Perfume Reviews

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Kingdom by Alexander McQueen

As usual I’ve a bit of a hard time with fragrances known for being “skanky”, “dirty”, “animalic” and in broader terms, “challenging”. Because they never really seem so to me. And this is the case of Kingdom, too. It’s a fantastic fragrance, that’s for sure, but I get really nothing dirty or skanky here. Either I’m too used to live in the dirt myself, or have dated particularly clean people, because I get really no smell of sweat or “ladies’ parts” (let alone “man’s crotches”) here, or whatever other kinky stuff. Kingdom seems to me basically a complex, yet actually surprisingly mannered blend revolving around notes of rose, sandalwood, musk and cumin with a dark ambery-mossy base accord, and a silky frame of whiter floral notes. Surely not a light scent, and I see how a hefty dose of rose combined with an equally generous dose of cumin on a thick load of musk and woods can result into something “carnal”, alluring, almost intoxicating, but it doesn’t really seem anything particularly “skanky” or challenging to wear to me. It’s just more very vibrant, warm, refined and sensual, surely much “human” and somehow “carnal”, but not exactly dirty to me. Also as I said, it seems actually quite more mannered and smooth than I thought – not a “bomb”, really. It’s surely rich and deep, but not loud or more powerful than many others. It’s very velvety actually. Most vintage chypres are way more dirty, loud and challenging than this.

Anyway, aside from the fact it smells truly good, absolutely quality and surprisingly versatile (not sure why but in some way, this reminds me of a rose-spicy version of Yohji Homme, with a touch of something androgynous), the reason why I really like Kingdom and consider it a totally worthy gem is because of its charming complexity. That kind of intricated complexity that presents you a very harmonic, balanced, perfectly consistent blend that at first seems almost comprising only a small bunch of notes... until you get captured into it, and thrown among the myriad of nuances it has. And it’s like in a well-written poem – everything is in the perfect place, with a perfect timing. You don’t even have to pay that attention actually; you can wear it and forget about it, it will all come to you. Eventually you’ll get whiffs and echoes of carnation, amber, mossy notes, gentle powdery-floral notes, hard spices, even something resembling to silky orange blossoms (I guess the top citrus-neroli notes combined with the “whiter/softer” side of musk), just as if you’re wearing a half dozen of different scents, with an astounding clarity even in the tiniest, most ephemeral details. And yet, you’re always wearing just this one. It’s a peculiar effect some scents have – to release “minor” notes and nuances erratically during their evolution, and yet to keep their, say, “main structure”. I mean, it’s not that it changes or evolves dramatically – ironically it doesn’t that much. A pretty linear scent, in fact. But it has this cinematic effect of releasing coming-and-going nuances throughout its evolution, behind the main consistent structure of rose-cumin-sandalwood-musk, which makes wearing Kingdom a captivating, vibrant, extremely fulfilling experience. And anyway it smells just great, deep and classy, it lasts long without being obtrusive or challenging. Total quality. Prices today are really crazy for this, but you wouldn’t probably regret the purchase – even just to keep it as a reference collector’s item (or a beautiful piece of design... I mean, look at that bottle!).

10th February, 2016

Popy Moreni by Popy Moreni

This was a rare 'first sniffer' to me, in that I liked it right away. The sweetened coffee and geranium tones, along with that lovably waxy-woody-chalky base of heliotrope, amber, and woods reminded me instantly of the later Yohji Homme and Belle en Rykiel. I love coffee-based 'almost gourmands' which reel in the sweetness and explore the savory side of coffee, citrus, and florals without relying heavily on being vanillic. I only ever found a sample of this by chance, but to me this is dynamite.
10th February, 2016

Poupée by Rochas

This reminds me of a bunch of scents from around '99 when the herbal-Oriental theme had run dry and experimentation lead to some weird creations which tried to be too many things at once. Poupee is on the lighter side of the weird scale but the pineapple and nutmeg combo reminds me far too much of the olfactory car crash that is Viking by Royal Copenhagen. Poupee dodges that level of unbalance by avoiding any piney themes, instead keeping things fresh and distinctly amber/floral thereafter. It is curious and playful, and unlike any other Rochas I know.
10th February, 2016
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Aqua Allegoria Lys Soleia by Guerlain

A creamy white floral affair, unfairly toploaded and with little to nothing to offer after the first hour. I appreciate the restraint showed with the vanilla, which is here just used to bolster any missing sweetness from the distillation of certain naturally buttery plants. Not bad, but I am at a loss as to what hole in Guerlain's repertoire this was supposed to fill.
10th February, 2016

