Perfume Reviews

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Total Reviews: 136261

Super Fragrance for Men by Etienne Aigner

Stardate 20170627:

A super fragrance. A classic composition. In the style of Bugatti, Chanel PM Concentree. But I think this one is better than them all.
The development is great and I think top is better than Bugatti.
Starts a bit creamy citrusy, skanky with hint of pepper. And dries down to sandalwood vanilla powder.
It is smooth and FBW. A shame that it is discontinued.
27th June, 2017

Vol de Nuit by Guerlain

Classic-smelling Guerlain with oak moss and vanilla. This is the edt version. I find it similar to Habit Rouge, but less herbal, and simpler, with more focus on vanilla, and more of a unified accord with wood and spices perhaps playing a role in shaping the character of the vanilla, giving it warmth.

The initial blast hints at more complexity, but it settles quickly, and feels light and restrained. It smells of delicious perfection.
27th June, 2017

Goodbye Piccadilly by 4160 Tuesdays

This is the most cloying, disgustingly sweet perfume I've ever had the misfortune to smell. I hate it. It is worse than Magie Noire and Youth Dew. In fact, mix them together. You'd be pretty close. Just need an extra little something to help you vomit? You've found it.
27th June, 2017
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Boccanera by Orto Parisi

Boccanera is a cold weather fragrance and with the cold snap here in Chicago it was the perfect day to return to it. I can say, without hesitation, that I love this cologne. Admittedly it's a bit of a mélange, with no clear notes that stand out. Some might call that a muddle. Don't care. It's my kind of muddle.

It's a warm scent, rich and sexy. The scent tree above (sweet notes and spices) are not accurate to my nose. I get very little spice from it. Is it gourmand? Perhaps partially but not absolutely. On the gourmand side, I detect hints of dark coffee and walnut oil but only modest sweetness. At times, I taste bitter chocolate distantly. The light sweetness is tempered by an almost animalic musk, something dusky. Not smoke but a hint of charred wood.

All these notes weave together to create a rich, comforting scent with good longevity and modest sillage. Just about perfect.
26th June, 2017 (last edited: 27th June, 2017)

Roadster by Cartier

Wood's gin's clarity
Mint's ice's hungering breeze
Less's more's vast null.
26th June, 2017

Myths Man by Amouage

For an Amouage product Myths Man has a somewhat calm opening and a graceful development that is relatively linear through the 14 solid hours it lasts on my skin. I get none of the old lady, sewage, or other disparaging scents other have reported. Bangkok Hound describes Myths rather well. Applied in the early evening Myths will follow you through the night into the morning, changing very slowly as time passes. It is a warm comforting scent that draws me, each evening, like a moth towards a light. A spray or two closes one day and opens the next like no other scent I have tried. Work friendly and elicits compliments in a fragrance unfriendly environment. Myths is the first Amouage I purchased in a 50 ml bottle. The smaller bottle has a solid overall presentation in the Amouage tradition and adds in that it is far more comfortable to handle than the larger siblings. Myths will be one of the few scents on my repurchase list.
26th June, 2017

Néroli Sauvage by Creed

Wildly civilized.
Orgasmic floral citrus
Looking to move in.
26th June, 2017

LAVS by Unum

LAVS smells like two things: gunpowder and incense. This is hard liturgical, biblical incense. I see pistols and padres, pontiffs and shotgun shells - too much? The combinations here work well for a deeply contemplative attitude that is very serious about its business. The gunpowder is a smoldering metallic blend of cardamom, black pepper and cloves for grey steely sparkle. The inner heart is healing and penetrating aroma of rosewood and elemi resin. Elemi is a thick medicinal resin extract of the Boswellia plant used to cure flesh wounds, chest colds, healing of scars and also to varnish wood. The healing effects of elemi offsets the gritty gunpowder threat. This is a wonderfully balanced incense aroma that couples serious intent with pervading redemptive curative powers. Excellent.
26th June, 2017

Narciso Eau de Toilette by Narciso Rodriguez

Floral, woody, subdued, feminine, Spring scent. Musk, peony, rose, vetiver, and cedar create a safe, but sultry fragrance, in my opinion. This is a fine designer offering. It works day into night. It is one of those fragrances I believe any lady would enjoy, as a gift.

Longevity is 2 out of 5 "stars".
26th June, 2017
rbaker Show all reviews
United Kingdom

Anni Venti by Laura Tonatto

The opening is characterised by a floral dominance, with jasmine and rose in the foreground, brightened up by a touch of neroli that is accompanied by a restrained aldehydic halo. The drydown is characterised by whiffs of violet, and the floral notes are not too overbearingly sweet.

