Reviews by Darvant

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.

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Another version of the great mediterranean italian pearl Cerruti 1881 (the perfume of the water that flows out from the high rocks). This Silver flanker is equally green and aromatic but darker and easier (more minimalistic) in structure (namely more urban and subtle). In particular in order to celebrate the 30th anniversary of the iconic fragrance 1881 the House of Cerruti has launched this new interpretation of the notorious mediterranean super dry fragrance (green, rocky, mineral, mossy). The top Silver's notes feature an harmonic accord of basil, grass and ginger (quite zesty, aromatic and peppery, the grassy/herbal link with the classic 1881). The central stage introduce gradually a brighter floral core represented by airy/mild lavender, exotic/chic ylang-ylang and dry geranium (super virile and restrained) while gradually the juice unfolds a dry/dark base which is mastered by sensual amberwood, patch and oakmoss. In its complex the fragrance is modern, urban and dry, milder, muskier and less woodsy-mineral when compared with the classic 1881, quite virile and casual (dynamic but in a classy way). Ideal for the warmer mediterranean seasons.

Fresh, immensely virile, exotic. Perfect for sultry climate yet tempered weather. A fragrance with its own marked temperament, something at same time gentlemanly and dandy, in a nutshell a temperamental piece of olfactory craftsmanship by the master perfumer François Demachy. The former declares that on this creation,
by which he wished to highlight the authenticity of the ingredients, he aimed to create a rounder version of the legendary Eau Sauvage cologne, quite close to the original signature but with a brand new reinforced strenght and warmth. Demachy conjoins in here two olfactory ages (and two olfactive genres) by creating a loyal perfum version which, yet preserving the citric watery virile (vaguely wild) spirit of the vintage (mostly focused on fizzy lemon and airy lavender), finally adds depth and intensity by the super resinous note of elemi (combined with ambergris, musk and tonka bean), providing warmth and semi-oriental roundness. Haitian vetiver (fresh and earthy, with its "breath of freedom") represents the core and the soul of the olfactory fatigue, a dreamy exotic musky vetiver (with all its charge of "far lands" charme and virility) perfectly linked with citrus, labdanum and resins. Elemi essential oil is in here another absolute protagonist (perfectly linked with vetiver, another complex affair) with its complex aroma of lemon, green notes, piquant spices and something resinous conjuring more than vaguely the note of frankincense (as ideally combined with something balsamic and woody). A tad of spices (mostly cinnamon), green patterns and aromatics complete the supreme balance of this deep, masculine, earthy/rooty, fresh/warm piece of exotic virility. Due to this association between citric top notes, cinnamon and resinous heavier basic elements with a citric vibe I tend to mentally associate this Dior-Parfum to the more floral vintage D&G Pour Homme (green/spicy citric top and a deeper dry down with depth - provided by tonka bean and tobacco - and a citric tone). The spicier Miller Harris Vetiver Insolent (with its resinous haitian vetiver) is another fragrance jumping on mind. Excellent longevity, with moderate sillage. A all year around fragrance, super classy and versatile. Rarely I've received more compliments by wearing a perfume.

Over the sublime vintage "massively chyprè" Chloè Narcisse (1992), the soapy rosey Chloè Eau de parfum intense (2009), the mossy green (powerful on galbanum) Eau de Fleurs Capucine (2010) and the less interesting rosey-citric L' Eau de Chloè (2012) here we have another hyper feminine creation from the "ethereal" french house. Nomade, with its "gypsy" name, is a fruity-floral chyprè with a mossy soul and a fresh, radiant, joyful note of freesia (A feminine note? What else?). The latter provides a crisp, green-leafy, kind of botanical, spacious and vaguely "aquatic" sparkling vibe to the whole composition which is in its complex more than temperamental and "presenceful". There is no doubt that mirabelle plum characterizes significantly the creation with its mild exotic carnal taste of red fruit, strawberries and partially mamao papaya. There is a sort of medicinal spark throughout which is never overbearing anyway. Freesia projects a vaguely citric, dry, fizzy spark all around while mirabelle plum softens and balances the general floral tartness. Perfect scent for a sultry tropical weather. The aroma is never overly synthetic under my vulgar nose. The general experiece is more than pleasant and the fragrance could be perfect for a modern dynamic young woman with her own projects and dreams.

