Black Gold Ormonde Jayne 2014

A dynamic burst of freshness from Mandarin is enhanced by an aromatic blend of clary sage and Juniperberry enlivend by a timeless Bergamot accord. Carnation absolute, Jasmine and Oud tie into a woody base with sensuality underscored by a warmth of cedar, opulent sandalwood and pink pepper all while lending themselves to a slightly resinous and Musky Amber accord enhanced By labdanum and Ambrette seed that ensures you will be talked about, admired and desired the same!

The dystopian film adaptation of the writer James Graham Ballard tells the story of a modern high-rise building, where the residents live in isolation due to the presence of every conceivable convenience, as they no longer need to leave the complex. Social status is measured by the height of the floor. People of lower status live on the ground floor, while the penthouses house the social elite. Tensions are inevitable!

Why does "Black Gold" lead me to this introduction? Quite simply, the fragrance is a high-rise for me, lacking a typical fragrance pyramid. And the ingredients gain value over time.

On the ground floor, a shared flat of "Isfarkand" and "Zizan" has formed, still arguing over a halo of ISO wood even after 10 PM. And these guys are really annoying. This citrusy artificial wood vibe is played out. Transparency or not.

The mandarin seems to have moved to the Dominican Republic. It probably rented its home to a female orange because it is at least 15 minutes late to the scene and can't decide whether it wants to stay longer. This time is taken by the rose, which you might know from "Nawab of Oudh Intensivo," from the floor above for a brief yet very present rendezvous.

During this house viewing, it is helpful to let go of the dissection mode within the first 20 to 40 minutes, to observe the matter from a distance, thus stepping onto the balcony and listening to the dignified juniper-conifer choir view, or rather soaking it in. This is one of the most beautiful views during this house tour.

The transition to the next floor is also much better than the initial impression gained from the ground-floor shared flat. The olfactory connection, through the subtle use of clary sage, until you suddenly enter a flower shop, is another highlight. Garden carnation, not too little, not too much, spreads out. The character note from "Égoïste (Eau de Toilette)" is significantly reduced. The other floral notes mentioned in the pyramid do not catch my attention.

Above lives Mr. Tauer, an old grump, who probably wants to temporarily fix a water pipe leak with his balsamic window putty that his second wife brought him from a vacation in the Moroccan desert. Although the air tends to get thin with increasing height, the architect of this high-rise makes an exception here. It becomes increasingly dense and substantial. You can already tell that you are approaching an expensive ingredient patch.

Because they must have flown in sandalwood of the finest quality, obviously the central heating was defective. However, it will take hours before it shows its most beautiful side. Until then, it is contaminated with a
completely inappropriate vetiver note for me. Upon reaching the flat roof, however, the most beautiful view of the intimate finish of Creed's "Royal Oud." Sandalwood, pure, dusty, subtly vanillic, not overpowering, cozy, inviting to immerse oneself.

The omission of the mention of the two Ormonde Jayne fragrances at the beginning would have allowed the fragrance to fare a bit better with me. Nevertheless, I wonder why one is willing to spend so much money for so much unrest and movement in a fragrance. "Black Gold" is still good for practice purposes. Although it is not easy to decipher at first glance, many notes reveal themselves at least briefly throughout the progression. Aside from the ISO slip-up at the beginning, it is a very naturally occurring affair for both ladies and gentlemen.
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Munich, just before Christmas. The little Flui wanders through Munich, searching for new releases related to Christmas. Of all the fragrances tested today, none was the definitive Christmas scent, but this one is the most interesting. At first, I was surprised to see that it states it is only available at Harrods. However, it can also be found at Ludwig Beck and at Essenza Nobile in Mannheim in the Kurfürsten Parfümerie boutique, as can be read on the homepage. Price: 480 euros.

Upon the very first spray, I briefly detected an apple pie aroma. Is this the combination of fruity and sweet? The ingredients don’t promise apple pie, but let’s agree on mandarin cake, fruity and sweet at least, somewhat more abstract and less bindingly stated.

While the top note still has great volume, possesses plasticity, and is equipped with great fullness and opulence, the scent loses itself in a wide, broader, and softer flatness. The fragrance transitions from a three-dimensionality to a two-dimensionality; it occupies less space but more surface area. This surface seems somewhat Oud Shamash-heavy. Of course, it is neither a scent brother nor a scent twin, but it’s worth taking a brief look at the shared ingredients:

The Oud Shamash magic is conjured at TDC with pink pepper, rose, oud, sandalwood, patchouli, vanilla, amber, musk, and cistus.

The Black Gold magic comes from pink pepper, rose, oud, sandalwood, patchouli, vanilla, amber, musk, and labdanum.

This dry and almost stone-hard spritziness, I believe, arises from the combination of oud and resins, which in Oud Shamash experiences a certain positively scratchy hardness with cinnamon, and in Black Gold with bergamot and lemon. This scratchy hardness also makes the fragrance shine, even sparkle. Shamash, the Babylonian sun god, and black gold are not without reason the namesakes for the two fragrances. The citrusy note remains, after all, one of the decisive factors in Black Gold.