Heading towards the later stages of the development, here a rich oriental feel becomes dominant, with incense combining with a good lashing of benzoin. Richer and and sweeter now, but on my skin never seriously cloying.

The sillage is moderate, the projection excellent and the longevity seven hours.

A nice autumnal creation, combining floral with oriental moments that, at times, cannot avoid a certain generic nature, but in some aspects compliments each other nicely. 3.25/5.
26th June, 2017

Aqua Allegoria Mandarine Basilic by Guerlain

Aqua Allegoria Mandarine Basilic (2007) is a nearly there fragrance for me. I like it more than Aqua Allegoria Pamplelune (1999), and I can appreciate both of them for capturing moments, snapshots of what was happening in perfumery in their release years, and memorable moments for people wearing them, and for other people around them - but they lack the effortless grace I prefer in perfume. They're loud, bombastic even; especially Pamplelune.

This mandarin and basil version has the feel of an aquatic fragrance that I think captures the market trend of its time, and in keeping with that, has an unrelenting reliance on the bankable aroma chemicals that were making the rounds. These aquatic aroma chemicals are not necessarily a deal breaker, but they have to be handled with more care than they were here.

The opening salvo of this worked fairly well, and it was in thumbs up territory for the first few minutes before it became clear that things were not going to work between us.
26th June, 2017

Habit Rouge L'Eau by Guerlain

What if I told you
That Shalimar Light Pour Homme
Was Habit Rouge L'Eau?
26th June, 2017

Cuir Pleine Fleur / Fine Leather by Heeley

Stardate 20170625:

This reminds me of Or Black.
Green Soapy sweet floral.
I don't get leather but then I did not in K10 either so that must be me.
Or Black is dry and austere while CPF is sweet and floral and perhaps more wearable

A thumbs up all the way


26th June, 2017
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Oil Fiction by Juliette Has a Gun

Most of my favorite "modern" (I wish I could find a better word than that, because modern is such a loaded word, what with High Modernism, postmodernism, post-postmodernism, etc--I've tried using "contemporary" and sometimes it strikes me as a little affected, so I'm back to the m-word for now) perfumes fall into a class of uncategorizable weirdness that renders them almost impossible to write about. Oil Fiction is a great example. It offers plenty of obvious hooks on which to be hung--huge white floral, big ol' tuberose, tropical bouquet, floral oriental--but it doesn't fit into any of those. Sure, the notes indicate that's where Oil Fiction belongs, but smell the perfume, and discover exactly how unfamiliar all these well-known elements can be rendered.

It's not that Oil Fiction doesn't smell like its primary components, because it does. Dominating the perfume is a capacious tuberose on a scale that could conceivably stand toe-to-toe with Fracas, coupled with ylang-ylang to stretch it even further across the canvas, as it were. This part represents familiar enough territory; the floral materials seem excellent, and they call to mind appropriately sultry images until the rest of the perfume begins to uncurl beneath the florals--at which point, Oil Fiction whisks the wearer to a psychedelic landscape populated with freaky mechanical things nestled amid the heady jungle flowers.

I would say that something about Oil Fiction smells metallic, but that's not really accurate; after all, "metallic" usually denotes something simple, one-dimensional, and almost never pleasant--a perjorative, in short, at least in perfumespeak. Something in Oil Fiction evokes metal, but it's more than that: it's like an entire high-tech machine, with all its different layers of industrial materials, including lubricants, has come to life and has integrated itself, somehow, into the perfume's supremely fleshy florals, so that the entirety has metamorphosed into a hybrid life form made of machine and plant in a symbiotic state. I know how weird this sounds; it's science fiction stuff. But this is science fiction perfume.

Another way to look at it, I suppose, is that a clever perfumer (who remains anonymous in this case, although I have some suspicions that I'll come to in a moment) hitched a top accord of superb-quality naturals to a base of modern aromachemicals, but did it so seamlessly that it's hard to tell where one stops and other starts--not an unusual endeavor in modern perfumery, but one that's very hard to pull off with any real success. The way it's done in Oil Fiction offers the advantage of concealing the clunky aspects of what is basically a big ol' woody amber. In fact, it makes a virtue of necessity by integrating the florals and the "amber" into an accord that's unique as well as beautiful; and it adds the technical achievement of bringing together two notoriously temperamental and overpowering elements (the Big White Floral and the Big Woody Amber) and making them only not play nicely, but also seem like they were made for each other. It's like lions and lambs, or sheep and wolves, or whatever predator/prey relationship you prefer, although I'm not sure which element is which, considering how carnivorous tuberose can be. I'm gobsmacked as to the technical aspects, although I'm sure it has something to do with a massive dose of orris butter, smooth and cool and just a little green, but never rooty or powdery in this perfume.

