I am unfamiliar with most of the other fragrances you mentioned, but I might suggest my interpretation of the development of Ungaro III: * *
It begins a little synthetic and a lot discordant, taking a minute or two to gather up its assets. *When it gets its act together it presents a powerful amalgamation of the rosewood and the lavender—the same contrast/juncture that is in Pour Un Homme except that here it is taken to the enth degree and is focused on the dark side. *If it stopped right there, it would be an awesome scent, but this is only the beginning. *As it moves into its middle phase, the movement picks up the delicacy of the lily of the valley, the strength of the jasmine and the clarity of the geranium and opposes them against the depth and darkness of the rose. *Again, it’s the tension that makes it spectacular. The battle ensues. * The tension eases, with the rose flaunting its superiority and laughing in the face of all the losers. *The base then attacks with a modest but determined patchouli brandishing a sword and shield made of cedar, while from all directions the *moss attacks with the sole intension of obfuscating the battleground and ensuring that everything *remains dark. *The drydown is a sensual darkness of the union of the rose and moss with the bodies of the losers still littering the battlefield occasionally contributing flashes of *their weakened auras to the spent but sated victors.
It's a spectacular scent.