Notes Robert Piguet 2012

My first association with this fragrance was: oh dear, another Cool Water clone. But I was mistaken. “NoteS” is more than that, although there is indeed a certain kinship to Pierre Bourdon's ubiquitous fresh-floral fougère scent. However, “NoteS” is even more floral, with less spiciness - apart from a prominent sage note. At the heart of the fragrance, however, is - and this is where it clearly differs from “Cool Water” - an orange blossom that dominates the scent throughout its entire progression.
To appreciate “NoteS,” one must be an unreserved friend of this quite intensely fragrant white flower, and I must confess, I am not. I have struggled with Gaultier's “Fleur du Mâle” (which has a far more intrusive orange blossom!) and also with Françis Kurkdjian's “APOM pour Homme” (this time more subtle and delicate).
In fact, “NoteS” is actually closer to these two Kurkdjian fragrances than to Pierre Bourdon's “Cool Water.” And yet: I have tested “NoteS” three times now and repeatedly thought of “Cool Water,” only to dismiss it and instead think of “APOM p.H.”

“NoteS,” however, is primarily one thing: a typical Piguet fragrance.
Similar to the tuberose in “Fracas,” the leather in “Bandit,” the incense in “Casbah,” or the green in “Futur,” the orange blossom in “NoteS” has a rather robust structure and is extremely present. Piguet fragrances are not delicate scent watercolors but painted with bold oil colors. This does not mean they come across as coarse or loud. No, they certainly possess refinement and elegance, are well-balanced compositions, but they have unmistakable presence, sometimes even dominance.
So it is with “NoteS.” On a strong fougère base of sweet-powdery tonka bean and bitter oak moss (likely some substitute, as the moss is distinctly perceivable), the aforementioned orange blossom reigns in full splendor. Some bergamot and geranium waft around it with fresh accents, while herb-spicy sage beautifully contrasts its sweet-animalic nuances.
Speaking of 'animalic': a faint hint of animalic (why is it always 'animalic'?) nuances is perceptible to me, albeit very subtle and likely not stemming from the orange blossom or the sage (which develops a rather urinous note), but probably from sparingly used costus root - whose scent Luca Turin once described as smelling like damp body hair.

The overall mood of this fragrance, however, is anything but daring-animalic. “Jules” and “Kouros,” although also strong fougères, are miles away.
“NoteS” is rather sunny and cheerful: even the name chosen by the Piguet creators and the reliably recurring image of notes dancing up and down on a sheet of music underscore this carefree aura. Only, I unfortunately do not like the melody.

The longevity and sillage of the fragrance are, as with most Piguet works, above average. After a day by the lake and a subsequent shower, fine traces of the scent, now with a fresh vetiver note at the center, were still perceptible.

Chapeau, Monsieur Guichard - another proof that you truly understand your craft!
Nonetheless, I gladly leave this fragrance to others. They (likely more men than women) will not only appreciate it but love it, of that I am certain.