Periplo (together with scents as Corteccia, Magnolia or Vetiver de la Reunion, to quote just a little bunch) is another example of averagely synthetic "decent quality" craftsmanship at the fair cost from the italian brand L'Erbolario. A fantastically cheap aromatic accord of hesperides (mandarine and bergamot more than others), smoky herbal pattens, jasmine and woods (sandalwood in particular), overall surrounded by a mossy-herbal, smoky and citric aura. Periplo puts in a corner tons of far more expensive similar fragrances around and performs quite greatly in balance and distincion. This fragrance is a diaphane example of how is not indispensable spending lots of money to smell refined. I don't catch the "aquatic" elements in here (despite a touch of saltiness exuded by woods imo) while all is woodsy (woody-mossy), vegetal and citric, with a final tad of soothing balsams and (not listed) leather (at least under my nose). Really herbal and intensely woody-hesperidic in its central stage, subsequently soapy-woody-musky along dry down. The Periplo's woody accord conjures me vaguely (with all the necessary proportions in terms of quality and structure) the exquisite Etro Sandalo (especially due to a common smokey/bitter/dusty undertone) but the great Etro's one smells less hesperidic, drier and more spicy-incensey on my skin. Furthermore, scent a la Geo F. Trumper Sandalwood, Versace Versus Uomo or V&A TSAR come vaguely on mind for several of their characteristics. Anyway, a great scent if you are on a budget.
P.S: You will surely appreciate Periplo in case you like scents as Cartier Declaration, Cacharel Pour Homme, Boss Elements.
Coquillette Paris Moramanga starts by soon as a fizzy-rubbery floral fist in your face, extremely intense and balsamic. I detect a main "central" accord of ylang-ylang and tuberose which (especially in its connection with musk, jasmine, spices, orange blossoms and resins) conjures me powerfully the classic Blu by Bruno Acampora, an historical take on tuberose/jasmine accord (the first of the two notes as central, the second accessorial, either supported by a spicy-exotic ylang-ylang). I actually detect an unquestionable resemblance between Moramanga and Blu; both are intense, musky and (especially at the beginning) fizzy-medicinal, just in here I detect a deepler jasmine's presence while Blu pushed the accelerator over (the in here anyway as well working) tuberose-ylang-ylang's connection. Both the scents smell resinous (somewhat rubbery and juicy) but, while Blu is basically musky (enriched by high quality Acampora's musk) Moramanga smells particularly carnal, sticky and balmy (encompassed by balsams and resins). Both the fragrances share anyway a "secret" sort of almondy-fizzy intensity with candied, floral, fruity and medicinal facets (and with a typical "syrupy tuberose influence"). I detect in here a remarkable opoponax presence providing substance and "massive" depth. In conclusion, if you are on the really visceral and syrupy types of floral accords (waving around a central syrupy tuberose/jasmine combo) give a chance to this fragrance. Despite not my cup of tea this juice deserves a try, especially if you are interested on the main theme. Despite not properly onedimensional, this scent is finally not enough structured for my full pleasure. Really impressive projection and great lasting power.
One of the best almond's renditions I've enjoyed in my humble experience. Coquillette Paris Sulmona is a simple but decently appointed and surprisingly "polyedral/structured" spicy accord of almond sugary-milky juice (by soon soapy, weirdly syrupy and smooth in to an almost edible way), soft balsams, orange blossoms and (I suppose) ylang-ylang. This fragrance has a spicy sugary/exotic and vaguely boozy temperament conjuring me partially scents a la O.P.S.O Dalila (which is equally structured, less properly almondy but equally sultry-dusty and exotic) and fragrances a la Maria Candida Gentile Noir Tropical (equally exotic but more gorgeous, hesperidic and rum-centered). Vanilla is in here quite irresistible and really silky. Is like to drink an helthful infusion of soja milk and almond juice, is like to get a sticky nectar but at same time I enjoy the structure provided by hesperides, spices and aromatic notes. I appreciate this vanilla's application since it appears magistrally appointed in order to never smell annoying, affected, too much sugary or overwelming. In Sulmona all is balanced and really velvety, just a touch of balminess and this central really "tropical" accord of almond, I suppose musk, animalic patterns (civet?), aldehydes and something properly exotic (an accord of spices and ylang-ylang? Nutmeg in particular?). I get the aldehydes or something close in effect since there is a dusty-aromatic aura (I suppose supported by green-balsamic patterns a la juniper berries or stuffs like that) while I'm almost sure to detect on skin a dirty-dissonant (vaguely rotten-metallic) element couteracting the balanced sugary vibe (in a sort of perfectly aligned trio, sugary, balmy and animalic). Anyway the main hallmark of this gracious fragrance is this lacteous and vaguely yeast-conjuring perfect almond-extrait's rendition (vaguely laundry in effects). A good semi-oriental experiment from this brand and an almond's Ode which I recommend for the "almond addicted".
