Not bad: Jimmy Choo Man is a fairly generic fruity / lavender / suede fragrance. Nothing to get excited about, but certainly pleasant enough. Personally I think that this creamy version of lavender works a little clumsily with the honeydew and suede, but at least I didn’t get any gross synthetic vibes from it. The first time I tested Jimmy Choo Man, it smelled synthetic to me, but in the next few tests the disagreeable emanations seem to have been eliminated. If the numbers of sprays are kept to a reasonable extent, this can perform decently: fairly subtle sillage, acceptable longevity, very nice ambiance if not smelled too close to the skin. Decent fragrance for a young man.
In spite of its name, Indochine isn't an exotic scent. It is an interesting scent-interpretation of a long-ago-far-away mysticism, and, except for my particular aberration, I think it succeeds. It opens with a bit of Asian exoticness: pepper and cardamom steeped in benzoin. This spicy accord is a little more than neutral, almost sweet, and has a resinous texture. It is not sharp and is somewhat rich with an almost-alien persona; on my skin it responds as near-gourmand but not gourmand… It projects somewhat as sillage but it doesn’t come across strongly to my nose because I think I am not receiving the full force of the pepper… although I think the cardamom is a very good choice, but, as with the benzoin, they last only about an hour as adequate sillage makers; as they become skin scents the accord sweetens too much.
I’m not sure I get much honey in the drydown. What I get is a lightly resinous wood accord that feels very textured rather than interestingly projecting. It lasts for a longer time than I expected but only as a somewhat unusual skin scent. I think it’s an interesting and well-made fragrance, but Indochine isn’t one that works for me.
17th February, 2016 (last edited: 18th February, 2016)
Lots of aromatic vigor in the opening... The angelica, and to a much lesser extent, the petitgrain deliver their aromatic attributes with full force over, around, and through the platform of dried fruits, rum, gin, and tobacco. It’s quite a show: sort of Arabie with tobacco and aromatics, but not exactly gourmand because of the tobacco and wood notes. Les Jeux Sont Faits is remarkably enjoyable. When the aromatics begin settling down after about a half hour, the heart is left with a rich tobacco, sandalwood, patchouli, and labdanum with a little sweetening with vanilla. The tobacco / wood base is the kind I usually enjoy – more rough than smooth… more bitter than sweet. It sends very little sillage at all, but it remains an excellent masculine skin scent. I’m not sure, but maybe I like this better than Arabie.
A delectable gourmand-leather-amber fragrance... quite unusual because those three notes form their own highly sniffable tricord. As Way Off Center says, it is both richly dark and transparent; which is, indeed, a difficult thing to accomplish. I think its transparency emerges because of the labdanum, which I have difficulty detecting, but I’m sure it’s there being responsible for subtly smoothing the denser accords. …Unusually sweet for a Parfumerie Generale fragrance, but it certainly wouldn’t make my list of sweet fragrances.
I’m not sure how I feel about L'Oiseau de Nuit – I like it, and I find it an interesting scent, but as I’m smelling it I’m thinking “There are better amber scents; there are better leather scents; and there are better gourmands. When will I ever want all three in one?”
Celebrities, cars, now baseball teams. Well, I guess it had to happen, but it didn’t have to be so predictable… this category of fragrance is usually not known for its excellence, and New York Yankees does nothing to change that. Mediocre at best, the synthetics are in full bloom, which usually can be assumed when you see names of notes like “blue sage,” and “orange flower.” But the names of most of the notes are meaningless – I really don’t smell bergamot, coriander, ivy, geranium, patchouli, sandalwood, and suede – I can’t identify any of those because of the abundantly synthetic emanations. This is a scent for people who are used to synthetics, and that’s okay because there are some several synthetic fragrances that smell fine… they can be very interesting if done right. But this one doesn’t fit that description. This one is just cheaply made and poor quality. Sorry, Yankees…
Synthetic but pleasant. Mont Blanc Homme Exceptionnel is rather clumsily put together in blobs rather than accords. The first “accord” is a lavender thing – it claims coffee and mandarin and those two might be there but the effect is a somewhat scratchy lavender blob – not necessarily unpleasant, though. For the middle notes I first pick up sage that morphs into a sage/mint accord which could be labeled “herbal” without snickering. The last is amber – a not-too-sweet amber densed and made manly by a bit of patchouli.