And, I suspect in large part because of its iris content, the perfume wears like a dream. Oil Fiction is one of the few modern/contemporary/whatever you call it perfumes that I could actually sense taking flight off my skin the first time I tested it. I've read the word "flight" used in older, classical treatises on perfume composition (usually in French); and I've experienced it with rich vintage perfumes, mostly the big mamas, in parfum formulation, from the house of Patou--which leads me to conclude that a true perfume flight depends on quality florals as well as meticulous composition. The sensation I get when I first apply Oil Fiction is sort of like watching a jet switch on in a fountain; it's like a stream of liquid springing up into the sky, scattering light as it goes. The bottle's sprayer doesn't really do it justice--you get a more diffused surface area, but it happens at the expense of that joyful leap. I prefer to use a sort of pour/dab method instead (judiciously, of course--this stuff is strong), which adds the benefit of a kind of swirling sillage that also evokes the great Patou classics.

The folks at Juliet Has a Gun (a house for which I have not much love, for the most part) present this perfume as a work of art, and I concur. It's a hell of an performance, worthy of titans like Joy and Le Dix. So it's strange, especially in this day and age, that Oil Fiction has no attribution. JHaG founder Riccardo Ricci may be Nina Ricci's grandson, but he's also a self-taught perfumer, and most of his house's perfumes show the kind of naive surface charm that I associate with non-classical perfume creation. However, Ricci has an angel sitting on his shoulder, and probably hanging out in his lab as well. Lady Vengeance, one of JHaG's first offerings, was composed by Ricci's friend Francis Kurkdjian, classical perfumer extraordinaire (and an artist of mind-blowing proficiency), whose hand I sense at work in Oil Fiction. The smooth transitions, the glorious florals, the flawless execution, the way the perfume seems to almost swell from within using cleverly embedded aldehydes--these are Kurkdjian hallmarks. But the real giveaway to me is the chassis of the thing; in his own work, for his own house, Kurkdjian returns with some regularity to the much-maligned metallic woody amber base, trying to tease something beautiful out of those difficult materials--coupling the bases with warm, sexed-up amber like he does in Grand Soir, or pointing up the base materials with little touches of sweetness like he does in Baccarat Rouge 540--a work of minimalist alchemy that I often return to out of frustration, because I can just see its beauty out of the corner of my eye--and then I blink and it's gone.

I find this notion of discovering beauty in (what I consider) ugliness extremely compelling, in art and in life. Even if Kurkdjian didn't compose Oil Fiction, it's so clearly influenced by his work that I think he still deserves credit for the ideas that drive it. I also think that Oil Fiction his (or a protege's) most successful attempt at rendering klunky woody amber presentable, an endeavor that seems kind of quixotic when I think about it. Even Grand Soir, attractive as it is, feels a little like lipstick on a pig to me (perhaps because it's an amber; I don't know); and Baccarat Rouge is, to my nose, literally great on paper but not so much on living skin. Oil Fiction manages that rarest of things: it's bizarre, unique, and cerebral; but it's also as familiar as even your strangest dreams, as comfortable as a sculptural but plush sofa, and as sexy as a pair of beautiful legs wrapped in fetish boots. Oil Fiction is not for everyone, but if you have the attitude to pull it off, it's a stunner, a head-turner, and a guaranteed fisher of men.

Testers are going for a hundred bucks at the discounters' sites. If you love bold, unique perfumes and you're looking for something new, go for it, and wear with abandon all summer long (or whenever you need a hit of sunshine and a little futuristic pizzazz in your life).
25th June, 2017 (last edited: 26th June, 2017)

Aqua Allegoria Pamplelune by Guerlain

This has some feminine charm that could be nice in passing, but it's harsh and overbearing to wear.
25th June, 2017

Uomo by Valentino

Sex Art Booze Love and
Starbucks Dark Barrel Latte.
Barista stories.
25th June, 2017

Black by Bulgari

I remember buying my first bottle of Bulgari Black, back in about 2000. I read about it in a magazine shortly after its launch; the big hype in the press centered on the tea note, which got my attention immediately, seeing as I was a tea drinker, and a lover of Lapsong souchang. This was right at the time that Sephora first opened in the US, so I headed to the brand-new store in the Houston Galleria, seeing as I could sniff and think in relative peace there, with no sales assistant staring at me while I tried to decide if I liked it or not. I figured I'd need a few visits before I made up my mind.

