Armani Code Eau de Parfum is a sweeter/spicier/more soapy version of the original edt. An aromatic woody-oriental with lavender, musk, soapy cedarwood and prickly tonka bean at center of the village. Basically I'd say It is another kind of fragrance. The opening is a blast of fresh aromatic/musky lavender a la JPG Le Male (in a less minty vest) but with a darker twist and more citrus in the mix (orange in particular). Gradually a sort of bath foam-like (slightly talky) soapiness takes the stage with a role of protagonist. Lot of vanillic cedarwood, toasted (kind of vaguely smokey/peppery) tonka bean and muskiness with a great intake from aromatics. The juice itself is a sort of Ideal blend of the old Armani Black Code- in common bergamot, woods, tonka bean, suede etc- (but with a subdued leather-note, in here somewhat absent and without the olive blossom-presence), Jpg Le Male, Prada Luna Rossa Black and the venerable Ysl Body Kouros (but in this case with a less resinous twist).The general performance is more or less similar to the one of the classic EDT. I prefer far more the original Edt over this Parfum. Not so much to add.
Mystic connection of sulphureous patchouli (earthy, narcotic, humid, ancestral), woodsy/aromatic cistus (the black forest), pheromonal ambergris (the resinous/organic hot side of the ocean), animalic castoreum and enigmatic musks (the same sensual musky base for every Jeroboam perfume), everything introduced by a tad of aromatic hesperides and encompassed by a spicy green dark/rosey blanket (rose and supposedly bitter/leafy geranium). The patchouli lording all over the most part of the others around, an absolute must have, an over the top creation for ambergris/patch's fanatics straight from the talented alchemist Vanina Muracciole. Absolutely a great great creation, one of the best of this Jeroboam-line, with its hesperidic-earthy-piney aromatic top, the peppery/rooty ambergris-founded core and its warm seductive musky base. Not so distant in smell (at list for a part of the run) from the great vintage (and greener/drier) Etro Patchouly (which is a more baroque - and vintage in style - creation with a sharper more classic dry down), just something more modern, more rounded, muskier, darker and stronger on ambergris and sensual muskiness. A straightforwardly masculine creation imo. Launced along 2019, Jeroboam Ligno is significantly influenced by patchouli throughout. Initially this woody royal note is piney/grassy/rooty/boisé with a tad of aromatic/citric-fougère elements (wet and minty-balsamic) and hints of smokiness. Clary sage, orris root (rooty, damp and wet) and geranium enhance the sharp (vaguely minty) freshness of this introducing stage. As long as the central stage starts disclosing its doors, a warm kind of salty/organic ambergris envelops the rootiness with its dark erotic warm organic mantle, creating a perfect harmony complemented by warm soothing spicy (saffron, pepper) musks. At this stage a saturnine spectral transilvanian Count opens his dark mantle and drags us down in the depth of his hellish abysses. Lot (really a lot) of saffron. Spiciness keeps growing up higher and higher with a quite dominant saffron (saffron is dominant along with patchouli and ambergris). A sort of vaguely chocolatey/rubbery (fir resins) nuance gradually replaces the initial (anyway still working) patchouli's rootiness till the end of the trip. I suppose a tad of vetiver is included in the blend (enhancing the well calibrated saltiness and the rootiness) while tonka bean provides hints of perfectly appointed soft mildness. This fragrance hooks up all the patchouli's "baroquisms" and projects/advances those ahead in a futuristic post-metallurgical suburban ambiences (something almost abysmal and sidereal as in a Zdzisław Beksiński's demonic painting).
A modern (super elegant but futuristic) take on animalic patchouli for us, an urban mysterious (more than vaguely "vampiric") creation perfect for metropolitan wanderers of post industrial dodgy districts, peaceless night-time transhumants and blood-suckers of the gigantic suburbia. Simply a perfect creation.
I've loved a lot and actually still appreciate so much the classic and iconic Cozé 02 (cozy ambiences, fine cigars, perfumed tobacco, seasoned woods, old libraries, refined gentlemen). As well as compared to the former (which is a straightforwardly virile creation imo) this "soothed down" green "less intellectual" Pierre Guillaume's newer version (while equally settling on a common peppery base of cocoa, prickly spices, tobacco, woods and coffee, reinforced by bitter licorice and paprika) tends gradually to evolve towards something gentler/silkier/greener (more on the unisex side) with a dominant figgy note well laced to a suave suede-presence, some muskiness, exotic woods and a tad of undisherned florals. Opening is fresher (with a green/aromatic and hesperidic -somewhat fougère- presence) than in the classic drier Cozé. The note of tobacco is indeed fresh and exotic, perfectly connected to lime, aromatic greens and "open space" fig tree (vaguely heliotropic in vibe). The atmosphere is "wider and cooler" with hints of exoticism from tonka, fig tree, citric tobacco and fresh woods. The ghostly coffee note is dry and fresh while paprika enhances the exotic spicy vibe. Lot of spices in the mix. It seems to detect a not listed vetiver (not an earthy one I mean) but something green/musky/exotic and smooth a la Guarlain Vetiver (something well connected to smooth tobacco, suede, exotic tonka bean and musk) but in this case woodier (dry woods) and with a soft and well calibrated tobacco/suede-presence. Coze Verde 2.1 is definitely a quite good fragrance. The combination of fresh/wet and drier notes is well executed here by Guillaume. The scent overall is relatively sweet, but the sweetness never becomes dusturbing. The combination of fig tree, fresh tobacco and suede in dominant. This fragrance unfolds a figgy cool "far lands vibe" (with a solid woody basement a la Classic Cozé) vibe but does not project that "old library" or "gentleman cozy" spark a la Cozé. As far as development goes ahead, the scent is somewhat linear revealing soon its green message (but with a vague pencil-shavings hidden cedary spark which I don't crave for). A solid take which anyway could quite hardly match my full olfactory appreciation.