Finally I re-test today on skin this fragrance after many years and a soapy/barber-shop mossy-chypre-fougere universe starts again disclosing its massive inlayed doors (mossy, laundry, powdery, minty-aromatic, honeyed, rooty, aldehydic, metallic) under my nose, an olfactory-temporal "space" studded by perfumed pièces of history as several Geo F. Trumper or Penhaligon's, further scents a la Cabochard de Grès, Arrogance Pour Homme, Monsieur Rochas, Azuree Pure Estee Lauder, Paco Rabanne Pour Homme, Oscar de La Renta Pour Lui, YSL vintage Kouros, Balenciaga Portos, Dunhill For Man, Robert Piguet Bandit, Patou Pour Homme, Bogart by Jaques Bogart, Original Denim for Men etc, etc. Captain de Molyneux is a powerfully anisic-aromatic and mossy-aldehydic chypre accord, restrained and uncompromisingly virile. I detect a minimal touch of soapy-visceral substance (civet, honey, ambergris??) but Captain is not basically an animalic mossy-chypre while more properly an herbal barber-shop accord with a cedary-mossy core and soapy-waxy nuances. The aldehydic presence is in here really temperamental despite not properly "boosted" till those "vintage Kouros levels". Anise and lavender (supported by spacious-airy-irony aldehydes) release a deeply aromatic mentholated vibe since the beginning while dry woods, roots, oakmoss and may be arid tobacco exude a sort of bitter/herbal "licorice-kind" undertone counteracting a dominant (mild) soapy "minty milk". Don't be fooled from the "milk" word (related to a minimal touch of soothing balsam in the original recipe) anyway, the soapiness is basically sharp, dusty-woody and powdery (with just a minimal hint of soothing elements). Captain de Molyneux is all about the 80's barber-shops "molecules", a pièce of gentleman classicism and a supreme lavender accord with an hesperidic presence, a general sense of muskiness and restrained metallic floral notes. Dry down is bold, old-shool, yet measured and discreet. There is a general sense of fresh-airy and clean-musky soapiness around the wearer, a fresh soft accord anyway restrained by this rooty/licorice-type of effect providing sensual forbidding erotic masculinity. Despite not properly original or revolutionary (and despite today less opulent in its current version), this fragrance is nowadays incontestably a left over great fougere/chypre classic combination with a glorious story to hand down.
I've been eager to test on skin this infamous vetiver for years since several vetiver lovers used to prize it as a fizzy-salty "eau de cologne" type of structured cedary-"marine" vetiver. Effectively Annick Goutal Vetiver is a really visceral kind of warmly organic vetiver (earthy, green and piquant) with a classic "cologny" structure and distinguished "intimate" elegance. Yes, an excellent salty vetiver, really iodate. The "stressed" saltiness, on the side of an airy-exotic "spaciousness" and a restrained classic approach, contribute to bind this vetiver to another favorite of mine, namely the great The Different Company Sel de Vetiver (which is, if possible, a tad more stressed over the salty-ozonic side) while a spicy/lightly incensey/tobacco-tonka veined accord connects this scent to the vintage Guerlain Vetiver's exoticism (the latter finally more soothed, resinous and far less salty). The Goutal Vetiver's dry down is immensely sensual and virile, ideal for a sultry southern summer time out.
03rd July, 2015 (last edited: 04th July, 2015)
Parfum d'Empire Osmanthus Interdite opens with an utterly crisp and vegetal accord of musk, green tea, citrus and earthy osmanthus. The first approach is bitter-herbal, fizzy (vaguely medicinal), somewhat lemony (bergamot?) and gradually floral. This phase is bitter-pungent and intensely penetrating. Jasmine starts gradually to merge its substance with rose and hyper lush osmanthus in order to appoint an uncompromisingly sophisticated botanic floral accord (leafy and lymphatic). Progressively the aroma morphs towards a (just a tad) denser, more soothed and "solid" amalgam (is like to catch pollen and floral essence) despite the basic outcome keeps on being kind of grassy and musky. You will be actually encompassed by a musky floral pungent embrace extremely sensual and almost organic (kind of pheromonical and intimate). I get the comparison with the equivalent osmathus-centered concoction from The Different Company which is anyway more grey-mossy-laundry and finally less grassy-crisp in substance. Anyway both exude that sort of tea-mimosa kind of "fluidity" which seems a facet of a huger ideal "kaleidoscope of the olfactory sharpness". A great take on my favorite floral note (osmanthus) and an extremely sophisticated concoction for a deeply sensual kind of woman (elegant, impeccable, voluptuous, forbidding). Hands down, Marc-Antoine Corticchiato. Perfect for spring/summer.