After the olfactive disappointment Wolfsbane here for me a great wow factor from Perfums Quartana on its fruity/floral/spicy/musky Venetian Bella Donna. Dark and "poisonous" I have no words to describe beauty and the mystery of this witchy potion smelling in a first stage like a gorgeous niche mixture of Laura Biagiotti vintage Venezia (in common plums, blackcurrant, amber, iris, ylang-ylang, sandalwood, spices and further) and Tom Ford Black Orchid eau de toilette, overall in a more vivid and palatin form gradually evolving towards a soapier honeyed-chyprè in style with a classic dark spicy-musky-woody-furry touch. Further creations jumping on mind are vintage D&G for her (on the airy/aldehydic opening, the complex floral transition and the focused on musk and sandalwood dry down), Shiseido Fèminité du Bois (on its articulated gorgeous fruity-floral mélange) and Il Profvmo Black Dianthus (black dianthus, belladonna, spices, roots, vetiver) which is equally dark and mysterious but with no fruits in the blend. The infamous Atropa Belladonna (deadly nightshade) is a perennial toxic plant with thin branches. Atropa Belladonna has always been a sort of gothy apothecarian secret ingredient with a significant presence in medicine, perfume, cosmetics, and sinny recipes (witches, medieval rituals, poisonous potions etc) for over a millennium. The Belladonna touch is kind of rooty bitter and leafy with a sort of laurel-undertone. Quartana Venetian Belladonna opens with a plummy/boozy vaguely aldehydic yummy-spicy-musky blast (powerful on violets and plums). This stage is highly spicy, vaguely powdery/leafy (iris, violet, belladonna) and fruity with a minimally perceivable twist of booziness, honey/beeswax and a musky floral blooming up bouquet. Gradually the floral beat becomes more and more presenceful and redolent, even more subtle, dark, musky-lipstick and sophisticated. Dry down is a classically gorgeous "madame for" evoluzion of sandalwood, amber, musk/labdanum, leather and spices a la Van cleef & Arpels, Patou or Fendi. The final wake is simply stunning and a sort of grandeur in perfumery revival. Thumbs up.

Rogue Champs Lunaíres is a tuberose-centered light musky accord with a quite central milky coconutty presence gradually lightened (in its initial stage) by a exotic fresh touch of citric pomelo. The latter provides citric (barely "minty") freshness and a vague apple-aroma with a tad of something tropical (perfectly enhanced in effects by coconut and white musk). The aroma, especially in this phase, is definitely modern, dreamy, joyful and summery (with a sort of coconutty tanning foam-effect in the top and central stage). I agree on that we are not dealing with a massive and glorious "madame style" chyprè tuberose a la Ungaro Diva nor with an aristocratic refined tuberose a la Annick Goutal Tubereuse or with a more modern "carnal" one a la Frederic Malle Carnal Flower (nor with sinny-poisonous floral potions a la Serge Lutense Tubereuse Criminelle which is dark, camphoraceous, rotten, narcotic). The musky tuberose (never particularly indolic) is in here well calibrated and never "relentlessy obsessive" a la Acampora Blu (a bomb, one of the most obsessive tuberose in perfumery). The musky presence is in here not particularly animalistic or feline a la Parfum d'Empire Musc Tonkin or dozens deer-musks or stuffs like those (since in here the muskiness is lighter and airier with a soapier milky cool aura and the right dose of final dustiness/woodiness). Along the way the aroma gradually darkens down (with a more "intimate" vaguely addled warmer vibe) but the feeling is still light and comforting (just a tad woodier or dustier and more structured). Frankly I don't catch the rose, probably lost in the central coconutty soapiness. Dry down is far more restrained and the muskiness gradually unfolds a tad of well calibrated dusty/camphoraceous "roughness" which finally guides the juice towards the unisex fields. I recommend this fragrance to all the lovers of light lovable wearable muskiness with the right (never out of the royalties) dose of "presence".

