Not a fragrance but a product of pure distillation. Another dark-smoky potion from this specialized "Middle Eastern perfumery brand" as product of pure distillations of woody resins formed as a result of natural infections affecting several species of Aquilaria (agarwood) evergreen trees. Along the time these infections naturally cause the trees to produce a really viscous resin as a by-product due to attack this infection. Oudh is the "outcome" of this "ancient" woody resins' distillation-process. Even in this case this arcane potion is mouldy as a dark cave studded inside by extinguished bonfires, mossy moulds, stale humidity and burnt odorous woody-rubbery resins. Just for the straightforward lovers of this "hard extreme" genre. A "fumidus" hyper dry woody potion (yet vaguely petroleous) a la Montale Dark Aoud (being the latter on the contrary anyway synthetic) but natural, far more realistic, stark and liturgically ritual. A stinky bitter-licoricey supremely woody "odor". A medieval kind of ghostly "miasma" heralding images of fortified citadels, steel swords, steamy castles, battlefields, warriors barbarians, bronze armatures and knights-errant.
Versace Pour Homme Dylan Blue is a spicy/woody/aquatic based on a central accord of piquant spices, citrus, violet, sharp salty woods and mineral ozonics. The first blast is like a photocopy of the "sadly departed" Byblos Uomo (this is the good news, many notes in common indeed: musk, bergamot, lavender, ambrox, violet, spices, patchouli, aromatic herbs, mineral-ozonic notes, sharp woods etc. I see in this phase also a tad of Chopard Heaven, Paco Rabanne Invictus, Bond N. 9 I Love NY for Him and Chanel Bleu) but after five minutes the mainstream stark salty-gassy woodiness (which is taking the world by storm by now) starts screaming out peppery-dusty (even more salty and gassy, like a crazy schizophrenic oceanic kind of Bvlgari Man Extreme ideally joined to a whichever "crunchy" Givenchy Gentlemen Only or Dior Sauvage) with my huge bored disappointment. Nothing more to add. Not for me.
Another hidden disappeared gem for us and one of the most sublime "Odes" to the gorgeous note of ylang-ylang I've stumbled upon in my miserable life of southern solitary perfumista :-). Eau de Metal, yes a classic treasure straight from the "old style" Paco Rabanne's glorious "course", welcomes us dramatically (I'd say "metallically" in a quite angular, edgy, aldehydic-herbal-sharply floral-earthy-leafy-botanic way and just for twenty seconds or few more) before quickly morphing in to one of the most apparently "soapy-neutral-abstract-mossy" (but actually complexly floral) bases I've ever experienced on my "experienced" mediterranean skin. Eau de Metal is basically a musky-floral concoction (smelling finally at same time subtle-floral-chic and warmly organic-musky on skin) and the dry down is almost identical to a familiar aroma for me, namely the one of bath-foam Nidra Latte Palmolive (being Eau de Metal surely more subtle, complex, musky-boise and nuanced). Despite a veritable massive floral presence the floral perception is moderate under the nose (like something substantially restrained) because of a really dominant and catalysing soapy-musky vibe. White musk and oakmoss are complemented by soapy amber, balsams, tonka and by a complex "flori-herbal" bouquet (mastered by rose, hyacinth and ylang-ylang). The first blast is edgy with its lamellar twist of leaves, bitter-green notes, aldehydes, green earthiness (vetiver) and aromatics. A musky aura is by soon evident in its balmy substance supported by a sheer ambery soapy presence with a multicolored floral kaleidoscope of sophisticated nuances (jasmine, iris, ylang-ylang, hyacinth). Ylang-ylang is super chic, radiant and exotic while a musky hyacinth enhances a dominant "neutral" mossy (earthy-humid) atmosphere throughout (kind of vaguely earthy, mouldy, camphoraceous and boise). All the laminal elements gradually tame their "fury" tending to slide towards a more silky musky-soapy-floral atmosphere mastered by musky amber and chic/exotic ylang-ylang. Dry down is warm/musky/soapy on skin, is like a dive in the most heavenly hot foamy bathtub of this universe (spumous, milky, laundry-neutral, dreamy) but is super chic and sophisticatated "at distance" as well. Ylang-ylang and hyacinth are the royal elements of this marvelous soapy bouquet providing a surprisingly modern glamour "unisex" vibe. This juice is disappeared from the shelves but is still incredibly modern and timeless in its attractive intimate aura. A great pity its disappearance.