Well, Herat is my first approach with Coquillette Paris and I have to say that the scent is pleasant despite not properly original. I've read somewhere about an assumed resemblance with Nasomatto Black Afgano and I humbly nail down in here that could agree just partially with this olfactory association. There is for sure a common foundation of synthetic notes (as woods, vetiver in particular, amber, tobacco, frankincense, hashish, jasmine etc which contributes to "push up" an aromatic connection and a similar aroma itself). This shared foundation leads somebody to point out the previous comparison but I have to firmly outline that structure, sillage and density almost utterly diverge imo (I mean the consistency of the general combination of notes, their body, the general intensity, sillage itself). First of all Herat is a feminine floral semi-oriental (I respectfully disagree who with asserts it is a masculine creation) while Black Afgano is a perfectly unisex rubbery-sulphureous oriental and where the latter is highly resinous and dense Herat is kind of aqueous and light (fluidy floral and delicately soapy). Vetiver is piping up by soon in here, immedialtely supported by a "huge" ylang-ylang (aqueous, spicy and exotic) and wet woods while a gradually emerging frankincense seems scarcely resinous and basically humid (almost translucent). The floral notes are gracious and particularly feminine in approach while the hashish's presence seems closer to the similar one yet enjoyed in Il Profumo Cannabis than to one tested in the misty Black Afgano (in which the note of cannabis is not fluidy/floral and wet but rubbery and sticky). A gingery and fluidy spicy presence seems to connect this juice (on the level of sillage and consistency) to scents a la Mark Buxton Devil in Disguise or Black Angel, Acampora Nero (especially for a musky simil dimension) or Meo Fusciuni Notturno. Woods, musk and floral notes (jasmine, violets, lily of the valley??) seem to be the mail elements (a red berry's presence as well ??) of this finally sensual experiment which seems conceptually closer for instance to scents a la Biagiotti Venezia/Venezia Pastello or Guerlain Samsara than to stouter accords a la Fortis or Black Afgano. A nice musky-piquant floral scent with a woody and powerfully spicy intensity, a liquid-resins presence and a smooth vetiver accord. To be tryed.
Farmacia SS Annunziata Vaniglia del Madagascar is an unusual take on the vanillic theme which is in this case connected to a (nowadays mainstream) musky-ozonic-aromatic marine (lemony and simil ozonic) accord yet performed by Hyle from the same brand and particularly runned by scents a la Profumum Roma Acqua di Sale, Reminiscence Sea-Rem, Laboratorio Olfattivo Salina or Il Profvmo Pioggia Salata. In here the performer seems to combine a light aqueous vanilla with a salty-airy floral muskiness. The vanillic presence is here (liquid, lemony and spicy) but the core of this fragrance is musky-ozonic (at least kind of ostensibly mineral-ozonic), silky-soapy, salty-sugary, floral and aromatic. The out come is a light muskiness somewhat fluidy and vaguely salty-airy. A wearable "non vanillic" vanilla, really balanced and organic.
Simply a well re-orchestrated version of the great original with a reduced aldehydic/animalic presence, an equally woody-poudree-rosey exotic dry down but with this alluring long lasting soul full of bright-shimmering sharp floral sophistication (jasmine more than rose in this phase and "apparently" peony), a more angular-watery citric presence (sharp, vaguely bitter and sensual) and a fresher general aura (aromatic and spicy). Anyway, Eau Premiere preserves that "trademark" N. 5' s poudree-hesperidic-chypre (still rosey-soapy) chic aura which turned its predecessor out in to such a legendary way. Thumbs up.
A loop, I mean that same old record (Profumum Roma Acqua di Sale, il Profumo Pioggia Salata, L'Erbolario Fiore di Loto, Reminiscence Rem/Sea Rem, Laboratorio Olfattivo Salina, Chieffo Acquasala and God knows what else). Farmacia SS Annunziata Hyle is really close to almost all the previously outlined juices (overall connected by a common soapy-ozonic musky edge), I mean a plethora of particular (mainstream nowadays) ozonic juices which stand out (especially all around the trendy summer southern seaside venues) for their sort of silky soapy-salty trail, the aromatic-anisic muskiness (myrtle, lavender, anise etc.) a touch of fruitiness and the great projection. The aroma is utterly synthetic, sort of weidly balmy-candied and salty aromatic. Hyle is anyway discreet and balanced. A sort of assumedly "posh" kind of recipe. Do you want to have a similar feeling but in a far far better way (and without the chemical ozone)? Ok try to find Must the Cartier Pour Homme Vert Anis, you will get in Paradise.
