anise, all rendered in that wide open and full of air style that has its charms.
Ultimately, however, Metal Hurlant is one of those perfumes I file under ‘pleasant’ and then forget. I can appreciate light perfumes as much (or little) as the next person, but when they border on ineffectual, there’s a bit of a problem. Maybe more sensitive noses will rate it much higher.

10th October, 2016

Boss The Scent by Hugo Boss

One of those ‘Oh please, not again’ versions of a slightly spicy and fresh woody ‘masculine’. The sickly sweet wood’n’spice aromachemicals that form the backdrop are now so common in budget masculines they should be listed as bulking agents. They provide a recognizable filler, shading in the vast blank spaces of the perfumers’ imagination when asked to bring a product to market that will cost pennies and sync with the unwavering mediocrity demanded by market testing. Up front is a peppy lavender that sadly instantly conjoins with the syrup in the base. There’s a hint of ginger, something vaguely resembling fruit on the turn, and some irritating aromatics that are like garish copies of herbal accents à la Cool Water. There’s nothing of the vaguest interest here.
10th October, 2016

Un Air D'Arabie Amber by Maison Dorin

A stealth amber decked up in freshening pine sap and cloaked in plumes of incense, but, make no mistake, this is amber front, back and centre, with a good shot of cookie vanilla to boot. This could have been a tragic mess, but it’s pitched well, with projection that is decent but not honking, and the amber, though undoubtedly sweet, not treacly. I’m not a fan of vanilla sugar notes but here it plays peekaboo with the piney, resinous elements to quite charming effect. May not change your life but good work nonetheless.
10th October, 2016

Arethusa by Tiziana Terenzi

A shudder ran through me at the opening of Arethusa – it seemed a dead ringer for those gassy fruity-woody jobs currently aimed at young men (Diesel Fuel for Life, I’m looking at you). On me they inevitably bring on a strong headache. Terenzi’s take on the fruity genre sadly succumbs to the synthetic excess that pervades it in the designer segment where it is most popular – that, combined with aquatic notes is not a promising proposition. This is fruit that has been completely denatured, something tart and sweet, but not signifying a real plum or pomegranate by any stretch of the imagination.
There is a bit of a rescue effort in the underlying notes, especially the broom, leather and subtle spicing which give it a bit of a golden glow from within, but, all said and done, I’m walking away from this and won’t stop until it stops following.
23rd September, 2016

Aoud Sense by Montale

A decent orange note, halfway between the peel of the fruit and candy, married to an accord that smells like vinyl sheeting warping under heat, most likely the rose struggling to express itself. Has a certain car crash attraction about it, I’ll admit. Bewilderingly, anything oud-y is buried way deep – it’s almost as if Montale didn’t have the heart to hit us baby one more time.
With time, as the citrus meets its ‘You-will-die-young!’ destiny, this becomes more about the rose with a hairspray halo and a hint of clove on its breath. Easy-wearing, but the abiding impression is that there are other Montale roses that do very similar things.
23rd September, 2016

Aoud Lavender by Montale

A top-heavy scent that basks in some reflected glory from Xerjoff’s superb Fars, the touchstone of lavender-ouds (not a crowded field, admittedly). The fun of this is in the opening hour or two where a turbo-charged lavender and lime combo fuse with a somewhat peppery oud construct, to create an energizing, hypnotic buzz. The East meets West fusion of the main notes shows no signs of awkwardness, this is a perfume equally at home in a souk as in a chain-store riddled shopping mall.
The lavender has a synthetic sharpness at the edges which actually improves over time, but time is not so kind to the overall scent profile with a wee touch of staleness creeping in and an overall drop in volume.

23rd September, 2016

Bahiana by Maître Parfumeur et Gantier

Lively ‘wake up, wake up’ citrus at the start – mainly lemon to my nose with a bit of something mandarine-like as well – a good burst that includes citrus leaf accents among the peel. Faint cologne-like spicing; the coconut is just a hint of something creamy and foamy; discreet woods in the backdrop. I can see how this ticks the ‘refreshing’ box for summer. But it is also all much of a muchness, settling minutes into the wear into its pretty boring and somewhat soapy citrus and light woods statement.
23rd September, 2016

Les Nombres d'Or : Musc by Mona di Orio

A billowing, cushioning musk, all powder, soap and heliotrope, this is perfumed fog. While I get gentle spice tones and even hints of sandal, Musc is mainly about that formless, clean, flower-infused musk. How much you like it will depend on how much you can appreciate that diffusive quality. Some will find it sumptuous and enveloping, even symphonic; me I miss a bit of bite and would have liked a bit more definition.
Having said that, I appreciate how this composition rolls out, persuasively filling out the space around the wearer with its gentle but quite insistent presence. The musks used seem to be quite layered and have depth, even if lacking definition, and the tonka in the base adds a nice dry vanillic touch. As a rose lover I don’t get the prominent rose some others seem to get from this and the neroli is pretty much absent, it’s the pale mauve of the heliotrope that rules. But even that departs in the deep drydown when all that is left is a sweetish drugstore musk with a vaguely floral aspect.
Probably the kind of perfume I would wear when I might want it as background mood music rather than for active interaction – which is to say hardly ever.
23rd September, 2016