The Bottega Veneta Illusione Bois Nu-olfactory consistency is quite volatile/benzoinic/ethereal (a la Heeley Agarwood or Maria Lux Deeply), soapy classy and definitely tropical. The "density" (and structure-articulation) is ephemeral and the (initially hesperidic) aroma morphs soon down towards something waving softly in the air, orangy/balmy/rosey, spicy, vaguely waxy, almost candied and finally ambery-musky with an aerial consistency definitely waving silky in the soft wind. The dominant pattern is the tropical Monoi oil which is essentially created from soaking the petals of Tahitian Gardenias, also known as Tiaré flowers, in a coconut oil (the extrait is quite floral and cocconutty exotic for the bliss of our senses and a general sense of dreamy delight). Bois Nu opens quite nerolish and candied (musky/tropical) while quickly morphing towards something even more volatile and aereal (delicataly floral, benzoinic/coconutty and lemony/orangy). Evolution is somewhat faint while spiciness is delicate and perfectly connected to a general musky soapiness. The dry down is quite classy/yuppie and gentle with its tropical vanilla soap and soft green muskiness upon patchouli. A super classy aroma for yachting people really posh and royal in a subtle musky/boisé way.
This fragrance is almost all about its stylistic bottle being the juice itself samewhat pale and uninspired. A connection between salty-aromatic and ambery elements with a dark urban touch from tonka bean and bitter cocoa. Sporty, darkly virile, metropolitan and salty-cedary, a juice for "minimal" contemporary fancy urban fellows with no idea about vintage tuxedos, 80's luxurious leatherwears-boutiques and the classic Bernard Chant's olfactory sleights of hand. This weird juice starts out "growling" with a liquid cardamomish green aura which is aromatic, lemony and kind of woody/salty in a way to exude a sort of sea-weeds like effect (probably the arid effect from liquid pepper, bergamot and cedarwood perhaps even supported by salty-ozonic molecules). Pepper, cedarwood and sage are dominant along with this weird synth kind of salty-ozonic-lemony molecule connected to tonka bean and cocoa (which does not perform as a typical cocoa bean note but as something toasted/metallic connected to woody-aromatic saltiness, soapy tonka bean and green aromatics). The effect is really synth in a virile salty way a la cheaper Bottega Verde Uomo Nero d'Ambra (dark, cedary-woody and aromatic).
Woodissime is a well appointed floral/resinous (really resinous in its initial and central stage) accord taking part to the new Thierry Mugler-collection Les Exceptions announced as “Daring, breathtaking, addictive, noble ... a new dimension in the fragrance universe, Designer Perfume." This fragrances is based on floral, oriental, musky and chypre accents. It seems with this collection the Mugler's aim being to reintroduce several masterpieces of traditional perfumery as conveyed into the future with significantly amplified ingredients and original notes. The Woodissime's resinous approach is by soon oudish, spicy, sweet and growling in its power. You can easily discern that typical oudish gassy-sugary spark quite "Montalesque" (a la Intense Cafè to quote one), synth and balsamic but with a "golden" ambery/floral/talky dramatic touch a la Amouage Gold woman (at least just in part). Osmanthus provides its noble sophisticated spark (one of the main Woodissime's qualities) with its touch of languid, "posh" and royal romanticism. Resins are sugary, ambery and spicy, quite sweet throughout. This resinous side is for a while almost burnt sugary and peppery (quite enjoyable, warm and sensual) while the supreme woodiness turns finally out sharper, kind of dusty, cedary, misty and vaguely pencil-shaving a la Gucci Pour Homme. This woodiness provides hints of "saltiness" counteracting and balancing the dominant sweetness. A touch of muskiness (a la Elie Saab Le Parfum) completes the olfactory spectrum. This juice is profound/assertive and glamour-chic at same time with its initial and central "goldness". Dry down is more reatrained but still sugary, oudish and warm. This is a presenceful fragrance, not particularly refined or original but definitely powerful and warm (sexy and erotic on the right skin).
P.S: this Eau de parfum finally (gradually) evolves and changes, it seems like a sort of mild suedish touch keeps jumping on the stage while performing as final olfactory factor till the end of the trip. Along this "long tail stage" the sweetness recedes, woodiness is less cedary/pencil-shavings (and more in general less present, less "woody") and well connected to an elegant note of hot sensual musky suede (balanced and classic in vibe) a la Cartier La Panthére (and to a lesser extent a la Guerlain Habit Rouge Edp or Jeroboam Vespero) quite organic in its olfactive perception. I suppose hints of exotic fruitiness are masterfully included somewhere in the blend.
Addictive spicy toffeesh "cozy ambience like" oriental-gourmandish with an irresistible enveloping aura and a Christmas-like "engarlanded" mood. Stronger with you Intensely, a sort of affordable piece of cozy spiciness a la Idole de Lubin but with no boozy traits, a more properly gourmand-oriental aura and a less resinous deep substance. Super spicy italian oriental semi-gourmand and a plain wow factor. The vibrant sensuality of a voluptuous bunch of spices combined with fresh inebriating fougère patterns and a final amberish toffee-like (and vaguely nutty) dry down. Caramel is there, with its coffee-cocoa-vanilla-like nuances and its irresistible edible power but Stronger with you Intensely is not just a piece of yummy creaminess, being moreover a structured affair (green, peppery, aromatic, floral and woody) with its woody-leathery-herbal structure. This fragrance opens freshly intoxicating with a dramatically sheer accord of notable dry/piquant spices (lot of black pepper), lavender, juniper, violet and woods while ending town quickly (across a pale middle floral transition) as oriented towards a spicy gourmand suedish-vanillic dry down. Amber is not resinous but anyway rich and rounded. Violet, leather and sharp woods provide for a while that infamous cedary gassy feel which I definitely don't crave for. I'd have preferred some not listed patchouli in the mix somewhere. Cinnamon is heady and waiving around throughout, well combined with the amberish final mélange while the suedish touch is soft and well calibrated with all the spicy oriental elements. This fragrance is simply addictive and erotic while being polite, "quiet" and comforting at same time, sex inside a mountain cottage or a cultured/intimate chat drinking rhum in front of a cozy fire. Durable and with a moderate sillage. Unisex but leaning towards the masculine side imo.
