A spicy-sweet-herbal opening, with clover and basil in the foreground' whiffs of sage are also present transiently. I notes an industrial undertone of dried dust and steel. The sweetness comes for an impression of tobacco leaves, which appears a bit of an artificial and quite ambery recreation of a flavoured pipe tobacco that is mainly composed of Virginia tobaccos. For a while a nigh-medicinal balsamic character is faintly noticeable.
In the drydown the sweetness in given added strength by some honeycomb notes, which had an undertone of cinnamon and saffron at times; for some brief moments it reminded me of gingerbread too.
I et moderate sillage, very good projection, and seven hours of longevity on my skin.
A wintery tobacco-gourmand scent, which is not particularly creative in the selection of its core notes, of which some can be a bit generic at times, but the components work together very well. Overall pleasant and agreeable. 3/5
A big blast of spiciness launches this olfactory missile: rich, spicy and bold. A few brighter glimpse of bergamot and lemon cannot detract from this spice wave.
The drydown develops a rich saturated green and quite bright coriander note, which merges with he benzoin; this creates some unusual olfactory aromas that are quite creative. A bit of a weak lavender makes an appearance, but it is rather perfunctory on me. Some floral try to join the party, namely a dark rose and a faint orange blossom, but buried in the - now slightly indolic - benzoin/coriander fog they are hard to spot. A vanilla starts adding a sweeter feeling.
The base extends the spicy them, with a dark patchouli adding a smoky characteristic that is, however, never overly dominant. The vanilla-derived sweetness grows stronger with time. Moments of a heliotrope hint come and go, but the benzoin-coriander rules until the very end.
I get strong sillage, excellent projection, and eight hours of longevity on my skin.
This complex wintery scent is not particularly creative or composed of ingredients of a particularly sensationally high quality. As a matter of fact, some are rather generic in nature or are too weak or too ephemeral to impress. The development is stagnant for some phases, some are a bit more variegated. On the other hand, the combination of the notes results in stretches of quite original and unexpected olfactory impressions, which make this a composition that is enjoyable at times. It hovers at the border between neutral or good, but - in dubio pro reo - a - just - positive score . Overall 3/5
A smoky impression of burnt woods greets me in the initial moments. With time the aroma of a burning pipe tobacco of an unimpressive quality arises, but more incense-like smoke than actual discernible specific tobacco fumes develop on me then.
In the drydown touches of orange and whiffs of grapefruit are transiently present, with more sweetness added in by a vanilla note; at times it becomes a bit like a vanilla-flavoured pipe tobacco. The vanilla is much less vivid that Tom Ford's Tobacco Vanille on me. Woodsy elements develop further down the track, with a somewhat tangy oudwood being complimented by a weak sandalwood in the background. All these seem to have been the victim of an incendiary attack, and the smoke, still modified buy the incense component, remains dominant throughout.
I get moderate sillage, excellent projection, and right hours of longevity on my skin.
A smoke-incense composition for winter or the open camp fire, which is done quite well on the on hand, but on the other it lacks development, and many on the notes, some of the very synthetic, are pushed too much into the background by the overwhelmingly dominant dyad. Al least it is not another rose-oud product... Some aspects remind me of Tauer's Lonestar Memories. Overall 3/5
It greets me with a fresh labdanum, which is underscored by a peachy fruitiness and a smooth and bright incense, that is neither haughty nor ceremonious - reminding me of the sun-filled moments in the majestic brightness of Uppsala'a Cathedral. An ylang-ylang develops into another main player; it is trim and neither rich nor creamy. A lot of the brightness is due to backbone of sparkling aldehydes that permeate the whole.
A more floral phase is develops a bit later, with a strong green and light-filled tuberose very notable; this is not very waxy, only has a slightly resinous touch, and presents ass less creamy again that other versions of it in other olfactory products. A green jasmine as well as a rose note are joining in, with the rose a bit nonspecific on me; the jasmine grows into a more significant contributor to the mix.
