Perfume Reviews

Reviews by gimmegreen

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Total Reviews: 852

Signature Collection : Nuit Noire by Mona di Orio

A perfume that takes a while to come round on my skin. Upon opening it gave the impression of having sat in the cupboard for too long, like it was trying desperately to be a gutsy old school floral complete with unwashed underwear, but the end result sadly resembled an emanation from a bottle that had turned. The blast of orange blossom-heavy white florals that soars out at the start distorted and gained a plastic aspect, the civet-musk power chord of the base felt airless and stale. It seemed all yellowing lace, fur, and hair; old age in an instant.
And yet, despite all that, there was a perverse pleasure in wearing it, as if one were tempting fate. There seemed to be a core of oriental warmth to the composition, rendered in a creamy, body-hued manner which called out to me, willing me to risk entering the boudoir that time forgot.
And then in a final change Nuit Noire blossomed, the orange flowers became bright and radiant and imbued with a triple-milled soapiness, and that base began twinkling with spicy refinement reminiscent of a classic Caron. Worth the wait? Ya betcha.
05th October, 2017

Rose Tubéreuse by E.Coudray

More clash of the titans rather than diva duet. The first impression suggests a clove-spiked rose sitting atop some gummy vanilla, with the tuberose only sneaking up later in the perfume’s progression. Unfortunately this is not a creamy, carnal avatar of tuberose, nor is it heady and indolic. Instead we have a powder-compact-in-plastic-sheeting impression of this floral note, and the entire composition suffers from a decidedly fusty and clogged feel. Maybe it’s the base notes asserting their authority (a paste-like blend of vanilla, tonka and patchouli to my nose), but neither rose nor tuberose gets a chance to shine in this rather outdated offering.
05th October, 2017

Sex and the Sea by Francesca Bianchi

Dense doughy iris, doll plastic and old make-up rubbery sweetness, and reminders of castor-oil-laden lacto-calamine do not an enticing perfume make – not in my book. I struggle to get beyond the general clagginess of Sex and the Sea; it wears like something that will block your pores. The rich slather of vanilla-benzoin in the base doesn’t help things either.
The suggested evocation of the sea or our carnal commonality passes me by here – there’s none of the salt tang or the skin comfort or arousal I would associate with such things. Instead I get caked powder, several greased layers deep which makes me long for nothing more than a thorough cleanse.
05th October, 2017
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Veloutine by Technique Indiscrete

This sugary berry-violet perfume seems to have a particular wearer in mind – a plastic doll with pop eyes and red dots painted on its cheeks. An undertow of musky leather is probably meant to nod towards seriousness of intent – but it doesn’t quite work that way. Still, likely to enjoyed by some who like uncomplicated sweet things.
05th October, 2017

East India / Vi Et Armis by Beaufort London

You gotta say yes to another excess. Vi et Armis is the kind of perfume that makes me want to stand up and applaud. It’s overloaded, butch, in your face, and just the thing that sorts out true believers from those who merely want a ‘nice scent’. This is what all those wimpy black tea creations wish they could be in their dreams – bursting with sensory impressions, smoky, brooding, so rich someone should make a fudge this flavour.
A perfect and full on union of tannic, tarry, smouldering notes, Vi et Armis combines gunpowder tea, burnt-out birch, peat-infused whisky, tobacco and ashtrays to such dramatic and startling effect that it took me a while to remember that I often don’t care for combinations of such traditionally ‘masculine’ notes. But the point is that there is nothing traditional about this perfume, it is a statement every bit as bold and uncompromising as Tauer’s Lonestar Memories and so is bound to evoke ‘Gah! Unwearable!’ responses from many.
The realization of the notes is something else, so vibrant and full of buzzing energy, with a bizarre but perfectly integrated squidgy core that smells like overripe plums, probably aspects of the whisky and cured tobacco giving that impression. This is the scent that should accompany darkened rooms of antique furniture draped in heavy velvets, rather than the usual dust and mould.
It moves to the gentleman’s club after about four hours when some of the dynamism subsides, turning into a more mature tobacco, tar and whisky affair. Less effusive yes, but still a damn fine thing.
05th October, 2017