Veejaga Hashish Homme is one of my most sensational recent serendipities (fortunately in its vintage formulation). This marvellous gem smells (under my moonshiny nose of province) exactly like an ideal blend of Ted Lapidus Pour Homme (minus the overly "stuffy" aldehydes), Givenchy Gentleman and Six Scents End/Beginning (Profvmum Arso could be equally included in the clan). An amazing impenetrable (initially mystic-narcotic, in a second phase lighter) association of dry herbs, tobacco, super-earthy patchouli, warmly mouldy castoreum, dry woods, oakmoss, black pepper, woodsy resins, leather, rooty vetiver and smoky olibanum (more than vaguely a la Il Nero), provides the illusion of a "green-red illicit" weed-dominant cocktail (actually more "fragrant" marijuana than properly black rubbery hashish). In the same context a well calibrated presence of herbal aromatic patterns, fruity notes (accessorial to a dominant leather-feel), balsamic ginger, angular geranium/rose and citrus provides balancing lightness, a more dynamic fresh barber-shop (never "dated") attribute, easy wearability and modern versatility to an otherwise overly scorbutic (and misty) mix. Patchouli is there, arid, distinguished, earthy and uncompromising, vetiver assures rootiness, a moldy aura is enhanced by moss in association with culinary greens (verbena, celery??), leather (joined to resins) is kind of vaguely "electric-plastic" for a while (the "varnish vibe") while castoreum is ashy, mossy, humid and kind of "ancient" (dusty-stuffy-camphoraceous). Dry down is anyway an example of gorgeous warm spicy-resinous smoky leather (yes, agree, extremely modern, urban and never "oltherwordly") which probably could have been (or actually has been for real) source of inspiration for more contemporary takes on the smoky-rubbery/herbal theme as Santa Maria Novella Nostalgia, Profumum Arso, Complex by Boadicea the Victorius, Mona di Orio Cuir or stuffs like those. Excellent.
09th January, 2017 (last edited: 10th January, 2017)
Mediterraneum is a pleasant light green semi-oriental creation (initially launched by Proteo Profumi and later branded by Versace), a pleasant fragrance di per se but something surely unoriginal since it is pratically a lighter more "anosmic making" version of the original "antecedent" masterpiece Romeo Gigli Uomo by Gigli (being Mediterraneum substantially an unsuccessful derogatory Gigli Uomo's photocopy-attempt). A common foundation on a vast array of identical floral-hesperidic-spicy-herbal-oriantal notes as aldehydes, bergamot, lemon, mandarin, terragon, lavender, jasmine, rose, carnation, cinnamon, fir, labdanum, benzoin, oakmoss, styrax, musk, amber, patchouli, tonka, vanilla, sandalwood etc. etc. creates a basic common spicy-boise aroma which is anyway in this case less articulated, durable and elegant. Gigli is indeed more complex, well rounded, mossy-boise and structured (with a more massive spicy presence and a further presence of structuring notes as rosewood, cedarwood, honey, ripe fruity notes as plums, grapefruits and rosewood). Whilst Gigli is more oriental, resinous, romantic, multicolored, musky and woody, Mediterraneum is dustier, breezier (more hesperidic) and soapier. I get the spicy association of cinnamon, cloves, amber and greens but it is not so warm and exotic while more space is in here reserved to light greens, orange (citrus more in general), woodsy notes of mountain and florals (with the addition of geranium and ferns). A nice aromatic green juice anyway pleasant and easy to wear.
Van Gils is authoritative epitome of the old-school powerhouse philosophy and definitely one of the classiest pieces of the whole glorious ancestry. This is an amazing deep-dark creation indeed, an impenetrable (especially along top and the core) dark luxurious powerhouse (all at once wild and fine, "camphoraceous/coniferous and fine leatherwears conjuring with hints of talkiness"), something ideally connecting (since owning in its formula a bunch of the characteristics of each single following example) scents as Chanel Antaeus, Cartier Santos, V&A Pour Homme, Fendi Uomo, Oscar Pour Lui, Quorum, Paco Rabanne Pour Homme, the classic vintage Trussardi Uomo, Dior Jules, Aramis 900 and Devin, GianMarcoVenturi and Ysl Kouros. I detect a central honeyed/powdery/aldehydic/barber-shop/kind of waxy structure "from the forest" (with hints of ambery/honeyed animalic patterns) a la Paco Rabanne Pour Homme or Arrogance classic Pour Homme (lavender, bergamot, powdery tonka, rose/geranium, oakmoss, animalic musk, ambergris, honey, sage, artemisia and further). While the opening is properly loud (I mean, super aromatic, dark, citric/herbal, aldehydic/hesperidic, resinous-camphoraceous-coniferous, spicy and angular) and the core spicy, the juice starts finally to morph down towards something softer, smoother, talkier and more subtle (a sort of delicate talcum powder with soft suedish nuances). Cardamom provides an airier fluidy twist while cloves enhance the general poudre vibe of the final stages. The floral presence is somewhat sharp and minimal while amber and tonka provide a final powderish-soapy smooth delicate "pillow" a la Boucheron Pour Homme Edp enriched by a sort of more substantial "nuttiness" (and piquant earthiness) which I've stumbled upon while enjoying the Ungaro III's dry down (a mix of amber, sandalwood, balsams, musks, suede, dusty edible spices and God knows what else). In this final stage Van Gils is pure subtle gentlemanly refinement, an hardly reachable example of discreet taste and luxuriousness. Another example of great timeless (nowadays almost extinguished) perfumery with a sheer "fragrant" naturalness in perception.