Number 1 for Men by Clive Christian

Number 1 for Men by Clive Christian is a freely floating floral chypre that has such a dominant floral character that it could easily be classified as a feminine fragrance if anyone wanted to believe that there is a defining line for the sexes in perfume. I have not seen a notes list for Number 1, but the opening is lemony bergamot that leads immediately into a jasmine heavy floral blend. There might be rose, carnation, lilly of the valley, heliotrope, possibly Ylang along with jasmine but the flourish of floral baroque elegance is a strong force with this one. The base is surely a mix of sandalwood, patchouli, cedar, tonka, vanilla possibly cinnamon, etc. however these base notes do little more than an addition a slight dry smiling punctuation mark onto the primary floral dancing aroma. This is a complex blend of notes and you sense the dancing around of florals similar to the sound of a Mozart Sonata. At first I thought this is very similar in character to some of the 80's scents - Patou pour Homme or Versailles pour homme by Jean Desperez, but there is not the balance within complexity that those fragrances have. Still the scent smells great especially from a few feet away and has a solid elegance to it that you rarely see in mens fragrances today. This would be a fantastic black tie fragrance that is very formal in nature.
10th February, 2016

White Shoulders by Elizabeth Arden

A delightfully natural smelling amalgamation of white floral scents - lily, honeysuckle, gardenia, tuberose, and possibly carnation (may be a trick of the blending). Almost impossibly clean and straightforward presentation. Very well done but ultimately unexciting. I do wish the aldehydes had more impact. Given its relative weakness in terms of projection it is surprisingly durable as a skin scent. While I prefer a little danger, dirt, or depth, I can't really say anything bad about this one. I can not yet attest to the quality of the current version.
10th February, 2016

Tous l'Eau Eau de Toilette by Tous

An oddly strong smoky vetiver base makes this lighthearted citrus frag smell like a body mist which narrowly avoided a house fire. It is unexciting but very fresh smelling, and if it was worn by a man no one would ever call him on it. A simple pleasure.
10th February, 2016

Pathetique by O'Driù

Pathetique unexpectedly blows my old synapses as one of the absolutely best Pregoni's eccentric creations. Honestly a great surprise that anyway just confirms the Angelo Orazio's (by many of us yet well known) immense olfactory talent. Previously a praising word over all the others: uniqueness, yes, a rare quality, veritable peculiarity. Honestly I've never tested on skin something really close to this elusive stuff and while my interconnective nose enjoys playing the game of connections I can't seriously pick up a juice really-really similar to O'Driu' Pathetique. Second, I catch in here a remarkable "detachment/departure" from the classic O'driuesque vegetal-culinary (basically visceral, rural) "apparatus" since I get in here something far more modern, velvety, refined/silky, lounge/ambient and kind of fancy-chic. The juice starts by soon less bitter-sparkling (than usual for the brand) and more silky, something immediately more approachable and wearable (and it does not mean at all banal, synthetic or simplistic). I could find out vague (but really vague, somewhat evanescent) points in common with scents a la Slumberhouse Ore, Tom Ford Noir de Noir (the previously mentioned scents being the ones more "relatively" closely conjuring me Pathetique), Cacharel Nemo, several Histoires de Parfums or Parfum d'Empire Cuir Ottoman (considered in particular scant moments of its run) but Pathetique is something basically diverse and I frankly find quite hard picking up around the right words to fully describe its dodgy substance and the main shades of the final aroma. First of all this creative stuff is a semi-gourmand with buttery-leathery (kind of simil suedish) and gassy molecules imo. What does the juice seem smelling like? Well, frankly I get a musky-resinous (the base) accord of (ostensible) powdery iris (or stuffs like that), vegetal mold (mushrooms??), slightly buttery cocoa, pepper/nutmeg, frankincense, smooth vetiver, suede, wax and something bitter/herbal/licoricey (could it be the note of amyris??). Anyway, probably the officially listed notes are just partial or incomplete since I can't stop catching the overmentioned "presences" on skin. The juice starts kind of liquorous, spicy, incensey and leathery. Opening is pure heaven, you can catch by soon mild piquant spices go merging with something almost buttery, mossy and darkly dusty (kind of cocoa conjuring). I get woods, powdery floral notes, something bitter-earthy and a final wave of silky suede and oakmoss. This modern mystical approach hides a more classic woodsy-ambery-aromatic (warmly chypre, subtle, refined and classic/distinguished) dry down. The balance is superb, also the more "molecular" opening is anyway "well measured" and tamed. The inebriating hypnotic dustiness (pepper, piquant sweet spices, kind of powdered sugar and frankincense) is always on this side of the fence and the silky-fancy dry down is quite dry (almost poudre) and softly talky (in a darkly woody/amberish way). The general atmosphere is quite elusive, bright/dark (chiaroscuro), vaguely gassy and "transfigured". A devilish sleight of hand by Angelo Orazio Pregoni, an aroma's illusionist, an alchemical wizard, a real painter in perfumery (one of the very few in the niche section), a profoundely struggling soul which expresses itself far better by manipulating aromatic notes than by useless words (respectfully, yes, since words are useless if you are such a talented creator). Keep on inebriating us Angelo and let your creations telling everything.
09th February, 2016 (last edited: 10th February, 2016)