The Dark Side by Francesca Bianchi

Oh yeah, this is the way to do a spicy oriental – voluptuously spilling out of its (at least for the first few hours) bodice, joyous despite its name.
Bianchi’s creation makes a virtue of boldness. Its spices are up front and in your face – and bolstered by a full orchestra of woods and resins (just look at the notes list). Usually I approach such things with caution as I find their persistent personalities a bit challenging. But Bianchi’s moody Dark Side is leavened by light, too. There are two notes in the mix that lift everything else and make it sing. First is a honey of great clarity: it’s a supple golden note, not laden with hormones and wax, and it ripples through the creation like an enlivening spirit. The second is a soft-as-a-kiss, nectar-like violet note, which instils an innocent, loving quality at the heart of this perfume – it is so silken and pure, it reminds me almost of a fantasy soft-focus rendering of rose otto.
In setting these delicate, maternal seeming notes among the expected heavy hitters Bianchi has created something a bit special. I love how the spices, though full on, don’t tilt the whole thing over – perhaps it’s because they are presented in such a blended manner, not as soloists. I can only detect cinnamon in the mix, but even that is after paying close attention. The woody notes – sandalwood and cedar – are dry and of a decent quality, and the spices blend right into their grain.
Eventually in the deep drydown, the sensuality takes a backseat and The Dark Side becomes a comfort scent with the sweeter elements taking on a powdery quality. Even dark forces are susceptible to tenderness.


27th September, 2017

Les Trésors De Sriwijaya by Auphorie

The chance to try a new Auphorie creation is something that causes me great anticipation. This is a house that offers novelties and challenges to intrigue the most jaded nose, and even when one of their extraits isn’t quite my thing it still seems to glimmer with enough olfactory jewels to command admiration.
Les Trésors de Sriwijaya is at first glance as ambitious as anything they’ve done, and pulled off with the same sure hand, though the later stages are somewhat more conventional. The opening – which speeds by far too soon – is mouth-wateringly fruity floral, but in a purely tropical interpretation, bursting with sunshine and the lovely golden accents of frangipane and ylang paired with luscious yellow fruit.
The transition starts almost immediately, with the florals taking on a glassy transparency and lightness, which seems to be an Auphorie signature, dancing at the front of stage, while in the background a whole orchestra of woody musky tones plays – but with extreme gentleness and subtlety. The declared notes list may contain a string of smoky and resinous heavy hitters, but they don’t present themselves in any overtly discernible way to my nose.
In its middle phase Trésors is, strangely enough, probably the most conventional perfume Auphorie has released – a sophisticated mixed floral with a quiet woody backing, its antecedents are in classical perfumery. The whole thing is sheer and in the drydown, as the notes merge, verging on the abstract. This is not to discredit it, as it definitely has the seemingly effortless class that this style of perfume lives or dies by. It just doesn’t open up new realms in the way other Auphorie offerings have done.
But the drydown a good three or four hours into the wear disappoints. The perfume undergoes a kind of condensation and reads like a mix of candied peel and essential oils. Still pleasant to wear, but ducking below the high bar set by this house.
21st September, 2017

Figment Man by Amouage

After a somewhat choking opening of damp, mulched earth, Figment Man begins to transition quite swiftly. It’s another bold, statement perfume in the manner of the Myths duo, and thus will no doubt divide, nay cleave, wearers.
What unfolds after the dig-my-grave opening statement is an assemblage of soil and foliage smells of shifting textures, behind which one senses rich and greasy floral notes in the mould of Amouage’s grand Gold Man. Here, they seem to always lie just behind the chiaroscuro front of steaming forest soil, snapped twigs and crushed greens. There are refreshing notes in the mix – a dash of lemon and a clean vetiver – that inject some air into what would otherwise be quite a close and forbidding composition.
Amouage market this one as a ‘luminous sandalwood’ – if that’s the case its light is well and truly hidden by the murk in the foreground, because by no stretch of the imagination (maybe that’s why it’s called Figment) would a wearer alight on sandalwood as the presiding deity here. It’s only after a prolonged swampy stage (poisonous greens, the earth notes now positively soaked and squelchy, with a hint of salty resins), when the shape of the thing is dissolving, that a sweetish, woody base becomes apparent – we’re talking a good six hours into the wear.
Figment Man is pretty rad, I’ll give it that, but by that same measure challenging to wear.
21st September, 2017