Spicier components of this creation include a mildly crisp castoreum, which pairs with a nice and gently edgy high-quality oakmoss, which starts out timidly, but then develops to full glory only many hours later, and then with a slightly civety undercurrent. Hints of a slightly leathery undertone transiently appear, but is is a sandalwood that gradually makes itself known in the mix and that adds a woody feeling to the whole. By now the resinous aroma expresses nigh-campherous characteristics at times, and it becomes stronger towards the end instilling a bit more sweetness in the final stages. These stages are not neatly separated, but they merge into one another over time.
I get moderate sillage, excellent projection, and eight hours of longevity on my skin.
This is an unusual scent for warm autumn days in its unconventional combination of various disparate aspects of the perfumer's tool kit. It is spicy and has lots of incense, but it is bright too; it uses florals but also animalic touches - and it is quite original in blending and structuring. On the downside some of its components are a tad generic, and in the wave of numerous ingredients cannot full develop their characteristics or are overwhelmed by others - the rose especially on me - but some of very good quality. Overall 3.75/5
a fruity floral mix - that is the essence of the initial phase, with the fruitiness coming partly from a bowl of citrus - mandarins, ripe oranges and a soft neroli - not earthiness can be detected in the latter. The fruits is mainly a ripe pear, together with touches of a sweet blackcurrant in the background.
The floral part is mainly constituted of freesias, but in the drydown a May rose; the latter is smooth, a bit creamy and quite bright.
The sweetness is amplified when the base arrives, bringing with it a slightly amboxan-ambery vanilla that is drenched in white musks. In the final stages a slick and inoffensively rounded bright patchouli is evident underneath.
I get moderate sillage, very good projection, and seven hours of longevity on my skin.
The creation for cooler summer days is neither very creative nor very impressive in what its somewhat generic ingredients are concerned, but is is quote passable for lovers of such creations. Overall 2.5/5
The initial stage is fresh and bright due to lots of Iso-E-Super, with a dash of white peppers adding a nice twist. An airy, nigh-ozonic opening.
The drydown is floral, with freesias and peonies in the foreground; I also get whiffs of a weak hyacinth very briefly. It is still very bright.
The base is base on a lashing of white musks, with, again the Iso-E-Super in the background now. Still a bright show.
I get moderate sillage, very good projection, and ten hours of longevity on my skin.
This is a very interesting first phase, which achieves quite and original effect with very few ingredients. The base tries the same, still in an interesting manner, but less impressive. the heart notes are, unfortunately, quite generic and not convincing. Overall a mixed picture, but the overall score is positive based on the first phase mainly. 3.25/5
The opening is a dense mixture of bergamot with a basket of florals, namely orange blossom and hyacinth; initially a strong aldehydic is present, a bit like in Chanel No.5. Hints of a warn neroli develop a bit later, accompanied by touches of fruitiness, including some ripe peaches, strawberries, and strawberry leaves too, before the focus is shifting to the floral side.
The drydown develop a nice rose note, a bit veering towards a soft May rose but a bit darker than expected, with a strong and slightly creamy ylang-ylang gradually assuming olfactory dominance for a while. A slightly powdery jasmine joins in as well, a jasmine blossom with little of a green character on me. Muguet is another strong note arriving here and blending well with the ylang-ylang in particular. Darker florals added in also include some quite sweet violet, as well as a distinctive lilac impression.
Towards the base the whole take on spicy undertones, starting with a orris and enhanced by some opoponax; these two components are quite mild and accompanied, at times, by an underlying touch of a balsamic aroma. A very subtle chypre-like oakmoss together with some coumarin and some musk and an equally gentle civet are noted too; the latter two are much less animalic than one might expect - maybe the age of the sample led to some attenuation in this case?