Super sharp metallic smoky piquancy. Another "chiaroscuro" musky Urban Scent-creation with a "fluidy" metropolitan damp aura, urban algebraic solitude, Spartan geometric elegance, echoes of silence and minimalism in a wide shady Berlin's flat. In between strikes for its quite peppery-humid-rooty opening reminiscent of a sort of wild/damp vaguely agricole and darker Cartier Declaration (which is soapier, more refined and nuanced) with several Chanel Bleu's dry blue/floral olfactive conjurations. Artemisia and coriander (quite strong and piquant) reinforce the general aromatic/aqueous piquancy which smells along the way more and more virile and moody. Jasmine is just a gentle botanic gleam in the deep-blue general darkness. There is a slightly camphoraceous (or kind of) spark in the air, something wet and vaguely earthy/mineral. This quite virile/musky dry down is somewhat cedary, super sharp, "oxidized" and finally smoky/sulphureous a la Nu_be Sulphur with hints of the classic super-dry "deep blue" Pomellato Uomo. This "conceptual" juice exudes a sort of final "muffled" sense of mental isolation and metropolitan silence (a la Andrea Maack Dark, with a similar minimalistic slightly medicinal aura), an introspective soul-ambience, echoes of heart-beats in the isolation of a hyperbaric chamber.

A simply "liquefying" twist of olfactory synthetic diablery, a dark/purple "velvet-underground" pornographic fruity/musky sleight of hand and a new must have for all the spectres of the metropolitan night. A Tokyo-enigma with a black mantle and fluorescent eyes, velvet, silk, blue/violet lights, mystical candles, soporific danger. This juice is erotic, manly (with its spicy-hesperidic, grapefruit/apple-oriented, vaguely smoky Aventusesque opening), psychedelic and dandy, kaleidoscopic flashes in the darkest underground-night. Vespero smells like a new millennium narcotic potion waving in the air through the darkest hoods and metropolitan ravines of a gigantic asian megalopolis, you hand in hand with a crazy unknown "possessed" young blue-hair techno-witch ready to escort you down in the depths towards the vortex of saturnine perdition. Despite its pop-deep soul this juice is anyway surprisingly classy and measured, something silky and enigmatic like a refined elusive phantom of a dodgy unmentionable super chic club. Vespero opens (like a new age virile candied cherry-oriented sort of Joop Homme but with a darker and darker growing up denser musky aura) with a juicy-suedish-hesperidic connection of grapefruit, hesperides, soft leather, saffron/cinnamon, raspberries, juicy apple, sambac jasmine and God knows what else in order to morph down towards a wave of pure narcotic-suedish cedary silkiness impossible to describe but definitely cashmeran/aromachemicals-oriented, super musky, woody (mostly soapy cedarwood and dark patchouli), silky and hypnotic. Nothing smelling natural in here, just an aromachemicals-oriented dark-club potion well appointed and super captivating. The hesperidic/citric vaguely smoky opening provides a peppery/manly welcome soon enveloped by a warming up cloud of musky cashmeran and soapiness. The note of leather is quite soft and vaguely soapy/resinous/lipstick (due to the use of myrrh or hints of tolu balsam?). The general aura is new-age, super refined, "reserved", virile, profound and phantasmagorical. I recommend this creation to all those brave urban phantoms engaged with a neverending battle against the perturbing risks of her majesty Madame Night. "Il naufragar m'è dolce in questo mare".