Altogether it is generic, a bit synthetic, and a lot derivative; it’s about as pleasant as most of the scents it competes with in the marketplace, and possibly better than several of the more namier brands. If you are young and you like this one, you could do worse for the money.
Not what I would call an attractive opening: It is sharp, scratchy, and oudy . The kind of synthetic oud reminiscent of the oud-stronger Montales. The sharp, raw, unpleasantly medicinal oud is here in the opening, but I can’t attest to much else being present besides the oud – nothing to smooth or enrich or complement or deepen the sharp scratchy oud. Lucky Scent has referred to this fragrance as having an “inky rose.” The ink I can believe, the rose I don’t smell. I’m quite at a loss for descriptions, because during the entire run of Oud, I get so little I can identify except the oud … okay, I do get some leather and sandalwood toward the end.
I was so looking forward to experiencing this oud scent by Mazzolari – I’ve so admired their dramatic presentations of patchouli and vetiver in other offerings. This oud scent is raw, but it is not dramatic. It is simply sharp, scratchy, and synthetically oudy.
“Sport” is a relative term, and this sport is a sport only in relation to Santos de Cartier or Santos Concentree. Now days this would be considered a full strength fragrance, and it’s just as complex as its two predecessors.
Its opening is primarily herbal (tarragon, coriander) and green to my nose; it has a bit of aromatics, presumably from the artemisia. It’s old school but not as strong as the other two original Santos’s are. The middle level rounds out the opening’s herbal nature with more herbs (thyme), some florals (carnation, jasmine), and five woods including vetiver and patchouli. Compared to the older Santos’ and even compared to the opening, this mid-level goes quite soft sillage-wise, and it holds for a good while. The base continues the mid-level’s woods and adds a light touch of sweet (with four different sweeteners) and some resins with its labdanum and styrax.
This is a reduced impact form of two of the most powerful of the 1980s power scents. I would say that in the present times, this men’s “sports” fragrance would qualify as a powerhouse – and that is still one of the best ones from that powerhouse decade. This is what ‘80s men’s fragrances were about.
Mixed opening of citrus, herbs, and spices. No one note is prominent in the massed accord. It’s kind of… not sharp… or rich… or visceral… I guess “ehh” says it all. It lasts about a half hour.
The heart notes sound great: incense, geranium, and rosewood. Again I can’t separate out the notes: but I do get a little resin and a good dose of not-very-natural wood and I don’t smell the geranium: I would think that with both rosewood and geranium there would be a stronger presence. There’s nothing objectionable here, but this accord is another ehhh…
The base is disappointing not in how it smells, but in its lack of projection. It is woody and muskish and there’s a decent modern / young feel to it, but it seems to be barely surviving. I guess what bothers me most about Paul Smith Extreme is that it is called “extreme.” It isn’t.
Blanche Immortelle surprised me with its opening immortelle note – the note smelled burnt-sweet or more specifically… something that smelled like cajeta, the goat’s milk caramel of Mexico. The opening gave me no citrus or mimosa, instead there was this caramel note rising from the heart. I loved it – gourmand but not the typical in-your-face gourmand… rather… civilized and elegant. But the immortelle note did not last long enough. It was replaced by a demure floral accord of jasmine and rose – sweeter than it should have been according to the heart pyramid notes, so some of the sweetness of the opening must have remained to sweeten the flowers. The base is a very light, slightly-aromatic wood accord dominated by sandalwood to my nose. It’s sweet, it’s lovely, but I would like it a bit less recessive in its sillage.
Unquestionably a sweet, wonderful, gentle fragrance. Its sweetness and gentility doesn’t make it feminine IMO. It’s one of the best I’ve tried from Atelier Cologne.
Bright and lively opening… peachy-lychee… as usual I don’t smell the pepper, The pepper would have improved the opening, because it is too brightly fruity for my tastes. The opening has good lasting power.
After thirty or forty minutes I begin picking up the heart notes – May rose, I think – then cedar – then patchouli. I kind of enjoy the woody vibe of the patchouli until I realize that that’s pretty much all I’m going to experience... nothing more is going to happen. The heart accord is soft and textured rather than a projecting accord. I don’t think it’s interesting enough to hold attention for very long.