Poppy Soma is a narcotic spicy beast from Parfums Quartana performed by the talented perfumer Emilie Coppermann and focused on the (yes provocative) dominant floral ingredient of poppy. Poppies are kind of sinister florals considered a symbol of both sleep and death. According to Greek and Roman mythology, poppies were flowers used to adorn tombstones in order to symbolize eternal sleep. At same time they also symbolize the blood for fallen soldiers on the battlefields of war. What do they smell like? Is hard to describe this alluring aroma (in general and in this specific case), sort of an intriguing smell of pomegranate and orange connected to a spicy core of pepper, cloves and cinnamon plus some cherry blossoms encompassed by something creamier and syrupy as vanilla and cocoa beans. In this case (in Poppy Soma) I detect a sort of burnt sugar spicy fruity vibe kind of indie and agricole. This dodgy creation is floral in a carnal edible way. Relentless as a jackhammer. Spiciness is extreme and kind of yummy/fizzy, a sort of super intense nectarinic vibe with a sort of fruity (kind of vaguely berrish/cherry-like) undertone. Definitely the aroma is musky and resinous while the floral "miasma" is boisterous, dirty, vaguely rotten and agressive with a strong tuberose, some earthiness from rose and a super edgy jasmine. Is like musk and frankincense melt a violent floral dough inside their blast furnace. Muskiness is definitely addled and wild. More in general Poppy Soma is not properly an "accomplisced" work of perfumery but more properly a wild deliberately unbalanced carnal aromatic mélange. Cinnamon, musks and chaotic peppery/floral/leafy elements dance initially random taking finally their more determined place in the gorgeous musky fluid. I detect this sort of bohemian crude vibe all around which is spicy, floral, fruity and musky. I detect a sort of mental association with a less floral Parfums d'Empire Musk Tonkin which is more "glorious" in vibe and a fragrance which exudes a more classic elixir undertone conjuring scents a la Aramis JHL, Coco Chanel, Estee Lauder Cinnabar and Ysl vintage Opium (despite in its case modernized and oriented towards more contemporary musky animalic beasts a la Mazzolari Lui, Lutens Muscs Koublai Khan or Bogue Maai) while Poppy Soma being more focused over a modern indie visceral less classic concept really rural, oily, mostly floral and experimental. Dry down is intense, dense and syrupy (fruitiness, burnt sugar and cherry-like spiciness) in a quite erotic way. Really powerful performances. A fatal spectral young woman could match the Poppy Soma-kind of ideal fellow (a super elusive and dangerous unknown creature from the woods wreaking havoc on a urban dark context).
A "cleaned up" new-generation sort of brand new Cacharel LouLou for us by Givenchy (being L'Interdict Rouge less vanillic, less complex and more icy/musky and tuberose-centered). A peppery/almondy/mentholated/musky (vaguely heliotropic) tuberose for us with a syrupy jasmine as floral support. A super spicy and kind of fruity fragrance (it seems to detect blueberries kind of blended with almondy juice, ruling tuberose and musk/vanilla). The note of tuberose is syrupy, orangy, musky, almondy/mentholated and saffrony. The icy/mentholated vibe exudes a sort of Ange ou Demon's sort of frosty vibe (perfect for a Saint Petersburg's winter romantic hand by hand night out-walk). L'Interdict Rouge is juicy and vibrant, a sensual glamour/chic fragrance ideal for clubbing and frosty winter down town nights out with friends.
This review is on the classic John Player Special Eau de Cologne (1984, amazing black bottle branded by a stylized brand mark logo "JPS"), main perfumed rendition of a luxury british Tobacco Company (Imperial Tobacco Group, founded in Nottingham)-style. Excellent vintage spicy aromatic fougère with a smoky/herbal formal vibe and several features in common with more renowned cousins a la Quorum, Pomellato Uomo, Jacopo de Jacomo, Marbert Men or Trussardi Action Uomo (and with a lesser extent Drakkar Noir). There is an aromatic on citrus/coniferous needles/lavender/herbal notes/aromatic spices-founded opening and gradually (through a spicy floral transition - geranium, carnation, cumin, pepper ??) a final woods-tobacco-oakmoss-ambergris/connection. Lavender, patchouli, probably cumin, artemisia and coniferous patterns are quite dominant throughout likewise dry woods and tobacco under my profane nose (R&G Open jump as well on mind for its fresh/aromatic/floral tobacco-rendition). Smokiness (well calibrated and just adumbrated, as supported by piquant spices and perhaps a tad of olibamum) is kind of ashy, cedary and rubbery a la Jacopo de Jacomo (which is darker, spicier and supported by resins which are in JPS even present but in a less massive way). Dry down introduces a sort of aromatic fresh tobacco-like soapiness even featured by lavender and aromatic spices (Quorum jumps definitely on mind also along this phase). Lavender is kind of dominant throughout with its super aromatic/barber-shop-vibe. The whole trip is herbal, bold and versatile (this is an everyday-fragrance). This by now "departed" creation is uncompromisingly virile and classically aromatic, definitely recommended if you are lucky enough to "exhume up" a leftover vintage bottled.