Later on the base adds some woods, mainly cedar but also touches of sandalwood, with an ambery tonka some sweetness. Further into the base, the floral tones re-appear again is the guise of the jasmine, which, accompanies by a softly glowing vetiver, gives the final stages some additional depth. The vetiver is gentle and lacks any earthiness on me.
I get moderate sillage, excellent projection , and a splendid ten hours of longevity in my skin.
This beauty of a scent for special spring evenings is rich, a very good variety in its development and is superbly blended. The quality of the ingredients is marvelous. It exudes richness and confidence, without any mustiness, dowager-boudoir-style fustiness, or excessive powderiness. Age might have affected it, but it is still an impressive creation. The performance is excellent. The name is apt; it casts a bit of a spell. 4.25/5
Leather is written all over this: a fairly smooth and minimally smoky leather, but not the suede type. It is quite bright due to an hesperidic input, and later a bit of orange blossom.
More florals try to join the action, mails a - hardly powdery - jasmine that is a bit darker in character, going together well with the leather. Some dark rose comes and goes, but it is weaker and no match for the dominant leather. An iris that I could perceive occasionally is equally unable to make its mark in a significant manner. the leather is just too strong.
Some spices are also present for time to time, including a fairly bright coriander and whiffs of clove, but the leather is and remains to No.1 component throughout.
I get strong sillage, excellent projection, and six hours longevity on my skin.
This Is quite a bright and smooth leather, but lacking any of the tarry character that is the hallmark of Creed's Cuir de Russie; Chanel's original as well as the thinner current formulations of its Cuir de Russie are overall sweeter. Cuir Cannage lacks the harshness of Knize Ten, but is a bit closer to the latter's Golden Edition. Some reminiscences of Parfum d'Empire's Cuir Ottoman are of note. It lacks some variety in its development and the leather is maybe a bit too dominant; other ingredients are pushed aside on me and there are somewhat generic. The performance is very good. Overall 3.5/5
The opening is herbal and warmly spicy, with a nutmeg bursting centre stage right from the start. Pepper and clove contribute the spices, which are smooth and warm. An unusual set of top notes, and not aimed to please the standard olfactory audience at first blast in the aisle of a department store.
The drydown turns boozy, but is based on a few florals, mainly Grasse roses and geraniums. Initially the geranium is more evident, but soon the rose is; it is a rich and sweet rose that emanates whiffs of a caramelised vanilla aroma at some stage. The spicy components of the top notes linger on and counterbalance the floral sweetness quite nicely. Later on, the spiciness becomes stronger again and assumes a dirty herbal undertone when the immortelle is gaining more prominence; is as a touch of waxiness attached to it at times.
The arrival of the base is signaled by a woodsy undertone, cashmere wood maily with whiffs of cedar; this is paired with an Indonesian patchouli that os soft and quote dark. The patchouli lacks any of raspiness or harshness that can be found in some other patchouli compositions like, for instance, Tom Ford's Purple Patchouli.
I get moderate sillage very good projection, and six hours of longevity on my skin.
This autumnal scent opens up in quite an original way, and the drydown is rich and vivid, but the base is less creative. in its structure and execution. Still, overall a good fragrance that is not just a superficial crowd pleaser. 3.5/5
The opening wave encloses me with its floral onslaught - think lots of ylang-ylang with an undertone of a slightly waxy tuberose. There is, however, a brief breakthrough of citrus - ripe oranges and mandarin - but soon a nice mint aroma starts permeating the floral fest, the latter being enforced by a strong and only minimally powdery jasmine. Other florals that unfold with time are a Damascene rose and some champace. Interestingly, the mint is not just transient freshening up the florals, but it linger for quite a while as a significant contributor as a whole.
The next phase adds a benzoin from Thailand, which is smooth but also quite distinct, and develops a camphoric undertone that is as unexpected as it is fitting in well with the rest. A boozy note - a bit like a Kentucky Bourbon - with herbal hints - thyme and laurel - are in the background, with the boozy note the stronger one of the two on me.