And then the drydown… as a dry down it’s simply the tapering down of the middle accord until it dies of boredom. Nothing very excited about Playing with the Devil.
The Ajne company says that their proprietary fragrances are 100% non-synthetic, pure plant-distilled oils, and absolutes blended denatured spirits or organic jojoba oil. Their website says that Om is a blend of smoky sandalwood, Himalayan cedar, and forest lichen.
Immediately on spraying I get a woody-animalic accord that seems uncontrolled and/or unpredictable at first, but then settles down to a linear woody-mineral accord that I’m not sure how to take. I sort of like it… especially the wood part of it, but I am unsure about liking the mineral part. Smelling it close to the skin, it just seems to conflict with itself. I’m not saying the accord is bad… just that it’s something I’m going to have to get used to. But when I smell its sillage as I go about my activities, it smells intriguing, it performs well both in sillage and longevity. Another excellent talking point about the advantages of Om is that it is highly unusual – I know that I don’t have to be concerned that someone I meet will be wearing this unusual product.
Questionable bergamot opening. The bergamot note is decent but it is already compromised by the inferior ambroxan presence – It might have been better to have a cleaner bergamot accord happening here. The geranium note, too, is questionable because it is already compromised by a substandard, metallic lavender and this lavender note is the main problem that I have with the whole fragrance. It is metallic and synthetic… It is also generic and derivative… This lavender is typical of the lavender interpretation used by several lower-end designers when they are formulating their newer offerings. Actually I think the structure and movement of Sauvage, as generic and derivative as they are, are fine – the main problem with the fragrance is the quality of the particular components – especially the lavender.
It would have been better if Dior had remained faithful to their method of fragrance introductions of the past dozen or so years: They should have given their introductions higher quality ingredients, then six months – twelve months – whatever – later, reformulate them with cheapened chemicals just as they did with their several Dior Homme introductions.
To be completely honest, and setting aside my disappointment about the stinginess concerning the quality of the product, I do agree with Alfarom that Sauvage “doesn’t completely suck.” As for Johnny Depp… It’s no wonder to me that Dior, in seeking a spokesperson for this fragrance, opted for one with such extraordinary acting skills as Mr. Depp has… a celebrity of lesser acting abilities couldn’t have pulled this assignment off with a straight face.
Whoa… the oud really slaps me in the nose at first sniff. The oud I smell is very synthetic and somewhat sour. It pretty much overwhelms the fruity floral opening: there’s rose in there and citrus but the citrus seems a bit muddy /less sharp than it should, but oud dominates. The opening manages to settle down to a clearer presentation after twenty minutes.
At the heart level of its pyramid 24 Platinum Oud lists guaiac wood, jasmine, saffron, patchouli, and cashmere. I can agree that I am smelling those approximations, except for the cashmere (?) – I could have sworn there was no wool in the accord. The heart accord is okay.
The base lists amber, musk, driftwood, and oud. It is somewhat sweet and very little oud shows up in it. The driftwood appears as a soft, slightly salty wood.
Rather interesting fragrance – the use of synthetic oud does bring something a little new to a fragrance as economical as this. The oud is obnoxious at first but then it calms down to an acceptably synthetic delivery. Not a bad fragrance for an extremely low cost introduction to the oud concept.
Somewhat like a Demeter fragrance… This is a light summer fragrance that starts out smelling a bit like watermelon with sillage, but then it morfs into a fresh, sweet, green, fruity, honeysuckle cologne… The green tea and soft vetiver makes it feel a little aquatic. Enjoyably quirky and refreshing.
Clean citrus opening of quality notes – Neroli, bergamot and bigarade. It’s an enjoyable opening but distinguished only by the high quality of the materials and its precise but unimaginative performance. The middle level – with its violet leaf, geranium, and vetiver – exhibits a more creative character than the opening, especially when the geranium reaches its full development… it has become quite catching. Again, very good quality notes and it performs very nicely, but I personally dislike the violet leaf note. The base is tonka, musk and leather and I find it enjoyable even though I usually don’t care for leather. I agree that it has an animalic tone to it, but, even so, it does not cross the line of being a neutral, non-dramatic fragrance.
Sous le toit de Paris (Under the Roof of Paris) is a pleasant sent of very good quality. Not dramatic… having quiet sillage, decent longevity… wearable, dependably performing, not exciting.