What an amazing spicy, earthy and austere big fragrance. Classic in the most gorgeous way with its elixir grand vibe a la Guerlain Mitsouko, Acampora Sballo or Clinique Aromatics Elixir (but in a manlier woodsier darker aromatic way). An hard to describe creation released back in 1984. This is a grand olfactory reminiscence of classics a la Cartier Santos, Caron Yatagan, Dunhill Blend 30, Fendi by Fendi, Aramis JHL, Aramis by Aramis, Gianfranco Ferrè for Men, Balenciaga Portos, Visconti di Modrone Tabacco d'harar (each one out of those jumping on mind for several of its earthy, leathery, spicy, woodsy, powdery or animalic features) and with a tad of the Molineux Captain' s aromatic complexity. This fragrance is the epitome of a glorious olfactory age with its vivid substance, its natural olfactive perception, with its earthy/leathery vintage vibe surrounded by an aromatic barber-shop background, with its luxurious leatherwears-atmosphere. Wooden smoky ambieces, fine scotch whiskies, old bookcases, leather sofà and massively framed "Risorgimental" pictures jump ideally on mind as crowded by their classy highly cultured bystanders. Jean Louis Trintignant is a barber-shop spicy-earthy take on the leather theme under my profane nose. There are hesperides, coniferous berries/needles, aromatics (lavender, clary sage?), sharp florals (carnation, geranium?), animalic resinous patterns and a huge amount of woods, earthy spices (possibly tobacco or hay in addition) and moss/labdanum in the blend. Final leather is stout and luxurious (with its sort of silky saltiness and the special texture) with its fine scotch whisky's twist provided by a cocktail of elements and with its vaguely furry aplomb. One of the classiest ever which I recommend to treasure and wear for super special occasions.
Blooming Bouquet is the new Miss Dior's modern musky vest and a u-turn while compared with the original Miss Dior 1947 (the great maison's approach to feminine perfumery with a bold animalic floral-aldehydic chyprè old-school creation performed by perfumers Paul Vacher, Serge Heftler Louiche and Jean Carles). While the original bigger pre-Ifra "massive" Miss Dior used to turn out green, grassy, mossy, hesperidic, sombre and assertive with its masterful sophisticated balance of diverse mossy-grassy (cistus, oakmoss, galbanum), floral-aldehydic (a complex floral bouquet mostly focused on gardenia, orris, narcissus and jasmine), ambery-animalic (amber, castoreum) and woody (vetiver in particular) elements, the new Blooming Bouquet is a far cleaner and brighter soapy-neutral peony-centered chic floral-musky accord with just a faint chyprè aura and a joyful "sparkling" musky-soapy twist. Yes, a bold, bright and soapy floral focused around fresh citrus (mostly orange), gracious rose and (most of all) starring peony (the brighter most diaphane/dreamy floral note of the nature), overall surrounded by this extremely clean and sensual white musk. The soapiness is rosey, musky and green, indeed. Yes, this juice is a blast of sophisticated "rosey" simplicity but "watery" peony is the musky star of the olfactory fatigue. Clean and with a sort of "cleansing milk or nourishing moisturizing cream like" cosmetical vibe. Blooming Bouquet is ideal for the hot weather since it seems to provide a permanent cool-dry sensual feminine aura around the (joung) wearer (it is the typical daily hostess-fragrance, clean, graceful, balmy and dry). The initial citric presence is well modulated, delicate and never intrusive or angular. I detect orange and a faint green presence while the original Miss Dior opening was yet sombre, angular, grassy, massive and aldehydic. The balance between rose and peony is simply perfect as real core of the formula while the faint fruity elements (citrus, peach?) are barely adumbrated as well as patch (just minimal and lost in a general balmy soapiness) which reinforces structure providing balance in the middle of soapy muskiness. The latter (initially bright and sparkling) provides (as connected to patchouli) a final sense of sensual musky "more shadowy" intimacy. Sillage is more the "presenceful" while longevity is medium on my skin. Recommend.
Truly an excellent fougère ozonic-marine little gem (for all the lovers of the infamous salty genre). A quite figgy dark ozonic-marine. The serenity of oceanic breeze, a fresh-warm salty/mild peppery virile embrace, definitely a sensual romantic fragrance full of western dynamism and eastern silent mystery (with a landmark japanese assertive soul) inspired by the intensity of bamboo (aqueous, silent, enchanted). Kenzo Homme features the same woodsy genes as the great Kenzo Pour Homme and a quite "juicy-fat" (in this case figgy/honeyed) marine note a la Bond n.9 Coney Island (where the seaweeds-dominant marine presence is anyway more experimentally chocolatey and gourmandish) . A quite dark deeply oceanic impenetrable aura a la Guy Laroche Horizon (my favorite among hundreds calonic-ozonics along with the great Kenzo Pour Homme). This juice shares with the great ancestor (Kenzo Pour Homme 1991, revolutionary in its capacity to combine marine patterns and dark mossy-coniferous elements with a weird spicy/nutty vaguely honeyed mildness almost tasty in its sort of yummy "edible" attractiveness for our senses) this dark impenetrable aura (vetiver, moss, sandalwood, patchouli, a tad of coniferous resins, piquant spices, rosewood) and an intense woody-salty soul but while Kenzo Pour Homme used to turn out in to something spicier, milder and almost edible (with its sort of spicy/nutty quite "edible" dustiness) Kenzo Homme remains typically marine and intensely woodsy-salty despite a soothing figgy note "civilizing" the marine saltiness and taming each angular-metallic spark. This figgy presence is (along with ozonic-marine patterns) the fragrance's hallmark and is throughout romantically waving in the air as marvellously combined with intense saltiness and woods (mostly rosewood and peppery synth akigalawood). Dry down is wonderfully intese, kind of salty-figgy and still peppery (pink peppercorn and akigalawood). Appalling mountains loom threatening over the sea, some smoke can be seen distant over there, little ships disappear sucked by fogs, where are you my disappeared angels of the youth? I'm losing myself in to such a grey-dazzling immensity.
The original 1881 is a glorious giant of the aromatic/herbal mediterranean perfumery (somber, conservative, sharp, grey-green, slightly coniferous, assertive and virile). This supposedly black flanker is just a decent spicy synthetic "conversion" of the aromatic-mineral original formula. Nothing mineral or properly aromatic in here, just something spicier (lot of black pepper) and milder (with a tad of florals, balsams and citrus), just a (partially failed) attempt to create a more urban and "sociable" version of the original (to create something kind of a darker more "night out" flanker). This version is effectively a spicy, musky and slightly soapy-ozonic take on the original one. The concept behind this formula is a vague reminiscence of the muskier (and less spicy) Bvlgari Pour Homme Soir which is a far more refined and subtle musky night time potion. There is something resinous in the blend which I hardly identify in its essence and which is particularly associated in accord with bitter orange and marzipan in order to recreate that dark-spicy "night out in the down town" atmosphere which was probably the initial (and just partially matched) aim of the olfactory performance. I don't find this juice kind of boring, just it smells effectively synth on skin in a sort of anonymous (though pleasant) way. Dry down is close to skin and discreet, finally restrained and virile. Nothing new under the sun guys.
