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Notes12/09/2019
Caligari
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Caligari
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Counter designs of nature
18, 35 or even 47 (or even more) ingredients can be mixed by a perfumer in his work to create a multi-faceted, often natural fragrance. When he uses high-quality raw materials, understands his craft and meets my taste, I like to mix it with fascination.
Besides these scents of anthropogenic origin only a natural substance can evoke the same feeling in me. Oud. And not the oud. There is no DAS Oud , on whose description some in the forum always asking hope! The scent of Oud has an incredible range for me. And since a tape already creates a surface, one should say goodbye to the idea that the differences lie in the one-dimensional. With my modest insight, I suspect that rather three dimensions are needed to do justice to the diversity subsumed under the term ''Oud''
It is not without reason that the surprise about the difference between artificial and natural material is and has often been the biggest for many, especially when it comes to oud. And not only for users, but also for creators.
But Oud can also have the status of an ingredient for me if it is incredibly coarse and/or static. In this form is would not be suitable for me personally for the application. So far I have only smelled about 15 to 20 ouds and have identified five to six main groups for myself. And "Dehn el Ood Mubarak" is for me one of the most beautiful, because most compatible and open category.
Beginning with a clear, non-animal, but strong woodiness, slowly but steadily middling notes fight their way up. We were and still are not in the blazing sun or in the damp peat. Neither faded and dry, nor steaming black. The tough metamorphosis is carried out from dark brown to medium brown. Everything in the shade with pleasant temperatures. And only after many hours did I receive confirmation of what I had previously considered to be a cheap and inappropriate comparison attempt by another user. Meanwhile, the wood has retreated to the foundation, on which lies a carpet of untreated, brown, thick and supple leather. And from this now sprouted the explanation to helpless attempts at explanation. Birch and vetiver. However, these can really only be recognized from this growth stage onwards. And thus the picture is actually perfected to the comparison endeavoured by the other tester: "Private Label". However, I emphasize the term ''comparison'' before deviant associations of others lead to complaints. One can never equate an oil developed so slowly and for such a long time completely with another fragrance. But in the end the DNA is already very much in "Private Label"'s area. What makes the author of these lines very happy, of all things, is the fact that this perfume has been the signature fragrance of my collection for over a year.
Oud alone, as a full-fledged perfume? That goes with me without further ado and without doubt.
I generally appreciate the presentation in a crystal bottle with such noble, highly concentrated drops very much, whereby the outer shell here does not meet my taste to 100 %. The lid is screwed on and accommodates a glass rod on the underside, with which the oil is applied. Particularly when reinserting the rod, one should proceed quite precisely. The oil is as viscous as honey and adheres to the stick in the appropriate thickness. If you don't hit the opening in the middle, you run the risk of losing a certain amount, irretrievably, at the edge of the bottle.
Besides these scents of anthropogenic origin only a natural substance can evoke the same feeling in me. Oud. And not the oud. There is no DAS Oud , on whose description some in the forum always asking hope! The scent of Oud has an incredible range for me. And since a tape already creates a surface, one should say goodbye to the idea that the differences lie in the one-dimensional. With my modest insight, I suspect that rather three dimensions are needed to do justice to the diversity subsumed under the term ''Oud''
It is not without reason that the surprise about the difference between artificial and natural material is and has often been the biggest for many, especially when it comes to oud. And not only for users, but also for creators.
But Oud can also have the status of an ingredient for me if it is incredibly coarse and/or static. In this form is would not be suitable for me personally for the application. So far I have only smelled about 15 to 20 ouds and have identified five to six main groups for myself. And "Dehn el Ood Mubarak" is for me one of the most beautiful, because most compatible and open category.
Beginning with a clear, non-animal, but strong woodiness, slowly but steadily middling notes fight their way up. We were and still are not in the blazing sun or in the damp peat. Neither faded and dry, nor steaming black. The tough metamorphosis is carried out from dark brown to medium brown. Everything in the shade with pleasant temperatures. And only after many hours did I receive confirmation of what I had previously considered to be a cheap and inappropriate comparison attempt by another user. Meanwhile, the wood has retreated to the foundation, on which lies a carpet of untreated, brown, thick and supple leather. And from this now sprouted the explanation to helpless attempts at explanation. Birch and vetiver. However, these can really only be recognized from this growth stage onwards. And thus the picture is actually perfected to the comparison endeavoured by the other tester: "Private Label". However, I emphasize the term ''comparison'' before deviant associations of others lead to complaints. One can never equate an oil developed so slowly and for such a long time completely with another fragrance. But in the end the DNA is already very much in "Private Label"'s area. What makes the author of these lines very happy, of all things, is the fact that this perfume has been the signature fragrance of my collection for over a year.
Oud alone, as a full-fledged perfume? That goes with me without further ado and without doubt.
I generally appreciate the presentation in a crystal bottle with such noble, highly concentrated drops very much, whereby the outer shell here does not meet my taste to 100 %. The lid is screwed on and accommodates a glass rod on the underside, with which the oil is applied. Particularly when reinserting the rod, one should proceed quite precisely. The oil is as viscous as honey and adheres to the stick in the appropriate thickness. If you don't hit the opening in the middle, you run the risk of losing a certain amount, irretrievably, at the edge of the bottle.
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