This Deep Blue Essence is half Hugo Boss Dark Blue and half oceanic. It’s cool and crisp, a bit ozonic and marine, and some woods. The first accord is citrus and coniferous and this lasts about five minutes until the ozonic and marine notes start setting in. These aquatics fit in fairly well with the citrus and cedar, but there is an off-note in the background that I ascribe to a rampant violet note, which I always dislike. Of course with so many ozonic and marine accords, the main accord gives off a lot of synthetic vibes, The dry down is entirely wood except for the remnants of marine notes that still remain. If they had left out that violet note I would have voted a neutral.
I’m wondering if Weil thinks that adding both ozonics and marine notes to a Dark Blue derivative sixteen years after Dark Blue was introduced will make Deep Blue Essence appropriate for the twenty-first century?
Citrus opening… not a clear one but could easily be thought of as a Miyake accord. Immediately it is alloyed with the leather, woods, and spices from the heart to create a thoroughly modern accord that is typical of many of the well-made designer fragrances of the past few years. This opening is quite nice in a usual-nice sort of way, but it doesn’t go beyond that. The heart notes hold on competently for a acceptable length of time, and then glide in nicely to the basenotes – a dry vetiver / patchouli with a just a bit of incense as well as a bit of tonka to warm it up. The dry down lasts well and grows a little more synthetic as it ages.
Nuit D'Issey is certainly not a bad fragrance. In fact it is sort of a typical d’Issey considering the opening and, to a lesser extent, the base. It has good sillage and longevity. It has that attractive synthetic aura that the original L’Eau d’Issey PH had, but it doesn’t have anything that makes it especially or uniquely loveable.
Citrus and Wood is well named: It lists six citrus notes (bergamot, lime, grapefruit, orange, lemon, mandarin), and six wood notes (elemi, birchwood, sandalwood, cedar, vetiver, patchouli). These notes combine to form a fragrance that is somewhat akin to Terre d’Hermes, but I think the resemblance is primarily coincidence. If it were a copy it would have included a mineral note. Rather, this is simply a new presentation of the kind of fragrance that has been traditional for years and years: citrus and wood. It’s a Yardley fragrance, so I am not surprised that its longevity is less than stellar – Much like Roger & Gallet, Yardley has a long history of making all kinds of eau de colognes and scented waters; for example: English Lavender 1873.
This scent fits very nicely into Yardley’s traditional offerings. It begins with a solid, enjoyable citrus accord, and it should be nice because they’ve been making citrus colognes for close to 150 years. The woods are presented more like the woods in a cologne than in an EDT: the woods are light and they aim for balance and substance rather than for resin and extended longevity.
Citrus & Woods is an excellent scent if it is taken for what it is: a long lasting EDC that presents a deft use of citrus and a gentle presentation of woods. It is judiciously spiced with pepper, cumin, ginger, and carrot seed; it is augmented with moss and green tea; and it is mildly sweetened with amber, tonka, and vanilla. An added value to C & W is that it happens to resemble a popular and desirable designer fragrance: Terre d’Hermes.
Citrus and petitgrain opening. I understand that the petitgrain gives a needed longevity to the citrus, but it also weakens the purity of the citrus notes as far as I’m concerned… the opening citrus doesn’t have the citric purity that I expect from a fragrance of this price
It’s a long time before the heart notes start finding their way through the petitgrain, and I was very much looking forward to the promising wood heart notes – rosewood, resins, and oud. But I never get to enjoy the heart notes: the petitgrain is so lasting that it never loses its over reaching presence even as the light wood / oud accord struggle to pierce through. By the time the base shows up, I’m too bored to care (it’s rather sweet).
I agree that the petitgrain weakens the quality of the fragrance. I have to admit, though, that the citrus opening does have excellent longevity, so, for someone who does manage to enjoy the opening, it may have been a good decision to overdo the petitgrain. Even though Kobe strikes me as a quality, competent fragrance, there are many, many oud offerings that deliver better and more.
I love and own Prada Infusion d’Iris so I was expecting the Absolue version to be even better. No such luck. The iris note in Infusion d’Iris Absolue does what a strong iris note often does to me, it smells more like violet leaf than iris or orris. I strongly dislike violet notes so this one is a loser for me. But that’s alright… I still have Infusion d’Iris.