Bracken Woman by Amouage

The green floral excursion at the start of Bracken Woman marks something of a new departure for Amouage, despite the existence of Myths Woman. Whereas the latter had the trudge of a goth weighed down with trinkets, Bracken opens with the vitality of a skipping spring lamb.
The evocation of a clearing of bracken/fern is juxtaposed with the cut stems and mixed florals of a good florist’s shop – this is green done in a manner that is both energetic and fresh and yet with a sheen of refinement. There is an intensely sweet but well-contained note in the mix resembling rose geranium – it intrigues among the greens and offers instant contrast like a daub of postbox red in a Hodgkin painting.
The evolution is quite dramatic but happens in stages as Bracken Woman goes from vivid verdancy to a much creamier, more abstract composition. It is now soufflé-light, with aquatic elements, powdery ‘wood’ aromachemicals, maybe a touch of lily of the valley entering into the mix. I found it a pleasure to wear from start to finish, though the vibrancy of the first few hours was what really caught my attention. It’s possible that once I have worn it a bit more, the soft focus of the latter stages will grow in my affections.
21st September, 2017

Blossom Love by Amouage

Amouage goes soft focus in an array of bleeding pinks with this one which takes a Tocade-like floral haze, imparts it with a tart fruitiness, and then lets gourmand notes of sweet almond and tonka seep through it. So, pretty much like a designer fruity floral with candied gourmand undertones then? Well, yes and no.
While I am sure an approximation could be reached by layering a couple of well-chosen drugstore perfumes, the first couple of hours deliver a seamless blend with a silken ooze about it that lifts it a cut above. It’s mainstream, gentle and dreamy, notwithstanding an off-putting scented eraser rubberiness, and an easy and lazy wear.
After that, however, it deflates completely, turning into a vague candied smear on the skin, indistinguishable from the kind of stuff that sells in chain stores for 20 bucks.
21st September, 2017

Aoud Legend by Montale

Another head-turner in Montale’s endless array of oud variations. What first struck me about Aoud Legend was the feel of the thing, intensely woody yes, but with a compelling caressing effect that seemed to be smoke turning into powder. It’s big and brassy but its endearments are tender.
Although incense is one of the listed notes, the smokiness of this perfume has more in common with cypriol, but whereas that ingredient can become overbearing, here it seems rendered in a frozen, crumbling-to-powder kind of way. The woody notes are rich and bitter (a dab of saffron in the mix), with a subtle leather accent. The sweeter blandishments of this perfume (rose, patchouli) are contained within this woody, even somewhat mouldy front and appear as soft light filtering through a Moroccan lantern.
Disappoints a bit in the deep drydown when it becomes somewhat muddier and resembles too closely other woody Montales in their late stages.
21st September, 2017

You Or Someone Like You by Etat Libre d'Orange

Breezy and soothing, this light minty concoction is refreshment on redial. It has echoes of the sea, of morning gardens, and seems to invite one to dwell in a pale, spacious, minimalist designer home in a complimentary white linen kaftan.
Somewhat linear – check; synthetic – check; Herba Fresca with hints of L’Ombre Dans L’Eau – check. Nonetheless, I found its effortless manner disarming, a bare shouldered shrug to trying too hard. ‘I’ve touched your brow with my cool, I’m finished like a beach pebble – what more do you want?’ it seems to say in its ASMR voice.
Puts on a bit of weight late in the wear becoming more reminiscent of the Diptyque offering and – at times, and curiously, – a guava.
27th August, 2017

Limanakia 27 by Parfumerie Generale

What have we here? A sweating cyborg in the tiare grove? There’s a story behind it for sure, a pastoral written for a virtual world. For what else could explain the merging of metallic sheen and ozonic salt, billowing toothpaste-like freshness reminiscent of open skies, the dirt funk of cumin with white flowers?
It’s a crash piled several vehicles high if one just inspects the notes, but Pierre Guillaume is nothing if not adept at freeze framing will o the wisps. And this one has that elusive quality and yet seems to have its contours delineated. It’s out there – but travelling in a direction I don’t necessarily want to follow. However, the trail it leaves in a room is much more appealing – sea breezes with traces of gentle florals – just a shame this is not what you will smell on yourself.