Explorer Ultra Blue (a Mont Blanc's celebration of the intensely blue, immense and deep oceanic freshness) unfolds that infamous "blue" ozonic/marine woodsy-metallic calonic vibe which is the main characteristic of a huge amount of sporty casual fragrances (Bond N. 9 Wall Street or I love NY for the fathers, Lanvin Pour Homme, Rance 1795 Le Vainqueur, Paco Rabanne Invictus Aqua, Nautica For Men, Ralph Lauren Polo Deep Blu, Tom Ford Costa Azzurra Acqua and many many others) and consequently does not make this fragrance particularly original (though definitely pleasant, dynamic and affordable to the folks). Ultra Blue is a quite woody/hesperidic ozonic scent particularly focused on pink pepper (in huge, huge amount), synth ambergris, sporty patchouli, woods and a tad of final leather. It is a darkly marine and woodsy-herbal fragrance with a profound ambroxan-dominant dry down. There is in the air an exotic fruity vibe possibly provided by pineaple or something else (watermelon?). I detect something cool, slightly aromatic and coniferous in the aroma. The juice is deeply fresh, definitely peppery and uncompromisingly virile (on this sphere I see a common basic structure with the older and "wilder on ambroxan" brother Montblanc Explorer - basic structure which in here is less rooty/amberish and more oriented on a salty-ozonic level - although I tend to consider older gentlemanly herbal/floral creations a la Pomellato Uomo, Ferrè Pontaccio 21, Guy Laroche Horizon, Aramis New West or La Perla Grigioperla the real ancestors of nowadays such widespread easy going salty-angular potions). The salty/ozonic/metallic elements are heady and kind of tart lemony (citral, limonene). Patch and ambroxan are further key elements. All the rest is eugenol, geraniol, perhaps hedione and a few else.
Bianco di Carrara "sparklingly" shines as part of the new Ferragamo's Tuscan Creations Collection. This review is on the Eau de parfum, the scent was launched in 2019 and was performed by perfumer Alexandra Carlin. Ferragamo (a renowned italian fashion brand - with a large legacy mostly but not exclusively in the shoes production - which in March 2013 - by Salvatore Ferragamo S.p.A. - established its Ferragamo Foundation in Florence) is prevalently known in perfumery due its iconic fig-dominant woodsy creation Ferragamo Pour Homme (Jean-Pierre Mary, 1999). I have to say that Bianco di Carrara is the Pour Homme's firstborn and a fragrance (easier in structure if compared with the great Pour Homme) which reintroduces that musky-powdery white-green main accord which has been the PH's solid structure and quality. Marmo di Carrara is a floral/woody/powdery creation with a soft suedish trail and a dusty heliotropic brightness (ideally reproducing the Marmo di Carrara's ductility under the chisel 's beat "). It preserves a sort of lemony-floral opaque (well calibrated) undertone throughout across the dominant (and stable) white powder (ambery/heliotropic/woody/tonkinian). White/black pepper and heliotrope afford a sort of spacious molecular brightness cleverly expressing the central olfactory Rinascimental concept (white, precious, ductile italian marble). Juniper berries imprint a cool aromatic "coniferous" vibe. The chosen florals (violet leaves and iris) are the best solution in order to color and "embellish" the woodsy/amberish powder by leafy-floral elements (in here perfectly merged with powder - cashmere wood and a touch of oudh). The ambrette seeds-presence provides the elements with a warm and sensual embrace perfectly joined with a certain woody/spicy powdery dry freshness. A touch of soft leather (reminiscence of the notorious Ferragamo shoes-leather) complete the balance with a whiff of class. Marmo di Carrara really smells quite close to the original and muskier Ferragamo Pour Homme (which is spicier, more aromatic, more properly virile and more focused on woods - powdery vetiver in particular - while Marmo di Carrara replaces the PH's landmark fig leaves-note with heliotrope, smelling finally more amberish-tonkinian and slightly less floral and "airy"). Perfectly unisex this is a versatile fragrance with a quite good durability and an average sillage.
Bianco di Carrara "sparklingly" shines as part of the new Ferragamo's Tuscan Creations Collection. The scent was launched in 2019 and was performed by perfumer Alexandra Carlin. Ferragamo (a renowned italian fashion brand - with a large legacy mostly but not exclusively in the shoes production - which in March 2013 - by Salvatore Ferragamo S.p.A. - established its Ferragamo Foundation in Florence) is prevalently known in perfumery due its iconic fig-dominant woodsy creation Ferragamo Pour Homme (Jean-Pierre Mary, 1999). I have to say that Bianco di Carrara is the Pour Homme's firstborn and a fragrance (easier in structure if compared with the great Pour Homme) which reintroduces that musky-powdery white-green main accord which has been the PH's solid structure and quality. Marmo di Carrara is a floral/woody/powdery creation with a soft suedish trail and a dusty heliotropic brightness (ideally reproducing the Marmo di Carrara's ductility under the chisel 's beat "). It preserves a sort of lemony-floral opaque (well calibrated) undertone throughout across the dominant (and stable) white powder (ambery/heliotropic/woody/tonkinian). White pepper and heliotrope afford a sort of spacious molecular brightness cleverly expressing the central olfactory Rinascimental concept (white, precious, ductile italian marble). The chosen florals (violet leaves and iris) are the best solution in order to color and "embellish" the woodsy/amberish powder by leafy-floral elements (in here perfectly merged with powder). The ambrette seeds-presence provides the elements with a warm and sensual embrace perfectly joined with a certain woody/spicy powdery dry freshness. A touch of soft leather (reminiscence of the notorious Ferragamo shoes-leather) complete the balance with a whiff of class. Marmo di Carrara really smells quite close to the original and muskier Ferragamo Pour Homme (which is spicier, more aromatic, more properly virile and more focused on woods - powdery vetiver in particular - while Marmo di Carrara replaces the PH's landmark fig leaves-note with heliotrope, smelling finally more amberish-tonkinian and slightly less floral and "airy"). Perfectly unisex this is a versatile fragrance with a quite good durability and an average sillage.