Lots of wood right from the start: rosewood and the oud has already moved into the opening… A tamed oud – all the animalism has been eliminated. I don’t get the pepper but the cool underlayment of cardamom provides an appropriate depth to the woods. The rosewood provides an excellent alto level wood tone while the sandalwood provides a solid bass to the cool oud and cardamom. The whole accord quite pleasing. I don’t think I would ever get tired this but I already know that I’ll never get a chance to test that theory: There is not much sillage off it, and it seems to be fading too quickly…
After a half hour of pure enjoyment, I have to wonder what happened to this pleasant, civilized accord. It could be nose fatigue, but I doubt it – it doesn’t come back even if I back off for fifteen minutes. But this doesn’t surprise me, though. Several of these pure deep, dark wood accords I’ve tested have had disappointing longevity.
This is a very nice fragrance for as long as it lasts. As a soft skin scent it lasts two or three hours after the sillage has weakened – its performance leaves much to be desired. And then there’s the thing about the futility of paying for a premium oud fragrance and getting only a short taste of a denatured version of it...
Seems light and clean… I get mostly lavender with bergamot and vanilla. It’s pleasant enough though I’m not a great fan of the lavender and vanilla combination. I very much preferred the lavender done without vanilla in the original Luna Rossa. The juniper also contributes a lot to the main accord in this Extreme version, and it does a very nice job of augmenting the primary lavender, bergamot, and vanilla accord without distracting from it by making this just another conifer fragrance, I don’t smell the laudanum.
Okay, Luna Rossa Extreme is definitely related enough to be called a Luna Rossa flanker but I wouldn’t go so far as to say it is an extreme version of the original. I myself like the first version better, and this Extreme version does nothing to address my main complaint about the first – lack of projection from my dry skin and, related to that, its short life as a sillage maker. It lasts well as a skin scent. I enjoy the spicier nature of this but I would prefer a return to the original ambroxin instead of vanilla, and, again, a stronger sillage.
I had reviewed New York ten years ago and hadn’t had much contact with it since. At first sniff of NY Intense, I did not seem familiar nor smell like what I remembered of the original version. So I got out my decant of the original and compared them side by side, and, low and behold, I did find similarities. New York Intense exhibits about the same citrus / spice / ambry structure but the citrus, spices, and amber accords are sharper, clearer and somewhat more aromatic than in the original. I personally find the change an improvement. A second change that I find to my liking is the underplaying of oak moss and the inclusion of patchouli in the intense version. Sometimes I am annoyed by oak moss and smelling the original New York was one of those times. A third small difference from the basic New York is that I get more of a smoky or peppery ambiance in the background of the intense scent. Finally, even though Intense has about the same sillage characteristics as the first version, it exhibits much improved longevity.
I see New York intense as a definite improvement over the original, but, in truth, I still won’t be buying – it still doesn’t sing a siren’s call to me…
The cilantro, vodka, and peppercorn form a disagreeable opening – kind of gritty and sour with a stale synthetic character. I would say that it’s not so much the notes themselves that are disagreeable, it’s the synthetics of the whole accord that is quite annoying. I would guess that I could identify the peppercorn of the middle accord, but the other “notes” are simply overshadowed by the blatant synthetics. The rest of the fragrance continues on the same paths.
Not much to enjoy in this fragrance.
The opening is a message from the past. It’s got that tingly aldehydic / artemisia thing down pat, and it’s an memorable experience. Of course, the bergamot / mandarin from the opening as well as the lavender / geranium from the middle provide a fresh platform for the aldehyde / artemisia in creating the mood. There’s nothing that speaks that fresh old time masculinity better… think vintage Old Spice with artemisia instead of sage.
I don’t get so much citrus in the heart notes but the florals take over while the tinglies subside a bit. The florals don’t last long before the cedar and moss begin filling in from the base. For me the moss comes through strongly in the base and I enjoy the result even though moss is usually not my thing – it must be the patchouli smoothing out the moss. Although the pyramid lists tonka, musk, and amber, I don’t get much sweet from them. To me the base is a mossy green (vetiver?) that is smoothed out by and given a lower-noted foundation by the patchouli.