I don't remember what I expected, but it wasn't . . . this. It came out of the little rubber-coated bottle hitting on all four cylinders, all big, meaty, smoky, and floral in the way that tea smells floral, with an expansive quality that reminded me of redwood forests in the Pacific northwest. The rubber note felt almost like sap (which is where rubber comes from, after all). But what Black really brought to mind was the machine shop at the family business; Dad was a pipeline contractor, and the shop comprised a warehouse of lathe operators and arc welders--hot metal, cool lubricants, and the smell of shavings piling up on concrete. So there it was, a machine shop forest, or a forest in a machine shop, or vice versa. And it was--daringly--marketed primarily to women, although even the early blurbs mentioned that anyone could wear it. I fell in love with it instantly.

The best thing about Black was its aura of mystery. It smelled a little perfumey (from the jasmine on the top, which gets lost once the smoke gets going) and a lot dangerous. Plus, it cost a very reasonable 50 bucks, even at full retail. It took me about 10 seconds before I stuck one of the square black boxes in my little Sephora basket and headed for the counter. I took it home and wore it nearly every day for at least a year; it put me in a sort of friendly ass-kicking mood, which was perfect for surviving the daily insanity of living in Houston, with its batshit traffic and noxious weather.

Now, almost two decades later, I still have one vintage bottle of Black. It's on its last legs, and it breaks my heart a little every time I spray it. Reformulation removed the chewy complexity of the tea notes, exaggerated the rubber, and also brought out the vanilla/tonka accord in the base; the whole perfume went out of whack and lost the balancing act that made it so interesting. Also, unlike many reformed perfumes, the drydown of the original smells quite different: when the smoke dies down (literally), my vintage settles back into a true tea scent instead of the rubber marshmallows of the current version.

I could elegize for several more paragraphs, but it's depressing, and boring, to read reviews that moan on about the ruination of great perfumes. So I'll just say that the latest (and the last, as I believe it's discontinued) edition of Black still smells pretty good, albeit much cruder--a better masculine, perhaps, but a less compelling perfume to my nose. It's still better than 99 percent of the stuff out there, and my heart still skips a beat when I smell it on a stranger. Passionate love has faded to wistful affection. I'll miss it when it's gone.
25th June, 2017

Eau de Cologne Impériale by Guerlain

Fantastic opening, a perfect citrus Eau de Cologne smell, counterbalanced by lack of longevity.
25th June, 2017

Allure Homme by Chanel

Wood, spice and eyes closed.
Tobacco sans tobacco.
Toasts with mulled champagne.
25th June, 2017

Platinum Égoïste by Chanel

Turin's "sad fougère".
My poignant recollection.
Time - prophet and judge.
25th June, 2017

Lolita Lempicka The Midnight Fragrance 2013 / L'Eau de Minuit by Lolita Lempicka

I'm amused by the online kerfuffle over Lolita Lempicka, Mark One. I guess it scandalizes some perfumistas that The Guide (via Tania Sanchez) awarded LL 5 stars and hailed it as a masterpiece, seeing as it's made of inexpensive materials, isn't particularly strong, lasts less than a day, costs next to nothing, and seems to be everywhere. We fumies can be a snobby lot, and LL plays to the crowd that "serious" lovers of perfume like to diss: young girls. And LL is a little fruity, a little floral and bears a distinct resemblance to candy.

To understand why that rating happened, it helps to remember that Luca Turin confesses in the same book that he especially prizes novel compositions; and, from her reviews, it seems that Tania Sanchez agrees with him. And, whatever other merits it may or may not possess, Lolita Lempicka, to employ one of Turin's favorite descriptors, smells "legible." It's unmistakeable.

My only real gripe with Lolita Lempicka lies with its poverty of materials. I don't remember smelling it back in the day, prior to whatever reforms it has undergone; but in its present state, it strikes me as interesting but synthetic and rather short-lived. However, this particular Midnight flanker addresses that very problem. It adds a big dollop of luxurious iris, a material that classes up pretty much everything it touches. The result is exactly what I wanted from Lolita Lempicka from Jump street.

For one thing, the iris in this version of LL changes the overall texture of the perfume: where the original feels a little harsh and metallic, this flanker bears a smooth, matte, satiny gloss. Adding iris also tames the screech of the high notes, which makes the violet nitrile a little less fierce--you can decide for yourself whether that's a good thing or not. And since iris is such a superb blending material, it marries the perfume into a coherence that I don't find in the original.

In addition, I suspect that there's a little more red fruit in this version, and some more dark florals. The incense persists gently throughout, and that's what I smell the most as the perfume dies down. LL 2013 (or whatever you want to call it) seems like it lasts longer than the original, but it still doesn't stick around for more than 4 hours on my skin--which causes me no particular problems, since it doesn't cost much.