27th August, 2017
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Artemisia by Penhaligon's

Vague but strangely meaty floral doused in rubbery vanilla and the monochord that goes by the name of white musk. While the floral profile is diffuse (blame the violet) there is a curiously padded quality to this perfume, the flesh of a cactus or the stuffing of a cushion translated into olfactory experience. The centre coheres like dough and I am reminded of certain iris accords, so tiny punctuating hints of something sharper reminiscent of immortelle helps.
A head-scratcher for me – a perfume that smells nothing like the plant it is named after, soft and musky but also thick as paste, and with an undefined cosmetics-meet-talced-latex sweetness about it. I really don’t know why it isn’t unwearable. Instead it is one of those perfumes that settles quite comfortably into a background hum to the day’s activities.
27th August, 2017

Tropicana by Lorenzo Villoresi

Smoothie culture runs amok, this one shaken up by the hipster’s child with a mix of tart tropical fruit notes AND big fat things like milk, coconut, vanilla, narcotic white florals – why not?, heck, even a sprinkle of chocolate. Plus a gauze of powder and musk draping the lot.
It’s the hundred-topping pizza mentality and it rarely yields good results. Here we have something barely wearable for the first few hours, whereas fewer impressions may have yielded much better results because the notes as one glimpses them seem pretty decent. There’s mouth-puckering passion fruit, a melon impression that feels natural, proper chocolate, dry and a bit dusty. But due to the barrage, they are lost almost as soon as they register, and the wearer is left coated in goop.
However, in common with some other Villoresi offerings this turns around a lot later in the wear, becoming a simpler creamy passionfruit and mango concoction that feels more and more at home on one’s skin. I found myself actively enjoying it, but can’t imagine repeating the experience often seeing the messed up early hours.
08th August, 2017

Saint Julep by Imaginary Authors

Lip-smacking mint – fresh as a daisy, properly green and herbal, not toothpasty – backed with very moreish ripe and candied citrus. The skill is in the realization which is so vibrant it’s like nothing else I’ve smelled before, despite the familiarity of the notes. A joyous burst of a thing that will revive and restore.
The mint does fade after about half an hour but seems to leave a ghostly presence behind as the perfume moves to greater citrusy juiciness underlaid with sugar. It’s a tall glass with ice kind of affair rather than cloying and syrupy, before the eventual move towards greater candied solidity. There’s an underlying note common to Tauer’s Pentachords Verdant (a pretty useless reference, I’ll admit, except for those who have experienced this now discontinued perfume), sweet but also somewhat earthy, and persistent which carries this perfume to the end of the day.
I was bowled over by the minty opening and would have loved to hang on to it for longer, but felt the evolution was sufficiently accomplished to make this one a keeper.
08th August, 2017

Melle Cléo by Les Cocottes de Paris

After an off-putting syrup, soap and waxy old lipstick opening that is less cocotte and more desperate frump, Melle Cléo revives a little with a greenish fruity note (the litchi) ascending, and plumped up by an airy laundry-floral accord. Nonetheless, a second visit is off the cards.
08th August, 2017

Carrousel by Paul Emilien

Bright citrus spiked with pepper, with a good dose of eucalyptus in the mix which gives the whole thing a parched, waiting-for-a-lit-match quality. Has a briskness about it that brings to mind clichés of office workers in crisp white shirts. Pleasant and easy wearing, if unexceptional.
08th August, 2017

XJ 1861 Zefiro by Xerjoff

Zefiro is the incense that transports not to church but to a leather playroom. For somewhere in its meld and weave of notes is a suggestion of polished, supple black leather – and once that lodges it’s difficult to chase away.
It’s a cumulative effect rather than a specific leather note as such for this perfume is mainly about a central incense surrounded by spices, herbs and woods which can sound somewhat trad. But there’s something a bit amorphous about the incense, it doesn’t have the silvery clarity of say the incense in an Amouage offering, instead it is warm, fuzzy, lightly smoked, seeping across the range of this perfume rather than offering a point of definition. It is counterpointed by a well-judged and dry sweetness, just enough to be a faint presence and offer relief to the bustle of spice and herbal notes inhabiting the incense cloud. And then there’s something like hour-old white wine in a glass and a touch of wormwood which give it a suggestion of mould and wear and perhaps that leather-like twist. Mature for sure, but also a handsome devil.
A word of caution though: this does not evolve much, so once it settles into its leather-inflected incense statement it doesn’t budge. If that does not sound like something you’d go for, you’re unlikely to be converted.
08th August, 2017