The rest is a mix of woods and some restrained animalic components, although the benzoin lingers on quite prominently for a long time. I get a nice rose wood with lots of cedar, and touches of sandalwood way back in the background; the sandal is the weakest of the woodsy triad on me. The animalic offering consists of a gently crisp civet, which is associated with a bit of castoreum as well as a salty aroma of an ambergris. Towards the end, an ambery dark-ish musky component is evident, but a stronger labdanum in particular develops into a late addition that gives the final stages another twist altogether.
I get moderate sillage, excellent projection, and eight hours of longevity on my skin.
This spring scent is an olfactory tour de force, with its citrus, floral, woodsy and more animalic phases, which are not clearly demarcated and show lots of overlaps. Such a vast array of components would usually lead to many of them not being able to develop fully, but here nearly each of them has its moment of prominence in the olfactory limelight, its "minutes of fame", some longer and some shorter, which, although not always sustained, is quite a remarkable feat; some ingredients are more vivid than others though. The quality of the ingredients is excellent, and the blending outstanding. 4.25/5
The beginning is very herbal, herbal in a green and earthy way with aromas of clary sage developing a bit later. Additionally, I get a strong undertone of cumin and nutmegs, but with time the latter tow retreat into the background. Transiently a weak petitgrain is present too. The next note is a hay impression, which compliments the herbal notes quite well.
The drydown turns distinctly floral. I get a lot of honeyed sweetness of liatris and muguet. A smooth vetiver comes and goes; it has not much of an earthy undertone but it is quite a bright note.
The base is a woodsy affair in not a very specific sense, although touches of sandalwood are discernible at times. A tonka note is adding a tad more depth, but not as much of a sweetness as many tonkas or vanillas in many other fragrances would provide.
I got moderate sillage, very good projection ,and six hours of longevity on my skin.
This spring scent is quite original in its concept and its being construed around the liatris and the herbal notes. On the other hand, the execution of this concept is less convincing, as most of the notes are on the generic side. Overall 2.75/5
The opening triad consists of oudh, rose, and sandalwood. The oudh is rich, smooth, rich, and lacks any of the screechiness that is a hallmark of some of the synthetic oudhs that are on the market. The May rose is smooth, and darker - similar to the oudh in this aspect; the oudh is the stronger one of the two on me.
The sandalwood - Mysore sandalwood as per the scent pyramid - holds its own though, and is developing the characteristics of this wood well; it is quite impressive.
Hints of orange blossoms make only a brief and rather perfunctory appearance; they are overwhelmed by the triad.
The oudh was not very animalic on me until after the top note sare well-established, but the drydown turns more faecal, partly doe to the addition of some Siamese benzoin. Still, this animalic aroma is not intrusive or overwhelming; it is a good team player that is integrated well into the whole.
In the base, however, the animalic side grows into prominence, with a civet and dark musks increasingly dominating the other component that then gradually retreat. A Madagascan vanilla is evident now, but more as a condiment adding sweetness to the musky and animalic last stage than as a lead note in its own right.
I get moderate sillage, excellent projection, and eight hours of longevity on my skin.
This wintery scent is another member of the wave of oudh-plus-rose-plus olfactory products released over the last years, but this one deserve to be separated out from the mass. Firstly, because the oudh it not as intrusively overwhelmingly dominant as is some other oudh creations, and secondly because the quality of it ingredients is unusually high. As a matter of fact, the top notes are especially impressive, and surely contain natural oudh and sanalwood to some extent at least. Some of its components might be of less vividness, intensity and pedigree that others, but overall this is an oudh-cetric animalic creation of unexpected quality. 4/5
The opening is made up of an accord of lipstick, combined with overripe fruit pineapples hazelnuts with a strong slightly smoky chemical character.
The drydown adds a chemical and rather - again - chemical tuberose, which smells as fake as it can get. Touches of osmanthus come and go.