A fine man-classic from the Grès maison. Madame Grès, born in Paris at the beginning of the 20th century, initially was trained as a sculptor but soon became famous as a fashion designer synonym for elegance and class, creating garments for aristocracy. The first (and probably most iconic) fragrance of the Grès house was the great Cabochard (1958) performed by the genius Bernard Chant (Aramis, Aromatics Elixir, Jhl, to quote several). Cabotine, Homme de Grès and Monsieur utterly enhanced the olfactive fame of the maison. After an adventurous life (often out of France, far away in to far lands) she decided to sell the fragrance-section of the house in order to dedicate herself mostly on fashion. Today Parfums Grès is based in Switzerland. To me Monsieur is mostly an aromatic masculine amber tonkinian-fragrance. It opens citric and vaguely minty with a sort of salty-resinous twist, jumping up from the background. Carnation is soon evident on the floral path while cinnamon becomes gradually powerful, perfectly linked to amber, tonka bean and oakmoss. Tonka bean is well calibrated (especially considering the amber-presence) and never too sultry or cloying. Dry down is drier, warm and cozy (powdery but never in a stuffy way). A super refined piece of mossy ambery masculine a la Ungaro Pour L'Homme II (but less bombastic/animalic and more fine), full of class and discretion. Unfortunately hard to find nowadays I recommend it to lovers of vintages willing to revive by perfumes left back golden ages of class and optimistic refinement.
Vetiver de Java is one of the most commercially appreciated "perfumes/bath foams" in the Perlier's range of items. Perlier is an italian cosmetic brand mostly known around for its everywhere retailed shower foams (Vetiver de Java, Sandalo del Kashmir, Muschio Bianco d'Oriente etc). Perlier Vetiver de Java is a citric/aromatic vetiver in which a dominant role (beyond this landmark aromatic vetiver - not rooty and almost musky) is played by bergamot and the star anice imo. Bergamot provides a quite lemony/exotic invigorating vibe standing out throughout along the way while verbena and possibly a tad of mint arouse a sort of cool/boisé twist. Star anise is an invigorating spicy resource as connected to green patterns and bergamot. Its seems to detect a sort of more than vague boisé/coniferous/woody twist a la Pino Silvestre somewhere as well. Fava tonka and star anise imprint a kind of even more exotic aura (mild, slightly soapy and taming the citric acidity) all around. Quite good for sultry climates. Dry down is discreet and green with a tad of balminness.
Finally I can delight my skin with this giant of our glorious disappeared perfumery (due to the unparalleled generousness of my great buddy, Basenoter master of vintage gems, the Doctor Monsieur Montana, fine taste, abysmal olfactory knowledge, class and unmistakable european expertise). This review is for a premium vintage formula, namely something austere, heavy, assertive and complex with its "pre - IFRA standards" dose of oakmoss, ambergris and labdanum. A perfume which casts a whole epoch. Blend 30 is a pillar of the awe-inspiring olfactory classicism, a fantastically austere leather-chypré (with aromatic fougère elements - lavender, clary sage, etc) with its leather/labdanum/tobacco-perfect spicy harmony. One of the closest things to Valentino Vendetta Pour Homme (spicier) and Halston Z-14 (few years earlier in its issue) and probably the real Valentino Vendetta PH/Hermès Bel Ami's precursor and inspirer. Massive precious fornitures, luxurious wooden interiors, old books, expensive oriental tapestries, wet-bars, golden frames-pictures, leather-sofà, the finest scotch whisky, aromatic tobacco in the air and succulents plants are there in my mind in order to evoke the aroma of the golden times of my shiny childhood with my departed classy all around esteemed dad and his refined perfectly tailored friends. At that time the interiors of several houses were completely different than nowadays, exuding opulence and exhibiting precious raw materials (on fornitures and utilities) as symbol of opulence and social recognition (things which, despite I'm conceptually far from, I tend to prefer over the donkey exhibitionist daily vulgarity and kitsch uncultured ostentation). Here we have an amazing sort of more complex and manly/aromatic Hermès Bel Ami with several powerhouse aromatic nuances (Puig Quorum, Valentino Vendetta Pour Homme, Jaguar for men, Versace L'homme - wait the deep dry down for it - Patou Pour Homme, Dior Jules, Balenciaga Ho Hang just to quote several), rooty greenness (earthy/tobacco nuanced a la RL Polo) and a "seasoned" smokey-leathery-woody decadent "gentlemen's club" vibe a la Hdp 1740 Marquis de Sade (possibly Blend 30 has stood as source of inspiration for the inception of several more contemporary leather-chypré a la Hdp 1740, Gucci Guilty Absolute, Puredistance M, Santa Maria Novella Nostalgia or Clive Christian C for men). The nose behind this Dunhill's masterpiece is the olfactory wizard Ron Winnegrad (Lagerfeld classic, Bogart Furyo, Leonard PH), a genius (likewise Bernard Chant, another favorite of mine) of classic assertive/manly/classy perfumery and alchemies. The leather-vibe is finally extreme on my skin and rarely I've experienced such a perfect vintage leather's rendition (the great Aramis jumps obviously on mind as well for such a veritable leather's interpretation, a stout, finely processed boots-leather type of leather with furry nuances). Sour cherry (as combined with leather, palisander and ambergris) provides a luxurious super silky final leather-twist quite manly (moss/ambergris) but finally soothed by tonka bean, musks and perhaps hints of balsams. Woods, tobacco, hesperides, labdanum, dusty spices (peppery and mild as cloves), woodsy resins, hints of olibanum, aromatics, smoke and leather are immediately evident on the top. A real "tripudio" of high quality raw materials. This initial wonderfully retrò stage is compelling, quite austere (almost liturgical), aromatic (lavender, clary sage, rosemary), smoky, peppery, dusty, earthy and woodsy. It seems to detect castoreum as well, a damp sort of forest substrate, something smoked/rooty and a lot of indescribable luxurious objects, ambiences (full of woods and leather) and leatherwears (on this sphere I associate Blend 30 a lot to the spicier vintage Fendi Uomo, another luxurious leatherwears- conjuring perfume totem). There is a dominant not listed leather-tobacco dry accord as a backbone of the mossy olfactory fatigue. Aramis and Pascal Morabito vintage Or Black jump significantly on mind but most of all Quorum apparently (ideally) waves under my nose with its dominant leather-tobacco-amber-moss/connection with moss and hints of honeyed chyprè powder (which are in Blend 30 