Opus VI by Amouage

Probably because my reference Amber is 114 and a collection of Middle Eastern Resinous Oils, I find Opus Six more of a Frankincense, High Quality Synthetic concoction.
The Ambranum, Z11 (Whatever that is)and Chinois Pepper combine to provide an irritant that tickles my Carnal Nerve Centers and a heat to draw my breath away.
A Citrus note balances with counterpoint, to highlight a gorgeous, non bitter and dusty Frankincense.
09th February, 2016

No. 10 White Oud by Agonist

A pleasant offering by a brand I haven’t really the highest consideration for. White Oud opens with plushy white musks infused with a nutty-camphor vibe and a sort of subtle, bright floral-fruity top nuance, as much pale as clearly defined (I mean – not a generic floral accord, just crisp precise floral notes with a very ethereal, therefore “pale” substance). Mostly the first minutes are all about clean, Helmug Lang-esque musks though, that sort of lab-like, greyish “laundry” feel with a very peculiar sort of cold, hard, slightly mineral-salty vibe (I think caused by the base notes of cypriol and woody aromachemicals), which creates a sort of thin, yet stout feel of, say, “marble paper”, if that makes sense. Thin as paper, yet robust as a rock. It’s quite hard to describe, but if that helps, you can think of something halfway Helmut Lang Eau de Cologne and L’Artisan’s Timbuktu painted in white icy watercolours.

Then, cypriol emerges together with the tonka-woody accord dusted with patchouli, or better say the way round – the top notes (floral, mostly, and the sweetest, plushiest, “soap-like” side of musks) fade away and tone down considerably, which is quite unusual for musks. White Oud gets then drier, woodier, still “white-grey” in an aloof, concrete-like way, and to this extent there’s some distant connections to another musky “cold” scent – Narciso for Him, mostly for this same similar “concrete” vibe. White Oud smells more thin than that though, and also considerably more complex. There is in fact this bizarre sort of mineral-nutty note coming and going, probably due to tonka, but emptied of any warmth or exoticness. Actually that’s how most of the notes smell here – exotic, but somehow “emptied” of their vibrant nature. Also patchouli, for instance, it smells like a black & white polaroid of it, rather than the “full” usual note. And it’s not just about being more light, it’s a more interesting work on the very texture of the notes. Finally, the drydown pleasantly brings back some soft floral accents (oddly similar to orange blossoms at this point) laying them on a woody-ambery base accord (mostly woody, with a dusty touch of amber).

It seems to me that White Oud definitely nails the concept of creating a “white-dark woody” scent translating the exotic terms of a typical oud scent into a Scandinavian-inspired cold and, say, “hard” blend. Being not a fan of Agonist I wouldn’t have given much credit to this attempt, but the result is quite compelling actually. For as weird it may seem, it does smell like a “white oud” infusion indeed: it keeps the same nutty-medicinal woody nuances of oud, just replacing any skanky, smoky, oily- thick texture with its exact opposite: musks, floral notes, a dry-cold substance, a touch of exotic-almondy dry sweetness. As a comparison, just consider the similarly-named Montale’s White Aoud: I love that (nearly the only Montale I really like), but that’s way more “easy” and simplistic rendition of “white oud” – it’s just oud, with some conventional “white” notes on top, like vanilla and flowers. Agonist’s White Oud is instead a more creative, abstract, complex interpretation of the idea of “white oud” – more a veritable “translation” of it in fragrant terms, if that makes sense.