A wonderful old-school in style aromatic tobacco with a classy virile aura and a fresh "toiletries-like" impact. La Habana is a really classy neo-classic "vintage in inspiration" creation from the talented performer Sileno Cheloni. Aqua Flor is a florentine house of artistic perfumes based in Florence and located in a historic Renaissance palace in the district of Santa Croce. Aqua Flor is also a workshop which offers to visitors and passionates special olfactory tours and olfactive sensorial journeys (and the possibility to commission the creation of your bespoke fragrance according with your personal wishes). La Habana smells like an old traditional barber-shop located in the historical district of the Zocalo in Mexico City or in some elegant neighborhoods of the old Buenos Aires. This fragrance is all about a "cigars-smoking" latin american gentleman white-linen suited and with aromatized moustache. The note of lavender is by soon heady and perfectly combined with subtle green notes and soft hesperides. The general initial vibe is woodsy, aromatic-fougère (with mossy traits) and somewhat cologney. The note of lavender is throughout present with its cool green-floral touch of manneristic barber-shop classicism. I suppose hints of neroli could be included in the blend. The gradually growing up and soon dominant note of tobacco is anyway (not properly ashy or particularly smoky but) freshly leafy, hesperidic, "perfumed" and aromatic (with soft angular masculine traits, some woodsy muskiness and gentle ambery/woody undertones). Along the way the combination of amber, woods and musks provides a denser virile aura which is anyway quite balanced and finally kind of restrained. The overall effect is at same time soapy/aromatic and virile (with rougher traits never out of the schemes), an impeccable gentleman's creation for the lovers of tradition and measure.

I tend to crave for such simple fresh/warm restrained virile creations (especially for these italian olfactory interpretations and representations of a well tailored impeccable refined no frills man). Inside Man is one of the better appointed Trussardi's fragrances (and more in general virile "neo-classic" assertive creations) after the unmatchable vintage Trussardi Uomo (the King). Great review from Colin Maillard and the other guys which have framed out the olfactory focus of this green coffee/woods/tobacco-accord initially heralded by a blast of invigorating green (basil) citrus (flanked by sharp-leafy florals and freshly dry woods) and finally rounded up by hints of soothing musk and leather. The note of coffee is dry (yes roasted coffee beans), freshly metallic and vaguely licoricey (bitter, angular and toasted) while the note of tobacco is kind of cigar-like, smoky/earthy, fresh (well assembled with citric yuzu and greens) and sharp. Leather is a background-note (a leather-vibe accessorial to a central coffee/tobacco) while the teak-base provides a quite "toasted" dry/virile undertone (actually the teak's aroma is one of the "woodiest woodsy smell" with its exotic luxury forniture-aroma with virile nuances of earth, leather and seasoned wood). All the elements are finally perfectly positioned (yes tightly connected in a multi-faceted sharp olfactory texture) and blended in a sharply classy virile accord uncompromisingly manly and elegant. Absolutely recommended.

Rogue Chyprè Siam by Manuel Cross reinterprets in a contemporary neo-classic semi-oriental suedish vest (a la Bogue Maai which smells finally richer and dirtier on my skin) a vintage stuffy/floral chyprè formula (in particular in here inspired by vintage Chyprè de Coty and more than vaguely recolling to mind several Guerlain Mitsuko's nuances especially along the more restrained drydown) with all its rich legacy of hesperides, aldehydes, green elements, redolent floral notes (with their tad of pollen-like waxiness) and massive oakmoss/labdanum as a base. Lingering inside his house-garden (while picking up some vegetables for the dinner) and perceiving in the air the smell of kaffir lime leaves (which he was picking up for the recipe of a spicy dish) and jasmine blossoms (both kaffir lime and jasmine "commingled" in the air) Cross started to "ideally feel in the air" the aroma of Chyprè de Coty (the epitome of the genre's olfactory prerogatives). At that point he started its neo-classic olfactory chyprè project disclosing five long years later this powerful animalic/aldehydic somewhat honeyed/aromatic chyprè (a new age "chypre experience" able to make us nowadays to revive a "vintage" experience from a far past) by using in part southeast asian materials as kaffir lime, holy basil, lemongrass -jasmine, ylang-ylang (with their tropical twist) etc. The fragrance itself opens with a green wave of rich aromatic basil and the hesperidic fizziness of kaffir lime which are followed by a central redolent and visceral (kind of animalic) jasmine absolute. This central floral stage, as a prelude for a following mossy darker base, is featured by a supporting note of exotic ylang-ylang which surges up quickly in order to create (along with jasmine) a sort of relentless vivid floral heart as a transition towards a dirty/animalic (civet?) mossy base (oakmoss/labdanum finally soothed by a tad of spicy oriental benzoin veined by soft suedish nuances). Along the olfactory transition dry down smells gradually drier and more "mature" (less indoolic/agricole and finally more "western") namely less bucolic and more restrained with a rich spectrum of variegate angular nuances (a chypre blend with a powdery/retrò vibe and a velvety mossy texture). This final part reveals the wisdom and expertise of the american performer which is endly able to appoint a sort of modern mature old-school chyprè well balanced and perfectly calibrated (with all the natural indolic elements gradually retroceding in "richness" in order to take the fair balanced position in the wide olfactory spectrum). Perfectly in line with the other Cross-creations and absolutely natural in olfactive perception this fragrance is another winner from the house. Thumbs up.