just adumbrated and stronger in vintage Quorum). I don't catch the cumin-fat initial dissonance (Aramis, Quorum) but mostly a rugged leather-tobacco/accord, peppery spices, liturgical resins (probably a sort of green/smoky olibanum like-smelling pine's resins more than olibanum itself), aromatics and smoky woods. In particular this combination of labdanum, coniferous resins, rosemary and leather produces a sort of smoky frankincense simil vibe (with a mountain like mossy-aromatic "ambience") under my profane nose. Neroli enhances the aromatic twist providing a touch of "color" in the mist while rosemary pairs galbanum (possibly hints of it), labdanum, pine resins and oakmoss in the creation of a woodsy/coniferous mountain-aura. Dry leafy floral elements (mostly bitter/leafy carnation under my vulgar nose) jump up from the core and keep on their moderate influence (dry and earthy) for a couple of hours before leather, oakmoss and woods keep hampering the single elements-perception by enveloping all the notes with a more linear dark/leathery Aramis/Bel Ami-like brown connective matle (powerfully leathery, rich on tobacco but still slightly floral, green, spicy and mossy in perception). Dry down (definitely mossy and tobacco-nuanced) is a bright reminiscence of vintage Polo (but also Quorum jumps significantly on mind), Hermès Bel Ami, Valentino Vendetta PH and the Pascal Morabito Or Black's old formula (less musky-green and darker than the following excellent 2014 muskier rendition) while the Aramis-fantasm is still there with its stout leather/sandalwood basis. This amazing final stage is the olfactory equivalent of a luxurious old leather-boutique in Rome or Paris. While vintage Or Black is finally focused on a sort of dark petroleous rubbery leather's stamp Blend 30 is more "seasoned", vintage in vibe, woodsy (woody/mossy) and tobacco-nuanced. Wearing this juice has been an emotional jump back in to a glorious disappeared past for me, a past with all the wellness of the opulent italian 80's, the sweetness of my disappeared affections and the childlike enthusiasm for the world/life's daily emotional discovery. This is exotic, ideally exotic as my sweetest memories, the book of brilliant things. A wonderful gem which I definitely recommend to retrieve up anywhere possible to all the lovers of such a cultured disappeared "furry" genre.
A spray on skin and it seems for a while to smell a sort of earthier L'Artisan Parfumeur Mure et Musc (as ideally combined with something fruity-silvan-resinous a la The Vagabond Prince Enchanted Forest). Unisex but basically leaning towards the masculine side of the spectrum. Sage provides a sort of earthy aromatic twist. It seems to detect something fizzy/acid as lime (providing a touch of exoticism), blackberries, coniferous resins and musk. Red fruits are the star of the olfactory affair along with musk and cypress. I don't get in particular rose but there is a floral sophisticated twist exuding out. Granada Salvia is all about pomegranate, blackcurrant, cypress resins and musk. There is a sort of red fruity fizziness in the air and a touch of earthy/coniferous virility. Dry down is warmer and erotic with a sort of bath-shower sporty (vaguely salty-organic and sweaty but synth in perception) musky vibe a la Chopard Heaven.
Despite its final prominent synth peppery-cedary (and vaguely "gassy-leathery" a la Fan di Fendi Pour Homme) chemical woodiness (which is typical of dozens recent or relatively recent releases) I have to say to moderately appreciate this well combined Gentleman's "nutty-chocolatey-woody" night-time flanker focused on yummy patchouly (nothing rooty or earthy in here but a musky-cocoa centered oriental bombastic modern sweetish patch), seasoned woods, chocolatey semi-gourmand tones and soothing iris. Definitely a dark combination of notes aiming to perform in to glamour-chic urban dark territory. A night time fragrance imo, far better suited for social down town after sunset events or romantic dinners. Manly (in a way partially conjuring Paco Rabanne Xs) and modern. Smooth (vaguely powdery, kind of slightly rubbery) iris and musk provide a general musky floral aura counteracting the angular lingering vibe provided by woods, leafy geranium and spicy (not listed but slightly present imo) leather. In this case synth boisé scents a la Montale Aoud Musk, Les Liquides Imaginaires Fortis, Nasomatto Black Afgano and Duro, Tiziana Terenzi Laudano Nero, Marc de la Morandiere Kozmic Oud, Bruno Acampora Nero, Carner Barcelona Cuirs, Orto Parisi Boccanera etc. jump more or less on mind with their intense musky woodiness and a part of their spicy/woodsy characteristics - in particular the final musky-oriental sandalwood's tone - (at same time as ideally related to brand new chocolatey/musky creations a la Valentino Uomo, D&G The One edp or Ferragamo Uomo Signature). Connections with the new 2017 Gentleman's formula jump as well on mind in particular if we imagine the basic structure of the new Gentleman 2017 and replace the freshness provided by citrus, fruits and lavender with a darker musky/nutty-chocolatey/boisé spicier "olfactory basement" (overall with a subdued leather's presence). Lingering on the notes evolution itself the top notes are definitely fresh and spicy under my nose due to this combination of leafy geranium, coriander and pepper. This introduction does not depart energically from the Gentleman 2017's top stage (which is just fresher, more aromatic and probably fruitier). Iris and cocoa (in their stout semi-oriental soothing/darkening/sweetening connection supported by this musky patchouli) by soon encompass the fresher top notes (heating those up) and lead the aroma down towards a darker more sweetish/semi-gourmand/oriental affair (quite woody but mellow, moderately sweet, chocolatey/nutty, barely ambery and musky). Along the way the woody-boisé spirit of the juice comes up along the development's long tale and this more angular synth sandalwood's tone emerges with its touch of intense (almost salty/burnt, vaguely pencil-shaving, barely leathery and definitely intense) harsh woodiness (the synthetic part which I less appreciate). This new Olivier Cresp/Nathalie Lorson's flanker is closer to the Eau de Parfum Gentleman's 2018 formula than to the 2017 new edt remake but while the 2018 Edp deflects finally towards a softer still musky but more vanillic field (tolu balsam and vanilla) the boisé more recent formula is more focused on woods and bitter cocoa (more restrained and finally less balmy) in to a more properly "harsher" virile way. Well made but too much woody for my full pleasure. Recommended to all those urban wolves of the metropolitan night with a decadent romantic intimate soul but all at once with a "disposable" social "dodgy clubs roaming for-oriented" damn chic attitude.