Well anyway, this is interesting and smart. And also quite pleasant to wear, regardless of any “theoretical” consideration about it. Maybe a tad boring after you got the magic and the concept, slightly more synthetic than I would have liked (even taking into account that it quite fits the concept – smelling so artificial, I mean) and definitely overpriced, but well designed and well done.

09th February, 2016

Olène by Diptyque

If you love Jasmine, and are looking for a JASMINE scent, you've found it! Yes, it is linear, but sometimes, that is what you are searching for!

I have many jasmine scents, and I love them all. Some have many complex notes along with them, and they are brilliantly done. Every now and then, though, I just want to smell the jasmine, so that is the void Olene fills.

Get the square bottle if you can find it.
09th February, 2016

Foxglove by Joya FvsS: Parfums

Bright, green, fresh, yet deep with a floral gossamer ribbon running throughout. Really special, and beautiful parfum oil. I own the rollerball version of this, and am giving serious consideration for the larger sculptured piece. This is the attar of the East Coast.
09th February, 2016

Aqua Allegoria Foliflora by Guerlain

This fragrance may as well be the benchmark for 'pretty good floral.' Nothing is bad and nothing really stands out. The Guerlain quality of ingredients is reliable as ever, but there is just so little personality at work here that I feel like there wasn't really a plan, as there seems to be a complete lack of a focal point.
09th February, 2016
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Lady Gaga Fame by Lady Gaga

I can't help but feel that Fame is a pale imitation of Deep Night. While that should be disparaging I love Deep Night, so anything close is bound to be good. If you like sweet jasmine scents in the vein of Hypnotic Poison this is bound to be pleasant. It's just a bit too plain and baseless to be really exciting. Still much better than most celebrity scents.
09th February, 2016

Arpège by Lanvin

Aldehydes and indoles - All that flowery by-product goodness that was once all but unavoidable in perfumery. The listed notes might makes this sound like a fresh, semi-sweet bouquet, but this juice is practically filthy. And, whereas this used to be a desirable standard of fragrance for women, nowadays it might be seen as a more avant-garde masculine. It's a tough wear for what it is, but a pleasure to sample. The EDC formula peters out too soon on my skin, but some might call that a mercy.
09th February, 2016
rbaker Show all reviews
United Kingdom

Aer by Angela Ciampagna

The opening combines bunch of citrus fruit with a touch of mint, the mint herb that is, not a peppermint. A very nice combination, not a splashing opening blast but more a gently crisp start of this olfactory journey.

Very soon after the beginning the vetiver arises. Is is a green herbal vetiver, not dark and more on the brighter side. It has a grassy component, although this never is in the foreground - this is no Bowling Green. The vetiver as some earthiness to it, but is is less earthy that Molinar's Vetyver, and at times it tilts towards a chypre impression - I am reminded of Revillon's French Line.

The drydown moves through patches that express a mildly boozy juniper, and at times I detect whiffs of a Blenheim-Bouquet-style impression. When entering the base note stage, on the one hand a certain additional tartness develops due to a patchouli arising, but overall the base sees it returning to the vetiver as not only the dominant component in the base, but also the leitmotif throughout the longitudinal development from beginning to end.

On my skin the performance is formidable: moderate sillage, very good projection and an outstanding ten hours of longevity.

A lovely summery daytime scent for use throughout cooler hours that demonstrates an excellent quality of the largely natural ingredients. So whilst most of the compoenents are not exactly of revolutionary creativity as such, they are executed carefully and thoughtfully with a few twists whilst being superbly blended, with a complete lack of superficial or vacuous showiness. Very good. 3.5/5.
09th February, 2016

Côte d'Amour by L'Artisan Parfumeur

Cote d'Amour is similar in a weird way to Le Roi Soleil Homme in that I feel it has to be worn to the beach to really shine. It is an exceedingly fleeting, dry-grassy scent with a hint of creaminess which remains close to the body unless one is in a place of strong heat. The citrus aspects don't stay long, so the star of the show is the team-up of coastal woods which amalgamate into a single (and singular) aroma which evades description. There is a weightlessness in these semi-tropical notes and a very pointed lack of sweetness which practically screams 'l'Artisan.' They do seem to have a penchant for pulling whispers from the exotic. Much like with many of their offerings, I would really enjoy this were it a little stronger, but in this case I can't help but feel that would defeat the carefree purpose of Cote d'Amour.
09th February, 2016