The base morphs into a nonspecific woodsy impression; Unfortunately I could discern only very little of the characteristics from the sandal and guaiac promised in the scent pyramid. Touches of styrax are added in now, but, again, this styrax in nonspecific and quite weak on me. Touches of the initial fruitiness remain present until the end.
I get moderate sillage, very good projection, and four hours of longevity on my skin.
The spring scent, which is quite bright in character, is essentially an attempt to combine lipstick, nutty, floral and woody phases into an interesting whole. While the concept is not without some originality, its execution cannot be regards as being utterly successful. Not only are its components egregiously petrochemically synthetic in a predictable way, but these synthetic components are not really creative in themselves or in their application, and they lack any other redeeming features. Maybe it is not surprising that the lipstick note is the only only that is really convincing, as it is inherently a synthetic ingredient. The Poor performance for a synthetic product is unusual. As superficial as Times Square's vacuous glitter and neon lights?
M+M - Magnolia and Muguet - is the opening duo, with the magnolia dominating; a nice start.
Soon jasmines arises, mainly sambac on me but also some grandiflora; they are green, a bit earthy and slightly soapy. After a while a trim ylang-ylang develops, which is less creamy that one often gets with this ingredient. Similarly, the tuberose that is also present at this stage is slimmer than expected, and it lacks any significant indolic component. I am also getting just a few whiffs of a faintly nonspecific rose here and then.
The base is characterised by sweeter white musks, with some tonka mixed with ambrette being the other important components. Echoes of the florals remain for a while, but they vanish closer towards the end.
This is a floral spring scent, which is composed of ingredients that are not very original is their selection, but the quality of the ingredients makes up for that quite convincingly. Unfortunately, the other components in the base are less radiant and a bit more generic. This olfactory creation demonstrates nicely how another look at traditional ingredients of good quality can create new outlook worthy of being enjoyed once more. Overall 3.5/5
The opening it a spicy incense blast to starts off with: lots of labdanum, cardamom, and touches of cistus. It is not a peppery or curry-like spiciness, but more of an incense impression, not very ceremonious but more of a storage house filled with these ingredients.
A tangy and nigh smoky background transiently appears in the drydown as some cumin is added in. The spices gradually recede, with a nonspecific woodsiness replacing them over time.
I get moderate sillage, excellent projection, and five hours of longevity on my skin.
This is an autumnal scent that is not uninteresting; a spice-incense creation with some agreeable features if one likes this genre of fragrances. On the downside it is rather generic at times. May it is meant to be olfactory pain and pleasure a la de Sade? Overall 2.75/5
The opening is a citrus fest, with ripe oranges mandarins and Meyer lemons most prominent; touches of ripe grapefruits are more bystanders that assuming lead roles in the opening moments. These citric side is soon counterbalanced by a gently spicy mix of pink peppers with some coriander; a bit later of a cumin is added in too. In spite of this spicier contributions, the whole mix of top notes is bright and positive. Then a bit of galbanum enforcing the spiciness later on. The blackcurrant mention in the scent pyramid does not really show up on me.
The drydown has a floral twist, with orange blossom in the foreground; a bit of geranium is notable, and a restrained neroli maintains the brightness of the top notes to some extent; the neroli is soft and lacks any earthy characteristics. There is a nonspecific and unimpressive rose impression on the floral side again after a while, and a very faint notion of a light soft leather make a very brief appearance. Whiffs of caraway arise a very transiently.
The base announces its start by a addition of a smooth mossy note, which is still on the bright side; this is not a stark oakmoss of the traditional ilk; is is aired with soft notion of a bit of dried grass.
I get moderate sillage, good projection, and three hours of longevity on my skin.
