Perfume Calligraphy Aramis 2012

Calligraphy is a difficult, elusive, yet fascinating scent for me. Echoes of various others (of which I do not know them all) have already been mentioned; however, there are too many relationships to assume imitation. In the overall view, despite - or because of - the abundance of references, a coherent, individual picture comes together. Coincidentally, all the relatives that come to my mind personally are from the year 2010. I will name them and partly repeat what has already been aptly noted in other comments:

We take the fruity-bready opening from Oud Royal (Armani) (there saffron, here cinnamon and saffron) and the noble, subtle oud note. We add the opulent-dark-fruity rose from Rose d‘ Arabie (Armani) and again from Oud Royal. For the heart, we borrow the myrrh note from Arso (Profumum Roma), which is richer, stronger, and rounder in that one, while in this one it is stricter and harsher. The green-herbaceous character that accompanies the scent journey over hours is drawn from the opening phase of Amouage's Memoir Man. By the way, I probably wouldn’t have thought of the latter if I hadn’t coincidentally had both on my skin recently.

Nevertheless, something very independent and appealing emerges from Aramis, especially in the contrast between the flattering-oriental side and the herb-strictness of the green components. It is profound, dark, powerful. At times harsh. Then suddenly seductive, smoldering, erotic. Suddenly withdrawing again.

Perhaps (pure speculation!) Aramis is closer to the complexity of the Orient than the others, which to me seem as if they have each picked out a single, possibly idealized aspect: Calligraphy would be, so to speak, the distillation of the whole. Nevertheless - or therefore - I find the scent cumbersome, difficult to wear, and prefer the other mentioned ones.

Many thanks to Angelliese!