Leonard Balahe is a colossal super classic aldehydic flori-oriental chypre enriched by ripe fruits, tumultuous spices, by a massive animalic presence (civet) and a yummy accord of vanilla, mellow fruits and heliotrope. The latter, joined to aldehydes, powdery iris, dusty spices, talky woods, anice and amber/opoponax, provides a quite intoxicating-talky-airy sort of Habanita-like animalic chypre aura. Anyway the juice is more complex since syrupy spices, resins and ripe fruits (plummy-orangy a la Rochas Absolu) add massive substance to the general talkiness while hesperides, multifaceted floral notes (orangy tuberose, rose, jasmine) and musky ylang-ylang in particular afford a really sophisticated and classy "historical" temperament (scents a la Diva Ungaro, Rochas Absolu, Madame Rochas, Lanvin Arpege, Givenchy Amarige, Van Cleef, Valentino Vendetta Donna, Gianni Versace and further jump more than vaguely on mind for several of their characteristics). The Balahe's opening is misleading with its tumult of hesperides, aldehydes, spicy fruits and florals, a real storm which quickly morphs in to an accomplished powdery operette (ambery, honeyed, animalic, woody-floral) with a rich array of subtle nuances (musky, floral, oriental, boise etc). Gorgeous, rich, palatin and aristocratic, the left back essence of a forbidding Parisian woman standing lofty in the middle of a rich of chandeliers, tapestries and massive golden frames pictures cultured ambience. At same time I have to say that this juices unveils as well an uncompromising spicy-animalic unapproachable sensuality which makes it even more interesting, dreamy and attractive. Another piece of historical olfactory artistry which I have the pleasure to try on skin and that makes me to yell against the modesty of a significant part of the current feminine plastic perfumery.
Rockford Ice substantially possesses a similar basic typically hyper virile structure we can ascertain (with all the peculiar variations on each single formula, sometimes breezier sometimes thicker) in scents as Enrico Coveri Pour Homme, Rockford, Borsalino, Morris Blueback, Henry Cotton's in Blue, Louise Philippe Patrichs and many others (citrus-lavender, piney resins, sharp kind of "melancholic" florals, aromatics, woods, oakmoss, synth ambergris, leather) plus the addition (or the exasperation) of a quite heady minty-anisic arctic presence surely invigorating and bracing (I'd also add a lighter kind of airy-salty-iodate vibe a la Patrichs and a more stressed kind of spicy soapy-laundry sporty artificial twist a la sporty Adidas or stuffs like those). The perception is somewhat artificial and super icy-balsamic, it seems to be dealing with a sporty deodorant from Sergio Tacchini (Sergio Tacchini Sport Extreme), Adidas or even Axe. The juice is not bad di per se, just I find this type of concoctions out of my tunes, too much "sporty afteshave barbershop type" and somewhat overused.
Lucky to find a mignon of this really hard to find fragrance. Well, if you hardly "manage" fruity notes keep yourself away from Sergio Soldano Proibito since this is one of the fruitiest scents I've tested on skin (especially in its energic introducing blast). Anyway I have to say that, despite a sort of juicy-fizzy "ostensibly berrish" opening (mastered by mango, apricot and lily/cyclamen) the following development is well balanced, musky and finally well orchestrated (with a final kind of breezy, hyper dry, classy, woody-musky sophistication a la Armani Onde Mystere less resinous fruity notes, something conjuring an ideal boise accord of violets, peaches and red fruits). Not my cup of tea but surely a decent lively concoction.