Collection Grands Crus : Oud Al Sahraa by Berdoues

Bang-in-the-middle oud, so unexceptional it could have been created by a bot (which is possibly insulting to bots that are now capable of composing pieces of classical music that fool audiences). It's mildly spicy, it's midway on the sweetness scale, it's definitely woody, no doubt about that, but not in any standout manner. About the only thing that's a bit different is a bit of proper myrrh, which imparts dust, resinous dryness, and some character.
Is it no good, then? Absolutely not. Nothing that has echoes of M7 about it could possibly be. It's just that there is nothing that distinguishes it from the legion of competent ouds out there.
03rd August, 2017

Shardana by Bottega Profumiera

Just when I thought I’d given up completely on aquatics, here’s one to make me change my mind – well, for a couple of hours at least. What makes Shardana work for me is the impressionistic, somewhat hazy way in which the salt water accord is handled, making it seem like sunshine diffused by cloud. A soft and warm sandalwood, and some mild, refreshing herbal notes create gentle and languid mood music. This is a cool summer day on the deck with the sea in the distance, clean cotton clothing and recently brushed teeth, and perhaps time to do a lot of nothing.
The blessing of not having the aquatics dermabrading one’s nasal passages does have a flipside – Shardana’s projection is on the subdued side. And then, there’s the plague of modern perfumery – the almost complete inability to compose a decent drydown. Here we’re presented with a vaguely aquatic musky melange after the first couple of hours.

28th July, 2017

Lumière Dorée by Miller Harris

Uber-clean white floral, which begs to be reincarnated as a spritzer served in a pub on a hot day as well as a perfume. A single minded orange-blossom with its green facets bringing cool shade to the delicate honey that is at the centre of its scent profile, a dab of bitter orange to tease out the fruity aspects of the blossom, and projecting musk a go-go. Normally it’s the kind of thing that either makes me bored or run with horror. But here it’s executed with panache and energy, transitioning from the sparkle at the start to the downy drydown without putting a foot wrong. It’s gussied up cologne water for sure, but when the results are so perfectly pitched, I really don’t care.
28th July, 2017

Gold II by AJ Arabia

A perfume in the whacking-great-cloud manner of Montale where one is hit by a concentrated blast of heady notes – in this case a sweet woody amber, but with musky propulsion and bitter orange peel and saffron glinting through. At its heart is a kind of scented gunk – like a fudged up vanilla and patchouli combo that smears its rich endearments over much of the rest that is going on in this perfume. If that kind of density appeals, you should give this a try. I personally find that this kind of style if not done exactly right weighs me down and makes me feel sluggish, like I had overindulged at the pastry counter.
28th July, 2017

Cologne du 68 by Guerlain

Long-range cologne which covers a fair field of impressions, but a cologne nevertheless – so expect freshness and vibrancy but not great note differentiation or projection.
The arc of Cologne du 68 sweeps from the expected citruses through a lovely green section which includes herbal elements but also scents one can only call vegetal, smelling faintly of the earth, mushrooms but also of crushed twigs and leaves, that verge onto delicate summery floral elements like airy linden. Dotted through the perception of this scent is the traditional cool blue cologne note of lavender, discreet flecks of spices, light touches of pepper, and the sweet breath of anise. And there’s also the Guerlain vanilla, evident to my nose from first spray, but which then seems to all but vanish, doing its work in the background. And what of the battery of resins? For me they extend some of the herbal notes, effecting a gentle drying out if you will. The only fault – and it’s a minor one – is a creeping up of sweeter musky elements in the latter stages. But as they don’t obscure the other players, it’s forgivable.
A cologne that proudly says more is more, while remaining bright and sparkling.

28th July, 2017

Attache-Moi 55 by Attache-Moi

A scent of hygiene – and it’s not just the citrus note at the top, it’s the feel of the thing as if a thin film of water or cellophane lay over the top of it. That’s not entirely a diss, as it’s quite a clever effect when one has warm notes like cardamom and a woodsy vetiver lurking within. However, Attache-Moi 55 revolves around its florals – jasmine and osmanthus – and it’s a bit of a letdown that their evocation is a bit underfed, lifeless, and quite removed from nature, though the osmanthus has the requisite overripe plums and leather nuances often associated with it. Sure this distance from nature fits with the overall mood of the perfume, but it seems more suited to a car or a hotel lobby rather than my body.
28th July, 2017