A fragrance for poets and travellers. Usmar Venezia is (in my humble opinion) the Enrico Buccella's masterwork (on the side of Emilie and Atelier Marrakech), a superior resinous rose/patchouli costruction and one of the very rare artistic creations I've tested on skin in the last two years. The lecherous exhalations appear by soon immensely aristocratic, classically "conceived", resinously rosey, vegetal and decadent and it seems to catch for a while on your skin the history of the glorious Repubblica di Venezia, a story of travels, explorations, cultural loftiness, noble buildings and supreme art. A fragrance for the Dames at Court, a mystic and elusive potion waving as a ghost for secret rooms of the venetian buildings. This amazing fragrance could immedialtely be elevated on a status of classic, imo. Rose, patchouli, resins/balsams (frankincense, amber , benzoin, opoponax and more) and spices appoint a magical olfactory atmosphere, a valzer of velvets, a whirlpool of aristocratic and exotic nuances grounding in the past their essence. In the same league with scents as Tiziana Terenzi Gold Rose Oudh and Malle Portrait of a Lady (the more incensey La Via del Profumo Mecca Balsam jumps on mind just in part for its resinous waxy golden aura) anyway in here the aroma seems to go further towards a more complex, "flamboyant" (warm salty castoreum and velvety resins) and nuanced pièce of baroque art. This aroma is rosey-waxy, vaguely incensey, spicy, hesperidic and vegetal. A woodsy-animalic basic accord is on the line of the classic floral feminine mossy-waxy (vaguely honeyed) chypre of the french/italian tradition while vegetal patterns provide throughout a touch of lymphatic-camphoraceous grassiness connected with the spiciness of patchouli and rooty dry spices. An exotic accord of spices and ylang-ylang enhances the general silky-soapy mysticism of this languid elixir. Usmar Venezia is a "palatin" fragrance, something with a story to tell, an extremely refined and "mannered" construction rich of articulation and "dodgy eroticism". Recommended.
Bugatti Original is one of the highest examples of elevated italian disappeared perfumery. This fragrance has an its own twin, namely the equally great and seriously similar Moschino Pour Homme despite I partially detect many elements in common with further italian great creations of the past as the Classic Romeo Gigli by Romeo Gigli and Versace Versus Uomo (for several of their spicy-animalic and citrusy/resinous characteristics). As well as the excellent Colin Maillard has written before (thanks for his amazing thread to Andre' Moreau as well), this gem is epitome of a left back fulgent era in which creating perfumes was a real art and used to mean top of the top quality (of raw materials, no IFRA, no idiotic rules, no "plastic luxury"). Yes, no plastic luxury ("Colin Maillard"), no " 212 sexy Men", now sugary medicinal powder "in the middle of the teeth". There is a powdery-spicy "backbone" (in Ettore Bugatti and in the finally more leathery and less lemony/animalic/resinous Moschino Pour Homme as well) which is really penetrating and immensely luxurious (leatherwears/furs kind of luxury) than finally leathery, inebriant, exotic and visceral. The previously highlighted hallmarks are the main treat of this resinous semi-oriental fragrance (with chypre/fougere classic hallmarks) together with a sparkling hesperidic/aldehydic but immedialtely powdery-resinous opening (it seems to effectively detect a touch of the immensely beautiful Guerlain's "lemon/vanilla" powdery accord - Habit Rouge, Jicky, L'Heure Bleue, Shalimar). I'm smitten by the sandalwood's qualify and due to an incredibly modern vibe exuded by the final development, something far beyond many celebrated niche contemporary concoctions (several Roja Dove's jump on mind as well as Marc de la Morandiere Genghis Khan. The great Zino Davidoff and partially Montecristo Masque jump too on mind as well for several of their characteristics, as well as Valentino Vendetta etc). Ettore Bugatti is a perfect mélange of aldehydic hesperides, aromatic herbs (lavender in particular), powdery-lemony vanilla, resins, spiciness (rootiness) and leather/castoreum. There is a stout lemon/orange (bergamot/neroli) presence throughout which is "second by second" surrounded by this powdery-resinous amber/vanilla/benzoin accord, by a lot of woodiness (spicy, rooty, rounded, seasoned...more and more), warm castoreum (salty and carnal) and a final leather (soft in the middle of the sweet resins). There is anyway a powerhouse nature throughout (spicy, rooty, aromatic) which is at same time herbal, floral and animalic a la V&A Tsar (but in this case less properly barber-shop/herbal and more resinous, white-leathery and luxurious) or Shiseido Basala (which is equally resinous, more spicy/exotic, tobacco/tonka-veined but less luxurious, classy and urban). Rose/rosewood, orris root, patchouli and well modulated leather enhance the general luxury all around. In conclusion this amazing creation is like a modern hero, namely a sensible father, a loyal husband, an elegant professional fellow always impeccable, cut/charming eyes and warm virile aroma, a man which seems to glimmer of lifed life, painful past and wisdom.
26th June, 2015 (last edited: 06th July, 2015)
More than decent classic accord of aromatic citrus and fresh woodiness (a plain powdery vetiver and "pencil shaving" cedarwood). Strong on grapefruit, Paco Energy is cool and kind of ostensibly incensey (a freshly dusty effect provided by juniper berries and woods with a dodgy hint of smokiness). Sharp floral notes come out at distance (it seems to detect geranium on the side of intenser romantic cyclamen). Projection is more than temperamental on my skin. Not bad.