Honestly I find GianMarcoVenturi Uomo anything but an anonymous creation. Whatta surprise my friends, an excellent aromatic fruity/honeyed fougere, (tested it on skin again after long time and) what a bomb of elegance and complexity!! This juice is like a more complex sort of Paco Rabanne Pour Homme (the bottles are similar as well indeed) with the addition of fruity notes and subtle spices. I detect a central honeyed/powdery/aldehydic/barber-shop structure "from the forest" a la Paco Rabanne Pour Homme or Arrogance classic Pour Homme (lavender, bergamot, powdery tonka, rose/geranium, oakmoss, animalic musk, ambergris, honey, sage, artemisia and further) plus the addition of refined spices (cinnamon) and fruity notes (probably red berries or plums in minimal amount). Artemisia and fir resins are the absolute protagonists under my less than mediocre romanesque nose and (as well as joined to powdery woods, heliotrope and tonka) exude a characteristic minty-talky (kind of anisic) main "chypre" vibe. Fruits are well calibrated and accessorial (never compromising the main freshly soapy, boise and herbal "laundry" atmosphere, finally slightly soothed and gentled by hints of "balsams"). The final outcome is surprisingly pleasant, refined and modern. How many lost gems around guys!!
Few stuffs around are more typically masculine, guys. Morris Blueback introduces a super classic (super emulated around, also in the deodorants' production) sharp fougere "sporty" formula kind of in the middle between scents a la Pomellato Uomo, Enrico Coveri Pour Homme (more complex), Borsalino by Borsalino and Atkinsons Rockford (from the footsteps of which they have finally derived and issued more modern creations as Bleu de Chanel, Ralph Lauren Polo Blue or Bond n. 9 Wall Street). Yes, why not, also scents as Guy Laroche Horizon and Davidoff Cool Water could be quoted on a larger extent as conceptually close to all the previous examples, although being those inclined towards a more properly "marine" pitch. Geranium/carnation, fir resins, sharp woods, pungent synth ambergris, oakmoss, herbal notes (lavender in particular with hints of ozonics) and hints of leather are dominant under my unreliable pretentious nose jumping out from the souther mediterranean provinces. The combination of sharp elements, watery-ozonic "molecules" (not listed), impenetrabile oakmoss and piquant ambergris provide an aura of freshly virile, mysterious, vaguely oceanic masculinity. This kind of aromatic, essential and virile fragrances will be always welcome in the male olfactory universe.
02nd January, 2017 (last edited: 03rd January, 2017)
Guerlain Chamade is Grand History of perfumery. Lucky to have recently found out and picked up, somewhere inside my cousin's house (precisely down its old dusty canteen), an intact old mignon bottle for collectors. Chamade is a massive old-school (kind of Grasse's old "botteghe profumiere" ideally conjuring) aldehydic/talky/floral/herbal chypre (not so distant in structure and vibe from L'Heure Bleue, Habanita, Cabochard and several Caron's a la Fleurs de Rocaille, Bellodgia or Farnesiana). The composition is quite complex but shortly evolving on my skin, I mean I get soon (after just 20 minutes) the final accomplished aroma which is anyway a complex orchestra of harmonious nuances waving around a central thick backbone (a sort of talky/neutral/soapy/oraganic/aldehydic warm exhalation). There are surely herbal/aldehydic/animalic attributes (yes kind of somewhat "masculine" a la Oleg Cassini, Rochas Moustache, Aramis Devin, Monsieur Rochas, Character and many others), all over supported by hints of spices (mostly clove under my nose), florals, woods and balsams. The whole composition effectively conjugates a more wild kind of organic-talky (apparently abstract) classically chypre vibe with a classier, more subtle/edgy, spicy-floral sort of timeless (namely yet contemporary) sophistication. The boisterous opening unfolds by soon a cocktail of aromatic herbs, balsamic elements, bergamot, aldehydes, animalics and talky floral notes (mostly iris, jasmine and whichever hellish sort of white honeyed floral exemplar). What actually "pushes out" the juice as an utterly powerful one is surely a misty-mossy galbanum's presence (kind of darkly boise and humid) joined to cloves, dusty-woodsy resins and may be pepper, overall connected to the main warmly organic/aldehydic amalgam. There is a notable hint of earthiness throughout under my inquiring (even profane) nose. Gradually along the way animalics, pungent spices, galbanum and herbal notes recede while a gentler connection of balsams and ylang-ylang soothens the "recipe" providing a faint deflection towards a softer more feminine side (in the runaway of a fragrance otherwise unisex or even masculine in perception in its introducing vest). The fully disclosed dry down is properly a regal feminine floral-chypre with a dominant ylang-ylang and a soapy-talky brighter radiancy (a multy toned talky kaleidoscope waving from the dark-green to an immaculate final dazzling white, sliding little by little across the grey and the heaven). An aristocratic piece of very historic perfumery.