Paris Hilton Passport : St. Moritz by Paris Hilton

Ivy is stamped all over this one. The fruit notes listed, if they are there, have sort of been partially removed in a way that leaves only trace musks of pear and lemon, more the peels than the juice. I don't smell much in the way of freesia, but the lily and jasmine are there on top with that dominating ivy. This smells like fresh funk, trying to be icy and airy and white floral, but that ivy and -something- else in this (blue poppy? 'green leaves?') brings with it a filmy skunkiness which, unfairly, is both the only interesting thing going on, and exactly what makes St. Moritz unwearable. Even the (admittedly low quality synthetic) sandalwood can't save the day, either, as its presence is minuscule. Overall, this is not a terrible fragrance; it's just so utterly not good that I have to wonder who thought it had to exist. And who equates ivy with ski trips?
09th February, 2016

Visa by Robert Piguet

I am reviewing Visa as came from a sample vial with an unofficial, untraceable plain-print sticker wrapped round it. It just reads, 'Piguet Visa EDP'. For the sake of likelihood I assume it is the 2007 version but my only certainty about it is in the notes.
Visa opens with a ripe peach and plum duo which I recall from many scents from the early 90's. They are couched comfortably in the lactonic folds of vanilla and sandalwood, laced with a dry, green moss. Once the moss has established itself I am reminded immediately of Mitsuoko EDP, only this is at once simpler and plusher. Hints of citrus and white florals insinuate themselves, as a quiet, leathery scent hides in the powder, keeping the composition from spilling into edible territory. So what I get overall is very much an old-school milky chypre with a much smaller presence of base notes, allowing the softer, rosy and juicy tones a little more time to shine. Is this a good thing? I can see Visa as being an intermediary stepping stone either to or from the classics, potentially helping the younger crowd to safely dabble in oakmoss and feminine leathers, or to give classicists some wearable middle ground that fits more in with the modern scheme.
Visa is a perfectly proportioned chimera of styles, and almost a surefire delight for lovers of peach. As soon as I know which Visa I am talking about for certain I'll be sure to let you know.
09th February, 2016
rbaker Show all reviews
United Kingdom

Woody by Arabian Oud

The opening is gorgeous: rose, oud and saffron, with the oud being quite prominent on my skin. The rose is of a darker nature, more like a Damascene rose, but less deep and less intensive than in other scents; it blends in very well with the oud and the saffron; the latter being a bit more in the background.

The oud is labeled and originating from Java, which is another example of perfumers resorting to areas outside Mysore to source their agar wood. Unless
one is sitting on supplies from previous decades, as Chanel for instance is said to be, Mysore sandalwood is increasingly impossible to find and other proveniences are becoming increasingly popular. Le Labo, for example, uses Australian sandalwood.

The drydown also contains a musk note that persists until the end; am this is of medium intensity but lacks any stronger faecaloid characteristics. There are other wood notes present in the later stages, sandal mainly with hints of rose wood.

The sillage is strong, the projection excellent, and I get five hours of longevity.

This is an impressive composition. The quality of the ingredients is excellent, and the oud less synthetic and more convincing than is some other fragrances who sport the "oud" label prominently in their name. It is very well blended whilst maintaining good structure. A great winter creation. 3.5/5.

09th February, 2016

Toujours Moi by Dana

I have been sniffing the Corday version of Toujours Moi and just marveling at how strong the presence of smoky vetiver was in this concoction in proportion to the rest of it. You don't see too many fragrances being marketed to women these days with this much smokiness. TM smells to me like burnt amber - it is vanilla-sweet like Emeraude, with that dusting of powder at the end, but without the bright orange (just a touch of the blossom). It is a bit like Shalimar but is not at all animalic. SOmething floral in the background - is it hiding or has it just been crushed by the vetiver? Its presence is slight. Yes, this is the smoldering remains of a lump of amber resin which has had a single lilac flower gently brushed over its surface. It is surprisingly soft, a case study in restraint, where I was expecting gaudy and heady. I have not yet tried the Dana version.
09th February, 2016

Chapeau Bleu by Marina Picasso

Delightfully lush and a little abstract, like many crossbreed florals from the early 90's, CB smells like walking along a flower garden of great variety, placed close to the sea, while eating dulce de leche ice cream. It is like a salted peach atop an impossibly crowded bouquet drizzled with caramel (the tuberose is poking out). It is a busy thing, bringing to mind the similar thicknesses (but not quite aromas) of Catalyst, Nicole Miller for Women, or perhaps Ysatis. This is not a serious fragrance. This is a day on the town, skipping in public, Harold and Maude kind of scent. If you remember clothing patterns from '90-'94, colors and shapes crammed together with childlike abandon, know that Chapeau Bleu smells the way that looks - fun, uninhibited, and a bit embarrassing in retrospect. I consider this the feminine counterpart for the original Kenzo Pour Homme.
09th February, 2016