"All'ombra dei cipressi e dentro l'urne....". Definitely a Christopher Sheldrake's masterwork of funereal perfume-mastery. I've often believed that most part of the Serge Luten's creations are above all effluvia evocative of natural or mental ambiences and scenarios than properly accomplished and structured works of perfume-artistry (and this has not necessarily to be intended in a negative sense, Serge Noir is for instance an absolute favorite of mine and one of the most evocative perfumes I've experieced - on my mind evocative of a translucent sinister dawn inside a old phantasmagorical stuffy parisian attic-). De profundis, another Serge Luten's "non-scent", which is anyway more structured than how one could imagine, is an utterly evocative work of "moody" art. A chrysanthemum-based averagely-resinous mouldy fragrance and one of the most assertive scents I know in perfumery (hard to be discerned in its dozens of immediately emerging - wet, stoney, mineral, woodsy, floral/leafy - facets). Sinister and supremely leafy/damp, a perfect cocktail of dry lymphatic floral notes (mostly violet leaves, hyacinth, carnation and chrysanthemum, green, cold, leafy, humid and earthy), mineral patterns, lythurgical resins and faint spices. Moody and chilling in its sinister sense of crawling moodiness and melacholia. I find points of "evocative" ambiental conjunction with the darker and smokier Durbano Black Tourmaline (which is anyway a quite different olfactory "stoney" experience). By smelling this scent you can easily figure on mind the silent atmosphere of a stoney graveyard surrounded by cypresses and ferns and studded by cold marble statues and monumental structures during a grey and gloomy irish winter afternoon. I detect the fresh soil vibe which is probably afforded by a implementation of woody resins as combined with mineral patterns and hints of rubber. The juice seems introducing a sort of circular round-shaped construction with faint evolution and the sudden blossoming of the most part of the diverse elements (immediately apparent and producing their olfactive peculiarity till the end of the trip as a part of an orchestra). Frankincense is perfectly calibrated with the rest of the notes in order to provide the "rounding up olfactory aura" without hampering the general dry/leafy (vaguely lymphatic)/boisé atmosphere. The final effect is weirdly silent and assertive, the olfactive equivalent of the sense of solitude. I tend to wear this kind of fragrances when I intimately wish to silently isolate myself from the rest of the universe in perfect relax (despite a tad of sadness which is a stable part of me).