Hermès H24 is a well appointed laundry fresh new generation techno-futuristic floral-fougère labo-fragrance dotted with herbal, hesperidic, metallic, rooty, mineral, musky, "pharmaceutical", green, ozonic and earthy elements. Natural (or better....synthetically reproducing the smell of floral or herbal elements of mother nature) and synthetic elements (in particular reproducing the olfactory atmosphere of specific indoors ambiences) coexist in its innovative/sustainable formula, apparently minimalistic but far more complex than actually out appearing. Dior Sauvage edt (mostly), Dior Homme 2020 and Terre d'Hermes jump immediately on mind (just for several of their characteristics) but I detect along the way a sort of Andrea Maack's medicinal-hyperbaric-aldehydic vibe as well. In addition to this H24 preserves a sort of subtle classic spark (earthy/rooty/bitter/herbal/leafy) conjuring me up a bunch of facets of several vintage creations a la Acampora Sballo or neo classic more contemporary ones a la Téo Cabanel Oha or (with all the proportions) Floris Royal Arms Diamond Edition. A weird tea-like musky vibe (being tea not a listed note) calls on mind as well creations a la Bvlgari Pour Homme or several Roger&Gallet's based on a tea-founded accord while its medicinal/mineral spark conjures me vaguely several apothecarian Comme des Garcon's performances (white, hyperbaric, metallic, "neutral"). H24 is subtle, sophisticated and minimalistic in aesthetics despite its technical synth complexity. Dior Sauvage "is there" but in here the affair is less wild-amberish-virile and more properly subtle, urban and floral. Elegant, versatile and fresh is the general approach. This city-juice is appropriate for sultry climates imo. I see a contemporary metropolitan tall man, well tailored in its anatomical silky tight suit. The floral presence is notable. Narcissus in particular is quite catalizing and kind of obsessive in its energical pungent pulsations. The juice opens with the vegetal and aromatic note of clary sage (grassy and vaguely amberish), immediately supported by a powerful floral presence (jasmine as well?), the dominant rosewood (the bitter-woody core of the formula) and the final "electric" synth note of sclarene, assertedly a synth molecule conjuring the aroma of warm vapour (inside a laundry room) exhaling from the washed clothes while being pressed by steamy irons. Narcissus, while interacting with rosewood, grass and spices, elicits a sort of bitter-leafy/fizzy/earthy spark kind of vaguely peppery under my profane nose. I detect hints of salty-ozonics as well, salty patterns (hints of vetiver too?) providing a modern ghostly sense of virile saltiness (the connection between ozonic saltiness, musky woodiness, peppery spiciness and aromatics conjures me more than vaguely the core of Bottega Verde Nero d'Ambra). H24 conceptually represents the immage of the new millennium man according with Hermès. This man is a product of the high-tech smart cities, he smells vaguely citric-metallic and seduces with his adherent geometric outfit. A more than good "molecular" debut for the Hermès maître-parfumeur Christine Nagel.
Super sophisticated Jeroboam's soapy-musky-floral accord a la Narciso Rodriguez for Her or Elie Saab Le Parfum but (less lipstick in tyle and) with a more classic undertone provided by reduced vanilla and a more "complicated" chyprè ambery-woody-floral basic connection a la Givenchy Organza (and provided perhaps by a tad of civet or something rotten a la Parfums d'Empire Musc Tonkin, something which I detect along the musky-floral dry down). Tart bergamot is initially heady (just faintly couteracted by bright milder/bitter green almond) in its medicinal twist connected with floral patterns, bitter leafiness and musk a la classic Dolce & Gabbana for her. I perceive as well a dry leafy/citric floral initial tartness a la Dior J'adore top stage quite sensual, organic and "sweaty". Honestly I don't catch tuberose while gardenia (leafy/green and languid) is definitely the main floral affair under my profane notes. Orange blossoms are apparent and another significant olfactory "topic" of the whole olfactive alchemy. Muskiness is still there as the main theme but it is less pinky/silky than in the less floral Narciso Rodriguez For her and more grey, mossy, animalic and earthy-spicy. Moody and languid this creation is nostalgic and visceral at same time. The violet leave's presence enhances the moody/shady (leafy/green/bitter-floral) temperament of the fragrance. Dry down is intensely floral and vaguely tropical a la Zoologist Hummingbird. Elusive and erotic is the Boha's type of woman (yes a sophisticated ukrainian middle age indipendent woman running errands along the big Khreschatyk). This juice is pretty sexy and attractive on my skin but at same time something rejecting and sinister axhales by its musky accords (despite the "colour" provided by the intensely floral presence). Shady and impossible is the Boha's type of woman with her measured, unhurried pace, unknown is her life, witchy her cut eyes in the dark rooms of the dodgy club privè.