01st January, 2017 (last edited: 05th January, 2017)
An intriguing packaging for a mediocre contemporary woody-saffrony/cardamomish mainstream juice. Spices (mostly saffron and cardamom), orange blossoms, tonka, benzoinic elements, creamy-powdery floral notes, lavender, gassy synth woodiness and hints of leather are seemingly a must for whichever recent "fresh-warm" designer creation (with the effect to have around many "generic" variations of the same boring theme - have a look to Armani Code Profumo, Bvlgari Man in Black, Armani Eau de Nuit, Boss the Scent, Acqua di Parma Colonia Quercia, several Issey Miyake and many others). The generic kind of orangy-creamy-gassy woodiness is in here dominant on my skin and the juice hardly evolves towards something more intriguing or complex. The main floral theme is in here the violet (something which I usually dislike when joined to intense woodiness) and this element is by perfumer connected to spices, woods, suede and the "opposite in consistency" honey in order to appoint a kind of semi-oriental soapy/floral cedary woodiness (with a sort of metallic-earthy vibe - typical for the note of violet - plus soothing elements and hints of leather) playing the game of contrasts. The cedary vibe (connected to violet) is frankly beyond my taste and somewhat boring. The scent is not bad di per se but is far to prompt me to get interested about its qualities. Nothing more to add interesting to add.
Abdul Samad Al Qurashi Al Noukhba Elite Blend, as part of the precious "The One Collection", is one of the most mystic, straightforward and expensive pieces of the whole Saudi Arabian "stable". This juice is basically (read the straight to the point and even excellent Alfarom below) a mouldy, woody/smoky rose-oud oils combo (of the top quality in nature) with (I add) nuances of animalic musks, oakmoss, leather and (animalic and woody) resins (probably fir resins, ambergris and smoky myrrh). The composition is by soon pretty steamy, starkly arid, moldy, smoky (powerfully smoky-woody as after a fire), "ritual" in evocative-power (indeed connected to the image of archaic ceremonies or hazing rituals) and impenetrable in order to finally unveil (over the first two hours of "evaporation") a more relatively approachable soapy-ashy piece of suedish rose full of mysticism and elusiveness (a misty floral presence straight from the dawn of time). Forbidding. Campfires, stormy northern weathers back in the centuries, ancient fortified citadels and mediaval steamy battles jump more than vaguely on mind (especially along top and central stages before smoother resins and suede slightly mitigate the drama). Yes, just to be approached by wealthy arab-blends aficionados and frankly just for unmentionable rituals or "macabre ballets" (the real question is: where to wear this kind of longly furious creations?). It lasts probably 48 hours on skin (I smell it on hands over several energic washings).
29th December, 2016 (last edited: 30th December, 2016)
A breezy splash of a fresh (somewhat minty-sparkling) oceanic water in your face during an America's Cup match race. Lovely for the genre's lovers.
A sensual way to combine saltiness and milky coconutty soapiness. A dreamy gourmand from the far oceanic islands. The Comptoir Sud Pacifique Vanille Coco's exotic coconutty aroma is almost identical to Coppertone Tanning Oil's tropical soapy-almondy (and more than vaguely salty) scent, the latter (the mythical Coppertone I mean) being a perfume lingering in all my iuvenile memories connected to sunny-sultry days along the south-mediterranean beaches.
A vanilla-tinged exotic/heliotropic dream with a sort of salty/burnt skin-like milky-balmy background. A conceptually and deliberately soapy-synthetic/cosmetical aroma (yes an aroma more than an accomplished and structured fragrance) with a sensual and kind of ostensibly animalic (synthetically animalic) twist.
20th December, 2016 (last edited: 21st December, 2016)
A woody, spicy, musky orchid for us. Olibere Balinesque is (in its introduction) like the olfactory rendition of the juvenile "joie de vivre" in its breezy projecful radiant freshness. An hectic parisian carefree spring-season's vacation comes ideally on mind with its charge of magic moments and loveliness. The first blast is literally fizzy, bright, vaguely minty-aquatic and floral (it seems to detect an association of lily of the valley, orchid, tuberose and lilac). The floral presence is aqueous and tart (despite the orchid's finally muskier influence). You can detect plenty of watery-piquant spices (cardamom in particular), fresh-aromaric ginger and an intense, multicolored (and surely chic, musky and sensual) floral presence. Orchid is definitely heady in the middle of a general watery-sparkling atmosphere (bamboo, ginger, aquatic notes and cardamom nail down this central aqueous theme of the top and the core). You can catch jasmine and a tart angular further floral presence but orchid is surely dominant throughout, wild and sophisticated at same time (with a tad of mintiness), obsessive till the end in its sensual musky grueling viscerality. Finally the juice tends to morph in to something more balmy end eliotropic, still intensely floral but softer and almost "edible" (benzoin, vanilla?). I still hold on catching some spiciness anyway (kind of vaguely salty, nutty, woody, gingery and earthy in the background). This final phase, despite more soothed, is endly more complex, warm and structured in its valzer of woods, resins and musks (quite sensual, vaguely "sweaty" and still pungent). A supremely Duchaufour's sensual new "Black Orchid" (bright in the opening, tendent to darkness in its musky/resinous dry down) with its gipsy charge of obscene sensuousness.