I’m so glad that a generous basenote lover of classics gave this to me. What it is as far as I’m concerned is a fresher, more subtle, more up-to-date version of vintage Old Spice. Judging from Darvant’s review, I believe that I am testing a earlier version of Sergio Soldano Black – a version that falls somewhere between the animatic original and the present orangy /floral / ambry version.
Not much new to add here: I’m in agreement with the positive reviews here. Eau Duelle is an interplay of opposites… and it succeeds in presenting a poised and discrete contrast between… (in this greatly simplified explanation) …between the vanilla and the frankincense. I’ve encountered vanilla / incense fragrances before, but the light touch of Eau Duelle makes most of the others like this seem quite common. There are no hard edges here, and it is rippleless in the entire run of its duality (I could clearly smell it as a balanced skin scent twelve hours after application). This is the kind of scent you wouldn’t be interested in if you are looking for drama (and if you are looking for drama you shouldn’t be looking at an “Eau” in the first place). It is definitely what you should be testing if you might want a complex, interesting, subtle, elegant, unisex essence.
Catching opening for me: something I haven’t smelled before – must be the lentiscus. I must say, I hope to smell it again because to my nose the unfamiliar note is exotic and… well it’s like some kind of Oz-ian or Neverland-ish odor that exists with equal parts of “natural” and “make-believe.” It’s a bit green, a bit raspy-aromatic, a little bit wood, a tiny bit incense, with an aura of, say …CK Eternity or something like that. There are somewhat strong elements of conifer (juniper, cedar) and citrus (neroli, bergamot, lemon) in the opening which wane as the fragrance moves on, but the proportions of lentiscus, citrus, conifer, incense, and synthetic remain constant through the heart level, making the top levels of the scent linear: …in this case, linearity is a good thing and I only wish it remained past the heart level.
There’s a great hour and a half of bliss with Airborne, but it does wimp out in the drydown. The dry down is an almost-skin-scent that has picked up some sweetness somewhere (musk?) and is not related as I can see, to the opening and heart. It’s always disappointing when a fragrance like this begins… spectacularly in my opinion… and then fails to carry the passion through the drydown. Well, dry downs are seldom spectacular, but they should be, at least, a logical or emotional extension of what went before. Here the dry down is too much of a weak afterthought.
Airborne is, in concept and design, similar to Serpentine and Artek Standard to name only two offerings from CDG. I love and own both and I would purchase Airborne if it had held on to more of its originality and drama longer rather than losing its momentum.
Wood intensity with lasting aromatics! To my nose, the Texas cedarwood is the dominant wood note in the opening – it’s an excellent cedar; its aromatic output is enhanced by natural oud, gualac, and pasminol (a synthetic sort-of-sandalwood). All these woods perform their roles on a solid foundation of patchouli and vetiver. It’s a real woodfest, and I find the quality of the components quite good.
There seem to be many of these deeply brooding, resinous wood scents now days. Wonderoud is worthy enough to be a contender with most of the competition; in fact, it is quite similar to its almost-twin, Wonderwood. In one way I think Wonderoud is a bit better than its sibling – it’s a little more refined because its cedar note is of better quality and coordinates much more smoothly with the other woods. Wonderoud’s oud note is better in both quality and in projection IMO. On the other hand, I think that Wonderoud lacks a bit in performance: Its sillage is a little more discrete (not necessarily a weakness) and it doesn’t last as long on my skin. All things considered, if I were to buy one of these twins, it would be Wonderoud.
The original Cartier Roadster was a chancy fragrance – it went against the trends. Personally, I enjoyed it at first, but after several wearings, the potency of the mint note began annoying me and I regretted purchasing the bottle. Now we have another version… called a “sport” version, and the more I try it, the more I think that the name fits. Roadster Sport opens with a citrus / herbal accord – definitely on the dry side because of the particular herbs: sage and rosemary, with a lightly spicy pepper. A diminutive, smooth, characterless patchouli serves as a platform for the citruses and herbs, so there’s an subconscious depth to the heart and base notes without it being heavy. The pyramid says that there is gaiac wood in the the composition, but I can’t find it.
After my experience with it, this certainly is an improvement on the original Roadster. Instead of a domination of mint, the sage - rosemary accord is much lighter and more freshly sophisticated. Roadster Sport is dry but it doesn’t come across as arid. I particularly appreciate the lack of sweetness: I guess that’s what makes it a sport version. Roadster Sport could use a better longevity.