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I love the opening—it’s one of the richest smelling combinations I’ve encountered—gilded floral but not flowery, with a background of priceless but discreet incense. The accord is powdery above all things, but the particular combination of florals, myrrh, and incense creates a wonderfully lascivious and voluptuous opening…for a while, anyway. I wouldn’t necessarily want to wear it, but...it is rich smelling—rich as in wealth as well as in ingredients. “Rich” does have its attractions. The fragrance has a strong sillage: this fragrance was meant to be broadcast to a large audience. I do enjoy the first eight and one-half minutes of the fragrance in a fantasy sort of way—oil wells, Rolls Royces, Renoir paintings—but that is lost all too soon as the richness is lost to the powdery floral / incense middle accord. Its mutated powder is nothing special—it’s premium Johnson & Johnson, and yes, I get the vinegar, too. I think that as the Gold wears on, it continually loses its masculinity. This scent seems to progress from beginning to end from marginal masculinity to greater degrees of femininity; but not today’s definition of femininity. What it seems like is turn-of-the-twentieth-century Victorian boudoir “feminine.” This powder seems to last forever…but it finally gives way to a weak but very lovely wood, amber, and musk drydown that lasts forever. I can’t vote this one a thumbs up: It has some very impressive constructions and moves, but I have too many disagreements with it.
06th April, 2007