Dia Woman by Amouage

I hope you like aldehydes. The rosy and orangey aspects of dia serve to prop up the tanginess of the top, elongating its opening statement through suggestion. Peony and peach soon after help this pinpoint impression bloom out on the sides into an orangey, daylight blush. The peaking frequency from the beginning is swallowed in slow motion and absorbed into the body. Woods and a thankfully soft incense emerge - a play in three acts, delicately layered to produce a certain sense of passing time; sunrise, sunset. Dia sings softly of intentional beauty.
09th February, 2016

Vetiver Veritas by Heeley

This is a very natural Vetiver fragrance. Magnificent root,clean soil. A solid study of the plant and will be interesting for Vetiver aficionados.
A little to minimal and literal for my taste.I prefer the light airiness of Roger & Gallet and like a few others, the smoky conifer perfumed complexity of Sycomore.
Neutral as I would not purchase a full bottle.
09th February, 2016

Malabar by Crown Perfumery

WOW. I haven't been this impressed with the first sniff of a woody floral since I got my hands on Flora Danica. This juice is potent. Bursting at the seems with ylang and jasmine, Malabar is a veritable tug of war between green stems and white petals. I'd bet good money that, if the '89 version is anything like the original, Guerlain's Samsara was created with this in mind, as there is an extreme similarity in ingredients, texture, and volume. That's right - this stuff is pretty loud. Funny enough, this was re-released the same year Samsara came out. But, while Samsara is a bit more paired down to the essentials (with heavy emphasis on jasmine and sandalwood, like a somehow beautiful caricature), Malabar possesses the rosy-cheeked hue of English rose lurking in the mix, along with the bitter green stems. This would most certainly be perceived as old fashioned but it is undeniably well-executed.
09th February, 2016

Cologne Sologne by Nicolaï

Super pleasant, airy-citrusy white floral scent which makes great subtle use of rosemary; It's like 'almost-lime.' Little here in the way of movement or progression, but its a suave, natural splash-on for the warmer days of the year. Highly recommended for those looking for a slightly better 4711.
09th February, 2016

Saat Safa by Al Rehab

When I first applied this, I thought, this is so close to my Ex Idolo 33. Close, but no Cigar!

It lacks the balance, 3 dimensionality and tannin of the Thirty-Three.

I get Rose, something citric and vaguely medicinal iodinic and oud.

As others have said before, a pleasant scent and at a very pleasant price.
08th February, 2016

Salamanca by Olympic Orchids

This is a mixture that is more like a monochrome beige picture,dusty. |It first of all comes off scent-wise like flat pulp paper and then textures out on variations of beige collage, again dusty.
Clever idea, as I have created culinary dishes monochrome beige to artsy effect.
To wear this as a perfume. Uh,no. I don't think so Ms.Covey.
08th February, 2016

Douglas Hannant by Robert Piguet

Had I read the notes pyramid before applying this to my skin I would have steeled myself for disaster. Instead, I was greeted with a hyper-pleasant and saturated opening that smelled equal parts miscellaneous bouquet and edible arrangement, with the interplay of pear and jasmine lending a sticky-sweet accord like honey or brown sugar. Sadly, this tacky yet fun barrage dwindles rather quickly to the likable but less outgoing floral heart. The end stage is unimpressive but I got a little chuckle when I realized I was thinking about Smarties candies ground to powder. This would probably make for a decent work frag, because the opening gets you really pumped up, and then DH settles in for the day and lasts a good long while, like a sweet, quiet little hum around you. Certainly worth a try.
08th February, 2016

L'Ete en Douce / Extrait de Songes by L'Artisan Parfumeur

L'Eau de Linden?
This is a refreshingly natural creation, starring a grassy, almost lichen-like accord. It is dry but not dead, and quite musky. I almost thought my sample was spoiled at first whiff because I simply wasn't expecting the blend at all. It's like a bottled Summer romp in a Southern American grove. I often find orange blossom in floral compositions to be clawing its way to the top for attention, but here it is polite and lacy as a Jane Eyre side character.
As something I would seldom (if ever) wear I would be inclined to rate this one a 'neutral,' but it's just such a happy fragrance. And even when a cute and energetic puppy is being persistent and annoying, it's still a puppy.
08th February, 2016