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05/09/2018
FvSpee
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Two figures
For me, "Dior Homme" is one of the great classics; a striking, original and well-balanced composed fragrance, strong in development (and "strong" at all), immediately recognizable, a time shaping, a whole number of years lasting fragrance. I like him.
His name's funny, isn't it? To not give this fragrance, which is located in the border area of men's fragrances, a sweet, heavy, flowery, gourmand, warm name like "Kuschelwuschel" in a certain way, but to give it the most classic, imaginable men's fragrance name "Homme" in a dry and laconic way, already shows a sense of humour (or chutzpah or both).
For me "Homme" has two inseparably connected faces or figures, which cannot be clearly separated according to phases, but are constantly present in the fragrance as a whole, sometimes more one, sometimes more the other, and also depending on where you focus your fragrance perception, and which I don't want to assign to individual ingredient groups (I think the totality of the ingredients is responsible for both faces)
The one figure of the fragrance is the very metrosexual, even feminine: sweet, flowery, soft, intense (the obtrusive scarring) chords that, despite a tendency to heaviness, ultimately appear so transparent, floating and flowing that they evoke in me the thought of light silk garments, even gauze (which doesn't seem to be typically "masculine").
The other shape, for which perhaps beside the leather and the vetiver also iris and cocoa (because pure cocoa, not the Nesquick- & Co - powder consisting mainly of sugar is by far rather bitter than sweet) are responsible, is tart, bitter and serious (at the border to severity) - and with it also in the common understanding "male". I could imagine that this note (or the interplay of the two) also has a very attractive effect on the opposite sex (and not only on women who are looking for a loving and gentle protector and breadwinner).
If we take a closer look at the chronological course and the three classical notes, then the top note of bergamot, sage and lavender is not, in my opinion, independently formed. Not even for half a minute, actually not at all, can a somehow independent citric lavender spice freshness be detected. The notes are there, but from the beginning only as a very delicate accessory at the edge of the main event.
It is precisely this main event, which lasts for several hours, that in my perception is constituted by the powerful and very exciting, back and forth swaying interplay of the two faces (or poles) mentioned above, whereby the first half hour or hour of the "feminine", rather sweet and flowing aspect is more strongly accentuated and is followed by the bitterly harsh, strict counterattack. After several interactions and accent changes, after about six hours a quite quiet and rather linear-stable basis appears on the scene, which I would describe as subtly sweet, but at the same time surprisingly fresh and stimulating (wherever that may come from).
The shelf life and the sillage of "Homme" are good. The bottle has a very good and fine spray system. Opinions may differ as to whether his appearance is visually pleasing. What they can't separate about is that the designer should write the sentence "form follows function" 1,000 times on the blackboard. Whenever you take it (the bottle, not the designer) in your hand and want to spray it with it, the corners and edges cut you unpleasantly and you can't get a clean grip on the thing.
"Dior Homme" is not one of my absolute favourites, but I think it is a great fragrance and, as already mentioned, a great classic. I don't know if you'll love him, but if you're interested in perfume and you're a man (and if you're not) you should have tested him at least once.
His name's funny, isn't it? To not give this fragrance, which is located in the border area of men's fragrances, a sweet, heavy, flowery, gourmand, warm name like "Kuschelwuschel" in a certain way, but to give it the most classic, imaginable men's fragrance name "Homme" in a dry and laconic way, already shows a sense of humour (or chutzpah or both).
For me "Homme" has two inseparably connected faces or figures, which cannot be clearly separated according to phases, but are constantly present in the fragrance as a whole, sometimes more one, sometimes more the other, and also depending on where you focus your fragrance perception, and which I don't want to assign to individual ingredient groups (I think the totality of the ingredients is responsible for both faces)
The one figure of the fragrance is the very metrosexual, even feminine: sweet, flowery, soft, intense (the obtrusive scarring) chords that, despite a tendency to heaviness, ultimately appear so transparent, floating and flowing that they evoke in me the thought of light silk garments, even gauze (which doesn't seem to be typically "masculine").
The other shape, for which perhaps beside the leather and the vetiver also iris and cocoa (because pure cocoa, not the Nesquick- & Co - powder consisting mainly of sugar is by far rather bitter than sweet) are responsible, is tart, bitter and serious (at the border to severity) - and with it also in the common understanding "male". I could imagine that this note (or the interplay of the two) also has a very attractive effect on the opposite sex (and not only on women who are looking for a loving and gentle protector and breadwinner).
If we take a closer look at the chronological course and the three classical notes, then the top note of bergamot, sage and lavender is not, in my opinion, independently formed. Not even for half a minute, actually not at all, can a somehow independent citric lavender spice freshness be detected. The notes are there, but from the beginning only as a very delicate accessory at the edge of the main event.
It is precisely this main event, which lasts for several hours, that in my perception is constituted by the powerful and very exciting, back and forth swaying interplay of the two faces (or poles) mentioned above, whereby the first half hour or hour of the "feminine", rather sweet and flowing aspect is more strongly accentuated and is followed by the bitterly harsh, strict counterattack. After several interactions and accent changes, after about six hours a quite quiet and rather linear-stable basis appears on the scene, which I would describe as subtly sweet, but at the same time surprisingly fresh and stimulating (wherever that may come from).
The shelf life and the sillage of "Homme" are good. The bottle has a very good and fine spray system. Opinions may differ as to whether his appearance is visually pleasing. What they can't separate about is that the designer should write the sentence "form follows function" 1,000 times on the blackboard. Whenever you take it (the bottle, not the designer) in your hand and want to spray it with it, the corners and edges cut you unpleasantly and you can't get a clean grip on the thing.
"Dior Homme" is not one of my absolute favourites, but I think it is a great fragrance and, as already mentioned, a great classic. I don't know if you'll love him, but if you're interested in perfume and you're a man (and if you're not) you should have tested him at least once.
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