Overall, I still think that the house of Lolita Lempicka remains a rare bird--a house that offers fun *and* smart, unpretentious perfumes that are widely available and fairly priced. They also don't know a season or an occasion--you can wear these perfumes anywhere, from work to school to dinner to the bar/club/live show/whatever. Their aesthetic speaks to everyone's inner goth kid, but the perfumes aren't moody or mean. They remind me of a bumper sticker I once saw in Houston's Montrose neighborhood (one of the world's epicenters of young people in fishnets and black clothing, believe it or not): on the back of a car driven by an adorable creature in inky eyeliner and fuchsia pigtails, the sticker said "Perky goths have more fun." I can get with that. If you like clever iris perfumes, this one is must; if you think you don't like iris, that goes double. Get it while it's still around.
25th June, 2017
Oviatt Show all reviews
United States

Bentley for Men Intense by Bentley

Bentley for Men Intense is an amazing fragrance. Rich, elegant and powerful, it perfectly represents the luxury brand, from the scent to the wonderful bottle. In the opening it strongly reminds me of vintage M7 although Agarwood is not listed among its notes. The notes that are listed, however, are some of my very favorites—Black Pepper, Clary Sage, Labdanum, Leather, Cedar and Sandalwood. As the intense designation suggests, this is a strong, powerful scent that needs a little gravitas to pull off. It reminds me in some ways of Courvoisier L'Edition Impériale which was also rich, powerful and a bit boozy. The drydown of Bentley for Men Intense is my favorite part—the woods and the Patchouli go on and on with only a hint of sweetness. Perfect for cooler weather, I find that this also does really well—one spray only—in the heat. Instant love for me, along with Absolute.
24th June, 2017

Carven Homme (original) by Carven

Sweet powdered ginger.
Wise guy's carnation '13.
Aromi steers true!
24th June, 2017

Eau de Fleurs de Cédrat by Guerlain

A sharp, vibrant lemon fragrance, classic and flawless smelling, ephemeral.
24th June, 2017

Tangerine Thyme by Providence Perfume Co.

This is a fun tangerine fragrance. The opening is in the refreshing Eau de Cologne style. I can believe neroli and frankincense among the listed notes. The initial citrus blast fades quickly, but some citrus remains in the heart.

The house style is unique compared to anything else I've tried, sort of a country-style perfume with earthy smells.
24th June, 2017

Cuba Copacabana for Women by Cuba Paris

A nicely done "cheapie". Some white flowers here. I smell a touch of orange blossom and I detect gardenia, I think. The woody notes aren't overpowering. The musk gives it a clean base. A kind of tropical undertone, here. It's breezy with a touch of warmth.

Thumbs up, on the bottle design.
24th June, 2017

Lady Gaga Fame by Lady Gaga

A one-dimensional, sweet fragrance. I expected more, from such a unique, creative individual. It makes a nice, casual fragrance suitable for summer. That's about it.
24th June, 2017

Gucci by Gucci by Gucci

Hear, chypre's oakmoss!
From dark and sexy gourmand
Fordish Lui become!
24th June, 2017

Sikkim Girls by Gorilla Perfume

Nuclear jasmine.
A floral revolution.
Skybilly charm school.
24th June, 2017

Driftwood by Mirus

Mirus is a San Francisco based artisanal perfumery. Driftwood is classified as a woody oriental: "Driftwood evokes the smell of a dry piece of driftwood on a warm, sandy beach kissed by a cool sea breeze. "

Driftwood on my skin has two phases. The first phase is salty, vaguely ozonic, and is evocative of driftwood but more with marine olfactory stereotypes than those of a beach. There are passing similarities to Acqua di Sale, Aquilissima (Hilde Soliani), and even a bit of Sel Marin. However, Driftwood firmly stays in its own realm with the focus being on the woody aspects of the accord. One finds this accord to be quite novel and distinctive. This phase lingers on for a couple of hours before there is a slow transformation to its second phase: the salty, ozonic aspects disappear as a very restrained sweetness creeps in to complement the wood note. At this stage one discovers an uncanny similarity with several aspects of the dry down of Sycomore EdT. Sadly, around the time of this transformation, the fragrance also seems to unravel quite a bit.

Driftwood has its quirks, and is a novel composition, but eventually reveals a few shortcomings. While the first phase of the composition is quite innovative and interesting, it is not assertive or persistent enough. The second phase is not as engaging after the first. However, Driftwood unfortunately comes across as not robust enough for an extrait, and wears more like somewhere between an EdT and an EdP. A more potent concentration with a greater emphasis on its first phase of development would have been much more compelling.

3/5
24th June, 2017
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