Narciso Rodriguez for him Bleu Noir smells by soon bracing, spicy (really cardamomish), mossy and familiar. There is a vague sort of spicy-musky "frozen" twist a la Ysl La Nuit de L'Homme Frozen Cologne (more conceptually than properly "aromatically" or as "perfume" itself) and it seems to detect a sort of ideal musky/liquid-ambery combination of Terre d'Hermes and Eau d'Orange Verte but with a final Kurkdjian's (lipstick type) landmark glamour/chic/"cosmetical" musky-ambery-floral spark (the same you can detect for instance in the muskier Narciso Rodriguez for Him Musc). The opening is freshly spicy-rooty, aromatic and by soon musky. It seems that the "Bleu" vibe could be basically "afforded" by a sort of secret combination of mineral amber crystals, aromatic minty dodgy elements, soapy-floral musk and cardamom, a mix providing a sort of cool vibe, darkly fresh, cedary-musky and slightly fizzy (something conceptually close to what happens in a scent as CdG Blue Encens for instance). The bleu atmosphere is in here slightly exotic, mineral, dusty/metallic, soapy-musky and fresh. Musk, dark "liquid" amber and woods (black ebony) provide a Noir general atmosphere while dry and exotic spices (and sharp mysterious floral notes imo, synthetic iris??) enhance a sort of tropical "thirsty-like" general atmosphere. An interesting sultry new concoction for us.
A lighter, (apparently reinterpreted with a modern flair), fruity and unisex Eucris Geo F. Trumper's "female" modern descendant (at the end more specifically fruity-floral, sweeter/silkier and surprisingly leaning towards the feminine side). Boadicea Complex is another scent jumping of mind (in the AM's opening phase) for several of its characteristics. Another well appointed (though in this case not properly original, at least..in effects) creation from this "secret" italian niche little maison runned by the talented Enrico Buccella, the Sigilli's creator. Cerchi nell'acqua (Rounds on the water), namely a new process of olfactory development, not across the classic pyramid (top, core, dry down) but for "by rounds irradiation" (by an effect close to the similar one produced in the water by a stone in it yet launched). Atelier Marrakech starts properly watery, rooty-herbal (almost bitter with a note of thyme not so distant from the typical rosemary's aromatic twist) and fruity-spicy (saffron is really heady and raspberries as well as magistrally connected with watery-spicy frankincense) but we can by soon notice that gradually a sort of watery (but tendent to turn out balmy-resinous) accord of liquid frankincense and leather starts representing the backbone of this basically classic creation which seems a sort of more "easy" re-interpretation of my beloved Geo F. Trumper Eucris, one of the most extraordinary gentleman fragrances ever issued. There is indeed a common foundation based on spices, aromatic-bitter herbal notes, smoke, jasmine, patchouli, oakmoss, sandalwood, leather, frankincense and resins despite the darker and more virile Eucris is more properly based on dry bitter tobacco, rubber/leather and dark oakmoss while Atelier Marrakech is finally (despite oud and frankincense) lighter, more gracious, more floral, still fruity (really berrish) and wearable. Anyway I love (in the body of either the fragrances but in here the effect is more notable) the contrast between floral notes/sweet spices (on one side) and bitter-herbal elements/moss/leather (on the other side). I have to point out the wisdom abiding over the Buccella's application of agarwood resins, in here almost transparent, balmy and subtle. Along the way soothing elements (balsams, resins, spices) provide a balmier and silkier floral final effect. Dry down is indeed a more delicate and semi-oriental (brighter and unisex in comparison with Eucris) spicy-floral concoction which could be as well (or better) and confortably worn by a woman. This final (vaguely rosey and vegetal) combination of "fluidy/spicy" incense, spices (a juicy saffron/nutmeg's presence), floral notes (it seems to detect lily of the valley and violet too), amber and soothing balsams conjures me slightly the similar accord admired in Giorgio Armani Onde Mystere. Anyway, the final outcome is somewhat soapy-berrish, spicy (in a mild and exotic way) and aromatic but wearable and sophisticated in a neo-classic new way.