Narciso Rodriguez Eau de Parfum Ambrée is a thick combination of musk, amber, ylang-ylang and balsams supported by accessorial elements as white flowers and dry cedar. Narciso Eau de Parfum Ambrée was launched in 2020 as a brand new Aurelien Guichard's amber-floral performance with a warm luxurious "tropical" twist. This perfume actually holds on the landmark floral-chypré musky concept (with the Narciso's passion for the l'egyptian musk's supreme and sophisticated sensual radiancy) which is in this case enriched by a new sultry shiny floral vibe. Somebody has written it smells like Narciso Rodriguez edp has gone to the beach and I partially agree in the sense that this fragrance exudes a warm kind or organic vaguely balmy aroma (the one of the feminine "layered with tropical floral creams" golden skin after tanned and sweated by the warmth of the sun). The original amber note is in here cleverly blended with rich vanilla in order to exude a rich texture and a special kind of sultry musky-floral warmth. This signature Narciso Rodriguez's musky accord is actually enriched due to a combination of sweet intense vanilla, tropical flowers and soft cashmere. More than properly tropical I find this fragrance warmly visceral and musky in a sort of "intimate hot way". The heavenly NR Poudree's lactonic/musky/rosey untouched "whiteness" is in this case soiled by this dose of simil-organic kind of acid/resinous sensual infusion. There is a kind of leafy/citric faint dose of (cedary) tartness as undertone which seems to elicit a sort of ostensibly salty warm "skin-smell". This floral tartness, as combined with warm soothing musky/balmy elements, conjures me the same kind of "contrast" I've noticed in the new Shiseido Ginza, another musky/balmy floral "double accord" with a sort of dry/warm kind of organic simil-salty undertone (don't forget that
Narciso Rodriguez parfums is a designer brand fragrances of the Shiseido Fragrance Division). In any case the kind of organic ambery dirtier warmth does not jeopardize at all the super Narciso-landmark (classic and modern all at once) floral-musky wave of sophistication with its quite chic note of ylang-ylang and a note of drier frangipani particularly regal, luxuriant and bold (a part of the intimate side of the moon). The sillage is heavy despite I find this creamy juice like closer to skin if compared with the previous Narciso's. Another winner from Narciso although my absolute favorite from the house is still the older pink bottle Narciso Rodriguez for her.

This review is focused on the new Ginza by Shiseido, a brand new fruity-floral fragrance for women which was launched in 2021. Ginza was created by Karine Dubreuil and Maïa Lernout. Shiseido is the most relevant cosmetic japanese group (actually one of the largest cosmetics "houses" in the world) and has its main headquarter's in the city of Tokyo. I've tested and enjoyed with enormous pleasure various scents from this house as Basala, Fèminité du Bois, original Zen, Murasaki, Tactis and further (unfortunately never tested Nombre Noir). The district of Ginza, vibrant, glamour and international with its restaurants, cafè, boutiques, luxury-malls and fashion outlets (along with Shibuya, Shinjuku and few others) is the beating heart of the worldwide capital, the gigantic "shockingly shimmering and swarming" city of Tokyo. This joyful and super floral fragrance pays tribute to pulsating life of this part of the japanese city. Ginza (the perfume itself) is a well appointed synth musky floral with fruity accents and a citric/leafy initial tartness by soon combined with soothing balsams and musks. The juice underwent a sort of circular construction known as "Round Shaped", a type of structure which allows the scent to be since the beginning kind of unchanged, "an immediate loyal mirror of itself along its following run", always (in whichever phase of the trip) kind as freshly sprayed (apart the alcoholic initial impact once faded). The two main accords are on this sphere immediately apparent and constantly waving around the wearer with an average persistence and a better intensity. The first angular bitter/fizzy/leafy accord (cyclamen/rose/lotus) is mastered by the cyclamen's "relentless" intensity and the aqueous/leafy lotu's vibe (with a sort of demure rose in the background, which exudes anyway a leafy kind of neutral approach well combined with the other florals). Along this initial stage I detect by soon the bitter/floral note of gardenia (jumping up with its leafiness from the second accord), perfectly calibrated with lotus and cyclamen. The second accord (more soapy/musky and delicate) features mostly orange flower, soapy balsams and musk which afford a more rounding effect with a spark of hyper glamour/chic musky sophistication (vaguely reminiscent of several musky Narciso Rodriguez's). The floral intensity (finally complex and undishernible) is impressive and kind of "organic" with a sort of "sweaty" visceral undertone (warm and sensual) conjuring the skin's warmth and some feminine organic intimate (in a good kind of pheromonal sense) smell. As I've formerly anticipated the evolution is almost absent since the aroma unfolds immediately its "double-accord" articulation, keeping on its "introducing aura" unchanged along the way. A pleasant modern chic fragrance which I suppose could be a market-crack (or anyway a good seller for Shiseido).