14th December, 2016 (last edited: 15th January, 2017)
Yes Safran Troublant is a comforting lovely work of delicate spicy alchemy by Olivia Giacobetti and another ideal jump in a dreamy universe of adolescent flashbacks, fairy tales, rosey gracious delicacy and fuzzy soporific projections. Olden Christmas-holidays' flashbacks jump serenely on mind (from the abysses of your childhood) with their background of cakes, sweets and caresses. Saffron is like an hook for sweet left back far memories of disappeared ages. Rose and saffron are well modulated in a light and fresh way, ending to be finally encompassed by a soft kiss of warm yummy (kind of nutty) vanilla. Overall the alchemy is poetic and soft. Not my ideal kind of work. Faint structure (unlike the most part of Giacobetti's renditions). An atmosphere (yes artistically rendered) more than a veritable structured fragrance in motion.
Just one of the most straightforward Aventus clones, more fresh and lemony in the top, less bombastic on the complex (sillage, structure, presence) but pratically identical in its smokey-piney-musky virile (synth piquant ambergris) drydown.
Great on my skin. A saturnine vintage rosey-chocolatey patchouli enveloped by a powdery cloud nuanced by iris, cocoa, rose, hay, a tad of saffrony frankincense and suede. Decrepit antiquarians and dodgy workshops comes ideally on mind in their secret dusty intrigues. Van Cleef&Arpels Moonlight Patchouli is like a less gassy and more pretty leathery sort of Tom Ford Noir de Noir (a scent as Histoires de Parfums Rosam jumps partially on mind as well for several of its characteristics). Cocoa, powdery iris and talky amber are almost edible and surely visceral (and animalic/erotic) in a baroquely decadent way. Talky iris masters top and central stages while a rose, complementing soft chocolatey leather, dominates the final suedish "tail". An intrigant take on leather-patchouli with a rosey richly decadent background.
09th December, 2016 (last edited: 10th December, 2016)
Genre: vetiver, a quite smooth vetiver's rendition, an airy-exotic spacious aroma definitely aromatic, powdery-soapy and ideally disclosing far lands's dreamy landscapes, green sunny mountains, windy coasts and oceanic islands' clearings of the coasts. If you still are in to powdery floral-fruity-suedish and mildly woody accords a la Cuir de Lancome or Dior Home Intense surely Olibere Midnight Spirit (should have been better calling it "Midday Spirit") is an unoriginal but solid (and brighter-fresher) alternative for you. Midnight Spirit is anything but dark despite its tad of glamour (a cosmetically glamour-chic aura which does not mean necessarily dark as well as in many further glamour "white" scents a la Costume National 21). This one is indeed a bright, soft-fresh and smooth velvety (in a "white" woody way) composition which smells about "aromatics", hesperides, powdery iris (not listed while being powdery violet exuding an equipollent vibe), pear-accord (not listed), soft suede (not listed), powdery amber, vague liquorous nuances (kind of irish/cream like for a while), talky cedarwood, ambrette seeds and diaphanous vanilla. I detect surely smooth-powdery vetiver kind of iris-like, vaguely salty/leathery and musky a la Dior Home Intense (but a tad more suave and delicate). Further scents (floral iris-leather-powdery ambery-vetiver combos) a la Laboratorio Olfattivo Daimiris, La Parfumerie Moderne Cuir X, Clive Christian C for Men (far more complex) or Parfumerie Generale Cuir d'Iris (the latter anyway darker in conception as well as Parfume d'Empire Cuir Ottoman for instance) jump partially on mind but in here (as well as in Cuir X anyway) the whole aroma appears possibly smoother and more refined, more literally velvety and "balmy suede-veined". Cardamom, coriander, basil, aromatic plants, bergamot-grapefruit and terragon provide initially a quite fresh fluidy-aromatic twist while the following "denser" development is all about powdery-suedish violet, smooth ambrette, powdery woods and well calibrated vanilla. The final outcome is refined, soapy-suedish, vaguely almondy-milky and with a pleasant touch of saltiness (as background). Nothing more than a pleasant composition.