22nd June, 2015 (last edited: 23rd June, 2015)
Eight & Bob by Eight & Bob, namely nothing new under the sun. I detect something aromatic, resinous, spicy/metallic, salty, grassy, a final warm ambery/sticky base for a "90's like" (or for something more recently issued-like) type of metallic-calonic accord. This aromatic/citric/calonic and at same time ambery/gingery/cardamomish composition is a combination of synthetic and natural elements turning basically out in terms of really familiar and widespread aroma. Many scents jump indeed on mind for several of their characteristics. I detect a modern Paco Rabanne's vibe (conjuring several One Million/Ultraviolet's facets), many olfactory conjurations about Dior Fahrenheit 32 (really close to Eight&Bob), Acqua di Biella Ca' Luna, Gaultier Le Beau Male, Baldessarini Ambre' (finally sweeter, less citric and far less resinous) and furthermore. There is something somewhat mild and talky in the mix, which tends to merge its substance with metallic-citric-musky "gym-like" notes and with something at same time more gingery, really lemony-cardamomish (I detect vague Cartier Declaration's sparks) and almost citric/ozonic. The dry down is really close to an ideal blend of Le Beau Male and Fahrenheit 32 . What about this wild plant from Chile named, almost intimately, "Andrea"? It seems we are dealing with a really sticky and aromatic (bitter/herbal/mild) plant leaking out "glue", it seems (probably just apparently) in here to detect cistus, mastic, ivy, galbanum, something woodsy resinous combined with talky/ambery, musky and citric-calonic patterns. Lemon, cardamom and some undiscerned floral element play a central game in the emanation of the typical pungent-lemony "side of the scent". Anyway, not my genre of cologne, nothing original as aroma but something surely able to arouse on skin a weird pretty warm, animalic and resinous (like bitter/sweet and vaguely rooty-herbal-cedary) spark, jumping out as a considerable source of warm sexiness.
21st June, 2015 (last edited: 22nd June, 2015)
The most wearable, balanced and at same time complex Pekji's composition in my humble experience. Yes the complexity of simplicity. Melancholic and meditative stuff. Odoon starts by soon in a "cedary" (cedarwood) "sharply woody/aqueous" way conjuring me more than vaguely the Comme des Garcons Wonderwood's "fluidy" "cedary" woodiness (with a touch of "yuzu's like vibe" as coming straight from orient) but overall as by soon embellished, enriched and rounded by a deeper (less neutral, less cedary, less aqueous, more intense, fruity-resinous and smokey) and gradually growing up leatherish-berrish-piney (vaguely boozy-medicinal) deep twist. I tend to be not addicted with such so powerfully woody juices but in this case is like to be dealing with something secretly resinous-floral, something more complex, sophisticated, rooty-leathery, vaguely incensey, in short with something not just sharply woody but projecting diverse nuances of leather, resins (forest resins and soothing balmy resins), floral notes, smoke, herbal notes, vetiver (quite notable, almost central) and apparently fruits. The more the aroma evolves the more it tends to be back sharp and subtle (it seems to detect violet, lily, a touch of spiciness and a fluidy subtle virile woodiness connected to a "casual" sort of style). Scents like Canali Man, Gucci by Gucci Pour Homme (anyway both basically different) or Cashmere for Men by Cristiano Fissore come partially on mind for several of their (lighter, more aqueous) hallmarks, despite in here smoke, extreme woodiness, earth, (probably a floral/incensey combination) and forest resins provide a specific personality. I detect indeed as well points in common with far "harder" (more hardcore in comparison with the ones previously pointed out) types of woody concoctions a la Nasomatto Duro, Montale Aoud Musk and the superior
Etro Sandalo. Basically it seems Odoon could be standing in the middle between a subtle woody-floral status and a more robust type of resinous-smokey woodiness. Dry down is solid, discreet, fine, warm and virile, something really rich of nuances (spices, leather, roots, floral notes).
19th June, 2015 (last edited: 20th June, 2015)
Eau de Lacoste Sensuelle is a lifely and glamour combination of herbal/rooty/leafy (vaguely anisic) notes on one side and creamy/powdery elements on the other side. There is something in common with scents a la Dior Addict (but in a less creamy way), Bvlgari Jasmine Noir and Ysl Manifesto. The opening is crisp/angular and simil-vegetal (probably sweet pea and orris root enhance this feel) while gradually a powdery-creamy-spicy (semi-gourmand) side (mastered by amber and blackcurrant) opens its wings till a delicately soapy-floral dry down. A touch of licorice? The floral presence is vegetal, lymphatic and sharp (rose, geranium?). I get a faint undiscerned fruitiness combined with amber, vanilla and blackcurrant. On the complex the final aroma is sensual (nutty/berrish/creamy, moderately sweet, still structured and calibrated) and temperamental but not properly original or intriguing.
A straightforward "rosey rose" cologne from L'Occitane which unfortunately never manages to perform on me in a fully realistic (earthy-leafy-vegetal) way. I tend to be overly exigent with the rosey rose fragrances anyway and I know it well since I need to fully catch the "lymphatic" (bitter herbal and leafy) vibe, the veritable aroma of rose extrait, my tollerance level of synthetic tends to significantly decrease. Said this, nothing is overly chemical with Rose des 4 Reines which is anyway a gracious Victorian neo-classic for us.
