Banana
Tuscan tobacco
Vetiver
Cocoa
Coffee
Rose
Citrus notes
Jasmine
Rickbr
190 Reviews
Rickbr
Helpful Review
Loud and Proud
I admit that my relationship with indie brand O'DRIÙ has never been much explored due the strong emotions that its perfumer Angelo Orazio Pregoni awakens on me. There is something in his sense of humor that always irritated me deeply, with criticism of the fragrance marketing practices that seemed itself a marketing attempt to draw attention (as the invitation to put 1 drop of urine of the user in Peety, for example). However, changing the perspective, it is certain that the balance of players in a system require elements that escape the conventional and either staged or genuine Angelo makes this role and does it well. Also, it shows that he is able to have a more conventional appeal with creations as Italian Angel, where the peculiar seems to make room for something exotic but more direct in its approach.
It's interesting to me how you can fit the angels in different forms in Italian Angel and somehow it to me sums up one side of Angelo that do not interfere with the enjoyment of the fragrance. The perfume seeks to unite both the past and the present of Italian perfumery doing this by playing with stereotypes. The first stereotype that comes to mind regarding Italian Angel is that its beauty is not a bit discreet. It seems to me loud, big and sensual / sexual without being vulgar - something that fits very well in the stereotypical appearance.
The perfume embodies a very clear androgynous aspect, coeherent with the angels theme, working with the same presence and strength both floral, woody, citrus, spicy and fougeres elements. We are facing an Angel of the Baroque period, dramatic, decorative and lush, something that is not ashamed to exude opulence. This already evident to me in a saturation of a banana fruity aspect at the opening, something that seems to me to be a sweet aroma, a distortion of ylang ylang nuances that when played at full volume also makes me think to the metallic paint scent o that some fruity acetates seems to emanate. By contrast there is clearly a classic citrus Fougere accord, something that emphasizes more the presence of green and bitter side of rose and geranium idea. Tobacco appears between them, with its balsamic sweet site explored with a creamy vanillin aroma and a sensual and dense floral jasmine. Finally, we have coffee, vetiver (and for me something that says oud) bringing the scent to a more austere side, rough, a crisp woody and dry aroma that balances the carnal aspect of the idea.
Surely Italian Angel is not a perfume for those who like niceties - and as a good cliché would be strange if it were. He speaks to me because it seems to me a celebration of who I am with my Italian origins - something dramatic and verging on the theatrical. And maybe it is exactly this theatricality that at principle bothered me in Angelo just what I love here. A contradiction that I would not be ashamed to admit considering that the perfume in question is worthy.
It's interesting to me how you can fit the angels in different forms in Italian Angel and somehow it to me sums up one side of Angelo that do not interfere with the enjoyment of the fragrance. The perfume seeks to unite both the past and the present of Italian perfumery doing this by playing with stereotypes. The first stereotype that comes to mind regarding Italian Angel is that its beauty is not a bit discreet. It seems to me loud, big and sensual / sexual without being vulgar - something that fits very well in the stereotypical appearance.
The perfume embodies a very clear androgynous aspect, coeherent with the angels theme, working with the same presence and strength both floral, woody, citrus, spicy and fougeres elements. We are facing an Angel of the Baroque period, dramatic, decorative and lush, something that is not ashamed to exude opulence. This already evident to me in a saturation of a banana fruity aspect at the opening, something that seems to me to be a sweet aroma, a distortion of ylang ylang nuances that when played at full volume also makes me think to the metallic paint scent o that some fruity acetates seems to emanate. By contrast there is clearly a classic citrus Fougere accord, something that emphasizes more the presence of green and bitter side of rose and geranium idea. Tobacco appears between them, with its balsamic sweet site explored with a creamy vanillin aroma and a sensual and dense floral jasmine. Finally, we have coffee, vetiver (and for me something that says oud) bringing the scent to a more austere side, rough, a crisp woody and dry aroma that balances the carnal aspect of the idea.
Surely Italian Angel is not a perfume for those who like niceties - and as a good cliché would be strange if it were. He speaks to me because it seems to me a celebration of who I am with my Italian origins - something dramatic and verging on the theatrical. And maybe it is exactly this theatricality that at principle bothered me in Angelo just what I love here. A contradiction that I would not be ashamed to admit considering that the perfume in question is worthy.
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