A peppery (huge cardamom), peppery, peppery inoffensive mainstream little fragrance (thankfully the synth oudh is not so gassy-cedary-saffrony but soapy-watery and mildly woody). Iris is dominant (in its main link with cardamomish tonka and mild woods), kind of liquid and vaguely dusty-sugary (delicately woody-mild). Not bad but "just not bad".
Nothing "red" (namely baroque, luxurious, exotic or decadent) under my profane nose. If "red" is Habit Rouge, Basala or Xeryus Rouge we are unfortunately quite distant from these levels guys. A great disappointment as well as all the brand new Trussardi's recent issues (Uomo new and Black Extreme). Well, Vintage Trussardi Uomo was one of the best 10 fragrances ever created imo, here we are groping in a misty swamp of disconcerting "fashionable" mediocrity. I don't get any sign of style or creativity my friends, a pity for a brand which I generally appreciate. An uninspired combination of nowadays mainstream "scratchy/metallic/mentholated" olfactive stereotypes. To be direct, an ideal minty-ambery-spicy hyper synthetic combination of scents a la Roccobarocco Estraordinary for men, Paco Rabanne One Million, Montblanc Legend, Ysl Silver kouros, Ted Lapdus Black Soul, overall amalgamated by a disgusting neutral cedary woodiness and by hints of pale (somewhat impalpable) ambroxan-mastered creamy simil booziness (cognac? Magari!!!). Violet, clary sage's mintiness, tonka/tolu balm and gassy woodiness are dominant under my nose. Great italian classy packaging. Pass by. Please Trussardi, be serious, give me back my immense vintage Uomo.
Genre: leather, smoky-incensey leather. Nobile 1942 Rudis opens powerfully (and vaguely medicinal) with a stout/strong campfire-like accord of smoke (smoky frankincense), rubber-mastic, woody resins and leather, overall in a way like ideally combining in one single assertive potion scents a la Santa Maria Novella Nostalgia, Les Nombres d'Or Cuir by Mona di Orio, Pekji Cuir6, Profumum Roma Arso, Sonoma Scent Studio Fireside Intense (the latter being more oriented on the woody-animalic side), Le Labo Oud 27 and Tauer Lonestar Menories. The leather's touch seems by soon smooth, spicy, suedish and dry with notable hints of "ash/tray-like" rubber. I surely detect dry spices (mostly clove and pepper), patchouli and probably (along the way) hints of rose but honestly is out of me "isolating" all the rest (dried fruits, vetiver, further florals?). Anyway I don't catch any luxurious (and almost culinary) burnt sugary-figgy-boozy-green aromatic vibe a la Histoires de Parfums 1740 (a far superior juice). Smokiness goes gradually fading (but never disappearing) and all the rest is a pale (really vain) and "neutral" dry smoky (ash-tray like) leather supported by burnt resins (woody resins, birch tar, hints of moss, smoky woods and frankincense). Dry down elicits a sort of vaguely viney suedish smokiness. Probably hints of balsams or myrrh provide a final whiff of powdery soapiness. Faint complexity, longevity and sillage on my skin. End of the story.
Farmacia SS Annunziata Gelsorosa starts immediately as a glamour-chic urban/balmy (cosmetical in synth metallurgical metropolitan vibe) ambery/woody sambac jasmine a la Thierry Mugler Alien. This soapy-pungent (angular-starry-balsamic-minty-saffrony as well) opening is a diaphanous example of how the traditional "niche" little "farmacies/houses" tend nowadays to embrace the tentacular mass market's "soapy-galaxolidic" dictates while setting apart the original wild-raw (but more realistic and appreciable) kind of "indie" orientation. This approach is indeed quite familiar despite the aroma keeps soon an its own peculiar evolution that is less bombastic and more classic in style (bergamot and orange imprint classic structure and a more musky variegate green/floral parade of notes starts issuing its coloured effects). Tuberose pops up at distance with a role of defiladed supporter for the "mentholated" (vaguely talky-heliotropic) artificial jasmine while hints of balmy patchouli (probably ylang-ylang as well) close the round. Dry down is an uninspired musky-balmy floral (anonymous) aroma closer to a bath foam cosmetic than to an artisanal indolic floral mélange. Boring and unnecessary. Negative is my humble rating.