Versace Pour Homme Oud Noir is a simple in structure accord of synthetic agarwood, smoked woods (I suppose patchouli, may be a touch of vetiver too), spicy resins, neroli and leather. Sweet or dry spices (saffron, black pepper and nutmeg in particular) provide an exotic-incensey "arabian nights evoking" aura around the wearer which smells mostly about smoked woods civilised by sweet misty resins. The Oud Noir's opening is slightly intoxicating, somewhat citric fresh, vaguely earthy-angular and oudish-incensey (in to a misty, barely rubbery and smokey way). The soothing role of leather starts almost immediately to jump up and smokiness waves plain over a finally smooth spicy leather, despite the aroma performs in a surprisigly wearable and subtle (vaguely fresh) way (not an oppressive oudish accord at all). This creation is anyway neither original (scents a la Alyssa Ashley Oud Pour Lui, Ysl M7 Oud Absolu and Tom Ford Oud Wood jump on mind for several of their characteristics) nor particularly articulated, being just a pleasant synthetic appealing take on a spicy-incensey oudh/leather accord. Leather is well blended providing the olfactory experience with a contemporary urban twist. A " bar cafe type of fragrance", a juice for special intimate winter moments inside cozy places. Not so much to add.
Naaah...., unlike the great Kouros this pale flanker is neither revolutionary nor much less original. A "yet admired" mentholated, cedary-lemony and finally calonic-marine perfumed stuff, guys. In the opening phase (the best part imo) this fragrance is far closer to scents a la Ted Lapidus and Ted Lapidus Black Soul (or Roccobarocco Extraordinary Man) than to a whichever further Ysl Kouros's flanker (much less to the original Kouros) while along the way starts gradually emerging a standout cedary-aromatic-salty/ozonic-gingery presence which is not so distant from the similar one (just a tad less "marine") yet "enjoyed" in L'Eau d'Issey Pour Homme Oceanic Expedition. Nothing so hideous with Ysl Kouros Silver but it is basically an hybrid "musical cover version" of something else and nothing more. Pass by.
A semi-oriental floral concoction with a nostalgic classic spark and a sensual (darker if compared with the original Anais Anais's aura) association of peony, redolent white flowers, moss and cocoa. Premier Delice introduces a classic Anais Anais's dreamy- "rosey" floral core, turned out elegant and structured by a twist of bergamot and mossy galbanum (soon notable). Cocoa and galbanum (the backbone) provide a rounded base unfolding sensual (and fresh) fruity-floral patterns and a shadowy-soapy vibe (veined by cedary, citric and sharply floral nuances). Anyway, mossy galbanum, probably amber (or something else resinous) and cocoa provide an heady warm-sensual accord enriched by floral, woody and fruity sparks. A well made modern re-interpretation of a basically different and unmatched (by Cacharel) classic.
Dahlia Divin is a modern chic combination of creamy-plummy white flowers, patchouli and sandalwood. Sambac jasmine provides a glamour-lush spark as connected with plums and balmy sandalwood. I detect the Givenchy's X factor (which I get for instance in Ange ou Demon or Very Irresistible too) which smells like a sort of soapy-pharmaceutical and chic "mintiness" (something anisic and angular) hidden somewhere. Dry down is woody and with a vetiver elegant touch. Really floral and feminine. Plums, vanilla and woods provide a final dose of warmth well associated with a sparkling-fresh floral "trendy club-like" touch. A classy and modern synthetic "twist" from Francois Demachy (in any case nothing particularly original or groundbreaking).
12th June, 2015 (last edited: 13th June, 2015)
Drakkar is an iconic piece of classic which conjures me deeply my youth as it was surrounded by "aromatic charming men" and disappeared impeccable class. Immensely virile and casual fragrance. Moss, jasmine and lavender (especially the latter) are the hits of this dynamic juice, so fresh and out going. The aromatic (pine/juniper/coriander centered) vibe is in here subdued in comparison with the follower (and market cracker) Drakkar Noir while in here I finally get more soapy (ambery) spiciness, muskiness and citrus. Anyway, there is a solid common basis shared by these two Guy Laroche's creations. The Drakkar's dry down unfolds jasmine, bergamot/lavender, patchouli and oakmoss in remarkable amount, overall soothed by soapy amber and a touch of leather. Anyway another hard to find gem with an immensely evocative power on me.