The first half is delightful, mainly due to the good-quality citrus bland that exudes a fresh and summery feeling. The latter parts are less vivid, and the base is bland on me at best. Nevertheless, overall it still deserves a positive score, but solely due to the quality of the top notes. 3.25/5
A bright lavender with e dash of wormwood - the artemisia adds a slightly boozy and herbal element into the opening blast. The herbal tone is enforces by a green sage impression, which is much weaker than the two initial protagonists in the opening blast.
The drydown turns a bot sweeter when a honey note arrives. The sweetness is tempered a bit by a violet leaf, as well as by a small dash of pink peppers. a glimpse of a restrained vetiver is present too; this is a soft vetiver lacking any earthiness on me. A note of a simple iris transiently appears; it is a plain iris that lacks any powderiness.
The base retains a bit of the artemisia and mixes it with a bright and soft patchouli that lacks any edges or harshness, but the peppers gains in strength a bit further down the track adding a bit more spiciness again now. The honey has been growing weaker with time, but now it is resurrected and becomes stronger, adding a nice twist to the now very changed scenery of notes. A nonspecific woodsiness with occasional hints of Guaiacwood appears towards the end, seconded by lashings of white musks. Thankfully the latter never become too overwhelming, although they tend to take over the olfactory stage near the end.
I get moderate sillage, very good projection and six hours of longevity on my skin.
A pleasant scent fir warm spring days, not sweet enough to be a typical gourmand fragrance but close to it at times. The second half, especially the base, is rather generic and a bit bland at times. Overall 2.75/5
The opening is dominated by a nice, and slightly sweet note of pipe tobacco, which, after a while, shifts to a slightly dirty and spicy character owing to the influx of some immortelle.
A bit later the immortelle grows stronger, and a more animalic and civety background develops, combined with a leather impression. The leather retains the sweet undertone, and expresses a suede like notion at times, but at other moments it is a more tangy leather. The leather here reminds me of Helmut Lang's Cuiron it its brightness and levity; it is less austere and complex than Knize's Ten - at least than my older bottle of ten. The tobacco is also never heavy, creamy or cloying; it is quite different from Tom Ford's heavy Tobacco Vanille, although it is also a sweet creation. The sweetness becomes more honey-like in character with time, without expressing any specific style of honey on me.
At a later stage it all merges into a tobacco-suede-civet mix that is sweet and smooth, with add additional restrained musky touch really just constituting the final animalic icing on this olfactory cake. Hints of dried grass come and go. The honeyed tobacco-cum-suede melange peters out slowly towards the end.
I get moderate sillage, very good projection, and five hours of longevity in my skin.
A pleasant leathery tobacco scent for autumn, which has original moments here and then with the skillful application of the immortelle, but some ingredients are a bit too generic towards the end. Nevertheless, otherwise is quite nice, albeit a bit deja-vu. It is hovering at the border between being neutral and good - maybe just a positive score by the skin of its teeth. 3/5
The pineapple of the original has been given a makeover by the addition of some bergamot - it's a Cologne after all - with fresh green apples, a touch of mint and just a little bit of blackcurrant fruitiness - nice and quite refreshing.
The top notes are in contrast to quite a surprising arrival of touches of birch tar - quite un-Cologne-like - and a patchouli; a bit like echoes of Cuir de Russie of the same house 100-times diluted. A green jasmine lurks in the background, assisted by some - fairly bland - rose its attempt to bring in a floral turn, but the latter remains in the background on me until a bit later
The base, purportedly composed of musk, vanilla, oakmoss and ambergris, is nothing more than a nonspecific sweet concoction based on lots of white musks will some vanilla underlying it. The base is rather chemical - clearly a laboratory soup - and very similar to the bases in some other products.
I get moderate sillage very good projection, and four hours of longevity on my skin.
The promising start of this summer scent was, unfortunately, changed to the mediocrity of the somewhat unexciting heart notes, and the frankly disappointing base. Overall middle-of-the-road, too generic and synthetic in the second half without any redeeming creative features. 2.75/5
A bright opening with a rose being evident for the start; then a cumin is added in. The rose is not very deep and is quite nonspecific on me.