Olibere L'Etoile Noire stars immediately rosey, oudhish, saffrony, cedary (kind of vaguely pencil shavings in vibe) and resinous (yet by soon incensey in a barely perceptible diluted form) in a way performing soon like ideally in the middle between Tiziana Terenzi Gold Rose Oudh and a whichever (more synthetic) mediocre rosey-saffrony-resinous Dueto Parfum's (City Oud). It's a chaotic opening really spicy, hesperidic, vaguely ozonic and woody (I'd say fluidy-incensey as well). Incense is soon present but kind of liquid and "impalpable". Patchouli is here powerfully connected to rose in a sort of orgasmic inseparable connection. Over a first dusty and slightly salty-citric wet blast a more consistent creaminess goes increasing its influence pushing the juice out kind of more soapy and resinous (frankincense and myrrh I suppose). While spices are still heady (adamant and kind of saffrony and clove-oriented since the first spray on skin) a characteristic accord of balsams, tonka, amber, woody-incensey resins and rose-patchouli finally fix down the olfactory backbone determining the dominant symphony of the olfactory fatigue. In this stage I pick up a sheer resemblance between L'Etoile Noire and sticky higher creations (which I appreciate) as Paul Emilien L'Esprit Divine and the quite baroque and denser (more sticky-animalic and frankly superior in affected baroquisms) Cerchi Nell'Acqua Usmar Venezia. Honestly I don't get in particular tobacco despite I perceive that "toasted-seasoned" roundness which is probably influenced by hints of tobacco as combined with balsams and tonka. A tad of synth gassy woodiness is here, fortunately just ghostly. Rose is still twisting, spicy, suble and refined till the end, providing the juice with that classy glamour-sophisticated touch which is finally less decadent and a tad more urban and mondane. Not an original take of fragrance (yet "ambroxan-dominant in its final wave) despite I have to say it is well executed and classy in vibe. An assertive misty juice for highly formal and aristocratic events
25th November, 2016 (last edited: 26th November, 2016)
Quite refined piece of parisian perfumery (initially fresh, cosmetically glamour and elegantly radiant). Il mio Segreto is my first fresh-warm (fruity-floral) approach with the Maison Olibere. This is the kind of perfume I'd love (especially in its vibrant opening and the central stages) to feel exuding from my woman while living enchantingly (me and her together) a full metropolitan spring life full of events, refined dinners and visits at museums. Cultural, freshly subtle, spacious, sexy, finally warm and refined. Overall the olfactory fatigue is rooted over an irresistibly spicy fresh accord of iris, ylang-ylang and "aqueous" osmanthus (some of the most refined elements in perfumery). Osmanthus in particular is dominant at the beginning in its "liquid" connection with fresh spices. This phase (the one I prefer) is quite sparkling, bright, watery and fizzy. Cardamom provides fluidy freshness and teeming piquancy while the main floral accord, supported by greens, juicy fruitiness and structuring bergamot, waves in the air quite irresistibly. Along the way it seems to get a sort of soapy floral "almost culinary" gracefulness afforded by a soothing dreamy connection of mimosa, vanilla and ylang-ylang (being the latter throughout a great protagonist of the refined affair). Jasmine finally jumps up honeyed in order to master (on the ylang-ylang's side) the musky-vanillic dry down. There is a warmer kind of poetic musky soapiness at this closing stage, something ideally in the middle between Lancome Poeme and Elie Saab Le Parfum (passing through Estee Lauder Modern Muse), something that (despite warmly synthetic) is anyway quite classy and romantic, yet sexy and commanding. A great hyper feminine "secret" for an indipendent great woman.
Unnecessary. I completely agree with the Alfarom's review below, " this is a sweeter, less leathery and less balanced" out of focus version of the better Edt formula. Idole Edp is finally a less complex and more syrupy superfluous variation of the original Idole (which is more elegant, virile, sophisticated and urban). An almost indie (it conjures me vaguely Slumberhouse Jeke with its excess of honeyed-sugary sticky spiciness) mellifluous (but not more durable on skin) vest for a classic boozy-spicy renowned fragrance from Lubin.
Interesting opening, less appealing dry down. Zadig&Voltaire This is Him is structured around a damp spicy-resinous backbone (frankincense, nutmeg, cardamom, cinnamon and pepper I suppose) immediately detectable together with dry woods, ambroxan, hints of lime and liquid grapefruit. There is something wet (cardamomish) and stoney (vaguely mineral) along the top notes before the juice goes sliding towards a denser woody-resinous (finally powdery-cedary) dry down which is less interesting and almost balmy (surely gassy-woody). Lot of mild spices joined to balsams finally render this juice somewhat generic and more approachable. Cardamom and pale greens provide a widespread freshness throughout. I dislike the "in here operating" maistream synth cedary "gassy" woodiness (and the final counteracting creamy spiciness) which seems nowadays to be the common shout of poor modern designer perfumery.
Creamy pale cardamomish sweet spiciness with hints of gassy woodiness, orangy/cinnamonic/tobacco-driven vanillic mellifluence (a la Dior Addict) and absence of structure, surely less interesting than the original formula.