In the final phase, the radiant lemon disappears behind the horizon. The fragrance becomes decidedly softer and sheds its steel-hard, stony radiance. Oud wraps itself in a wonderfully soft blanket that the base holds ready. The freshness, the lemon, and the components that made Black Gold shine so brightly have settled down to awaken fresh and lively again upon a new spray.

It would probably be much more amusing for you if you could read my notes that I make while testing a fragrance, but that wouldn't fit the comment style at all :).

Geza Schön describes his style in an interview as sensual, transparent, and woody. At least the latter two I can often confirm, but Black Gold is so far his only fragrance where everything comes together for me.

The opening is unusual. It’s as if someone is peeling an orange in a shoemaker's workshop. Glue, rubber, new leather, and in between the impression of fresh orange peel.

After a short time, everything shifts more towards a dry-floral impression, along with an obligatory, decent dash of Iso-E and still some orange zest.

The floral, dry, and balsamic notes create for my nose a brief impression that actually feels golden. Metallic, smooth, and hard. But warmer than silver.

Black Gold is extremely versatile for me with many nuances that I can hardly put into words. Yet it always feels harmonious and self-contained; the richness of facets never seems exhausting.

After this opening, everything takes on a leatherier impression again, also due to a medicinal, iodine-like patchouli, which you would more likely associate with hits like "Monsieur." But Black Gold is completely different, as this rather coarse note is incredibly elegantly integrated into the overall context. It simply supports the leather impression for me, but the fragrance never loses its composure. It would never want or need to put itself forward with extremes, supposed scandalousness, etc. It is too distant and noble for that.

I find the fragrance very interesting, pleasant, and even somewhat masculine over the hours.

In the base, it loses a bit of character for me and appears somewhat more ordinary. Here it smells mainly floral and soft, slightly balsamic-sweet, but still minimally fresh. After this wonderful opening, Black Gold now initially reminds me of a nice, good women's fragrance from the standard repertoire. Upon closer inspection, a hint of oud and oriental spice comes into play, which differentiates it upon a second glance. It still smells super pleasant and harmonious, but it does seem significantly less exciting than the initial development.

Since my sample provider specifically asked me to mention something about longevity and sillage:

I perceive the sillage for such a complex fragrance as quite airy and permeable, but very distinct. The longevity is superb; I can still smell the fragrance the next morning. Black Gold is not an olfactory knockout, but it is clearly present and holds well.

To pay nearly €500 for all this? Those are prices that no longer need to be discussed. The content is certainly not worth that. But this is also the case with no Roja, and yet enough affluent people pay corresponding sums. Black Gold seems more individual to me and still carries more noble restraint than much else in this price range.

I was very curious about this exclusive little fragrance from Ormonde. Terra has really detailed and described it very authentically, and he has a much finer nose than I do.

I would like to differentiate and add that the Ormonde opening of this noble little water hit me like an explosion. As if the scent was happy to finally escape from its tight prison. I was hit with alcohol, patchouli, bergamot, and juniper with a hint of lemon peel right in the nose. Wow, I thought, this could be fun.

So, if Mr. Schön can do one thing, it is to give his fragrances such an opening that you have to pay attention - and that is the purpose of every fragrance's start. I was all the more surprised that after 3-4 minutes I couldn't smell anything anymore. Did my nose shut down, or did the scent fall apart after its explosion? Far from it, my dear readers! After Black Gold took a deep breath and realized that it could now unfold freely, it spontaneously calmed down and now purrs like a contented kitten in my arms.

I cannot dissect and analyze the scent. Art comes from skill, not from will. Mr. Schön can often - but not always! He has created an extremely balsamic, deeply warming work of art. Homogeneous, extremely tightly woven, perfectly coordinated. The transitions are so soft that you really have to pay attention not to miss any. The spicy top notes linger with me for a long time. The floral heart is silkily veiled; none of the flowers is really loud enough to be perceived individually for long enough to stay in one’s thoughts. This beautiful heart is, yes, somehow transparent. I can still smell the top notes while simultaneously perceiving the warm bed of flowers.

Before the base, when I read it here, I really had respect. I often don't like fragrances with so many components. But here we have a truly successful base that could be a signature note of its own; I’ll give it a name: Schön-Absolue. By the way, it reminds me towards the end of the old version of Malabah.

Freshness is minimal for me here; nevertheless, the DNA has a sprightly note of Geza that I have found in many of his other fragrances so far.

This scent is sensual, for me only slightly woody, definitely transparent, silky, balsamic, oily, creamy, close to the skin, cozy with a touch of the Orient. Personally, I find it a bit patchouli-heavy.

There is nothing black here, except for the big hole in the wallet; for that, you get a nice golden, warming little light. The scent is not really extraordinary and has little recognizability. Not a signature scent. Still, I liked it very much, but due to the proud price, it doesn’t make it onto my wish list.

Sometimes I think a fragrance must be expensive so that the costs can be covered with a few sold bottles. What a shame...