Oceanic Expedition is a L'Eau d'Issey Pour Homme (original formula)'s particularly cedary-gingery flanker. The central "original" accord of yuzu, marine notes, bergamot, woods and musk (in here subdued) is still here but in Oceanic Expedition I detect a really powerful gingery cedarwood-sandalwood's presence which is frankly overcharged and that seems to waste the original's more "yuzu/aquatic notes-driven" and floral formula (despite the performer's goal should be the one to fix down a freshly pungent and minty gingery woodiness actually heavier unlike fresher. Ginger in here is temperamental and fresh (vaguely minty) but slightly too "gassy" as combined with the powerful lingering woodiness. The strong gingery woodiness clashes with the central aquatic soul in a way it seems to "hamper" the "splashing" (and more subtle) vibe which was more airy, lemony, exotic, by vetiver veined and floral in its predecessor. This version is all about ginger-woods and "less" (or anything) about musk and (most of all) vetiver. Synthetic as usual and vaguely pharmaceutical (as usual again). Ambroxan provides a touch of final soapiness. Not my type of concoction. Medium projection and the longevity. 5/10.
Haramain Makkah is a mystic fruity-resinous oriental musk ending down magically velvety and dreamy. Musk is the main element imo and the further notable elements (resins and fruits) are almost accessorial (and anyway connected with the main element in a really luxurious combination). There is an undeniable resinous musky-vanillic basic accord surprisingly "gummy" and soapy (rich of kinda liquorous and fruity nuances). The fruitiness is dominant (orange blossoms and red berries are luxuriously combined in order to enrich the resinous wake). Red berries in particular provide a really candied undertone. Woodsy resins and amber provide an impenetrable musky accord enriched by fruits and undiscernible floral nuances. An incredibly performing resinous oriental at a ridiculously low price. Great.
A classic "Eau de Cologne" type of fragrance, surprising for dignity and balance. Bergamot, cedar and petitgrain "cast" a really conservative (anyway bright) and discreet aura. Monsieur Eau du Matin deflects completely from the typical "anti-classic" and provocative Gaultier's style. This fragrance "screams" measured discretion indeed. The aroma starts lemony, green (green peels/leaves) and fizzy (dominant bergamot) in order to easily morph in to a lighter and more subtle cedary stuff so green and spicy. Really evocative and almost exotic. A pleasure, easy but impeccable. Synthetic vibe not beyond the limits. Medium rating just for the "overly runned" style which means any hard work of "olfactory research" behind.
07th June, 2015 (last edited: 08th June, 2015)
Lot of cinnamon, honey and suede in here. Euphoria Gold Men is a standout in its genre, modern-chic and classic at once. A well appointed lush combination of a classic powerhouse approach a la Ungaro III or Boss Elements (in here polished, "de-structured" and simplified) and a new generation nutty-honeyed and suede-veined aura a la Valentino Uomo, D&G The One and Dior Homme. The aroma is spicy and multifaceted despite a basic silkier honeyed-nutty dry down. I detect a sort of silky suede touch along the base (sweetly spicy, kind of coffee-veined and secreetly floral in a smooth powdery way) while the opening is more classic (slightly citric, rooty, humid and herbal-aromatic). The final outcome is warm, soapy, "glamour-chic" and with an hardly describable suede-honey veined (spicy) spark.
I've tested three fragrances issued by this historical french brand from Grasse (the great olfactory european historical town-workshop) namely Delphine, Charlie and the classic Eau de Cologne Lavander. Well, If you appreciate several "antique" Caron or Guerlain (in general the hyper classic chypre or aromatic fougere) these scents should be a great choice for you. I detect perfect combinations of hesperides, honey, aromatic lavender, classic floral notes (rose, jasmine) and natural woodsy/animalic notes (honeyed oakmoss, woods, civet, this for Delphine in particular). Somewhat "nostalgic" pieces of old-school perfumery nowadays but still perfect and in a full Victorian colonial style.
Finally something on my tunes. Ruh is a new singular interpretation of the classic rose-saffron combo (usually resinous or powdery but in here at the beginning sharply aqueous, apparently fruity, than veined by a toasted coffee presence, slightly dirty and floral-vegetal). Ruh is a really simple but modern and structured bizarre combination. Saffron is soon heady, liquid (due to a freshly fluidy tea-like cardamom), vaguely (ostensibly) berrish and leafy (an initially botanic-green and finally soapy rose). Coffee pervades all the elements, anyway I get not a perfumed and rounded ground coffee but more properly a toasted bunch of dark coffee beans. I suppose sandalwood (may be patchouli) is included in the blend too. The fruitiness is afforded by a spicy-fruity "tea-like" accord enriched by rose, dried fruits and herbal notes. The "tea accord" is probably the main trait of the juice, hardly paired by a yet present (and encompassing) coffee aroma. Saffron is still present along dry down, lingering and pungent, connected with rose in to a spicy-dirty-animalic accord conjuring me vaguely the central Histoires de Parfums Rosam's accord. Along the final part of development it seems catching a sort of acid-"ammonial"-dirty and virile ambergris presence (vaguely a la Costume National Scent Intense- a tea/floral/ambery accord- despite all the notable differences). The aroma, in its structure, is not properly complex but warm, spicy and attractive (most of all original and sensual). Surprisingly chic-dark dry down with a faint suede-like nuance.