Eau de Lierre by Diptyque

A cool, dark green shade. I think perfumes like Eau de Lierre speak to me because I hate hot weather. The one true escape (apart from the industrial solution of air conditioning) is to find a dense patch of green and creep into its shade – the temperature drops or seems to (which is perhaps as important).
Eau de Lierre combines notes of bitter inedible vegetation with a sprinkle of dusty cyclamen and an overall cooling aquatic sheen – and that’s about it. But it’s enough to lie back and laze in.
It reminds me of another simple aquatic green – Les Néréides’ now discontinued Vert d’Eau – which used to be my go-to high summer scent. With such things personal preference plays a strong role and I can understand how offerings like Eau de Lierre are too single-minded or unimpressive for some. To me they are a sometimes needed respite.
Unfortunately fades back quite drastically after a few hours, losing the green edge, with just a bit of hazy sweetness and that aquatic shiver still remaining.
23rd September, 2016

Freetrapper by D.S. & Durga

Freetrapper avoids the shrill and whiny tone of many poorly executed cedar-led perfumes. It doesn’t go down the sweet cedar route either which is often used as shorthand for warmth and a cozy feel. Instead we get a properly woody and dry cedar, infused with light incense and fringed with pine-like notes both resinous and green. The whole thing is given lift by a zesty bergamot that makes such an impression at the top that one thinks one still smells it even when it begins to fade. The latent spiciness of the woody notes becomes evident in the drydown, but it feels natural and unforced, not an effort to butch up the perfume. The incense gets a dusty, powdery quality which works well – this is turning into a log cabin where traces of wood smoke remain in the air, an invitation to shed urban trappings.
What is most commendable about Freetrapper is that it smells of real things – real cedar, real citrus, incense of a decent quality. And it maintains a balance between cool and warm, making it a good all-weather scent. At first I felt it could have done with a bit more complexity, but it grew on me and I came to admire its easygoing personality.
09th September, 2016

L'Eau de Circé 05 by Parfumerie Generale

A mousse of a perfume where all notes get pulped up, strained, and pumped up with something musky, something a bit lactonic, to be served to general confusion as to what one is getting. The notes don’t help me much – sure it’s vaguely fruity at the start, and then turns sharply towards a kind of cloudy, slightly honeyed, white floral with a dab of patchouli for depth. Has the kind of uncomfortable presence like fur on one’s tongue that I’d rather scrape off. Just too mushed up to really mean anything, apart from coming across as a seriously underpowered homage to Gucci Rush in the late stages.
09th September, 2016

Rose de Siwa / FK2 by MDCI

Gentle, soft-natured rose in Francis Kurkdjian’s more commercial style. A style he commands but is perhaps not always fully appreciative of himself – consider his bemusement at his À La Rose’s success. So, yes, this is as mainstream as it gets and there are probably better priced versions of this idea out there, but it is still a thing of some beauty.
The rose here is not rich and complex, a more modest and even sweetness is preferred. And it is paired with conventional fruity make-up notes (probably the peony and violet combination) and the air of slight unreality and distance that violet often imparts, to say nothing of commonly used synthetic musks. Over time the violet becomes as much of a player as the rose and this is a fairly traditional combination as well, especially when it rests on fluffy musks and hints of clean wood. Rose de Siwa seems to declare ‘ease of wear’ and that makes it a handy travel companion.
09th September, 2016

Une Fleur de Cassie by Editions de Parfums Frederic Malle

Warm, rich, centred somewhere around the loins, Une Fleur de Cassie is a dark animalic floral of considerable complexity. That is not to deny its immediate impact – I rather suspect it is one of those love or hate affairs for most people. It’s bold, it wears its furs like it doesn’t care, and yet the care lavished on its detail is evident.
From the ever shifting gradations of its floral bouquet, to the pungency of cumin and a thyme-like note nurtured in its bosom, to powders drifting in its scent trail, hints of smoke and fine grained woods, Une Fleur de Cassie is warm, warm, warm. It’s the warmth of a carnal embrace and one may not want that all the time, but in the mood it’s just the thing. Opulent without being tricksy or pushy, its chief gift is a lusty sophistication that is quite uncommon.
Projection drops considerably after the first two hours.
09th September, 2016

Meliora by Parfums de Marly

A berry floral in the manner of much cheaper celebuscents (ie plenty of clean musks attempting to give it the presence it lacks) which begs the question why anyone would pay what Marly demands for this.
A raspberry and blackcurrant accented rose with a touch of candyfloss in the heart; it isn’t awful, just underwhelming. The musky halo is not unlike the fug that seems to permanently inhabit mainstream perfume shops.
09th September, 2016