Later on an equally bright and slightly steely saffron joins in, combined with a fairly restrained out that is not really making a significant contribution.
I get moderate sillage, good projection, and five hours of longevity on my skin.
This scent for warm spring days has some good moment sin the beginning, but overall is a tad generic and in its second half a bit bland on me. The saffron is disappointing compared with some other creations, e.g. Comptoir Sud Pacifique's
Sultan Saffran. 2.75/5
Cocoa and dark chocolate - the two component in the opening, set the scene for the theme this product is conceptualised around: sweet and bitter. The bitterness was quite strong and nigh-skanky, but then settles into a good balance with the sweeter component. Very nice.
The drydown adds some cinnamon, which does not last long on me. This is followed by some hazelnuts.
Towards the ends a dry vanilla appears. Unlike in many other olfactory creations, this vanilla is not a sweet and creamy filler applied in the last hours of the development, but sparingly added as a condiment; this vanilla is a good team-player.
I get moderate sillage, very good projection, and eight hours of longevity on my skin.
Whilst the ingredients of this autumnal creation are not particularly original and occasionally a bit generic, this composition is an interesting take on the gourmand chocolate theme, being much less sweet than usual and trimmed down; it is a bitter chocolate more than a creamy nougat. The performance is good. 3.25/5
Fruit, spice and floral, a peculiar combination at the start, which could be a dog's breakfast or an original set of top notes delivering an original first phase - the latter was the case. Pear, ginger, as a tuberose appear together - the tuberose is is a bit delayed - and their joint force result in an original moment of the synthesis of the three.
The drydown is based on dried grass in its core. Hay absolute and bran absolute are mentioned in the scent pyramid, but the hay is in the foreground on me. Then I get the eponymous narcissus, finally, and, quite unexpectedly, it remains in the background for a while, before becoming stronger after a while.
The base develop a smooth suede-kike leather, followed by an usually mild and soft patchouli. Towards the end it becomes much sweeter as a result of a large dose of white musks flooding the whole in the final stages.
I goer strong sillage, excellent projection, and eight hours of longevity on my skin.
A very good first phase in this spring scent is followed but a good drydown, but the base does not keep up this standard, as it lacks vividness and is a bit too generic. The performance is good. 3/5
Citrus, mainly some bergamot, afford a brief bright second, before a tuberose kicks in. It is a rich tuberose, which does not only include the blossom, but also includes the stems; it is quite indolic with a sharp, nigh-musky undertone. Lots of aldehydes are poured over the tuberose, maintaining a fresh feeling in the opening phase. Hits of a restrained peachy fruitiness appear only transiently.
Then a jasmine breaks through, claiming the centre stage in this olfactory drama from the tuberose from now on. It is a green jasmine, not particularly powdery, with the leaves also featuring quite prominently on me. Soon a rose is making an appearance; again a green rose mainly expression the leaves and stems. This rose never challenges the dominance of the jasmine. A muguet makes itself smelt now, and blends in with the rose, as does an ylang-ylang impression; all these three constitute an accompanying trio to the lead jasmine. The ylang-ylang is trim and lacks any creaminess on me. Later on a white orchid joins in, and whiffs of oleander briefly appear in the latter's tail end.
This flora bouquet contributes well into the base, where the crisp floral greenness is supplements with a fairly restrained nose of civet, which expresses a musky undertone. Touches of sandalwood are evident at times now, but most of the woodsy input still is derived from the leaves and stems of the flowers.
I get strong moderate sillage, excellent projection, and eight hours of longevity on my skin.
A splendid creation for spring evenings, rich and full of vivid floral delights, although the citrus constituents might have suffered some age-related fatigue in their intensity. One of its minor points is that the base notes are less convincing compared to the previous stages. Rich, well-textured, composed of ingredients of the highest quality. It exudes mature confidence without being musty. One of Patou's masterpieces. 4.25/5