Aqua Sextius by Jul et Mad

I have been left indelibly scarred by too many strident yet ultimately banal aquatics that I must admit to a prejudice against this bossy family that screams at the top of its voice at the wearer (and usually poor suffering bystanders as well) to BE COOL. I dislike the overriding synthetic feel of such perfumes and the bad name they give to abstraction.
The opening of Aqua Sextius triggered this prejudice as it unleashed a wave of thin citrus carried on top of briny aquatic notes, but fortunately it receded quite a bit to reveal a much more interesting composition. As we move into the heart phase the saltiness of this fragrance combined with touches of fig bring faint echoes of Womanity but this not quite as sweet for one and has many dissimilar notes to the Mugler release for another. The citrus pickles nicely in the salt which sounds horrible except that the touch remains light throughout and the diffusive musks doing most of the work in this perfume bring their characteristic smoothness. Green fir-like notes of the earlier stages give way to a dry cedar note of the split-wood variety which brings a cool-warm feel to the base.
Having said all that, much of Aqua Sextius belongs squarely on the shelf marked ‘designer man cologne’ and I can’t picture myself parting with the bucks required for it.
28th July, 2017

Altesse Mysore by Alexandre.J

Expectations of sandalwood brought forward by this perfume’s name must be swiftly put aside, as must those of floral profusion evoked by the PR guff, especially of ‘carnal’ jasmine – nope, not getting any of that. Altesse Mysore is primarily a balsamic creation, with a healing aura created from a mélange of spices and extracts with something not too far from ground almond paste as carrier, likely a pretty dark patchouli. The florals here appear as stewed tinctures rather than as vibrant blooms – but it matters little as the predominant mood of this perfume is ambery, preserved, reflective. A judicious dose of bitter elements in the mix add more depth and complexity.
An assured and serious composition, which is crying out for better materials than those used by the house to raise it up.

19th July, 2017

Rêve d'Anthala by Evody

I had to overcome my inner snob to appreciate this perfume, as it started with the somewhat tacky notion of mixing two blingy genres – the white floral with the taffy gourmand – for a journey into the very soul of superficiality. But all credit to this Rêve, it quickly won me over.
For one, the white florals (which come across as a tiare orchid cross) seem to be a bridge to the much darker base which transforms quickly from standard seeming caramel notes to a much less sugary benzoin and vanilla paste, offering a range of impressions – roasted and boozy, warm and balsamic, bitter and nutty. This is a dark brown mood, shaded and brooding but with not the slightest hint of a frown.
There are a couple of problems, however. A perfume of this nature, no matter the richness of the base, feels somewhat simple – there are no points of contrast. And, thus, in the deep drydown one feels like one is wearing a scented smudge rather than a perfume as such.
(I have tried the perfume in the slim version of the bottle, not the one illustrated on this page; not sure if the there is any difference in composition.)
19th July, 2017

Romanza by Masque

Lowering dark clouds, the ragged, muddy meadow with tall grasses and yellow blooms, and a mourning cello player in the distance, Romanza is like an expression of love with tears in its eyes – god, does that not make you feel good to be alive.
An overdose of what smells like sodden hay sets its melancholy tone – it’s an odour that compels but has a bit of an attract-repel quality reminiscent of the vegetal mood of Oriza’s Chypre Mousse. Within it blooms the narcissus, indolic yet not weighed down, its naturally fatty scent cut by a fruity sourness like unripe apricots. The metallic and greasy greenness of violet leaf combines with this completely organic (and on the brink of decay) mix with great ease. Far, far away, the purr of something resinous.
Romanza takes you to a place you do not want to go but really you do, a place of deep emotion that stirs you up. And yet its face remains calm. I cannot help but think that Nathalie Lorson was visiting the same place when she composed Myths Woman for Amouage, its swampy narcissus a relative of Romanza.
Romanza is challenging and not easy to wear; therefore you must love it more when you do.



19th July, 2017

Silent Grove by D.S. & Durga

Grass and linden – evocative of sunshine and the outdoors – translated into a perfume that is equal parts lime-scented hand soap and peppy room freshener. Somehow, this is not a bad thing, instead even a little addictive. Silent Grove has the underlying synthetic sweetness of such products and even when the composition goes a bit woody and smoky in the drydown that aromachemical aura is hard to deny. Still, a bit like popping candy, it has sparkle and fizz and suits occasional use.
19th July, 2017