Show all reviews
LpH has the strongest opening of all the scents I ever tried in my life, to such a point that I felt upon application that I doused in it unvoluntarily, with the added disgrace that I find the inital notes offputting. Of course, the first time I tried it I simply rejected it without much ado, but retrial made me discover a unique scent in this era of raquitic, squalid and characterless scents.
Top notes are descirbed as pinapple. Albeit listed in the pyramid, I cannot identify these first accords with this note, unless we are dealing with a very sharp, synthetic kind of aromachemical resembling it: to my nose, this feels like a mixture between aniseed and lemon. From then on, it evolves in a flowery way along the top notes, these playing the role of a leitmotiv - jasmine and roses accords are clearly perceptible, soothing LpH's initial boldness and turning it into a scent along the lines of classical accords I found in what used to be femenine scents dating from mid XX century. As a point in case, I recall analogies in this sense betwee TLpH, YSL's Kouros and Balenciaga pour Homme: even thought present time masculines, there are flowery notes mixed with animalic accords I had the chance of identifying in some women's forgotten classics - to be more precise, Schiaparelli's Shocking and Pucci's Vivara.
Of course, for many this would mean Ted Lapidus is dated and "old - lady" like. Not for me, I enjoy this boldness and complexity, so rare to find among contemporary designer and drugstores scents. So, if unsure about this one, play safely: test before buying, not once, but many times.
14th December, 2009